JONATHAN BISS PIANO SEPTEMBER 28, 2016

DENVER

LUDWIG VAN Sonata No. 4 in E-flat major, Op. 7 BEETHOVEN Allegro molto e con brio (1770-1827) Largo, con gran espressione Allegro Rondo: Poco allegretto e grazioso

BEETHOVEN Sonata No. 17 in D minor, Op. 31, no. 2, The Tempest Largo – Allegro Adagio Allegretto

INTERMISSION

BEETHOVEN Sonata No. 32 in C minor, Op. 111 Maestoso – Allegro con brio ed appassionato Arietta: Adagio molto semplice e cantabile

ALLAN ROSENBAUM IN MEMORIAM Friends of Chamber Music is sad to announce the passing of a long-time friend and board member, Allan Rosenbaum. Serving as board treasurer, Allan provided FCM with strong financial leadership for the last 15 years. Never without a joke, Allan’s wit was as sharp as his pencil.

Allan was a Certified Public Accountant and independent consultant, also serving on the accounting faculty at Metropolitan State University of Denver. Previously he served as Chief Accountant for the Joint Committee on Taxation, U.S. Congress.

While his instrument of choice was the 10 key adding machine, Allan truly loved music. He and his wife, Judith, were long-time FCM subscribers as well as patrons of numerous cultural organizations in the Denver area. He will be deeply missed.

BOARD OF DIRECTORS Kathy Newman Alix Corboy, President Richard Replin Mary Park, Vice President Chet Stern Walter Torres, Secretary Sam Wagonfeld Myra Rich, Treasurer Eli Wald

BOARD MEMBERS EMERITUS MEMBERS Patsy Aronstein Rosemarie Murane Lisa Bain Suzanne Ryan Sue Damour PROJECT ADMINISTRATOR Lydia Garmaier Desiree Parrott-Alcorn John Lebsack JONATHAN BISS Jonathan Biss returns to FCM for the third time, having first appeared at the age of 22 in January 2003, and again with the Borromeo Quartet in 2006. Biss is a world- renowned pianist who shares his deep musical curiosity in the concert hall and beyond. Over nearly two decades on the concert stage, he has forged relationships with the ; the , Cleveland, Boston, Chicago, and Philharmonia orchestras; and the Leipzig Gewandhaus, Budapest Festival, and Royal Concertgebouw orchestras, among many others. In addition to performing a full schedule of concerts, the 36 year-old American has spent ten summers at the Marlboro Music Festival. A member of the faculty of his alma mater, the Curtis Institute of Music, since 2010, Biss led the first “massive open online course” (MOOC) offered by a classical music conservatory, Exploring Beethoven’s Piano Sonatas, which has reached more than 150,000 people in 185 countries.

This season Biss continues his latest Beethoven project, Beethoven/5, for which the Saint Paul Chamber Orchestra is co-commissioning five composers to write new piano concertos, each inspired by one of Beethoven’s. The five- year plan began last season, with Biss premiering ’s The Blind Banister, which was a finalist for the Pulitzer Prize in Music, and which Biss will play with the New York Philharmonic next spring. This season he premieres ’s concerto, paired with Beethoven’s Piano Concerto No. 1, with the Saint Paul Chamber Orchestra. In the next three years Biss will premiere concertos by Salvatore Sciarrino, , and .

In addition to his involvement at Marlboro, Biss spent this summer as the Artist-in-Residence at the Caramoor Center, where he performed chamber music, a solo recital, and the Andres and Beethoven concerto pair with the Orchestra of St. Luke’s. He also gave three recitals at the Aspen Music Festival and appeared at Ravinia, as part of his ongoing concert cycles to perform all the Beethoven sonatas.

This season Biss begins examining, both in performance and academically, the concept of a composer’s “late style.” friendsofchambermusic.com 1 He has put together programs of Bach, Beethoven, Brahms, Britten, Elgar, Gesualdo, Kurtág, Mozart, Schubert, and Schumann’s later works, both for solo piano and in collaboration with the Brentano Quartet and tenor Mark Padmore, which he will play at , San Francisco Performances, the Philadelphia Chamber Music Society, London’s Barbican Centre, and Amsterdam’s Concertgebouw.

