la jolla music society season 46, program book april - may

SEASON

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BUDDY GUY 2014-15

APRIL-MAY

O CTO B E R 2014

BRANFORD MARSALIS AND THE CHAMBER ORCHESTRA OF PHILADELPHIA FRIDAY, OCTOBER 17, 2014 · 8 PM

HAGEN QUARTET SATURDAY, OCTOBER 25, 2014 · 8 PM

N OVE M B E R 2014

CZECH PHILHARMONIC Jir í Belohlávek, chief conductor Jean-Yves Thibaudet, piano THURSDAY, NOVEMBER 6, 2014 · 8 PM

DANISH STRING QUARTET SATURDAY, NOVEMBER 15, 2014 · 8 PM

JAN UARY 2015

GIDON KREMER, violin & DANIIL TRIFONOV, piano THURSDAY, JANUARY 15, 2015 · 8 PM

TAKÁCS QUARTET SATURDAY, JANUARY 17, 2015 · 8 PM

UKULELE ORCHESTRA OF GREAT BRITAIN FRIDAY, JANUARY 23, 2015 · 8 PM

JIAYAN SUN, piano SUNDAY, JANUARY 25, 2015 · 3 PM

WENDY WHELAN/RESTLESS CREATURE FRIDAY, JANUARY 30, 2015 · 8 PM

NIKOLAY KHOZYAINOV, piano SATURDAY, JANUARY 31, 2015 · 8 PM

F E B R UA RY 2015

KODO FRIDAY, FEBRUARY 6, 2015 · 8 PM

INGOLF WUNDER, piano SUNDAY, FEBRUARY 8, 2015 · 3 PM

ROTTERDAM PHILHARMONIC ORCHESTRA Yannick Nézet-Séguin, music director Hélène Grimaud, piano FRIDAY, FEBRUARY 13, 2015 · 8 PM

SIR ANDRÁS SCHIFF, piano FRIDAY, FEBRUARY 20, 2015 · 8 PM

JERUSALEM QUARTET SATURDAY, FEBRUARY 21, 2015 · 8 PM

GIL SHAHAM, violin FRIDAY, FEBRUARY 27, 2015 · 8 PM

MAR CH 2015

INON BARNATAN, piano FRIDAY, MARCH 6, 2015 · 8 PM

MOMIX Alchemia Moses Pendleton, artistic director FRIDAY, MARCH 13, 2015 · 8 PM

HERBIE HANCOCK & CHICK COREA FRIDAY, MARCH 20, 2015 · 8 PM

CHARLIE ALBRIGHT, piano SUNDAY, MARCH 22, 2015 · 3 PM

LONDON SYMPHONY ORCHESTRA Michael Tilson Thomas, conductor Yuja Wang, piano SUNDAY, MARCH 29, 2015 · 8 PM

APR I L 2015

DANIIL TRIFONOV, piano FRIDAY, APRIL 10, 2015 · 8 PM

BUDDY GUY SATURDAY, APRIL 11, 2015 · 8 PM

MICHAEL FEINSTEIN The Sinatra Legacy SATURDAY, APRIL 25, 2015 · 8 PM

HAN BIN YOON, cello SUNDAY, APRIL 26, 2015 · 3 PM

MAY 2015

MALANDAIN BALLET BIARRITZ Roméo et Juliette Thierry Malandain, artistic director SUNDAY, MAY 3, 2015 · 8 PM

CHRISTIAN TETZLAFF, violin & LARS VOGT, piano SATURDAY, MAY 9, 2015 · 8 PM

ARTURO SANDOVAL & PONCHO SANCHEZ AND HIS LATIN JAZZ BAND SATURDAY, MAY 16, 2015 · 8 PM

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All programs, artists, dates, times and venues are subject to change.

ARTURO SANDOVAL

2 L A J O L L A M U S I C S O C I E T Y

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Season 46 is dedicated to CONRAD PREBYS & DEBBIE TURNER

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La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Steve Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor.

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SEASON 46 • 2014-15

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Dear Friends.....

There are certain times in life or the life of an institution that have a special resonance and importance, and now is surely one of those times for La Jolla Music Society. When we first evolved from the Musical Arts Society and its resident orchestral performances to La Jolla Chamber Music Society was one of those times. Then in 1986, with the first glorious notes of our annual SummerFest, we took what was then the bold and passionate step to produce a three-week long summer music festival and to also continue to present a full season of classical music throughout the rest of the year. We then added presentations of visiting artists and it began our proud refrain that: “We bring the WORLD to San Diego”. Then, as the leading presenter of classical music in San Diego, we, step by careful step, expanded into presenting ballet, and then jazz, then more modern world music and dance and cabaret until we now have something for everyone…but we still don’t have a long-dreamed-for home. And that is where we are today, but not where we will be tomorrow. As many of you know, the Museum of Contemporary Art San Diego’s urgent need to expand its exhibition space and the subsequent planned repurposing of Sherwood Auditorium as gallery space, has meant that we will soon lose the theatre which has for 46 years been the home to not only our classical music performances, but for the last 29 years has served as the focus for SummerFest. In the process La Jolla will also be losing an important community resource and a theatre that has been used and valued by arts organizations and patrons across San Diego. But once again La Jolla Music Society, not just the leadership, but the staff and the donors and many many patrons have joined together to again take the bold step; to build not one concert hall but two, new and better, and to enthusiastically encourage everyone to make them a rich and vibrant community resource. This is a bold step in no small part because it is a big one and an expensive one. Land needed to be found, a considerable challenge in itself in our small village. Just the right architect needed to be found; after a year-long vetting process of 15 firms across America EPSTEIN JOSLIN Architects, Inc. from Cambridge, Mass., a firm with extensive experience building acclaimed music halls was chosen. We are confident that they will build San Diego a distinctive and beautiful performing arts center that will immediately be recognized as having its roots in La Jolla. La Jolla Music Society is an institution with not just a proud past but visions of an even more exciting future. The Conrad Prebys Performing Arts Center will open to the world as “The Conrad,” and will from the very first night make an important contribution to the quality of life in San Diego. That is our promise. The Conrad will be a home for not just La Jolla Music Society and for everyone who has used Sherwood Auditorium but for boundless educational activities and late night concerts; for family events and important civic and community calendar activities, open to all. The Conrad also aims to be known as a music hall internationally-recognized for its excellent acoustics. For that reason we have engaged Yasuhisa Toyota, the founder of Nagata Acoustics and the acoustician for many great concert halls around the world including Walt Disney Concert Hall in Los Angeles. And then of course there is the challenge of raising over $60 million dollars needed before opening night. Happily we are a long way to achieving that goal as well. It is an exciting time for all of us at LJMS, and for me personally it's an incredible time to be part of a great institution. I look forward to joining all of you on this journey. Sincerely,

Christopher BeachPresident & Artistic Director


LA JOLLA MUSIC SOCIETY 7946 Ivanhoe Avenue, Suite 309, La Jolla, California 92037 Ticket Office: (858)459-3728 | Admin: (858)459-3724 | Fax: (858)459-3727

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Martha Dennis, Ph.D. – ChairKatherine Chapin – Vice ChairTheresa Jarvis – TreasurerClara Wu – SecretaryClifford Schireson – Past Chair

Stephen BaumChristopher BeachKaren A. BraileanGordon BrodfuehrerWendy BrodyRic CharltonElaine Bennett DarwinSilvija DevineBrian DouglassBarbara EnbergMatthew GeamanLehn GoetzSue J. Hodges, Esq.Susan HoehnAngelina K. KleinbubCarol Lam, Esq.

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Brenda Baker – Honorary DirectorStephen Baum – Honorary DirectorJoy Frieman, Ph.D. – Honorary DirectorIrwin M. Jacobs – Honorary DirectorJoan K. Jacobs – Honorary DirectorLois Kohn (1924-2010) – Honorary DirectorHelene K. Kruger – Honorary DirectorConrad Prebys – Honorary DirectorEllen Revelle (1910-2009) – Honorary Director

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LA JOLLA MUSIC SOCIETY STAFFChristopher Beach, President & Artistic DirectorCho-Liang Lin, SummerFest Music Director

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CALENDAR 2WELCOME LETTER 9LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS 10DANIIL TRIFONOV 11BUDDY GUY 15MICHAEL FEINSTEIN 16HAN BIN YOON 17MALANDAIN BALLET BIARRITZ 21CHRISTIAN TETZLAFF & LARS VOGT 24ARTURO SANDOVAL / PONCHO SANCHEZ AND HIS LATIN JAZZ BAND 28ARTIST BIOGRAPHIES 29ANNUAL SUPPORT AND MEDALLION SOCIETY 34

SEASON 46 • 2014-15

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La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor.

DANIIL TRIFONOV, pianoFRIDAY, APRIL 10 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

J.S. BACH Fantasy and Fugue in G Minor, BWV 542 (arr. Franz Liszt, S.463)(1685-1750) BEETHOVEN Piano Sonata in C Minor, Opus 111(1770-1827) Maestoso; Allegro con brio e appassionato Arietta: Adagio molto, semplice e cantabile

INTERMISSION

LISZT Transcendental Études , S.139(1811-1886) No. 1 Preludio No. 2 in A Minor No. 3 Paysage No. 4 Mazeppa No. 5 Feux Follets No. 6 Vision No. 7 Eroica No. 8 Wilde Jagd No. 9 Ricordanza No. 10 in F Minor No. 11 Harmonies du Soir No. 12 Chasse-Neige

Daniil Trifonov last performed for La Jolla Music Society in the Celebrity Recital Series on January 15, 2015.

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Opus 3 Artists as exclusive representative of Daniil Trifonov

The Frieman Family Piano Series is underwritten by Medallion Society members:Conrad Prebys and Debra Turner

Tonight’s concert is sponsored by:Sam B. Ersan

Many thanks to our Hotel Partner:The Lodge at Torrey Pines

Special thanks to our Restaurant Partner:Roppongi Restaurant & Sushi Bar

PRELUDE 7 PMLecture by Steven Cassedy: What's 'Late' about 'Late Beethoven'? Part II of II - Written as Beethoven moved from his forties into his fifties, his "late period" piano sonatas are often claimed to be "different" from the "middle period" sonatas. Are they? How had his piano writing evolved? Does the music he wrote in the remaining years of his life give us clues to what the future might have been?


Program notes by Eric Bromberger

Fantasy and Fugue in G Minor, BWV 542 (arr. Franz Liszt, S.463)

Johann Sebastian BACHBorn March 21, 1685, EisenachDied July 30, 1750, Leipzig We have fallen victim to the stereotype of Liszt as the master showman who made a career of playing his own works before swooning audiences caught up in the frenzied excitement of watching one of the first touring virtuosos. But there were other, more important sides to Liszt. Despite his reputation as a self-conscious stage presence and self-promoter, Liszt was generous in his service to contemporary composers: he played music of Beethoven, Chopin, Schumann, Mendelssohn, Weber, and many other living composers. And Liszt was equally generous in his service to composers of the past, in particular Bach, who was being “rediscovered” at the time Liszt was launching his career as a touring virtuoso: Liszt performed The Well-Tempered Clavier and the Goldberg Variations at a time when this music was utterly unknown to audiences. Liszt–who also played the organ–was particularly drawn to Bach’s works for organ, and he arranged a number of these for piano and performed them on his recitals. Liszt made his arrangement of Bach’s Fantasy and Fugue in G Minor about 1863. Bach had written this music about a century and a half earlier, probably first during his tenure as an organist in Weimar, and then revised it over the next decade. In 1720 Bach, then music director at the court of Anhalt-Cöthen, became interested in the post of organist at the Jakobikirche in Hamburg, and he traveled there to audition for that post. Evidence suggests that the Fantasy and Fugue in G Minor may have been one of the pieces Bach played in his (unsuccessful) audition for that post. Certainly this music would make a staggering impression on such an occasion. The Fantasy–quite free in matters of harmony–is an imposing piece on its own, full of imitative writing and daring chromatic tension. Bach follows this with a grand fugue whose subject is thought to be derived from a Netherlands folk-tune. Leopold Stokowski made an orchestral arrangement of the fugue, and this is music that can benefit from the sonic resources of a full symphony orchestra. Liszt’s transcription for piano is generally faithful to Bach’s original, though he makes some small adjustments as he re-casts it for piano. Liszt tries to make the piano generate an organ-like sound and so falls back on such pianistic resources as passages in octaves, but in general his version remains faithful to Bach’s original–Liszt respected

this music enough that he wanted it presented to audiences in a version as close to the original as he could make it.

