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FEBRUARY 4 , 2020

LUDWIG VAN Quartet No. 2 in G Major, Op. 18, no. 2BEETHOVEN (1770-1827)

BEETHOVEN Quartet No. 4 in C Minor, Op. 18, no. 4

INTERMISSION

BEETHOVEN Quartet No. 8 in E Minor, Op. 59, no. 2, “Razumovsky”

FEBRUARY 5 , 2020

BEETHOVEN Quartet No. 3 in D Major, Op. 18, no. 3

BEETHOVEN Quartet No. 6 in B-flat Major, Op. 18, no. 6

INTERMISSION

BEETHOVEN Quartet No. 9 in C Major, Op. 59, no. 3, “Razumovsky”

We gratefully acknowledge the contributions of guest artist Stine Hasbirk who substitutes for Asbjørn Nørgaard this evening

DANISH STRING QUARTET

FEBRUARY 2020

FREDERIK ØL AND, viol inRUNE TONSGAARD SØRENSEN , viol in

STINE HASBIRK, violaFREDRIK SC HØYEN SJÖLIN , cel lo

FREDERIK ØL AND violinRUNE TONSGAARD SØRENSEN violinASBJØRN NØRGAARD violaFREDRIK SC HØYEN SJÖLIN cello

THE DANISH STRING QUARTET “One of the best quartets before the public today” (The Washington Post), the GRAMMY®-nominated Danish String Quartet astonishes audiences with their “nimble charisma, stylish repertoire, and the way their light and grainy shading can turn on a dime” (The Guardian). Beyond even their impeccable musicianship and sophisticated artistry, the quartet’s playing reflects an expressivity and joyful spontaneity that animates repertoire from Haydn to Shostakovich to contemporary scores. The recipient of many awards and prestigious appointments, including Musical America’s 2020 Ensemble of the Year and the Borletti-Buitoni Trust, the Danish String Quartet has been named BBC Radio 3’s New Generation Artists and appointed to The Bowers Program (formerly CMS Two).

In the 2019-2020 season, The Danish String Quartet returns to North America in three sweeping tours that celebrate Beethoven’s 250th birthday. The quartet appears in Minneapolis, Vancouver, Portland, Seattle, Rohnert Park, Berkeley, Santa Barbara, Irvine, Montreal, Chicago, Detroit, Denver, Boston, and Iowa City, and brings a concert series to La Jolla Music Society in November as part of a three-year residency there. In February 2020, the group returns to Chamber Music Society of Lincoln Center to perform the entire Beethoven cycle, and, in May, brings that program to St. Paul, Minnesota, as the Schubert Club’s 2019-2020 Featured Ensemble. European engagements include London’s Wigmore Hall, Amsterdam’s Concertgebouw, and multiple dates in Denmark, as well as tours of Germany, Brussels, the Netherlands, Italy, and Spain.

Photo by Caroline Bittencourt

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Committed to reaching new audiences through special projects, the quartet in 2007 established the DSQ Festival, which takes place at Copenhagen’s Bygningskulturens Hus and features meticulously curated programs with distinguished guest artists. In 2016, the group inaugurated a new music festival, Series of Four, which finds its home at the venerable Danish Radio Concert Hall.

The Danish String Quartet has received numerous citations and prizes, including First Prize in the Vagn Homboe String Quartet Competition, the Charles Hennen International Chamber Music Competition, and the 11th London International String Quartet Competition. In 2011, the quartet received the Carl Nielsen Prize, the highest cultural honor in Denmark. Last Leaf, the quartet’s album of traditional Scandinavian Folk Music recorded for ECM, was named one of the top classical albums of 2017 by NPR, Spotify, The New York Times, and others.

Violinists Frederik Øland and Rune Tonsgaard Sørenson and violist Asbjørn Nørgaard met as children at a music summer camp where they played soccer and made music together. As teenagers, they began studying classical chamber music under Tim Frederiksen of Copenhagen’s Royal Danish Academy of Music. In 2008, the three Danes were joined by Norwegian cellist Fredrik Schøyen Sjölin. www.danishquartet.com.

