26TH TUCSON WINTER CHAMBER MUSIC FESTIVAL PETER REJTO, FESTIVAL DIRECTOR SUNDAY MARCH 10, 2019 BOARD OF DIRECTORS FESTIVAL COMMITTEE FESTIVAL STAFF
James Reel Randy Spalding, Chair Matt Snyder, Audio Producer/ President Nancy Bissell Engineer James Reel Louie Gutierrez, Paul Kaestle Stage Manager George Timson Vice-President Marv Goldberg USHERS Joseph Tolliver Philip Alejo Program Director Dagmar Cushing Barry & Susan Austin Michael Coretz Lidia DelPiccolo Helmut Abt Bryan Daum Susan Fifer Recording Secretary Joseph Tolliver Marilee Mansfield Wes Addison Cathy Anderson Elaine Orman Treasurer Susan Rock Jane Ruggill Philip Alejo FESTIVAL VOLUNTEERS Barbara Turton Nancy Bissell Nancy Cook Diana Warr Kaety Byerley Beth Daum Maurice Weinrobe & Trudy Ernst Laura Cásarez Beth Foster Michael Coretz Bob Foster PROGRAM BOOK CREDITS Dagmar Cushing Marie-France Isabelle Bryan Daum Yvonne Merril Robert Garrett Editor Marvin Goldberg Jay Rosenblatt FESTIVAL SPONSORS Joan Jacobson Contributors Juan Mejia Randy Spalding Robert Gallerani Jay Rosenblatt Jonathan & Chitra Staley Holly Gardner Elaine Rousseau Garrett-Waldmeyer Trust Nancy Monsman Randy Spalding Jean-Paul Bierny & Chris Tanz Jay Rosenblatt Paul St. John Celia Balfour James Reel George Timson Elliot & Sandy Heiman Advertising Leslie Tolbert Boyer Rickel Paul Kaestle Charles & Suzanne Peters Allan Tractenberg Allan & Diane Tractenberg Mark & Jan Barmann Design Openform FESTIVAL HOSTS Printing Michelle Morden West Press Jean-Paul Bierny & Chris Tanz Nancy Bissell David Carter & Bobbie-Jo Buel Christine & David Hopkins Gretchen Gibbs Holly Lachowicz David Bartlett & Jan Wezelman Leslie Tolbert & Paul St. John Dagmar Cushing On the cover: Sergei Prokofiev 2 FROM THE PRESIDENT
While the Festival is coming to an end, I assure you that chamber music is not. If you’ve enjoyed what you have heard this week, and are not already one of our season subscribers, why not pick up tickets for the two remaining concerts in our 2018–19 season? On April 3 at 7:30 p.m. we present our final Evening Series concert with the internationally renowned Jerusalem Quartet, which sells out its concerts in New York and will likely sell out in Tucson, especially since a lot of you have heard the group here and know what to expect. On April 18 at 7:30 p.m. at the Pima Community College’s Proscenium Theatre the ZOFOMOMA Live Concert Experience will unfold. It’s an aurally and visually stunning walking tour through a virtual museum of modern art, and the final concert in our NOW Music Series. Looking ahead, our 2019–20 season will begin with three Summer Series concerts at the University of Arizona’s Holsclaw Hall, the first of which will be for violin and piano on June 5, followed by a Silk Road-inspired program pairing guitar and guzheng on July 24, and concluding with the Arizona Wind Quintet on August 14. No need to write down the dates. Look for our 2019–20 season brochure in your mailbox next month. If you don’t receive our materials, leave your contact information with the box office before you leave this afternoon. As always, the latest information is on our website. Thank you for coming to the Festival. We value your support of chamber music in Southern Arizona.