Piano Sonata in C Minor, Opus 111

Ludwig Van BEETHOVENBorn December 16, 1770, BonnDied March 26, 1827, Vienna The years 1813-1821 were exceptionally trying for Beethoven. Not only was he having financial difficulties, but this was also the period of his bitter legal struggle for custody of his nephew Karl. Under these stresses, and with the added burden of ill health, Beethoven virtually ceased composing in these years. Where the previous two decades had seen a great outpouring of music, now his creative powers flickered and were nearly extinguished; in 1817, for example, he composed almost nothing. To be sure, there was an occasional major work–the Hammerklavier Sonata occupied him throughout all of 1818–but it was not until 1820 that he put his troubles, both personal and creative, behind him and was able to marshal new energy as a composer. When this energy returned, Beethoven took on several massive new projects, beginning work on the Missa Solemnis and making early sketches for the Ninth Symphony. And by the end of May 1820 he had committed himself to write three piano sonatas for the Berlin publisher Adolph Martin Schlesinger. Although Beethoven claimed that he wrote these three sonatas–his final piano sonatas–“in one breath,” their composition was actually spread out over a longer period than he expected when he agreed to write them. He finished the Sonata in E Major immediately, but ill health postponed the other two. Notes in the manuscript indicate that Beethoven completed Opus 110 in December 1821 and Opus 111 in January 1822, but he was still revising them the next spring prior to their publication. Beethoven’s final sonata is in only two movements: a powerful opening movement in two parts and a concluding movement in theme-and-variation form. Ernest Hutcheson notes that Beethoven’s performance markings for these three sections offer not just indications of speed but also the clearest possible suggestions about interpretation. The markings translate: “Majestic,” “with energy and passion,” and “very simple and singing.” The brief opening section–only sixteen bars long–is largely static and serves to gather energy and prepare for the Allegro con brio e appassionato, which leaps suddenly out of a quiet murmur of thirty-second notes. The Allegro’s opening three-note figure sounds as if it must be the beginning of a fugue theme, but while there are

DANIIL TRIFONOV - PROGRAM NOTES

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fugal elements in its development, Beethoven never treats the theme as a strict fugue. This movement, built upon the continual recurrence of the opening three-note figure, seethes with an energy almost brutal and slashing. By complete contrast, the final movement is all serenity. Beethoven marks it Arietta (“little aria”), and the lyric theme that will serve as the basis for variation is of the utmost simplicity and directness. The theme is followed by five variations, and these variations are not so much decorations of the theme as they are the organic development of it. Each variation seems slightly faster than the one before it (though the underlying tempo of the movement remains unchanged), and the final variation–long, shimmering, and serene–serves as an extended coda to the entire movement. This final variation employs trills that go on for pages. Can it be that Beethoven–who had been deaf for years when he wrote these works–made such heavy use of trills so that he could at least feel the music beneath his hands even if he could not hear it? When Beethoven’s copyist sent this sonata to the publishers, they wrote back to ask if there was a movement missing–they could not believe that Beethoven would end a sonata like this. But this is exactly the form Beethoven wanted, and his final piano sonata ends not in triumph but in a mood of exalted peace.

Transcendental Études, S.139

Franz LISZTBorn October 22, 1811, Raiding, HungaryDied July 31, 1886, Bayreuth Liszt’s phenomenally difficult Transcendental Études have a complex history. He began work in 1824 (at age 13!) on what was planned as a cycle of 48 études in all the major and minor keys, but when the set was published in 1826 it consisted of only twelve. Liszt came back to this music a dozen years later–at the height of his career as one of the greatest piano virtuosos ever–and completely revised these pieces, in the process transforming them into some of the most difficult music ever written for the piano. In his review of the 1838 version, Robert Schumann called the études “studies in storm and dread for, at the most, ten or twelve players in the world.” Liszt then returned to this music one more time–he revised the études again, making them a little less difficult, and published this version in 1852 under the title Études d’exécution transcendante. This edition–the one almost always performed today–thus represents Liszt’s final thoughts on music he had been working on all of his life. Liszt gave ten of the études descriptive titles, but in some cases these were added after the music was complete

rather than serving as starting points. The études are usually performed individually, and some of them–including Mazeppa, Ricordanza, and Hamonies du Soir–have become famous on their own, but this recital offers the extremely rare opportunity to hear all twelve. Only one minute long, the Preludio has been described as an “opening flourish.” Full of resounding chords and runs that rip across the keyboard, it brings matters nicely to attention and–in its powerful way–establishes an air of expectancy. Liszt did not give No. 2 in A Minor a nickname, but the great pianist Ferruccio Busoni, who prepared an edition of the Transcendental Études, did: he called it Fusées, feeling that the great rushes to the extreme ends of the keyboard were reminiscent of rockets. Quite brief, this is a real virtuoso piece. Liszt marks it Molto vivace and also specifies that it should be à capriccio. This étude might be considered a study in hand-crossings and exchanges, for often the hands–when they are not flying to the ends of the keyboard–are playing directly on top of each other. Paysage (“Landscape”) is an exceptionally gentle piece, and throughout Liszt reminds the pianist to play dolce and dolcissimo and–importantly–to play sempre legato e placido: this is clearly a portrait of a calm landscape. The music flows quietly along its 6/8 meter, presses ahead slightly in the chordal center section, and trails off to its close deep in the piano’s lowest register. Mazeppa was a late addition to the set of études. Liszt made his first sketches for a piano piece inspired by the story of Mazeppa in 1829, when he was only 18. Ivan Mazeppa was a real historical figure, though his life reads like something out of a fantastic tale. Born in 1644, the young man became a page in the Polish court, but a dalliance with a courtier’s wife brought him disaster. He was tied naked to a horse, and the horse was whipped so severely that it ran for three days, deep into the Ukraine. At that point, the bleeding horse collapsed and died, and Mazeppa–also bleeding–collapsed alongside it. He was rescued by a band of Cossacks, who recognized his superior qualities and named him their leader. Mazeppa eventually became the prince of the Ukraine under Peter the Great. Liszt was not satisfied with his early sketches for music inspired by the story of Mazeppa, and he returned to this music eight years later, revised the piece and included it in his set of twelve Grandes Études in 1837. Still dissatisfied, he revised the piece again in 1840 and published it as the fourth of his Transcendental Études in 1852. The sharp opening chord must surely be the whipcrack that sends Mazeppa on his wild ride, and soon we hear the “Mazeppa theme,” a broadly-swinging tune hammered out in octaves. But the principal effect of this music is pianistic brilliance,



for it consists of extended passages written in octaves, great washes of keyboard sound, and blistering runs in thirds; the music concludes with an overpowering final page that Liszt marks Trionfante. At the end of the piano version, Liszt appends a quotation from Victor Hugo that points toward Mazeppa’s future: “Il tombe enfin! . . . et se relève roi”: “Finally he falls . . . and arises as king.” Liszt’s orchestral version of Mazeppa would go on to describe his rescue by the Cossacks and his ascension to the throne, but the piano version comes to its close at the end of Mazeppa’s horrifying ride into the wilderness. Feux Follets–usually translated as Will-o-the-Wisps or Jack-o-Lanterns–is a study in texture, built on runs, swirls, and dancing staccatos. Atmosphere is everything in this music, and the pianist must maintain a flitting, floating, evanescent sound throughout. The dynamic remains subdued, rarely rising even to forte, as the music races without hesitation to its delicate concluding chord. In Vision Liszt seems intent on producing as vast a sound as he can from the piano. The marking here is Lento, but the pace does not seem slow, primarily because Liszt crowds so much activity into these broad measures. Much of this étude is based on great arpeggios that crest and flicker across the keyboard, and beneath them Liszt’s main theme pounds powerfully forward. He marks one particularly violent passage con strepito (“clangorous, deafening”), and the piece concludes with a great downward cascade of octaves. The title Eroica is a reflection of a general mood rather than the tale of a particular act of heroism. The introduction proceeds along massive chords and descending runs before the main theme, marked Tempo di Marcia, moves ahead. The music grows increasingly brilliant–there are long passages in octaves for both hands–and suddenly cuts off for a moment of silence. The étude resumes and finally marches to a powerful close marked largamente. Some have claimed to hear the sound of a nocturnal hunt in Wilde Jagd (“The Wild Hunt”), though Liszt appended this nickname long after he composed the music. This piece does preserve the 6/8 meter of hunting horns, but it is far better to take this music as a display of dazzling virtuosity than to search for a portrait of racing horses and horn-calls. The difficulties are apparent from the first instant. Liszt marks the opening Presto furioso, and the music erupts with a triple forte. The technical difficulties here lie in the chordal writing, rhythmic complexities, and the huge sonorities. These alternate with more flowing and melodic material, but the principal impression this music makes is of speed and power, and finally it hurtles to a dramatic conclusion.

The Étude No. 9 in A-flat Major–subtitled “Ricordanza” (“Remembrance”)–is frankly nostalgic music. Busoni described this étude as giving “the impression of a bundle of faded love letters from a somewhat old-fashioned world of sentiment.” Liszt offers a long introduction in the manner of an improvisation before the lyric main idea–marked dolce, con grazia–is heard. The extension of this gentle idea turns quite brilliant before the music comes to a quiet close. The Étude No. 10 in F Minor has no subtitle, though Busoni felt that it deserved the nickname Appassionato. Liszt marks the étude Allegro agitato molto, but his instructions within the music make its dramatic nature even clearer: accentato ed appassionato assai, tempestoso, disperato, and precipitato. This is turbulent, dramatic music, full of rippling triplets, chordal writing that stretches to the extreme ends of the keyboard, and extended passages in octaves. Through all this fury runs a haunting melody that brings some peace amidst the pianistic fireworks. Harmonies du soir (Evening Harmonies), one of Liszt’s most famous compositions, is a meditation on evening calm. The quiet opening section in D-flat major soon grows impassioned, but this in turn gives way to a lyric E-major interlude that Liszt asks to have played “with intimate sentiment”; he marks the left-hand accompaniment here quasi Arpa: “like a harp.” This too grows to a powerful climax (marked “triumphant”) before the music returns to the calm mood of the opening and concludes on a quiet chordal melody. Chasse-Neige provides a fitting conclusion to the set of twelve Transcendental Études, for this is music of extraordinary difficulty. That title translates literally as “snow-plow” but is sometimes rendered as “Blizzard” or “Snow-Whirls.” Much of the difficulty of this music rises from its constant murmuring tremolos, often built on rapidly-alternating chords, a sound that mimics the soft sensation of falling snow. The music builds in intensity, and Liszt drives to the climax on a long sequence of octave runs that he marks Quasi cadenza before the music vanishes on a series of rising chords.


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BUDDY GUYSATURDAY, APRIL 11 ∙ 8 PM BALBOA THEATRE

Six-time Grammy® Award Winner Buddy Guy, guitar & vocals

Ric Hall, guitar Orlando Wright, bass

Marty Sammon, keyboardsTim Austin, drums

Program to be announced from the stage No Intermission

This performance marks Buddy Guy’s La Jolla Music Society debut.


