PORTALS TIM FAIN, VIOLIN FEBRUARY 21, 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

For a couple of years we’ve been reminding people Much of that lies within the music itself, whether again and again that this series’ name is “NOW through the Minimalist approach of , the Music,” not “NEW Music.” It’s about what’s rich romanticism of Lev Zhurbin’s Sicilienne, or the happening today, in terms of young artists and new neo-ragtime of ’s Graceful Ghost. thinking about presentation, all revolving around Some of the communication, though, comes via the chamber music written from the days of powdered multimedia elements in tonight’s show—and I use wigs to the days of the man bun. the word “show” instead of the more conservative “concert” because Tim Fain, as you’re about to see, is But here we are tonight, with exactly what some so much more than the usual stand-and-deliver people have thought this series was all along: violin soloist. a program devoted entirely to new music. If tonight’s extravaganza intrigues you, please join us If you’re new to the world of the Arizona Friends of April 18 for the piano duo ZOFO, presenting fifteen Chamber Music, welcome! But if you’ve been with brand-new pieces played against an ever-changing us for a while, I hope you’ve discovered from our mix backdrop of the artworks that inspired them. We of classics and contemporary music that our new hope the music and images will also inspire you. material is never about audience alienation. It’s about the many ways the composer and performer can communicate with and captivate the audience.

JAMES REEL President

3 PORTALS – TIM FAIN, VIOLIN FEBRUARY 21, 2019

Portals TIM FAIN A multi-media exploration of longing and connection in the digital age With his adventuresome spirit and vast musical gifts, Avery Fisher Career Grant-winning violinist Tim Tim Fain, Producer & Creative Director Fain was seen on screen and heard on the Grammy- Kate Hackett, Co-Producer & Film Direction nominated soundtrack of the hit filmBlack Swan, , Choreography and gave “voice” to the violin of the lead character in & Dance Films Direction the hit film12 Years a Slave, as he did with Richard , Text Gere’s violin in the filmBee Season. Recipient of Tim Fain, violin the Young Concert Artists International Award, his engagements include appearances as soloist with Performances by the Baltimore Symphony, conducting, Appearing on screen: Brooklyn, Hague and Mexico City Philharmonics, , piano Orchestra of St. Luke’s, Maryland and Cincinnati Fred Child, actor Chamber Symphonies, Mostly Mozart Festival; and Craig Black, dancer recitals including the Ravinia Festival, Kennedy Julia Eichten, dancer Center, Concertgebouw, Boston’s Gardner Museum, Haylee Nichele, dancer Mexico’s Festival de Musica de Camera, Carnegie’s Weill Recital Hall, Carmel Mozart Society, and New Administration York’s 92nd Street Y. He has toured with Musicians Elizabeth Dworkin, Executive Producer from Marlboro, appeared at the Chamber Music KANEKO, Film Producer Society of Lincoln Center, and Spoleto, Ravinia, and Cat Deakins, Director of Photography Santa Fe Festivals; and continues to tour the globe in François-Pierre Couture, Film Production a duo-recital program with Philip Glass. Equally at Designer, KANEKO home in virtually all genres of music, he is a fervent Jacob Rubin, Editor, Spoken Word champion of 20th- and 21st-century composers. Roderick Murray, Lighting Designer Producer His solo multi-media evening Portals continues to Dworkin & Company, Public Relations tour throughout the world, and he looks forward to Samuel Ho, Web Design Portals 2, an orchestral version with composer Kate Hackett’s films were shot in Omaha at Derek Bermel. KANEKO, on location in New York, and at the Mr. Fain has collaborated with such luminaries residence of Robert and Karen Duncan. Benjamin as Pinchas Zukerman, , Jean-Yves Millepied’s films were shot at Copland House at Thibaudet, Mitsuko Uchida, and appeared onstage Merestead, Mt. Kisco, NY. with the Ballet, performing alongside Special Thanks to the following Publishers: the dancers in the acclaimed premiere of Benjamin AJKMusic/AMP, Dunvagen Music, Bill Holab Millepied’s Double Aria. His discography includes Music, E. B. Marks. The use of excerpts from Arches, River of Light (Naxos), and The Concerto Stranger Music: Selected Poems and Songs is by Project IV (Orange Mountain Music). He performs permission of McClelland & Stewart. Copyright on a violin made by Francesco Gobetti, Venice 1717, © 1993 Leonard Cohen. the “Moller,” on extended loan from Clement and Karen Arrison through the generous efforts of the Copland House is the non-profit fiscal sponsor Stradivari Society of Chicago. of Portals.

