2013 festival program (june)

IconicEclecticDynamic

FascinatingInnovativeMajesticIntimate

EnlighteningStirringUpliftingSoothing

InspirationalProvocative

June 2–June 22, 2013

MainlyMozartFestival

San Diego

Maestro David Atherton's Farewell Season

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T H E $ 2 0 0 , 0 0 0 V I S I O N C H A L L E N G E

ENGAGE, INSpIrE & TrANSfOrm LIVES THrOuGH muSIC

for more on giving opportunities, please contact Kacie Desmond at (619) 239-0100 x 304.

DONATE TONIGHT DOuBLE YOur ImpACTWhen you give this evening, your gift will be matched dollar-for-dollar by our generous Vision Challenge Lead Donors:

McGrory Family Fund, The Patricia and Christopher Weil Family Foundation, Paul Meschler

& Alexandra Pearson, Richard Woltman, Anne Taubman & David

Boyle, and Sam Ersan.

Look for Donation boxes in the lobby or ask a Mainly Mozart representative for assistance!

mainlymozart.org

mAINLY mOzArT ENGAGES & INSpIrESn 20,000 school age children n 15,000 audience members n 500 student musicians

mAINLY mOzArT prODuCES & prOmOTESn Nearly 70 concerts in

San Diego & Tijuanan The nation’s only

Orchestra of All-Starsn A national arts

spotlight on San Diegon Innovation and

collaboration

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San Diego Mainly Mozart Festival 2013

Twenty-five years ago, as I sat as a guest of our longtime friends, Blaine and BobbieQuick, in the audience at the Old Globe’s outdoor theater, an idea crossed my mind:why not form a summer festival featuring some of the best musicians I could find inan idyllic, well-established venue at a time of year when a hiatus existed in SanDiego’s musical life. Following a lunch with George and Martha Gafford, to this dayour dearest companions, I asked Laurie Waddy to form a support group and, tenmonths later, the Mainly Mozart Festival was born. Little did I believe that now, aquarter of a century later, we would be celebrating Mainly Mozart’s phenomenalsuccess and that many of those early benefactors, including Peggy Duly and VerylMortenson, would still be supporting us.

For me, June has always been a very special month; it has meant that I have had theopportunity to enjoy wonderful music-making with some of the best instrumentalistsyou will find anywhere in the world. I have always likened it to chamber music on alarge scale. The players are so experienced and technically mature that rehearsals takeon an aura of relaxation and pleasure, far removed from the pressures experiencedduring the rest of the year. In the early part of my professional career I played thepiano to an acceptably high standard, one of my most treasured moments being a recital with Yehudi Menuhin. However, since then I have played less and less, eventually reaching my present somewhat decrepit state where the mind is willing, but the muscles refuse to follow. I miss those early days of performing all the Beethoven Piano Trios and tangibly experiencing the thrill and camaraderie of playing chamber music with other like-minded musicians. For me directing the wonderful MM musicians has enabled me to rekindle those early memories of musical friendship and teamwork. I will miss them all, particularly a colleague such as Bill Preucil, who has been with us from the start and has been such a tremendous support and encouragement.

From the beginning, the mainstay of Mainly Mozart has been Nancy Laturno Bojanic, my “work wife” and trusted colleague. She has been instrumental in maintaining the organization’s equilibrium through some difficult times and is now pushing on towards new frontiers. As I follow Mainly Mozart’s progress from afar, I wish her and all involved every possible success. I will miss you all.

DaviD athertonFounder and Music Director

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A Message From Maestro David Atherton

Administrative Offices444 West Beech Street, Suite 220 San Diego, CA 92101Phone: (619) 239-0100Fax: (619) 233-4292mainlymozart.org

Box Office(619) 46-MUSIC (619) 466-8742Monday-Friday, 9 am - 5 pmSaturday 10 am - 4 pmVenue box office opens 90 minutesprior to performance.

Nancy Laturno BojanicExecutive Director

AdministrAtionTyler Richards HewesAssociate DirectorRobert FishmanDirector of AdministrationRosemary BognarControllerGreg DarlingFinancial ConsultantAmerica GodinezBookkeeperMadeline StewartAdministrative Assistant

dEVELoPmEnt/ mArKEtinGKathryn MartinInterim Director of DevelopmentStrategy & MessagingKacie DesmondDevelopment AssociateLaura GrantNational PublicistJudith AndersonExternal CommunicationsMonica HickeyGraphic DesignerLauren DitontoMarketing Associate

PAtron rELAtionsLuis AlaridInformation Systems Manager Laura DeSistoPatron RelationsConstance BettinoClub Amadeus ConciergeSusan LaslavicOutreach Coordinator Ehren BollenbacherBox Office Representative

ProdUCtionDrew CadyConcerts Manager & Technical ProducerPaige SatterAssociate Concerts ManagerDavid LeytonRecording EngineerErica BoddieReception CoordinatorBud FisherPiano Technician

UsHEr CAPtAinsMuriel SandyLucia SmallheerDoug SmallheermAinLY moZArt BinACionALAlida Guajardo de CervantesPresidenta

Rosa H. Rodriguez RodriguezCommunicacíon y DiseñoMónika Saldaña BeltránDifusión y Comercialización

david Atherton Looks Back .................................. pg 1Board of directors ................................................. pg X Welcome Letters .................................................... pg XFestival overview .................................................. pg XFamily of donors ................................................... pg XArtistic Leadership team ....................................... pg XFestival orchestra Artist roster ............................ pg Xmainly mozart Festival orchestra Concerts ......... pg XFestival Chamber Players Artist roster ............... pg Xmainly mozart Chamber Players Concerts ........... pg XEvolution Concerts................................................ pg Xseries/Concert sponsors ...................................... pg X25th Anniversary Leadership Circle ...................... pg X25th Anniversary Lead Challenge donors ............. pg XHaffner Host List of Participants .......................... pg Xdonor Listing ......................................................... pg XPlanned Giving ....................................................... pg X

Venue Addresses

Balboa Theatre, Downtown868 4th Ave, San Diego, CA 92101

The Auditorium at TSRI, La Jolla10640 John Jay Hopkins Drive, San Diego, CA 92121

The Crosby Estates, Rancho Santa Fe17102 Bing Crosby Blvd, Rancho Santa Fe, CA 92127

St. Elizabeth Seton Church, Carlsbad6628 Santa Isabel Street Carlsbad, CA 92009

The Village Church, Rancho Santa Fe6225 Paseo Delicias, Rancho Santa Fe, CA 92067

Ruby G. Schulman Auditorium, Carlsbad1775 Dove Lane, Carlsbad, CA 92011

The US Grant Hotel, Downtown326 Broadway, San Diego, CA 92101

The Timken Museum, Balboa Park1500 El Prado San Diego, CA 92101

The Abbey, Downtown2825 Fifth Avenue, San Diego CA 92101

TAble oF ConTenTS

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San Diego Mainly Mozart Festival 2013

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For 24 years, I've used this space to write a message to our patrons about what the season holds. In this 25th year, I want instead to write a love letter.

Dear David,

There are no words to tell you what our 25 years together at Mainly Mozart have meant to me. You have been my mentor, my partner, my sounding board, and my true and beloved friend. Of course, my love and admiration for you pre-date Mainly Mozart and your vision to create the magnificent Festival Orchestra. It started in 1982 at the San Diego Symphony, where you were Maestro and I was barely beginning my career. It was there, through you, that I learned how to listen to music, and I learned that quality is the one thing that can never be compromised or sacrificed. As Mainly Mozart continues, I will always attempt to honor your absolute commitment to excellence.

Through our many years we have dreamed together, planned together, and celebrated together. We have shared in each other's victories and losses. We have argued and made up as often as any two strong personalities might, over a 31 year partnership. But, we have never lost sight of the love and mutual respect that we share. I will never lose you as my friend, but as my professional partner, you will be remembered and missed every day. We will honor your legacy as we chart our visionary course for the future.

With endless love and gratitude,Nancy

nanCY LatUrno BoJaniCFounding Executive Director

What better way to celebrate our Silver Anniversary season than to present even more music? Whether your tastes lie with

orchestral music or chamber ensembles or today's musical innovators, there's something for you in venues from Carlsbad to Tijuana – 43 events in 44 days!

As the Festival closes, we will say farewell to our Founding Music Director David Atherton whose dedication to musical excellence remains at the foundation of our mission. The Mainly Mozart Orchestra of concertmasters and principal players from the nation's leading orchestras will remain the keystone of our Festival as we develop new programs for our community. Building upon the legacy of our past, we are embracing the opportunities provided by our spectacular new Artistic Leadership team, our amazing Founding Executive Director Nancy Laturno Bojanic and her staff, and a dedicated Board of Directors.

Our new Mainly Mozart Youth Orchestra, formerly San Diego Young Artists Symphony, will enable young musicians to interact with our world-class Mainly Mozart artists. A partnership with the New Children's Museum and new cross-border opportunities will introduce families throughout the region to the very finest in classical music.

We have launched a $200,000 Vision Challenge Match – the largest in Mainly Mozart's history – to support the key initiatives of our Three-Year Vision Initiative: Connecting through Genius. A consortium of current Mainly Mozart supporters has challenged the community to raise $100,000 which they will match dollar for dollar.

We are deeply grateful to the individuals, businesses, community leaders and partner organizations that continue to make serving our community at this level possible through their generous financial support and personal involvement.

We're so glad you're sharing this milestone 25th

Anniversary celebration with us, and we invite you to respond to the Vision Challenge, deepen your involvement, and join us for a great ride into the next 25 years!

aLexanDra pearson JaCk MCGrorYChair President

25th Anniversary Welcome Letters

Board of directors 2012-2013Executive OfficersAlexandra Pearson, ChairJack McGrory, PresidentMark Burgess, Vice President /TreasurerLinda Satz, SecretaryAnne Taubman, Executive Member-at-Large

Directors Vernon AguirreAlida Guajardo de CervantesNancy M. ChaseDonna ConatyDr. Jerrold HellerKate LeonardReinette LevineM. Ernest Ligon, Jr.Peter ManesEsther NahamaSteve PelzerDan RatelleMarsha SewellChristopher Weil

mainly mozart FoundersFounding Board 1988Blaine B. Quick, ChairLaurie Waddy, PresidentRamona Sahm, Vice PresidentMartha Gafford, Vice PresidentVeryl J. Mortenson, SecretaryJacqueline Powell, Chief Financial OfficerPeggy E. DulyDonald W. McVayCharles A. Owen IIID’Neane WilkinsonRonald R. Zappardino

Advisory CouncilNorman BlachfordLarry ClapperGeorge GaffordChristine HatchDr. Ronald HellerStephen HendersonReena HorowitzGeorge HowardDea HurstonOsborn HurstonIlene MittmanDick PinneyEdward RichardNina SabbanNeal SchneiderErin Weidner

Chairs EmeritusBlaine B. Quick 1988-1994Ronald Bird 1994-1999Susan Heller 1999-2001Edward Richard 2001-2004Christopher Weil 2004-2006Reinette Levine 2006-2008Dr. Merle Fischlowitz 2008-2010

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Mainly Mozart founding Board President Laurie Hancock Waddy excelled in the business world as well as in the arts. In 1988 David Atherton asked Laurie, who had served as President of the San Diego Symphony from 1976-1978, to form a support group and,ten months later, the Festival was born. She led through inspiration, bringing passion, energy and connections to everything she did. We dedicate this 25th Anniversary Mainly Mozart Festival to her memory.

Mainly Mozart Festival Overview 43 Events in 44 Days!

9:30 PM Closing Night Gala Silver Anniversary Celebration at the U.S. Grant Hotel - Honoring maestro david Atherton’s 25 years

Sunday, June 2, 2013 | Ruby G. Schulman Auditorium, Carlsbad | 2:00 PMIda Levin, violin; Anna Polonsky, piano Schubert Sonatina for Violin and Piano, Op. 137, No. 3, D. 408 Tchaikovsky Meditation, Op. 42, No. 1 Beethoven Sonata for Violin and Piano in F “Spring”, Op. 24

Tuesday, June 4, 2013 | Timken Museum, Balboa Park | 7:00 PMIda Levin and Tien-Hsin Cindy Wu, violins;Che-Yen Chen, viola; Ronald Thomas, cello Mozart/Bach Preludes and Fugues K. 404a, Nos. 1-3 MozartString QuartetNo.22inBflat,K.589

Thursday, June 6, 2013 | The Abbey, San Diego | 7:30 PM“Mexico’s Next Wave of Classics and Jazz” – Magos Herrera, vocalist; Cuauhtémoc Rivera, violinHoracio Franco, recorder; Celso Duarte, harp; Stephen Prutsman, piano

TWorks by Two Classical Mavericks of Mexico Manuel Ponce Sonata Silvestre Revuelta's "Tres Piezas para violín y piano " Music of Bach and the Ancients Partita in A Major for Flute, BWV 103, J.S. Bach - Dances of the Indigenous Peoples of México The Folkloric Heart of Mexico "Azul" - Smooth Jazz on the Mexican Horizon

Friday, June 7, 2013 | El Cubo – Centro Cultural Tijuana (CECUT), Tijuana | 8:00 PM“Mexico’s Next Wave of Classics and Jazz” – Repeat of Thursday, June 6 Performance

Saturday, June 8, 2013 | The Village Church, Rancho Santa Fe | mainly mozart Gala Performance 5:00 PM Auction and cocktails | 6:30 PM Orchestra concert with intermissionMainly Mozart Festival Orchestra – David Atherton, conductor; Nathan Hughes, oboe; Anthony McGill, clarinet; Whitney Crockett, bassoon; Julie Landsman, horn Mozart Adagio and Fugue in C minor, K. 546 Mozart SinfoniaConcertanteinEflat,K.297b Beethoven Symphony No. 1 in C, Op. 21

Sunday, June 9, 2013 | Ruby G. Schulman Auditorium, Carlsbad | 2:00 PMMartin Chalifour, violin; Ronald Thomas, cello; Nathan Hughes, oboe;Whitney Crockett, bassoon;Kevin Fitz-Gerald, piano Francaix Trio for Oboe, Bassoon, and Piano Beethoven Symphony No. 2 in a Transcription by the Composer

Tuesday, June 11 | Timken Museum, Balboa Park | 7:00 PMMartin Chalifour and Harumi Rhodes, violins; Che-Yen Chen, viola;Ronald Thomas, cello; Anthony McGill, clarinet Mozart DuoforViolinandViolainBflat,K.424 Mozart Clarinet Quintet in A, K. 581

Wednesday, June 12, 2013 | The Abbey, San Diego | 7:30 PM“Jazz by Classics” – PROJECT Trio;Stephen Prutsman, piano; Hausmann Quartet Jazz Piano Etudes Prutsman Bach and the Music of the Near East Hausmann Quartet/Prutsman Three Jazz Arrangements for Piano Quintet Hausmann Quartet/Prutsman PROJECT Trio

Thursday, June 13, 2013 | Balboa Theatre, Downtown | 7:30 PMMainly Mozart Festival Orchestra – David Atherton, conductor;William Preucil, violin; Cynthia Phelps, viola: Timothy Pitts, double bass Mozart Overture: Don Giovanni, K. 527 Mozart SinfoniaConcertanteinEflat,K.364 Francaix "Mozart new-look” on Serenade from Don Giovanni Weber Symphony No. 1 in C, J. 50

Friday, June 14, 2013 | Tía Juana Tilly’s,Tijuana | 8:00 PM“Jazz by Classics” – Repeat of Wednesday, June 12 Performance

Saturday, June 15, 2013 | Balboa Theatre, Downtown | 7:30 PMMainly Mozart Festival Orchestra – David Atherton, conductor; Nadja Salerno-Sonnenberg, director & violin;Anthony McGill, clarinet; Anne-Marie McDermott, piano Lutoslawski Dance Preludes Mozart Clarinet Concerto in A, K. 622 Mozart Concert Rondo in D, K. 382 Piazzolla Four Seasons of Buenos Aires Heidrich Happy Birthday Variations