PRELUDE 7 PMLecture by Claudia Russell: Buddy Guy: Living the Blues

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Tonight’s concert is sponsored by:June and Dr. Bob Shillman Many thanks to our Hotel and Restaurant Partner:The Westgate Hotel


MICHAEL FEINSTEIN Sinatra CentennialSATURDAY, APRIL 25 ∙ 8 PM JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

Michael Feinstein, vocals & piano

Rusty Higgins, David Burnett, alto saxophonesDon Shelton, John Rekevics, tenor saxophones

Jay Mason, baritone saxophoneBrad Steinwehe, Greg Beck, Steve Dillard, Derek Cannon, trumpets

Gary Shutes, Kevin Esposito, Scott Kyle, trombonesRoger Wright, bass trombone

Kirk Smith, bassJim Fox, guitar

Albie Berk, drumsSam Kriger, piano & conductor

Program to be announced from the stage There will be one 20-minute Intermission.

This performance marks Michael Feinstein’s La Jolla Music Society debut.


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Jim MoreyAndrew Leff Morey Management Group

Michael Feinstein is a Steinway Artist.

For further information about Mr. Feinstein please visit www.michaelfeinstein.com

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HAN BIN YOON, celloSUNDAY, APRIL 26 ∙ 3 PM THE AUDITORIUM AT TSRI Jiayi Shi, piano

DEBUSSY Sonata in D Minor for Cello and Piano(1862-1918) Prologue Sérénade Finale: Animé

SCHUMANN Fantasiestücke, Opus 73(1810-1856) Zart und mit Ausdruck Lebhaft, leicht Rasch und mit Feuer

MARTINU Variations on a Theme of Rossini(1890-1950)

INTERMISSION

BEETHOVEN Variations on “Bei Männern, welche Liebe fühlen” (1770-1827) for Pianoforte and Cello, WoO46

FRANCK Sonata in A Major for Cello and Piano(1822-1890) Allegretto ben moderato Allegro Recitativo–Fantasia Allegretto poco mosso

This performance marks Han Bin Yoon’s La Jolla Music Society recital debut.


The Discovery Series is underwritten by Medallion Society member:Jeanette Stevens

Additional support for the Series is provided by:Gordon Brodfuehrer

PRELUDE 2 PM Young artists from the San Diego Youth Symphony perform

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Sonata in D Minor for Cello and Piano

Claude DEBUSSYBorn August 22, 1862, Saint-Germain-en-Laye, FranceDied March 25, 1918, Paris Near the end of his life Debussy planned a cycle of six sonatas for various combinations of instruments. He completed only the first three: for cello and piano (1915), flute, viola, and harp (1915), and violin and piano (1917). Projected–but never written–were sonatas for oboe, horn, and harpsichord; for trumpet, clarinet, bassoon, and piano; and a final sonata that would have included all the instruments from the five earlier sonatas. This was not a happy period in the composer’s life. He was suffering from the cancer that would eventually kill him, and World War I was raging across Europe–Paris was actually being shelled on the day the composer died there. The three sonatas that Debussy completed have never achieved the popularity of his earlier works. Audiences have found them abstract in form, severe in expression, and Debussy himself deprecated them with the self-irony that marked his painful final years. Of the Violin Sonata he said: “This sonata will be interesting from a documentary viewpoint and as an example of what may be produced by a sick man in time of war.” But this music has a power all its own, and listeners who put aside their preconceptions about what Debussy should sound like (and about what a sonata should be) will find the music moving and–in its austere way–painfully beautiful. One of the most impressive things about the Cello Sonata is its concentration: it lasts less than twelve minutes. Further intensifying this music’s severity is Debussy’s refusal to develop–or even to use–themes in a traditional sense: this is music not of fully-developed themes but of thematic fragments appearing in various forms and shapes. The opening movement, Prologue–Lent, is only 51 measures long, but Debussy alters the tempo every few measures: the score is saturated with tempo changes and performance instructions. The piano’s opening three-measure phrase recurs throughout, contrasting with the cello’s agitato passages in the center section. At the end, the cello winds gradually into its highest register and concludes hauntingly on the interval of a perfect fifth, played in harmonics. The second and third movements are performed without pause. The second is marked Sérénade, but this is unlike any serenade one has heard before: there is nothing lyric about this song. The cello snaps out grumbling pizzicatos (Debussy considered calling this movement Pierrot Angry

at the Moon), and when the cello is finally given a bowed passage, it is marked ironique. The finale–Animé–opens with abrupt pizzicatos. As in the first movement, there are frequent changes of tempo, a continuing refusal to announce or develop themes in traditional senses, sudden changes of mood (the performer is instructed to play the brief lyric section at the movement’s center con morbidezza, which means “gently”), explosive pizzicatos. Such a description makes the sonata sound fierce, abstract, even mocking. But beneath the surface austerity of this sonata lies music of haunting emotional power.

Fantasiestücke, Opus 73

Robert SCHUMANNBorn June 8, 1810, Zwickau, GermanyDied July 29, 1856, Endenich, Germany The Fantasiestücke (or Fantasy Pieces, a title denoting short and expressive pieces without specified form) were originally written for clarinet and piano; Schumann later made arrangements for cello and for violin. This music was composed with incredible speed, being completed in two days: February 11-12, 1849. This was the period of revolution throughout Germany and all of Europe, and Schumann was alternately fired with revolutionary passion and appalled by the breakdown in order–in May of 1849, he and his wife fled Dresden to escape the unrest. Perhaps some of the fervor of this period makes itself felt in the Fantasiestücke; perhaps not. In any case, one should be careful of taking the free-form aspect of fantasies too seriously here–as he often did in his chamber works, Schumann makes subtle links (in this case, rhythmic links) between the movements. The first movement (“Tender and with expression”) features a soaring cello melody and comes to a quiet close. In the second (“Lively, happy”), the instruments take turns leading. In the outer sections, the piano leads and is joined in mid-phrase by the cello; in the center section the cello dominates. The final piece (“Quick and with fire”) opens with a violent outburst from the cello, which quickly turns lyric. The gentle middle section–haunting, dark, yearning–is Schumann at his finest.

HAN BIN YOON - PROGRAM NOTES

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Variations on a Theme of Rossini

Bohuslav MARTINUBorn December 8, 1890, Policka, Czech RepublicDied August 28, 1950, Liestal, Switzerland Bohuslav Martinů fled Paris in the face of the Nazi invasion and made his way to the United States, arriving here on March 31, 1941. The composer, who spoke no English when he arrived, faced the daunting task of establishing himself in this strange new environment, but he settled into a home on Long Island and soon began to compose the magnificent sequence of symphonies that would help make his reputation in the United States. The Variations on a Theme of Rossini was one of the first works Martinů wrote in the United States. He composed it in October 1942 for Gregor Piatigorsky–it was the first in a series of works for cello and piano that Martinů planned to write for the great Russian cellist. Unfortunately, this was the only one of the projected series that Martinů completed, but Piatigorsky was very pleased with it: he gave the première on May 1, 1943, and continued to perform it thereafter. In gratitude, Martinů dedicated the Variations to Piatigorsky. The tune used in these variations has a complex history. The original theme comes from “Dal tuo stellato soglio” from Rossini’s opera Moses in Egypt, first performed in 1818 (though in fact “Dal tuo stellato soglio”–the prayer of the Israelites to part the Red Sea–was added to the opera by Rossini for its revival the following year). Niccolo Paganini used that theme almost immediately as the basis for his Variations on One String, and for his starting point Martinů appears to have used Paganini’s version of that theme rather than Rossini’s original. In any case, the brief Variations on a Theme of Rossini is a true virtuoso work. It opens with a great flourish before cello and piano announce Rossini’s theme, a sharply-inflected little tune in D major, and four variations follow. Most of these are fast and extroverted, which makes the lovely third–a wistful, syncopated, minor-key Andante–all the more effective. The final variation leads to a very fast coda and a grand restatement of the theme.

Variations on “Bei Männern, welche Liebe fühlen” for Pianoforte and Cello, WoO46

Ludwig Van BEETHOVENBorn December 16, 1770, BonnDied March 26, 1827, Vienna Mozart’s The Magic Flute had been premiered only fourteen months before Beethoven arrived in Vienna in November 1792, and–like so many others–the young composer soon fell under its spell: it remained his favorite Mozart opera throughout his life, and in fact he much preferred it to The Marriage of Figaro and Don Giovanni. So great was this affection that Beethoven twice turned to The Magic Flute for themes on which to write variations. In 1796 he wrote Twelve Variations on “Ein Mädchen oder Weibchen” for cello and piano, and in 1801–at the same time he was writing the “Moonlight” Sonata–Beethoven came back to the opera and composed a set of variations for cello and piano on “Bei Männern, welche Liebe fühlen.” In the opera, “Bei Männern” comes near the end of Act I when Pamina and Papageno sing a love-duet: its first lines are “A man who feels the pangs of loving, He will not lack a gentle heart.” The duet is built on a graceful and flowing melody in 6/8; Beethoven preserves its original key of E-flat major but changes Mozart’s marking Andantino to Andante. In a nice touch, Beethoven has the piano take Pamino’s initial statement, and the cello enters with Papageno’s answer; both statements are already slightly varied from Mozart’s original version in the opera. There follow seven brief variations. The emphasis here is on melodiousness and grace rather than virtuosity, and Beethoven’s variations sparkle with some of the glowing spirit and fun of Mozart’s opera.

Sonata in A Major for Cello and Piano

César FRANCKBorn December 10, 1822, LiegeDied November 8, 1890, Paris This cello sonata is an arrangement, made shortly after Franck’s death, of his Violin Sonata in A Major, originally composed in 1886. This sonata is one of the finest examples of Franck’s use of cyclic form, a technique he had adapted from his friend Franz Liszt, in which themes from one movement are transformed and used over subsequent movements. The Sonata in A Major is a particularly ingenious instance of this technique: virtually the entire work is derived from the quiet and unassuming opening of the first movement, which then evolves endlessly across


the sonata. Even when a new theme seems to arrive, it will gradually be revealed as a subtle variant of one already heard. The piano’s quiet fragmented chords at the beginning of the Allegretto ben moderato suggest a theme-shape that the cello takes over as it enters: this will be the thematic cell of the entire sonata. The piano has a more animated second subject (it takes on the shape of the germinal theme as its proceeds), but the gently-rocking cello figure from the opening dominates this movement, and Franck reminds the performers constantly to play molto dolce, sempre dolce, dolcissimo. The mood changes completely at the fiery second movement, marked passionato, and some critics have gone so far as to claim that this Allegro is the true first movement and that the opening Allegretto should be regarded as an introduction to this movement. In any case, this movement contrasts its blazing opening with more lyric episodes, and listeners will detect the original theme-shape flowing through some of these. The Recitativo–Fantasia is the most original movement in the sonata. The piano’s quiet introduction seems at first a re-visiting of the germinal theme, though it is–ingeniously–a variant of the passionato opening of the second movement. The cello makes its entrance with an improvisation-like passage (this is the fantasia of the title), and the entire movement is quite free in both structure and expression: moments of whimsy alternate with passionate outbursts. After the expressive freedom of the third movement, the finale restores order with pristine clarity: it is a canon in octaves, with one voice following the other at the interval of a measure. The stately canon theme, marked dolce cantabile, is a direct descendant of the sonata’s opening theme, and as this movement proceeds it recalls thematic material from earlier movements. Gradually, the music takes on unexpected power and drives to a massive coda and a thunderous close.


