MODIGLIANI QUARTET FABIO BIDINI, PIANO NOVEMBER 14, 2018 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

Brace yourself for one of the most dissonant concerts In its way, the Brahms piano quintet is tonight’s most of our season. dissonant work. Brahms is a solidly, warmly tonal composer, but he loves to drop notes into his chords Dubious? The word “dissonance” is right there in and melodic lines that don’t belong in the chosen key. the nickname of the Mozart quartet that begins this Sequences of chords don’t resolve as we expect them program. You may wonder what all the fuss is about. to; we are held in suspense and pulled through the Sure, the introduction to the first movement sounds score with heightened anticipation. unsettled, but it’s not the harsh sound that most of us associate with the word “dissonance.” These three composers manipulate us by setting up expectations and deliberately failing to meet them. But dissonance is more than unpleasantness. In Dissonance is what makes this music dramatic, Western music, we’re conditioned to expect certain compelling, expressive, and beautiful. AFCM is combinations of notes and sequences of chords to pleased to introduce a bit of dissonance into sound “right.” When a composer intentionally fails your night. to meet our expectations, the effect is unsettling, however subtle it may be. The lack of a fixed key in the Mozart introduction is mysterious and disturbing. Mozart is not playing by the rules of Western harmony. JAMES REEL President The dissonance in the Stravinsky pieces is more obvious. Stravinsky doesn’t use any key signatures here (you can assume the music is in C Major if it makes you feel better), but we’re not in for the bone- crushing chords of The Rite of Spring. Stravinsky’s dissonance here is the simple “wrong note” kind, making the music seem sour, perhaps as for a tribal ritual, but it’s coherent and easy to follow.

3 MODIGLIANI QUARTET FABIO BIDINI, PIANO

MODIGLIANI QUARTET

The Paris based Modigliani Quartet, formed by four close friends in 2003, is a regular guest of the world’s top venues and finest chamber music series. In the current and upcoming seasons, the quartet will be touring in the US, Japan, Korea, China, and most of the European countries. They will return to Wigmore Hall for a series of concerts, as well as Carnegie Hall, Paris’s Philharmonie, Vienna’s Konzerthaus, Salzburg’s Mozarteum, Philadelphia’s Kimmel Center, Warsaw’s Philharmonic Hall, and Tokyo’s Oji Hall. Among the group’s accomplishments, it was the first string quartet to perform in the main hall of the newly opened Elbphilharmonie in Hamburg at the beginning of 2017. The Modigliani Quartet is also dedicated to pieces beyond the quartet repertoire and tours regularly with musicians such as Sabine Meyer, Renaud Capuçon, Beatrice Rana, Nicholas Angelich, Jean- Frédéric Neuburger, Marie-Elisabeth Hecker, and Daniel Müller-Schott. In addition, the quartet has released seven CDs on the Mirare label, all of which have been internationally acclaimed by critics. After fifteen years of developing their own sound and profile, the Modigliani Quartet is now happy to pass their experience to the next generation. In 2016 they created the Atelier within the Festival in Evian and in November 2017 began holding a series of master Modigliani Quartet classes at the Conservatoire National Supérieur de Amaury Coeytaux, violin Musique de Paris. Loic Rio, violin Thanks to the generosity and support of private Laurent Marfaing, viola sponsors, the Modigliani Quartet performs on four François Kieffer,cello outstanding Italian instruments: Amaury Coeytaux plays a 1773 violin by Guadagnini, Loic Rio plays Fabio Bidini, piano a 1734 violin by Alessandro Gagliano, Laurent Marfaing plays a 1660 viola by Luigi Mariani, and François Kieffer plays a 1706 cello by Matteo Goffriller.

The Modigliani Quartet also thanks the SPEDIDAM for its help. Arts Management Group 130 West 57th Street, Suite 6A AFCM last heard the Modigliani Quartet in New York, NY 10010-1006 February 2016.