JAMES REEL President
3 FESTIVAL EVENTS
YOUTH CONCERT MASTER CLASS FOR VIOLA
Thursday, March 7, 10:30 a.m. Ettore Causa Leo Rich Theater 4:00 pm – 5:00 pm Saturday, March 9 Performance of excerpts from prior concerts with Leo Rich Theater commentary by Festival musicians. Attendance is by invitation only. Featuring students from the University of Arizona, Fred Fox School of Music. The Youth Concert is generously underwritten by the Garrett-Waldmeyer Trust. Attendance at the master classes is free and open to the public. OPEN DRESS REHEARSALS — LEO RICH THEATER GALA DINNER AND CONCERT AT THE ARIZONA INN 9:00 a.m. – 12 noon Tuesday, March 5 Saturday, March 9 Wednesday, March 6 5:30 p.m. – Silent Auction Friday, March 8 6:00 p.m. – Cocktails Sunday, March 10 7:00 p.m. – Musical selections by Festival musicians 8:00 p.m. – Dinner Dress rehearsals are free for ticket holders. For non ticket holders, a donation is requested. Call 577-3769 for reservations. Flowers courtesy of Norah & David Schultz, PRE-CONCERT CONVERSATIONS at Flower Shop on 4th Avenue. Conducted by James Reel a half hour before each concert RECORDED BROADCAST Sunday, March 3, at 2:30 p.m. If you miss a Festival concert or simply want to hear Tuesday, March 5, at 7:00 p.m. one again, please note that Classical KUAT-FM Wednesday, March 6, at 7:00 p.m. will broadcast recorded performances on 90.5/89.7 Friday, March 8, at 7:00 p.m. FM. Festival performances are often featured in the Sunday, March 10, at 2:30 p.m. station’s Musical Calendar. radio.azpm.org/classical/ MASTER CLASS FOR VIOLIN
Axel Strauss 3:00 pm – 4:00 pm Saturday, March 9 Leo Rich Theater Featuring students from the University of Arizona, Fred Fox School of Music.
4 * Momentum, in literary mosaic, derives not from narrative but the subtle, progressive buildup of thematic resonances.
* I look at melody as rhythm.
* All art constantly aspires toward the condition of music.
From David Shields, “Reality Hunger: A Manifesto,” Salmagundi 164/165 (Fall 2009–Winter 2010), page 76. Shields’ essay consists of brief paragraphs separated by asterisks, more than half of them drawn from sources that are left unattributed. We reproduce it as he wrote it but point out that the last statement is, of course, the well known quotation of Walter Pater (1839–1894).
5 SUNDAY, MARCH 10, 2019
Pre-Concert Conversation with James Reel 2:30 p.m.
THIS AFTERNOON’S PROGRAM FELIX MENDELSSOHN (1809–1847) Sextet in D Major for Piano and Strings, JOHANNES BRAHMS (1833–1897) Op. 110
Lieder (arranged for Viola and Piano Allegro vivace by Ettore Causa) Adagio Menuetto: Agitato Wie Melodien zieht es mir, Op. 105, no. 1 Allegro vivace Immer leiser wird mein Schlummer, Op. 105, no. 2 Verzagen, Op. 72, no. 4 Bernadette Harvey, piano Ich wandte mich und sahe an, Op. 121, no. 2 Ani Kavafian,violin (from Vier ernste Gesänge) Ettore Causa, viola Pierre Lapointe, viola Ettore Causa, viola Edward Arron, cello James Giles, piano Philip Alejo, double bass
CHRIS ROGERSON (b. 1988) The World Premiere of String Quartet No. 4 (World Premiere) Chris Rogerson’s Escher String Quartet (Adam Barnett-Hart, violin; String Danbi Um, violin; Pierre Lapointe, viola; Quartet No. 4 is sponsored Brook Speltz, ) cello by Jim Cushing.
INTERMISSION This afternoon’s concert is sponsored by the generous
KEVIN PUTS (b. 1972) contribution of Jean-Paul
Concerto for Oboe and Strings (arranged for Bierny & Chris Tanz. Saxophone by Rowan Harvey-Martin) Movement I: F Major Movement II: D-flat Major Movement III: A Minor Amy Dickson, saxophone Axel Strauss, violin Ani Kavafian,violin Ettore Causa, viola Edward Arron, cello Philip Alejo, double bass
6 PROGRAM NOTES
A PROLIFIC MELODIST, Brahms published thirty- “I do hope that the listener feels the one solo lieder volumes containing 196 songs over the course of his career; many are said to have been same timelessness, the same stillness inspired by the women in his life. Brahms favored that I felt when walking across this contemporary poets for his texts, and often he chose vast and sweeping landscape [the poems for their suggested musical possibilities rather than their literary merit. His critical friend Wakhan Corridor in Afghanistan].”