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Thierry Malandain, artistic directorSUNDAY, MAY 3 ∙ 8 PM CIVIC THEATRE

ROMÉO ET JULIETTE

Artistic Director/Choreographer Thierry Malandain

Roméo: Daniel Vizcayo Juliette: Miyuki Kanei Frère Laurent: Frederik Deberdt Mercutio: Arnaud Mahouy Tybalt: Fábio Lopez Le Prince: Mickaël Conte

Roméos: Raphaël Canet, Mickaël Conte, Frederik Deberdt, Baptiste Fisson,

Michaël Garcia, Jacob Hernandez Martin, Hugo Layer, Fábio Lopez, Arnaud Mahouy, Daniel Vizcayo, Romain Di Fazio

Juliettes: Ione Miren Aguirre, Ellyce Daniele, Clara Forgues, Irma Hoffren,

Miyuki Kanei, Mathilde Labé, Claire Lonchampt, Nuria López Cortés, Patricia Velázquez, Laurine Viel, Lucia You González

Performance time is approximately 70 minutes No Intermission

This performance marks Malandain Ballet Biarritz’s La Jolla Music Society debut.

Tonight's performance is funded in part by FUSED: French U.S. Exchange in Dance, a program of the New England Foundation for the Arts' National Dance Project, the Cultural Services of the French Embassy in the United States, and FACE (French American Cultural Exchange), with funding from the Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, and the Florence Gould Foundation.

PRELUDE 7 PM Marcus Overton will interview a member of Malandain Ballet Biarritz

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www.malandainballet.com Retrouvez toutes les actualités de la compagnie sur la page officielle www.facebook.com/MalandainBallet


MALANDAIN BALLET BIARRITZ - PROGRAM NOTES

Artistic Director/Choreographer: Thierry Malandain

Ballet Masters: Richard Coudray, Françoise DubucPerformers: Ione Miren Aguirre, Raphaël Canet, Mickaël Conte, Ellyce Daniele, Frederik Deberdt, Romain Di Fazio, Baptiste Fisson, Clara Forgues, Michaël Garcia, Jacob Hernandez Martin, Irma Hoffren, Miyuki Kanei, Mathilde Labé, Hugo Layer, Claire Lonchampt, Fábio Lopez, Nuria López Cortés, Arnaud Mahouy, Patricia Velázquez, Laurine Viel, Daniel Vizcayo, Lucia You GonzálezTechnical Director: Oswald Roose Light Managers: Frédéric Eujol, Christian Grossard Stage Manager: Chloé Bréneur Sound Technician: Jean Gardera Sound Manager: Jacques Vicassiau, Nicolas RochaisWardrobe Mistress: Karine Prins Set and Accessories Production: Frédéric VadéDrivers: Thierry Crusel, Guy Martial

ROMÉO ET JULIETTECreated: September 11, 2010 atFestival Le Temps d’Aimer à BiarritzPreview: August 26, 2010 in Festival of Verona

Music: Hector BerliozChoreography: Thierry MalandainSet and Costumes: Jorge GallardoLighting Design: Jean-Claude AsquiéCostume Production: Véronique Murat

Coproduced by Grand Théâtre de Luxembourg, Teatro Victoria Eugenia de San Sebastián, Opéra de Reims, Malandain Ballet Biarritz

In partnership with Teatro Romano de Vérone, Festival Le Temps d’Aimer la Danse de Biarritz, Théâtre Olympia d’Arcachon

PROLOGUE: The Tomb of the Capulets“This corpse was Juliette’s husband. Can you see that body lying on the ground? It was, alas, Roméo’s wife. It is I who had married them” Friar Lawrence reveals the mystery of Roméo and Juliette’s lifeless bodies. Cast: Friar Lawrence, Roméo, Juliette, and The Company SCENE 1: Quarrels and Prince Escalus’s Intervention“Hatred in your hearts and insults in your mouths!” For years, the Montagues and Capulets nursed an inextinguishable hatred for each other. Exasperated, Prince Escalus decrees, under pain of death, that fighting is definitely prohibited in his town.Cast: Mercutio, Tybalt, Prince Escalus, and The Company SCENE 2: The Ball at the Capulets’s“Go dream of dance and love, go, dream of love till morning,” said Roméo. Juliette prepares herself for the ball given in her honour. It will be during the ball that they will fall in love with one another.Cast: The Company SCENE 3: Love SceneAt night, Roméo hides in the garden of the Capulets. Like the Garden of Eden, the place evokes perfect love.Cast: Roméo, Juliette, and The Company SCENE 4: Roméo, Mercutio and Tybalt“Soon, Roméo’s dreamy thoughts provoke gaiety in his friends. My dear, said the elegant Mercutio, I bet Queen Mab visited thee!” Disguised as Queen Mab, the “fairy of dreams”, Mercutio tries to cheer up Roméo. Tybalt arrives and insults Roméo. Newly married to Juliette, Roméo refuses to fight against his wife’s cousin, so Mercutio takes his place. That is when Tybalt mortally wounds Mercutio and Roméo, in despair, kills Tybalt.Cast: Roméo, Mercutio and Tybalt

Romèo et Juliette is about the personal hatred that exists between two of the most powerful families in Verona, the Montagues and the Capulets. It is also, of course, about the tragic fate of two innocent lovers. I have taken the mythical love story about love and death, while relying on Hector Berlioz’s Symphonie Dramatique, to lift the gravestone over a dream that was too beautiful. - Thierry Malandain

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MALANDAIN BALLET BIARRITZ - PROGRAM NOTES

SCENE 5: Back in time: Roméo and Juliette are united“Married!” Friar Lawrence, who was hoping the wedding would put an end to hatred and would bring about the reconciliation of the Capulets and Montagues, consecrates in secret the union of Roméo and Juliette.Cast: Friar Lawrence, Roméo and Juliette SCENE 6: Death of the Two Lovers“In order to avert her fate, I made her take a drink that same evening, to lend her the pallor and cold of death.” Roméo, ignorant of Friar Lawrence’s stratagem, arrives at Juliette’s tomb and drinks poison at the moment that his beloved is awakening from her sleep. And while they throw themselves into one another’s arms, Roméo begins to feel the effects of the poison. Juliette then grabs Roméo’s dagger in order to join him in another world.Cast: The Company Conclusion“Swear all of you, swear by the holy crucifix, to seal among you an eternal chain of tender love, friendship, and brotherhood!” The city was finally reconciled by Roméo and Juliette’s death; Friar Lawrence, who was the instigator of this involuntary sacrifice, remains alone, a living testament to the helplessness of Man against the forces of destiny.Cast: Friar Lawrence and The Company

SUPPORT The Centre Chorégraphique National d’Aquitaine en Pyrénées-Atlantiques / Malandain Ballet Biarritz is funded by the Ministry of Culture and Communication-DRAC Aquitaine, the City of Biarritz, the Regional Council of Aquitaine and the General Council of the Pyrenees Atlantiques. In view of its euro regional cooperation, Malandain Ballet Biarritz and the Theater Victoria Eugenia created with the cities of San Sebastián and Biarritz a cultural cooperation project named “Ballet T”. For some international tours, Malandain Ballet Biarritz is supported by the French Institute.

Our special thanks to the patrons for their support : Mécène principal: Repetto Grands Partenaires: la Banque Populaire Aquitaine Centre Atlantique le Casino Barrière de Biarritz le Sofitel Miramar de Biarritz l’Atelier du Chocolat de Bayonne la Société Générale l’Association des Amis du Ballet

Mécènes: la société 64 l’Hôtel du Palais de Biarritz l’Aéroport de Biarritz-Anglet-Bayonne et le Groupe Slavi Partenaires: Casden Cazaux Crédit Agricole Pyrénées Gascogne le Basque Bondissant et IBEP- Imprimerie Bonnin Edition Packaging



CHRISTIAN TETZLAFF, violinLARS VOGT, pianoSATURDAY, MAY 9 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

MOZART Sonata for Piano and Violin in B-flat Major, K.454(1756-1791) Largo; Allegro Andante Allegretto

BARTÓK Sonata No. 1 for Violin and Piano, Sz.75(1881-1945) Allegro appassionato Adagio Allegro

INTERMISSION

WEBERN Four Pieces, Opus 7(1883-1945) Sehr langsam Rasch Sehr langsam Bewegt

BRAHMS Violin Sonata No. 3 in D Minor, Opus 108(1833-1897) Allegro Adagio Un poco presto e con sentimento Presto agitato

This performance marks Christian Tetlzaff’s La Jolla Music Society debut. Lars Vogt last performed for La Jolla Music Society in our Celebrity Series on March 6, 2003.

Christian Tetzlaff’s recordings available on Ondine Haenssler and Virgin Classics/EMI recording labels. Lars Vogt’s recordings available on the Berlin Classics, Oehms Classics, EMI Classics, Ondine, Virgin Classics and CAvi-Music labels.

Christian Tetzlaff & Lars Vogt appear by arrangement with CM Artists.

Many thanks to our Hotel Partner:The Lodge at Torrey Pines

Special thanks to our Restaurant Partner:THE MED at La Valencia

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Sonata for Piano and Violin in B-flat Major, K.454

Wolfgang Amadeus MOZARTBorn January 27, 1756, SalzburgDied December 5, 1791, Vienna Mozart wrote this sonata in Vienna in April 1784 for a series of concerts given by the violinist Regina Strinasacchi, a twenty-year-old Italian woman. Mozart played the piano at the first performance, which was attended by the emperor, and that occasion produced one of those unbelievable–but apparently quite true–Mozart anecdotes. Rushed for time, Mozart wrote out just the violin part and at the concert set only a blank sheet of paper before him; he then proceeded to play the entire piano part from memory. The manuscript shows the violin part written out in ink. Beneath it, the piano part–written in a different color ink–has been squeezed in later to fit the violin part. Even given Mozart’s extraordinary memory, playing a première from out of thin air is an act of stunning bravado. It is all the more impressive when one sees how intricate and difficult this score is. Mozart’s early sonatas had been largely piano sonatas with violin accompaniment, and the violin could almost be eliminated with no loss of musical content. But Mozart gradually began to give more of the musical interest to the violin, and one of the glories of the Sonata in B-flat Major is the equal partnership of the two instruments, particularly in their easy exchange of phrases. The first movement opens with an elegant Largo introduction, and the Allegro erupts after the slow introduction reaches a moment of repose; the development grows easily out of the cadence that ends the exposition. By contrast, the Andante is a long flow of melody. Mozart did not mark this movement cantabile, but he might well have, for it sounds like a long aria for the two instruments, which again share duties evenly. An ornate development leads to the quiet close. The concluding Allegretto opens with one of those seemingly never-ending themes, but almost instantly a melodic second idea occurs, and only when it has passed does one realize that Mozart has derived that idea from the opening. This movement is full of vigor and sweep, much of it propelled by powerful triplet rhythms. Together, the two instruments stamp out the powerful concluding cadence. One wonders what was going through Mozart’s mind as he stood–before his blank sheet of paper–to acknowledge the applause at that first performance.