Sunday, June 16, 2013 | Ruby G. Schulman Auditorium, Carlsbad | 2:00 PMErin Keefe, violin; Cynthia Phelps, viola; Ronald Thomas, cello; Joshua Ranz, clarinet;Bernadene Blaha, piano Poulenc SonataforClarinetandPianoinBflat Fauré Piano Quartet No. 1 in C minor, Op. 15

Tuesday, June 18, 2013 | Timken Museum, Balboa Park | 7:00 PMErin Keefe and Harumi Rhodes, violins; Mark Holloway, viola; Ronald Thomas and Yao Zhao, celli Schubert StringQuintetinC,D.956

Wednesday, June 19, 2013 | The Abbey, San Diego | 7:30 PM“World Dances and Musical Movements” – Decoda; Becca Stevens, vocalist “Dmitri Yanov-Yanovsky CHANG IV” Andrew Norman “Sabina” from “The Companion Guide to Rome” John Adams “Book of Alleged Dances” Decoda Singer/composer/guitaristBeccaStevensperformsheruniqueandunclassifiedsongswithsparkling brandnewarrangementsforTheDeclassifiedbyStephenPrutsmanandWilliamStevens

Thursday, June 20, 2013 | Balboa Theatre, Downtown | 7:30 PMMainly Mozart Festival Orchestra – David Atherton, conductor; Anton Nel, piano Mozart FiveContradances,K.609 Fauré Pavane, Op. 50 Mozart Piano Concerto No. 21 in C, K. 467 Poulenc Mouvements Perpétuals Schubert Symphony No. 3 in D, D. 200

Saturday, June 22, 2013 | Balboa Theatre, Downtown | 7:30 PMMainly Mozart Festival Orchestra – David Atherton, conductor,Adam Neiman , piano Mozart SymphonyNo.1inEflat“London”,K.16 Shostakovich Piano Concerto No. 2 in F, Op. 102 Tchaikovsky Elegy in G from “Hamlet” Mozart Symphony No. 41 in C “Jupiter”, K. 551

g All-Star Festival Orchestra g Chamber Playersg Evolution

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Family of SupportersFamily of Supporters Leadership Circle

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thank you to our 25th Anniversary Leadership Circle donors!Your gifts of significance mean so much.

thank you to our 2013 Festival series and Event sponsors

Richard Woltman

The McGroryFamily Fund

Alexandra Pearson & Paul Meschler

Sam Ersan

The Patricia & Christopher WeilFamily Fund

Norman Blachford& Peter Cooper

Katherine Leonard& Richard Forsyth

Dr. Jerrold Heller

Reinette & Marvin Levine

Drs. Kay & John Hesselink

Bobbie Hoder

M. Ernest Lignon, Jr& Donna Fabbri

Helen Hodges

Peter & Jane Polger Anne Taubman & David Boyle Pam Slater-Price

Joan &Irwin Jacobs

Michael Hostetler& Erica Pascal

individuals

Corporations

Visit us @ viasat.com

_Mainly_Mozart_Ad_June_2013_Full_Page_002.indd 1 5/8/13 1:11 PM

Family of Donors

25Th AnniverSAry SeASon PArTnerSPresenting Partners

Sponsoring Partners

Supporting Partners (In-Kind)

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Woltman FamilyFoundation

Mainly Mozart Leadership TeamnanCY BoJaniCUnder her leadership, Mainly Mozart has become a musical leader in the region – with innovative, audience-engaging concerts and new initiatives that take a deep look at Mozart and the genius that defines him.FOUNDING EXECUTIVE DIRECTOR

anne-Marie MCDerMottCuratorEqually sought after as performer and programmer, pianistAnne-Marie McDermott has breathed new life into this 18 year-old series that presents the works of Mozart and the Mastersin intimate settings.SPOTLIGHT SERIES

WiLLiaM preUCiLConcertmasterOne of the nation’s most revered concertmasters, Mainly Mozart Founding Concertmaster William Preucil has enriched the Festival’s music-making with inspired leadership since 1989.MAINLY MOZARTFESTIVAL ORCHESTRA

tiM MULLenArtistic PartnerNeuroscientist and musician Tim Mullen has designed a ground-breaking series that merges research, technology, and art, exploring the neurobiology of music and its role in cognitive issues.

MOZART & THE MIND

DaviD athertonHis extraordinary vision and artistry have led to a Festival Orchestra of All-Stars like no other in North America! Maestro Atherton hands over his baton at the end of this year’s Festival.

FOUNDER ANDMUSIC DIRECTOR

ron thoMasArtistic PartnerArtistic Director Emeritus of the Boston Chamber Music Society, cellist Ronald Thomas defines this new series with thoughtful programming based on Orchestral repertoire.

CHAMBER PLAYERS

stephen prUtsManArtistic PartnerPianist, composer and arranger Stephen Prutsman has created a new series that celebrates musical innovators in programs that meld classical, blues, jazz, contemporary, and alternative music.EVOLUTION

hernan ConstantinoMusic DirectorViolinist and educator Hernan Constantino leads the region’s only youth orchestra with a star-studded Artist-Faculty that serves youth of all levels - from 3-23.

YOUTH ORCHESTRA

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Visit Westfield Concierge on Level 1 to ask for your VIP Passport to Savings featuring great discounts and values.

Silver AnniversaryGala Celebration

Silver Angel Patron: $1,250

Concert & Black-Tie Gala: $300

Black-Tie Gala only: $250

U.S. GrantHotelSaturday,June 22, 20139:30pmfollowing the Balboa Theatre concert

George andMartha Gafford Honorary Chairs

Reinette Levine

Esther Nahama Chairs

Committee

Susan Heller

Veryl Mortenson

Alexandra Pearson

Linda Satz

Marsha Sewell

Share a champagne toast while chatting with Festival artists.Enjoy a sumptuous late supper buffet and an extraordinary 25th anniversary cake.

Silver Angel Patrons

Charlene Abrahamson

Peggy Duly

Chuck Freebern

George & Martha Gafford

Dr. Ronald & Sue Heller

Ingrid Hibben

Barbara Kjos

Marvin & Reinette Levine

Scott & Betsy McClendon

Jack McGrory

Veryl Mortenson

Esther Nahama

Alexandra Pearson

Blaine Quick

Mandell Weis Foundation

Richard Woltman

Vincent Andrunas and Marji Atwood

Steve Hart

Michael Hostetler and Erica Pascal

Chris and Patricia Weil

Richard Della Penna & Merle Neponic

Event underwriters

Alexandra Pearson

Mandell Weiss Charitable Trust

Concert Sponsor

Sam Ersan

Join us for Closing Nightof the 2013 Mainly Mozart Festival.

The evening begins at 7:30 pm with

a concert of Mozart, Tchaikovsky and Shostakovich at the Balboa Theater.

Following the concert, a gala black-

tie event celebrates the organization’s twenty-fifth year, honoring Founder

David Atherton.

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In1989,MaestroAthertonassembled this group of young (!) people and we descended upon San Diego with eager anticipation of enjoying some Mozart in one of our country's most beautiful cities. The instantaneous musical and personal bond that formed between the musicians that day in June was a remarkable experience to witness and feel. The music making and the people were both extraordinary. Since then, this forged family of musicians has made many friends in San Diego and Mexico has kept in touch during the "off season" via all of the newest inventions: cellular phones, email, and social media. Many of our Mainly Mozart family are now making the big glissando into middle age, and our group has shared together the joys and sorrows that are natural in life. We have celebrated marriages and births, endured misfortune and divorce, mourned for those who have left us, and we reunite every summer to heal together and revel in the amazing pleasure of sharing Mozart's music.

Thank you to David, Nancy, and San Diego for making our lives richer. Bill

William Preucil, Concertmaster

Maestro David Atherton

Founder and Music Director, Maestro Atherton studied music at Cambridge Uni-versity where his operatic conducting aroused much interest from the national press. In 1967 Sir Georg Solti invited him to join the music staff of the Royal Opera House, London, and the following year, at the age of 24, he became the youngest conductor ever to appear there. In his twelve years as Resident Conductor he gave over 150 performances with Covent Garden, including a highly successful visit to La Scala, Milan. As a guest conductor he returns there frequently, his most recent engagements having been new productions of operas by Ravel, Stravinsky and Meyerbeer. Other recent performances include Tosca, Wozzeck and Salome for Canadian Opera, The Makropulos Case (in New York) and A Midsummer Night’s Dream for Glyndebourne Festival Opera, and many new productions for English National Opera including Turandot, The Love for Three Oranges, Der Rosenka-valier, Salome, Peter Grimes and Billy Budd, a work he has championed with the San Francisco and Metropolitan Operas. He returns to the Met on a regular basis having also conducted The Barber of Seville, Peter Grimes and new productions of A Midsummer Night’s Dream and Death in Venice. David Atherton was co-founder of the London Sinfonietta in 1967 and as its Music Director, gave the first perfor-mance of many important contemporary works. The Sinfonietta, widely regarded as one of the world’s leading chamber orchestras, has made countless recordings with him, including highly praised collections of works by Schoenberg, Janacek and Weill. His work in the recording studio has gained an Edison Award, many Grammy Award nominations and the sought-after Grand Prix du Disque. He has also been honoured with the Serge Koussevitsky Critics’ Award and the Prix Caecilia. Of his recording of Tippett’s opera King Priam, for which he was given the coveted In-ternational Record Critics’ Award, generally regarded as the world’s top recording prize, the composer wrote in his autobiography: “Some artists will show insight into my vision: an example would be David Atherton’s conducting… But then, Atherton is a conductor of genius.” He became the youngest conductor in the history of the BBC’s Henry Wood Promenade Concerts and subsequently appeared in thirty con-tiguous seasons. He travels widely, in particular to the USA where he regularly vis-its the leading North American orchestras, notably those in Atlanta, Dallas, Detroit, Los Angeles, Minnesota, Montreal, New York, Pittsburgh, and San Francisco. Other recent engagements have taken him to Australia and Japan as well as to the Czech Republic (to open the Prague Spring Festival), Sweden, Finland, Holland, Belgium, France, Spain, Portugal, Greece, Italy and Germany (to open the Berlin Festival with the Berlin Philharmonic Orchestra). From 1980 to 1987 he was Music Director of the San Diego Symphony Orchestra and he returns to California each summer to direct the Mainly Mozart Festival, which he founded in 1989. He has also held titled positions with the BBC Symphony, Royal Liverpool Philharmonic and BBC National Orchestra of Wales, as well as devising and conducting festivals in London featur-ing the complete works of Ravel, Stravinsky, Webern and Varèse with the London Sinfonietta, London Symphony Orchestra, BBC Symphony Orchestra and the Royal Opera House. From 1989 David Atherton was the Music Director of the Hong Kong Philharmonic Orchestra. On his retirement from this position in 2000 and in recognition of his services to the music of Hong Kong, he was awarded the OBE and made the orchestra’s Conductor Laureate.

David Atherton, ConductorSponsored by Barbara Kjos Violin

William Preucil, ConcertmasterConcertmaster, Cleveland orchestraSponsored by Russell and Mary Johnson

Martin Chalifour, Associate ConcertmasterConcertmaster, los Angeles PhilharmonicSponsored by Russell and Mary Johnson

Juliana Athayde, Associate ConcertmasterConcertmaster, Rochester PhilharmonicSponsored by Anne Taubman and David Boyle

Marie BerardAssociate ConcertmasterConcertmaster, Canadian opera orchestraSponsored by Dr. Merle and Teresa Fischlowitz

Jun Iwasaki, PrincipalConcertmaster, nashville SymphonySponsored by Michael and Brenda Goldbaum

Dale BarltropConcertmaster, Vancouver Symphony

Erin KeefeConcertmaster, Minnesota orchestraSponsored by Neil and Sonja Johnson

Missy LukinSan Diego SymphonySponsored by Dr. Charles and Brita Tesar

Nathan OlsonCo-Concertmaster, Dallas Symphony

Alexandra PreucilAssistant Concertmaster, Cleveland orchestraSponsored by Charlene Abrahamson

Harumi RhodesTrio CavatinaSponsored by Christopher and Patricia Weil

Leslie ShankSaint Paul Chamber orchestraSponsored by Dr. Charles and Brita Tesar

Jeff ThayerConcertmaster, San Diego SymphonySponsored by Joan Roberts

Ertan TorgulSoli Chamber EnsembleSponsored by Peter Manes and Yoko Sakaguchi

Jeffrey ZehngutCleveland orchestra Sponsored by Linda and Joe Satz V iolA

Che-Yen Chen, PrincipalFormosa String QuartetSponsored by Reinette and Marvin Levine

Cynthia Phelps, PrincipalPrincipal, new York PhilharmonicSponsored by Ann Fulmer

Aloysia FriedmannArtistic Director, orcas island Chamber Music Festival Sponsored by Christopher and Patricia Weil

Mark HollowayChamber Music Society of lincoln Center TwoSponsored by Esther Nahama

Tien-Hsin Cindy WuFaculty, Thornton School of Music at theUniversity of Southern California CEllo

Ronald Thomas, PrincipalFounder, Boston Chamber Music SocietySponsored by John and Kay Hesselink

Sarah Cleveland Principal, Ann Arbor SymphonySponsored by Larry Clapper and Gretchen Vik

Michelle Djokic new Century Chamber orchestra

David HuckabySaint Paul Chamber orchestraSponsored by William Male

Mary Oda SzantoSan Diego Symphony

Yao ZhaoPrincipal, San Diego Symphony

BASS

Timothy Pitts, PrincipalProfessor of Double Bass, Rice UniversitySponsored by The Mortenson Family

Oscar MezaAssitant Principallos Angeles Philharmonic FlUTE

Stefan Hoskuldsson, PrincipalPrincipal, new York Metropolitan opera orchestra

Jeffrey Khaner, PrincipalPrincipal, Philadelphia orchestra

Clay EllerbroekPrincipal, Florida orchestraSponsored by Kate Leonard and Richard Forsyth

PiCColo

Pamela Vliek Martchev Principal Flute, Boulder Philharmonic oBoE

Nathan HughesPrincipal, new York Metropolitan opera orchestra Sponsored by Dr. Jerrold Heller

Erik BehrPrincipal, Rochester PhilharmonicSponsored by Anne Taubman and David Boyle ClARinET

Anthony McGill, PrincipalPrincipal, new York Metropolitan opera orchestra Sponsored by Larry Alldredge and Dawn Moore

Joshua RanzPrincipal, los Angeles Chamber orchestraSponsored by Jeanne Obenchain

Theresa TunnicliffSan Diego Symphony BASSoon

Whitney Crockett, PrincipalPrincipal, los Angeles PhilharmonicSponsored by Alexandra Pearson and Paul Meschler

Valentin MartchevPrincipal, San Diego Symphony

DoUBlE BASSoon

Leyla ZamoraSan Diego Symphony FREnCh hoRn

Julie Landsman, Principal (Retired)Principal, new York Metropolitan opera orchestra Sponsored by Dr. Louis Alpinieri

John CoxPrincipal, oregon Symphony

Warren GrefSan Diego Symphony

Julie Thayerlos Angeles Philharmonic (Acting) TRUMPET

James Wilt, PrincipalAssociate Principal, los Angeles Philharmonic

David Washburn, PrincipalPrincipal, los Angeles Chamber orchestra

John WildsSan Diego SymphonySponsored by Chuck Freebern

Jonathan Szanto, PrincipalFreelance musician GUEST SoloiSTS

Nadja Salerno-Sonnenberg, Violin Anonymous

Anne-Marie McDermott, Pianonew York, new YorkPhyllis and Gordon Harris

Adam Neiman, Piano henderson, nevadaSam Ersan

Anton Nel, Piano Austin, TexasSponsored by Norman Blachford and Peter Cooper

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Mainly Mozart Festival Artist Roster Mainly Mozart Festival Artist Roster

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Saturday, June 8, 20136:30pm Concert

The Village Church, Rancho Santa Fe

David Atherton, conductornathan hughes, oboe

Anthony McGill, clarinetWhitney Crockett, bassoon

Julie landsman, French horn

Mozart Adagio and Fugue in C minor, K. 546 Mozart SinfoniaConcertanteinEflat,K.297b I. Allegro II. Adagio III. Andantino con variazioni

intermission ...................................................................

