JANUARY 31, 2019

32°13’10.6”N 110°58’24.1”W 32°13’10.6”N LEO RICH THEATER RICH LEO TE AMO, JANUARY 2019 31, 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 Paul Kaestle USHERS Philip Alejo Allan Tractenberg Nancy Bissell Barry & Susan Austin Kaety Byerley Design Lidia DelPiccolo Laura Cásarez Openform Susan Fifer Michael Coretz Marilee Mansfield Dagmar Cushing Printing Elaine Orman Bryan Daum West Press Susan Rock Robert Garrett Jane Ruggill Marvin Goldberg Barbara Turton Joan Jacobson Diana Warr Juan Mejia Maurice Weinrobe & Trudy Ernst Jay Rosenblatt Elaine Rousseau VOLUNTEERS Randy Spalding Paul St. John Cory Aaland George Timson Dana Deeds Leslie Tolbert Beth Daum Beth Foster Bob Foster Marvin Goldberg Eddy Hodak Marie-France Isabelle Hal Myers Traudi Nichols Allan Tractenberg Diane Tractenberg

2 FROM THE PRESIDENT

For the seventh year, the Arizona Friends of Chamber Granted that some among us do not flush with Music is pleased to participate in the Tucson Desert enthusiasm at the thought of a song program, our Song Festival, an endeavor recruiting most of the offering this year has gotten a lot of people excited, city’s leading performing-arts groups to bring great even the song-haters. Veterans in our audience singers to town during a concentrated period. should remember cellist Antonio Lysy as an elegant, expressive participant in past Tucson Winter Well, honestly, I’m not sure that everybody involved Chamber Music Festivals, and for years we’ve with AFCM has been excited each of those seven been looking for a way to present his very personal years. A lot of people regard vocal music as an interdisciplinary and multimedia journey through acquired taste, perhaps because they’ve been turned the music of his homeland, Argentina. This show off by all the hootin’ and hollerin’ of grand opera. has everything to disarm the naysayers: Ginastera The Song Festival is an effort to prove that there is and Piazzolla appeal even to people who have little far more to classical vocal music than large women in enthusiasm for 20th-century music; tangos appeal to breastplates and horned helmets, and to help people people who are cool toward classical music; and the acquire a taste for it. sultry songs of Piazzolla, Gardel, and the underrated Art song is to opera as chamber music is to Guastavino appeal to people who otherwise care little symphony, a more concentrated, smaller-scale form for vocal music. of expression. So if you’re already a chamber-music Welcome to what could be the most diverse—and fan, you shouldn’t be too uncomfortable with song; most eagerly anticipated—concert of our season! and if you’re a song aficionado here mainly for the vocal music, I hope you’ll come back for our intimate instrumental-only presentations.

JAMES REEL President

3 TE AMO, ARGENTINA JANUARY 31, 2019

Antonio Lysy presents: Te Amo, Argentina Antonio Lysy, cello Jessica Rivera, soprano Bryan Pezzone, piano Miriam Larici & Leonardo Barrionuevo, tango dancers Umberto Belfiore,visuals producer Leandro Pérez, time-lapse photographer (Cinco canciones populares) Gareth Walsh, conceptual artist (Pampas)

4 NOW MUSIC

TONIGHT’S PROGRAM ALBERTO GINASTERA (1916–1983) Cinco canciones populares , Op. 10 OSVALDO GOLIJOV (b. 1960) (Texts and Translations may be found Omaramor on pages 10–11.)

CARLOS GUASTAVINO (1912–2000) ASTOR PIAZZOLLA (1921–1992)

Canciones Argentinas From Estaciones Porteñas: Verano (arr. Bryan Pezzone) Encantamiento Pampamapa LALO SCHIFRIN (b. 1932) La rosa y el sauce Bonita rama de sauce Pampas

ASTOR PIAZZOLLA (1921–1992) CARLOS GARDEL (1890–1935)

Milonga del Angel Por Una Cabeza (arr. José Bragato) (arr. Pablo Hopenhayn)

OSVALDO GOLIJOV (b. 1960)

Lúa Descolorida

ASTOR PIAZZOLLA (1921–1992)

Le grand tango

INTERMISSION

This evening’s concert is sponsored by the generous contribution of Jack & Terry Forsythe.