Sonata No. 1 for Violin and Piano, Sz.75

Béla BARTÓKBorn March 25, 1881, Nagyszentmiklós, HungaryDied September 26, 1945, New York City The period of World War I was difficult for Bartók. Musical life throughout Europe had gone dormant, and–depressed by adverse criticism and a failure to find audiences–Bartók had almost stopped composing. But as he approached his fortieth birthday in 1921, his fortunes changed. He had a number of successful premières, Universal Edition agreed to publish his works, and he began to make recital tours as a pianist throughout Europe. He was warmly received by audiences and critics in London, Berlin, Paris, and many other cities. He also began to hear music he had been unable to hear during the war, in particular the music of Schoenberg. The influence of Schoenberg can be felt in the music Bartók composed in the early 1920s, particularly in its intense chromaticism and expressionistic character. Bartók’s biographer Halsey Stevens has noted that the two violin sonatas, composed in 1921-2, are “farther from traditional standards of tonality than anything else Bartók wrote.” Bartók was aware of the influences, yet he later insisted that “it is an unmistakable characteristic of my works of that period that they are built upon a tonal base.” The Violin Sonata No. 1 should be enjoyed as the music of Bartók and not valued for the appearance of influences from other composers. This is very dramatic music, and it is an unusually big sonata–at nearly 35 minutes, it is one of Bartók’s longest compositions. It also makes a splendid sound. Bartók writes entirely different music for the two instruments here, for they share no thematic material: the piano’s music is vertical (chords or arpeggiated chords), while the violin’s is linear–Bartók rarely has it play in doublestops. The score is scrupulously annotated. Bartók specifies exact metronome markings and changes them frequently, minutely gradates dynamics, and achieves a varied sonority: at times the piano is made to sound like the old Hungarian cimbalon or the percussive gamelan. Even individual phrases are shaped exactly. Bartók gives one passage the unique marking risvegliandosi: “waking up.” Perhaps the best way to approach this sonata is to enjoy its sweep, its extraordinary sound, and the drive that propels the music across two huge movements to one of Bartók’s most exciting finales. The opening movement, aptly titled Allegro appassionato, takes the general shape of sonata form: an exposition that lays out a wealth of themes and brief motifs, an extended development (introduced by quietly-tolling arpeggiated piano chords), and a lengthy recapitulation

CHRISTIAN TETZLAFF & LARS VOGT - PROGRAM NOTES


that brings back the themes not literally but radically transformed. Throughout the movement (and the entire sonata) the writing for both instruments is of a concerto-like virtuosity. The opening of the movement is of unusual harmonic interest. Bartók felt that this sonata was in C-sharp minor, but while the piano seems to begin in that key, the violin enters in C major, and that bitonal clash presages the harmonic ambiguity of the entire sonata. This music is so chromatic that a firm sense of these keys quickly vanishes, and even the conclusion of the sonata states C-sharp minor only ambiguously. The Adagio, in ternary form, opens with a lengthy passage for unaccompanied violin; the quiet opening section gives way to a slower and more ornate middle before the movement concludes with a return of the quiet opening material, once again radically transformed. The finale is a wildly-dancing rondo based on its gypsy-flavored opening idea, a sort of moto perpetuo for violin. Tempo changes are frequent here as Bartók varies the mood with sharply-contrasted episodes. Composed between October and December 1921, the sonata had its première in London on March 24, 1922, by the composer and violinist Jelly d’Aranyi, and they then played it throughout Europe. One might guess that early reviews would have been uncomprehending, but in fact they were quite positive. Bartók’s First Violin Sonata is a massive work–tough, demanding, and uncompromising. It is also some of the most bracing, exhilarating, and exciting music he ever wrote.

Four Pieces, Opus 7

Anton WEBERNBorn December 3, 1883, ViennaDied September 15, 1945, Mittersill, Austria Webern wrote the Four Pieces in 1910, a time when composers were thinking big. That same year Mahler completed his 80-minute Ninth Symphony and Stravinsky composed his ballet The Firebird (using what the composer himself called a “wastefully large orchestra”); the following year Schoenberg–Webern’s teacher–would complete his two-hour Gurrelieder. In complete contrast, Webern’s Four Pieces span a total of sixty-two measures: at the age of 27, Webern was already composing with the concentration that would mark his mature music. Rather than judging this music by the traditional notions of what constitutes music (and finding it wanting), listeners should take these very brief pieces for what they are: extremely concise essays in expression and sonority. Webern is absolutely precise in his instructions to both performers. He specifies the exact tempos he wants (often

changing every few measures), shades dynamics with scrupulous care (from fortississimo through pianississimo), and tells the players exactly how he wants passages played: “with the wood of the bow, softly drawn,” “hardly audible,” ‘very symmetrical.” Webern’s extraordinary care makes the Four Pieces music of subtle gradation of rhythm, dynamics, and phrasing. The first piece (marked “Very slow” and lasting only nine measures) is extremely quiet music. Webern has the violin muted throughout, and the dynamic level is ppp, which is allowed to rise briefly to pp. At the center of this piece, Webern instructs the violinist to play with the wood of the bow as quietly as possible. The second piece (“Quick”) is the longest of the four, lasting twenty-four measures. It is also the most overtly dramatic: there are frequent tempo shifts, and both instruments are quite active: Webern instructs that the violin be bowed, plucked, then bowed with the wood of the bow. The third piece (“Very slow,” lasting fourteen measures) returns to the mood of the first. This is the most quiet of the four, never rising above the dynamic of ppp and closing with the instruction “hardly audible.” The final movement (“Moving,” fifteen measures long) opens dramatically, but Webern soon specifies molto espressivo and zart (“tender”). At the end, marked “Calm,” the piano is instructed to play “very tenderly,” and the violin is told to sound “like a sigh.”

Violin Sonata No. 3 in D Minor, Opus 108

Johannes BRAHMSBorn May 7, 1833, HamburgDied April 3, 1897, Vienna Brahms spent the summer of 1886 at Lake Thun in Switzerland. He had just completed his Fourth Symphony, and now–in a house from which he had a view of the lake and a magnificent glacier–he turned to chamber music. That summer he completed three chamber works and began the Violin Sonata in D Minor, but he put the sonata aside while he wrote the Zigeunerlieder (“Gypsy Songs”) and Double Concerto for Violin and Cello, grumbling that writing for stringed instruments should be left to “someone who understands fiddles better than I do.” He returned to Lake Thun and completed his final violin sonata in the summer of 1888. Despite Brahms’ customary self-deprecation, his writing for stringed instruments could be very convincing, and the Third Violin Sonata is brilliant music–not in the sense of being flashy but in the fusion of complex technique and passionate expression that marks Brahms’ finest music. The violin’s soaring, gypsy-like main theme at the opening of the


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Allegro is so haunting that it is easy to miss the remarkable piano accompaniment: far below, the piano’s quiet syncopated octaves move ominously forward, generating much of the music’s tension. Piano alone has the second theme, with the violin quickly picking it up and soaring into its highest register. The development of these two ideas is disciplined and ingenious: in the piano’s lowest register Brahms sets a pedal A and lets it pound a steady quarter-note pulse for nearly 50 unbroken measures–beneath the powerful thematic development, the pedal notes hammer a tonal center (the dominant) insistently into the listener’s ear. Its energy finally spent, this movement gradually dissolves on fragments of the violin’s opening melody. The heartfelt Adagio consists of a long-spanned melody (built on short metric units–the marking is 3/8) that develops by repetition; the music rises in intensity until the double-stopped violin soars high above the piano, then falls back to end peacefully. Brahms titled the third movement Un poco presto e con sentimento, though the particular sentiment he had in mind remains uncertain. In any case, this shadowy, quicksilvery movement is based on echo effects as bits of theme are tossed between the two instruments. The movement comes to a shimmering close: piano arpeggios spill downward, and the music vanishes in two quick strokes. By contrast, the Presto agitato finale hammers along a pounding 6/8 meter. The movement is aptly titled: this is agitated music, restless and driven. At moments it sounds frankly symphonic, as if the music demands the resources of a full symphony orchestra to project its furious character properly. Brahms marks the violin’s thematic entrance passionato, but he needn’t have bothered–that character is amply clear from the music itself. Even the noble second theme, first announced by the piano, does little to dispel the driven quality of this music. The complex development presents the performers with difficult problems of ensemble, and the very ending feels cataclysmic: the music slows, then suddenly rips forward to the cascading smashes of sound that bring this sonata to its powerful close.


ARTURO SANDOVAL

PONCHO SANCHEZ & his Latin Jazz BandSATURDAY, MAY 16 ∙ 8 PM BALBOA THEATRE

Poncho Sanchez & his Latin Jazz Band perform

Poncho Sanchez, congasFrancisco Torres, trombone

Ron Blake, trumpet & flugelhornJoey De Leon Jr., timbales

Rob Hardt, saxophones & fluteAndy Langham, pianoRene Camacho, bass

Jose “Papo” Rodriguez, bongos & percussionLarry Sanchez, sound engineer/production

INTERMISSION

Arturo Sandoval performsArturo Sandoval, trumpet

Mahesh Balasooriya, pianoJohn Belzaguy, bass

Johnny Friday, drumsRicardo “Tiki” Pasillas, percussion

Programs to be announced from the stage

Arturo Sandoval last performed for La Jolla Music Society in the Jazz Series on Feb. 27, 2010.

Poncho Sanchez last performed for La Jolla Music Society in the Jazz Series on May 19, 2012.


PRELUDE 7 PMJazz 88.3's Chris Springer hosts an informal conversation with Poncho Sanchez

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STEVEN CASSEDY, prelude presenter

Steven Cassedy, Distinguished Professor of Literature and Associate Dean of Graduate Studies at UCSD, is a classically trained pianist who studied at The Juilliard School’s Pre-College Division and at the University of Michigan’s School of Music. He received his undergraduate degree in comparative literature at the University of Michigan in 1974 and his Ph.D. in comparative literature at Princeton University in 1979. He has been a

member of the Department of Literature since 1980.

MICHAEL FEINSTEIN, vocals & piano

Michael Feinstein, the multi-platinum-selling, two-time Emmy® and five-time Grammy® Award-nominated entertainer dubbed “The Ambassador of the Great American Songbook,” is considered one of the premier interpreters of American standards. His 200-plus shows a year have included performances at Carnegie Hall, Sydney Opera House and the Hollywood Bowl as well as the White House and Buckingham Palace.

Committed to celebrating America’s popular song and preserving its legacy for the next generation, he founded the Michael Feinstein Great American Songbook Initiative in 2007 and serves on the Library of Congress’ National Recording Preservation Board. Mr. Feinstein assumes many roles some of which include Principal Pops Conductor for the Pasadena POPS; Artistic Director of both Carmel, Indiana’s Palladium Center for the Performing Arts and, in collaboration with ASCAP, the popular series at Carnegie Hall—Standard Time with Michael Feinstein; and director of the Jazz and Popular Song Series at New York’s Jazz at Lincoln Center. He authored the Los Angeles Times best-seller, The Gershwins and Me, and has collaborated with artists ranging from legendary songstress Barbara Cook to Dr. Maya Angelou. Born in Columbus Ohio, Michael Feinstein started playing piano by ear as a 5-year old and has since earned three honorary degrees and become an all-star force in American Music.

BUDDY GUY, guitar & vocals

In a career that spans nearly 50 years with over 50 albums released, the incomparable Buddy Guy recently added the prestigious Kennedy Center Honors and NARM Chairman’s Award for Sustained Creative Achievement to his long list of achievements. Mr. Guy is the recipient of 30 awards and accolades, including 6 Grammy® Awards, 28 Blues Music Awards (formerly W. C. Handy Awards), a Rock and Roll Hall of Fame

induction, the first annual Great Performer of Illinois Award, a Billboard Music Awards’ Century Award for distinguished artistic achievement, the Presidential National Medal of Arts and was listed as 23rd of the “100 Greatest Guitarists of All Time” by Rolling Stone. A pioneer of Chicago’s fabled West Side sound, and a living link to such legendary artists as Howlin’ Wolf and Muddy Waters, Buddy Guy remains an electrifying performer who has influenced innumerable music legends. In 2013 Mr. Guy released his studio album Rhythm & Blues—a double-disc masterpiece featuring first time studio collaborations with A-list artists Kid Rock, Keith Urban, Gary Clark, Jr., Beth Hart and Aerosmith members Steven Tyler, Joe Perry and Brad Whitford; it was the follow-up to his 2010 Grammy Award winning album Living Proof.

