JERUSALEM QUARTET APRIL 3, 2019 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

If you’re one of our donors and attended our annual If you’d rather enjoy a bit of this series and a bit of that donor-appreciation event at Plaza Palomino, then series, or add the extra Beethoven festival concerts to you already have in your hot little hands AFCM’s your package, that’s fine, too. You can piece together 2019–20 season announcement, which is growing as your own private series at the full single-ticket price, thick as the federal tax code. We will offer a super- but without the seating guarantee. (I know that some abundance of concerts for your delectation and of us won’t give up our particular, precious seats until distraction, spurred largely by our celebration of the they haul us out in a body bag.) 250th anniversary of the birth of Ludwig As much as I would encourage you to attend every van Beethoven. AFCM event, I know that’s a huge commitment of If you didn’t attend the reception, the brochure time and money. You don’t personally have to help should be arriving in your mailbox any day now, if it fill the hall every night or afternoon. But you can hasn’t already. And if you’re not on our mailing list, help fill it by proxy: Tell all your friends and enemies you can find a copy on the table near the box office. why you love this vibrant and fascinating music, and AFCM. You have a passion for chamber music; share It’s an unprecedented number of concerts for us. that passion with everyone you know. Take a few You may feel overwhelmed. Remember, though, that extra season brochures and disseminate them with you are under no obligation to attend everything. evangelical zeal. Just please don’t shout “Hallelujah” We’ve broken things down into the usual subscription until the end of tonight’s performance. packages to help you keep your life under control. By subscribing to a series, you can enjoy a substantial discount over the course of the season, and stake a claim to the same seats for each concert. JAMES REEL President

3 JERUSALEM QUARTET APRIL 3, 2019

JERUSALEM QUARTET

“Passion, precision, warmth, a gold blend: these are the trademarks of this excellent Israeli .” Such was the New York Times’ impression of the Jerusalem Quartet. Since the ensemble’s founding in 1993 and subsequent 1996 debut, the four Israeli musicians have embarked on a journey of growth and maturation. This journey has resulted in a wide repertoire and stunning depth of expression, which carries on the string quartet tradition in a unique manner. The ensemble has found its core in a warm, full, human sound and an egalitarian balance between high and low voices. This approach allows the quartet to maintain a healthy relationship Jerusalem Quartet between individual expression and a transparent Alexander Pavlovsky, violin and respectful presentation of the composer’s work. Sergei Bresler, violin It is also the drive and motivation for the continuing Ori Kam, viola refinement of its interpretations of the classical Kyril Zlotnikov, cello repertoire as well as exploration of new epochs. A regular and beloved guest on the world’s great David Rowe Artists concert stages, the quartet makes regular bi-annual 24 Bessom Street, Suite 4 Marblehead, MA 01945 visits to North America, performing in cities such as New York, Chicago, Los Angeles, Philadelphia, Washington, and Cleveland, as well as in the Ravinia Festival. In Europe, the quartet enjoys an enthusiastic reception with regular appearances in London’s , Tonhalle Zürich, Munich Herkulessaal, Théâtre des Champs-Élysées, and festivals such as Salzburg, Verbier, Schleswig- Holstein, Schubertiade Schwarzenberg, Rheingau, and St. Petersburg White Nights. The Jerusalem Quartet records exclusively for Harmonia Mundi. The quartet’s recordings, particularly the albums featuring Haydn’s string quartets and Schubert’s “Death and the Maiden,” have been honored with numerous awards such as the Diapason d’Or and the BBC Music Magazine Award for chamber music. In 2018, the quartet released two albums, an album of Dvořák’s String Quintet Op. 97 and Sextet Op. 48, and a much-awaited recording of the celebrated quartets by Ravel and Debussy. We last heard the Jerusalem Quartet in April 2016, and they will be part of our 2019–2020 season.