4 NOW MUSIC SERIES

PORTALS PROGRAM PHILIP GLASS (b. 1937) Partita for Solo Violin LEONARD COHEN (1934–2016) Opening Prologue Morning Song Dance No. 1 Fred Child, actor Chaconne Part 1 Dance No. 2 LEV ZHURBIN (b. 1978) Evening Song Chaconne Part 2 Sicilienne Tim Fain, violin Tim Fain, violin Nicholas Britell, piano LEONARD COHEN (1934–2016)

NICO MUHLY (b. 1981) Spoken Word III

Honest Music Fred Child, actor Nico Muhly, electronic instruments WILLIAM BOLCOM (b. 1938) Tim Fain, live and pre-recorded violin Valgeir Sigurðsson, producer, electronic track Graceful Ghost Rag Tim Fain, LEONARD COHEN (1934–2016) violin Nicholas Britell, piano Spoken Word I KEVIN PUTS (b. 1972) Fred Child, actor Arches (b. 1960) Tim Fain, violin Air Tim Fain, violin This evening’s concert Nicholas Britell, piano is partially sponsored by the LEONARD COHEN (1934–2016) generous contribution of Spoken Word II Jim Lindheim & Jim Tharp. Fred Child, actor

5 BIOGRAPHIES

NICHOLAS BRITELL FRED CHILD

Nicholas Britell is a pianist, film composer, and Fred Child is the host of American Public Media’s producer known for his integration of classical Performance Today, the most-listened-to classical music, , and hip-hop. His most recent film work music radio show in America, and he is also the has included writing music featured in the filmNew commentator and announcer for Live from Lincoln York, I Love You and in ’s directorial Center. In addition, Mr. Child has been Music debut short film,Eve (which brought attention to Director and Director of Cultural Programming at his piece Forgotten Waltz No. 2). He is currently WNYC in New York, host of a live daily performance finishing scores for three films:Plastic , directed by and interview program on WNYC, and for ten Andrew Baker, and Jack Riccobono’s two filmsRage years, a host at Oregon Public Broadcasting. His for Sale and The Rib. These add to a diverse film CD reviews appear on All Things Considered, his repertoire that includes the scores to the indie feature classical music reports appear on Morning Edition Domino One and to the Sam Waterston-narrated and Weekend Edition. While growing up in Portland, documentary Hammer and Cycle. Oregon, Mr. Child studied classical piano. He also dabbles in guitar, percussion, and the bagpipes. His Mr. Britell’s gave his first public recital at the age of rare public performances include percussion with ten in Manhattan. A winner of multiple regional guitarist Sharon Isbin, and piano four-hands duets competitions and awards, he performed concerti by with Andre-Michel Schub. He loves baseball (throws Beethoven and Schumann with orchestras before the right, bats left) and is an avid hiker, tennis player, age of fourteen. A student of the late Jane Carlson at skier, cyclist, runner, and a licensed private pilot. the ’s Pre-College Division, he has performed at venues including the Peter Jay Sharp Theater at Juilliard, Steinway Hall, the Palace Theater, BENJAMIN MILLEPIED Harvard University’s Fogg Museum of Art and Signet Born in Bordeaux, France, Benjamin Millepied Society, and at the Aspen Music Festival. He has also began his career at the Conservatoire National de performed Mozart’s Piano Concertos Nos. 12 and Lyon under Michel Rahn and made his first public 14 at the landmark Old Westbury Gardens with an appearance in 1992. After being mentored by Jerome orchestra led by noted conductor Eric Jacobsen. In Robbins, he was choreographer-in-residence at the addition, Mr. Britell was the keyboardist in the hip- Baryshnikov Arts Center in New York. In 2007, Mr. hop ensemble The Witness Protection Program. Millepied received the United States Artists Wynn TheWPP , as they were known, opened acts for hip- Fellowship. In 2010, he was made Chevalier in the hop groups including Blackalicious and Jurassic 5 Ordre des Arts et des Lettres by the French Ministry and performed at venues ranging from the Paradise of Culture. Famed both as a choreographer and Theater in Boston to New York’s classic Arlene’s dancer, Mr. Millepied is a principal at the New York Grocery. He is a Phi Beta Kappa graduate of Harvard City Ballet as well as the acclaimed choreographer of University, where he earned a degree in psychology pieces such as Closer, Sarabande, Casse-Noisette, and with honors, and spent time doing independent study the feature filmBlack Swan, among others. His work on film composition and on neuromusicology, the is often characterized by an awareness and respect for science of how music interacts with the brain. ballet’s traditions, as well as pointed individuality. Collaborating with composers such as Philip Glass, Steve Reich, Nico Muhly, and David Lang, Mr. Millepied strives to create pieces that engage and delight contemporary audiences.

