上海四重奏 2020年2月12日至13日 BOARD OF PROGRAM BOOK CONTACT DIRECTORS CREDITS US

James Reel Arizona Friends of Editor President Chamber Music Jay Rosenblatt Post Office Box 40845 Paul Kaestle Tucson, Arizona 85717 Vice-President Contributors Robert Gallerani Phone: 520-577-3769 Joseph Tolliver Holly Gardner Email: [email protected] Program Director Nancy Monsman Website: arizonachambermusic.org Helmut Abt Jay Rosenblatt Recording Secretary James Reel Operations Manager Cathy Anderson Wes Addison Advertising Treasurer Cathy Anderson USHERS Philip Alejo Michael Coretz Nancy Bissell Marvin Goldberg Barry & Susan Austin Kaety Byerley Paul Kaestle Lidia DelPiccolo Laura Cásarez Jay Rosenblatt Susan Fifer Michael Coretz Randy Spalding Marilee Mansfield Dagmar Cushing Allan Tractenberg Elaine Orman Bryan Daum Susan Rock Alan Hershowitz Design Jane Ruggill Tim Kantor Openform Barbara Turton Juan Mejia Diana Warr Jay Rosenblatt Printing Maurice Weinrobe & Trudy Ernst Elaine Rousseau West Press Randy Spalding VOLUNTEERS Paul St. John George Timson Dana Deeds Leslie Tolbert Beth Daum Ivan Ugorich Beth Foster Bob Foster Traudi Nichols Allan Tractenberg Diane Tractenberg

2 FROM THE PRESIDENT

Our celebration of Beethoven’s 250th anniversary The argument in favor is that there is no single right continues this week with a pair of concerts by the way to play Beethoven, and each score offers a wealth Quartet, presenting nearly one-third of of interpretive options. Each ensemble we present has Beethoven’s output. The Jerusalem its own distinctive approach to the music—free- Quartet will have its turn in April, and we’ll conclude wheeling, or elegant, or intense. Opening your ears to the festivities in the fall with double concerts by the multiple interpretations can lead you to hear new Auryn, Juilliard, and Pacifica Quartets. details in a score, and think about the music in a different way. Most of these ensembles will also be playing music by composers other than Beethoven. Even so, a few of And so we forge ahead. Besides, you’ll have all summer Beethoven’s quartets will be getting more than one to binge-watch The Crown. airing over the course of 2020. At our most recent meeting, the AFCM board debated whether or not such repeats are a bad thing.

The argument against repeat performances is that JAMES REEL Beethoven fatigue is already a danger with all sixteen President quartets offered in a single year, and then, when you see that we’ll open next season with a second rendition of the “Harp” Quartet, you’ll decide that this is too much of a good thing and just stay home and binge-watch The Crown.

3 SHANGHAI QUARTET FEBRUARY 12, 2020

SHANGHAI QUARTET

Over the past thirty-five years the Shanghai Quartet has become one of the world’s foremost chamber ensembles. The Shanghai’s elegant style, impressive technique, and emotional breadth allow the group to move seamlessly between masterpieces of Western music, traditional Chinese folk music, and cutting- edge contemporary works. Formed at the Shanghai Conservatory in 1983, soon after the end of ’s harrowing Cultural Revolution, the group came to the to complete its studies; since then the members have been based in the U.S. while maintaining a robust touring schedule at leading chamber-music series throughout , Shanghai Quartet , and Asia. Weigang Li, violin Yi-Wen Jiang, violin The Shanghai Quartet has an extensive discography Honggang Li, viola of more than thirty recordings, ranging from the Nicholas Tzavaras, cello Schumann and Dvořák piano quintets with Rudolf Buchbinder to Zhou Long’s Poems from Tang for string quartet and orchestra with the Singapore MKI Artists Symphony. The Quartet has also recorded a One Lawson Lane, Suite 320 Burlington, VT 05401 collection of Chinese folk songs called Chinasong, featuring music arranged by Yi-Wen Jiang reflecting on his childhood memories of the Cultural Revolution in China. The Quartet has recorded the complete Beethoven string quartets and is currently recording the complete Bartók quartets. The Shanghai Quartet performs on four exceptional instruments by Stradivari, Guarneri, Goffriller, and Guadagnini, generously loaned through the Beare’s International Violin Society to honor the quartet’s thirty-fifth anniversary. Serving as Quartet-in- Residence at the John J. Cali School of Music at Montclair State University since 2002, the Shanghai Quartet will also join the Tianjin (China) in fall 2020 as resident faculty members. The Quartet also is the Ensemble-in-Residence with the Shanghai Symphony Orchestra and visiting guest professors of the Shanghai Conservatory and the Central Conservatory in Beijing. They are proudly sponsored by Thomastik-Infeld Strings and BAM Cases. This is the fourth appearance of the Shanghai Quartet on AFCM’s concerts; we heard them most recently in October 2017.