5 TE AMO, ARGENTINA JANUARY 31, 2019

ANTONIO LYSY JESSICA RIVERA

Antonio Lysy, an artist of international stature and Possessing a voice praised by the San Francisco a dedicated pedagogue, has performed as a soloist Chronicle for its “effortless precision and tonal luster,” in major concert halls worldwide. He has appeared Grammy Award-winning soprano Jessica Rivera is with such orchestras as the Royal Philharmonic and one of the most creatively inspired vocal artists before Philharmonia Orchestras of , Camerata the public today. The intelligence, dimension, and Academica of Salzburg, Zurich Tonhalle, the Zagreb spirituality with which she infuses her performances Soloists, Orchestra di Padova e il Veneto, Israel on great international concert and opera stages has Sinfonietta, the Montreal Symphony Orchestra, garnered Ms. Rivera unique artistic collaborations the Toronto Symphony Orchestra, Les Violons du with many of today’s most celebrated composers, Roi, and most recently the Camerata Strumentale including John Adams, Osvaldo Golijov, Gabriela di Prato. He has collaborated with distinguished Lena Frank, Jonathan Leshnoff, Nico Muhly, and conductors, including Yuri Temirkanov, Charles Paola Prestini, and has brought her together with Dutoit, Sir , Sándor Végh, and Kees such esteemed conductors as Sir Simon Rattle, Esa- Bakels, and continues to perform regularly both as a Pekka Salonen, Robert Spano, Markus Stenz, Bernard soloist and as a chamber music artist. Mr. Lysy enjoys Haitink, and Michael Tilson Thomas. exploring the versatility of the cello’s voice, from During the 2018–19 season, Ms. Rivera will make her Baroque to electric, and is committed to projects debut at the Aspen Music Festival in Gabriela Lena which enrich his diverse interests in music. Frank’s La Centinela y la Paloma with the Aspen In the summer of 2003 Mr. Lysy accepted the position Philharmonic Orchestra led by Federico Cortese, of Professor of Cello at the University of California, and at the Grand Teton Music Festival performing . Prior to moving to the United States, Barber’s Knoxville: Summer of 1915. Orchestral he held a professorship at McGill University in engagements include performances of Mozart’s Montreal. Highlights of his recent work include Requiem with the Louisville Orchestra conducted by an extraordinary recital, broadcast on live radio, Teddy Abrams, Handel’s Messiah with the Nashville celebrating Bach and the cello through performances Symphony and Giancarlo Guerrero, Richard on baroque, acoustic, and electric cellos at the Los Strauss’s Four Last Songs with the Fort Worth Angeles County Museum of the Arts. He produced Symphony and Robert Spano, and Beethoven’s Ninth and presented a multimedia concert with pianist Symphony with the Atlanta Symphony Orchestra and actor Jean Marchand, showcasing the history conducted by Thomas Søndergård. In March, Ms. of his Carlo Tononi cello on its 300th birthday. Rivera will perform the world premiere of a new He has performed in recitals in New York and Los work by acclaimed composer Nico Muhly with the Angeles with pianist Pascal Rogé and enjoys frequent National Children’s Chorus and the American Youth collaborations with distinguished fellow faculty at Symphony conducted by Carlos Izcaray at Walt UCLA’s Royce and Schoenberg Hall, and Colburn’s Disney Concert Hall in Los Angeles. Zipper Hall. The touring show, “Te Amo, Argentina,” Committed to the art of recital, Ms. Rivera has a personal journey through the heart and soul of appeared in concert halls in New York, Los Angeles, Argentina’s fascinating culture, featuring solo cello Chicago, San Francisco, Cincinnati, Oklahoma City, and chamber works, dance, film, and spoken word, Las Vegas, and Santa Fe. She was deeply honored has met with widespread acclaim. to receive a commission from Carnegie Hall for AFCM has welcomed Antonio Lysy many times to the world premiere of Nico Muhly’s song cycle The our Tucson Winter Chamber Music Festival, most Adulteress, performed as part of her debut recital at recently in 2014. Weill Recital Hall.