6 BIOGRAPHIES

CRAIG BLACK HAYLEE NICHELE

Born and raised in San Jose, , Craig Black Haylee Nichele was born and raised in Port Alberni, began dancing at age ten with South Bay Dance British Columbia, Canada. At the age of fourteen Center. In 2007, as Captain of his nationally ranked she started her intensive training at a professional dance team the Lincoln Convertibles, he won the non-profit arts school,Arts Umbrella (Vancouver, title Mr. Dance of California through Dance Masters B.C.). While training at Arts Umbrella she had of America. Mr. Black received his B.F.A. in Dance the opportunity to work with many Canadian from The Juilliard School, where he has performed choreographers such as Emily Molnar, Crystal Pite, works by Merce Cunningham, William Forsythe, and Shawn Hounsell. After graduating high school Ohad Naharin, Twyla Tharp, Bronislava Nijinska, she continued her education, dance training, and Stijn Celis, and Alexander Ekman. While attending outreach work at The Juilliard School. While at Juilliard, he has toured internationally in Germany post-secondary school Haylee has had the wonderful and France and received the 2010 Princess Grace opportunity to work with well-established local and Award in Dance. During his summers, he has been international choreographers. These include works fortunate to attend Springboard Danse Montreal and by Alexander Ekman, Stijn Celis, Mark Morris, Maximum Dance Course in Den Haag. Additionally, Benjamin Millepied, Merce Cunningham, Eliot Feld, he has had the pleasure of performing works by Larry Keigwin, and Darrell Grand Moultire. Since Aszure Barton, Andrea Miller, Larry Keigwin, entering Juilliard, Ms. Nichele has also worked as a and Darrell Grand Moultrie. On top of starting choreographer, and her works have been performed his professional dance career, Mr. Black is a master in New York, New Orleans, Vancouver B.C., and teacher and choreographer for many studios around Nanaimo B.C. the United States. KATE HACKETT JULIA EICHTEN Kate Hackett is an independent filmmaker based Julia Eichten has just recently graduated from The in . She has participated in multiple Juilliard School this past May. While attending national and international festivals with her short Juilliard she had the opportunity and pleasure of films, and her 35mm shortMesmerize Me (2009) performing a wide variety of work with world- aired on UK television. Her first multi-media piece renowned choreographers, including Stijn Celis, was a series of art films for the concertAsk Your Ohad Naharin, Alexander Ekman, Mark Morris, Paul Mama at the Hollywood Bowl, featuring The Roots Taylor, José Limón, Larry Keigwin, Uylsses Dove, and soprano , which she co-directed and Benjamin Millepied. Ms. Eichten also had the with composer Laura Karpman. She also designed opportunity to be a part of Camille A. Brown & and directed films forThe One-Ten Project, a new Dancers season at the Joyce Theater in August 2010. work commissioned by the Los Angeles Opera. Ms. She has attended Springboard Danse Montreal for Hackett is a graduate of the UCLA Film School MFA the past two summers and had the opportunity to Production/Directing Program, where she received perform works by Victor Quijada, Johan Inger, and multiple awards, including the James Bridges Award, Shannon Gillen. Ms. Eichten recently was awarded the Carole Fielding Award, and the Hollywood the Hector Zaraspe award for choreography and plans Foreign Press Award for Excellence in Directing. to continue choreographing along with performing. Recently she was awarded a 2014 Yaddo Fellowship to work on her first feature screenplay,Purify My Heart.