4 EVENING SERIES

PROGRAM FOR FEBRUARY 12

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in D Major, Op. 18, no. 3 Allegro Andante con moto Allegro Presto

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in F Minor (“Serioso”), Op. 95 Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto espressivo—Allegretto agitato

INTERMISSION

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in E-flat Major, Op. 127 Maestoso—Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale: Allegro

5 PROGRAM NOTES FEBRUARY 12, 2020

BEFORE BEETHOVEN LEFT BONN for Vienna in earlier themes—for example, in its recapitulation 1792, his friend Count Waldstein told him that there the second theme functions as a bass accompaniment “he would receive the spirit of Mozart from Haydn’s for the first theme. hands.” Beethoven had hoped to study with Mozart As a departure from the classical scherzo, Beethoven’s in Vienna—but since Mozart had recently died, third movement is a gentle intermezzo (D major) Beethoven undertook instruction from Haydn with a mysterious contrasting section in D minor. The instead. However, Beethoven, whom Haydn called vigorous Presto finale, which suggests good-natured “The Great Mogul,” was too impatient to appreciate rustic dance, opens with an incisive three-note motif the master’s lessons, and the studies soon ended that sustains its momentum until the whispered because of their temperamental differences. But when conclusion. Beethoven began to write his Opus 18 Quartets he closely examined the mature quartets of Mozart and BEETHOVEN WROTE HIS Opus 95 string quartet especially Haydn for guiding principles. A high point for his friend and confidant Nikolaus Zmeskall, of his “first style period,” the Opus 18 set was written an amateur cellist and composer who frequently from 1798 to 1800 and published in 1801. It reveals hosted informal chamber music sessions in his home. the pervasive influence of Haydn and Mozart but This quartet was initially completed in 1810, but hints at the imminent expansion of Classicism’s Beethoven revised it extensively in 1814 and boundaries. Beethoven’s originality is evident in all premiered it that year. Before its publication six Opus 18 Quartets, each of which opens with a Beethoven wrote in a letter: “The Quartet is written small generative idea that gradually expands to form for a small circle of connoisseurs, and it is not to be a large and uniquely detailed design. performed in public.” Possibly he issued this directive because he perceived that the quartet was stylistically Despite Haydn’s position as Beethoven’s early far ahead of its time and therefore likely to be mentor, it was reported that when the aging misunderstood. Although Opus 95 is Beethoven’s composer heard these inventive and deeply expressive final middle period quartet chronologically, it reveals quartets at Prince Lobkowitz’s concerts, he decided to characteristics of his final set of quartets, begun ten abandon string quartets and devote his efforts to years later. Most notably there is often similarly terse choral masses. Since Viennese composers typically expression, the result of strongly stated ideas avoided competing genres, this observation most separated by minimal transitions. probably holds truth. Beethoven inscribed the words Quartetto serioso on The D Major Quartet unfolds with ease and elegance, his manuscript and included the word “serious” in the but Beethoven’s sketchbooks reveal the intensive third movement’s tempo marking. There is conjecture labor of its creation. The first of the Opus 18 set to that this subtitle, as well as the pervasive mood of be completed, this quartet shows his new mastery tragic intensity in Opus 95, stems from Beethoven’s of counterpoint—a high baroque technique of unfortunate love affair with the much younger combining diverse but complementary lines. Therese Malfatti during this same year. The quartet Beethoven described counterpoint as “a hard nut, shows expressive affinities to the Goethe-inspired but one that must be cracked” in order to create the Egmont Overture, also in F minor, which it intricate yet clear texture he desired. immediately followed. Although the quartet offers songful obeisance to Like his other four middle period quartets, Opus 95 Mozart, Beethoven’s innovative details permeate the opens with a movement in sonata form. However, the work. Each of the lyrical Allegro’s two themes begins brusquely passionate Allegro con brio is the most in harmonies unorthodox for their time, leading condensed and elliptical movement that Beethoven critics to charge that Beethoven had violated tonal ever wrote in that form. Pared to essentials, the rules. In the eloquent Andante con moto movement movement eliminates the customary repeat of the (B-flat major), Beethoven inventively references exposition. Its two contrasting themes undergo only a brief development and a truncated recapitulation.

6 PROGRAM NOTES FEBRUARY 12, 2020

The second movement (D major) develops two “Although we do not understand it, each of us was contrasting ideas, a cantabile theme and a fugato that conscious that we had been in the presence of suggest the opening movement of the much later something higher than ourselves, beyond our quartet Opus 131. The third movement, a scherzo with capacity to comprehend.” a contrasting trio section at its center, follows without Opus 127, like the other late opus quartets, stands in pause. Abrupt and jagged rhythms anticipate patterns two differing tonal worlds—the Classic and the heard in the final quartets. The finale’s poignant Romantic. Initially the work promises to unfold with Larghetto introduction, thematically related to the the coherent regularity characteristic of an earlier third movement, leads to the Allegretto agitato, classical composition. Yet the work develops with which develops two restless subjects in sonata rondo rhythmic subtleties and harmonic ambiguities that form. After a dramatic ritardando, the mode changes obscure the clarity of its underlying structure. The to major and the tempo accelerates to suggest a opening Maestoso, while ostensibly similar to many victorious resolution. of Beethoven’s other introductions, establishes a DURING THE EIGHT YEARS before Beethoven uniquely questioning mood. These opening measures began his monumental final set of string quartets, he recur in the following Allegro section (in effect endured a period of spiritual isolation. Because of dividing it into three parts), where they function to complete deafness, desertion by earlier patrons, and stabilize the free harmonic scheme of the movement difficulties with both family and publishers, he as it develops. often lacked the will to compose. Fortunately, he was The Adagio second movement is a set of five galvanized by a commission from Prince Nikolas variations based on two deceptively simple themes. Galitzin, a Russian nobleman and amateur cellist, for These subtly elaborated variations move through “two or three string quartets, for which labor I will be daring and remote key modulations to achieve glad to pay you what you think proper.” From May moments of true sublimity. 1824 until November 1826, only four months before his death, Beethoven devoted all his energies to the The incisive rhythms of the Scherzando abruptly creation of works for Galitzin (Opp. 127, 130, 132, bring the listener from this high plane. Unexpected and 133), as well as two other quartets written without changes of rhythms, dynamics, and mood contribute commission (Opp. 131 and 135). Each of these to a sense of unrest. The finale, a more classical transcendent works explores a musical universe exploration of two folklike themes, restores an expanded by an unprecedented fluidity of structure atmosphere of clarity. The coda, initiated by a newly that allows each work to develop according to the faster tempo, propels the work toward an demands of Beethoven’s vision. exhilarating conclusion. Galitzin was mystified by Opus 127, the first of the Notes by Nancy Monsman commissioned quartets, because of its enormous stylistic differences from the earlier quartets he had admired. Early critics were also puzzled by Opus 127, “Although we do not which suffered from an inadequately rehearsed understand it, each of us was premiere in March, 1825. There were objectionsto the level of dissonance, which the deaf composer conscious that we had been in accepted but which remained uncomfortable to listeners for decades after his death. There was the presence of something consternation that the work overall appeared to be a web woven from thematic particles rather than higher than ourselves, beyond a developed set of themes with strong profiles, our capacity to comprehend.” although these do exist. Unexpected changes of