6 NOW MUSIC

BRYAN PEZZONE

Bryan Pezzone is the consummate crossover pianist of his generation. He has excelled in classical, contemporary, jazz, and experimental genres, and is known for both his versatility and virtuosity as a performing artist, improviser, and composer. With PRESENTED AS PART OF THE composers and musicians as diverse as , TUCSON DESERT SONG FESTIVAL John Williams, and John Adams, he has played on countless film and television soundtracks. Mr. Pezzone has performed with many major symphony orchestras, and is known in the Los Angeles area as one of the primary freelance pianists for film and television soundtrack recording, contemporary music premieres, and chamber music accompanying. In addition, he has been principal pianist in the Hollywood Bowl Orchestra from 1991 to 1999 as well as the founder and former chair of the keyboard department at the California Institute of the Arts from 1987 to 2000. Mr. Pezzone is the pianist in the group Free Flight, a crossover classical/jazz quartet whose concerts feature many of his own compositions.

MIRIAM LARICI & LEONARDO BARRIONUEVO

Miriam Larici & Leonardo Barrionuevo are considered one of the preeminent tango couples in the world. Together they enjoy an international career as dancers and choreographers of Argentine Tango and delight in sharing their mastery, passion, and magic as both performers and instructors. Both from Argentina, they trained in ballet, jazz, and stage as well as social tango. Ms. Larici is the celebrated and iconic image of the Broadway-London hit Forever Tango. In addition, she has performed in several Broadway musicals, including 42nd Street, Me and My Girl, and Mambo Kings. Mr. Barrionuevo was also featured in Forever Tango and has taken part in the most prestigious tango shows in , both as performer and choreographer. Their own productions include “Los Angeles de Tango Festival” and “Los Angeles de Tango Cruise,” and they are the tango choreographers for Fox and the BBC’s “So You Think You Can Dance.”

7 PROGRAM NOTES

My father, Alberto Lysy, to whom I lovingly and I met Argentinian-born LALO SCHIFRIN at his respectfully dedicate this concert, was born in Beverly Hills studio in early 2009. The walls were Buenos Aires and returned frequently throughout filled with framed photographs and impressive his distinguished career as a concert violinist and documents of musical connections past and present, pedagogue. On my journeys to Argentina with him and the mantelpiece was brimming with trophies. as a young performing cellist, I was introduced to I had asked him whether he might contribute a the sounds and textures of a fascinating and colorful piece to my concert project. Honored that he did, I country. As I learned more about traditional music, immediately fell in love with the lyrical theme, which I also delved further into the history of the many to me imaginatively evoked images of the land and peoples of Argentina. On each successive visit I the people of Argentina. discovered more about the wonders of the land itself, Pairing two artistic mediums such as music and from the icebergs beyond Tierra del Fuego in the photographic images is a delicate and exciting creative south, to the jungle and waterfalls of Iguazú in the process, and one I felt would lend itself well to north, and I felt a visceral connection to the land Pampas. My personal vision of the work unfolded as a when riding horses in the Pampas. blend of elements I had lived with in my imagination The works comprising “Te Amo, Argentina” and the cultural background the work portrays. I illustrate the impact of pre-Hispanic Amerindian shared these thoughts with the talented conceptual traditions, Spanish-based Creole influences, and artist, GARETH WALSH, who took these ideas beyond musical developments such as the tango on Argentine my own boundaries and created an interpretation composers. These treasured musical traditions helped through the lens of his aural appreciation of the effect many contributions to the cello repertoire, music. This artistic exchange produced the projected increasing the instrument’s popularity and the sheer images that you will see on the screen. technical demands on performers. ASTOR PIAZZOLLA’S music has moved and enthused “Te Amo, Argentina” developed out of performances millions around the world. For me, his works are at The Broad Stage and The Ed Edelman Stage in Los kaleidoscopic images of Buenos Aires, the bright Angeles. The CD label Yarlung Records recorded a colors of La Boca, the nightlife, the unique and majority of this program’s repertoire at The Broad haunting tones of the bandoneon (which Piazzolla Stage for the Broad’s first commercial releaseAntonio played so eloquently), and the origin and evolution Lysy at The Broad: Music from Argentina. Soon after, of tango. Piazzolla was a probing and thoughtful and to my great honor, the CD was awarded a Latin musician who had high ambitions. In his youth he Grammy for the piece I commissioned called Pampas often struggled to find his compositional identity. by Lalo Schifrin. From this musical journey, “Te Yet he would eventually, through his performances, Amo, Argentina” evolved into a multi-disciplinary virtuosity, and creativity, become the man to redefine artistic collaboration of music, dance, and design. “tango” as we know it today. In “Te Amo, Argentina,” we perform some of his most celebrated works, one of which is arranged supremely by his long-time friend and musical collaborator, José Bragato.