4 EVENING SERIES

TONIGHT’S PROGRAM This evening’s concert is

JOSEPH HAYDN (1732–1809) partially sponsored by the generous contribution of String Quartet in G Major, Op. 76, no. 1 Allegro con spirito George & Irene Perkow. Adagio sostenuto Menuetto: Presto Finale: Allegro ma non troppo

CLAUDE DEBUSSY (1862–1918)

String Quartet in G Minor, Op. 10 Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré

INTERMISSION

DMITRI SHOSTAKOVICH (1906–1975)

String Quartet No. 3 in F Major, Op. 73 Allegretto Moderato con moto Allegro non troppo Adagio Moderato—Adagio

5 PROGRAM NOTES

HAYDN WROTE HIS Opus 76 set of six “Erdődy” ENERGETIC DIVERSITY characterized late String Quartets (1796–1797, published 1799) as a nineteenth-century French chamber music. Nurtured commission for Count Joseph Erdődy, a Hungarian by a government that had miraculously survived aristocrat who was also an early supporter of strains such as the Dreyfus Affair, numerous Parisian Beethoven. Now retired from his long employment at chamber series flourished in this time of artistic and the remote Esterházy estates, Haydn had benefitted scientific achievement. Promising composers and artistically from his two trips to London (1791–92 performers were now trained in France rather than and 1794–95) under the auspices of the impresario Germany, a new phenomenon that contributed to the Johann Peter Salomon. At this late stage of his career, formation of a national French voice. The romantic Haydn now conceived his works for professionals sensibilities of Franck, Fauré, and Saint-Saëns performing in large concert halls rather than staff elevated the medium above its frequent role of dance performers in small music rooms. Haydn’s reputation accompaniment, and the forward-looking creations grew quickly after these immensely successful visits, of Claude Debussy and Maurice Ravel brought and he was lionized internationally as Europe’s French chamber music into the modern era. greatest living composer—an accurate assessment, Musical impressionism flowered with Debussy, who since Mozart had recently died and Beethoven had in the 1890s continued the movement generated not yet established his reputation. twenty years earlier by the painter Monet and the Although Haydn had composed string quartets for symbolist poet Mallarmé. Debussy sought to impart forty years, his Opus 76 set reveals new confidence. a similarly ineffable atmosphere by emphasizing Greater technical assurance is evident in the color and nuance rather than systematic thematic profound slow movements, energetic menuetto development. He achieved his sensitive and haunting movements, and intellectually challenging finales. style through brief melodies, often based on ancient Because of the high level of workmanship in these or exotic scales, supported by shifting harmonies and imaginative quartets, Opus 76 is considered to be a rapidly changing meters. peak of eighteenth-century chamber music. An early work, the Quartet in G minor (1893) The emphatic three-chord opening to Opus 76 reveals both established techniques and evidence No. 1 suggests an orchestral fanfare. The Allegro con of Debussy’s revolutionary new language. Its spirito then introduces two themes that undergo movements conform to traditional sonata, scherzo, fragmentation and inventive recombination as the and three-part song form structures. The influence of movement develops. The warmly romantic Adagio his older contemporary César Franck can be heard in sostenuto (C major) expressively develops three the quartet’s cyclic form—a unifying device in which ideas—a chorale theme heard in all instruments; related thematic material permeates all movements. a dialogue between the first violin and viola; and a Yet the quartet’s evocative sonorities anticipate violin line accompanied by short, repeated notes in the fully impressionistic world Debussy created in the other instruments. his next work, Prélude à l’après-midi d’un faune (“Prelude to The Afternoon of a Faun,” 1894). The rapid Menuetto anticipates the energetic scherzo movements of Beethoven; its slower central section The Quartet opens with a strongly accented theme suggests Austrian folk influence. The Finale, which in the ancient Phrygian mode. Kaleidoscopic begins in the key of G minor, recalls Haydn’s early permutations of this material recur throughout the “storm and stress” movements until its cheerful G entire quartet. The second movement, a piquant major recapitulation and coda. scherzo animated by colorful pizzicato figures, led César Franck to observe that “Debussy creates music on needle points.” At the 1889 Paris Exposition a Javanese gamelan orchestra had enchanted Debussy, and his contemporary critics heard similarly exotic effects in this scherzo.