tempo within movements left the audience lost. A MEMBER OF THE AUDIENCE The prevalent opinion was voiced by one present: AT THE PREMIERE OF OP. 127

7 SHANGHAI QUARTET FEBRUARY 13, 2020

INDIVIDUAL BIOGRAPHIES

Born into a family of well-known musicians in Shanghai, WEIGANG LI began studying the violin with his parents when he was five and went on to attend the Shanghai Conservatory at age fourteen. Three years later, in 1981, he was selected to study for one year at the San Francisco Conservatory of Music through the first cultural exchange program between the sister cities of Shanghai and San Francisco. In 1985, upon graduating from the Shanghai Conservatory, Mr. Li left China again to continue his studies at Northern Illinois University and later studied and taught at the Juilliard School as teaching assistant to the . His Shanghai Quartet teachers have included Shmuel Ashkenasi, Isadore Weigang Li, violin Tinkleman, and Tan Shu-Chen. Yi-Wen Jiang, violin Honggang Li, viola Mr. Li is a violin professor at Montclair State Nicholas Tzavaras, cello University in and Bard College Conservatory of Music in New York. He plays on a 1714 Antonio Stradivari nicknamed “Kneisel Grün” MKI Artists generously loaned to him by the Beare International One Lawson Lane, Suite 320 Burlington, VT 05401 Violin Society. YI-WEN JIANG was born into a musical family in Beijing where both parents were professional musicians. Beginning his violin studies with his father at age six, Mr. Jiang won top prize at the first China Youth Violin Competition in 1981 and was accepted to study with Professor Han Li at the Central Conservatory of Music. In 1985, after receiving a full scholarship from McDonnell-Douglas, Mr. Jiang came to the U.S. to study with Taras Gabora and Michael Tree. In 1990, with the support of the Ken Boxley Foundation, he went to Rutgers University to work with of the . Mr. Jiang teaches at Montclair State University and the Bard College Conservatory of Music. He is also guest professor at the Central Conservatory of Music in Beijing and the Shanghai Conservatory. Mr. Jiang plays a 1729 Giuseppe Guarneri del Gesu nicknamed “The Stretton” generously loaned to him by the Beare International Violin Society.

8 EVENING SERIES

HONGGANG LI began studying the violin with his PROGRAM FOR FEBRUARY 13 parents at age seven. When the Central Conservatory of music in Beijing reopened in 1977 after the Cultural Revolution, Mr. Li was selected to attend LUDWIG VAN BEETHOVEN (1770–1827) from a group of over five hundred applicants. He String Quartet in F Major (“Razumovsky”), Op. 59, no. 1 continued his training at the Shanghai Conservatory and co-founded the Shanghai Quartet with his Allegro brother Weigang while in his senior year in the Allegretto vivace e sempre scherzando conservatory. The quartet soon became the first Adagio molto e mesto Chinese quartet to win a major international Thème russe: Allegro chamber music competition (the London International) and came to the U.S. in 1985. He received his MM from North Illinois University and served as a teaching assistant at the Juilliard School INTERMISSION in New York. Mr. Li is currently an Artist-in-Residence and faculty member at Montclair State University and previously LUDWIG VAN BEETHOVEN (1770–1827) held the same title at the University of Richmond in Virginia from 1989 to 2003. He plays on a 1700 String Quartet in B-flat Major, Op. 130 Matteo Goffriller viola generously loaned to him by the Beare International Violin Society. Adagio ma non troppo—Allegro Presto A native of Spanish in , Andante con moto ma non troppo NICHOLAS TZAVARAS has toured the globe as a Alla danza tedesca: Allegro assai chamber musician, soloist, and educator for the past Cavatina: Adagio molto espressivo two decades. He has performed more than 1500 concerts worldwide, from Cartegena Columbia to Grosse Fuge, Op. 133 the Tonhalle in Zurich to Nagasaki . Since 2000, Mr. Tzavaras has been the cellist of the Shanghai Quartet. He is currently the coordinator of the String This evening’s concert Department and Artist-in-Residence at Montclair is partially sponsored by the State University. Mr. Tzavaras began the violin at age two with his generous contribution mother, Roberta Guaspari, and moved to the cello of George & Irene Perkow. when he was six. A graduate of the Bronx High School of Science, he went on to receive degrees from the New Conservatory and the State University of New York at Stony Brook where his cello teachers were Laurence Lesser and Timothy Eddy. He plays on a rare 1710 Giuseppe Guarneri filius Andrea cello generously loaned to him by the Beare International Violin Society. A note on the Shanghai Quartet may be found on page 4