The Danish String Quartet is currently exclusive with ECM Records and has previously recorded for Dacapo and Cavi-Music/BR Klassik. The quartet is exclusively represented by Kirshbaum Associates, Inc., New York, NY. www.kirshbaumassociates.com.

NOTES Notes © Elizabeth Bergman

Ludwig van Beethoven marked the transition in music between Enlightenment values, which prize reason and the rational, to the subjective inwardness of Romanticism. To his peers, Beethoven seemed the first truly free artist, and there is no doubting the colossal influence that his music had on his successors. European music in the 19th century was a response to his achievement.

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Program NotesContinued

Wilhelm von Lenz, in the 1852 book Beethoven and His Three Styles, was the first of several scholars to advance the idea that Beethoven’s music went through three style periods as a lifelong search for higher truths. These style periods are the “formative” (educational years), the “heroic” (the works written in and around the French Revolution), and the “transcendent” (after he had lost his hearing). Lenz then linked up these style periods with personal events in the composer’s life: his frustrated loves, tussles with patrons, and emotional turmoil. The three periods also connect with the composer’s iconography—the surviving portraits of him. The earliest images represent an impish, freckled schoolboy, who matured into a godlike figure with flaming red hair, later becoming a disheveled, diminished person, an image of decay. Even though he shut himself off from the world at the end of his life, he was still a public figure. By the time of his death Beethoven was extremely famous. On the morning of his funeral, March 29, 1827, the streets of Vienna were packed. Police estimates put the crowd at ten thousand.

His sixteen string quartets trace the transformations of his life from works of sunny youthfulness, devoid of ruminative impulses, to compositions that induce a state of terror.

The six quartets that he published as Opus 18 at the end of the eighteenth century bear the imprint of his teacher Joseph Haydn, darling of the Esterhazy aristocracy, as well as the other composers he idealized at the time: the versatile but irascible Luigi Cherubini (“some maintain his temper was very even, because he was always angry,” a peer wrote of him); Christoph Wilhelm Gluck, who like Beethoven intensified expression by stripping his music of anything decorative or superfluous, and the all-around genius Mozart. Beethoven sought in these quartets to demonstrate his command of existing norms and reflect the contemporary standards of aristocratic decorum.

AllegroAdagio cantabile – Allegro – Tempo IScherzo: AllegroAllegro molto, quasi presto

BEETHOVEN: QUARTET NO. 2 IN G MAJOR, OP. 18, NO. 2


IN BRIEFB O R N : December 1770, Bonn, Germany

D I E D : March 26, 1827, Vienna, Austria M O S T R E C E N T F R I E N D S O F C H A M B E R M U S I C

P E R F O R M A N C E : February 13, 2017, Danish String Quartet

D U R AT I O N : 24 minutes

Op. 18, no. 2 begins with a certain foppish bow, with a unison statement followed by a portentous pause. Cheerful banter ensues between the first and second themes before the conversation turns serious in a development that moves from the home key of G to E-flat and introduces an unsettling fugal passage. Something causes offense: there is an awkward pause before the chatter resumes. The second movement turns clever and artful, referencing, as homage to his teacher, the elegant finale of Haydn’s C major Quartet, Opus 54, no. 2. And like Haydn, Beethoven abruptly changes gears, moving from adagio to presto. Suddenly it seems as though Beethoven has compressed the entire structure by shifting from a lyrical slow movement to a romping finale, but the song-like melody returns. Beethoven is making two references at once: quoting a Haydn tune on the one hand, while mimicking Haydn’s penchant for quick-change effects on the other. The third movement scherzo is an exercise in concision with the same hopping, skipping rhythmic figure pushed through different effects. The contrasting middle or trio section seems content to explore the C major scale and its harmonies before the rhythmic games resume. The finale moves us from the parlor to the garden. The cello invites the other instruments to play a game of tag and echoes “Ring Around the Rosie.” But just as the mood of a child changes in a flash, so too does Beethoven’s syntax. The key is hidden until the very end, when the composer tags G major, and says, musically, “You’re it.”