4 EVENING SERIES

FABIO BIDINI TONIGHT’S PROGRAM Italian pianist Fabio Bidini is one of this generation’s top-flight pianists. His appearances have included WOLFGANG AMADEUS MOZART (1756–1791) performances with the London Symphony Orchestra at the Barbican, the Philharmonia Orchestra String Quartet in C Major (“Dissonant”), K. 465 of London at the Royal Festival Hall, the San Adagio—Allegro Francisco Symphony, the New World Symphony, Andante cantabile the Dallas Symphony, the St. Louis Symphony, Menuetto: Allegro the Budapest Festival Orchestra, the Fort Worth Allegro molto Symphony, the Philharmonia Orchestra of Prague at the Rudolphinum, and the Hungarian National IGOR STRAVINSKY (1882–1971) Philharmonic Orchestra at Liszt Academy Hall. He has collaborated with numerous conductors, Three Pieces for String Quartet including Michael Tilson Thomas, Carlos Prieto, Max Valdes, Dimitry Sitkovetsky, Ivan Fisher, Jesús López Cobos, JoAnn Falletta, Zoltán Kocsis, Michael Christie, and Gianandrea Noseda. INTERMISSION Mr. Bidini is also in great demand as a chamber music partner. He is the pianist of the highly acclaimed ensemble, Trio Solisti, and has enjoyed artistic JOHANNES BRAHMS (1833–1897) collaborations with many ensembles and artists, including the American String Quartet, the Janáček Piano Quintet in F Minor, Op. 34 Quartet, the Brodsky Quartet, the Szymanowski Allegro non troppo Quartet, the Modigliani Quartet, Zoltán Kocsis, Andante, un poco Adagio Alexis Pia Gerlach, Maria Bachmann, Eva Urbanová, Scherzo: Allegro Nina Kotova, Dimitri Ashkenazy, and Sabrina- Finale: Poco sostenuto—Allegro non troppo— Vivian Höpcker. Presto, non troppo Beginning his piano studies at the age of five, Mr. Bidini graduated magna cum laude from the Cecilia Conservatory in Rome and studied composition at the Florence Conservatory. He has been awarded This evening’s concert first prize in eleven of Italy’s most prestigious national piano competitions and has been the recipient is sponsored by the of the top prizes awarded in eight international competitions—Terni, Köln, Busoni 1988 and 1992, generous contribution of Pretoria, Marsala, London, and the Van Cliburn Fort David & Joyce Cornell. Worth. He made his North American debut in 1993 with the Atlanta Symphony. Currently Mr. Bidini teaches at the Hochschule für Musik und Tanz Köln and at the Colburn School in Los Angeles. His discography comprises thirteen CDs. Mr. Bidini appears for the first time on an AFCM concert.

5 PROGRAM NOTES

The Andante cantabile (F major) develops two “Before God and as an honest themes—first, a lyrical idea that is shaped by man I tell you that your son is contributions from all four instruments; second, a more declamatory statement that becomes an ardent the greatest composer known dialogue between the first violin and cello. After a recapitulation of these ideas, a new countermelody to me either in person or by to this duet is heard in the viola. Abrupt changes of name. He has taste and, what dynamics, unexpected rests, and poignant chromatic fragments dramatize this engaging movement. is more, the most profound The good-natured Menuetto is energized by sudden knowledge of composition.” contrasts of dynamics and articulation. The long- arched melodies of its passionate trio section

JOSEPH HAYDN, (C minor) provide dramatic contrast; the C major SPEAKING TO MOZART’S FATHER Menuetto section is then restated. The robust finale, written in sonata rondo form, ALTHOUGH MOZART had achieved early success opens with an incisive theme that is varied with with the string quartet medium, in mid-career he brilliant passagework at its several returns. Delightful inexplicably abandoned the form for nearly a decade. new ideas, expressively enhanced by chromaticism, But after hearing Joseph Haydn’s boldly innovative appear throughout this substantial movement. This Opus 33 string quartets (“Gli Scherzi”) in 1781, finale is especially notable for its coda: here Mozart Mozart decided that he could productively explore introduces a motif that he had previously borrowed new directions in quartets of his own. Between from Gluck for a set of piano variations, as well as 1782 and 1785, Mozart composed six string quartets a written-out slow trill sequence that he later used and dedicated them to Haydn, “from whom I have in his opera Così fan tutte. learned to write quartets.” In his earlier quartets, Mozart wrote and recast successions of singing STRAVINSKY WROTE HIS Three Pieces for String melodies, most of which were given to the first violin. Quartet in 1914, the year following the sensation However, in each of the “Haydn” Quartets, Mozart of his Rite of Spring. At the Three Pieces’s New follows Haydn’s procedure of thematic elaboration, York premiere, at which the Flonzaley Quartet a process by which the music develops through the performed from Stravinsky’s manuscript, the work manipulation of short motifs derived from subjects was entitled Grotesques. Stravinsky had arranged for heard at the beginnings of movements. a commentator, who introduced these fragmentary, potentially baffling movements as “contrasting Mozart wrote K. 465, the last of the “Haydn” studies in popular, fantastic, and liturgical moods.” Quartets, in 1785. Its remarkable twenty-two Poetess Amy Lowell was present at the performance measure Adagio introduction was at that time a and, to Stravinsky’s great delight, wrote a poem daring harmonic experiment. This highly chromatic evoking her sensation of hearing the enigmatic and harmonically unstable passage so disconcerted Three Pieces: eighteenth-century concertgoers, including Haydn himself, that the quartet became nicknamed FIRST MOVEMENT “Dissonant.” At the Allegro the key of C major is Red, blue, yellow, drunkedness steaming in colours; firmly established, and the lively themes of this sonata Red, yellow, blue, colours and flesh weaving together, form movement appear all the more lucid because In and out with the dance of the tonally obscure beginning. Coarse stuff and hot flesh weaving together . . . SECOND MOVEMENT Pale violin music whiffs across the moon A pale smoke of violin music blows over the moon, Cherry petals fall and flutter,