8 PROGRAM NOTES

Including OSVALDO GOLIJOV’S Omaramor in this musical program provided the fortunate opportunity The works comprising to get to know this eminent South American “Te Amo, Argentina” composer. After our initial meeting he invited me to send him a live recording of my first performance of illustrate the impact of the work. This process was revealing and extremely helpful, as it allowed me to probe deeper into his pre-Hispanic Amerindian thoughts and desires about his music, especially for traditions, Spanish-based a work he wrote quite early in his career. I eventually sent him the final CD version, to which he kindly Creole influences, and responded, “I like it a lot. It’s definitely dirty enough, especially as it gets into the tough tango section. It’s a musical developments such beautiful interpretation. I’m grateful that you include as the tango on Argentine it in the CD along with music from composers I admire so much!” composers.

ALBERTO GINASTERA, arguably Argentina’s most internationally recognized classical composer, vividly Guastavino was born in Santa Fé, in northern depicts the music of his country in this set of five Argentina, the son of a painter and decorator. songs. Aaron Copland, his mentor in the US, was an Originally marked out by his father for a career important influence in his adopting a nationalistic in science, the boy’s precocious talent for music, style. In this set, written in 1943, comprising both particularly the piano, eventually proved decisive. entirely new compositions as well as new settings He studied the instrument locally with Esperanza of existing melodies, Ginastera draws from the Lothringer and Dominga Laffei, and later, in Buenos Argentine cancionero popular, which catalogues the Aires, with Germán de Elizalde, while going to Athos traditional songs and dances of each province and is Palma for composition. During the late 1940s, he used, in turn, to teach school children. Dramatically travelled to Britain on a British Council scholarship synchronized time-lapse photography, taken by and broadcast several times for the BBC. In 1956, LEANDRO PÉREZ in the North of Argentina, he toured Russia and in programs featuring accompanies the five songs. his songs.

The voice of CARLOS GUASTAVINO was perhaps the Guastavino has written some 300 works, more than most quietly distinctive in 20th-century Argentinian half of them delightful songs, often winsome or music. Vigorously rejecting the stylistic radicalism tinged with sadness, on which his reputation rests. of Alberto Ginastera and his younger compatriot (Obituary in The Guardian by Guy Rickards) Mauricio Kagel, he followed in the footsteps Notes by Antonio Lysy of 19th-century nationalists such as Julián Aguirre and Alberto Williams. Yet Guastavino was a no less influential figure for the younger generation of composers—particularly in popular music—growing up in Argentina in the 1960s and 70s. Atonality and musique concrète he dismissed as “nastiness” and “falsification,” believing that music should be based on melody and harmony. “I love melody,” he once said. “I love to sing. I refuse to compose music only intended to be discovered and understood by future generations.”