Clara Schumann once observed of a song inspired by CHRIS ROGERSON another woman: “The music is altogether interesting, which makes me forget a certain unpleasantness of the words.” BORN IN 1988 in Amherst, New York, Chris Rogerson began piano at the age of two and cello at Brahms wrote his Opus 105 Five Songs in 1886 age eight. He studied at the Curtis Institute of Music, (published in 1888) during his summer vacation at Yale, and Princeton. His mentors include Jennifer Lake Thun, Switzerland. Constructed with three Higdon, Aaron Jay Kernis, and Steve Mackay. contrasting verses and marked to be performed Rogerson currently serves on the Music Studies “sweetly,” Opus 105 No. 1, Wie Melodien zieht es mir Faculty at Curtis. (“Melodies are like thoughts are to me,” A major) is based on a text by Klaus Groth (1819–1899). One of From the composer: “This work is my fourth string quartet, written for an ensemble that I greatly admire, Brahms’s most popular songs, Opus 105 No. 2, Immer the Escher String Quartet. My deepest thanks are leiser wird mein Schlummer (“Ever quieter grows my slumber”), based on the poem by Hermann Lingg to the Arizona Friends of Chamber Music, who (1820–1905), is a strophic song marked “slow and commissioned this piece, and to Jim Cushing, who gentle” that moves expressively from C-sharp minor sponsored it. to its major mode. “The heart of this quartet is its nearly sixteen- The five songs of the Opus 72 cycle were composed minute final movement, an extended meditation. This past summer, I trekked for two weeks in a in 1876–1877. The fourth,Verzagen (“Despondency,” F-sharp minor, marked “moving”) is accompanied by remote, mountainous part of Afghanistan called rippling arpeggiated figures that suggest an unsettled the Wakhan Corridor, hiking a similar route to the sea: art historian and song writer Karl Lemcke (1831– one Marco Polo took centuries ago. In this desolate 1913) provided the text. but hauntingly beautiful place, sometimes called the Roof of the World, people live in extremely Based on Biblical texts and set for low voice and harsh circumstances. As I hiked across the steppe, I piano, the Opus 121 Four Serious Songs (1896) was returned to this idea again and again of timelessness. I written near the end of Brahms’s life. Strong in their was reminded of a poem, “What the Mountain Saw,” emotional weight, these simply structured songs by the British poet Philip Gross. project the philosophical resignation of a man for whom life is precious but who accepts his inevitable “For all of my lifetime, Afghanistan had been a land shrouded in mystery—a place steeped in epic history, destiny. The second song,Ich wandte mich und sahe difficult to traverse, now seemingly impossible to an (“So I returned and considered,” G minor, marked Andante), is based on Ecclesiastes 4:1–3. even visit. Over the years, what had these mountains seen? I do not intend this movement to be a portrait The English translations for the text of these songs of a place that I do not have full understanding of, may be found on page 9. nor a statement of any kind. But I do hope that the listener feels the same timelessness, the same stillness that I felt when walking across this vast and sweeping landscape.”