Biss has embarked on a nine-year, nine-disc recording cycle of Beethoven’s complete piano sonatas, and in early 2017 he will release the sixth volume, which includes the monumental “Hammerklavier” sonata. Upon the release of the fourth volume, BBC Music Magazine said, “Jonathan Biss will surely take his place among the greats if he continues on this exalted plane.” His bestselling eBook, Beethoven’s Shadow, published by RosettaBooks in 2011, was the first Kindle Single written by a classical musician, and he will continue to add lectures to his extraordinarily popular online course, Exploring Beethoven’s Piano Sonatas, until he covers all of them.

Throughout his career, Biss has been an advocate for new music. Prior to the Beethoven/5 project he commissioned Lunaire Variations by David Ludwig, Interlude II by , Wonderer by , and Three Pieces for Piano and a concerto by , which he premiered with the Boston Symphony Orchestra. He has also premiered a piano quintet by .

Biss represents the third generation in a family of professional musicians that includes his grandmother, , one of the first well-known female cellists (for whom composed his Cello Concerto), and his parents, violinist Miriam Fried and violist/violinist Paul Biss. Growing up surrounded by music, Biss began his piano studies at age six. His first musical collaborations were with his mother and father. He studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music in Philadelphia with . At age 20, Biss made his New York recital debut at the 92nd Street Y’s Tisch Center for the Arts and his New York Philharmonic debut under . Biss lives in New York.

2 friendsofchambermusic.com NOTES Program notes © Betsy Schwarm

Beethoven and the piano sonata are an inseparable pairing: no one interested in one half of that equation is likely to ignore the other, and both the composer and the instrument came to maturity at the beginning of the 19th century. Jonathan Biss’s recital tonight is devoted solely to that master’s music, with works originating in what have been described as Beethoven’s Early, Middle, and Late Periods. Performed tonight in chronological order, these three sonatas give a clear view of how Beethoven’s sense of the drama inherent in the piano evolved over the course of twenty-five years.

Published in 1797, Beethoven’s Piano Sonata No. 4 was his BEETHOVEN: first freestanding sonata, rather than being part of a set of SONATA NO. 4 several works in contrasting moods and keys. Perhaps the composer realized that this sonata, the longest of his early IN E-FLAT MAJOR, works in the genre, was assertive enough to stand on its OP. 7 own. After all, it is in the same key that he would later use for his epic Symphony No. 3, the Eroica. The sonata was dedicated to Countess Barbara von Kegelvics, to whom he had privately given piano lessons.

The sonata’s four movements span the better part of half an hour, with the structural approaches typical of a full symphony. The first movement is brisk, the second thoughtful, the third dance-like, and the last brings things to a close with a proverbial bang. If it were a suitable plan for a symphony, it was, apparently, also suitable for a piano sonata.

For the Allegro molto e con brio first movement, Beethoven alternates flowing phrases and strong chords that punctuate the action. Often there are large skips of range, for example, from a relatively high pitch to a much lower one. Very rapid passagework keeps everything in motion. In the more solemn second movement, rolled chords and detached staccato notes stand against one another. Beethoven has labeled it Largo con gran espressione. Indeed, expressive

friendsofchambermusic.com 3 Program Notes moods are the focus, though in general it is more song-like Continued than sober.

The third movement is designated neither “minuet,” as Haydn or Mozart would likely have had it, nor “scherzo,” which would become Beethoven’s own preference. Rather, it is simply headed Allegro. Nonetheless, there is a nimble spirit, airy and playful in the opening pages, stormier in the central ones. Even early in his career Beethoven understood the advantage of musical contrast.

With the final movement,Rondo: Poco allegretto e grazioso, Beethoven opens with a gently sunlit theme that will soon alternate with others of a more dramatic character. Rapid- fire passagework suggests that the sonata might scurry to its conclusion. However, Beethoven has something of a Tonight marks the first surprise in mind with a quick shift to tender moods, closing performance of this work out his Piano Sonata No. 4 with a gentle smile, rather than on our series. a belly laugh.

BEETHOVEN: Although some of Beethoven’s piano sonatas have SONATA NO. 17 illustrative nicknames, few of those nicknames were chosen by the composer himself, who had an enduring dislike of IN D MINOR, descriptive titles. That his Sonata No. 17 is known as The OP. 31, NO. 2, Tempest is due to the composer’s not-always-reliable friend THE TEMPEST Anton Schindler, who alleged that, when queried about the work’s meaning, Beethoven responded, “Read Shakespeare’s The Tempest.” Even if Beethoven made that statement it may have been meant humorously, but one must admit that both the play and the sonata have moods that vary greatly from one moment to the next.