The Opus 18 quartets are dedicated to Joseph František Maximilian, the seventh Prince Lobkowitz and the descendant of an ancient Czech family with roots dating to the fourteenth century. He served as Beethoven’s patron after 1809, along with two other music-obsessed benefactors. Lobkowitz donated to the Vienna Court Opera and the Kärntnerthor Theater, among other venues, and founded his own orchestra. Beethoven’s heroic Third


Symphony received several performances in the capacious concert hall of the Lobkowitz palace, which served less as a venue for public concerts than as a place to rehearse and revise works destined for public performance. Beethoven quarreled with his patron over his pension and sometimes questioned his intelligence, calling him Prince “Fizlypuzly,” but the relationship was, on the whole, beneficial. Few patrons were as open to innovation and experimentation as Lobkowitz. The composer’s dedications to him concluded with a famed song cycle, An die ferne Geliebte, and a Birthday Cantata, which Lobkowitz did not live to hear, and which, owing to its trifling nature, Beethoven did not see fit to publish.

Allegro ma non tantoScherzo: Andante scherzoso quasi allegrettoMenuetto: AllegrettoAllegro – Prestissimo

IN BRIEFM O S T R E C E N T F R I E N D S O F C H A M B E R M U S I C

P E R F O R M A N C E : May 2, 2012, Pacifica Quartet


Lobkowitz sang and played the violin and cello, but one suspects the String Quartet in C Minor, Op. 18, no. 4 would have been beyond him. The finale is a rondo in a brisk, dance style (most commentators like to refer to it, reductively, as Hungarian “gypsy” music), with the four instruments representing different competitors. All four movements of the quartet are in C minor, a key that Beethoven reserved for intense expression, but here he frequently shifts to the parallel major key. Leaving the two modes in ambiguous suspension, the melodic and harmonic complex becomes neither comic nor tragic but a bit of both. There is no slow movement in the quartet, an absence less unusual in eighteenth-century quartets than their Romantic successors. Beethoven instead pairs a scherzo and a minuet, the scherzo opening with a fugue that never gets bogged down in this “academic” contrapuntal style. The ensuing minuet offers a glimpse of the future, the sound of Beethoven’s (and Schubert’s) later years: the structure is clipped, impatient, urgent, and involves some intense chromatic writing. Increasing the mechanistic drive of the


BEETHOVEN: QUARTET NO. 4 IN C MINOR, OP. 18, NO. 4


music evidently left Beethoven free to boost the level of dissonance. Later in his career he would put the brakes on such passages and allow the dissonance to confuse, irritate, or provoke the ear. Here the music flies by, but we have been put on notice. Having demonstrated command of Enlightenment idioms and fulfilled Lobkowitz’s aristocratic order, Beethoven would break free.

At least he’d be free musically, for he remained in need of financial support from the aristocratic class and so accepted a commission from Andrei Razumovsky, a count (later prince) descended from a central Ukrainian Cossack and related to Tsarina Elizabeth of Russia. He was a life-long diplomat, appointed by Tsar Alexander I as a negotiator to the Congress of Vienna (in 1814-15), which reorganized post-Napoleonic Europe to the considerable benefit of the Russian Empire. Like Lobkowitz, Razumovsky was an intense music lover. He played an unusual (for Vienna) instrument, the lute-like torban or theorbo, and established an in-palace string quartet that privileged the Enlightenment repertoire. Razumovsky commissioned three quartets from Beethoven in 1806, asking him to include Russian tunes in each as a patriotic gesture. Beethoven substituted tunes of generic Slavic origin, including a “Slava” tune that the Russian composer Rimsky-Korsakov used in his opera The Tsar’s Bride, and Mussorgsky in Boris Godunov. Beethoven’s handling of the tune has been thought parodic, mocking Russian imperial might. Another critic, Joseph Kerman, agrees that it “sounds as though Count Razumovsky had been tactless enough to hand Beethoven the tune, and Beethoven is pile-driving it into the ground by way of revenge.”