9 TEXTS AND TRANSLATIONS

Alberto Ginastera, Cinco canciones populares Argentinas, Op. 10

CHACARERA (Anonymous)

A mí me gustan las ñatas I love girls with little snub noses Y una ñata me ha tocado and a snub-nose girl is what I’ve got. Ñato será el casamiento Ours will be a snub-nose wedding Y más ñato el resultado. and snub-nosed children will be our lot. Cuando canto chacareras Whenever I sing a chacarera Me dan ganas de llorar it makes me want to cry, Porque se me representa because it takes me back to Catamarca y Tuoumán. Catamarca and Tuoumán.

TRISTE (Anonymous) SAD

Ah! Ah! Debajo de un limón verde Beneath a lime tree Donde el agua no corría where no water flowed Entregué mi corazón I gave up my heart A quien no lo merecía. to one who did not deserve it. Ah! Ah! Triste es el día sin sol Sad is the sunless day. Triste es la noche sin luna Sad is the moonless night. Pero más triste es querer But sadder still is to love Sin esperanza ninguna. with no hope at all. Ah! Ah!

ZAMBA (Anonymous)

Hasta las piedras del cerro Even the stones on the hillside Y las arenas del mar and the sand in the sea Me dicen que no te quiera tell me not to love you. Y no te puedo olvidar. But I cannot forget you. Si el corazón me has robado If you have stolen my heart El tuyo me lo has de dar then you must give me yours. El que lleva cosa ajena He who takes what is not his Con lo suyo ha de pagar must return it in kind. Ay! Ay!

10 TEXTS AND TRANSLATIONS

ARRORRÓ (Anonymous) LULLABY

Arrorró mi nene, Lullaby my baby; Arrorró mi sol, lullaby my sunshine; Arrorró pedazo lullaby part De mi corazón. of my heart. Este nene lindo This pretty baby Se quiere dormir wants to sleep, Y el pícaro sueño and that fickle sleep No quiere venir. won’t come.

GATO (Anonymous) CAT

El gato de mi casa The cat of the house Es muy gauchito is most mischievous, Pero cuando lo bailan but when they dance, Zapateadito. they stamp their feet. Guitarrita de pino With pine guitars Cuerdas de alambre. and wire strings. Tanto quiero a las chicas, I like the small girls Digo, como a las grandes. as much as the big ones. Esa moza que baila That girl dancing Mucho la quiero is the one for me. Pero no para hermana Not as a sister, Que hermana tengo. I have one already. Que hermana tengo I have a sister. Si, pónte al frente Yes, come to the front. Aunque no sea tu dueño, I may not be your master, Digo, me gusta verte. but I like to see you.

English translation by Jacqueline Cockburn

11 Early Music Made New

Founded in 1982, the Arizona Early Music Society presents the finest national and international ensembles specializing in the music of “Bach and Before.”

Join us this season to hear period instruments and vocal styles of the Medieval, Renaissance and Baroque periods come alive.

For program information and tickets, visit www.azearlymusic.org or call (520) 721-0846.

12 13 14 —18 — SEASON —19 — LUMINOUS

NORTHERN LIGHTS October 19 - 21, 2018 AMERICAN RHYTHM November 3 - 4, 2018 LESSONS & CAROLS BY CANDLELIGHT December 13 - 16, 2018 TRUE CONCORD GOES LATIN! January 18 - 20, 2019 CORINNE WINTERS IN RECITAL January 22, 2019 BACH ST. MATTHEW PASSION February 22 - 24, 2019 VISIT TRUECONCORD.ORG FOR TICKETING OR VENUE INFORMATION MOZART REQUIEM OR CALL 520-401-2651 March 29 - 31, 2019

Tucson Guitar Society

www.tucsonguitarsociety.org

520-342-0022

Andres Ségovia revolutionized Spanish guitar. Now a new generation of artists is building on his legacy.

Come hear what the excitement is about!