Beethoven SymphonyNo.1inC,Op.21 I.Adagiomolto–Allegroconbrio II.Andantecantabileconmoto III. Menuetto. Allegro molto e vivace IV. Adagio – Allegro molto e vivace

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Mainly Mozart Festival orchestra

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PROGRAM NOTES June 8, 2013

Wolfgang Amadeus MozartBorn: January 27, 1756, SalzburgDied: December 5, 1791, Vienna

Mozart: Adagio and Fugue in C minor, K. 546

Mozart’s Adagio and Fugue in C minor was completed in Vienna June 26, 1788. At its heart lies a fugue (K. 426) that the composer had originally written for two pianos late in 1783. The reworking for strings is Mozart’s own, and involved the addition of a dramatic introduction much as Bach might have done: letting the prelude set the stage of the intricate fugue that is to follow.

If the dark mood seems startling in a composer usually known for his high spirits, it is worth remembering that the summer of 1788 was a sorrowful season for Mozart. His concerts were proving less than profitable, his family had been driven to seek cheaper lodgings, and his six-month-old daughter Theresia had recently passed away. That the composer could function at all in the face of such burdens is more notable than the seriousness of this brief work, which still shows his flawless mastery of form.

Mozart: Sinfonia Concertante in E flat, K. 297b

It was to have been a time of triumph. Wolfgang Amadeus Mozart, just twenty-two years old and chaperoned by his mother, had traveled to Paris early in 1778 seeking fame for himself and for his music. Unfortunately, Paris was packed with skilled composers and even Mozart found it hard to stand out from the crowd. Then, as a final blow, the composer’s mother, who had been in fine health, died of a sudden fever. The combination of personal tragedy and professional failure would have crushed many a man, yet somehow Mozart’s music from this time shows no hint of the gloom he must have felt. Perhaps he was writing for his patrons, not for himself, and thus spared them his dark mood, or perhaps he sought escape through music. Whatever the motivation, his Paris compositions exude charm and grace.

One of the works from this troubled time is the Sinfonia Concertante for winds and orchestra. It is a composition surrounded by mystery. A surviving letter written by Mozart shortly after his arrival in Paris states that he is at work on a “sinfonia concertante” [a concerto for multiple soloists]. He even names the soloists, thus making clear that the work will be for flute, oboe, bassoon, and horn. One month later, Mozart reported that the piece was completed. “I worked very hard at it,” he notes, “The four performers were and still are quite in love with it.” Yet the work was never performed, perhaps due to the jealous conspiracies of his rivals. Later that fall, Mozart sold the manuscript to a colleague, and at this point, the piece vanished from sight.

Ninety years would pass before its re-emergence. Even now, there are doubts as to exactly what was found. The rediscovered manuscript is not in Mozart’s handwriting, and the solo parts are oboe, clarinet, bassoon, and horn, not flute, oboe, bassoon, and horn, as Mozart clearly intended. Moreover, experts declare that it is not as deftly done as Mozart would have managed. Is it a moderately talented transcription of the original, now vanished, manuscript? Or is it an outright forgery? Experts are divided, and will probably never reach agreement unless the original manuscript reappears. For the casual listener, though, the debate is unimportant. The Sinfonia does, at least, exhibit elements of Mozart’s style, and even if it is not genuine Mozart, it is a charming piece in its own right. With so many concertos written to showcase piano or strings, this Sinfonia Concertante is a rare gift to wind players and audiences alike. The voices of the instruments contrast well, yet also blend smoothly, allowing for a gracious flow of sound and color.

nathan hughes, oboePrincipal Oboe of the Mainly Mozart Festival Orchestra, Mr. Hughes is Principal Oboe of the Metropolitan Opera Orchestra and is a member of the faculty at the Juilliard School. He previ-ously served as principal oboe of the Seattle Symphony and as associate principal oboe of the San Francisco Symphony. In addition, Hughes has performed as guest principal oboe of the New York and Los Angeles Philharmonics as well as the symphony orchestras of Chicago, Dal-las, Atlanta, and Baltimore. A prolific chamber musician, Hughes has performed with the Met

Chamber Ensemble as well as with the Philadelphia and Seattle Chamber Music Societies. As a soloist, Hughes has been featured in numerous concertos with orchestras such as the Seattle Symphony, Savannah Symphony, Mainly Mozart Orchestra, Seattle Chamber Orchestra, and Verbier Festival Orchestra. He holds degrees from the Juilliard School and the Cleveland Institute of Music. The Seattle Times praised Nathan Hughes’ “beautiful tone and perfectly judged flowing phrases.” Mr. Hughes made his debut with Mainly Mozart in 2007.

Anthony McGill, clarinetPrincipal Clarinet, Mainly Mozart Festival Orchestra, Mr. McGill has quickly earned the reputation of being one of classical music’s finest solo, chamber and orchestral musicians. He is principal clarinetist of the Metropolitan Opera Orchestra. Before joining the MET Orchestra in 2004, he served as associate principal clarinet of the Cincinnati Symphony Orchestra for four years. With the MET Orchestra, McGill frequently performs in Carnegie Hall’s Isaac Stern Auditorium, as well as Zankel and Weill Halls with the MET Chamber Ensemble. On January 20th 2009,

McGill performed “Air and Simple Gifts” by John Williams with Yo-Yo Ma, Itzhak Perlman and Gabriela Montero at the inauguration of President Barack Obama. In 2000, McGill was a winner of the highly prestigious Avery Fisher Career Grant. He is also a member of the newly formed Schumann Trio with violist Michael Tree and pianist Anna Polonsky. McGill attended the Interlochen Arts Academy and the Curtis Institute of Music. McGill currently serves on the faculties of the Peabody Institute of the Johns Hopkins University, Mannes College of Music and the Manhattan School of Music Precollege. Mr. McGill debuted with Mainly Mozart in 2009.

Whitney Crockett, bassoonPrincipal Bassoon of the Mainly Mozart Festival Orchestra, Mr. Crockett joined the Los Angeles Philharmonic as Principal Bassoon in April 2010 as one of Gustavo Dudamel’s first appoint-ments. He moved to Los Angeles after 12 years as Principal Bassoon of the Metropolitan Opera Orchestra under James Levine. Prior to his work in New York, Crockett held the same position with the Montreal Symphony Orchestra. As a soloist, Crockett has appeared with the Montreal Symphony Orchestra, the Florida Orchestra, the Bellingham Festival orchestra, and Les Violons

du Roy. He has performed regularly on the MET Chamber Players series at Carnegie Hall, and he has recorded, performed, and toured extensively with the New York Kammermusiker double reed ensemble. Crockett serves on the faculties of the Juilliard and Manhattan schools of music, as well as the Académie de Verbier in Switzerland. A native of Miami, Whitney Crockett began his bassoon studies with Michael Finn and Luciano Magnanini. He is a graduate of the Juilliard School. Mr. Crockett made his debut with the Mainly Mozart in 2000.

Julie landsman, French hornMainly Mozart Spotlight Series French Horn, Ms. Landsman has been a frequent and beloved guest of Mainly Mozart over the years. She is retired after 25 years as Principal Horn chair with the Metropolitan Opera. Prior to her appointment with the MET Orchestra, she was Co-Principal horn with the Houston Symphony. She has toured throughout the world with the New York Philharmonic and Orpheus. Ms. Landsman’s recording credits include the Ring Cycle with the Metropolitan Opera, conducted by James Levine, where she was the featured horn soloist.

In addition to her work with the Mainly Mozart Festival Orchestra, other summer appearances have included The Marlboro Music Festival, Sarasota Music Festival, Chamber Music Northwest, and the Santa Fe Chamber Music Festival. Julie Landsman is on the faculties of The Juilliard School and Bard Conservatory. Many of her students are in prominent positions throughout the United States. A graduate of Juilliard, her teachers have included James Chambers, Howard Howard, and Carmine Caruso. Ms. Landsman debuted with Mainly Mozart in 2004.

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Thursday, June 13, 20137:30pm Concert

Balboa Theatre, Downtown San Diego

David Atherton, conductorWilliam Preucil, violinCynthia Phelps, viola

Timothy Pitts, double bass

Mozart Overture:DonGiovanni,K.527

Mozart SinfoniaConcertanteinEflat,K.364 I. Allegro maestoso II. Andante III. Presto

intermission ...................................................................

Françaix “Mozart new-look” on Serenade from Don Giovanni

Weber Symphony No. 1 in C, J. 50 I. Allegro con fuoco II. Andante III. Scherzo and Trio IV. Finale: Presto


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Ludwig Van BeethovenBorn: December 17, 1770, BonnDied: March 26, 1827, Vienna

Beethoven: Symphony No. 1 in C, Op. 21

This earliest of Beethoven’s symphonies premiered at Vienna’s Hofburgtheater April 2, 1800. He had been in town for about eight years, but so far had been making his name principally as a solo pianist. This concert, the German-born composer’s official Vienna debut as a composer, not a pianist, also featured his Septet, his Piano Concerto, Op. 15, a Mozart symphony, and selections from Haydn’s The Creation. That juxtaposition of the young master’s compositions – he was not yet thirty – against those of his immediate predecessors would have emphasized the similarities between their styles, yet the differences are also clear, and differences there are, for though Beethoven drew upon tradition, he also experimented with new ideas.

Both the first and the last movements open with dramatic introductions, a trick that Haydn was known to use, but not generally twice in one symphony. Furthermore, Beethoven made greater use of wind instruments than was customary and introduced a surprising degree of vigor into what his audience members would have expected to be a courtly third movement minuet. In fact, from the very opening chord of the entire symphony, which does not begin in the expected key, to the concluding march-like theme, which bore a marked resemblance to a German drinking song, Beethoven colored an established musical genre with his own wry wit. Although some conservative critics were no doubt caught by surprise, most observers responded positively to the new work. The authoritative Allgemeine Musikalische Zeitung (General Musical Journal) was full of praise, saying the symphony showed “much art, novelty, and wealth of ideas,” and composer Carl Maria von Weber lauded it as the “splendid, clear, fire-streaming Symphony in C.” It was the first large-scale work Beethoven published, in Leipzig the following year. Upon publication, it was given a dedication to the Baron Gottfried van Swieten, previously a patron of both Haydn and Mozart. Haydn’s The Creation had been written at Swieten’s suggestion. That Beethoven had now attracted the statesman’s attention proves that he had truly arrived in the spotlight.

Program notes by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights”

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Mozart: Overture: Don Giovanni, K. 527

“The opera of all operas:” that was ETA Hoffmann’s description of Don Giovanni, Mozart’s masterful treatment of the Don Juan story. This dexterous mixture of low comedy and high tragedy, as expressed by a score of unequalled lyricism, is usually cited as the composer’s greatest work for the stage, if not his greatest work of all. The opera won supporters from its first appearance in Prague October 29, 1787, when Mozart himself noted that the audience gave his new work “the loudest applause.” Viennese audiences would prove rather less enthusiastic; however, the course of history has shown that opinion of the Prague audiences would come to be the majority view.

Of the opening overture, its highly dramatic opening chords are drawn directly from the opera’s penultimate scene, in which the ghostly spirit of the Commendatore (whom Giovanni has slain in the opera’s opening minutes) comes back and commands Giovanni to repent. Mozart leaves his audience in no doubt that the opera to follow will be highly dramatic, for one could hardly base a comedy on such moods. Before too long, however, the musical spirit lightens markedly and bright, lively phrases dance throughout the orchestra. This is, after all, an opera that its composer described as a “dramma giocoso,” that is, “comic drama,” reflecting both sides of the emotional fence. The overture flawlessly blends those two concepts into a single frame of mind. Viennese audiences, which seemed to prefer their comedies and dramas on different evenings, remained cool to the work, but time has proven that the more enthusiastic Prague audiences had gotten it right from the beginning.

Mozart: Sinfonia Concertante in E flat, K. 364

Written in 1779, immediately before his Piano Concerto No. 10, Mozart’s Sinfonia Concertante features two soloists: violin and viola, both of which Mozart played well. The two instruments are often paired in orchestras and even string quartets, but not in concerti, where the brighter tone of the higher instrument would usually cause it to dominate the other. Mozart solves that dilemma by calling for the viola to be turned slightly sharp, then writing the part slightly lower, to even things out. The effect is that, with tighter than usual strings, the usually mellow viola is made more assertive, achieving better balance with the showy sounds of the violin. One is left wondering if the composer himself, when playing the viola in string quartets as he often did in later years with his friend Haydn, would use this same trick of tuning to help his instrument’s voice to project.

As would have been usual in a concerto of this time, the soloists do not play from the opening of the first movement. Rather, it is the orchestra that launches into the work, with a bold but elegant statement of several themes, one after another. The two soloists only join in when it is time to restate those themes, here made different by the presence of the solo instruments. Throughout the first movement (indeed, throughout the entire work), there is much interaction between the two soloists, with one stating a melodic idea and the other promptly restating it in slightly different terms. After the energy of the first movement, the second movement offers a stark contrast, with its shift into the world of laments. Here, one finds that the solo parts can weep as well as dance. Liveliness returns for the final movement, which from its first measures is bright and festive. Again, the orchestra begins and the soloists restate the themes. Shortest of the three movements, it serves to bring the work to a brisk and high-spirited conclusion.

William Preucil, violinFounding Concertmaster of the Mainly Mozart Festival Orchestra, Mr. Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared regularly as a soloist with the Orchestra in concerto performances at both Severance Hall and the annual Blossom Festival. Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the Grammy-winning Cleveland Quartet, performing more than 100 concerts each year in the world’s major music capitals. Telarc International recorded the Cleveland

Quartet performing the complete cycle of Beethoven’s 17 string quartets, as well as a variety of chamber works by Haydn, Mozart, Schubert, and Brahms. From 1982 to 1989, William Preucil served as concertmaster of the Atlanta Symphony Orchestra, after previously holding the same position with the orchestras of Utah and Nashville. During his tenure in Atlanta, he appeared with the Atlanta Symphony as soloist in 70 performances of 15 different concertos. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Festival Orchestra. Mr. Preucil also continues to perform as a member of the Lanier Trio, whose recording of the complete Dvořák piano trios was honored as one of Time magazine’s top 10 compact discs for 1993. Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University. He previously taught at the Eastman School of Music and at the University of Georgia.

Cynthia Phelps,violaMainly Mozart Spotlight Series and Festival Orchestra violist, Ms. Phelps is principal violist of the New York Philharmonic. An active soloist, recitalist and chamber musician, she is the recipient of many honors and awards, capturing first prize in both the Lionel Tertis International Viola Competition and the Washington D.C., International String Competition. As winner of the 1988 Pro Musicis Foundation Award, she has presented recitals in Paris, Rome, Los Angeles, Boston, and Washington D.C., as well as in Alice Tully Hall, London’s Wigmore Hall, and St David’s

Hall in Cardiff, Wales. She has been a featured soloist on St. Paul Sunday Morning, Radio France, RIA in Italy and WQXR in New York City. Hailed by the Wall Street Journal as “eloquent and powerful….a master of her instrument”, she has also been featured on the MacNeil LehrerNewsHour, and CBS Sunday Morning. Active in chamber music, Ms Phelps has appeared with the Chamber Music Society of Lincoln Center, Boston Chamber Music Society, Chicago Chamber Musicians, and New York’s Bargemusic Series and the festivals of Mostly Mozart, Marlboro, Seattle, La Jolla, Prussia Cove, Naples, Cremona, and Scheleswig-Holstein. As a member of the Zukerman and Friend’s Ensemble, she has regularly appeared in South America, Israel, and Germany. She has also toured with Music from Marlboro, and recorded on the labels of the Marloboro Recording Society, Polyvideo, Nuova Era, Virgin Classics and Covenant Records. Ms. Phelps made her debut with Mainly Mozart when it first began in 1989.