9 PROGRAM NOTES FEBRUARY 13, 2020

form. Remarkably, in Opus 59 No. 1 each of the four “I said to Beethoven, that he movements is constructed according to this plan. surely did not consider these Perhaps because Razumovsky favored the cello, works to be music?—to which the monumental Allegro of Opus 59 No. 1 opens with a forthright statement in the cello’s middle register. he replied, ‘Oh, they are not This boldly confident theme is continued by the violin, which soon introduces the second subject. for you, but for a later age!’ ” A codetta leads to the vast and imaginative development section, which includes a fugal section FELIX RADICATI ON BEETHOVEN’S OP. 59 at its center. The cello begins the recapitulation, which is subtly linked to the development by PERHAPS THE MOST musically knowledgeable of overlying passages in the violin. Returning ideas are Beethoven’s aristocratic patrons was Count Andreas varied and expanded in both the recapitulation and Razumovsky, the Russian son of the Empress the concluding coda. Catherine’s “favorite” and recipient of a lifetime The second movement also begins with a cello ambassadorship to the Hapsburg Court at Vienna. statement, but one that struck the Count’s resident An accomplished amateur violinist and cellist who quartet as a very poor joke—a solo rhythmic figure maintained a superb string quartet as part of his on the note B-flat. Although launched by ostensibly household staff, Razumovsky commissioned unpromising material, this scherzo movement Beethoven to write three quartets for concerts develops with wit and lyricism. intended to serve a dual purpose—both to celebrate his palatial new embassy, grandly adorned with The profound Adagio is a sonata form movement statuary by Canova, and also as remembrance for the of unprecedented length. In his sketches Beethoven grievous 1805 Austro-Russian military defeat by wrote the words “A weeping willow or acacia tree Napoleon at Austerlitz, which left thousands of his upon my brother’s grave.” Perhaps an allusion to countrymen dead. Razumovsky stipulated that each a brother who had died in infancy, the inscription of the quartets include Russian themes as a patriotic suggests that the movement should be heard as a gesture, and Beethoven searched for appropriate sustained lament. The cello eloquently sings its two melodies to honor this request. Although engaged themes in the upper register. The violin shares the with other large-scale projects of his productive material, which is developed through brilliant scoring “middle period,” Beethoven devoted his full attention and varied accompaniments. Runs in the violin to the commission, and he soon completed the three connect the movement to the Allegro finale, which quartets of his Opus 59 (1806). These “Razumovsky” begins with an animated Russian theme. Beethoven Quartets mark a new era for the string quartet. evidently found the melody in a collection of Russian Formerly a genre written for intimate chambers, the folk songs; originally a slow tune in D minor, the song string quartet is here an expanded, quasi-orchestral here is a rapid statement in F major. A second theme form intended for a concert hall with a large audience. is introduced, and both motifs are developed in imitation. A sudden adagio stops the momentum, but Beethoven at this time was obsessed by his desire to the vivacity soon returns to conclude the movement. master sonata form—an established, yet flexible, eighteenth-century scheme that provided large works BEETHOVEN HAD SPECIAL affection for his late with a coherent structure: the exposition of ideas, Opus 130, which he referred to as the Liebquartett their full development, their return in mostly original (Dear Quartet) in his conversation books. Perhaps form, and an extensive coda. This clear framework because of his deafness he chose not to attend the allowed Beethoven to create dramatically nuanced, work’s premiere in March, 1826 but rather to wait in a spacious designs with maximum thematic and nearby tavern for word of the audience’s response. His harmonic contrast. Each of the Razumovsky Quartets nephew Karl soon brought positive news that two of features at least the opening movement in sonata the six movements met with such favor that they had