7 PROGRAM NOTES
ONE OF THE MOST significant composers of his MENDELSSOHN WROTE his brilliant Sextet for Piano generation, Kevin Puts has created a large body of and Strings (1824) over the course of thirteen days works that have been commissioned, performed, when he was fifteen years old; the work precedes his and recorded by leading orchestras, ensembles, and famous Octet by a year. Published posthumously in soloists throughout North America, Europe, and the 1868 as Opus 110, the work’s misleadingly high opus Far East. Praised for his multi-dimensional artistry, number refers to its publication order rather than its Puts offers a unique voice that has been described as composition sequence. During his early adolescence “exhilarating and compelling” (The New York Times). Mendelssohn intently studied the scores of a variety of significant composers—Weber, Mozart, and Puts writes: “My Concerto for Oboe and Strings was Beethoven, among others—and experimented with commissioned by the National Symphony Orchestra their techniques in his own compositions. His family for their ‘Prelude’ concert series. It was premiered in provided strong motivation for him to compose January 1997 by oboist Rudolph Vrbski and other prolifically. Their large Berlin estate provided the members of the National Symphony Orchestra at the setting for weekly Sunday morning musicales at Kennedy Center, Washington, DC. which the most distinguished musicians of the day “Scored for solo oboe and either single strings or concertized informally. A capable pianist, violinist, small orchestra, my concerto recalls both the spirit and violist, Mendelssohn performed on whatever and contrapuntal textures of Bach’s Brandenburg instrument was needed for presentation of his Concertos, particularly the sixth. The first movement latest works. Most importantly, he absorbed the opens with a busy canon between the violins. The musical suggestions that followed these sessions and chords implied by this canon provide the harmonic blossomed as a composer. material of the entire concerto. The oboe is then The spirited virtuoso style of the Sextet suggests added by sustaining certain notes the violins play and the influence of Carl Maria von Weber, an early simply doubling others. Many of the melodies in this Mendelssohn favorite. Like Weber, long stretches of piece are derived in this way, by extracting notes from the two Allegro vivace movements are scored with a busy, grid-like texture. high decorative runs in the piano over supportive “The second movement places the oboe high atop bass progressions. The opening one explores its two a bed of quietly undulating strings. Eventually the themes in classical sonata form. Its clearly structured oboe’s melody is reinforced by the first violin, which development, recapitulation, and effervescent coda all the while maintains the accompanimental motion contribute to a crystalline effect. of the opening. The serene Adagio (F-sharp minor) opens with a “The third movement returns to the bustling activity gentle melody in the muted strings; the piano offers a of the first, this time in A minor. The motion of this reply. The piano and strings exchange their reflective final movement is virtually relentless, and several material throughout, and the movement reaches a ideas from the first two movements are recalled as the quiet conclusion. music rushes by. Throughout his career Mendelssohn excelled at “The attentive listener will notice the pervasive sound creating fanciful and exciting scherzo forms. The of augmented harmonies. These are used to create a Opus 110 Menuetto is a demonic scherzo in D minor; sense of stasis, or to provide a break in the forward its major key trio section provides a calming contrast. motion of the music. This harmonic color is reflected In the vigorous finale (D major), the theme from by the key scheme of the entire piece which comprises the D minor Menuetto returns at a section marked the notes of the augmented chord.” “Allegro con fuoco” (fast and with fire). Themes are further developed, and the work concludes with a coda that grounds the key of D major.
Notes by Nancy Monsman
8 PROGRAM NOTES
Translations of the Brahms songs: Verzagen (Despondency), Opus 72 No. 4 I sit by the shore of the rushing sea Wie Melodien zieht es mir (Opus 105 No. 1) and there I search for peace; Like melodies, thoughts are I look at the drifting waves passing quietly through my mind; with a dull resignation. like spring flowers they blossom The waves are rushing to the shore, and then drift away like a fragrance. they foam and vanish again; Yet when words come and capture the clouds, the winds above, them and bring them into my view, they come and blow away. they turn pale like grey mist Be still, impetuous heart, and vanish like a breath. and be resigned in peace, But there surely remains hidden let the waves and winds console you; within the rhyme a certain fragrance why do you weep? that has been gently