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27TH TUCSON WINTER CHAMBER MUSIC FESTIVALMARCH 1–8, 2020 PETER REJTO, ARTISTIC DIRECTOR

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BOARD OF DIRECTORS

James Reel President

Paul Kaestle Vice-President

Joseph Tolliver Program Director

Helmut Abt Recording Secretary

Wes Addison Treasurer

Philip AlejoNancy BissellKaety Byerley Laura CásarezMichael CoretzDagmar CushingBryan Daum Alan Hershowitz Tim Kantor Juan MejiaJay RosenblattElaine RousseauRandy SpaldingPaul St. JohnGeorge TimsonLeslie Tolbert Ivan Ugorich

FESTIVAL COMMITTEE

Randy Spalding, Chair Philip Alejo Cathy Anderson Nancy Bissell Michael Coretz Dagmar Cushing Bryan Daum James Reel Paul St. John George Timson Joseph Tolliver

FESTIVAL VOLUNTEERS

Nancy Cook Beth Daum Bob Foster Yvonne Merrill

FESTIVAL HOSTS

Philip Alejo Jean-Paul Bierny & Chris Tanz Nancy Bissell Craig & Julie Carter David Carter & Bobbie-Jo Buel Dagmar Cushing Chris & Jim Dauber Bill Duffy & Ken Peoples Marty & Luis Esparza Gretchen Gibbs Holly Lachowicz Richard Steen Leslie Tolbert & Paul St. John Christine & David Wald-Hopkins Roger Wolf & Cheryl Lockhart

FESTIVAL SPONSORS

Celia Balfour Jean-Paul Bierny & Chris Tanz Nancy Bissell Stan Caldwell & Linda Leedberg Jim Cushing Bob Foster Leonid Friedlander & Elena Landis Garrett-Waldmeyer Trust Randy Spalding Wendy & Elliott Weiss

FESTIVAL STAFF

Matt Snyder Audio Producer/Engineer

Rick Green Stage Manager

USHERS

Barry & Susan AustinLidia DelPiccolo Susan FiferMarilee MansfieldElaine OrmanSusan RockJane Ruggill Barbara TurtonDiana WarrMaurice Weinrobe & Trudy Ernst

PROGRAM BOOK CREDITS

EditorJay Rosenblatt

ContributorsRobert Gallerani Holly Gardner Nancy Monsman Jay Rosenblatt James Reel

Advertising Cathy Anderson Michael Coretz Marvin Goldberg Paul Kaestle Jay Rosenblatt Randy Spalding Allan Tractenberg

DesignOpenform

PrintingWest Press

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FROM THE ARTISTIC DIRECTOR

Everything slips through our fingers, Everything we grasp at, dissolves, Everything disperses like mist and dreams… Time is a strange thing. While one is living one’s life away, it is absolutely nothing. But then, suddenly, one is aware of nothing else. It is all around us, it is also inside us. It trickles across our faces, It trickles in the mirror there, It flows around my temples. And between me and you It again flows, silently, like an hourglass.

H U G O VO N H O F M A N N ST H A L

From his libretto for Richard Strauss’ Der Rosenkavalier

Dear Loyal Audience,

Time has conspired in ways that have created more angst for your Artistic Director than perhaps any festival in our long run of festivals.

More than a year ago I thought this festival was wrapped up, only to have a crucial musician withdraw. Fortunately there was still time to find a replacement and reorganize. Five months ago a visa application was filed for my wife Bernadette, a routine situation in the past, that now for bureaucratic reasons alone failed. Fortunately the congressional offices of Raúl Grijalva and Ann Kirkpatrick were able to persuade USCIS to expedite Bernadette’s visa. However, as I write this letter—with only days before our departure—the visa is still not obtained from the Sydney Embassy with several barriers in place. Given these uncertain circumstances it seemed prudent to look for a possible replacement. Fortunately Kevin Fitz-Gerald was agreeable to step in and will play the first two concerts, and possibly all, if Bernadette is unsuccessful with her visa.