Dating from the composer’s Middle Period, Sonata No. 17 is the second of a set of three piano sonatas written in 1802, the others in the keys of G major and E-flat major. When the three sonatas came to print they bore no dedication, suggesting that he wrote them more for his own use than for others.

The opening Largo – Allegro movement opens with a slow introduction built upon a rising arpeggio that serves as preface to the driving main body of the movement. Though

4 friendsofchambermusic.com what follows is often literally tempestuous, one also finds quieter recollections of that opening arpeggio, as if Beethoven were not quite finished with that idea. The first movement is a vivid study in contradictions.

In distinct contrast, the second movement Adagio begins as if evoking wisps of fog, with short, arpeggiated phrases that play about the keyboard. Gradually, these become broader, though still more reflective than dramatic.

As for genuine drama, the Allegretto finale has this in full force, with brisk and anxious passagework charging up and down the keyboard. Sometimes Beethoven chooses to end his minor key works by modulating to sunshine. Consider, for example, the famed Symphony No. 5 in C minor. Here, however, he seems to feel no need to calm the storm. This “tempest” will surge nearly to the final chord, the last few moments being given to a repeated Tonight marks the first sequence of quiet phrases derived from the stormier performance of this work action earlier in the movement. on our series.

The last of all Beethoven’s piano sonatas stands firmly BEETHOVEN: in his Late Period, published in the same year (1822) SONATA NO. 32 by two different international firms. The Vienna IN C MINOR, edition was dedicated to the Archduke Rudolf, younger brother of the Austrian emperor and ever-present OP. 111 in the composer’s correspondence. By contrast, the London edition, appearing further from the composer’s homeland, and less likely to come into the hands of anyone who knew him personally, was dedicated to Antonie Brentano, by all credible evidence Beethoven’s famed “Immortal Beloved.”

Some composers would close an epic series of works with something quite ambitious in scope. However, Sonata No. 32 is not the grandest of Beethoven’s sonatas, an honor belonging to Sonata No. 29, the Hammerklavier. Somewhat less than half an hour in length, Sonata No. 32 has just two movements. This is true of only five of Beethoven’s piano sonatas, each of which is barely half as long as No. 32. Here, two-thirds of the work is devoted to the second movement, one of the composer’s longest single movements. friendsofchambermusic.com 5 Program Notes Continued In the opening lines of the first movementMaestoso – Allegro con brio ed appasionato, stern chords alternate with gentler ones. Arpeggios and decorative trills leave his listeners in suspense about what direction the sonata will take. The tempo change brings a thunderous, fugue-like energy with several melodic ideas juxtaposed simultaneously against one another. Mellower interludes appear for contrast, though the overall impact is one of a very great number of notes driven along like wildfire.

The spacious second and, in this case, final movement is thoughtful and songlike. Beethoven has labeled it an “arietta” – a “little song” – and such it seems in spirit. Its theme is restated again with ever more ornamentation, as if one were adding a few more brush strokes to a canvas that is nearly, but not quite perfect. At times Beethoven chooses to decorate his theme with very long passages of floating trills, the lightness of which sets the softly flowing theme in greater relief.

As with the previous sonatas on this program, all ends with tenderness rather than high drama. Beethoven may not have realized that he would never again complete another piano sonata. Five more years remained to him, and he would be composing new works nearly until his last days. However, even if it were not intended to be last, Sonata No. 32 serves as a lovely benediction to a Last performed on our genre that had come to him from Haydn and Mozart, series December 10, 2010 but in his hands grew to become something more (Jeremy Denk, piano) ambitious and distinctly his own.

MASTER CLASS WITH JONATHAN BISS On Thursday, September 29, 10:00 a.m., Jonathan Biss will teach a Master Class in the Newman Center's Hamilton Hall. This class is open to the public and free of charge. We invite you to join us.