Timothy Pitts, double bassPrincipal Bass of the Mainly Mozart Festival Orchestra, Mr. Pitts has distinguished himself as one of the most versatile double bassists of his generation. As a soloist, chamber and orchestral musician, he has been heard in many of the world’s greatest concert halls. Mr. Pitts’ orchestral career began as a member of the Cleveland Orchestra after which he was appointed principal bass of the Houston Symphony, a position he held for seventeen years. Mr. Pitts also served as principal double bass of Boston’s Handel and Haydn Society and the Boston Pops Esplanade

Orchestra under the direction of John Williams. An active chamber musician, Mr. Pitts has appeared as a guest artist with Bay Chamber Concerts, the Mainly Mozart Festival, Boston Musica Viva, the Pacific Music Festival in Sapporo, Japan, and the Skaneateles Festival in New York as well as with the Los Angles Piano Quartet and the St. Lawrence, Jupiter, and Vermeer Quartets. He has collaborated with such artists as Menahem Pressler, Arnold Steinhardt, Christoph Eschenbach, Heinz Holliger, Robert McDuffie, and Roberto Diaz. As a member of the Houston Symphony Chamber Players, Mr. Pitts toured Germany and Japan, and appeared at Chicago’s Ravinia Festival. Mr. Pitts has appeared as soloist with the Houston, Greenville, Savannah, Albany, and Mainly Mozart Festival Orchestras. In April of 2006, Mr. Pitts gave the United States premiere of John Harbison’s Concerto for Bass Viol with Hans Graf conducting the Houston Symphony. A dedicated educator, Mr. Pitts has presented master classes at the National Orchestral Institute, the New World Symphony, Boston University, Indiana University, the Glen Gould School, and the Pacific Music Festival. His students can be found among the ranks of the world’s finest ensembles. Formerly on the faculty of the Oberlin Conservatory, Mr. Pitts is currently a Professor of Double Bass at Rice University’s Shepherd School of Music. For three weeks each summer he teaches and performs at the Montecito Music Festival in Montecito, California. During the summer, he is on the artist faculty of the Beijing International Music Festival and Academy, in residence at China’s Central Conservatory of Music. Mr. Pitts made his debut with Mainly Mozart


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David Atherton, conductornadja Salerno-Sonnenberg, director & violin

Anthony McGill, clarinetAnne-Marie McDermott, piano

Lutoslawski Dance Preludes I. Allegro molto II. Andantino III. Allegro giocoso IV. Andante V. Allegro molto

Mozart ClarinetConcertoinA,K.622 I. Allegro II. Adagio III. Rondo: Allegro

intermission ...................................................................

Mozart ConcertRondoinD,K.382

Piazzolla The Four Seasons of Buenos Aires Otoño Porteño (Autumn) Invierno Porteño (Winter) Primavera Porteño (Spring) Verano Porteño (Summer)



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Jean FrançaixBorn: May 23, 1912, Le MansDied: September 25, 1997, Paris

Françaix: “Mozart new-look” on Serenade from Don Giovanni

Dating from 1981, Mozart new-look by Jean Françaix (1912 – 1997) is exactly that: a new view of one of that master composer’s popular melodies. The theme in question is the Serenade “Deh, vieni alla finestra” from Don Giovanni, borrowed from a scene in which the title character (Don Juan) is seeking to tempt a lady from her window into his arms. Part of what makes this a “new look” is that Françaix blends that melody with the Seguidilla from Bizet’s Carmen, an opera similarly set in Spain. Perhaps Françaix thought to suggest that in the feisty gypsy, Giovanni would have met his match. Even the ensemble is evocative of Mozart, with its pairs of flutes, oboes, clarinets, bassoons, and horns, supplemented by a single double bass. Mozart sometimes used very similar groupings for his own serenades; in this work, written nearly two centuries after the Austrian’s passing, Françaix recaptures much of the original spirit in scarcely three minutes of time.

Carl Maria Von WeberBorn: November 18, 1786, EutinDied: July 5, 1826, London

Weber: Symphony No. 1 in C, J. 50

Carl Maria von Weber (1786 – 1826) composed only two symphonies, both from 1807, before the conductor’s baton and the operatic stage began to dominate his career. Both use the comparatively unproblematic key of C major, though whether this is due to the limitations of the players, of the audience, or of Weber himself – having not yet turned twenty-one, most of his compositional experience was in the area of songs – cannot be determined conclusively. There is also the possibility that, since his great predecessors Haydn, Mozart, and Beethoven all used that key for one of their early symphonies, perhaps Weber felt that this was the best choice.

The first of Weber’s two symphonies was published in 1812, a few years after its creation. Its opening movement, after a grand flourish, sets out in long, gently flowing phrases before the bold and dramatic moods return. Weber himself suggested that this movement would have made a fine theatrical overture, and indeed, his catalog includes many such works. The second movement is more mournful in mood, in all but name a funereal lament, with sweet woodwinds to color the scene. For his third movement Scherzo, Weber opted for swirling, dance-like ideas, often spotlighting the oboe. With the finale, he lets the horns and trumpets proclaim while strings and woodwinds frolic, bringing the symphony to a vivacious close. So bright and high-spirited it is that one can readily regret that Weber produced so few works in the symphonic arena.


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Witold LutosławskiBorn: January 25, 1913, WarsawDied: February 7, 1994, Warsaw

Lutosławski: Dance Preludes

Poland’s most admired twentieth century composer, Witold Lutoslawski (1913 – 1994) was born in Warsaw. By the time his professional career in music had gotten underway, Poland had acquired a Communist government largely under the sway of the Soviet Union. This new regime had strict expectations of composers, insisting that their music be supportive of the party and “useful” to society. All compositions, it was declared, should endorse the new “socialist realism,” as it was called. Self-expression was beyond consideration, and any composition too evocative of Western ideals was ensured of a stern reception. Just as Shostakovich faced determined repression from the Soviet government, Lutoslawski, too, had to walk the fine line between Party requirements and personal endeavor.

One way to at least increase the odds of official acceptance was to draw upon folk roots, these being earthy enough to avoid suspicions of bourgeois ties. Lutoslawski’s Dance Preludes (Preludia taneczne) derive from the rhythms and harmonies of Polish folk dances. Specific dances are not quoted exactly; only their flavors are evoked.

There are five movements, the even numbered ones slow and melancholy, the odd numbered ones quick, nervous, and a bit sardonic in mood. Lutoslawski completed the Dance Preludes in 1954 for clarinet and piano. In 1955, he reworked it for chamber orchestra, still with prominent clarinet. Then, in 1959, it became a nonet for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double-bass, the version to be performed this evening. Each of those different versions remained smaller in scale than the grand patriotic extravaganzas that authorities preferred. However, the folk connection was still defined enough to deflect criticism.


Mozart: Clarinet Concerto in A, K. 622

Mozart’s only clarinet concerto was completed just two months before his death. The work was intended for Vienna’s greatest clarinetist, Anton Stadler (1753-1812), the composer’s colleague, friend, and lodge brother. Mozart often wrote with Stadler in mind, from prominent solo lines in his late symphonies and operas to chamber works for clarinet and also this concerto, one of the very last works Mozart would live to complete. It was finished less than two months before the composer’s tragically premature death.

Mozart adapted his melodies specifically to Stadler’s own specially-made instrument, which had a range extending half an octave lower than standard clarinets. This allowed Stadler to showcase his famed purity of tone even at the extremes of the clarinet’s range, but it also meant that, in its original form, the concerto could never be played by any other clarinetist. When the concerto was finally published a decade after Mozart’s death, some enterprising editor, dreaming of increased marketability, altered the problematic low notes so that they could be played on a standard clarinet. It may have been good business, but, in the process, Mozart’s own score vanished, and, without a manuscript to refer to, the original notes can never be restored. Thus, for 200 years, audiences have had to settle for the

nadja Salerno-Sonnenberg, director & violinNadja Salerno-Sonnenberg is recognized for her electrifying performances, fearless interpretations and musical depth that have established her as one of the leading violinists of our time. Music Director of the NEW CENTURY Chamber Orchestra (NEW CENTURY). A powerful and innovative presence on the recording scene, Nadja Salerno-Sonnenberg started the record label NSS Music in 2005, with the most recent release being “Together,” Nadja’s first recording collaboration with NEW CENTURY. She has over twenty releases on the EMI and

Nonesuch labels. Ms. Salerno-Sonnenberg’s exceptional artistry is paired with great musical intelligence which, along with her unique personality, have served her well in numerous environments-on camera, in a commercial for Signet Bank, hosting a Backstage/Live from Lincoln Center program for PBS, appearing in the PBS/BBC series The Mind, even talking to Big Bird on Sesame Street. She was the subject of the 2000 Academy Award-nominated film, Speaking In Strings, which premiered at the Sundance Film Festival. Released in theaters nationwide and subsequently premiered on HBO’s Signatures channel in 1999, this intensely personal documentary on her life is available on VHS and DVD through New Video. The CD of music from the film was released in 1999 by Angel/EMI. Ms. Salerno-Sonnenberg has appeared on ABC’s prime time comedy Dharma & Greg in 2001, and she has also been interviewed and profiled on CBS’ 60 Minutes, 60 Minutes II, and Sunday Morning; CNN’s Newsstand; NBC’s National News and The Tonight Show with Johnny Carson; A & E’s Artist of the Week with Elliot Forrest; Bravo’s Arts & Minds and The Art of Influence; PBS’ Live from Lincoln Center, The Charlie Rose Show, and City Arts. On the publishing front, Nadja: On My Way, her autobiography written for children discussing her experiences as a young musician building a career, was published by Crown Books in 1989. Nadja Salerno-Sonnenberg’s professional career began in 1981 when she won the Walter W. Naumburg International Violin Competition. In 1983 she was recognized with an Avery Fisher Career Grant, and in 1988 was Ovations Debut Recording Artist of the Year. In 1999 she was honored with the prestigious Avery Fisher Prize, awarded to instrumentalists who have demonstrated “outstanding achievement and excellence in music.” An American citizen, Ms. Salerno-Sonnenberg was born in Rome and emigrated to the US at the age of eight to study at The Curtis Institute of Music. She later studied with Dorothy DeLay at The Juilliard School. 2013 marks Ms. Salerno-Sonnenberg’s debut with Mainly Mozart.

Anthony McGill, clarinetPrincipal Clarinet, Mainly Mozart Festival Orchestra, Mr. McGill has quickly earned the reputation of being one of classical music’s finest solo, chamber and orchestral musicians. He is principal clarinetist of the Metropolitan Opera Orchestra. Before joining the MET Orchestra in 2004, he served as associate principal clarinet of the Cincinnati Symphony Orchestra for four years. With the MET Orchestra, McGill frequently performs in Carnegie Hall’s Isaac Stern Auditorium, as well as Zankel and Weill Halls with the MET Chamber Ensemble. On January 20th 2009,

McGill performed “Air and Simple Gifts” by John Williams with Yo-Yo Ma, Itzhak Perlman and Gabriela Montero at the inauguration of President Barack Obama. In 2000, McGill was a winner of the highly prestigious Avery Fisher Career Grant. He is also a member of the newly formed Schumann Trio with violist Michael Tree and pianist Anna Polonsky. McGill attended the Interlochen Arts Academy and the Curtis Institute of Music. McGill currently serves on the faculties of the Peabody Institute of the Johns Hopkins University, Mannes College of Music and the Manhattan School of Music Precollege. Mr. McGill debuted with Mainly Mozart in 2009.

Anne-Marie McDermott, pianoSpotlight Series Curator, Ms. McDermott is a consummate artist who balances a versatile career as soloist and collaborator, and whose repertoire choices are eclectic, spanning from Bach and Haydn to Prokofiev and Scriabin to Kernis, Hartke, Tower and Wuorinen. With over 50 concerti in her repertoire, Ms. McDermott has performed with many leading orchestras including the New York Philharmonic, Columbus Symphony, Los Angeles Chamber Orchestra, Moscow Virtuosi, Hong Kong Philharmonic, San Diego Symphony, New Jersey Symphony and

Baltimore Symphony among others. Ms. McDermott has toured with the Australian Chamber Orchestra and the Moscow Virtuosi. In addition to her many achievements, Anne-Marie McDermott has been named Artistic Director of the famed Vail Valley Music Festival in Colorado. She studied at the Manhattan School of Music, was a winner of the Young Concert Artists auditions and was awarded an Avery Fisher Career Grant. In addition to The San Diego Mainly Mozart Festival, Ms. McDermott regularly performs at festivals across the United States including Spoleto, Sante Fe, Mostly Mozart, Newport, Caramoor, Bravo, Chamber Music Northwest, Aspen, Music from Angelfire and the Festival Casals in Puerto Rico, among others. Ms. McDermott made her debut with Mainly Mozart in 1996.

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Thursday, June 20, 20137:30pm Concert


David Atherton, conductorAnton nel, piano

Mozart FiveContradances,K.609 I. No. 1 in C II.No.2inEflat III.No.3inD IV. No. 4 in C V. No. 5 in G

Fauré Pavane, Op. 50

Mozart PianoConcertoNo.21inC,K.467 I. Allegro II. Andante III. Allegro vivace assai

intermission ...................................................................

poulenc Mouvements Perpétuals

schubert SymphonyNo.3inD,D.200 I.Adagiomaestoso–Allegroconbrio II. Allegretto III. Menuetto - Vivace IV. Presto - Vivace


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concerto’s modified version without ever hearing the work quite exactly as Mozart imagined it. Nonetheless, even altered Mozart is better than no Mozart, and the Clarinet Concerto as the world has come to know it has yet to be surpassed in the clarinet repertoire.

Mozart: Concert Rondo in D, K. 382

The first piano concertos that Mozart composed following his move to Vienna in the summer of 1781 are those known as numbers 11, 12 and 13. There also exists a one-movement rondo for piano and orchestra that was composed in March of 1782 as a new last movement for one of his earlier piano concerti, the Concerto No. 5, written back in Salzburg at the age of seventeen. The new rondo was more extravagant and dramatic than the original movement; Mozart may have felt that it made a stronger statement to listeners, from whom he was hoping to obtain regular employment. However, in the long run of history, the original concerto has remained intact and the alternative last movement has come to stand on its own. The term “rondo” refers to a Classical Era form of composition in which several contrasting melodies alternate with one another, allowing the composer to demonstrate his wealth of melodic ideas.

Ástor PiazzollaBorn: March 11, 1921, Mar del PlataDied: July 4, 1992, Buenos Aires

Piazzolla: The Four Seasons of Buenos Aires

Astor Piazzolla (1921 – 1992) was born near Buenos Aires, raised in New York City, and gained much of his compositional training in Paris. That broad background led him to bring varied influences into his compositions. Often, there is the underlying influence of the tango, or at least its rhythms, for throughout his life, Piazzolla remained immersed in that culture. He came to blend its spirit with the piquant harmonies of the jazz that he’d come to know in New York City and the broader structures of classical realms that came to his attention in Paris. That blend of influences is readily perceived in his The Four Seasons of Buenos Aires.

In its earliest form, The Four Seasons of Buenos Aires was intended in 1970 for Piazzolla’s own nuevo tango (New Tango) ensemble. However, after the composer’s death, several arrangements were made for more classical combinations, including one for string orchestra with solo violin by a gentleman with the most un-tango-ish name of Leonid Desyatnikov. In this incarnation, the work has earned most of its performances, in large part because of its kinship with Vivaldi’s The Four Seasons. This is not to say that Piazzolla has written a Baroque style piece; rather, his Four Seasons are liberally tango flavored, in a manner that would have utterly bewildered the Italian master. However, there are quotes from the Vivaldi set that an observant listener will perceive, even as the playing techniques remain exotic.

Working from a Southern Hemisphere point of view, Piazzolla began with Autumn, then proceeds through the seasons in order, concluding with Summer. Tense moods alternate with drowsy ones, quick tempos with lazy ones; the soloist must be able to master the most varied performing techniques, from the most electric to the most sultry, often in close order. All in all, it is more powerfully dramatic than its Italian inspiration and demanding of more highly charged virtuosity than Vivaldi could have imagined.


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Mozart: Five Contradances, K. 609

Mozart’s Five Contradances, K. 609 date from 1791, in the last months of the man’s all-too-brief life. Scored for string ensemble supplemented by flute and side drum (imagine a snare drum without the snares), the dances are all short, spanning less than ten minutes in all. The first is based closely upon the aria “Non piu andrai” from Mozart’s opera The Marriage of Fi-garo. That one and its four companion dances occasionally draw upon jaunty militaryesque moods, explaining the presence of percussion, rarely found in dance music. Each of the danc-es juxtaposes contrasting moods, as Mozart was never satisfied with the simplest approaches. Such ideas might suffice for his colleagues, but Mozart was determined to go the extra mile.

