tamestit/wosner concert program

D E N V E R

ROBERT Adagio and Allegro in A-flat major, Op. 70 SC HUMANN (1810-1856)

TORU A Bird Came Down the Walk (1994)TAKEMITSU (1930-1996)

JOHANNES Sonata for Viola and Piano in E-flat major, BRAHMS Op. 120, no. 2(1833-1897) Allegro amabile Allegro appassionato Andante con moto; Allegro

INTERMISSION

SC HUMANN Märchenbilder, Op. 113 Nicht schnell Lebhaft Rasch Langsam, mit melancholischem Ausdruck

BRAHMS Sonata for Viola and Piano in F minor, Op. 120, no. 1 Allegro appassionato Andante un poco adagio Allegretto grazioso Vivace

ANTOINE TAMESTIT, VIOLIN

SHAI WOSNER,PIANOAPR I L 27 , 2016

FRIENDS OF CHAMBER MUSICANNOUNCES OUR 2016-17 SEASON!

C HAMBER SERIES

Escher QuartetWednesday, September 14, 2016

Wu Han, Philip Setzer, and David FinckelWednesday, October 5, 2016

Ariel Quartet with Orion Weiss, pianoWednesday, November 9, 2016

Stefan Jackiw, violin, with Anna Polonsky, pianoWednesday, December 7, 2016

Danish String QuartetMonday, February 13, 2017

Venice Baroque Orchestra with Nicola Benedetti, violinWednesday, February 22, 2017

Steven Isserlis, cello, with Connie Shih, pianoTuesday, April 25, 2017

PIANO SERIES

Jonathan Biss, pianoWednesday, September 28, 2016

Joyce Yang, pianoWednesday, March 15, 2017

Murray Perahia, pianoWednesday, May 3, 2017

SPECIAL EVENT

Harlem Quartet ResidencyJanuary 12, 2017 Recital, Hamilton HallJanuary 8-13, 2017 Residency

A R I E L Q U A R T E TDA N I S H S T R I N G Q U A R T E T J OYC E YA N G

S T E FA N J A C K I W M U R R AY P E R A H I ADAV I D F I N C K E L / W U H A N /P H I L I P S E T Z E R T R I O

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ANTOINE TAMESTITAntoine Tamestit has achieved that rare thing as a violist, playing at the highest level with an orchestra and being constantly in demand as a chamber musician and recitalist. He was born in Paris and later went on to study with Jesse Levine at Yale University and with Tabea Zimmermann. Tamestit was the recipient of several prizes which launched his career and gave him exposure in the US and in Europe - the William Primrose Competition and the first prize at the Young Concert Artists (YCA) International Auditions, BBC Radio 3’s New Generation Artists Scheme, Borletti- Buitoni Trust Award, and the Credit Suisse Young Artist Award in 2009.

Tamestit’s repertoire ranges from the Baroque to the contemporary and he has performed many world premieres, including George Benjamin’s Viola, Viola with Tabea Zimmermann and the Concerto for Two Violas by Bruno Mantovani written for Zimmermann and himself with the Orchestre Philharmonique de Radio France.

As soloist, Antoine Tamestit has performed with the Vienna Philharmonic, the London Symphony Orchestra, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Deutsches Sinfonie-Orchester Berlin, and with major French orchestras, including the Orchestre de Paris and Orchestre Philharmonique de Radio France, and with several BBC symphony orchestras. He has also played in the opening concerts of the Mostly Mozart Festival in New York together with Louis Langrée and Christian Tetzlaff.

Chamber music is an important element of Antoine Tamestit’s work and life. He plays and records as a string trio with Frank Peter Zimmermann and Christian Poltera and last season they appeared at the Salzburg and Edinburgh festivals. He is a regular guest at the Verbier Festival and plays chamber music with Leonidas Kavakos, Gautier Capuçon, and Emanuel Ax. Tamestit also performs with Gidon Kremer, Christian Tetzlaff, and the Ebene and the Hagen Quartets.

Antoine Tamestit has a distinguished discography, including recordings of three of the Bach Suites, Berlioz’s Harold in Italy with Marc Minkowski and Les Musicians du Louvre, and most recently a disc of Hindemith solo and concertante works recorded with the Frankfurt Radio Symphony Orchestra and Paavo Järvi as part of the 50th anniversary of

ANTOINE TAMESTIT viola

the composer’s death. Other notable recordings include solo works by Bach and Ligeti, Mozart’s Sinfonia Concertante with Renaud Capuçon, Louis Langrée and the Scottish Chamber Orchestra, and the Schnittke Concerto with Warsaw Philharmonic.