6 PROGRAM NOTES

The third movement, cast in three-part song form, is framed by a passionate aria for muted strings; a lyrical “Life is beautiful. All that is episode for viola and cello falls at its center. The finale dark and ignominious will opens with a quiet introduction and accelerates with a fugato section based on the quartet’s opening theme. disappear. All that is beautiful This agile movement inventively synthesizes material from the preceding three movements. The movement will triumph.” concludes with a brilliant coda. GUIDED BY THE musical preferences of Joseph Stalin, Soviet authorities urged composers to create heroic Movement III (F minor), perhaps an echo of the works that drew from folk tradition. Shostakovich sinister Scherzo movement from Symphony No. 5, indicated that his projected Symphony No. 9 (1945) is a ferocious and martial statement. Its two themes, would offer the desired uplifting statement. However, heard in the violin and cello, are accompanied at its premiere the symphony was heard as mere by strident chords in the other instruments. The entertainment, and Shostakovich was denounced movement ends abruptly. for “formalism”—defined by the Soviets as “elitist catering to purely individual experiences of a small Movement IV is a passacaglia (a stately seventeenth- clique of aesthetes while rejecting the classical century form built on a repeating bass line) that opens heritage.” Shostakovich did not undertake another with all instruments in unison. A violin soliloquy symphony until Stalin’s death in 1953; more private leads to a somber cello lament, accompanied by composition of his quartet series offered a refuge. pizzicati in the viola; the viola assumes the lament, Soon after the debacle of his Ninth Symphony, now accompanied by cello pizzicati. After fugal Shostakovich began his Quartet No. 3. development, the movement ends quietly. Shostakovich originally conceived his Opus 73 (1946) Movement V opens with a jaunty cello theme that as a war statement, and he created programmatic recalls the opening of the quartet. As the tempo subtitles for its five movements: grows faster, the atmosphere becomes anguished. Sustained notes in the solo cello halt the momentum. I. Calm awareness of the future cataclysm The violin plays a poignant theme that is possibly of II. Rumblings of unrest and anticipation Jewish origin. The violin plays ever higher as it poses III. The forces of war unleashed its question: Why? What is it for? IV. Homage to the dead V. The eternal question: Why? And for what? Notes by Nancy Monsman Shostakovich suppressed these subtitles, but many groups such as the insist on their inclusion whenever they perform the work. The musical progression of Opus 73 generally follows the emotional affect of its subtitles. The sonata form Movement I begins in a lighthearted atmosphere, but ever more frenzied development (a double fugue with fast-moving harmonies) and a final acceleration of tempo conjures agitation. Movement II is a sardonic waltz. Passagework grows lugubrious near the end as the instruments descend into their lower registers.