Gabriel FauréBorn: May 12, 1845, PamiersDied: November 4, 1924, Paris

Fauré: Pavane, Op. 50

Originally, the pavane was a courtly dance popular in the Renaissance. A stately, procession-like dance in duple-meter, it was frequently paired with the livelier triple-meter galliard, thus providing variety for musicians and dancers alike. Many lovely pavanes were composed in this time, but dance trends come and go, and soon the pavane passed from popularity. Its partial resurrection came centuries later, not as dance music per se, but as concert works evoking the historic atmosphere.

The Pavane of Gabriel Fauré (1845 – 1924), his most enduring composition, was written in 1887 as a delicate orchestral processional dance. The piece was dedicated to a noblewoman of Parisian high society, who so liked the work that she persuaded Montesquiou to add to it a text, so as to give the Pavane some theatrical content, that it might be staged. It wasn’t a bad idea. The human voices do add a lyric richness to the piece, but the text itself — “Pay attention! Keep in time! O mortal injury! The rhythm is faster and the cadence more pronounced!” — are words one could only love by hearing them in French. Besides, Fauré’s original conception did not include voices, and thus, it is perhaps appropriate that the work is most frequently heard – as tonight – in instrumental versions.

Mozart: Piano Concerto No. 21 in C, K. 467

If one wished to learn everything there is to know about Mozart, but could only study a single type of composition, the best choice would be the piano concerto. In this one area, Mozart produced roughly thirty pieces, more piano concerti than any other important composer. Additionally, the concerti span his entire career. The first was written when he was only eleven; the last appeared less than a year before his death. Considering the entire range of these works shows how Mozart’s style developed, and it shows how the Classical style as a whole came into being, for his earliest piano concerti are close adaptations of Baroque sonatas, whereas his final few works in the genre hint at the passion and power that would become popular at the turn of the century. As Mozart and his concerti matured, so did music history reach a new stage of development.

Anton nel, pianoMainly Mozart Spotlight Series and Festival Orchestra pianist, Mr. Nel is a 1987 first prize winner of the Naumburg International Piano Competition at Carnegie Hall, Mr. Nel enjoys a remarkable and multifaceted career that has taken him across North and South America, Europe, Asia, and South Africa. He made his European debut in France in 1982, and in the same year graduated with highest distinction from the University of the Witwatersrand in Johannesburg. He came to the US in 1983, receiving his Masters and Doctor of Musical Arts degrees at the University

of Cincinnatia. A prizewinner at the 1984 Leeds International Piano Competition in England, he also won several first prizes at the Joanna Hodges International Piano Competition. Highlights of Mr. Nel’s nearly four decades of concertizing include performances with the Cleveland Orchestra, the symphonies of Chicago, San Francisco, Seattle, Detroit, and London, among many others. (He has an active repertoire of more than 100 works for piano and orchestra.) As recitalist he has appeared at Carnegie Hall, Lincoln Center, the Metropolitan Museum and the Frick Collection in New York, at the Ambassador Auditorium in Pasadena, Davies Hall in San Francisco, and the Library of Congress in Washington, DC. Internationally he has performed recitals in major concert halls in Canada, England (Queen Elizabeth and Wigmore Halls in London), France, Holland (Concertgebouw in Amsterdam), Japan (Suntory Hall in Tokyo), Korea, and South Africa. He was appointed to the faculty of the University of Texas at Austin in his early twenties, followed by professorships at the Eastman School of Music, and the University of Michigan, where he was chairman of the piano department. In September 2000, Anton Nel was appointed as the Priscilla Pond Flawn Regents Professor of Piano and Chamber music at the University of Texas at Austin, where he teaches an international class of students and heads the Division of Keyboard Studies. In 2001 he was appointed Visiting “Extraordinary” Professor at the University of Stellenbosch in South Africa, and continues to teach master classes worldwide. Mr. Nel appeared as soloist in the very first Mainly Mozart concerts in 1989, and has been a regular guest ever since.

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By the date that the man himself wrote on the manuscript, it was on March 9, 1785 that Mozart completed his Piano Concerto No. 21, merely one month after his previous concerto. He would write four more in the next twenty months, for he and his skills at the keyboard were in great demand in Vienna. The composer’s own father, Leopold Mozart, described the Concerto No. 21 as “astonishingly difficult.” Today, it is less frequently remembered for its difficulty than for its lyrical second movement, which was prominently featured in the 1967 Swedish film, “Elvira Madigan.” The other movements, too, have their charms, and no one knew better than Mozart how to pack a wealth of delightful melodies into a single composition, always ensuring that the transitions from one of those melodies to the next were flawless.

Francis PoulencBorn: January 7, 1899, ParisDied: January 30, 1963, Paris

Poulenc: Mouvements Perpétuals

In early 20th century France, some composers began to rebel against the edgy, angular side of modern music as represented by Stravinsky’s The Rite of Spring. That landmark work had pre-miered in Paris in 1913, and many French composers found it fascinating, but there was also a rising interest in reviving old ideas of musical elegance. It came to be called Neoclassicism, and it blended slightly modern harmonies and rhythms with the old Mozartian structures of sunshine and grace: no angst, just high-spirited musical expression.

Consider, for example, the Mouvements Perpétuals of Francis Poulenc (1899 – 1963). Spanning scarcely five minutes together, the music dates from 1918, not generally an optimistic year in European history. However, the first and last of the three pieces are bright and perky with spirited energy, but no real tension. The gentler middle movement adds contrast with its slower tempo and more poignant mood. Nowhere does one find the anger and tension that was then becoming common in modern music. Poulenc was seeing the world with a smile, or at least a wry grin.

Franz SchubertBorn: January 31, 1797, AlsergrundDied: November 19, 1828, Vienna

Schubert: Symphony No. 3 in D, D. 200

Franz Schubert (1797 – 1828) began his Symphony No. 3 only four months after his 18th birthday and completed it July 19, 1815. The new symphony may have had a private performance; it is known that the orchestra of the college where Schubert had studied music performed some of his pieces. However, no record survives of such an event, and there was certainly no public concert. Like all too many Schubert works, this fine symphony lay buried away in a pile of unpublished manuscripts, not coming to print until 1884, long after the composer’s death.

Schubert had made the most of an adolescence spent in Vienna and, despite his youth, had mastered styles and forms with which other, less gifted composers struggled for decades. The first movement, with its slow introduction and contrasting following themes, clings to a pattern popularized by Haydn; the second movement is more reminiscent of Mozart. The third move-ment, however, offers a glance toward the future. Whereas Haydn and Mozart had habitually used the graceful and courtly minuet in this position, Beethoven came to prefer the heartier scherzo. Although Schubert still calls his third movement a minuet, it is stylistically closer to Beethoven’s innovative idea. The symphony’s finale also offers a surprise: an Italian tarantella, popular with nineteenth century composers, but little known to Schubert’s predecessors. Such technical mastery, combined with a flair for introducing new concepts, proves that Schubert’s talents developed while he was yet a very young man. It is only to be regretted that, in this very early year, half his life had already passed.‘Program notes by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights”



David Atherton, conductorAdam neiman, piano

Mozart SymphonyNo.1inEflat“London”,K.16 I. Molto allegro II. Andante III. Presto

Shostakovich PianoConcertoNo.2inF,Op.102 I. Allegro II. Andante III. Allegrointermission ...................................................................

Tchaikovsky Elegy in G, from “Hamlet

Mozart Symphony No. 41 in C “Jupiter”, K. 551 I. Allegro vivace II.Andantecantabile III. Menuetto (Allegretto) et Trio IV. Molto allegro

U.S. Grant Hotel9:30 PM

Closing Night Gala Silver Anniversary Celebrationhonoring Maestro David Atherton’s 25 years, following the

Closing Night Concert of the Mainly Mozart Festival Orchestra



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Mozart: Symphony No. 1 in E flat “London”, K. 16

The last three years before his 10th birthday, Wolfgang Amadeus Mozart spent on the road with his father and sister, giving myriad concerts in the capitals of Europe. These performances featured not only his talents with the violin and the keyboard but also his compositions, for the boy’s father Leopold was determined that the world should know the scope of Wolfgang’s genius. In April of 1764, they reached London, where they would remain for over a year, performing frequently for the public, as well as aristocrats, and even King George III.

It was during that visit that Wolfgang composed his first symphony. Of the work, sister Nannerl noted in her diary that Wolfgang had written it in an idle afternoon in their London rooms when their father, somewhat under the weather, had admonished the children to amuse themselves quietly. The result was this charming and graceful work, the first of dozens of symphonies that would emerge from his fertile imagination. The boy was only eight, yet immediately proved that he had already mastered the rules of composition. To anyone paying attention, it would have been clear that here was a youth of singular talent.

Dmitri ShostakovichBorn: September 25, 1906, Saint PetersburgDied: August 9, 1975, Moscow

Shostakovich: Piano Concerto No. 2 in F, Op. 102

The piano was ever part of the music career of Dmitri Shostakovich (1906 – 1975). He began studying it in childhood, helped support his family with it in his teens, performed the great piano concertos of the masters before gaining his own reputation as a master, and frequently composed for the instrument. His catalog includes two concerti for piano with orchestra. The first, dating from 1933, was written for the composer himself to play; the second, dating from 1957, was for his son Maxim, who premiered it in May 10, 1957, which happened to be his 19th birthday. Young Maxim would go on to complete studies at the conservatories of Moscow and Leningrad and had a successful music career of his own both as pianist and as conductor. He even conducted the premiere of his father’s Symphony No. 15 in 1972, three years before the composer’s death.

Those accustomed to the frequent dark moods of much of Shostakovich’s music may be startled by the concerto, which is generally bright and upbeat. However, it is worth remembering that not only was the piece written for a teenager to play but also political times had improved with the death of Stalin four years earlier. Those more encouraging times are well reflected in the concerto. Its first movement is all high spirits, with particularly lively writing not only for the soloist but also the woodwinds. The second movement offers more restful poetic moods for contrast, but exuberance returns for the third and final movement, rife with tricky rhythms requiring close attention from the soloist. The work serves to prove how quickly young Maxim’s talent had developed and how much faith his father had in his abilities.

Adam neiman, pianoAdam Neiman (Piano Soloist of the Mainly Mozart Festival Orchestra) is hailed as one of the premiere pianists of his generation, praised for possessing a truly rare blend of power, bravura, imagination, sensitivity, and technical precision. With an established international career and an encyclopedic repertoire that spans nearly sixty concerti, Neiman has performed as soloist with the symphony orchestras of Belgrade, Chicago, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Minnesota, Saint Louis, San Francisco, Slovenia, Umbria, and Utah, as well as with

the New York Chamber Symphony and the National Symphony Orchestra of Washington D.C. A highly-acclaimed recitalist, Neiman has performed in most of the major cities and concert halls throughout the United States and Canada. His European solo engagements have brought him to Italy, France, Germany, and Japan, where he made an eight-city tour culminating in his debut at Tokyo’s Suntory Hall. An avid chamber musician, Neiman became a member of the Chamber Music Society of Lincoln Center II in 2004. He frequently participates in the major chamber music festivals of Belgrade, Caramoor, Croatia, Korea, Macedonia, Manchester, Montenegro, Moritzburg, San Diego, Seattle, Skaneateles, Telluride, Tokyo, Vail, Vancouver, as well as New York’s Jupiter Symphony Chamber Players series. In addition to the Mainly Mozart Festival reengagements include concerts at the Moritzburg Festival in Germany, Seattle Chamber Music Festival (at both the Winter Interlude and Summer Festival), and the Telluride MusicFest. Clavier Magazine wrote, “Adam Neiman gave a performance that rivaled those of many artists on the concert stage today…his playing left listeners shaking their heads in disbelief.” Two-time winner of Juilliard’s Gina Bachauer International Piano Competition, Neiman received the Rubinstein Award upon his graduation in 1999, the same year in which he received the Avery Fisher Career Grant. He served on the chamber music faculty of the Manchester Music Festival in Vermont during the summers of 2009 and 2011, and he taught on the piano faculty of the Great Mountains Music Festival in Korea in 2010.


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Pyotr Ilyich TchaikovskyBorn: May 7, 1840, VotkinskDied: November 6, 1893, Saint Petersburg

Tchaikovsky: Elegy in G, from “Hamlet”

With the publication number on this Tchaikovsky work reading 67a, one would suspect that there is also an opus 67. Indeed, there is, also with the title Hamlet, though dating from 1888, three years before the Op. 67a. The earlier Hamlet had been a concert work for orchestra, conveying the essence of the story through purely instrumental means with no actors in sight. Later, Tchaikovsky was asked to create a set of incidental music to accompany a stage performance of the original Shakespeare play. He responded with an overture to precede the production and four entr’actes to be heard between the acts. Since Tchaikovsky borrowed a few melodic elements from his earlier Hamlet, he decided that truth in advertising was the best course, and designated the new work Op. 67a.

The Elegy from that set of incidental music was intended to occur as prelude to Act Four. Polonius has just died by Hamlet’s hand, and Ophelia will soon descend into madness. So indeed, something is rotten in the state of Denmark, and Tchaikovsky’s Elegy sets out to convey that mood. Musically, it is deeply melancholy in mood and somewhat hesitant in its motion. Scored only for strings with no winds or percussion, it is music of gentle weeping, rather than heartbroken sobs. Tchaikovsky chose to hint at the sorrow, rather than bring it powerfully to the ear. That, it seems, will be left to the actors.

Mozart: Symphony No. 41 in C “Jupiter”, K. 551

Mozart’s last three symphonies date from the summer of 1788, a trying time for the composer. His career was in the doldrums, debts were mounting, Austria’s latest war with Turkey had curtailed cultural activities in Vienna, and the composer’s infant daughter Theresia had died. In such a situation, one might have expected the darkest of music to pour out from his imagination. However, Mozart was ever able to set aside emotional issues if those issues had no place in the music on his desk, and such seems to be the case here. His Symphony No. 41 is bright and joyous in mood, as if its creator had not a single shadow on his mind.

The Symphony No. 41 is known as the Jupiter Symphony, a title not granted it by its creator. Rather, the title seems to have originated, ironically enough, in London, thanks to the impresario Johann Peter Salomon, who would later bring Haydn to England. The nickname seems to have been inspired by a sense of Olympian grandeur in this, Mozart’s largest and most complex symphony. It is a hearty step beyond the angelic grace usually associated with Mozart’s name. Here, he calls upon a more robust spirit, hinting at the grand Romantic symphonies that would come with Beethoven. The symphony is Jupiter-like in another way, too, for it is frequently jovial, as if the Roman god himself were laughing heartily in the celebratory key of C major.

Mozart’s Symphony No. 41 proved inspirational to many composers, especially his elder (though longer lived) friend and colleague Haydn, who would model his Symphonies No. 95 and No. 98 on the Jupiter. Yet the most succinct reflection on the work’s importance is found in the critiques of the later composer Robert Schumann, who in 1835 wrote “about many things in this world there is simply nothing to be said --- for example, about Mozart’s C major symphony with the fugue, much of Shakespeare, and some of Beethoven.”