AllegroMolto adagioAllegrettoFinale. Presto


P E R F O R M A N C E : May 2, 2012, Pacifica Quartet


BEETHOVEN: QUARTET NO. 8 IN E MINOR, OP. 59, NO. 2, “RAZUMOVSKY”


Perhaps, the Quartet No. 8 in E Minor, Op. 59, no. 2 finds the composer expanding structures, jarringly combining harmonies, beginning sections in the “wrong” key, and privileging contradiction. It opens with two loud bars and a silence, then a puzzling variation of the same. The virtuosic first violin lines suggest unruly emotions, each pleasant tune subject to (as Kerman complained) rhythmic discombobulation. There are the familiar Romantic sorrows—the final movement ends morosely—along with other passages suggesting cosmic uplift. Beethoven’s student, Carl Czerny, admiringly described the second movement as a gaze into the starry beyond. But for the aristocratic set, including Razumovsky, who paid for this quartet, the music seemed inappropriate. Context had been disconnected from content. Beethoven had entered his maturity, to his supporters’ wonderment and his benefactors’ bafflement.

AllegroAndante con motoAllegroPresto


P E R F O R M A N C E : October 7, 2012, Pacifica Quartet


Beethoven’s Third String Quartet is the first of a set of six that he dedicated in 1801 to his Viennese patron, Prince Lobkowitz. These are the works of a prodigious youth. Beethoven had moved to Vienna from Bonn in 1792, a month before turning 22, to study with Haydn. He had been given six months leave of absence from Bonn by the ruling prince (the Elector) of the town, but remained in Vienna the rest of his life. He quickly earned support from local patrons, who were dazzled by his virtuosity as a pianist.

Beethoven devoted his time to the study and composition of music in the genres most popular with the elite, from songs to piano sonatas to string quartets. His musical education included laboriously copying out select Haydn and Mozart chamber pieces to better understand the

BEETHOVEN: QUARTET NO. 3 IN D MAJOR, OP. 18, NO. 3



construction of transitional passages. He learned his lessons well. The opening of Beethoven’s Quartet No. 3 in D Major, Op. 18, no. 3 mimics the texture of a score by Haydn, while also anticipating the harmonic moves of his own Second Symphony. The first theme is lyrical, slow-moving, and transparent, with the first violin overlapping with the second, but the harmonic language is unconventional. From D major Beethoven effortlessly, unobtrusively moves in the second theme area to C major. The second movement pulls at the heart strings like a salon song but expands into a rondo with contrasting episodes that reference his mentors (the ticking clock effect is pure Haydn). The third movement is a template scherzo, the opening gesture recalling Haydn’s “Joke” quartet, but with flashier fiddling in the middle. The fourth movement is the show-stopper, a hybrid sonata-rondo structure with the crazily unpredictable motion of a mosquito that takes several detours before a final sprint.

Allegro con brioAdagio ma non troppoScherzo: AllegroLa Malinconia: Adagio – Allegretto quasi Allegro


P E R F O R M A N C E : April 29, 2012, Pacifica Quartet

D U R AT I O N : 25 Minutes

Beethoven was not impressed with his achievement in the Third String Quartet, and after sending a draft version to a friend, advised him not to pass it on because he had improved his approach. This meant adding greater weight and heavier emotion, but Haydn’s capriciousness remains a strong influence. Of the six string quartets that Beethoven produced in the first block of his career, the finale of the Quartet No. 6 in B-flat Major, Op. 18, no. 6 is the most striking. Titled La maliconia (Melancholy), the music is true to its name, but not consistently so. The dark place to which Beethoven takes us (a world of brooding concerns and painful reminders) is juxtaposed with a lighter affect. The impulses that “bordered on despair of living,” to quote the philosopher Kant on melancholia, are not sustained but determinedly explored. The first three movements, in