International Concert Artist Series

15 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Robert & Deborah Johnson $250 – $499 Arthur & Judy Kidder Jean-Paul Bierny & Chris Tanz Al Kogel Thomas & Susan Aceto Jim Cushing Herschel & Jill Rosenzweig Wes & Sue Addison Boyer Rickel John & Ila Rupley Sydney Arkowitz Richard & Judith Sanderson Ann Blackmarr $5,000 – 9,999 Reid & Linda Schindler Nathaniel & Suzanne Bloomfield Minna J. Shah Richard & Martha Blum Shirley Chann Joe & Connie Theobald Jan Buckingham David & Joyce Cornell George Timson & LM Ronald John & Terry Forsythe Teresa Tyndall Jack Burks Leonid Friedlander Gwen Weiner James Cook Charles & Suzanne Peters Elizabeth Zukoski Nancy Cook John & Helen Schaefer Janna-Neen Cunningham Paul A. St. John & Leslie P. Tolbert Philip M. Davis Wa l t Swap $500 – $999 Marilyn Dettloff Bob Albrecht & Jan Kubek Mark Dickinson $2,500 – 4,999 Frank & Betsy Babb Lionel & Karen Faitelson Gail Bernstein Thomas & Nancy Gates Celia Balfour Barbara Carpenter Tom & Janet Gething Stan Caldwell & Linda Leedberg James & Chris Dauber Sandra Hoffman Dagmar Cushing Raul & Isabel Delgado William & Ann Iveson Alison Edwards & Henri Frischer Stephen & Aimee Doctoroff Dr. & Ms. Michael Garrett-Waldmeyer Trust Michael Evanston & Sennuy Kaufman James Lindheim & James Tharp Philip & Nancy Fahringer Daniela Lax George & Irene Perkow Harold Fromm Alan Levenson Randy Spalding J. D. & Margot Garcia & Rachel Goldwyn Jonathan & Chitra Staley Gerald & Barbara Goldberg Amy & Malcolm Levin Walter Swap Eloise Gore & Allen Hile Mark Luprecht Elliott & Wendy Weiss Wesley Green Bill & Kris McGrath Helen Hirsch Hal Myers $1,000 – 2,499 Sidney & Martha Hirsh Richard & Susan Nisbett Nancy Ostromencki Nancy Bissell David Johnson Paul & Marianne Kaestle & Phil Renaud Richard & Martha Blum Mary Peterson & Lynn Nadel Celia Brandt George & Cecile Klavens Larry & Rowena G. Matthews Barbara & Jay Pisik Gail D. Burd Judith C. Pottle & John G. Hildebrand Martie Mecom Kitty & Bill Moeller Seymour Reichlin Robert D. Claassen Herbert Rubenstein & John T. Urban Lawrence & Nancy Morgan Serene Rein David & Ellin Ruffner Bryan & Elizabeth Daum Stephen & Gale Sherman Donald & Louise Doran Arnie & Hannah Rosenblatt Sally Sumner Mark Haddad Smith Peter & Carole Feistmann Barbara Straub Milton Francis & Marilyn Heins Maurice Weinrobe & Trudy Ernst Sherman L. Weitzmon Nancy Strauss Beth Foster Sheila Tobias Julie Gibson Bonnie Winn Anne Wright & Richard Wallat Charles & Sandy Townsdin Katherine Havas Allan & Diane Tractenberg Elliott & Sandy Heiman Ellen Trevors Eddy Hodak

16 THANK YOU TO OUR SUPPORTERS!

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Ruth B. Helm GIFTS IN MEMORY OF 31, 2018. Space limitations prevent Jim Homewood us from listing contributions less William & Sarah Hufford Clifford & Wendy Crooker than $100. Robert & Claire Hugi by Beth Foster Every contribution helps secure Sara Hunsaker Raymond Hoffman the future of AFCM. Lee L. Kane Joe Kantauskis by Sandra Hoffman Please advise us if your name is not & Gayle Brown Kathy Kaestle listed properly or inadvertently Carl Kanun by Paul & Marianne Kaestle omitted. Karen Loeb Robert Lupp

17 THANK YOU TO OUR SUPPORTERS!

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18 VERSE

Astor Piazzolla

ELAINE EQUI

Brujo, tell me the tragic can’t resist looking tall tales of the tango wombward back. according to your accordion. A keyhole Orpheus. Its fast and slow A maudlin shape-shifting coat. jackrabbit crossbow— deadweight glide. O how peculiar is the perpendicularity of your song. Time isn’t timid, you say, so why should we be? To know you is to be instantly elevated to new depths. Sometimes I smell blood in your cathedral. Go on and lead then. I’ll follow your blizzard. Dismantled clock hands move sensuously Sway on stiletto heels up one another’s through the winter’s white heat. downhill slide.