‘Program notes by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights”

Violin Martin Chalifour gSteven Copes gBella Hristova gErin Keefe gYura Lee gIda Levin gHarumi Rhodes gCuauhtémoc Rivera gArnaud Sussmann gTien-Hsin Cindy Wu g

V iolA Che-Yen Chen g gMark Holloway gPaul Neubauer gRichard O’Neill gCynthia Phelps g gTien-Hsin Cindy Wu g

CEllo Efe Baltacigil gSarah Cleveland gMichelle Djokic gDavid Huckaby gMary Oda Szanto gRonald Thomas g g gPeter Wiley gYao Zhao g g

BASS David Allen Moore gTimothy Pitts

FlUTE/P iCColo/RECoRDER Clay Ellerbroek gHoracio Franco gStefan Hoskuldsson gJeffrey Khaner gPamela Vliek Martchev gTara O’Connor g

oBoE Erik Behr gNathan Hughes g g

ClARinET Jose Franch-Ballester gAnthony McGill gJoshua Ranz g gDavid Shifrin gTheresa Tunnicliff g

BASSoon/DoUBlE BASSoon Whitney Crockett g

Peter Kolkay gValentin Martchev gLeyla Zamora g

FREnCh hoRn John Cox gWarren Gref gJulie Landsman gJulie Thayer g

TRUMPET David Washburn gJames Wilt gJohn Wilds g

TiMPAni Jonathan Szanto g

hARP Celso Duarte g

PiAno Alessio Bax gBernadene Blaha gKevin Fitz-Gerald gAnne-Marie McDermott g gAdam Neiman gAnton Nel g gAnna Polonsky g gStephen Prutsman g g

EnSEMBlES Szymanowski Quartet gSt. Lawrence String Quartet g

PROJECT TRIO gHausmann Quartet gThe Declassified g

VoCAliSTS Susanna Phillips gMagos Herrera gBecca Stevens g

RESEARChERS Richard Warp gAlexander Khalil gVictor Minces gGiri Nata Ensemble gScott Makeig gGrace Leslie gAdam Gazzaley gNina Kraus gBarbara Reuer gAniruddh Patel gJohn Iversen gAiyun Huang g

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MOZART & THE MINDWhere music and neurotechnology

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CHAMBER PLAYERS EVOLUTIONChamber music in Carlsbad andTimken Museum

Jazz & blues: Celebrating today’s musical innovators

Anne-Marie McDermottCurator

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ronald ThomasArtistic Partner

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Mainly Mozart 2013 Artist Roster

Ruby G. Schulman Auditorium, Carlsbad2:00pm Concert

Sunday, June 2, 2013

ida levin, violin; Anna Polonsky, piano

Schubert SonatinaforViolinandPiano,Op.137,No.3,D.408 I. Allegru giusto II. Andante III. Menuetto; Trio IV. Allegro moderatoTchaikovsky Meditation,Op42,No.1Beethoven SonataforViolinandPianoinF“Spring”,Op.24 I. Allegro II. Adagio molto espressivo III.Scherzo (Allegro molto) IV. Rondo (Allegro ma non troppo)


Martin Chalifour, violin; ronald Thomas, cello; nathan hughes, oboe; Whitney Crockett, bassoon; Kevin Fitz-Gerald, piano

Francaix TrioforOboe,Bassoon,andPiano I. Adagio II. Scherzo III. Andante IV. FinaleBeethoven SymphonyNo.2inaTranscriptionbytheComposer


erin Keefe, violin; Cynthia Phelps, viola; ronald Thomas, cello;Joshua ranz, clarinet; bernadene blaha, piano

Poulenc SonataforClarinetandPianoinBflat I. Allegro tristamente (Allegretto – Très calme – Tempo allegretto) II. Romanza (Très calme) III. Allegro con fuoco (Très animé)Fauré Piano Quartet No. 1 in C minor, Op. 15 I. Allegro molto moderato II. Scherzo (Allegro vivo) III. Adagio IV. Allegro molto

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Chamber Players ronald Thomas, Artistic PartnerWhen Nancy Laturno asked me if I was interested in programming the Chamber Players programs, I thought about it for a while. After all, I had programmed hundreds of chamber music programs over the years, at the Boston Chamber Music Society, and many more at a variety of series and festivals, including Mainly Mozart. I was missing something in the way of a reason for doing this and justifying yet one more chamber music series. I asked myself what I could do that would be different and new and still appeal to the Mainly Mozart audience. And then I had a brain wave!

Why not make use of the excellent musicians from the Mainly Mozart Festival Orchestra to play some chamber music programs based and the orchestral programs themselves? And, that is what these

Chamber Players programs are all about. I waited until Maestro Atherton had finished the Orchestral programs for this year and then went to work on mine.

Although there are too many works for each one to be discussed here, there are some that could be briefly introduced. While the Orchestra is playing the first Symphony of Beethoven, we will be performing Beethoven’s own arrangement of his second symphony. What is fascinating is how “right” this work sounds as a piano trio. Beethoven didn’t simply have the violin and cello play their orchestra parts and fill in as much as possible in the piano. He approached it quite differently. The musical material is spread around the group in an altogether different way so that it stands up very well as a Beethoven Piano Trio and not just an arrangement of a Symphony.

In the case of Schubert, we contrast something else entirely. While the Orchestra is playing the energetic and impetuous first Symphony, we will be performing the great String Quintet, written while Schubert was on his deathbed and considered by many to be the greatest chamber work in Western civilization. It is a work of hope, despair and ultimate resolution by one of music’s greatest geniuses. And, an unbelievable feat at the mere age of 31, contrasting with his already brilliant First Symphony, written when he was just 16.

Two great works of the mature Mozart, the Symphony #41 and the Clarinet Quintet demonstrate how Mozart had total mastery over the composition of both symphonic and chamber works. While the Sinfonia Concertante and the Duo in Bb both celebrate the dialog between violin and viola, one work is with orchestra, and one is without accompaniment at all.

Such are the relationships between all of the works on the Chamber Players Series. As chamber music programs, they stand very well on their own. But for those who attend both the Orchestra and Chamber Players series, there is the extra bonus of hearing the contrasts and similarities of how this year’s composers dealt with the different forces and textures of orchestral and chamber music.

ronald Thomas, Artistic Partner

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ida levin, violinMainly Mozart Festival violinist, Ms. Levin made her professional debut with the Los Angeles Philharmonic at age ten. The recipient of an Avery Fisher Career Grant, Ms. Levin was invited to appear in a recital for

President and Mrs. Reagan, broadcast by PBS as “In Performance at the White House.” She has been on the faculties of Harvard University and the European Mozart Academy, and currently teaches at the Sander Vegh International Chamber Music Academy in Prague. Ms. Levin made her debut with Mainly Mozart in 2001.

Cynthia Phelps, viola – see page xx

Whitney Crockett, bassoon – see page xx

nathan hughes, oboe – see page xx

Martin Chalifour, violinViolinist of the Mainly Mozart Cham-ber Players, Mr. Chalifour began his tenure as Principal Concertmaster of the Los Angeles Philharmonic in 1995. Chalifour began his orchestral career with as Associate Concert-

master of the Atlanta Symphony. He occupied the same position for five years in the Cleveland Orchestra, where he also served as Acting Concertmaster under Chris-toph von Dohnányi. Martin Chalifour is a professor at the USC’s Thornton School of Music. Mr. Chalifour made his debut with Mainly Mozart in 1989.

Joshua ranz, clarinetClarinetist of the Mainly Mozart Chamber Players, Mr. Ranz is principal clarinet of the Los Angeles Chamber Orchestra. He is also a member of the Pacific Symphony, and played principal clarinet on their

2006 European tour. Before moving to Los Angeles, Mr. Ranz was a member of the Honolulu and San Jose symphonies. Josh is on faculty at Biola University. His music degrees are from Harvard College and the Yale School of Music. Mr. Ranz made his debut with Mainly Mozart in 2004.

erin Keefe, violinViolinist of the Mainly Mozart Chamber Players, Ms. Keefe became concertmaster of the Minnesota Orchestra in September 2011. She has received major distinctions, including the Avery

Fisher Career Grant. Ms. Keefe joined the Chamber Music Society of Lincoln Center during the 2010-2011 season. Ms. Keefe earned degrees from The Juilliard School and the Curtis Institute of Music and lives in St. Paul, Minnesota. 2013 marks Ms. Keefe’s debut with Mainly Mozart.

Anna Polonsky, pianoMainly Mozart Spotlight Series pianist, Ms. Polonsky is widely in demand as a soloist and chamber musician and has toured extensively throughout the United States, Europe, and Asia. She earned

diplomas from The Curtis Institute of Music and the Juilliard School.. With the violist Michael Tree and clarinetist Anthony McGill, she is a member of the Schumann Trio. In addition to performing, she serves on the piano faculty of Vassar College. Ms. Polonsky debuted with Mainly Mozart in 2010.

Kevin Fitzgerald, pianoPianist of the Mainly Mozart Chamber Players, Mr. Fitz-Gerald enjoys a versatile performing career as recitalist, orchestra soloist, and chamber musician. He regularly performs two-piano and four-hand

recitals with Bernadene Blaha. He serves as Professor of Piano Performance and Collaborative Arts at the USC Thornton School of Music and has won several prestigious competitions, grants, and awards. 2013 marks the debut of Mr. Fitz-Gerald with Mainly Mozart.

bernadene blaha, pianoPianist of the Mainly Mozart Chamber Players, Ms. Blaha is featured as recitalist, concerto soloist or chamber musician, and has been heralded in performances throughout North America, Europe, Asia and Mexico.

Ms. Blaha graduated from the Juilliard School with a Bachelor and Master of Music Degree. Ms. Blaha is a member of the Keyboard Faculty at the Thornton School of Music, University of Southern California. Ms. Blaha made her debut with Mainly Mozart in 2003.

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Timken Museum, Balboa Park7:00pm Concert

Tuesday, June 4, 2013

ida levin and Tien-hsin Cindy Wu, violins; Che-yen Chen, violaronald Thomas, cello

Mozart/Bach PreludesandFuguesK.404a,HeftINos.1-3I I.Adagio;Fuga(Andantecantabile) II.Adagio; Fuga (Allegro) III. Adagio; Fuga (Vivace) Mozart StringQuartetNo.22inBflatmajor,K.589 I. Allegro II.Larghetto III. Menuetto (Moderato); Trio IV. Allegro assai


Martin Chalifour and harumi rhodes, violins; Che-yen Chen, violaronald Thomas, cello; Anthony McGill, clarinet

Mozart DuoforViolinandViolainBflat,K.424(Martin&Che-Yen) I. Adagio II.Andantecantabile III. Andante grazioso

Mozart ClarinetQuintetinAmajor,K.581 I. Allegro II.Larghetto III. Menuetto; Trio I; Trio II IV. Allegretto con Variationi


erin Keefe and harumi rhodes, violins; Mark halloway, viola; ronald Thomas and yao zhao celli

Schubert StringQuintetinC,D.956,Op.posth.163 I. Allegro ma non troppo II. Adagio III. Scherzo (Presto); Trio (Andante sostenuto) IV. Allegretto

Chamber Players ronald Thomas, Artistic Partner

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Che-yen Chen, violaMainly Mozart Festival Orchestra Principal violist Che-Yen Chen (also known as “Brian Chen”) has established himself as a prominent recitalist, chamber, and orchestral musician. He recently distinguished

himself by qualifying for the Principal Viola positions of both the Los Angeles Philharmonic and San Francisco Symphony. He has been a member of the Lincoln Center Chamber Music Society Two, the Jupiter Chamber Players, ADCA, and has toured with Musicians from Marlboro. Mr. Chen came to the U.S. and studied at The Curtis Institute of Music and The Juilliard School. Mr. Chen has served on the faculty at Indiana University, where he taught viola and chamber music and currently teaches at San Diego State University, UC San Diego, McGill University in Montreal, and holds the Principal Viola position of the San Diego Symphony. Mr. Chen debuted with Mainly Mozart in 2005.

ida levin, violin – see page xx

ronald Thomas, cello – see page xx

Anthony McGill,clarinet – see page xx

erin Keefe,violin – see page xx

Martin Chalifour, violin – see page xx

Tien-hsin Cindy Wu, violinViolinist of the Mainly Mozart Chamber Players, Ms. Wu enjoys a versatile international career as an orchestral soloist, a recitalist and a chamber musician. She has been featured with the National

Symphony Orchestra of Taiwan and the Taipei Symphony Orchestra in her native country, as well as with such European orchestras as the Odessa Philharmonic Orchestra and the Russian State Symphony Orchestra. Tien-Hsin Cindy Wu received degrees from the Curtis Institute of Music and the USC Thornton School of Music. She joined the Thornton School faculty in 2011 as an Adjunct Instructor of Violin and Chamber Music. Among Wu’s many honors and awards are the Gold Medal in the 2003 Stulberg International String Competition and third prize in the Odessa International David Oistrakh Violin Competition. 2013 marks Ms. Wu’s debut with Mainly Mozart.

harumi rhodes, violinViolinist of the Mainly Mozart Chamber Players, Ms. Rhodes performs extensively with some of the most prestigious musicians worldwide. Having just completed her residency at Lincoln Center

Chamber Music Society II, she has also joined the Boston, Philadelphia, Minnesota, and Seattle Chamber Music Societies. Some of her recent solo engagements include performances in the 2007 Vermont Mozart Festival featuring Beethoven’s Violin Concerto and Vivaldi’s The Four Seasons. Ms. Rhodes has also participated in several Musicians from Marlboro tours.

yao zhao, celloCellist of the Mainly Mozart Chamber Players, Mr. Zhao is principal cello of the San Diego Symphony. Since winning a top prize of the First Chinese National Cello Competition in 1987, Mr. Zhao has been a finalist

in more than a dozen competitions, awards and honors. Zhao is a busy musician, performing more than one hundred and seventy concerts per season at renowned concert halls in more than 40 cities around the world. His successful solo debut at the Weil Recital Hall at Carnegie Hall is one of his career highlights. Mr. Zhao was personally chosen by the renowned pedagogue Eleonore Schoenfeld to venture to the United States and continue his education on full scholarships at the Idyllwild Arts Academy and the Thornton School of Music at the University of Southern California in 1991. Mr. Zhao made his debut with Mainly Mozart in 2011.

Mark halloway, violaViolist of the Mainly Mozart Chamber Players, Mr. Holloway is an active chamber and orchestral musician, both within the United States and abroad. He received his diplomas from the Curtis Institute of Music

and Boston University. Mr. Holloway was principal violist of the New York String Orchestra, the Tanglewood Music Center orchestra, and was a member and guest principal violist of the Portland Symphony (Maine) and the Chamber Orchestra of Philadelphia. He currently plays as a substitute with the New York Philharmonic, Orpheus, and the American Symphony, where he has appeared as principal violist. Mr. Holloway has appeared at Caramoor, with the Boston Chamber Music Society, Richmond Festival of Music, Festival Mozaic, Jupiter Chamber Players, Concordia Chamber Players, and the Brandenburg Ensemble. He is a member of the prestigious Chamber Music Society of Lincoln Center Two. Mr. Halloway made his debut with Mainly Mozart in 2007.

As an avid supporter of contemporary music, she had a solo violin piece dedicated to her by composer Benjamin Lees. Ms. Rhodes received degrees from the Juilliard School and the New England Conservatory, where she received the Gunther Schuller Award. Ms. Rhodes made her debut with Mainly Mozart in 2004.

Hernan ConstantinoMusic Director Jane FreyAssociate Music Director

• Coaching by some of the world’s greatest musicians• Prestigious performance opportunities• New chamber music component• High instructor-student ratio

• Youth Orchestra of the Americas Partnership• All levels –Ages 3-23• Special attention for children with learning challenges• Need-based scholarships available

2013-2014 Auditions Underway!

For information: 619/239-0100 x3sdyas.org ormainlymozart.org/mmyo

Registration Open Now!