7 PROGRAM NOTES

backwards! Incidentally, “Laughter” was only Combining music with film, about 90 seconds long, but night after night, I kept dance, and spoken word, coming off stage thinking, “That was amazing—I want a whole piece!” I think it was after a show in Portals explores the ways in Wellington, New Zealand, that I asked Philip to flesh out that solo, and here it is, a major work: Partita for which we communicate, and, Solo Violin. through communication, find On that Book of Longing tour, Leonard Cohen meaning in the digital age. would join us now and then for performances. Leonard’s poetry was an inspiration for me in creating Portals, and who can better express this feeling In an era when our expressions of love and sorrow, of of deep yearning to connect as palpably as Cohen? togetherness and longing—such private emotions— Whether addressing an estranged wife, God, or Hank are sometimes displayed so publicly on the web, Williams, his words go straight to the heart of the the potential for artistic communication through matter with pathos and humor. digital media is endless. The creative team and I set out to expand the boundaries of possibility in live I first collaborated with Benjamin Millepied a few performance whereby the performers and artists years back, on a piece for the New York City Ballet appear onscreen as if signing on (over Skype, iChat, called Double Aria. More recently, as we worked etc.), each from his or her respective private space, together on the movie Black Swan, my admiration interacting with each other as well as with me for his sense of flow and space deepened, and I knew on stage. that he would be a great collaborator on Portals. I should say that all of the music on this program was For example, at times one sees the performers composed for concert performance, but finding readying themselves for performance, warming Philip’s music not only aurally evocative, but visually up, or just relaxing in their own private spaces, as as well, we were inspired to pair his music with if glimpsed by webcam. By contrast, at other times visual movement. When we arrived at Copland Nicholas and I meet in an imagined performance House at Merestead to shoot the dance films, we space which combines a feeling of an empty concert were enchanted by this beautifully light, but slightly hall with a sound stage, (the empty chairs and haunted, space, a uniquely metaphorical embodiment pixilated projections) in which we perform together. of the ephemeral nature of the Internet and digital Sometimes the two worlds collide and combine, communication. as in Graceful Ghost, where we occasionally switch places, passing through these different worlds, real I first met Fred Child in the studios ofPerformance and imagined. Though we’re not always face to face Today, but I really got to know him rafting on the or feeling someone’s touch or the warmth of their Colorado River. Fred is in familiar territory as breath, we are deeply connected. host and MC of Portals, presiding over the evening with his usual aplomb. I am also deeply indebted The creative team: I first got to know Philip Glass to Nicholas Britell, whom I have known for years, when I toured with his Book of Longing, a song not only for his poetic and inspired performances cycle based on Leonard Cohen’s poetry. There was a in Portals, but also for all of his help and skillful moment mid-show when the violin took center stage hand in producing the audio tracks. And finally, the for a fast and furious solo, “I Enjoyed the Laughter.” wonderfully talented and imaginatively spontaneous I found it passionate and lyrical in a way that I hadn’t Kate Hackett became an important partner in this heard in Philip’s music before, like J. S. Bach played project and helped immensely in the realization of my vision. My heartfelt thanks to them all!