BEETHOVEN: QUARTET NO. 6 IN B-FLAT MAJOR, OP. 18, NO. 6


contrast, are economical, kinetic, and free of superfluous effect. The lyrical second movement suggests a composer trying to bring a new kind of beauty into the world through an exploration of timbre. Andrei Razumovsky, the count (later prince) who commissioned three quartets from Beethoven, was an intense music lover who lavished vast sums on a concert hall in the palace he built outside the walls of Vienna on a rise overlooking the Danube. Much of the palace burned in a fire that started after a ball attended by Tsar Alexander I. (Beethoven had been invited but did not turn up.) Razumovsky’s efforts to douse the flames left him partially blind. He would be found wandering the ruins in a confused state.

He met Beethoven seven years before the tragedy and hired him to write a set of pieces, for performance in diplomatic settings, that would be Russian, cosmopolitan, and heroic—how, perhaps, Razumovsky imagined himself. He enlisted a first-class string quartet, the palace’s “house band,” for the premiere, but the ensemble reacted with intense hostility to Beethoven’s Opus 59 quartets. Cellist Bernhard Romberg purportedly threw the manuscript on the ground, paradoxically declaring the music “unmusical.” The three other members of the quartet were even less charitable, chiefly because of the ferocious virtuosity of the allegro passages, which outwitted them. The first violinist, Ignaz Schuppanzigh, dreaded the premiere, knowing that no matter how carefully he articulated the runs and leaps that covered the entire range of his instrument, the quartets were unlikely to come off. Bafflement ensued, at least among the diplomats who heard the premiere in the palace after a sumptuous dinner. “The conception is profound and the construction excellent, but they are not easily comprehended,” a reviewer for the Allgemeine musikalische Zeitung wrote in February 1907, with considerable understatement.



BEETHOVEN: QUARTET NO. 9 IN C MAJOR, OP. 59, NO. 3, “RAZUMOVSKY”

Andante con moto – Allegro vivace Andante con moto quasi allegrettoMenuetto (Grazioso)Allegro molto


P E R F O R M A N C E : October 7, 2012, Pacifica Quartet

D U R AT I O N : 31 Minutes

The first movement of String Quartet No. 9 in C Major (the third Razumovsky quartet) opens with a diminished seventh chord, an unstable sonority typically associated with representations of the demonic or supernatural. (Beethoven was perhaps mimicking a Mozart quartet, nicknamed the “Dissonance,” that opens in comparable fashion.) A slow introduction dreamily suggests some melodic ideas. The exposition, the first of the three main sections of the movement, is exuberant, but in the development, Beethoven scatters material among the instruments and through the registers, an effect more Modern than Romantic. The operatic brio of the music seems to have escaped listeners at the time, but Beethoven expressed great pride at the vivaciousness of both the first movement and the last, a fugue so breathless that he had to build in rest breaks (two brief pauses) for the violinists. The short third movement shows the composer’s charming and refined side. It’s a delight. By this point in his life he was deaf, and so had to rely on his inner ear to guide him. It did not let him down. “Never again need you feel ashamed of your deafness, nor others wondering at it,” he is said to have recorded in a notebook. “Can anything in the world prevent you from expressing your soul in music?”