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MALANDAIN BALLET BIARRITZ

Hailed as one of the most important companies on the French choreographic landscape, Malandain Ballet Biarritz combines Thierry Malandain’s contemporary choreographies with a company comprised of 22 permanent classically-trained dancers. One of Europe’s most widely beheld dance companies, it reaches audiences of nearly 80,000 spectators, in almost 100 performances yearly, a third of which is abroad. Malandain Ballet Biarritz is one of 19

National Choreographic Centres (NCC) in France today, and was created on the initiative of the Ministry of Culture & Communication and the town of Biarritz, with the support of Aquitaine Region and the Atlantic Pyrenees General Council. Its focus on public awareness of dance and its local presence has forged fertile partnerships with numerous cultural players in the Euro-region. Ballet Biarritz’s ‘‘Accueil Studio’’ programme holds 450 events that support artists and companies. “Ballet T” is a partnership with San Sebastian’s Teatro Victoria Eugenia, with support from Europe and the Aquitaine Euskadi fund. Its co-production and dissemination of choreographic works, awareness campaigns, as well as audience mobility within the Euro-region, spread choreographic art in the Basque Country. Malandain Ballet Biarritz has earned many honors including Berlin’s 2014 Taglioni European Ballet Awards for Cendrillon and 2012’s Grand Prix of the Dance Critics Association for Dernière Une chanson.

Thierry Malandain, artistic director

Thierry Malandain theorizes, “My culture is that of classical ballet and I confidently remain attached to it. Because while I readily admit that its artistic and social codes are from another time, I also think that this heritage from four centuries represents invaluable resources for dancers. A classical choreographer for some, a contemporary one for others, I play with it, simply trying to find a dance I like. A dance that will not only leave a lasting impression

of joy, but that will also restore the essence of the sacred things and serve as a response to the difficulty of being.” Author of a repertoire of 80 choreographies, Thierry Malandain has developed a very personal vision of dance, closely linked to Ballet, where priority is given to the dancing body, its power, virtuosity, humanity and sensuality. The search for meaning and aesthetics guide a powerful and sober style, which can be both serious and insolent, based on the pursuit of harmony between history and today’s world. After completing his dance education, Mr. Malandain danced for a short time at the Ballet National de l’Opéra de Paris, the Ballet de l’Opéra du Rhin and then, for six years, at the Ballet Théâtre Français de Nancy. Born in Petit-Quevilly, France in 1959, Thierry Malandain was awarded Knight in the Order of Arts and Letters in 1999 and Officer in 2010.

MARCUS OVERTON, prelude presenter

In a 50-year career, Marcus Overton has crossed almost every disciplinary boundary, as performer, teacher and coach for singers and actors, opera and theatre stage director, critic for major publications and Emmy Award-winning radio and television producer. His arts management career began at the Lyric Opera of Chicago, continued in senior management at the Ravinia Festival, included nine years as Senior Manager of Performing Arts at the

Smithsonian Institution and – by invitation of Gian Carlo Menotti – the general manager’s post at Spoleto Festival USA.

CLAUDIA RUSSELL, prelude presenter

Claudia Russell is the Program Director at KSDS Jazz 88.3 and manages the promotions department as well. Claudia has been in radio professionally since 1988, working for both commercial and public stations, and at KSDS since the spring of 2001. She brings to Jazz 88.3 a love for jazz and blues music, as well as an appreciation of all performing arts. Claudia’s musical tastes run the gamut from acoustic folk, jam bands, and Afro-Cuban music

to classical and Broadway tunes. Among her favorite jazz recordings are the classic Blue Note and Verve recordings,

BIOGRAPHIES

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BIOGRAPHIES

as well as “the great American songbook” vocal performances by Ella Fitzgerald. She has served on development panels for National Public Radio, as well as the International Association for Jazz Education.

PONCHO SANCHEZ, congas

U-T San Diego praised Poncho Sanchez and his Latin Jazz Band, “…Sanchez knows how to create dynamic tension and release. He and his seven-man band expertly weave rhythms, melodies and styles into a pulsating whole, creating grooves that simmer one moment and sizzle the next.” For more than three decades as both a leader and a sideman, conguero Poncho Sanchez has stirred up a fiery stew of infectious melodies and rhythms from a variety

of Latin American and South American sources. Although born in Laredo, Texas, in 1951 to a large Mexican-American family, Sanchez grew up in a suburb of L.A., where he was raised on an unusual cross section of sounds that included straightahead jazz, Latin jazz and American soul. By his teen years, his musical consciousness had been solidified by the likes of John Coltrane, Miles Davis, Cal Tjader, Mongo Santamaria, Wilson Pickett and James Brown. Along the way, he taught himself to play the guitar, flute, drums and timbales, but eventually settled on the congas. Mr. Sanchez is respected as one of the top American percussionists of our time. In 1999, his album Latin Soul received a Grammy® Award as Best Latin Album. He performs frequently in venues varying in size from concert halls to local jazz festivals.

ARTURO SANDOVAL, trumpet

Arturo Sandoval is one of the world’s most acknowledged guardians of jazz trumpet and flugelhorn, as well as a renowned classical artist, pianist and composer. He is one of the most dynamic and vivacious live performers of our time, and has been seen by millions performing live at the Oscars®, the Grammy® Awards and the Billboard Awards. Sandoval has been awarded 10 Grammy® Awards, and nominated 19 times; he has also

received 6 Billboard Awards and an Emmy® Award. His two latest Grammy® Award winning albums, “Dear Diz (Everyday I think of you)” and “Tango Como Yo Te Siento” are now available worldwide. His newest CD “Eternamente Manzanero” is a tribute to the legendary composer Armando Manzanero. Mr. Sandoval is a 2013 recipient of the Presidential Medal of Freedom. He has performed with the foremost orchestras in the country as well as abroad and recorded John Williams’ Trumpet Concerto with the London Symphony Orchestra. His classical artistry has earned him the respect and admiration from the most prestigious conductors, composers and symphony orchestras worldwide. Arturo Sandoval is a prominent musician, if not one of the most brilliant, multifaceted musicians of our time.

SAN DIEGO YOUTH SYMPHONY AND CONSERVATORY

The San Diego Youth Symphony and Conservatory is the 6th oldest continuously operating youth symphony in the U.S., and serves over 600 students annually in ten ensembles in Balboa Park. Skill levels range from beginner to pre-professional, with participating students

ages 8 to 25. In addition to its Balboa Park programs, SDYS launched the Community Opus Project in 2010 as a strategy to demonstrate the benefits of music education, build support for music in the community, and convince school districts to provide music as part of students’ regular curriculum. SDYS was the 2012 Grand Prize Winner of the BoardSource/Prudential Leadership Awards for Exceptional Nonprofit Boards.


BIOGRAPHIES

JIAYI SHI, piano

Pianist Jiayi Shi maintains an active schedule as a chamber musician and collaborative pianist. Since her New York recital debut with violinist Midori at the prestigious Mostly Mozart Festival, Ms. Shi has given chamber recitals in notable venues in the U.S. and abroad. Her upcoming concert appearances include recitals in Oji Hall in Tokyo, Japan and a recital tour with Ryu Goto. Having studied at the Pre-College Division of the Shanghai Conservatory of Music and the

Eastman School of Music, Ms. Shi completed her Doctorate in Musical Arts at the Manhattan School of Music in New York.

CHRIS SPRINGER, prelude presenter

Chris Springer, better known as "C-Love", loves Latin jazz and the energy it brings through improvisation and percussion rhythms. His favorite artists include Mario Bauza and Cal Tjader. His favorite jazz instruments are the timbales, the Fender Rhodes and the flute. Chris started working for KSDS in 2000. Soon after, he started playing the Salsa hour in 2003 which evolved into Latin Grooves, which now airs from 12 Noon to 3 on Saturday afternoons.

CHRISTIAN TETZLAFF, violin

An artist known for his musical integrity, technical assurance and intelligent, compelling interpretations, Christian Tetzlaff is internationally recognized as one of the most important violinists performing today. Mr. Tetzlaff has been in demand as a soloist with most of the world’s leading orchestras and conductors, establishing close artistic partnerships that are renewed season after season. Mr. Tetzlaff was a 2010/11 Carnegie Hall Perspectives Artist; he

curated and performed a concert series in Carnegie and Zankel halls in collaboration with other musicians and ensembles. Highlights of his 2014/15 season include appearances as Artist-in-Residence with the Berlin Philharmonic; performances with the Boston Symphony; re-engagements with the Cleveland Orchestra, Montreal, Seattle and Pittsburgh symphonies, among others; opening New York’s 92nd St. Y’s season; and duo-recitals with Lars Vogt. In honor of his artistic achievements, Musical America named Mr. Tetzlaff “Instrumentalist of the Year” in 2005. He is the founder of the Tetzlaff Quartet, which he formed in 1994 with violinist Elisabeth Kufferath, violist Hanna Weinmeister and his sister, cellist Tanja Tetzlaff. Born in Hamburg in 1966, music occupied a central place in his family and his three siblings are all professional musicians. Mr. Tetzlaff currently performs on a violin modeled after a Guarneri del Gesu made by the German violin maker, Peter Greiner.

DANIIL TRIFONOV, piano

Pianist Martha Argerich commented, “He has everything and more...tenderness and also the demonic element. I never heard anything like that.” Russian pianist Daniil Trifonov has made a spectacular ascent to classical stardom. This season, he makes debuts with symphony orchestras from Seattle to Vienna, and returns to the New York Philharmonic, Chicago Symphony, and more. He tours Japan with the Mariinsky Orchestra and the U.S. with violinist

Gidon Kremer, and gives solo recitals at such key international and U.S. venues as the Théatre des Champs Elysées in Paris, and New York’s Carnegie Hall − for the third consecutive year. After taking First Prize at both the Tchaikovsky and Rubinstein competitions in 2011 at the age of 20, Mr. Trifonov made first appearances with all “Big Five” U.S. orchestras, as well as with London’s Royal Philharmonic and other top European ensembles. He has made solo recital debuts at Carnegie Hall, London’s Wigmore Hall, and Japan’s Suntory Hall. He premiered his own first piano concerto in Cleveland, and his DG recording Trifonov: The Carnegie Recital was nominated for a Grammy® Award. Born in Nizhny Novgorod in 1991, Mr. Trifonov studied at Moscow’s Gnessin School of Music and the Cleveland Institute of Music.

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PHOTO CREDITS: Cover: B. Guy courtesy of artist; Pg 2: A. Sandoval courtesy of artist; Pg. 11 & 32: D. Trifonov © www.lexiv.ru; Pg. 15 & 29: B. Guy courtesy of artist; Pg. 16: M. Feinstein by Stephen Sorokoff; Pg. 17 & 33: H. B. Yoon courtesy of artist; Pg. 21 & 30: Malandain Ballet Biartitz - Roméo et Juliette © Olivier Houeix; Pg. 24, 32 & 33: C. Tetzlaff & L. Vogt courtesy of artists; Pg. 28: A. Sandoval courtesy of artist; P. Sanchez by Devin Dehaven; Pg. 29: S. Cassedy courtesy of presenter; M. Feinstein courtesy of artist; Pg. 30: T. Malandain courtesy of artist; M. Overton courtesy of presenter; C. Russell courtesy of presenter; Pg. 31: P. Sanchez courtesy of artist; A. Sandoval by Manny Iriarte; Pg. 32: J. Shi courtesy of artist; C. Springer courtesy of presenter; Back Cover: Malandain Ballet Biartitz - Roméo et Juliette - Giuseppe Chiavaro & Silvia Magalhaes © Olivier Houeix

LARS VOGT, piano

Lars Vogt first came to public attention winning Second Prize at the 1990 Leeds International Piano Competition, and having established himself as one of the leading musicians of his generation, has enjoyed a varied career for nearly twenty-five years. Born in the German town of Düren in 1970, he works with orchestras as a soloist, conductor and directing from the keyboard. He was recently appointed Music Director of the Royal Northern Sinfonia at

the Sage, Gateshead in Newcastle, UK. Mr. Vogt has collaborated with some of the world’s most prestigious conductors and performed with many of the world’s great orchestras including the Philadelphia and Cleveland orchestras and the New York and Vienna philharmonics. He also regularly collaborates with the Berlin Philharmonic and was the orchestra’s first ever “Pianist in Residence” in 2003/4. Appearances with orchestras around the globe and duo recitals with violinist Christian Tetzlaff highlight his 2014/15 season. Dedicated to music making as a life force, Mr. Vogt established “Rhapsody in School,” which unites children and world-class musicians. In June 1998, Mr. Vogt founded his own chamber festival “Spannungen” in the village of Heimbach near Cologne. Concerts take place in an art-nouveau hydro-electric power station and its huge success has been marked by the release of ten live recordings on EMI.