6 friendsofchambermusic.com “MUSIC IN THE GALLERIES” AT THE CLYFFORD STILL MUSEUM

On September 11, Friends of Chamber Music brought the Ivy Street Ensemble to the Clyfford Still Museum, opening a second season of “Music in the Galleries” concerts. The Ivy Street Ensemble, a trio of CSO musicians – Cathy Peterson (flute), Erik Peterson (violin), and Phillip Stevens (viola) – played a wonderfully varied program of music by Beethoven, Szervanszky, and Bunch.

On November 18-20, the Clyfford Still Museum celebrates its fifth-year anniversary with a weekend of free activities for the whole family, including guided tours, art-making, and music. On Sunday, November 20, two ensembles will play in a musical double bill presented by Friends of Chamber Music and Swallow Hill Music.

TRIO THESSALIA (11:00 AM) CSO musicians Karen Kinzie (violin), Leah Kovach (viola), and Susan Cahill (bass) will perfom works by Mark O’Connor, Susan Cahill, and Beethoven.

THE DUSTIN ADAMS TRIO (2:00 PM) The Trio will present its take on jazz from the 30’s and 40’s, exploring Still’s collection of Pintop Smith, Montana Taylor, and Meade Lux Lewis, among others.

Enjoy the eclectic range of music Still appreciated and join our friends at the Clyfford Still Museum in celebrating its special milestone.

Watch our website for additional “Music in the Galleries” performances, including a December 11 performance by the Altius Quartet.

friendsofchambermusic.com 7 GOOD VIBRATIONS FREE FAMILY CONCERT WITH THE ALTIUS QUARTET OCTOBER 9, 2:00 PM

Join us on October 9 for Friends of Chamber Music’s third annual Family Concert. The Altius Quartet, Fellowship Quartet-in-Residence at the University of Colorado-Boulder, will present an interactive “shuffle” program for all ages. Audience participation is a must in this unique concert! From a wide-ranging “menu” of pieces— from Mozart and Beethoven to Taylor Swift and Led Zeppelin — audience members will choose what they want the quartet to play. Release your inner DJ and learn about a variety of composers and musical styles. Come and create a set list with your friends and family!

We’ll have refreshments and a chance to meet the musicians in the lobby following this interactive program — fun for all ages!

Free to the public

Sunday, October 9, 2:00 - 3:30 p.m. Denver School of the Arts 7111 Montview Blvd, Denver 80220

For more information visit friendsofchambermusic.com

8 friendsofchambermusic.com PIANO SALONS LOCATION The home of FCM President, WITH Alix Corboy

HSING-AY HSU TICKETS $30 single class This fall FCM will once again $50 both classes host two Piano Salons with Steinway Artist Hsing-ay Hsu, ORDER BY PHONE focused on the music of Brahms 303-388-9839 and Dohnányi. ORDER BY MAIL Send a check to: FCM, TUESDAY, NOVEMBER 8, 2016, 7:30 - 9:00 PM 191 University Blvd #974, TUESDAY, DECEMBER 6, 2016, 7:30 - 9:00 PM Denver, CO 80206. Include Savor the melancholy and idealism of German name of each participant, date(s) of each class Romanticism. Discuss your reactions with fellow music you plan to attend, and lovers in the intimacy of a private residence, and then enjoy email address for class the performance of the Dohnányi Piano Quintet No. 2 confirmation. on November 9 (with the Ariel Quartet and pianist Orion Weiss) and the Brahms Violin Sonata Nos. 1 & 3 on Note: Concert tickets December 7 (with violinist Stefan Jackiw and pianist are not included in the Anna Polonsky). price of the salons. To purchase tickets, visit Space is limited to a maximum of 16 participants with friendsofchambermusic.com. registrations accepted on a first-come, first-served basis.

40 UNDER 40 Thank you to the following Friends who have sponsored “40 Under 40” guests for our 2016-17 Piano Series. FCM Patsy & Jim Aronstein Desiree Parrott-Alcorn Lisa and Steve Bain Todd & Carolyn Pickton Kate Bermingham Priscilla Press David Cohen Myra and Robert Rich Donna & Ted Connolly Lee & Jill Richman Alix Corboy Gregory Robbins Paula & Stan Gudder Laura Rogers Richard Healy Greta & Randy Wilkening Bill Juraschek BACKSTAGE RECEPTION Tonight’s backstage reception for new Piano Series subscribers and “40 Under 40” guests/sponsors will be held immediately following Mr. Biss’s recital. To enter the backstage area, please follow the signs beginning at the

bottom of the west staircase. friendsofchambermusic.com 9 2016-2017 PIANO SERIES

JOYCE YANG WED, MAR 15, 2017 | 7:30 PM Gramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