It was long thought that this, the third of the Razumovsky quartets, lacked a Russian element, an actual folksong borrowing from the massive empire to the east. Beethoven’s student, Carl Czerny, asked the question that music historians continue to ask: “Has it yet been determined whether the theme of the Romanze in the third Razumovsky Quartet, Op. 59, is really Russian or was invented by Beethoven?” The answer seems to be both yes and no. In July of 1804, the Allgemeine musikalische Zeitung published an article by the philosopher Christian



Schreiber. He believed that the ideal image of a nation was manifest in its folklore and wrote out some of the sounds associated with the peoples of the east. His article included an arrangement of a Slavic tune called, roughly, “Sing, Sing a Song,” that caught Beethoven’s attention. The text of the tune tells of a prisoner who seeks to communicate with his beloved. Lacking pen and paper, the prisoner implores a lark to travel to the maiden to sing of his affection. Beethoven disguised this source in the quartet, first by pushing it off the beat atop the pizzicato accompaniment, and then by attaching it to a phrase of his own invention.

As to the first performers of the Razumovsky quartets, the disenchanted members of the Schuppanzigh quartet, Beethoven offered a variation on what he always said to his detractors: “These works are not for you, but for a later age.”

“MUSIC IN THE GALLERIES”SUN, FEB 9, 2020 | 1:00 & 2:00 PM

Ivalas QuartetClyfford Still Museum

1250 Bannock Street, Denver

Join us for “Music in the Galleries” featuring the Ivalas Quartet, performing Mozart’s String Quartet No. 22 in B-flat Major and George Walker’s String Quartet No. 1. With members from both the black and Latinx communities, the Ivalas Quartet formed in part to bring greater visibility to musicians of color and be proof of the power of diversity in all art forms. The Ivalas Quartet is currently the Graduate String Quartet in Residence at CU Boulder, mentored by the famed Takács Quartet.

“Music in the Galleries” is offered in partnership with the Clyfford Still Museum. Music is free with admission to the galleries. $5 tickets available in advance. Visit www.friendsofchambermusic.com for discount code.


BOARD OF DIRECTORS

Mary Park, PresidentAnne Wattenberg, Vice PresidentAnna Psitos, Secretary Myra Rich, Treasurer

BOARD MEMBERS

Lisa BainAlix CorboyDietrich HoefnerDan KnopfJohn LebsackKathy NewmanChet SternWalter TorresEli WaldAndrew Yarosh

PROJECT ADMINISTRATOR

Desiree Parrott-Alcorn

EMERITUS BOARD MEMBERS

Rosemarie MuraneSuzanne Ryan

LAWRENCE BROWNLEE, TENOR MYRA HUANG, PIANO

WED, MAR 4, 2020 | 7:30 PMGates Hall, Newman Center2344 E. Iliff Avenue, Denver

FCM is pleased to welcome tenor Lawrence Brownlee in his FCM debut performance. Named 2017 “Male Singer of the Year” by both the International Opera Awards and Bachtrack, American-born tenor Lawrence Brownlee has been praised by NPR as “an instrument of great beauty and expression.” Concert will feature the Colorado premiere of Tyshawn Sorey’s “Cycles of My Being.”

Tickets $40 each; $10 for ages 30 and under. www.newmantix.com/FCM

"The Spiritual as a Tool For Personal Refection and Social Change"

Lawrence Brownlee, tenorTUE, MAR 3, 2020 | 7:00 – 8:30 PM

FREESt. Thomas Episcopal Church

2201 Dexter Street, Denver

Experience a unique evening of song and lively discussion with Lawrence Brownlee and members of the acclaimed Spirituals Project Choir, moderated by Roger Holland, Spirituals Project director. Our thanks to St. Thomas Episcopal Church for hosting this event.

Funding for this event has been provided by Tour West, a program of WESTAF (Western States Arts Federation, supported by a grant from the National Endowment for the Arts).

PRE-CONCERT TALKSGates Hall

6:30 – 7:00 PM

Join us at 6:30 PM for a Pre-Concert Talk, held prior to each Chamber Series concert. While the featured artists and speakers will vary, we hope the talks will bring new insight to the music and help you get the most out of every performance. Watch our website for more information.

THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

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$2,500 +Carol Ehrlich, in memory of Max Ehrlich Philip Levy, in memory of Ann LevyTour West, a program of WESTAF (Western States Arts Federation,

supported by a grant from the National Endowment for the Arts)

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Catherine BeesonCarolyn & Joe BorusDarrell Brown & Suzanne McNittJoan & Bennie BubSusan CableBonnie CampNancy Kiernan CaseMarlene ChambersDana & Brent CohenDonna & Ted ConnollyKeith Corrette, in memory of Sam LancasterFran CorselloJames & Jana CuneoStephen & Dee DanielsVivian & Joe DoddsKevin & Becky DurhamMartha FulfordBob FullertonBarbara Gilette & Kay KotzelnickSandra GoodmanDonna & Harry GordonKazuo & Drusilla GotowPeter & Gabriela GottliebJohn S. GravesJacqueline & Gary GreerEileen GriffinRhonda HarshbargerErrol & June HaunLarry HarveyHealthgrades Operating Co., Inc.Richard W. HealyEugene Heller & Lily ApplemanTimothy & Elizabeth HeppWilliam T. HoffmanJoseph & Renate HullStanley JonesBill Juraschek Suzanne KallerMichael & Karen KaplanTheresa & Bob KeatingeAlec KempBruce KindelRoberta & Mel KleinEllen Krasnow & John BlegenElizabeth KreiderDoug & Hannah KreningJack Henry KuninRichard LeamanSeth LedererIgor & Jessica LeventalMark & Lois LevinsonPenny Lewis

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John & Debora FreedBarbara GoldblattLillie Gottschalk, in memory of Marlene ChambersSanders GrahamJennifer HeglinBarbara InamaBill InamaIra Kowal, in memory of Joellyn DuesberrySheila KowalDoris Lackner, in memory of Edwin KornfeldSuzanne LaRueLinda LevinMari LurieElspeth MacHattieJanet & Drew MalloryEstelle MeskinChris & Karen Mohr, in memory of Sue ZimetJoanna MoldowLarry O'DonnellDouglas PenickDon & Becky PerkinsGeorgina PierceRobert RasmussenMargaret RobertsSuzanne RyanJo ShannonArtis SilvermanLois SollenbergerNikki Knapp & Greg Sorensen **Paul SteinMichael & Michelle SternKaren SwisshelmBarbara & Edward TowbinBarbara WaltonCia Wenzel, in honor of Martha FulfordGreta Wilkening *Andrew Yarosh **

* Gifts made to FCM Endowment ** Legacy Donor


UPCOMING CONCERTS

SPECIAL THANKS

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

C HAMBER SERIESLawrence Brownlee, tenor Myra Huang, piano Wed, Mar 4, 2020

Alisa Weilerstein, cello Inon Barnatan, piano Wed, Apr 1, 2020

Arnaud Sussmann, violin Anna Polonsky, piano Wed, May 13, 2020

PIANO SERIESBenjamin Grosvenor Wed, Mar 18, 2020

SPECIAL EVENTS"Music in the Galleries" Ivalas Quartet Sun, Feb 9, 2020, 1:00 & 2:00 PM Clyfford Still Museum 1250 Bannock Street, Denver

"The Spiritual as a Tool for Personal Reflection and Social Change" Lawrence Brownlee, tenor Tue, Mar 3, 2020, 7:00 - 8:30 PM St. Thomas Episcopal Church 2201 Dexter Street, Denver

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)for supporting FCM’s outreach efforts through school residencies and master classes

COLORADO PUBLIC RADIO (KVOD 88.1 FM)for broadcasting FCM concerts on its “Colorado Spotlight” programs

BONFILS-STANTON FOUNDATIONfor sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story

ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHELfor providing lead gifts to the FCM Endowment Fund

All Chamber and Piano Series concerts begin at 7:30 pm at Gates Concert Hall, 2344 E. Iliff Avenue, Denver

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