Formerly the San DiegoYoung Artists Symphony

Orchestra-in-Residence of the New Children’s MuseumHernan Constantino Music Director | Jane Frey Associate Music Director | William Preucil Artistic Advisor

Mainly MozartYouth OrchestraThe New

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Wednesday, June 6, 2013

The Abbey Downtown, Balboa Park7:30pm Concert

Friday, June 7, 2013

El Cubo – Centro Cultural Tijuana (CECUT), Tijuana8:00pm Concert

Evolution: Mexico’s Next Wave of Classics and Jazz

Magos herrera, vocalist Cuauhte'moc rivera, violinhoracio Franco, recorder

Celso Duarte, harp Stephen Prutsman, piano

Works by Two Classical Mavericks of Mexico Manuel Ponce Sonata Allegretto mosso Adagio Allegro a l'espagnole Silvestre Revuelta Tres Piezas para violîn y piano Allegro Lentamente Allegro Music of Bach and the AncientsPartitainAMajorforFlute,BWV103,J.S.Bach-Dances of the Indigenous Peoples of México Allemande El son de la Catarina (Maya) Corrente DanzadelespejohistorialdePuebla(Nahuatl) Sarabande Dos tonadas religiosas de los Tzotziles (Tzotziles) Bourrée anglaise intermission ................................................................................. The Folkloric Heart of Mexico "Azul" - Smooth Jazz on the Mexican Horizon

Chamber Players Stephen Prutsman, Artistic PartnerStephen Prutsmanartistic director & pianoEvolution Artistic Partner, Mr. Prutsman moves easily from classical to jazz to world music styles as a pianist and composer, Stephen Prutsman

continues to explore and seek common ground in the music of all cultures and languages. As a composer, Stephen has written and arranged works for many of the world’s leading classical performers and ensembles. In the early 1990s Stephen was a medal winner at the Tchaikovsky and Queen Elisabeth Piano Competitions, received the Avery Fisher Career Grant, and has performed as soloist with many of the world’s leading orchestras on international concert stages. In his teens and early 20s he was the keyboard player for several art rock groups including Cerberus and Vysion, and was also the music arranger for a nationally syndicated televangelist program. From 2004-2007 Stephen was Artistic Partner with the Saint Paul Chamber Orchestra where he led concertos from the keyboard, conducted works of living composers, arranged music for world music collaborations, and composed several new works for the orchestra. In 2009 he was appointed Artistic Director of the Cartagena International Festival of Music, South America’s largest festival of its kind, programming and curating concerts with themes ranging from Mozart and Bach celebrations, to eclectic evenings of folk and popular music, to hybrid programs fusing art and dance music of multiple musical dimensions. A father of an autistic son, Stephen is involved in several projects whose missions are to create enjoyable artistic or recreational environments for children on the autistic spectrum and their families. Mr. Prutsman first performed with Mainly Mozart in 2012 for the debut of the series Evolution.

Wednesday, June 6 and Friday, June 7, 2013 evo

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Mainly Mozart is proud to foster cross-

border collaboration through music. We

could not do this without the combined

support of Mayor Bob Filner of San Diego,

Mayor Carlos Bustamante of Tijuana,

and the Consul General of Mexico in San

Diego, Remedios Gómez Arnau.

Welcome to members of the Consular

Corps of San Diego and Tijuana, and

all our guests who join Mainly Mozart in

cross-border collaboration.

46

san diegomayor

Bob Filner

Consul General of mexico in san diego, remedios

Gómez Arnau

Magos herrera, vocalistMagos Herrera, is considered one of the most beautiful voices and the most active vocalist of contemporary Latin American jazz. Her career started in 1988 when she graduated from the “Musicians Institute” in Los Angeles, California. Magos has performed in the most important venues and Festivals around the world such as Montreal International Jazz Festival, Lincoln Center, Dizzies Club, Carnegie Hall neighborhood series in New York, Teatro de la Ciudad de Mexico, and Sala Galileo Galilei in Madrid, among many others. “Magos Herrera is the

Cassandra Wilson of Latin America. There are similarities in their warm, sultry tone, their bluesy feeling and strong command of the jazz language . . . Herrera is without a doubt the best jazz singer out of Mexico, and with ‘México Azul’ she is establishing herself among the best singers in jazz,” writes Jazz Times. A Grammy pre-nominee for best vocal jazz album, immensely popular throughout Mexico and Latin America, Ms. Herrera is a dazzlingly accomplished singer-songwriter known for her beguiling rhythmic scatting. She stays firmly rooted in tradition from different Latin American and Iberic backgrounds blending them with the refinement and sophistication of jazz, interpreted through her unique artistic vision. Fluent in Spanish, Portuguese and English, her repertoire is filled with yearning romance, intimacy and enchantment.

Cuauhte'moc rivera, violinCuauhtémoc Rivera has become one of the most active figures in the music of Mexico. As a performer, a teacher, a curator and as director of the prestigious INBA School of Music in Mexico City, he is one of the most sought-after figures in music in Latin America. Mr. Rivera has performed all over the world in recital and as concerto soloist in the world's most recognized concert capitals and at the most prestigious venues. Educated in Russia, Cuauhtémoc Rivera holds a Master of Fine Arts from the prestigious Tchaikovsky Conservatory of Moscow.

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horacio Franco, recorderHoracio Franco is one of the most recognized Mexican musicians. He has broken the stereotype of the traditional classical musician with a repertoire that ranges from medieval, Renaissance and Baroque to contemporary works, most of them written specially for him by composers from around the world. Horacio studied in the National Conservatoire in Mexico and at the Sweelinck Conservatorium in Amsterdam. He is a frequent soloist with virtually every Mexican orchestra and also appears with distinguished ensembles around the globe, among them: the outstanding

debut in 1994 in Carnegie Hall with the American Composers Orchestra, The Orchestra of the Age of Enlightenment, San Francisco’s Philharmonia Baroque Orchestra, City of Birmingham Symphony Orchestra, Berliner Symphoniker, Irish Chamber Orchestra, Kibbutzim Chamber Orchestra, Accademia della Magnifica Comunitá, Orchestra da Camera Florentina, Hungary’s Franz Liszt Chamber Orchestra and Tokyo Solisten. Of special note is Horacio’s record of appearances over seven consecutive seasons with the famous orchestra Academy of St. Martin in the Fields. Currently Horacio finds himself discovering new horizons, working on Jazz projects, recitals, school concerts, lectures and master classes.

Celso Duarte, harpCelso Duarte is a virtuoso of Paraguayan harp and Mexican jarocho harp, arranger, singer, and multi-talented instrumentalist. Celso Duarte began his musical studies at a very early age with his father, the world-renowned Paraguayan harpist Celso Duarte González. Charismatic, talented and deeply profound, Celso Duarte has been recognized as a virtuoso of the harp by many international critics. Duarte has performed and recorded with Lila Downs since 1998 and has also accompanied and collaborated with other artists, including Susana Baca, Celso Piña,

Placido Domingo, Mariza, Ramón Vargas, Julieta Venegas, Wynton Marsalis, The Chieftains and Ry Cooder. As a solo artist, he has performed with his band at Carnegie Hall, Kennedy Center, Joe's Pub and other historic venues. His first solo album, "De Sur a Sur (From South to South)", was released in 2006.

The New Wave of Mexican Music and Musicians (La Onda Nueva)

Mexico’s unique spirit of innovation pervades its arts and sciences, and often this practice of seeking new relationships becomes a model of it’s own for further innovation. It is regenerative, turning out generation after generation of original thought and fantasy. In the sciences, curious minds seek new elemental relationships in and out of their respected fields, and in some cases mindfully observe relationships previously unnoticed. The result: the seemingly impossible is dreamed possible. The incongruous, harmonious. Recently I was rocked to my core upon hearing that theoretical physicist Miguel Alcubierre at UNAM has invented what may be a “warp drive”. (Something die-hard Star Trek fans will no doubt jaw-drop to). A few months ago award winning mathematician and molecular biologist, (and family friend), Mariel Vázquez was personally congratulated by President Obama for her cutting edge findings in DNA topology and knot theory. These two scientists’ futuristic discoveries are a result in part of a practice of new relationship gathering.

In parallel, great talents are at work in the arts as well, and we are fortunate to have an event tonight that showcases four extraordinary musicians. These artists are also forging new relationships; they infuse their music with a variety of styles and languages, all relating in some way to a source deeply rooted in the Mexican cultural landscape. Cuautemoc Rivera brings us the music of the legendary composer Revueltas, whose classical compositions are deeply embedded in the tradition of the ancient Aztec Indians. The amazing harpist Celso Duarte takes his cue from the folkloric and empassioned songs of the countryside while daring to push the limits of virtuosity. Horacio Franco, the pied piper of the Americas, seeks common group in the music of JS Bach and the earliest traditions of dance music from Mexico. The illustrious and luminous singer Magos Herrera, unites blues, swing and fusion in her original compositions, again brimming from an even greater source, that deep within the land of Mexico. These new voices, these new discoveries, these new relationships all lead one to believe that what can be imagined, can be realized. And in fact, dreams can become reality.

— Stephen Prutsman

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Friday, June 14, 2013

Tia Juna Tilly's, Tijuana7:30pm Concert

Evolution: Jazz by Classics

ProJeCT Triohausmann Quartet

Stephen Prutsman, piano

Jazz Piano Etudes PrutsmanBach and the Music of the Near East Hausmann Quartet/PrutsmanThree Jazz Arrangements for Piano Quintet Hausmann Quartet/Prutsman intermission .................................................................................

PROJECT TRIO

Chamber Players Stephen Prutsman, Artistic PartnerW

ednesday, June 6 and Friday, June 14, 2013 evolU

Tion

ProJeCT TrioPROJECT Trio is taking classical music to a whole new level. Greg Pattillo, flute, Eric Stephenson, cello, and Peter Seymour, bass, are pushing the boundaries of chamber music with a high-octane mix of classical, jazz, hip-hop, and rock. The Trio performs to enthusiastic audiences of all ages in concert halls, clubs, and classrooms around the world. Acclaim for the Trio and its members runs the gamut from Downbeat Magazine, which praises PROJECT Trio as “packed with musicianship, joy, and surprise” to the New York Times, callingbeatboxing flutist Greg Pattillo “the best in the world at what he does.” The Wall Street Journal hails the group’s “wide appeal, subversive humor and first-rate playing.”

The Trio, now in its sixth year, was forged out of a collective love of performing high energy, top quality musicto diverse audiences. They are drawing new audiences to classical music and reinvigorating existing fans ofchamber music through their innovative performances and recordings. The Trio, which performs over 100 concerts a year, plays to fans of all ages in venues around the world including Carnegie Hall, where they made their debut in 2010. In addition to their extensive performing schedule, the Trio is dedicated to arts education, inspiring a whole new generation of concert going music lovers.

hausmann QuartetPraised for its “passion and commitment” (San Francisco Classical Voice), The Hausmann Quartet, now into its eighth season, has established itself in San Diego, joining the faculty at SDSU as Artists in Residence, as well as founding the Hausmann Chamber Music Program.

Winners of the Beverly Hills Auditions and recipient of a Chamber Music America Residency Grant, the Hausmann Quartet has enjoyed a busy and varied performance schedule with concerts throughout North America and China.

The quartet has also received acclaim at major summer music festivals including La Jolla SummerFest, Music@Menlo, and the Aspen Music Festival. They have been a featured ensemble on live

broadcasts such as Performance Today, Aspen Public Radio, and WFMT Chicago. The members of the Hausmann Quartet have trained through institutions such as Longy School of Music, San Francisco Conservatory, Kent State University, The Cleveland Institue of Music, and The Juilliard School, San Francisco State University, and San Diego State University.

Jazz by Classics

Definitions of all things musical are often hard to get comfortable with. Yet definitions and descriptions are used when we find ourselves locking horns on the merit or value of all that is non-classical, and the discussion of its place on or off the concert stage. Merriam-Webster defines Jazz as American music developed especially from ragtime and blues and characterized by propulsive syncopated rhythms, polyphonic ensemble playing, varying degrees of improvisation, and often deliberate distortions of pitch and timbre.

Wikipedia says that Classical music is the art music produced in, or rooted in, the traditions of Western liturgical and secular music and is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century.

Fair enough. So what happens when we find a piece of classical music that uses deliberate distortions of pitch and timber? (i.e. Bartok 5th String Quartet). Or polyphonic ensemble playing (say the Sextet in Act 3 of “Figaro”). Or what happens if we have piece of through composed music (notated) with a bit of improvisation. (Like we’ll experience tonight!)

All of this grey area of course is delightful, and great to talk about at cocktail parties. In the end some of us throw our hands up and say let’s not try to separate the languages. While others might come to fisticuffs if there is any mention that a piece of notated music from Vienna c. 1780 would be sharing the stage from something from New Orleans c. 1960. I do think it a safe bet that had Wolfgang Amadeus Mozart encountered many of our 20th and 21st century jazz virtuosos, he would have enjoyed this art form, would have loved swing, he would have been amazed and delighted with the jazz improvisational experience. The sentiments in music of love and sensuality, of fun and show, conceptually, these have changed little over the centuries.


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Wednesday, June 19, 2013 evo

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5554



Evolution: World Dances and Musical Movements

Stephen Prutsman, artistic directorDecoda

becca Stevens, vocalist

Dmitri Yanov-Yanovsky “CHANG IV”

Andrew Norman “Sabina”from“TheCompanionGuidetoRome”

John Adams “Book of Alleged Dances”

Decoda intermission .................................................................................

Singer/ composer/ guitarist becca Stevens performs herunique and unclassified songs with sparkling brand newarrangements for Decoda by Stephen Prutsman

Chamber Players Stephen Prutsman, Artistic Partner

becca Stevens, vocalist“Making music is as natural as breathing for me, and just as essential,” says Becca Stevens. It’s no exaggeration to say that Becca Stevens has been making music for her entire life. The daughter of musicians, she began singing in her family’s band, the Tune Mammals, when she was two years old. She spent much of her childhood on stage, singing, acting and dancing, including a year-long tour in the lead role of The Secret Garden when she was ten. She became fluent in jazz and classical guitar, and in the folk music traditions of her native North Carolina—

influences that still echo in her songwriting. Stevens attended The New School for Jazz and Contemporary Music in New York, where she received a BFA with high honors in vocal jazz and composition. It was at the New School that she met the musicians who would subsequently become the Becca Stevens Band. The sense of musical communi-ty that was instilled in Stevens early in life would help to prepare her to collaborate with a wide assortment of musi-cians in a diverse array of settings. Since 2004, Becca has served as lead singer of Travis Sullivan’s Bjorkestra, fronting a genre-bending 18-piece jazz orchestra interpreting the songs of Björk. She has also toured and recorded with, and written lyrics for, jazz pianist Taylor Eigsti, singing on five songs on his 2010 album Daylight At Midnight. She recently performed at Carnegie Hall as featured singer with pianist Brad Mehldau. Stevens’ intimate vocals communicate both immense warmth and effortless urgency, while her exquisitely understated arrangements and seamlessly crafted tunes embrace inventive acoustic textures and idiosyncratic rhythmic and melodic elements. The resulting music offers a beguiling blend of head and heart that resists easy categorization, drawing upon elements of pop, jazz or folk without limiting itself to the rules of any particular genre.

DecodaDecoda is a cutting-edge chamber music society forging an integrated role for classical music in communities around the world. Based in New York City, Decoda maintains a flexible roster of a new type of musician: virtuoso, arts advocate and edu-cator. They design residencies to reach audiences of broad scope, bringing creative concert experi-ences to schools, hospitals, prisons and bars, as well as major international concert halls. Decoda was founded in 2011 by alumni of The Academy – a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute. Upon leaving this prestigious fellowship, the musicians were in-spired not only to keep playing together but also to create an entrepreneurial model for artists who want to meaningfully engage with society. As The Academy’s Ensemble ACJW, the musicians of Decoda presented residencies in Spain, Mexico, Iceland, South Africa, the United Arab Emirates, Germany and Japan. Appearing at Carnegie Hall, their performances as Ensemble ACJW were called “dazzling” and “dynamic”; “categories be

damned.” (New York Times). In Decoda’s inaugural season, they designed acclaimed residencies in Iceland, South Carolina, Florida, and throughout New York City. Projects for the 2012-2013 season include several return engage-ments to Iceland and South Carolina and new residencies in Mexico and Hong Kong, at conservatories including The Colburn and Juilliard Schools, and concert series at SUNY Purchase, Princeton, and Bargemusic. Decoda maintains a close collaboration with Carnegie Hall, as resident artists on their Musical Connections program which supports their work this season in homeless shelters, hospitals and at Sing Sing prison, and as a partner in planning and conducting national and international residencies on an ongoing basis.

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World Dances and Musical Movements

Politicians love to gain favor with the populace by speaking of American “greatness”, a greatness born of democratic principles, equality for all and so on. However, as we all know, equality is a concept that has not been fully embraced in our political system, even to this day. Few politicians seldom, if at all, speak of the greatness of musical elements quintessentially American. Come to think of it, politicians seldom speak of art period.