summoned out of —Translation by Emily Ezust the silent blossom by a tearful eye. —Translation by Eric Sams Ich wandte mich und sahe an, Opus 121 No. 2 So I returned and considered Immer leiser wird mein Schlummer, all the oppressions that are done under the sun: Opus 105 No. 2 and behold, the tears of such My sleep grows ever quieter; as were oppressed, and they had no comforter; only my grief, like a veil, and on the side of their oppressors there was power; lies trembling over me. but they had no comforter. I often hear you in my dreams Wherefore I praised the dead calling outside my door. which are already dead No one wakes and lets you in; more than the living I awake and weep bitterly. which are yet alive. Yes, I shall have to die; Yea, better is he than both they, which hath you will kiss another not yet been, when I am pale and cold. who hath not seen the evil work Before the May breezes blow, that is done under the sun. before the thrush sings in the wood: —Translation by William Mann if you would see me once again, come, oh come soon! —Translation by Eric Sams
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11 FESTIVAL MUSICIANS
Artistic director PETER THE ESCHER STRING Within months of its method of interplay R E JT O is committed to QUARTET has received inception in 2005, the between individual presenting the finest acclaim for its expressive, ensemble came to the components working chamber music, both nuanced performances attention of key musical together to form a well-loved works and that combine unusual figures worldwide. whole. new, unfamiliar ones, textural clarity with a Championed by the AFCM last heard the performed by some rich, blended sound. In Emerson Quartet, Escher String Quartet of the world’s finest its hometown of New the Escher Quartet on an Evening Series musicians. Highlights York, the ensemble was invited by both concert in December of his international serves as Season Artists Pinchas Zukerman and 2015. career include the of the Chamber Music Itzhak Perlman to be world premiere of Society of Lincoln Quartet in Residence Gerard Schurmann’s Center, where it has at each artist’s summer “Gardens of Exile” presented the complete festival: the Young with the Bournemouth Zemlinsky Quartets Artists Programme at Symphony broadcast Cycle as well as being Canada’s National Arts live over the BBC, and one of five quartets Centre and the Perlman the recording of Miklós chosen to collaborate in Chamber Music Rózsa’s Cello Concerto a complete presentation Programme on Shelter in Hungary. Mr. Rejto of Beethoven’s string Island, NY. They are is a founding member quartets. Last season, currently String Quartet of the Los Angeles the quartet toured with in Residence at Southern Piano Quartet and a CMS to China. Methodist University former professor of the in Dallas, Texas, and University of Arizona Tuesday Musical in School of Music as well Akron, Ohio. The as professor emeritus Quartet takes its name at the Oberlin College from Dutch graphic Music Conservatory. artist M.C. Escher, inspired by Escher’s
12 FESTIVAL MUSICIANS
PHILIP ALEJO is Cellist EDWARD ARRON Italian-born ETTORE Assistant Professor of has garnered recognition CAUSA is considered Bass at the University worldwide for his one of the most brilliant of Arizona. He has elegant musicianship, violist performers and performed alongside impassioned pedagogues of our Menahem Pressler, performances, and time. Awarded both the Yehonatan Berick, Maiya creative programming. “Peter Schidlof Prize” Papach, Spencer Myer, A native of Cincinnati, and the “John Barbirolli Katinka Kleijn, and Mr. Arron made his Prize” for “the most David Bowlin, and at New York recital beautiful sound” at numerous music festivals debut in 2000 at the the prestigious Lionel in the US and Europe. In Metropolitan Museum Tertis International addition, he collaborates of Art. Since that time, Viola Competition regularly with harpist he has appeared in in 2000, he is praised Claire Happel as the recital, as a soloist with for his exceptional River Town Duo, and major orchestras, and artistry, passionate they are committed as a chamber musician intelligence, and to commissioning throughout North complete musicianship. works for harp and America, Europe, and Mr. Causa studied at the bass; to date, they have Asia. He began playing International Menuhin premiered works by the cello at age seven and Music Academy with Caroline Shaw, Hannah continued his studies Alberto Lysy and Lash, and Frederick in New York with Peter Johannes Eskar, and at Evans. Dr. Alejo Wiley. A graduate of the Manhattan School previously took part in the Juilliard School, of Music with Michael the Festivals of 2014, where he was a student Tree, and he joined 2015, and 2017. of Harvey Shapiro, Mr. the faculty of the Yale Arron is currently on the School of Music in 2009. faculty at University of He performs on a viola Massachusetts Amherst. made for him by Frédéric Chaudière in 2003.