Antoine Tamestit is professor at the Conservatoire Supérieur de Paris. He plays a viola made by Stradivarius in 1672, loaned by the Habisreutinger Foundation.

SHAI WOSNERShai Wosner makes his fourth appearance with FCM tonight. He has appeared on our series with the Miro Quartet, violinist Jennifer Koh, and in October 2014 with the Chamber Music Society of Lincoln Center. Wosner, who was personally recommended to FCM by Emanuel Ax, with whom he studied, has attracted international recognition for his exceptional artistry, musical integrity, and creative insight. His performances of a broad range of repertoire, from Beethoven and Mozart to Schoenberg and Ligeti, as well as music by his contemporaries, showcase his imaginative programming and intellectual curiosity. Mr. Wosner has appeared with major orchestras worldwide, including the Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Orpheus Chamber Orchestra, Philadelphia Orchestra, and San Francisco Symphony in the U.S., and the Barcelona Symphony, Frankfurt Radio Symphony, Hamburg Symphony, LSO St. Luke’s, and Staatskapelle Berlin in Europe, among others. He has worked with conductors Daniel Barenboim, James Conlon, Alan Gilbert, Zubin Mehta, and Leonard Slatkin. Mr. Wosner is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award—a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he then performed with the Seattle Symphony and Deutsche Radio Philharmonie-Saarbrücken.

Wosner performed last summer at the Aspen Music Festival with Jennifer Koh and in a dual piano recital with Orion Weiss. This season he continues his collaborations with Koh with the Bridge to Beethoven series. The project explores the impact and significance Beethoven has had on a diverse

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SHAI WOSNER piano


Program Notes © Elizabeth Bergman

Robert Schumann’s plans to pursue a career as a concert pianist were thwarted by a weak ring finger, so he devoted himself instead to composition and music criticism. As a composer, he remained drawn most strongly to the piano as well as to the voice, and among his most familiar works are multiple sets of evocative, fanciful piano pieces plus some 200 deeply personal songs. But in the winter of 1848–49, Schumann enjoyed a burst of creativity that inspired him to write music for combinations he hadn’t yet tried, including the Adagio and Allegro in A-flat major, originally for horn and piano. He penned it in just four days in February 1849, then quickly followed up with the extraordinary concerto for four horns and orchestra. The Adagio and Allegro was a kind of preparation for writing that concerto, but also stands on its own as a work for horn, viola, or cello—all combinations Schumann himself endorsed.

group of composers and musicians. By pairing Beethoven’s ten sonatas for violin and piano with new works over four programs, this project seeks to ignite creative conversations around his music not only as a cornerstone of classical music but as a universal, culture-crossing source of inspiration. Bridge to Beethoven features new commissions from composers Vijay Iyer, Andrew Norman, and Anthony Cheung. Bridge to Beethoven will be presented in venues such as the 92nd Street Y in New York City, Hahn Hall in Santa Barbara, and Herbst Theatre in San Francisco, among others. Mr. Wosner’s upcoming orchestral engagements include performances with the Badische Staatskapelle Karlsruhe, Hungarian National Philharmonic Orchestra, Columbus Symphony, Florida Orchestra, Jacksonville Symphony, Phoenix Symphony Orchestra, and Helsinki Philharmonic Orchestra.

Wosner is originally from Israel and now resides in New York City. His wife, Roni, is an oncologist at New York Hospital and they have two young children, a girl and a boy.

SCHUMANN: ADAGIO AND ALLEGRO IN A-FLAT MAJOR, OP. 70

NOTES


Program NotesContinued

Last performed January 5, 2000 (David Finckel, cello, and Wu an, piano)

TORU TAKEMITSU: A BIRD CAME DOWN THE WALK (1994)

The Adagio and Allegro showcases two sides of Schumann’s genius – two temperaments associated with characters that appear in his writings: the introverted, lyrical voice of Eusebius, and the bold, brash Florestan. Like Eusebius, the Adagio is restrained, introverted. It’s an extended, intimate duet between the two instruments, with interweaving lines and quiet dialogues punctuated by moments of disagreement. All ends peacefully. The Allegro, which captures Florestan’s verve, is a joyous romp originally intended to show off the new possibilities of the valve horn, introduced to orchestras in the 1830s. The version for horn has a clear “hunting call” quality. In this guise, for viola, the Allegro exudes a rustic good humor.