6 PROGRAM NOTES

And the white Pierrot, promptly destroyed this version and rescored the Wreathed in the smoke of the violins, work for two pianos. He then shared this version with Splashed with cherry petals falling, falling, his pianist friend Clara Schumann. She found new Claws a grave for himself in the fresh earth faults: “Its skillful combinations are interesting . . . With his fingernails. but it is a work whose ideas you must scatter, as from a horn of plenty, over an entire orchestra. Please take THIRD MOVEMENT my advice and recast it.” Although Brahms did retain An organ growls in the heavy roof-groins of a church, this version (published as Opus 34b), he rescored the It wheezes and coughs. work for piano quintet, a combination that blends the The nave is blue with incense, string sonorities he desired with the dramatic impact Writhing, twisting, of the piano. The final version of this epic work was Snaking over the heads of the chanting priests. published in 1865. Stravinsky revised the work in 1918 and published Because of Brahms’s densely compact writing, the it in 1922. In 1928 he included the Pieces in his Four Allegro non troppo has massive impact despite its Studies for Orchestra and at that time gave them relatively short length of 300 measures. Strongly titles. The chantlike “Dance,” based on four repeating influenced by Beethoven’s processes of thematic notes, resembles popular Russian tunes. Stravinsky development, the Allegro non troppo fully exploits explained that “Eccentrique” was inspired by the its introductory motivic figures by combining and great performance of a spastic clown. He thought expanding them to heroic proportions over the highly of the solemn, religious “Cantique,” which he course of the movement. At the outset two sonorous claimed contained his best music of that time. motifs, played smoothly in unison by the first violin, THE MONUMENTAL F minor Piano Quintet cello, and piano, are immediately varied by rapid stands as one of Brahms’s greatest achievements. figuration in the piano. The second subject (with an Often praised as the crown of his chamber music, expressive excursion into C-sharp minor) reveals the Quintet has been described by scholar Michael Brahms’s fondness for simultaneous duple and triple Musgrave as “Beethovenian in its intensity, rhythms, for the equal note pairs of the lyrical theme Schubertian in its lyricism; the essence of Brahms’s are underpinned by relentless triplet patterns. At the full maturity.” The brilliantly paced Quintet beginning of the coda these motifs reappear quietly offers enormous emotional range: it opens with a in a more sustained tempo and then accelerate to a passionately romantic movement that is followed by brilliant conclusion. a songful second movement, then a demonic scherzo The second movement (A-flat major) is a poignant and vibrant finale. Because of Brahms’s formidable song that recalls the lyric spirit of Schubert. Its ability to integrate thematic details among the animated middle section is followed by a return of the movements, the Quintet conjures a unified eloquent opening material, now subtly varied. The dramatic plot. rugged C minor Scherzo, propelled by an ominous Brahms had experimented relentlessly with the pizzicato figure in the cello, develops a turbulent Quintet’s form and urged his musician friends to theme that is transformed first into a chorale, then criticize his efforts frankly. In 1862 he showed the first a fugue. The broad, singing melody of the brief trio version of Opus 34, scored for string quintet with section relieves the drama. two cellos, to his violinist friend Joachim. Joachim The Quintet’s most complex movement, the finale complained: “The work is too difficult, and without opens tentatively with a brooding introduction. Two vigorous playing will not sound clear.” Brahms vivacious folk-style themes are then developed in sonata rondo form with brilliant counterpoint and unusual key relationships. The work concludes with a coda of surging power. Notes by Nancy Monsman

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James & Ruth Friedman GIFTS IN MEMORY OF Contributions are listed from Linda L. Friedman November 1, 2017 through Tommy & Margot Friedmann Clifford & Wendy Crooker October 31, 2018. Space Thomas & Nancy Gates by Beth Foster limitations prevent us from listing Marvin & Carol Goldberg Raymond Hoffman contributions less than $100. Ben & Gloria Golden by Sandra Hoffman Every contribution helps secure Marilyn Halonen the future of AFCM. Clare Hamlet Kathy Kaestle Suzanne Hayt by Paul & Marianne Kaestle Please advise us if your name is not Ruth B. Helm Gloria Ottenstein listed properly or inadvertently Jim Homewood by Andrea & Gary Abramowitz omitted. Sara Hunsaker by Penny & Mark Estomin Lee L. Kane Joe Kantauskis Carl T. Tomizuka & Gayle Brown by Sheila Tobias Carl Kanun Carol Zuckert Karen Loeb by Cathy Anderson Robert Lupp

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14 VERSE

Grasses

ALFRED KREYMBORG (1883–1966)

Who would decry instruments— when grasses ever so fragile, provide strings stout enough for insect moods to glide up and down in glissandos of toes along wires or finger-tips on zithers— though the mere sounds be theirs, not ours— theirs, not ours, the first inspiration— discord without resolution— who would cry being loved, when even such tinkling comes of the loving?