10 PROGRAM NOTES FEBRUARY 13, 2020

to be repeated. Karl also gave less favorable news—the and even the memory of this movement brought tears fugal finale confused listeners (“as incomprehensible to his eyes.” (A recording of the as Chinese,” said one present). Beethoven exploded Cavatina was included in the Golden Record for with anger. Soon after the premiere his publisher and Voyager’s interstellar journey, commenced in 1977.) several friends persuaded Beethoven to compose a Although it will not be heard this evening, the new, more traditional finale for Opus 130 and to allow alternate Allegro finale deserves comment. Despite the original movement, the “Great Fugue,” to stand as ongoing illness and discomfort, Beethoven crafted a separate composition (now Opus 133). an ostensibly good-natured sonata form movement Although Opus 130 was described by Beethoven’s that alludes to the quartet’s earlier themes and biographer Schindler as “the monster among all harmonic relationships. It stands as Beethoven’s quartets,” its framework follows the basic four- final composition. movement classical pattern. However, Beethoven The remarkableGrosse Fuge, published posthumously expands this scheme by adding both a scherzo and as Opus 133 in 1827, is often performed as the finale a slow movement before the finale. Within these of Opus 130. This intense and driving “Great Fugue” movements thematic material develops with extreme begins with an overture (Allegro, G major) that flexibility. Opus 130 begins with a serene Adagio that introduces the concise, somewhat jagged, motto appears to be a traditional introduction, but theme. After a variation of this theme in a brief fragments surprisingly re-emerge between the passage marked “less motion, moderate tempo,” the Allegro’s faster statements. The resulting shifts of powerful fugue begins to develop (Allegro, B-flat mood led Aldous Huxley to describe the movement major). The motto passes in turn from the first violin as “majesty alternating with a joke.” to the second violin, then to the viola and cello. The fleet Presto (B-flat minor) functions as a bridge A variation of the motto becomes a countersubject to between the complex opening movement and the the main theme. The fugue builds over a tremendous rhythmically intricate third movement. Based on crescendo and comes to a dramatic pause. A quieter short and repeated melodic units, the Presto unfolds variant of the motto is developed in a pianissimo with contrasting simplicity. section again marked “less motion, moderate tempo” (G-flat major). The fugue returns at a fortissimo The following Andante (D-flat major), marked section marked “very fast and with spirit” (B-flat “moderately slow with motion, but not too much,” major). After a robust development that emphasizes combines levity with wistful melancholy. The viola the fervent and jagged character of the theme, the states the principal theme, marked “a little playfully,” marking “less motion, moderate tempo” returns in its lower register. The violins develop melodies (F minor). The tempo gradually accelerates, and the and countermelodies continuously underpinned by marking “very fast and with spirit” returns. On the rhythmic figuration in the cello. final pages the themes are transformed into a The gracefulAlla danza tedesca (Dance in the dance of victory. German Style, G major), constructed in A-B-A form, Throughout the fugue one hears numerous thematic functions as a second scherzo. This fluent movement links to the quartet’s earlier movements—a resembles a gentle Ländler, a rustic triple-time compelling argument that the Grosse Fuge belongs German dance. to Opus 130 as its appropriate finale. The Cavatina (“Little Aria”) is an outpouring of Notes by Nancy Monsman heartfelt song. This brief movement begins with calm serenity but steadily gains intensity until its poignant harmonic shift from C-flat major to A-flat minor—at which place Beethoven penned the word “anguished” in the manuscript. His friend Karl Holz wrote that the Cavatina was composed “amid sorrow and tears; never did his music breathe so deep an inspiration,

11 TWENTY-SEVENTH TUCSON WINTER CHAMBER MUSIC FESTIVAL

A festival is a dynamic array of chamber music’s best, SATURDAY, MARCH 7, AT 6:00 PM performed by musicians from around the globe, under unique conditions—which results in live Gala dinner & concert at the Arizona Inn. performances you won’t hear any other time of year. Advance reservation only–until full. Cost includes champagne, wine, hors d’oeuvres, dinner, and live Buy tickets now for best seats! performance by the Festival musicians.

SUNDAY, MARCH 1, AT 3:00 PM SUNDAY, MARCH 8, AT 3:00 PM

Mozart: Flute Quartet in D Major, K. 285 Richard Strauss: Sextet from Capriccio, Op. 85 Martinů: Three Madrigals for Violin and Viola Bax: Sonata for Viola and Piano Anon. (ca. 618 A.D.): “Ambush on Both Sides” Ross Edwards: Four Inscapes (World Premiere) Ginastera: Pampeana No. 2 for Cello and Piano Mendelssohn: Quartet in D Major, Op. 44, no. 1 Smetana: String Quartet No. 1 in E Minor (“From My Life”) FESTIVAL ARTISTS

TUESDAY, MARCH 3, AT 7:30 PM Jasper String Quartet Yura Lee, violin/viola Glass: The Sound of a Voice Alexander Sitkovetsky, violin Fauré: Violin Sonata No. 1 in A Major, Op. 13 Dimitri Murrath, viola Schubert: Piano Quintet in A Major Julie Albers, cello (“Trout”), D. 667 Rafael DeStella, double bass Tara Helen O’Connor, flute WEDNESDAY, MARCH 4, AT 7:30 PM Yang Jin, pipa Matthew Strauss, percussion Dvořák: Sonatina in G Major for Violin and Piano, Lera Auerbach, piano/composer Op. 100 Bernadette Harvey, piano Cotton: Meditation, Rhapsody, and Bacchanal Ross Edwards, composer for Violin and Percussion Jolivet: Chant de Linos for Flute and Piano TICKETS Beethoven: String Quintet in C Major, Op. 29 Festival Pass $120 (5 concerts for the price of 4) FRIDAY, MARCH 6, AT 7:30 PM Single concert tickets $30 adults and $10 students Gala dinner and concert $180 (RSVP by March 3) Kodály: Serenade for Two Violins and Viola, Op. 12 All concerts take place at the Leo Rich Theater. Prokofiev:Trio for Piano, Violin, and Cello arizonachambermusic.org (arr. Flute Sonata, Op. 94) 520-577-3769 Four Seasons for String Quartet (World Premiere) Joan Tower: “Wild Summer” Christopher Theofanidis:“Fall” Akira Nishimura: “Spring” Lera Auerbach: “Winter”

12 COMING NEXT SEASON

JUNE 10, 2020 JANUARY 21, 2021

Joseph Rousos-Hammond, violin Accordo and Yasmin Alami, piano JANUARY 27, 2021 JULY 15, 2020 , Woodsmusic with Rex Woods, piano with Kindra Scharich, mezzo-soprano Alexander Woods, violin and Garrick Woods, cello FEBRUARY 17, 2021