TIM FAIN

8 PROGRAM NOTES

WILLIAM BOLCOM: Graceful Ghost Rag. In the late AARON JAY KERNIS: Air. Air is “a love letter to the 1960s a number of composers and I started writing violin.” Songlike and lyrical, it opens up a full range of piano rags, inspired by Scott Joplin and other period the instrument’s expressive and poignant possibilities, composers. When my father died in October 1970, I featuring two main themes and an open, airy felt moved to write this rag, and Graceful Ghost was quality of harmony. The first theme poses questions his memorial. I have probably played it more often and their responses, while the second is calm and than any other piece; a tall blonde steamboat pilot, still, rising ever-upward into the highest range of designer, and commercial artist, Lexie Palmore, heard the violin. Following a middle section of dramatic it on the radio and decided it would be a perfect name intensity, the music develops the themes in reverse for her new boat. If you go to Uncertain, Texas—so and ends quietly after a final plaintive ascent. named because no one was sure if the town belonged AARON JAY KERNIS in Texas or Louisiana—you can take a long, quiet, leisurely spin in the bayous of Caddo Lake, amid egrets, herons, and the occasional alligator as the red NICO MUHLY (2002): Honest Music. On the page, paddlewheel softly plies the water, slowly advancing the violin part for Honest Music looks something the Graceful Ghost through the Spanish-moss-laden like Terry Riley’s In C, insofar as it’s a collection cypresses. of discrete, modular phrases to be recombined in “performance,” or in this case, by the electronic WILLIAM BOLCOM (2002) manipulation of the recording—but these aren’t Riley’s musical Lego blocks; most of these are long, PHILIP GLASS: Partita for Solo Violin. ThePartita expressive, idiomatic gestures, combining Nico was completed by the spring of 2011. However, the Muhly’s soaring English-choirboy diatonicism origins of the work grew out of a writing/performing with Romantic, violinistic leaps and slides up and relationship that began with the Book of Longing down the fingerboard. As these figures pile on top (Philip Glass/Leonard Cohen) in 2008. At that of each other, the close-miked, aberrant fiddle time I was working with Tim Fain as one of the lead timbre comes to seem, as per the title of the piece, soloists and had completed a short solo work for brutally candid. The other fragments, imitated in him in the production. We both enjoyed the work character by the sputtering harp and percussion of process together and, with very little coaxing from the accompaniment, sound more like scraps swept Tim, I agreed to undertake a longer solo work. I from a cutting-room floor somewhere—all false chose the “partita” as a form that would be familiar starts, warm-ups, and afterbeats—and the glitchy, to an audience brought up on traditional, Central staticky noises in the background contribute to the European art music. It would be in a number of sense of something rough, half-finished. The result movements (seven in the final count) and would is to suggest that all of Honest Music is an outtake, a employ familiar types of music—dance, chaconnes, rehearsal for another, wholly imaginary piece. But a prelude, etc. The first three movements were the gravity and authority of the harmonies (and the completed early in 2011 and the last four just low drones) lend the makeshift nature of the piece an last spring. authentic drama in its own right: the sad beauty of things coming together and things PHILIP GLASS falling apart.