PROGRAM: Schumann: Three Romances, Op. 94 Vine: The Anne Landa Preludes Granados: Goyescas, Nos. 1 and 4 Schumann: Symphonic Etudes, Op. 13

MURRAY PERAHIA WED, MAY 3, 2017 | 7:30 PM “Perahia’s extraordinary pianism is a sacrament of purification and a kind of return to an age of pianistic innocence.” – LOS ANGELES TIMES

PROGRAM: TBA

TO ORDER PIANO SERIES TICKETS: Single tickets $35 each ($60 for Murray Perahia) $10 Students (25 years or younger) Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-872-7720 | www.newmantix.com

Apply the cost of tonight’s ticket and purchase the remaining series for only $50! Call 303-388-9839 to order.

10 friendsofchambermusic.com LOCATION SPECIAL EVENT Hamilton Hall TICKETS $25 each/$10 students 25 and younger www.newmantix.com

This concert is part of a week-long residency which will include two master classes with area music students and three additional community events. We are delighted to collaborate with this HARLEM QUARTET young and exciting quartet THURSDAY, JAN 12, 2017 | 7:30 PM of outstanding musicians. Friends of Chamber Music is pleased to present the These activities are Harlem Quartet in a special event performance on supported, in part, by Thursday night, January 12, at 7:30 pm. Imagine 2020: Denver’s Cultural Plan, as well as The Harlem Quartet is “bringing a new attitude to classical with funds provided by music, one that is fresh, bracing and intelligent,” says the the Western States Arts Cincinnati Enquirer. The quartet’s mission is to advance Federation (WESTAF), diversity in classical music, engaging young and new Colorado Creative audiences through the discovery and presentation of varied Industries, and the National Endowment repertoire that includes works by minority composers. for the Arts. YES ON SCFD renew support for SCFD by voting YES Since 1989, the Scientific & Cultural on issue 4B, which will be found at the Facilities District (SCFD), a voter- end of a very long ballot and will ask if approved tax levy of one penny on every there “…shall be an extension until June ten dollar purchase, has distributed funds 2030…of the sales and use tax currently to almost 300 non-profit organizations levied…to assist scientific and cultural in Denver and the seven-county facilities?” metropolitan area, including Friends of Chamber Music. Friends of Chamber Music has enjoyed significant support over the years from A national model of public funding SCFD. In turn, we offer our support for the arts, the SCFD has been an for the reauthorization of SCFD. We essential element in providing access to encourage you to vote YES and help arts, science, and cultural offerings for ensure the ongoing cultural, educational, some 15 million visitors a year. This and scientific vitality of our community. November voters will determine whether to reauthorize SCFD for another 12-year For more information, please consult period. The ballot question asks voters to www.YesOnSCFD.com. THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