AUGUST 12, 2020 Apollon Musagete Quartet, with Garrick Ohlsson Michelle Gott, harp FEBRUARY 27, 2021 OCTOBER 21 & 22, 2020 Ioana Cristina Goicea, violin Auryn Quartet MARCH 14–21, 2021 OCTOBER 29, 2020 Winter Chamber Music Festival Hub New Music APRIL 7, 2021 NOVEMBER 11 & 12, 2020 Parker Quartet Juilliard String Quartet

NOVEMBER 22, 2020

Xavier Foley, double bass

DECEMBER 6, 2020

Andrew and Daniel Hsu, piano four hands

DECEMBER 16 & 17, 2020

Pacifica Quartet

13 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Al Kogel Jan Buckingham & L.M. Ronald Milton Francis & Marilyn Heins Jack Burks Jean-Paul Bierny & Chris Tanz Randolph & Margaret Nesse Michael Bylsma & Mark Flynn Joyce Cornell Herschel & Jill Rosenzweig Richard & Patricia Carlson Walter Swap John & Ila Rupley Shirley Chann Reid & Linda Schindler Nancy Cook $5,000 – $9,999 George F. Timson Janna-Neen Cunningham Michael & Mary Turner Philip M. Davis Nancy Bissell Teresa Tyndall Mark Dickinson Stan Caldwell & Linda Leedberg Anne Wright & Richard Wallat Stephen & Aimee Doctoroff Jim Cushing Maurice Weinrobe & Trudy Ernst Alison Edwards Jack & Terry Forsythe Elizabeth Zukoski Karen & Lionel Faitelson Leonid Friedlander Edna Fiedler & Walter Sipes George & Irene Perkow Tom & Janet Gething Boyer Rickel $500 – $999 Gerald & Barbara Goldberg John & Helen Schaefer Bob Albrecht & Jan Kubek Louis Hess Gwen Weiner Peter & Betty Bengtson Sandra Hoffman Gail Bernstein Janet & Joe Hollander $2,500 – $4,999 Barbara Carpenter Willliam & Sarah Hufford Michael & Ulla Coretz Anonymous William & Ann Iveson James & Chris Dauber Bina Breitner David Johnson Raul & Isabel Delgado Bob Foster Michael & Sennuy Kaufman Carole & Peter Feistmann Garrett-Waldmeyer Trust George & Cecile Klavens Harold Fromm Elliott & Sandy Heiman Daniela Lax Donita Gross Jim Lindheim & Jim Tharp Keith & Adrienne Lehrer Helen Hirsch Minna J. Shah Amy & Malcolm Levin Paul & Marianne Kaestle Randy Spalding Alan Levenson Larry & Rowena G. Matthews Paul A. St. John & Rachel K. Goldwyn Martie Mecom & Leslie P. Tolbert William Lindgren Kitty & Bill Moeller Jonathan & Chitra Staley Karen E. & Leonard L. Loeb Lawrence & Nancy Morgan Wendy & Elliott Weiss Mark Luprecht Richard & Susan Nisbett Max McCauslin & John Smith Jay & Barbara Pisik Bill & Kris McGrath $1,000 – $2,400 Serene Rein Joan McTarnahan Susan & Barry Austin Arnie & Hannah Rosenblatt Harry Nungesser Frank & Betsy Babb Stephen & Gale Sherman Mary Peterson & Lynn Nadel Celia A. Balfour Sally Sumner Jay & Barbara Pisik Celia Brandt Sherman Weitzmon Steve Reitz & Elizabeth Evans Gail D. Burd Bonnie Winn David & Ellin Ruffner & John G. Hildebrand Mark Haddad Smith Bryan & Elizabeth Daum $250 – $499 Barbara Straub Dagmar Cushing Nancy Strauss Thomas & Susan Aceto Beth Foster Sheila Tobias Sydney Arkowitz J.D. & Margot Garcia Charles & Sandy Townsdin Wes & Sue Addison Julie Gibson Allan & Diane Tractenberg Peter Bleasby Allen Hile & Eloise Gore Ellen Trevors Nathaniel & Suzanne Bloomfield Eddy Hodak Patricia Waterfall Richard & Martha Blum Arthur & Judy Kidder Daryl Willmarth