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 2018–2019 SEASON OVERVIEW

DECEMBER 5, 2018 JANUARY 31, 2019 FEBRUARY 13, 2019 MARCH 3–10, 2019

Juilliard String Quartet Te Amo, Argentina Alexander String 26th Tucson Winter 7:30 pm 7:30 pm Quartet with pianist Chamber Music Festival Joyce Yang BEETHOVEN GINASTERA 7:30 pm APRIL 3, 2019 Quartet in D Major, Puneña No. 2 Op. 18 No. 3 PIAZZOLLA MOZART Jerusalem Quartet LEMBIT BEECHER Milonga Del Angel Piano Quartet in 7:30 pm GUASTAVINO String Quartet E-Flat Major, K. 493 HAYDN HAYDN SAMUEL ADAMS Canciones Argentinas Quartet in G Major, PIAZZOLLA Quartet in F Major, Piano Quintet Op. 76 No. 1 SCHUMANN Op. 77 No. 2 Le Grand Tango DEBUSSY GINASTERA Piano Quintet in Quartet in G Minor, DECEMBER 16, 2018 Canciones Populares E-Flat Major, Op. 44 Op. 10 Argentinas SHOSTAKOVICH Daniel Hsu, piano PIAZZOLLA FEBRUARY 21, 2019 String Quartet No. 3 3:00 pm Verano Porteña in F Major, Op. 73 SCHIFRIN Portals – JANUARY 23, 2019 Pampas Tim Fain, violin APRIL 18, 2019 GARDEL 7:30 pm Chamber Music Society Two Tangos ZOFO Piano Duet of Lincoln Center PHILIP GLASS 7:30 pm 7:30 pm Partita LEV ZHURBIN BRAHMS Sicilienne Piano Quartet No. 3 NICO MUHLY in C Minor, Op. 60 Honest Music SUK AARON JAY KERNIS Piano Quartet in Air A Minor, Op. 1 WILLIAM BOLCOM DVORÁK Graceful Ghost Piano Quartet in KEVIN PUTS E-Flat Major, Op. 87 Arches

16 BOARD MEMBER PROFILE LAURA CÁSAREZ

AFCM is managed by volunteers who, in addition to Q: How did you first become interested in the being passionately dedicated to chamber music, have chamber music form? outstanding qualifications. We invite you to get to LC: During my freshman year of high school, the know them. youth orchestra started a chamber music program. I joined with some of my friends and have not Q: How long have you been involved with AFCM? stopped playing chamber music since. Laura Cásarez: This is my first season. Q: What do you do when you’re not working Q: Where are you from? on AFCM: LC: I am originally from Houston and am a LC: Mostly I attend classes and rehearsals. My Houston Astros baseball fan – not only recently! position in the Graduate String Quartet gives me the I am also part-Canadian and love ice hockey. I moved chance to perform all over Tucson. I work as a private to Tucson last year to begin my Master’s Degree in teacher in the U of A’s String Project program. violin performance. Q: Your interests outside of chamber music? Q: You’re new! What attracted you to the LC: I love to travel. This summer, my quartet AFCM Board? participated in festivals in Vancouver and LC: I am a member of the Graduate String Quartet Philadelphia. I have become more and more at the U of A and attended AFCM concerts last year. interested in photography during every trip I take. I had served on the board of the Houston Friends of I love to spend my free time reading, drinking Chamber Music during college as a student fellow. coffee, and playing with my cat (who happens to be an excellent photography subject!). Q: What is your current role on the Board? LC: I am interested in being a link between AFCM and the U of A student body.

Q: Tell us about the role music plays in your life: LC: Music has always been an important part of my life. I started taking piano lessons when I was five years old and violin lessons when I was seven. I attended classical music concerts all over Houston (thanks to my parents!). Once I started playing, something clicked and I wanted to pursue music as a profession. Currently, music occupies almost every thought and plan that I make on a daily basis. Though it drives my schedule and my workload, it still brings me the same happiness it did when I was doing it for fun.

17 18 RELAX. THINK. FIND JOY.

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