7 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Elliott & Sandy Heiman $250 – $499 Eddy Hodak Jean-Paul Bierny & Chris Tanz Robert & Deborah Johnson Thomas & Susan Aceto Jim Cushing Arthur & Judy Kidder Wes & Sue Addison Boyer Rickel Al Kogel Sydney Arkowitz Larry & Rowena G. Matthews Ann Blackmarr $5,000 – 9,999 Herschel & Jill Rosenzweig Nathaniel & Suzanne Bloomfield John & Ila Rupley Richard & Martha Blum Shirley Chann Richard & Judith Sanderson Jan Buckingham David & Joyce Cornell Reid & Linda Schindler & LM Ronald John & Terry Forsythe Joe & Connie Theobald Jack Burks Leonid Friedlander George Timson Michael Bylsma & Mark Flynn Charles & Suzanne Peters Teresa Tyndall James Cook John & Helen Schaefer Elizabeth Zukoski Nancy Cook Paul A. St. John & Leslie P. Tolbert Janna-Neen Cunningham Minna J. Shah $500 – $999 Philip M. Davis Wa l t Swap Marilyn Dettloff Gwen Weiner Bob Albrecht & Jan Kubek Mark Dickinson Frank & Betsy Babb Lionel & Karen Faitelson $2,500 – 4,999 Gail Bernstein Thomas & Nancy Gates Barbara Carpenter Tom & Janet Gething Celia Balfour James & Chris Dauber Sandra Hoffman Bina Breitner Raul & Isabel Delgado William & Ann Iveson Stan Caldwell & Linda Leedberg Stephen & Aimee Doctoroff Dr. & Ms. Michael Dagmar Cushing Michael Evanston & Sennuy Kaufman Alison Edwards & Henri Frischer Philip & Nancy Fahringer Daniela Lax Garrett-Waldmeyer Trust Harold Fromm Alan Levenson Jim Lindheim & Jim Tharp J. D. & Margot Garcia & Rachel Goldwyn George & Irene Perkow Gerald & Barbara Goldberg Amy & Malcolm Levin Randy Spalding Eloise Gore & Allen Hile Mark Luprecht Jonathan & Chitra Staley Wesley Green Bill & Kris McGrath Elliott & Wendy Weiss Helen Hirsch Hal Myers Sidney & Martha Hirsh Richard & Susan Nisbett $1,000 – 2,499 David Johnson Nancy Ostromencki Nancy Bissell Paul & Marianne Kaestle & Phil Renaud Richard & Martha Blum George & Cecile Klavens Mary Peterson & Lynn Nadel Celia Brandt Martie Mecom Barbara & Jay Pisik Gail D. Burd Kitty & Bill Moeller Judith C. Pottle & John G. Hildebrand Lawrence & Nancy Morgan Seymour Reichlin Robert D. Claassen Serene Rein Herbert Rubenstein & John T. Urban Arnie & Hannah Rosenblatt David & Ellin Ruffner Bryan & Elizabeth Daum Sally Sumner Stephen & Gale Sherman Donald & Louise Doran Maurice Weinrobe & Trudy Ernst Mark Haddad Smith Peter & Carole Feistmann Sherman L. Weitzmon Barbara Straub Milton Francis & Marilyn Heins Bonnie Winn Nancy Strauss Beth Foster Anne Wright & Richard Wallat Sheila Tobias Julie Gibson Charles & Sandy Townsdin Katherine Havas Allan & Diane Tractenberg Ellen Trevors 8 THANK YOU TO OUR SUPPORTERS!

Michael & Mary Turner Robert Lupp Gloria Ottenstein Jan Wezelman & David Bartlett Frank & Janet Marcus by Andrea & Gary Abramowitz Warren & Felicia May by Penny & Mark Estomin Max McCauslin $100 – $249 Dr. Michael Patrick Sullivan Joan McTarnahan Andrea & Gary Abramowitz Harry Nungesser by Gail Bernstein Helmut A. Abt Karen Ottenstein Beer Stephen Tellman Philip Alejo Detlev Pansch & Julie Steffen by Sara Heitshu Mark & Jan Barmann David & Cookie Pashkow Margaret Bashkin Margaret Pope Carl T. Tomizuka Kathryn Bates & Norman Epstein by Sheila Tobias Peter & Betty Bengtson John Raitt Carol Zuckert Peter Bleasby Lynn Ratener by Cathy Anderson Joyce Bolinger James Reel Sarah Boroson Helen Rosen GIFTS IN HONOR OF Elizabeth Buchanan Jay & Elizabeth Rosenblatt Patricia & Ed Campbell Dr. Elaine Rousseau Cathy Anderson Thomas & Debra Collazo Kenneth J. Ryan by C. Jane Decker Terence DeCarolis Howard & Helen Schneider C. Jane Decker Jennifer Schneider Douglas & Donna Bertolini Martin Diamond & Paula Wilk Stephen & Janet Seltzer by Anthony Bertolini Brian Edney Tanya Servaas Dr. & Mrs. Nathaniel Bloomfield John & Mary Enemark Sara Shifrin by Dr. Melvin & Maude Shafron Penny & Mark Estomin Shirley Snow Bob Foster Harry Stacy James Reel James & Ruth Friedman Ronald Staub by Nathaniel & Suzanne Bloomfield Linda L. Friedman Michael Tabor by C. Jane Decker Margot & Tommy Friedmann Shirley Taubeneck by Hal Myers Juan Gallardo Jennalyn Tellman Dr. Elaine Rousseau Marvin & Carol Goldberg Sheila Tobias by Les & Suzanne Hayt Ben & Gloria Golden Karla Van Drunen Littooy Kathryn Gordon Dimitri Voulgaropoulos Randy Spalding Janet Grayson Ann Ward by Thomas and Debra Collazo Marilyn Halonen Patricia Waterfall Randy Spalding & Jim Cook Clare Hamlet Patricia Wendel by David & Cookie Pashkow Les & Suzanne Hayt Daryl Willmarth Sara Heitshu Sheila Wilson & Hal Barbar Allan & Diane Tractenberg Ruth B. Helm Peggy Wolf by Mark & Jan Barmann Jim Homewood Contributions are listed from William & Sarah Hufford GIFTS IN MEMORY OF April 1, 2018 through March 31, Robert & Claire Hugi 2019. Space limitations prevent us Sara Hunsaker Clifford & Wendy Crooker from listing contributions less Lee L. Kane by Beth Foster than $100. Joe Kantauskis Raymond Hoffman & Gayle Brown Every contribution helps secure by Sandra Hoffman Carl Kanun the future of AFCM. Karen Loeb Kathy Kaestle by Paul & Marianne Kaestle