HAN BIN YOON, cello

Top prizewinner at numerous competitions, cellist Han Bin Yoon most recently won Second Prize at the 2013 Young Concert Artist International Auditions as well as Third Prize at the 2013 International Schoenfeld Cello Competition in Hong Kong. Last season, he gave his Kennedy Center recital debut under the auspices of the Korean Concert Society, and performed the Dvořák Cello Concerto under the baton of Maestro James Conlon. Mr. Yoon

has collaborated closely with prominent artists including Itzhak Perlman, Maria Joao Pires, Anthony Marwood, Donald Weilerstein, Peter Frankl and members of the Cleveland, Juilliard, Orion and Tokyo string quartets. He has appeared in such music festivals as La Jolla Music Society SummerFest, Sarasota Music Festival, Yellow Barn Music School, Perlman Chamber Music Workshop, International Musicians Seminar Prussia Cove, Académie Musicale de Villecroze, Music Academy Liechtenstein and the inaugural Piatigorsky International Cello Festival. His closest cello mentors include renowned cellists Bernard Greenhouse, Frans Helmerson, Steven Isserlis, David Geringas, Anner Bylsma, Eleonore Schoenfeld, Paul Katz and Ralph Kirshbaum. Since 2014, he has been concertizing as a soloist of the Chapelle Musicale Reine Elisabeth in Belgium under the personal direction of cellist Gary Hoffman.

BIOGRAPHIES


La Jolla Music Society’s high quality presentations, artistic excellence, and extensive education and community engagement programs are made possible in large part by the support of the community. There are many ways for you to play a crucial role in La Jolla Music Society’s future —from annual support to sponsorships to planned giving. For information on how you can help bring the world to San Diego, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or [email protected].

FOUNDER ($250,000 and above)

ANGEL ($100,000 - $249,999)

BENEFACTOR ($50,000 - $99,999)

GUARANTOR ($25,000 - $49,999)

Brenda Baker & Stephen BaumConrad Prebys & Debbie Turner

City of San Diego Commission for Arts and CultureJoy & Ed* FriemanJoan & Irwin Jacobs

Rita & Richard AtkinsonRaffaella & John BelanichSilvija & Brian DevineSam B. ErsanMao & Dr. Bob Shillman

AnonymousMary Ann BeysterGordon BrodfuehrerDave & Elaine DarwinMr. & Mrs. Dick EnbergKay & John HesselinkSusan & Bill HoehnWilliam Karatz & Joan SmithRafael & Marina PastorPeter & Peggy PreussQUALCOMM Incorporated Jeremiah & Cassidy RobinsMarge & Neal SchmaleJean & Gary ShekhterJeanette StevensVail Memorial Fund

MEMBERS OF THE MAJOR DONOR SOCIETY SUPPORT LA JOLLA MUSIC SOCIETY WITH GIFTS OF AT LEAST $5,000

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SUSTAINER ($15,000 - $24,999) AnonymousDr. James C. & Karen A. BraileanBill & Wendy BrodyKatherine & Dane ChapinMartha & Ed DennisSue & Chris FanElaine Galinson & Herbert SolomonRichard & Lehn GoetzTheresa Jarvis & Mr. Ric ErdmanAngelina K & Fredrick KleinbubCarol Lam & Mark BurnettNational Endowment for the ArtsBetty-Jo PetersenStacy & Don RosenbergLeigh P. RyanJohn Venekamp & Clifford SchiresonThomas & Maureen ShiftanJack & Joanna TangClara Wu & Joseph TsaiCarolyn Yorston-Wellcome & H. Barden Wellcome

SUPPORTER ($10,000 - $14,999) Joan Jordan BernsteinBob* & Betty BeysterRic & Barbara CharltonCounty of San Diego / Community Enhancement ProgramBrian Douglass, President digital OutPostFrench American Cultural Exchange, French U.S. Exchange in DanceTheodore & Ingrid FriedmannCam & Wanda GarnerMichael & Brenda GoldbaumDr. & Mrs. Michael GrossmanJudith Harris & Robert Singer, M.D.Alexa Kirkwood HirschSue J. HodgesKeith & Helen KimSharon & Joel LabovitzVivian Lim & Joseph WongNew England Foundation for the ArtsPhil & Pam PalisoulEthna Sinisi PiazzaDeirdra PriceResMed FoundationJoyce & Ted StraussHaeyoung Kong TangH. Peter & Sue Wagener

Dolly & Victor WooBebe & Marvin Zigman

AMBASSADOR ($5,000 - $9,999) Anonymous (2)Norman Blachford & Peter CooperAnne & Bob ConnBernard & Rose Corbman Endowment FundThe Rev. Eleanor EllsworthJeane ErleyOlivia & Peter C. FarrellPauline FosterDr. Lisa Braun-Glazer & Dr. Jeff GlazerKatherine KennedyRobert & Margaret HulterWarren & Karen KesslerLeanne Hull MacDougallMichel Mathieu & Richard McDonaldMorgan & Elizabeth OliverStephen Warren Miles & Marilyn MilesPaul Hastings, LLPSusan Shirk & Samuel PopkinMaria & Dr. Philippe ProkocimerDrs. Jean & Catherine RivierJames RobbinsLawrence & Cathy RobinsonSandra & Robert RosenthalIvor & Colette RoystonThe San Diego FoundationSheryl & Bob ScaranoDrs. Joseph & Gloria ShurmanElizabeth TaftGianangelo VerganiRonald WakefieldAbby & Ray Weiss *In Memoriam

DID YOU KNOW?

Since 1999, La Jolla Music Society has operated Community Music Center, a free afterschool music education program in Southeast San Diego. Beyond learning how to read music and play their instruments, students in this program learn valuable lessons in commitment, perseverance and responsibility.

MAJOR DONOR SOCIETY


AFICIONADO ($2,500 - $4,999) Anonymous (2)Jim BeysterJohan & Sevil BrahmeR. Nelson & Janice ByrneCalifornia PresentersCallan CapitalValerie & Harry CooperNina & Robert DoedeGigi FenleyBryna HaberPaul & Barbara HirshmanElisa & Rick JaimeJeanne Jones & Don BreitenbergJudith Bachner & Dr. Eric L. LasleyArleen & Robert LettasTheodora LewisSue & John MajorGail & Edward MillerNovak Charitable Trust: Earl N. Feldman, TrusteeNaser PartoviAnnie SoMatthew & Iris StraussMrs. Nell WaltzMargie Warner & John H. Warner, Jr.Rolfe & Doris Wyer

ASSOCIATE ($1,000 - $2,499) Kenny & Kathy AlamedaLisa & Steve AltmanVarda & George BackusChristopher Beach & Wesley FataRobert & Sondra BerkBjorn Bjerede & Jo KiernanGinny & Bob BlackTeresa O. CampbellMarsha & Bill ChandlerJune ChochelesAnthony F. Chong & Annette Thu NguyenDon & Karen CohnVictor & Ellen CohnSandra & Bram DijkstraThe Hon. Diana Lady DouganErnie & Marilyn DronenburgPhyllis EpsteinDrs. Edward & Ruth EvansNomi FeldmanDiane & Elliot FeuersteinRichard & Beverly FinkSally FullerRon & Kaye HarperFrank HobbsAnn HoehnLinda & Tim HolinerDr. Trude HollanderLinda HowardElizabeth HoyleTom & Loretta HomDaphne & James JamesonPeter & Beth JuppDavid & Susan KabakoffLouise KaschJessie Knight & Joye BlountJaime & Sylvia LiwerantGail Myers & Lou LupinHon. M. Margaret McKeown & Peter CowheyPaul & Maggie MeyerBill Miller & Ida HoubyFenner Milton & Barbara McQuistonDr. Sandra MinerLaurie Mitchell & Brent WoodsWill & Nora Hom NewbernHai PhuongRobert & Allison PriceSandra Redman / California Bank & TrustFrank & Demi RogozienskiYan Sha & Baoqun ZhangJoanne Snider

MEMBERS OF THE PATRON SOCIETY SUPPORT LA JOLLA MUSIC SOCIETY WITH GIFTS OF $500 TO $4,999

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DID YOU KNOW?

SummerFest Fellowship Artists are selected from among the finest young musicians in the country. Alumni ensembles go on to win major awards, like the Banff International String Quartet Competition and the CMS Two Program of The Chamber Music Society of Lincoln Center.

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Fred & Erika TorriSusan & Richard UlevitchDr. Lee & Rhonda VidaJohn B. & Cathy WeilJo & Howard WeinerDavid & Sibyl WescoeHarvey & Sheryl WhiteJoseph & Mary WitztumShirley YoungSu Mei YuStephen YuJoan & Karl ZeislerThomas W. ZieglerTim & Ellen ZinnJosephine M. ZolinEmma & Leo Zuckerman

FRIEND ($500 - $999) AnonymousK. Andrew AchterkirchenBarry & Emily BerkovLuc Cayet & Anne Marie PleskaRobert & Jean ChanSharon CohenMarilyn ColbyCaroline DeMarBetsy & Alan EpsteinInnovative Commercial EnvironmentsEd & Linda Janon Saundra L. JonesJain MalkinWinona MathewsTed McKinney & Frank PalmerinoJoani NelsonRobert Nelson & Jean FujisakiJill Q. PorterGordana & Dave SchniderWilliam SmithLeland SprinkleJonathan & Susan TiefenbrunYvonne VaucherSuhaila WhiteOlivia & Marty WinklerEdward & Anna Yeung

ENTHUSIAST ($250 - $499) Aaron & Naomi AlterFiona Bechtler-LevinSteven & Patricia BlostinBenjamin BrandStefana BrintzenhoffPeter ClarkHugh J. CoughlinDr. Ruth CovellGary Recker & Kathy DavisDouglas P. & Robin DoucetteEdith & Edward DrcarEllen Potter & Ron EvansDrs. Lawrence & Carol GartnerJane & Michael GlickCarrie & Jim GreensteinNan & Buzz KaufmanRobert & Elena KusinskiGladys & Bert KohnMara & Larry LawrenceElinor Merl & Mark BrodieAlan Nahum & Victoria DanzigJoani NelsonGaynor & Gary PatesAghdas PezeshkiWilliam PurvesElyssa Dru RosenbergRejeuviné MedspaPeter & Arlene SacksPat ShankAnne & Ronald SimonEleanor L. tum SudenRuth SternEdward Stickgold & Steven CandeNorma Jo ThomasKevin Tilden & Philip Diamond M.D.Laurette VerbinskiGeoff WahlCarey WallKaren M. WalterTerry & Peter Yang

PATRON SOCIETY

DID YOU KNOW?

La Jolla Music Society is a strong supporter of the San Diego dance community. Artists and companies performing in the Dance Series lead eye-opening – and life-changing – Master Classes and Open Rehearsals with local student and professional dancers.