14 THANK YOU TO OUR SUPPORTERS!

$100 – $249 Frank & Janet Marcus GIFTS IN MEMORY OF Warren & Felicia May Helmut Abt Richard & Judith Meyer Ann Blackmarr Philip Alejo Walter Miller by Cathy Anderson Mark & Jan Barmann Karen Ottenstein Beer David Cornell Margaret Bashkin Eileen Oviedo by Jean-Paul Bierny & Chris Tanz Kathryn Bates John Palmer Joyce Bolinger by Joyce Cornell, in loving memory Detlev Pansch & Julie Steffen by Larry & Nancy Morgan Sarah Boroson David & Cookie Pashkow Elizabeth Buchanan Judith C. Pottle Michael Cusanovich John Burcher John Raitt by Marilyn Halonen Patricia & Ed Campbell Lynn Ratener Harry Fonseca Robert D. Claassen Kay Richter by Jean-Paul Bierny & Chris Tanz & John T. Urban & Stephen Buchmann Tom Collazo Seymour Reichlin Rayna Leah Gellman Cornell Collins Erin Riordan & Ben Wilder by Mark Haddad Smith C. Jane Decker Betsy Rollings His mother, Terence DeCarolis Jay & Elizabeth Rosenblatt Helen Margaret Hodak Martin Diamond & Paula Wilk Elaine Rousseau by Eddy Hodak Brian Edney Herbert Rubenstein John & Mary Enemark Kenneth J. Ryan Raymond Hoffman Dorothy Fitch & John Munier Evelyn Salk by Sandra Hoffman James & Ruth Friedman Jennifer P. Schneider Linda L. Friedman Kathy Kaestle Howard & Helen Schneider by Paul & Marianne Kaestle Peter & Linda Friedman Stephen & Janet Seltzer Tommy & Margot Friedmann Shirley Snow Jim Rusk Juan Gallardo Harry Stacy by Carolyn Leigh Thomas & Nancy Gates Ronald Staub Marvin & Carol Goldberg Brenda Semanick Michael Tabor by Jean-Paul Bierny & Chris Tanz Ben & Gloria Golden Shirley Taubeneck Kathryn Gordon Jennalyn Tellman Stephen G. Tellman Janet Grayson Barbara Turton by Jennalyn Tellman Marilyn Halonen Ivan Ugorich Clare Hamlet Carl T. Tomizuka Karla Van Drunen Littooy by Sheila Tobias Cynthia Hartwell Peter & Reyn Voevodsky James Hays Dimitri Voulgaropoulos Contributions are listed from Les & Suzanne Hayt & Tyna Callahan February 1, 2019 through January Sara Heitshu Diana Warr 31, 2020. Space limitations prevent Ruth B. Helm Jude Weierman us from listing contributions less Jim Homewood Patricia Wendel than $100. Robert & Claire Hugi Sheila Wilson & Hal Barbar Sara Hunsaker Every contribution helps secure Lee Kane the future of AFCM. Joe Kantauskis & Gayle Brown Please advise us if your Tim Kantor name is not listed properly or Carl Kanun inadvertently omitted. William Kruse Robert Lupp

15 THANK YOU TO OUR SUPPORTERS!

GIFTS IN HONOR OF JEAN-PAUL BIERNY COMMISSIONS LEGACY SOCIETY AFCM Board of Directors Jean-Paul Bierny & Chris Tanz by C. Jane Decker Jean-Paul Bierny & Chris Tanz Bob Foster Nancy Bissell Mr. Leonid Friedlander Nancy Cook’s birthday, Nathaniel & Suzanne Bloomfield to support Music in the Schools Theodore & Celia Brandt CONCERT SPONSORSHIPS by Susan Aiken Nancy Cook by Frank & Betsy Babb Dagmar Cushing Anonymous by Linda Barter Lidia DelPiccolo-Morris Jean-Paul Bierny & Chris Tanz by Avery & Carolyn Bates Dr. Marilyn Heins Stan Caldwell & Linda Leedberg by Jean-Paul Bierny & Chris Tanz Joe & Janet Hollander Jack & Terry Forsythe by Larry & Gerry Campbell Judy Kidder EOS Foundation by Tom Collazo Linda Leedberg Garrett-Waldmeyer Trust by Cornell Collins Tom & Rhoda Lewin George & Irene Perkow by Gail & Bill Eifrig Ghislaine Polak Boyer Rickel by Patricia & David Eisenberg Boyer Rickel Randy Spalding by Barbara Hutchinson Randy Spalding Jonathan & Chitra Staley by Lucy Masterman Anonymous by Margie Matter MUSICIAN SPONSORSHIPS by John McNulty & Jeff Brown $25,000 and above by Mary Ellen Morbeck Family Trust of Lotte Reyersbach Celia Balfour & John Hoffman Phyllis Cutcher, Trustee of the Jean-Paul Bierny & Chris Tanz by Bob Nevins Frank L. Wadleigh Trust Dagmar Cushing by Larry & Deborah Ogden Anne Denny Elliott & Sandy Heiman by Andy and Lisa Remack Richard E. Firth Eloise Gore & Allen Hile by Boyer Rickel Carol Kramer Arthur Maling by Erin Riordan & Ben Wilder MUSIC IN THE SCHOOLS by Betsy Rollings Claire B. Norton Fund by Evelyn Salk (held at the Community Susan & Barry Austin by Susan Sangston Foundation for Southern Herschel and Jill Rosenzweig by Randy Spalding Arizona) Randy Spalding by Bob & Donna Swaim Herbert Ploch Paul A. St. John & Leslie Tolbert by Adam Ussishkin Lusia Slomkowska Living Trust Joe & Connie Theobald & Adam Wedel Agnes Smith George Timson by Peter & Reyn Voevodsky $10,000 – $24,999 by Patricia Waterfall Marian Cowle FOUNDATIONS by Jude Weierman Minnie Kramer Arizona Commission on the Arts Elaine Rousseau Jeane Serrano Arts Foundation for Tucson by Les & Suzanne Hayt Up to $9,999 and Southern Arizona Randy Spalding Elmer Courtland Associated Chamber Music by John Burcher Margaret Freundenthal Players Susan R. Polleys Tucson Desert Song Festival Allan & Diane Tractenberg Administrative Trust by Mark & Jan Barmann Frances Reif All commission, concert, and musician sponsors are acknowledged Elliott Weiss's special birthday Edythe Timbers with posters in the theater lobby by Barbara Levy Listed are current plans and in concert programs. and posthumous gifts. 16 YEAR-END CAMPAIGN