$25,000 + Max & Carol Ehrlich Alan & Gail Seay Bonfils-Stanton Foundation Kathe & Michael Gendel San Mao Shaw Scientific and Cultural Facilities Stephen & Margaret Hagood David & Patty Shelton District, Tier III Rogers & Ruth Hauck Ric Silverberg & Judith Cott John Lebsack & Holly Bennett Steven Snyder $5,000 + Theodor Lichtmann David Spira & Shirleyan Price The Denver Foundation Rex & Nina McGehee Claire Stilwell Kathy Newman & Ann Richardson & Bill Stolfus $2,500 + Rudi Hartmann Margaret Stookesberry Alix & John Corboy Ray Satter Dick & Kathy Swanson Imagine 2020: Denver's Henry R. Schmoll Berkley & Annemarie Tague Cultural Plan Edie Sonn Eli & Ashley Wald Cynthia & John Kendrick Chet & Ann Stern Norman Wikner & Lela Lee Richard Replin & Elissa Stein Walter & Kathleen Torres Joseph & Barbara Wilcox Andrew Yarosh * $1,000 + $250 + Anonymous Jan Baucum $100 + Patsy & James Aronstein * Pam Beardsley Barton & Joan Alexander Lisa & Steve Bain Barbara Bohlman Jim & Ginny Allen Bob & Cynthia Benson Theodore Brin Anonymous Howard & Kathleen Brand Andrew & Laurie Brock Shannon Armstrong Bucy Family Fund Peter Buttrick & Carolyn & Ron Baer C. Stuart Dennison Jr. Anne Wattenberg Dell & Jan Bernstein Ellen & Anthony Elias David & Joan Clark Sandra Bolton Fackler Legacy Gift Geri Cohen Carolyn & Joe Borus Joyce Frakes Fran Corsello Michael & Elizabeth Brittan Robert S. Graham George & Sissy Gibson Darrell Brown & Max Grassfield,in memory of Paula & Stan Gudder Suzanne McNitt Pat Grassfield David & Lynn Hurst Peter & Cathy Buirski Celeste & Jack Grynberg Ann & Douglas Jones Susan Lee Cable Michael Huotari & Jill Stewart Hannah Kahn & Arthur Best Bonnie Camp McGinty Co. George Kruger Nancy Kiernan Case Kim Millett Carol & Lester Lehman Cecile Cohen Frank & Pat Moritz John & Terry Leopold Dana Klapper Cohen Robert & Judi Newman Mark & Lois Levinson Anne Culver Mary Park & Douglas Hsiao Ann Levy Catherine C. Decker Myra & Robert Rich Nina & Alan Lipner Vivian & Joe Dodds Jeremy & Susan Shamos David & Lyn Loewi, in memory Kevin & Becky Durham Bobbi & Gary Siegel of Ruth & Roger Loewi Barbara Ellman Marlis & Shirley Smith Jeri Loser David & Debra Flitter TourWest, a program of Philippa Marrack Judy Fredricks WESTAF (Western States Arts Robert Meade Robert C. Fullerton Federation), supported by Kirsten & Dave Morgan Herbert & Lydia Garmaier a grant from the National Marilyn Munsterman & Donna & Harry Gordon Endowment for the Arts. Charles Berberich Kazoo & Drusilla Gotow Rosemarie & Bill Murane John S. Graves $500 + John & Mary Ann Parfrey Gary & Jacqueline Greer Jules & Marilyn Amer Carolyn & Garry Patterson Gina Guy Georgia Arribau David S. Pearlman Pam & Norman Haglund Linda & Dick Bateman Jane & Bill Russell Jeff & Carmen Hall David S. Cohen Charley Samson Richard & Leslie Handler Susan & Tim Damour * Richard & Jo Sanders Dorothy Hargrove