NICO MUHLY

9 PROGRAM NOTES

KEVIN PUTS: Arches for Solo Violin (2000). In its “The creative team and alternation between “caprice” and “aria,” Arches moves between the poles of virtuosity and lyricism. I set out to expand the The title was suggested by the symmetrical form of the piece (Caprice–Aria–Caprice) and by the boundaries of possibility in key scheme which supports this symmetry and the many arch-like figures that arise. The only pause in live performance.” the work occurs after the first Caprice. In the first movement (Caprice), whose influences are both LEV ZHURBIN: Sicilienne (2000). Sicilienne was Baroque and Appalachian in nature, the music begins inspired by its namesake within the Concerto innocently enough and continually accelerates to a for Violin, Piano, and String Quartet by Ernest very fast tempo. It was inspired by a scene from the Chausson. I sketched it while aboard a Long Island filmThe Red Violin (scored by John Corigliano) in Railroad train, and aimed to create a lilting, peaceful, which a young prodigy is pushed by his teacher to and romantic dance in imperceptibly changing play an etude faster and faster until he is pressed to meters. For reasons unclear to me, the beginning the absolute limit. As a means of contrast to the busy melody and piano writing is very Brahmsian, while first movement, the middle section (Aria) begins the middle section is more affected by the music of very high and soft. It uses a soaring melody to which I Aaron Copland. I’m not sure how this marriage came later added piano to create an encore (Aria for Violin to be, and perhaps it’s not for me to know. ). The last movement (Caprice) is the first and Piano LEV ZHURBIN music I came up with when composing Arches. This movement features the arpeggiando technique, which involves the violinist moving the bow quickly up and down over all four strings of the instrument and leads to a return of the material from the first movement and a very virtuosic ending.

KEVIN PUTS

10 FILMS

CAT DEAKINS Director Photography

IN OMAHA, NE

CHAD BISHOFF Line Producer MARK HOEGER Filming consultant NATALIE GREER Make-up Artist JOHN PYCHA Gaffer MIKE MASTRE Assistant Camera MIKE KRAINAK Grip K EV I N C OWA N Grip LORA DAVIS Grip/Swing WES CLOWERS Set Construction and Art Department Head GREG ROHDE Art Department SEAN ROBERT WARD Art Department JOHN ADAMS Piano Mover/Tuner STEVE MILLER Dog & Pony Video Asst. Production RICK WEINER On-Set Audio Playback

IN NEW YORK, NY

MATT SNETZKO Assistant Director GARRETT FENNELLY Line Producer PETER DONOHUE Production Assistant SILVER SCREEN, AARON & MOLLY ZAVITZ B Camera Operators

IN LINCOLN, NE

STEVEN GOTTLIEB Sound Mixer ANDREW BAUER Production Coordinator, Kaneko NATALIE GREER Make-up Artist NICHOLAS BRITELL Sound Design / Audio Production CHRIS RUSKIS Audio Mixing / Consulting CHRIS ATHENS Mastering Engineer M.P. KUO Recording Engineer / Sound Editor

Music recorded at Systems Two Recording Studio, Brooklyn, NY Music mixed and edited at Lake George Entertainment, NYC Music mastered at Sterling Sound, NYC

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

12 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 David & Cookie Pashkow by Sara Heitshu Mark & Jan Barmann Margaret Pope Margaret Bashkin & Norman Epstein Carl T. Tomizuka Kathryn Bates John Raitt by Sheila Tobias Peter & Betty Bengtson Lynn Ratener Carol Zuckert Peter Bleasby James Reel by Cathy Anderson Joyce Bolinger Helen Rosen Sarah Boroson Jay & Elizabeth Rosenblatt GIFTS IN HONOR OF Elizabeth Buchanan Dr. Elaine Rousseau Patricia & Ed Campbell Kenneth J. Ryan Cathy Anderson Thomas & Debra Collazo Howard & Helen Schneider by C. Jane Decker Terence DeCarolis Jennifer Schneider C. Jane Decker Stephen & Janet Seltzer Dr. & Mrs. Nathaniel Bloomfield Martin Diamond & Paula Wilk Tanya Servaas by Dr. Melvin & Maude Shafron Brian Edney Sara Shifrin James Reel John & Mary Enemark Shirley Snow by C. Jane Decker Penny & Mark Estomin Harry Stacy by Hal Myers Bob Foster Ronald Staub James & Ruth Friedman Michael Tabor Dr. Elaine Rousseau Linda L. Friedman Shirley Taubeneck by Les & Suzanne Hayt Margot & Tommy Friedmann Jennalyn Tellman Randy Spalding Juan Gallardo Sheila Tobias by Thomas and Debra Collazo Marvin & Carol Goldberg Karla Van Drunen Littooy Ben & Gloria Golden Dimitri Voulgaropoulos Randy Spalding & Jim Cook Kathryn Gordon Ann Ward by David & Cookie Pashkow Janet Grayson Patricia Waterfall Allan & Diane Tractenberg Marilyn Halonen Patricia Wendel by Mark & Jan Barmann Clare Hamlet Daryl Willmarth Les & Suzanne Hayt Sheila Wilson & Hal Barbar Contributions are listed from Sara Heitshu Peggy Wolf January 1, 2018 through December Ruth B. Helm 31, 2018. Space limitations prevent