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FOUNDATIONS The Atkinson Family FoundationAyco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable FoundationBettendorf, WE Foundation: Sally FullerThe Blachford-Cooper FoundationThe Catalyst Foundation: The Hon. Diana Lady DouganThe Clark Family TrustEnberg Family Charitable Foundation The Epstein Family Foundation: Phyllis EpsteinThe Fidelity Charitable Gift Fund: Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable TrustRichard and Beverly Fink Family FoundationInspiration Fund at the San Diego Foundation: Frank & Victoria HobbsThe Jewish Community Foundation: Bernard & Rose Corbman Endowment Fund The Sondra & Robert Berk Fund Diane & Elliot Feuerstein Fund Foster Family Foundation Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund David & Susan Kabakoff Fund Warren & Karen Kessler Fund Liwerant Family Fund Theodora F. Lewis Fund Jaime & Sylvia Liwerant Fund The Stephanie Jean Hayo Robins Memorial Fund The Allison & Robert Price Family Foundation Fund Gary & Jean Shekhter Fund John & Cathy Weil FundSharon & Joel Labovitz FoundationThe Stephen Warren Miles and Marilyn Miles FoundationThe New York Community Trust: Barbara & William Karatz FundRancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised FundResMed FoundationThe San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund Inspiration Charitable Trust Louise D. Kasch Donor Advised Fund The Julius J. Pearl Fund The Ivor & Colette Carson Royston Fund The Scaranao Family Fund The Shiftan Family FundSchwab Fund for Charitable Giving: Alexa Kirkwood Hirsch Fund Ted McKinney & Frank Palmerino FundThe Shillman Foundation

Silicon Valley Community Foundation: The William R. & Wendyce H. Brody FundThe Haeyoung Kong Tang FoundationThe John M. and Sally B. Thornton FoundationThe John H. Warner Jr. and Helga M. Warner FoundationVail Memorial FundThomas and Nell Waltz Family FoundationSheryl and Harvey White Foundation HONORARIA/ MEMORIAL GIFTS In Honor of Christopher Beach: Helene KrugerIn Memory of J. Robert Beyster: Clifford Schireson & John VenekampIn Honor of Karen and Jim Brailean: Thomas & Judith TheriaultIn Memory of Evelyn Brailean: Helene Kruger Ferdinand GasangIn Honor of Gordon Brodfuehrer’s Birthday: AnonymousIn Honor of Bill and Wendy Brody: Helene KrugerIn Honor of Brian Devine’s Birthday: Helene KrugerIn Honor of Brian and Silvija Devine: Gordon Brodfuehrer Dave & Elaine Darwin Helene KrugerIn Honor of Joy Frieman: Linda & Tim HolinerIn Memory of David Goldberg: Patricia WinterIn Honor of Susan and Bill Hoehn: Tom & Loretta HomIn Honor of Irwin Jacobs’ Birthday: Martha & Ed DennisIn Honor of Edith Kohn’s Birthday: Helene KrugerIn Memory of Lois Kohn: Ingrid PaymarIn Honor of Helene Kruger: Anonymous Christopher Beach & Wesley Fata Brian & Silvija Devine Ferdinand Gasang Bryna Haber Sharon and Joel Labovitz Patricia Manners Paul & Maggie Meyer Ann Mound Debbie Horwitz & Paul Nierman Don & Stacy Rosenberg Clifford Schireson & John Venekamp Beverly Schmier Nell Waltz Pat Winter Bebe and Marvin Zigman

In Honor of Joel and Sharon Labovitz: Helene KrugerIn Honor of Carol Lam: QUALCOMM IncorporatedIn Honor of Peter Preuss’ Birthday: Judith Harris & Robert Singer, MDIn Honor of Peggy and Peter Preuss: Judith Harris & Robert Singer, MD Ivor & Colette RoystonIn Honor of Kristen Sakamoto’s Grandmother: Ferdinand GasangIn Honor of Jean Shekhter: Morgan & Elizabeth OliverIn Honor of Clifford Schireson: Rhonda Berger & Robert Abrams Laurie Mitchell & Brent Woods Kevin Tilden & Philip Diamond M.D.In Honor of Marge and Neal Schmale: Pat NickolIn Honor of Beverly Schmier’s Birthday: Helene KrugerIn Memory of Fiona Tudor: Mary Ann Beyster Ferdinand GasangIn Honor of Richard and Susan Ulevitch: Joy Frieman James & Lois Lasry Leslie SimonIn Memory of Carleton and Andree Vail: Vail Memorial FundIn Honor of Abby Weiss: Anonymous Jane & Michael GlickIn Honor of Dolly Woo: Jack & Joanna TangIn Honor of Carolyn Yorston’s Birthday: Martha & Ed Dennis Maria & Dr. Philippe Prokocimer *In Memoriam

MATCHING GIFTS

Bank of AmericaIBM, InternationalQUALCOMM, Inc. The San Diego Foundation Sempra Energy

To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Benjamin Guercio at 858.459.3724, ext. 216 or [email protected]. This list is current as of March 1, 2015.

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Brenda Baker and Stephen BaumConrad Prebys and Debra Turner

DIAMOND Raffaella and John BelanichJoy Frieman+Joan and Irwin Jacobs

EMERALD

Rita and Richard Atkinson

RUBY

Silvija and Brian Devine

GARNET

Elaine GalinsonPeggy and Peter Preuss

SAPPHIRE

Kay and John HesselinkKeith and Helen KimSharon and Joel Labovitz

TOPAZ AnonymousJoan Jordan Bernstein Mary Ann Beyster+Dr. James C. and Karen A. BraileanDave and Elaine DarwinBarbara and Dick EnbergJeane ErleyMargaret and Michael GrossmanAlexa Kirkwood HirschMargaret and Robert HulterTheresa JarvisAngelina and Fred KleinbubJoseph Wong and Vivian Lim+Michel Mathieu and Richard McDonaldRafael and Marina PastorMaria and Dr. Philippe ProkocimerDon and Stacy RosenbergLeigh P. Ryan+Neal and Marge SchmaleDrs. Joseph and Gloria ShurmanJeanette StevensElizabeth TaftGianangelo VerganiDolly and Victor WooBebe and Marvin Zigman

*In Memoriam

Note: + 5-year termListing as of March 1, 2015

MEDALLION SOCIETYIn 1999, the Board of Directors officially established the Medallion Society to begin to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made a multi-year commitment of at least three years to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.

SEASON 46 • 2014-15


DANCE SOCIETYLa Jolla Music Society has quickly become the largest presenter of major American and great international dance companies in San Diego. In order for LJMS to be able to fulfill San Diego’s clear desire for dance and ballet performances by the very best artists around the world, the Dance Society was created. We are grateful to the following friends for their passion and support of our dance programs.

LEGACY SOCIETYThe Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways – through their wills, retirement gifts, life income plans and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends.

Anonymous (2)June L. Bengston*Joan Jordan BernsteinBjorn and Josephine BjeredeDr. James C. and Karen A. BraileanBarbara BuskinTrevor CallanAnne and Robert ConnGeorge and Cari DamooseTeresa & Merle FischlowitzTed and Ingrid FriedmannJoy and Ed* FriemanSally FullerMaxwell H. and Muriel S. Gluck*Dr. Trude HollanderEric LasleyTheodora LewisJoani Nelson

Bill PurvesDarren and Bree Reinig Jay W. RichenJack and Joan SalbJohanna SchiavoniDrs. Joseph and Gloria ShurmanJeanette StevensElizabeth and Joseph* TaftNorma Jo ThomasDr. Yvonne E. VaucherLucy and Ruprecht von ButtlarRonald WakefieldJohn B. and Cathy WeilCarolyn Yorston-Wellcome and H. Barden WellcomeKarl and Joan ZeislerJosephine Zolin

*In Memoriam

Listing as of March 1, 2015

GRAND JETÉ Anonymous

ARABESQUE Katherine and Dane ChapinJune and Dr. Bob ShillmanJeanette Stevens

PIROUETTE Elaine Galinson and Herbert SolomonAnnie SoMarvin and Bebe Zigman


POINTE Teresa O. Campbell

DEMI POINTE Innovative Commercial EnvironmentsSaundra L. JonesGordana and Dave Schnider

PLIÉ Stefana BrintzenhoffMara LawrenceJoani NelsonRejeuviné MedspaElyssa Dru RosenbergElizabeth Taft

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BUILDING THE SOCIETY FOR FUTURE GENERAT IONS

BUSINESS SOCIETYMembers of our Business Society are committed to the LJMS community. For information on how your business can help bring world-class performances to San Diego, please contact Ferdinand Gasang at 858.459.3724, ext. 204 or [email protected].

GUARANTOR The Catamaran Resort & SpaThe Lodge at Torrey Pines

SUSTAINER The Westgate Hotel

SUPPORTER digital OutPostPaul Hastings LLPProcopio, Cory, Hargreaves & Savitch LLPSan Diego Gas & Electric

AMBASSADOR ACE Parking Management, Inc. Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis ClubLa Jolla Sports Club La Valencia Hotel NINE-TEN RestaurantChef Drew Catering, Panache ProductionsRoppongi Restaurant & Sushi Bar

AFICIONADO Adelaide’s La JollaCallan Capital Girard Gourmet Sharp HeatlhcareThe University Club

ASSOCIATE Hotel PalomarJade J. Schulz ViolinsJimbo’s…Naturally! Sprinkles Cupcakes

ENTHUSIAST Nelson Real Estate



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APR I L 2015

DANIIL TRIFONOV, piano FRIDAY, APRIL 10, 2015 · 8 PM

BUDDY GUY SATURDAY, APRIL 11, 2015 · 8 PM

MICHAEL FEINSTEIN The Sinatra Legacy SATURDAY, APRIL 25, 2015 · 8 PM

HAN BIN YOON, cello SUNDAY, APRIL 26, 2015 · 3 PM

MAY 2015

MALANDAIN BALLET BIARRITZ Roméo et Juliette Thierry Malandain, artistic director SUNDAY, MAY 3, 2015 · 8 PM

CHRISTIAN TETZLAFF, violin & LARS VOGT, piano SATURDAY, MAY 9, 2015 · 8 PM

ARTURO SANDOVAL & PONCHO SANCHEZ AND HIS LATIN JAZZ BAND SATURDAY, MAY 16, 2015 · 8 PM

MALANDAIN BALLET BIARRITZ

TICKETS ON SALE NOW! 858.459.3728 · WWW.LJMS.ORG

A PR I L 2015

DANIIL TRIFONOV FRIDAY, APRIL 10, 2015 · 8 PM FRIEMAN FAMILY PIANO SERIES MCASD SHERWOOD AUDITORIUM

BUDDY GUY SATURDAY, APRIL 11, 2015 · 8 PM JAZZ SERIES BALBOA THEATRE

MICHAEL FEINSTEIN The Sinatra Legacy SATURDAY, APRIL 25, 2015 · 8 PM SPECIAL EVENT JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

HAN BIN YOON, cello SUNDAY, APRIL 26, 2015 · 3 PM DISCOVERY SERIES THE AUDITORIUM AT TSRI

MAY 2015

MALANDAIN BALLET BIARRITZ Roméo et Juliette Thierry Malandain, artistic director SUNDAY, MAY 3, 2015 · 8 PM DANCE SERIES CIVIC THEATRE

CHRISTIAN TETZLAFF, violin & LARS VOGT, piano SATURDAY, MAY 9, 2015 · 8 PM CELEBRITY RECITAL SERIES MCASD SHERWOOD AUDITORIUM

ARTURO SANDOVAL & PONCHO SANCHEZ AND HIS LATIN JAZZ BAND SATURDAY, MAY 16, 2015 · 8 PM JAZZ SERIES BALBOA THEATRE

la jolla music society season 46, program book april - may

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