The music of Japanese composer Toru Takemitsu (1930–1996) reveals the influence of such notable Western modernists as Arnold Schoenberg, John Cage, and Olivier Messiaen. But perhaps Takemitsu’s greatest inspiration is nature—especially water. Rain Tree (1981) and Toward the Sea (1981) precede Rain Spell (1982), and riverrun (1984) follows; the last work finds parallel inspiration in the free-flowing novels of James Joyce (the title being a quote from the first line of Finnegan’s Wake). In all of these watery pieces, Takemitsu translates the fluid dynamics of water into the liquid motion of sound. They are also united by the image of rain pouring into rivers which then lead to the ocean—the “sea of tonality,” in the composer’s own words.

A Bird Came Down the Walk obviously takes its inspiration not from the seas but the skies, although (tellingly) the poem that shares its title does indeed include water imagery. It’s by Emily Dickinson:

A Bird came down the Walk—He did not know I saw—He bit an Angleworm in halvesAnd ate the fellow, raw,


And then he drank a DewFrom a convenient Grass—And then hopped sidewise to the WallTo let a Beetle pass—

He glanced with rapid eyesThat hurried all around—They looked like frightened Beads, I thought—He stirred his Velvet Head

Like one in danger, Cautious,I offered him a CrumbAnd he unrolled his feathersAnd rowed him softer home—

Than Oars divide the Ocean,Too silver for a seam—Or Butterflies, off Banks of NoonLeap, splashless as they swim.

Takemitsu playfully explores the technical capabilities of the viola, using double, triple, and quadruple stops (multiple notes played at once to form chords) plus sliding glissandi and ghostly harmonics. A quivering tremolo suggests the bird’s warbling, and the composer even writes “as a bird’s calling” in the piano score.

In 1853, Robert Schumann introduced a promising young talent to readers of the Neue Zeitschrift für Musik, the leading musical journal of the day. “Sooner or later,” Schumann imagined, “someone would and must appear, fated to give us the ideal expression of the times, one who would not gain his mastery by gradual stages, but rather would spring fully armed like Minerva from the head of Jove.” And actually, according to Schumann, this heralded composer had already appeared: “His name is Johannes Brahms, from Hamburg,” Schumann declared. “He carries all the marks of one who has received a call.”

At the time, Brahms (1833–1897) was just five years past his solo debut as a pianist, which he made in 1848. His earliest extant compositions date from 1851, only two years before Schumann’s fateful pronouncement. Brahms started

Tonight marks the first performance of this work on our series.

BRAHMS: SONATA FOR VIOLA AND PIANO IN E-FLAT MAJOR, OP. 120, NO. 2


composing cautiously, working in the more familiar genres of the piano sonata and art song, saving the most exalted genres of the string quartet and symphony for much later in life.

In the last decade or so of his life, Brahms devoted himself to writing chamber music, writing some dozen major works, the two sonatas in Opus 120 among them. Indeed these are the last chamber works Brahms composed before his death in 1897. Originally written for clarinet and piano, the composer himself transcribed them both for viola.

The first movement of Op. 120, no. 2 presents an amiable dialogue between the viola and piano. The second movement scherzo turns dark and stormy, although the trio in the middle provides a sunny respite. The final movement is a theme and five variations that threatens to end in a moody minor key. But a cheerful, lyrical coda brings the work to a close on a note of good cheer.

Märchen translates as “fairytale” and bilder are pictures (as in painting). As described by one of Schumann’s favorite writers, Novalis, the Märchen was “a vision in a dream—incoherent—an ensemble of wonderful things and events, for example, a musical fantasy.”

The suite of four “fairytale pictures” in Opus 113 (1851) can be compared to Schumann’s similar sets of piano pieces: character pieces, as they are known, that try to capture certain feelings, attitudes, images, or ideas. No specific stories are told here; rather, the pieces move through a variety of moods—from rapturous lyricism in the first movement, to galloping energy in the second, to a darker third movement, and a melancholy finale that fully exploits the full-throated richness of the viola.