12 friendsofchambermusic.com Larry Harvey Donald Schiff, in memory of Mari Newman June Haun Rosalie Schiff Larry O’Donnell Richard W. Healy John & Patricia Schmitter Martha Ohrt Eugene Heller & Lily Appleman Kathryn Spuhler Sarah Przekwas David & Ana Hill Morris & Ellen Susman Robert Rasmussen Joseph & Renate Hull Decker Swann Michael Reddy Frank & Myra Isenhart Cle Symons Margaret Roberts Stanley Jones Malcolm & Hermine Tarkanian Suzanne Ryan Suzanne Kaller Margot K. Thomson Cheryl Saborsky Michael & Karen Kaplan Tom Vincent Sr. & Michael & Carol Sarche Edward Karg & Richard Kress Tom Vincent Jr. Jo Shannon Robert Keatinge Jeff & Martha Welborn Artis Sliverman Bruce Kindel Greta & Randy Wilkening * Lois Sollenberger Roberta & Mel Klein Robert & Jerry Wolfe Paul Stein Ellen Krasnow & John Blegen Ruth Wolff Steve Susman Elizabeth Kreider Karen Yablonski-Toll Barbara Walton Doug & Hannah Krening Jeff Zax & Judith Graham Jack Henry Kunin R. Dale Zellers * Gift made to Richard Leaman Carl & Sara Zimet FCM Endowment Seth Lederer Igor & Jessica Levental $50 + MEMORIAL GIFTS Philip Levy Lorraine & Jim Adams In memory of Allan Rosenbaum Penny Lewis Vernon Beebe Leslie Clark Baker Judy & Dan Lichtin Thomas Butler Robert Charles Baker Arthur Lieb Barbara Caley Kate Bermingham Charles & Gretchen Lobitz Hilary Carlson & Janet Ellis Carnes Wealth Management John & Merry Low Marlene Chambers (John Carnes) & Pam Oliver Elspeth MacHattie & Jane Cooper Mary and Michael Davis Gerald Chapman Stephen & Dee Daniels David & Laura Dirks Evi & Evan Makovsky Nancy & Mike Farley Dr. & Mrs. Paul Fishman Roger Martin Janet & Arthur Fine Jim & Donna Flemming Alex & Kathy Martinez John & Debora Freed Larry Harvey Bill and Lisa Maury Martha Fulford Suzanne Kaller Myron McClellan & Barbara Gilette & Alfred Kelley Lawrence Phillips Kay Kotzelnick Fred & Debra Krebs Bert & Rosemary Melcher Barbara Goldblatt Marjorie Maltin Dave & Jean Milofsky Henry & Carol Goldstein Jay and Lois Miller Paul & Barb Moe Sandra Goodman Rosemarie and Bill Murane Douglas & Laura Moran Sanders Graham Kathy Newman & Betty Naster * Thomas & Gretchen Guiton Rudi Hartmann Robert & Ilse Nordenholz Leonard & Abbey Kapelovitz Desiree Parrott-Alcorn Robert N. O’Neill Daniel & Hsing-ay Hsu Kellogg Garry & Carolyn Patterson Tina & Tom Obermeier Doris Lackner, in memory of Michael Reddy Dee & Jim Ohi Edwin Kornfeld Robert & Myra Rich John Pascal Della Levy Stanley & Karen Saliman Don & Becky Perkins James Mann & Phyllis Loscalzo Carl Pletsch Estelle Meskin, for Darlene In memory of Henry Claman Carol Prescott Harmon, piano teacher Dr. & Mrs. James Adams Ralph & Ingeborg Ratcliff extraordinaire David & Geraldine Brickley Reid Reynolds Rhea Miller Shirley Epstein Gene & Nancy Richards Joanna Moldow Dr. & Mrs. Paul Fishman Marv & Mary Robbins Betty Murphy Jim, Marty, & Megan Hartmann Herb Rothenberg, in memory of Mary Murphy Hanna & Mark Levine Doris Rothenberg Kathy Newman & Rudi Paul & Barbara Moe Lorenz Rychner Hartmann, in honor of Mollie Joan F. Skiffington Jankovsky's birthday.

friendsofchambermusic.com 13 UPCOMING CONCERTS CHAMBER SERIES PIANO SERIES Wu Han, piano Joyce Yang Philip Setzer, violin Wednesday, March 15, 7:30 PM David Finckel, cello Murray Perahia Wednesday, October 5, 7:30 PM Wednesday, May 3, 7:30 PM Ariel Quartet SPECIAL EVENTS Orion Weiss, piano Free Family Concert with Wednesday, November 9, 7:30 PM the Altius Quartet Stefan Jackiw, violin October 9, 2:00 PM Anna Polonsky, piano Denver School of the Arts Wednesday, December 7, 7:30 PM Harlem Quartet Danish String Quartet January 12, 7:30 PM Monday, February 13, 7:30 PM Hamilton Hall Venice Baroque Orchestra ADVANCE SINGLE TICKETS ARE Nicola Benedetti, violin AVAILABLE FOR ALL CONCERTS. Wednesday, February 22, 7:30 PM Visit our website: www.friendsofchambermusic.com Steven Isserlis, cello or contact the Newman Center Connie Shih, piano Box Office, 303-871-7720; Tuesday, April 25, 7:30 PM www.newmantix.com

SPECIAL THANKS SCIENTIFIC AND CULTURAL BONFILS-STANTON FOUNDATION FACILITIES DISTRICT (TIER III) for sponsorship of FCM’s Piano Series for supporting FCM’s outreach efforts and audience development programs in through school residencies and master memory of Lewis Story classes ESTATE OF JOSEPH DEHEER COLORADO PUBLIC RADIO (KVOD ESTATE OF SUE JOSHEL 88.1 FM) for providing lead gifts to the FCM for broadcasting FCM concerts on its Endowment Fund “Colorado Spotlight” programs

Gates Concert Hall • Newman Center for the Performing Arts • University of Denver friendsofchambermusic.com