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Festival Peter Rejto, Festival Director Sunday March 10, 2019 Board of Directors Festival Committee Festival Staff

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Festival Peter Rejto, Festival Director Sunday March 10, 2019 Board of Directors Festival Committee Festival Staff 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.
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