Program NotesContinued



SCHUMANN: MÄRCHENBILDER,OP. 113


In a letter to a friend, Johannes Brahms confessed that he was, by temperament, a nostalgic, or “melancholic” individual, mindful of the “black wings” of death flapping above him. He expressed this sentiment in his Second Symphony (1877) and in the chamber music of his final years, including his 1891 Sonata for Viola and Piano in F minor. This piece was first composed for clarinet, but on the suggestion of his publisher, Brahms reconceived it for viola, exploiting the huskiness of the lowest string and enriching the harmonies with double-stops. If the clarinet version can be considered incandescent, the viola transposition is something of the opposite: phosphorescent, dim in the afterglow.

There is a backwards-looking element to the piece, which pays homage to other past musical luminaries—Bach among them. Melodies unfold, develop, and spin out, much as in Baroque music. Aesthetician Eduard Hanslick lauded Brahms’s Op. 120, especially the second movement, for its lyricism. The movement is in three parts, and for Hanslick it called to mind a salon romance—something unstated, perhaps, but deeply felt. The third movement, a dance, recalls the simpler style of an Austrian Ländler; indeed the movement has been called “bumptiously kinetic.” But Brahms’s music is too stately, the counts too slow, for the folk of Alpine Austria. The final movement moves back in time to the 18th century of Haydn, to the Enlightenment that Brahms seems, at times, to have believed he belonged to. Ultimately, however, the work is not a retreat from Romanticism. Instead Brahms—in his seriousness, his intertwining lines, thick textures, and deep dialogues between viola and piano—seeks to restore the intellectual edge to Romantic emotion, so that we might think, as well as feel, our way through a piece.

BRAHMS: SONATA FOR VIOLA AND PIANO IN F MINOR, OP. 120, NO. 1

Last performed February 24, 1999 (Kim Kashkashian, viola, and Peter Nagy, piano)


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EDUCATIONAL OUTREACHFRIENDS OF CHAMBER MUSIC SPONSORS “YOUNG COMPOSERS” PROGRAM AT KUNSMILLER CREATIVE ARTS ACADEMYFor a third year, Friends of Chamber Music collaborated with the Denver-based Playground Ensemble to sponsor a music composition residency for students at Kunsmiller Creative Arts Academy (KCAA) in West Denver. Sixteen high school students had the opportunity to compose original works of chamber music over the course of seven weeks under the direction of KCAA music teacher, Luke Wachter, and the Playground’s Conrad Kehn. Students could score their pieces for any combination of flute, cello, electric guitar, or percussion. The culmination of the residency was a recital on April 8th at which musicians from the Playground performed the students’ original pieces for their peers, family members, and DPS arts administrators. The sixteen pieces, ranging from one to five minutes, were as diverse as their composers. Some pieces highlighted formal structures (“Life’s Ups and Downs”) or showcased themes taken up by different instruments (“Penultimate Waltz”), while other pieces were intended to evoke specific emotions (“Bittersweet”) or experiences (“Spring”). To listen to the Playground musicians performing two of the students’ compositions, visit our website at friendsofchambermusic.com and click on “Education.”

Friends of Chamber Music is committed to music education and outreach in Denver Public Schools. The Young Composers residency is one of the many educational programs we offer and is funded in part by the generosity of our subscribers. For more information on Friends of Chamber Music’s educational offerings, visit the Education tab on our website.


BOARD OF DIRECTORS

Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secre-taryAllan Rosenbaum, Treasurer

BOARD MEMBERS

Patsy Aronstein Kate BerminghamLydia GarmaierJohn LebsackRosemarie MuraneKathy NewmanMary ParkRichard Replin

Myra RichSuzanne RyanChet SternSam Wagonfeld

PROJECT ADMINISTRATOR

Desiree Parrott-Alcorn

Cathy Peterson, Ivy Street Ensemble, demonstrates the science of sound

PERSEPHONEQUARTETS U N DAY, M AY 8 , 2 : 0 0 P M

Clyfford Still Museum1250 Bannock Street, Denver

“CAN YOU HEAR THE DIFFERENCE?”During March, FCM sponsored four additional school outreach programs, including the Colorado Symphony’s Bartels Brass, performing at Ellis and Johnson Elementary schools, and the Ivy Street Ensemble, performing at Palmer Elementary and Creativity Challenge Community School. With its program, Can You Hear the Difference?, the Ivy Street Ensemble (violin, viola, cello, and flute) showcased the different sounds of string instruments and four sizes of flutes, eliciting many oohs and aahs from students. Using water bottles filled with varying levels of liquid, Ivy Street musicians reinforced basic science as they demonstrated the correlation between the size of the instrument and the sound of the instrument. The concept of theme and variation was also explored (useful in teaching writing) with words, music, and audience participation.