9 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 Nathaniel & Suzanne 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 Please advise us if your name is not Jeane Serrano listed properly or inadvertently Up to $9,999 omitted. Elmer Courtland Margaret Freundenthal Susan R. Polleys Administrative Trust Frances Reif Edythe Timbers Listed are current plans and posthumous gifts.

10 VERSE

Haiku

GOZAN 吾山, 1789

The snow of yesterday That fell like cherry blossoms Is water once again

Public Domain.

11 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 Margot & Tommy 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

12 2019–2020 SEASON OVERVIEW

JUNE 5, 2019 JANUARY 30, 2020

Michelle Abraham, violin New York Festival of Song Peter Takács, piano 7:30 pm, Crowder Hall 7:00 pm, Holsclaw Hall FEBRUARY 12 & 13, 2020 JULY 24, 2019 Shanghai Quartet Bin Hu, guitar 7:30 pm, Leo Rich Theater Jing Xia, guzheng 7:00 pm, Holsclaw Hall FEBRUARY 23, 2020

AUGUST 14, 2019 Lineage Percussion 3:00 pm, Leo Rich Theater Arizona Wind Quintet 7:00 pm, Holsclaw Hall MARCH 1–8, 2020

OCTOBER 23, 2019 Tucson Winter Chamber Music Festival Russian String Orchestra Leo Rich Theater 7:30 pm, Leo Rich Theater MARCH 22, 2020 NOVEMBER 20, 2019 Narek Arutyunian, clarinet Naumburg Trio Steven Beck, piano 7:30 pm, Leo Rich Theater 3:00 pm, Leo Rich Theater

NOVEMBER 24, 2019 APRIL 1 & 2, 2020

Nathan Lee, piano Jerusalem Quartet 3:00 pm, Leo Rich Theater 7:30 pm, Leo Rich Theater

DECEMBER 4, 2019 APRIL 9, 2020

Takács Quartet Poulenc Trio 7:30 pm, Leo Rich Theater 7:30 pm, Berger Performing Arts Center DECEMBER 12, 2019

Neave Trio 7:30 pm, Berger Performing Arts Center

JANUARY 15 & 16, 2020

St. Lawrence String Quartet 7:30 pm, Leo Rich Theater

13 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.

14 15 16 —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

17 18 With the Precision of a Fine Performance.

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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

19 Proud to Support Arizona Friends of Chamber Music

Bringing World Class Chamber Music to Tucson

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