13 FESTIVAL MUSICIANS
Now based in London, A native of North Australian pianist Violinist ANI KAVAFIAN AMY DICKSON was born Carolina, pianist BERNADETTE HARVEY enjoys a prolific career in Sydney and began JAMES GILES studied divides her time between as a soloist, recitalist, musical studies at the with Byron Janis at collaborations, solo and chamber musician. age of two, taking her the Manhattan School appearances, and She has performed with first saxophone lesson of Music, Jerome recordings. She has had virtually all of America’s aged six. She made Lowenthal at the several works written leading orchestras, her concerto debut Juilliard School, Nelita for her, including a solo including the New at sixteen, and on her True at the Eastman piano sonata by Festival York Philharmonic, 18th birthday made School of Music, and composer Ross Edwards the Philadelphia her first recording as Robert Shannon at which she performed Orchestra, the soloist with the Sydney Oberlin College. He and recorded in 2014. Cleveland Orchestra, Symphony Orchestra. received early career Several years ago she the San Francisco That year she moved assistance from the inaugurated The Sonata Symphony, and many to London to study Clarisse B. Kampel Project, an ongoing others. Ms. Kavafian at the Royal College Foundation and was commissioning and is also a renowned of Music and then at awarded a Fulbright performing program chamber musician and the Conservatorium Grant to study in Italy of new large-scale has performed with the van Amsterdam. with the legendary Australian works for Chamber Music Society Recognized widely pianist Lazar Berman. solo piano. A faculty of Lincoln Center since for her exceptional In an eclectic repertoire member at the Sydney 1979. Her numerous musicality, Gramophone encompassing the solo Conservatorium of solo recital engagements described her as “a player and chamber music Music, she is also include performances with a difference who literatures, Dr. Giles is the recipient of the at New York’s Carnegie has an individual and equally at home in the Centenary Medal of and Alice Tully halls, as unusual tone, luscious, standard repertoire as Australia presented by well as in major venues silky-smooth, sultry, and in the music of our time. John Howard for her across the country. She voluptuous by turns.” He currently teaches at service to Australian was part of our first the Bienen School of music. This year marks Festival, and this year we Music at Northwestern her tenth Festival hear her for the seventh University. appearance. time.
14 FESTIVAL MUSICIANS
The first German Composer CHRIS Although not one of artist to ever win the ROGERSON has been the Festival musicians, international Naumburg hailed as a “confident, NANCY MONSMAN Violin Award in New fully-grown composing has been an integral York , AXEL STRAUSS has talent” whose music has part of the Festival been equally acclaimed “virtuosic exuberance” from the beginning for his virtuosity and and “haunting beauty” through her informative his musical sensitivity. (The New York Times). program notes. An He made his American He has received active cellist, Nancy’s debut at the Library commissions and practical knowledge of Congress in performances from of the repertoire Washington, DC, and numerous orchestras communicates the his New York debut at including the San essence of each piece Alice Tully Hall in 1998. Francisco Symphony, to our audience. She His chamber music Atlanta Symphony, has degrees in both partners have included Houston Symphony, English literature and Menahem Pressler, and the Kansas City cello performance Kim Kashkashian, Symphony (a work from Northwestern Joel Krosnick, Robert for cellist Yo-Yo Ma). University and a Doctor Mann, and Bernard Mr. Rogerson has won of Musical Arts degree Greenhouse. Mr. Strauss awards such as the from the University serves as Professor of Presser Music Award of Arizona, where she Violin at the Schulich and prizes from the studied with Peter Rejto. School of Music of National Foundation for Also trained as a visual McGill University in the Advancement of the artist, her paintings Montreal. He previously Arts and the National have had international took part in our Association for Music recognition. She twenty-fourth Festival Education, among recently published a in 2017, and this year many others. The Dover book of her program marks his sixth Festival Quartet recently toured notes, A Friend’s Guide appearance. his new clarinet quintet, to Chamber Music: Thirty Thousand Days, European Trends from with David Shifrin. Haydn to Shostakovich.