Sydney Arkowitz Amy & Malcolm Levin Mark & Jan Barmann Karen E. & Leonard L. Loeb Our heartfelt Peter & Betty Bengtson Warren and Felicia May thanks to those who Nancy Bissell Max McCauslin & John Smith Peter Bleasby Joan McTarnahan responded to our Nathaniel & Suzanne Bloomfield Richard & Judith Meyer Richard & Martha Blum Walter Miller year-end campaign. Sarah Boroson Richard & Susan Nisbett Bina Breitner Harry Nungesser Elizabeth Buchanan Karen Ottenstein Beer Jan Buckingham & L.M. Ronald Eileen Oviedo Richard & Patricia Carlson Detlev Pansch & Julie Steffen Robert D. Claassen Mary Peterson & Lynn Nadel & John T. Urban Jay & Barbara Pisik Nancy Cook John Raitt Jim Cushing Steve Reitz & Elizabeth Evans James & Chris Dauber Kay Richter & Stephen Kathryn Day Buchmann Raul & Isabel Delgado Boyer Rickel Mark Dickenson Arnie & Hannah Rosenblatt Stephen & Aimee Doctoroff Herschel and Jill Rosenzweig Lionel & Karen Faitelson John & Helen Schaefer Peter & Carole Feistmann Howard & Helen Schneider Edna Fiedler & Walter Sipes Stephen & Janet Seltzer James & Ruth Friedman Stephen & Gale Sherman Peter & Linda Friedman Mark Haddad Smith Linda L. Friedman Harry Stacy Tommy & Margot Friedmann Jonathan & Chitra Staley Thomas & Nancy Gates Ronald Staub Tom & Janet Gething Barbara Straub Gerald & Barbara Goldberg Sally Sumner Marvin & Carol Goldberg Michael Tabor Kathryn Gordon Ellen Trevors Clare Hamlet Michael & Mary Turner Cynthia Hartwell Barbara Turton Sally Harwood Karla Van Drunen Littooy James Hays James Verrier Les & Suzanne Hayt Marianne Vivirito & Ross Elliott & Sandy Heiman Iwamoto Marilyn Heins & Milton Francis Dimitri Voulgaropoulos & Tyna Sara Heitshu Callahan Allen Hile & Eloise Gore Patricia Waterfall Willliam & Sarah Hufford Maurice Weinrobe & Trudy Ernst Sara Hunsaker Patricia Wendel Joe Kantauskis & Gayle Brown Sheila Wilson & Hal Barbar Michael & Sennuy Kaufman Daniela Lax Keith & Adrienne Lehrer

17 COMING SOON IN 2020

FEBRUARY 23, 2020

Lineage Percussion 3:00 pm, Berger Performing Arts Center

MARCH 1–8, 2020

Tucson Winter Chamber Music Festival Leo Rich Theater

MARCH 22, 2020

Narek Arutyunian, clarinet Steven Beck, piano 3:00 pm, Leo Rich Theater

APRIL 1 & 2, 2020

Jerusalem Quartet 7:30 pm, Leo Rich Theater

APRIL 9, 2020

Poulenc Trio 7:30 pm, Berger Performing Arts Center

18 VERSE

Elegance

LINDA GREGG

All that is uncared for. Left alone in the stillness in that pure silence married to the stillness of nature. A door off its hinges, shade and shadows in an empty room. Leaks for light. Raw where the tin roof rusted through. The rustle of weeds in their different kinds of air in the mornings, year after year. A pecan tree, and the house made out of mud bricks. Accurate and unexpected beauty, rattling and singing. If not to the sun, then to nothing and to no one.

Reprinted with permission. From All of It Singing: New and Selected Poems. Graywolf Press, 2008.

This poem was selected for the concert by Sarah Kortemeier, Library Director, Julie Swarstad Johnson, Senior Library Specialist, and Leela Denver, Senior Library Assistant at the UA Poetry Center. 19 2019/2020 Tucson Guitar Society

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Changing the Way the World Ages Keep the Music Playing

26 SHAKESPEARE IN SONG InGENIUS2019-2020 SEASON 11 - 13 October MOZART & DA VINCI 22 - 24 November LESSONS & CAROLS BY CANDLELIGHT Songs of the Magi 12 - 15 December AMERICA SINGS! 24 - 26 January in partnership with Tucson Desert Song Festival BEETHOVEN & GOETHE 21 - 23 February BACH B-MINOR MASS 27 - 29 March VISIT TRUECONCORD.ORG FOR TICKETING & VENUE INFORMATION OR CALL 520-401-2651

IVER NN SA A R 2019 - 2020 Y

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SE ASON 2019-2020 Performances

Die Fledermaus (full opera production) Mexican Independence Day Concert January 18-19, 2020, at Rincon H.S. September 14-15, 2019 Fox Tucson Theatre & Sunnyside H.S. Beethoven & Strauss February 15-16, 2020 From Paris to Leningrad Tchaikovsky & a Live Painter October 19-20, 2019 March 14-15, 2020 Carmina Burana Gershwin & Beethoven November 16-17, 2019 April 25-26, 2020 Concert Venues SaddleBrooke Northwest Tucson Saturdays at 7:30 pm Sundays at 3:00 pm DesertView Performing Arts Center St. Andrew’s Presbyterian Church 39900 S. Clubhouse Drive 7575 N. Paseo del Norte

27