Defiant. Evasive. You turn yourself in—

Reprinted with permission from the author. From Ripple Effect: New and Selected Poems, Coffee House Press, 2007, pp. 37-38.

Selected for tonight’s concert by Sarah Kortemeier, Instruction and Outreach Librarian, and Julie Swarstad Johnson, Library Specialist, at the University of Arizona Poetry Center. 19 2018 YEAR-END CAMPAIGN

Philip Alejo Gerald & Barbara Goldberg Howard & Helen Schneider Frank & Betsy Babb Kathryn Gordon Jennifer Schneider Mark & Jan Barmann Eloise Gore & Allen Hile Stephen & Gale Sherman Kathryn Bates Janet Grayson Mark Haddad Smith Karen Ottenstein Beer Les & Suzanne Hayt Shirley Snow Gail Bernstein Sara Heitshu Harry Stacey Jim Bertolini Ruth Helm Jonathan & Chitra Staley Jean Paul Bierny & Chris Tanz Eddy Hodak Ronald Staub Nancy Bissell William & Sarah Hufford Nancy Strauss Peter Bleasby Morris & Judith Hughes Sally Sumner Nathaniel & Suzanne Bloomfield Robert & Claire Hugi Wa l t Swap Richard & Martha Blum Sara Hunsaker Michael Tabor Regina Bohnert William & Ann Iveson Shirley Taubeneck Andrew Broan Carl Kanun Charles & Sandy Townsdin Elizabeth Buchanan Joe Kantauskis & Gayle Brown Allan & Diane Tractenberg Jeff Buchella Dr. & Ms. Michael Michael & Mary Turner Wen Bucher & Sennuy Kaufman Barbara Turton Jack Burks George & Cecile Klavens Dimitri Voulgaropoulos Ed & Patricia Campbell Al Kogel Gwen Weiner Barbara Carpenter Joan Larkin Maurice Weinrobe & Trudy Ernst Nancy Cook Daniela Lax Anne Wright & Richard Wallat Janna-Neen Cunningham Amy & Malcolm Levin Patricia Waterfall Jim Cushing Connie Lewis Sherman L. Weitzmon James & Chris Dauber Mark Luprecht Patricia Wendel Bryan & Elizabeth Daum Larry & Rowena Matthews Daryl Willmarth Kathryn Day Carol Maywood Elizabeth Zukoski Raul & Isabel Delgado Max McCauslin Mark Dickinson Bill & Kris McGrath Our heartfelt Stephen & Aimee Doctoroff Joan McTarnahan Brian Edney Rebecca Miller thanks to those Peter & Carole Feistmann Richard & Susan Nisbett David Ferre Detlev Pansch & Julie Steffen who responded Linda L. Friedman David & Cookie Pashkow Peter & Linda Friedman George & Irene Perkow to our year-end Thomas & Margot Friedmann Barbara & Jay Pisik campaign. Juan Gallardo John Raitt Thomas & Nancy Gates Stephen Reitz & Elizabeth Evans J. D. & Margot Garcia Wynne Rife Tom & Janet Gething Jay & Elizabeth Rosenblatt Herschel & Jill Rosenzweig Dr. Elaine Rousseau Herbert Rubenstein John & Helen Schaefer Ann-Marie Schaffer Reid & Linda Schindler