Does “American Artistic Greatness” exist? And if so, from where does it come? Could it be from a similar spirit to the same democratic principles mentioned above? Tonight’s program sheds light on the belief that great American artistic achievement in fact has it’s basis in an accumulation of musics, the mending and overlapping and piecing together of new intervallic, rhythmic and textural relationships from all over time and space. John Adams “ Book of Alleged Dances” is a collage of varying musical fabrics from around the globe stitched together. (Adams actually refers to himself a ‘post-style’ composer, free from a particular musical camps or geographic distinctions.) Declassified, an amazingly innovative ensemble from New York, takes the concept to an even more personal and spiritual level: That we are all united in our humanity. Recently the ensemble tested, realized and proved a hypothesis that non-musicians who are institutionalized and cognitively challenged, would not only benefit from Declassified’s composing workshops, but would actually write some pretty extraordinary stuff, just given the chance to be a part of wondrous musical engagement with other human beings. Becca Stevens is a songwriter/performer whose musical synergy incorporates all things American, including but not limited to a breathtaking and floating lyricism, jazz and folk rhythms, an esoteric yet poetic lyric, and textures reminiscent of the Carolinian hills from which she hails.

As the patriotic song goes, “this land was made for you and me”. This land, this glorious land singing beneath us folks from many different lands, is great because it gives our Art it’s identity in a heavenly and progressive original. And like this land, this music too is made for you and me. It is an Art made up of the many, and not of the few. It is of a dimension from which we can all truly be viewed with equality.


25 tH AnniVErsArY LEAdErsHiP CirCLE mEmBErs

The following have generously made gifts/pledges for 2013each totaling $25,000 and above in celebration of our 25th Anniversary:

Sam ErsanMichael Hostettler and Erica Pascal

Joan and Irwin JacobsJack McGrory – The McGrory Family Fund

Alexandra Pearson and Paul MeschlerThe Mandell Weiss Charitable Trust

The Patricia and Christopher Weil Family FoundationThe Richard Woltman Family Foundation

As of June 1, 2013

This year, an extraordinary group of individuals and businesses are supporting Mainly Mozart — making it possible to honor the legacy of our Founding Music Director, presenting nearly 70 events year-round, touch over 20,000 school age children through music, deepen our award-winning cross-border collaborations, and engage, inspire and transform lives through the genius of Mozart and the inspiration he brings. Now more than ever, support from the community at all levels is needed and so appreciated. tHAnK YoU to our family of donors! And if you are not yet involved, we INVITE you to deepen your participation and impact TONIGHT! Your contribution will truly make a difference.

Join Club Amadeus—$1,000 or $1,500 (Deluxe), membership includes VIP concert tickets, concerts in private residences and tax deductibility

“Adopt” an artist of the Festival Orchestra as a sponsor and join the Orchestra at a welcome luncheon, barbecue, and rehearsals ($1,750)

Sponsor a concert or an exciting new series ($2,500 to $100,000)

Donate to our Annual Fund—your gift at any level makes a difference!

Help those who can’t afford to attend a concert by donating to the Sam Ersan Outreach Fund, providing free Balboa Theatre concert tickets to families of need

Make a multi-year gift and allow us to continue our advance planning

Transfer stocks/assets for tax advantages

Remember Mainly Mozart in your estate planning and let us know, so we can say “thank you!”

Volunteer! In the office, at concerts and events, on a committee, or as a member of the Board of Directors

We Invite You to Get Involved

CELE

BRAT


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25Mainly Mozart

CELE

BRAT


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25Mainly Mozart

Series and Concert SponsorsMainly Mozart

25 tH AnniVErsArY ConCErt & sEriEs sPonsors

Rick Anderson and Bobbie HoderAnonymous

Barney & BarneyMark Bennett

Norman Blachford and Peter CooperCalifornia Bank & TrustCavignac & Associates

Coldwell BankerIrene Chandler and Jim Shultz

Christopher Weil & Company, Inc.Sam Ersan

Dr. Merle and Teresa FischlowitzGlen Freiberg

Dr. Jerrold HellerDrs. Kay and John Hesselink

Helen HodgesMichael Hostetler and Erica Pascal

Jo Ann KiltyKate Leonard and Richard Forsyth

Dr. Franklin and Jeanee LusbyReinette and Marvin Levine

M. Ernest Ligon, Jr. and Donna FabbriMcKenna Long & Aldridge LLP

Esther NahamaAlexandra Pearson and Paul Meschler

Peter and Jane PolgarPopular Community Bank

Pam Slater-PriceResMed Foundation

Chris Steinhardt and Linda IvorAnne Taubman and David Boyle

The Patricia and Christopher Weil Family FoundationViaSat, Inc.

As of April 30, 2013Please call Executive Director Nancy Laturno Bojanic at (619) 239-0100, ext. 301

or [email protected] for more information

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maestro’s diamond Circle - $100,000+Woltman Family Foundation Richard Woltman A

maestro’s Platinum Circle - $50,000+City of San Diego/Commission for Arts & Culture County of San DiegoSam Ersan HHMcGrory Family Fund/Jack McGrory A The Patricia & Christopher Weil Family Foundation A HH

Leadership Circle - $25,000+Joan & Dr. Irwin Jacobs A Mandell Weiss Charitable TrustErica Pascal & Michael Hostetler A HHAlexandra Pearson & Paul Meschler A HHViaSat, Inc. HH

mozart Virtuoso - $10,000+Anonymous A Anonymous Teresa & Dr. Merle Fischlowitz A HHDr. Jerrold Heller A HHDr. Kay & Dr. John Hesselink+Jo Ann Kilty A HHBarbara Kjos A HHReinette & Marvin Levine A HHPeter Manes & Yoko Sakaguchi A HH National Endowment for the ArtsPam Slater-Price & Hershell Price A HHAnne Taubman & David Boyle A HHChristopher Weil & Company, Inc.

Concertmaster’s Circle - $5,000+Charlene Abrahamson A HHBarney & Barney, Inc.Norman Blachford & Peter Cooper A HHCarlsbad Library Arts Foundation’s Robert H. Gartner Fund Cavignac & AssociatesColdwell BankerHelen Hodges AMary & Russell Johnson A HHKate Leonard & Richard Forsyth A HHM. Ernest Ligon Jr. AJeanne Obenchain A HHPopular Community BankResMed FoundationMarsha Sewell & Bob Maddalena A HHBebe & Marvin Zigman A

A Club A

HH HH

j Multi-year donor

Family of Supporters

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Thank you to our Adopt an ArtistHaffner Host Sponsors

Named for Johannes Haffner, one of Mozart’s most generous patrons, sponsors and their artists

enjoy connecting at events surrounding the artist’s concerts in San Diego, including open

rehearsals and private events.“It was a joy to connect with a prominent musician and his wifeon a more personal level -something we were only able toexperience thanks to the Haffner Host program.”

- Russell & Mary Johnson Haffner Hosts of Martin Chalifour Concertmaster, Los Angeles Philharmonic

To find out more about this unique way to support Mainly Mozart, and add your name to the Adopt and Artist waiting list for 2014,

contact Robert Fishman at (619) 239-0100, ext. 305

Join the ClubAttend our NEXT in-home performance: August 25, 2013

Connecting Committed and Passionate Music Lovers

with the World’s Greatest Musicians and Each Other

Club Amadeus DELUXE

$1,500 | $3,000 per couple

$1,000 | $2,000 per couple

Includes all of the above, plus:

Please call Constance Bettino at (619) 239-0100, ext. 310 or [email protected] for more information.

• Three Sunday afternoon concerts in exclusive residences

• Six concert tickets to your choice of orchestral or chamber music concert

• Concert program listing as a Club Amadeus Member and Donor ($300 “Friend” level)

• Exclusive Members-Only event invitations

• Invitation to VIP Luncheon with artists when you apply your tickets to your subscription

• One extra Sunday afternoon concert at an exclusive residence

• Nine more Mainly Mozart concert tickets (15 total) with flexible exchange privileges

Club Amadeus

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Do

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r liSTin

G 2013

Celebrity Circle - $2,500+Mark BennettDeAnn Cary & William L. Jech ADr. Richard Della Penna Linda & Glen Freiberg AAnn Fulmer A HHBobbie HoderLinda Ivor & Chris Steinhardt AWarren Kendrick & Edward RichardJeanne & Dr. Franklin Lusby AVeryl Mortenson A HHEsther Nahama A HHJane & Peter Polgar AProcopio Cory Hargreaves & SavitchJoan Roberts A HHLinda & Joe Satz A HHBrita & Dr. Charles Tesar A HHGretchen Vik & Larry Clapper A

mozart Patron - $1,000+Dr. Louis Alpinieri A HHLinda & Robert Cain ACalifornia Bank & TrustCharles L. Freebern A HHBrenda & Dr. Michael Goldbaum A HHKimberly Heller A HHPatricia & Dr. Hart IsaacsjSonya & Neil Johnson A HH jIlene & Dr. Charles Mittman ADawn Moore & Larry Alldredge A HHJan & David Mullin APatricia & Hank Nickol APatricia & Tom Nickols A HHSandra & Robert Rosenthal ASharon Lyn Sherman A HH Sperry Van NessBelynda & Britt Talbert A

mozart Benefactor - $500+Vernon & Cynthia Aguirre AAmnon & Lee Ben-Yehuda ASevil & Johan Brahme AMark & Julie Burgess A HHSusan & Dr. Joel BuxbaumArlene & Richard Esgate AAdrienne & Bob Feldner ASusan Fellows & Dallas Boggs AMartha & George Gafford A

Judi & Joel Gerber ANancy & Danford Hand AMary HartSusan Hayes ASusan & Dr. Ronald Heller VAline G. HornadayJudi & Louis Mezzullo AFran & Dr. Robert Preisman HHPeggy & Peter Preuss ACathy & Larry Robinson ALinda & Manley Sarnowsky AWendy & Jonathan Segal ACarole & Dr. Michael Ziegler A

mozart Friend - $300+Susan Bailey Cowan AThomas Barnett ADr. Ruth Nelson & Dr. Neil Berkowitz AIrene Chandler ANancy Chase ALori ClellandRichard Cloward ADonna Conaty & Brig Cooley jNancy & Irwin Frank AKathryn Fulhorst AJoyce Gattas ADr. Irma Gigli ACauleen Glass ATessa Heunis AGeorge S. Howard AVicki Johnson AJoseph MooreDennis Muckermann AOle Prahm A HHNina Sabban A

mozart Circle - $100+Louise C. ArnoldDr. Jerome BrodishChris CelentinoFaith & John ConklinCarolyn DeMarGary & Val FlynnColleen FosterDr. Nedra GlasserFred HahnDeanne & Byron HayesFrederick Howden

Frances & Jack KyteSusan & Douglas McLeodBeverly & Harold MartynJennings MayneBeverly & Wayne PannellRosemary & Dick Pinney Catherine SealAnne & Ronald SimonRuth SternJames UyloanHelen WagnerFloyd WilkinsJoseph WitztumTrude & Hermann Zillgens

mainly mozart memorial and Honoraria Gifts In honor of Midge Backensto HHAnonymous

In honor of Martha & George GaffordDr. Jay & Lael Kovtun

In honor of Fran Preisman’s B’nai MitzvahAnonymous

In honor of Laurie Waddy Anonymous

Family of SupportersFamily of Supporters

A Club A

HH HH

j Multi-year donor

mozart society members

AnonymousArthur Ecker

Cariol & Dr. Peter FrankKimberley Heller

Nancy Laturno Bojanic & Radomir BojanicReinette LevineJack McGrory

Peter Manes & Yoko Sakaguchi A HHIlene & Dr. Charles Mittman

Alexandra Pearson Marsha Sewell

The Mozart Society’s members are strong believers in Mainly Mozart and its mission. They have included Mainly Mozart in their estate planning through bequests in wills andtrusts,beneficiarydesignationsonretirement accounts and life insurance,and other estate-planning vehicles. Planned gifts to Mainly Mozart qualify for the Federal Estate Tax Charitable Deduction. We invite you to add your name!

PleasecallTylerHewesat(619)239-0100,ext.307for more information.

Mozart Society (Planned Giving)

6362

Greg Cox, ChairDistrict 1

Dianne Jacob, Vice-ChairDistrict 2

Dave RobertsDistrict 3

Ron RobertsDistrict 4

Bill Horn District 5

Mainly Mozart wishes to express deep appreciation

to the County Board of Supervisors

for their support of the arts in San Diego.

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A Very Special Thank You…

Mainly Mozart expresses deep appreciation to the City of San Diego andthe Commission for Arts and Culture for their support of the arts in San Diego.

"San Diego will be a national model for civic support

for arts and culture under my leadership."

Mayor Bob Filner

San Diego City CounCilSherri Lightner, District 1

Kevin Faulconer, District 2Todd Gloria, District 3Mark Kersey, District 5

Lorie Zapf, District 6Scott Sherman, District 7David Alvarez, District 8Marti Emerald, District 9

San Diego CoMMiSSion For artS & Culture

Vicki Reed, ChairRobert H. Gleason, Vice Chair

Larry BazaColette Carson Royston

Garet ClarkJoanne Hayakawa

Dea HurstonLewis Klein

Judy McDonaldLaurie Mitchell

Sharletta RichardsonRebecca SmithLorin Stewart

John VenekampSheryl White

mAinLY moZArt BinACionALMainly Mozart boasts one of the most exciting, collaborative, inclusive cross-border performing arts partnerships in the U.S./Mexico border region, Mainly Mozart Binacional (MMB). The 21-years strong collaboration between San Diego and Baja California has reached hundreds of thousands of residents on both sides of the border through concerts by Mainly Mozart’s world class artists, educational programs for elementary

school children, and music education-training workshops for low-income women.

• Concerts performed in multiple venues - from popular halls to non-traditional spaces in low-income neighborhoods; most performances benefit local organizations.

• MMB’s in-school music assembly, Living Mozart/Mozart Iluminada, has reached hundreds of thousands of elementary school children in San Diego, Tijuana and Mexicali.

• Mainly Mozart is proud of its newest component, the Mainly Mozart Youth Orchestra, its collaboration with Centro De Artes Musicales Tijuana, and the resulting formation of the bi-

national Youth Orchestra of the Californias/ Orquesta Juvenil de los Californias, which will provide unique music and learning experiences that cross language, cultural and economic barriers on both sides of the border.

• Mozart Binancional’s workshops for low-income women in Tijuana allows them to work in paid positions in elementary schools to support local music education programs.

Future plans include more public concerts in Tijuana and Mexicali; an increase in cross-border artist exchange, and the creation of new opportunities for student musicians from both sides of the border to learn, rehearse and perform together.national award for its cross-border work.

Alida Guajardo de Cervantes

Directora de Promotora de las Bellas Artes

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“At CWC, we’re proud to support Mainly Mozartand their exciting programming. It’s a way to give back to

the community that has been so generous to us.”

Christopher WeilChairman of the Board, Investor ~ Manager ~ Advisor, Christopher Weil & Company, Inc.

CHRISTOPHER WEIL

CHRISTOPHER WEIL & COMPANY, INC.Investors ~ Managers ~ Advisors

& COMPANY, INC.

12555 High Bluff Drive, Suite 180, San Diego, CA 92130

Tel. 800.355.WEIL (9345), Fax 858.724.6080, www.cweil.com

Registered Investment Advisor

Member FINRA/SIPC

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2013 Mainly Mozart Festival

g All-Star Festival Orchestra TheNation’sTopOrchestralPlayers

g Chamber Players ChamberMusicinIntimateVenues

g Mozart & the Mind WhereMusicandNeurotechnologyMerge

g Spotlight-Chamber Music MasterworksbyMasterMusicians

g Evolution CelebratingToday’sMusicalInnovators

g Mainly Mozart Youth Orchestra Nurturingleadership,creativityandaloveofmusic

Spotlight-Chamber MusicJanuary 25 – June 1

Mainly Mozart Youth orchestra Year-round!

Chamber PlayersJune 8 – June 19

EvolutionJune 5 – June 20

Mozart & the MindMay 15, 22, 29

SixweeksofunequalledclassicalmusicexperiencesindistinctivevenuesfromTijuanatoCarlsbad

Festival orchestraJune 4 – June 21

2013 festival program (june)

Documents

mozart festival

s i o n c h

orgmainly mozart

mozart representative

mozart t h e

best musicians

student musicians

likeminded musicians