"MUSIC IN THE GALLERIES"CLYFFORD STILL MUSEUM“Music in the Galleries” is a new way to experience the workof Clyfford Still through sight and sound. We are pleasedto partner with the Clyfford Still Museum for this series ofconcerts, concluding for the spring with a performance bythe Colorado Symphony's Persephone Quartet, performingworks by Bach, Beethoven, and Puccini.

Music is free with admission to the galleries. FCM patronsmay purchase half price tickets (advance purchase only)to enter the museum on performance days. Visit ourwebsite under “Special Events” for a link to purchase thesediscounted tickets.


AUDIENCE SURVEY THE RESULTS ARE IN!

This fall and winter Friends of Chamber Music asked our patrons to respond to an audience survey. More than 30% of you responded, telling us not only what you like about FCM but also letting us know how we can improve. Here’s a summary of what you said:

Most of you are loyal subscribers who have attended FCM concerts for more than 10 years, while 15% of you are new to FCM, having subscribed for fewer than four years. The majority of you are between the ages of 56 and 74.

As we look for guidance in expanding our educational offerings, you said you’d be most likely to attend collaborative educational events with other arts organizations, as well as pre-concert talks, lectures, and “salons.” The majority feel that the number of Chamber Series and Piano Series concerts we offer is about right, and that having occasional concerts on a Sunday afternoon is no problem. You also said you find our website (www.friendsofchambermusic.com) useful and refer to it regularly.

Things got interesting, though, when you shared your thoughts on contemporary music and reserved seating. On both subjects you either love it or hate it. Contemporary music, said some of you, is too difficult to listen to, while others said that’s part of its attraction. In any event, a clear majority of you felt that the current frequency with which we program contemporary music is about right.

Though our tradition of open seating is something many of you find inconvenient, a significant majority claimed that it’s one of the things you like most about FCM concerts.

You also said you love the consistently high quality of the artists Friends of Chamber Music presents and the beautiful venue here at Gates Concert Hall. When we asked about things we could do better or differently, a majority of you said “nothing,” but we received a number of useful suggestions having to do with parking, programming more varied ensembles, and posting encores on our website.

We’ll be guided by your comments and suggestions as we plan future seasons and are grateful you took the time to let us know what you think. Thank you very much.

The FCM Music Committee was formed over a decade ago to recommend artists and their programs to the FCM board. FCM strives to present a mix of artists that are familiar and beloved, such as the Emerson, Takács, and Pacifica quartets; pianists Richard Goode, Emanuel "Manny" Ax, and Stephen Hough; violinists Hilary Hahn and Gil Shaham; and emerging artists such as pianists Inon Barnatan and Jonathan Biss as well as the Escher and Dover quartets.

The Music Committee begins planning a year and a half in advance, so discussions have begun now for the 2017-18 season. The process includes matching artist schedules with the Newman Center’s available dates and the FCM board’s approval of the overall budget.

Some artists’ programs are fixed, while others offer a choice of programs or pieces. While maintaining our commitment to presenting masterworks of the past, FCM also remains committed to introducing our audience to contemporary works of art, recognizing that the masterworks of the future are written in our lifetimes. The Music Committee is receptive to hearing from our audience members about their listening experiences with artists.

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UPCOMING CONCERTS

SPECIAL THANKS

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

C HAMBER SERIES

Kalichstein-Laredo-Robinson TrioWednesday, May 11, 7:30 PM Talk-back following concertProgram:Beethoven: Variations on an

Original Theme in E-flat major, Op. 44

Shostakovich: Trio No. 2 in E minor, Op. 67

Brahms: Trio No. 1 in B major, Op. 8, for Piano, Violin and Cello

SPECIAL EVENTS

"Music in the Galleries"Clyfford Still MuseumMay 8, 2:00 PM, Persephone Quartet

TO PURCHASE SINGLE TICKETS

Visit Our Website:www.friendsofchambermusic.com

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COLORADO CREATIVE INDUSTRIESfor providing general operating support for our season

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

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

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

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

tamestit/wosner concert program

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