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Jim Homewood GIFTS IN MEMORY OF us from listing contributions less William & Sarah Hufford than $100. Robert & Claire Hugi Clifford & Wendy Crooker Every contribution helps secure Sara Hunsaker by Beth Foster the future of AFCM. Lee L. Kane Raymond Hoffman Joe Kantauskis Please advise us if your name is not & Gayle Brown by Sandra Hoffman listed properly or inadvertently Carl Kanun Kathy Kaestle omitted. Karen Loeb by Paul & Marianne Kaestle
21 THANK YOU TO OUR SUPPORTERS!
JEAN-PAUL BIERNY COMMISSIONS CORPORATE SUPPORTERS LEGACY SOCIETY Jean-Paul Bierny & Chris Tanz Ameriprise Financial Jean-Paul Bierny & Chris Tanz Shirley Chann Arizona Early Music Society Nancy Bissell Jim Cushing Cantera Custom Creations Mr. & Mrs. Nathaniel Bloomfield Mr. Leonid Friedlander Center for Venous Disease Theodore & Celia Brandt Copenhagen Nancy Cook CONCERT SPONSORSHIPS Downtown Kitchen + Cocktails Dagmar Cushing Jean-Paul Bierny & Chris Tanz Fishkind, Bakewell, Dr. Marilyn Heins Nancy Bissell Maltzman, Hunter Joe & Janet Hollander Stan Caldwell & Linda Leedberg Flower Shop on 4th Avenue Judy Kidder David & Joyce Cornell Holualoa Companies Linda Leedberg Jim Cushing Homecare Assistance To m L e w i n John & Terry Forsythe Kinghorn Heritage Law Group Ghislaine Polak Garrett-Waldmeyer Trust La Posada Boyer Rickel Jim Lindheim & Jim Tharp Ley Piano Randy Spalding George & Irene Perkow Loft Cinema Anonymous John & Helen Schaefer Mister Car Wash Rogue Theater $25,000 and above Minna J. Shah True Concord Family Trust of Lotte Reyersbach Randy Spalding Tucson Guitar Society Phyllis Cutcher, Trustee of the Jonathan & Chitra Staley Frank L. Wadleigh Trust Tucson Desert Song Festival Anne Denny Richard E. Firth MUSICIAN SPONSORSHIPS Carol Kramer Celia Balfour Arthur Maling Jean-Paul Bierny & Chris Tanz Claire B. Norton Fund Dagmar Cushing (held at the Community Elliott and Sandy Heiman Foundation for Southern Boyer Rickel Arizona) Herbert Ploch All commission, concert, Lusia Slomkowska Living Trust and musician sponsors are Agnes Smith acknowledged with posters in $10,000 – $24,999 the theater lobby and in concert Marian Cowle programs. Minnie Kramer Jeane Serrano Up to $9,999 Elmer Courtland Margaret Freundenthal Susan R. Polleys Administrative Trust Frances Reif Edythe Timbers Listed are current plans and posthumous gifts.
22 VERSE
VII
E. E. CUMMINGS
i was considering how within night’s loose sack a star’s nibbling in–
fin –i– tes– i –mal– ly devours
darkness the hungry star which will e
–ven tu– al –ly jiggle the bait of dawn and be jerked
into
eternity. when over my head a shooting star Bur s
(t into a stale shriek like an alarm-clock)
From Tulips and Chimneys, 1923. Public Domain.
23 24 With the Precision of a Fine Performance.
5599 N. Oracle Road 10425 N. Oracle Road, Suite 135 eyestucson.com 520-293-6740
For tickets call (520) 308-6226 or visit www.sasomusic.org
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
25 When an older adult in your life needs help, choose a higher class of home care.
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26 When you have the right financial advisor, life can be brilliant.
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520.514.1027 5151 E Broadway Blvd, Ste 1530 Tucson, AZ 85711 [email protected] ameripriseadvisors.com/philip.p.pappas CA Insurance #0D29731
The Confident Retirement® approach is not a guarantee of future financial results. Investment advisory products and services are made available through Ameriprise Financial Services, Inc., a registered investment adviser. © 2015 Ameriprise Financial, Inc. All rights reserved. (10/15)
27 Explore the La Posada Lifestyle
Indoor and outdoor pools • State-of-the-art wellness Pavilion Preferred access to a continuum of support • Financial peace of mind with our exclusive LifeLease commitment • Superb dining, from elegant to casual • Over 100 acres of beautifully maintained grounds • Independent living in a variety of home options: from spacious apartments to award-winning houses
350 E. Morningside Rd., Green Valley PosadaLife.org
La Posada is an award-winning, nationally accredited not-for-profit continuing care community.