20 TUCSON WINTER CHAMBER MUSIC FESTIVAL

Buy your tickets now for the CONCERT 1 Sunday, March 3, 2019 26th Festival, a week of 3:00 pm, Leo Rich Theater world-class concerts that Mozart – String Quintet in C Major, K. 515 begins March 3rd. Prokofiev –Sonata for Two Violins in C Major, Op. 56 Philip Glass – Violin Sonata (arranged for Saxophone) Shostakovich – Piano Quintet, Op. 57 Highlights include Australian saxophonist Amy Dickson’s Tucson debut with the US premiere CONCERT 2 of Ross Edwards’s new quintet. Also in his Tucson debut, pianist James Giles will perform the Tuesday, March 5, 2019 monumental Taneyev Piano Quartet. 7:30 pm, Leo Rich Theater A first at the Festival will be Chris Rogerson’s new Mozart – Piano Quartet in G Minor, K. 478 work written for the Escher Quartet. Look for violist Bartók – String Quartet No. 5 Ettore Causa in an impressive selection of Brahms’s Ludwig van Beethoven – Piano Trio in B-Flat Major Lieder, and cellist Edward Aron performing (“Archduke”), Op. 97 “Air”from the Pulitzer Prize winning composer

Kevin Puts. CONCERT 3 Violinist Axel Strauss and pianist Bernadette Wednesday, March 6, 2019 Harvey will perform 20th-century composer 7:30 pm, Leo Rich Theater Grażyna Bacewicz’s Partita for Violin and Piano. Also returning is violinist and Yale School of Music Shostakovich – Two Pieces for String Octet, Op. 11 professor Ani Kavafian, who appeared in our first Edwards – Quintet for Saxophone and Strings, Festival in 1994. “Bright Birds and Sorrows” Bacewicz – Partita for Violin and Piano This year’s Festival also has a slight Russian theme, Arensky – String Quartet No. 2 in A Minor, Op. 35 so the Taneyev Quartet will be augmented by the Shostakovich Quintet, Schnittke Quintet, and the rarely performed Arensky Quartet for two cellos. CONCERT 4 Friday, March 8, 2019 7:30 pm, Leo Rich Theater Jenö Takács – Two Fantastics Alfred Schnittke – Piano Quintet Kevin Puts – Air for Cello and Piano Taneyev – Piano Quartet in E Major, Op. 20

CONCERT 5

Sunday, March 10, 2019 3:00 pm, Leo Rich Theater Kevin Puts – Oboe Concerto (arranged for Saxophone) Brahms – Lieder (arranged for Viola and Piano) Chris Rogerson – String Quartet Mendelssohn – Sextet in D Major, Op. 110

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October 20 & 21, 2018 – Márquez’ lively favorites Conga del Fuego Nuevo and SaddleBrooke Danzón No. 2, Saint-Saëns’ audience-favorite Piano Concerto No. 2, Debussy’s Saturdays at 7:30 pm poetry-inspired Petite Suite and Chávez’s Symphony No. 2. DesertView Performing Arts Center November 17 & 18, 2018 – Bernstein’s Candide Overture, Arutiunian’s 39900 S. Clubhouse Drive challenging Trumpet Concerto, Jobim’s chart-topping Girl from Ipanema and Borodin’s Symphony No. 2. Northwest Tucson February 2 & 3, 2019 – Brahms’ Double Concerto for Violin and Cello plus Sundays at 3:00 pm St. Andrew’s Presbyterian Church two works by Mendelssohn – The Hebrides (inspired by a visit to a sea cave 7650 N Paseo Del Norte in Scotland) and Symphony No. 5, The Reformation. (Ticket fee waived for students March 2 & 3, 2019 – Offenbach’s Orpheus in the Underworld, inspired by ages 17 and under at this location) Greek mythology, plus the premiere of White’s Concertino, Dukas’ spritely The Sorcerer’s Apprentice and Rimsky-Korsakov’s Capriccio Espagnol. April 6 & 7, 2019 – Suppé’s The Beautiful Galathea Overture and classics by Mozart – his final Violin Concerto, known as The Turkish, and his Coronation Season Sponsor: Mass, with SASO Chorus. Dorothy Vanek

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