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

13 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 Stan Caldwell & Linda Leedberg Maltzman, Hunter Joe & Janet Hollander David & Joyce Cornell Flower Shop on 4th Avenue Judy Kidder Jim Cushing Holualoa Companies Linda Leedberg John & Terry Forsythe Homecare Assistance To m L e w i n Garrett-Waldmeyer Trust Kinghorn Heritage Law Group Ghislaine Polak Jim Lindheim & Jim Tharp La Posada Boyer Rickel George & Irene Perkow Ley Piano Randy Spalding John & Helen Schaefer Loft Cinema Anonymous Minna J. Shah Mister Car Wash Rogue Theater $25,000 and above Randy Spalding True Concord Family Trust of Lotte Reyersbach Jonathan & Chitra Staley Tucson Guitar Society Phyllis Cutcher, Trustee of the Tucson Desert Song Festival Frank L. Wadleigh Trust Anne Denny MUSICIAN SPONSORSHIPS Richard E. Firth Celia Balfour Carol Kramer Jean-Paul Bierny & Chris Tanz Arthur Maling Dagmar Cushing Claire B. Norton Fund Elliott and Sandy Heiman (held at the Community Boyer Rickel Foundation for Southern Arizona) All commission, concert, Herbert Ploch and musician sponsors are Lusia Slomkowska Living Trust acknowledged with posters in Agnes Smith the theater lobby and in concert $10,000 – $24,999 programs. Marian Cowle 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.

14 VERSE

Madonna del Parto

FORREST GANDER

And then smelling it, terrifying, and primal. That feeling it before naked river the sound even reaches enthroned upon him, he kneels at the massif altar, cliff ’s edge and for the bowed cypresses first time, turns his congregating on both head toward the now sides of sun-gleaming rock, a rip visible falls that in the fabric of the ongoing gush over a quarter- forest from which rises— mile of uplifted sheet- as he tries to stand, tottering, half- granite across the valley paralyzed—a shifting and he pauses, rainbow volatilized by lowering his eyes ceaseless explosion. for a moment, unable to withstand the tranquility—vast, unencumbered,

‘’Madonna del Parto’’ by Forrest Gander, from BE WITH ©1995, 2010, 2012, 2013, 2015, 2017, 2018 by Forrest Gander. Reprinted by permission of New Directions Publishing Corp.

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. 15 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

16 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 – 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 FESTIVAL MUSICIANS 7:30 pm, Leo Rich Theater Peter Rejto, Artistic Director Jenő Takács – Two Fantastics Alfred Schnittke – Piano Quintet Escher String Quartet (Adam Barnett-Hart, violin; Kevin Puts – Air for Cello and Piano Danbi Um, violin; Pierre Lapointe, viola; Taneyev – Piano Quartet in E Major, Op. 20 Brook Speltz, cello)

Philip Alejo, double bass CONCERT 5 Edward Arron, cello Ettore Causa, viola Sunday, March 10, 2019 Amy Dickson, saxophone 3:00 pm, Leo Rich Theater James Giles, piano Kevin Puts – Oboe Concerto (arranged for Saxophone) Bernadette Harvey, piano Brahms – Lieder (arranged for Viola and Piano) Ani Kavafian, violin Chris Rogerson – String Quartet Chris Rogerson, composer Mendelssohn – Sextet in D Major, Op. 110 Axel Strauss, violin

17 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.

18 19 20 —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.

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International Concert Artist Series

21 22 With the Precision of a Fine Performance.

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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

23 Proud to Support Arizona Friends of Chamber Music

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