As if this stress were not enough, just a few days ago Lera Auerbach wrote with the very unfortunate news that due to a medical emergency she had to withdraw. We wish her a speedy and full recovery. Her premiere will of course be presented, however, she was scheduled to appear as a pianist in two works, the “Trout” Quintet (now to be played by Kevin) and the “Ghost” Trio (with luck to be played by Bernadette). And, finally, just over a month ago our pipa player, Gao Hong, took a tragic fall on the ice badly injuring her arm. Time ran out for her to heal, but again a replacement was found in the wonderful pipa virtuoso Yang Jin.

And so it goes … Will Yura Lee recover from the flu in time? Will we locate and transport the myriad of percussion instruments required by Matthew Srauss? Will the rehearsal schedule work? Will the flights be on time? Your artistic director has slept little.

Now it is time for the Festival. Perhaps remind yourself that most of what you will experience exists just for you, just for Tucson, is unique, and will vanish into history with every passing note. Perhaps reflect on how it is that your mind hears music, how dependent we are on a short memory of passing notes and the anticipation of notes to come. If you dare, ask yourself if there really is a “now.” Most of all, in spite of my melancholy mood, every musician fervently wants you to enjoy the experience. It is our only desire.

P ET E R REJTO

Artistic DirectorFebruary 16, 2020

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AFCM mourns the passing of Brenda Semanick, who died on November 11, 2019. For twenty-three years, Brenda’s images graced the covers of our Festival programs, and she generously provided these without cost. According to past AFCM president and Festival co-founder Jean-Paul Bierny and his wife, Chris Tanz, a competition was held before the first Festival in 1994, and Brenda was selected among several other local artists. “Brenda’s paintings of flowers and cacti reflected Tucson and our desert,” says Jean-Paul. “Her beautiful posters really placed our Festival right in our community and enhanced the Festival’s warm, relaxed atmosphere.”

Brenda Semanick’s Festival posters are on display in the lobby of the Leo Rich Theater. Her paintings are in the collections of the Tucson Airport and the Tucson Museum of Art, as well as in hundreds of private collections. She also created several public art projects, including the Wrightstown/Tanque Verde Hohokam Lizards pier and, along with her husband, artist David Vandenberg, the art for the Luis Gutierrez Bridge over the Santa Cruz River.

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FESTIVAL EVENTS

YOUTH CONCERT

Thursday, March 5, 10:30 am Leo Rich Theater

Performance of excerpts from prior concerts with commentary by Festival musicians. Attendance is by invitation only.

The Youth Concert is generously underwritten by the Garrett-Waldmeyer Trust.

OPEN DRESS REHEARSALS — LEO RICH THEATER

9:00 am – 12 noon Tuesday, March 3 Wednesday, March 4 Friday, March 6 Sunday, March 8

Dress rehearsals are free for ticket holders. For non ticket holders, a donation is requested.

PRE-CONCERT CONVERSATIONS

Conducted by James Reel a half hour before each concert

Sunday, March 1, at 2:30 pm Tuesday, March 3, at 7:00 pm Wednesday, March 4, at 7:00 pm Friday, March 6, at 7:00 pm Sunday, March 8, at 2:30 pm

MASTER CLASS FOR FLUTE

Tara Helen O’Connor 3:00 pm – 4:00 pm Saturday, March 7 Leo Rich Theater

Featuring students of Professor Brian Luce of the University of Arizona, Fred Fox School of Music.

MASTER CLASS FOR VIOLA

Dimitri Murrath 4:00 pm – 5:00 pm Saturday, March 7 Leo Rich Theater

Featuring students of Assistant Professor Molly Gebrian of the University of Arizona, Fred Fox School of Music.

Attendance at the master classes is free and open to the public.

GALA DINNER AND CONCERT AT THE ARIZONA INN

Saturday, March 7 5:30 pm – Silent Auction 6:00 pm – Cocktails 7:00 pm – Musical selections by Festival musicians 8:00 pm – Dinner

Call 577-3769 for reservations.

RECORDED BROADCAST

If you miss a Festival concert or simply want to hear one again, please note that Classical KUAT-FM will broadcast recorded performances on 90.5/89.7 FM. Festival performances are often featured in the station’s Musical Calendar.

https://radio.azpm.org/classical/

Flowers for all concerts at the Leo Rich Theater courtesy of Norah & David Schultz at Flower Shop on 4th Avenue.

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IF A COMPOSER COULD SAY WHAT HE HAD TO SAY IN WORDS HE WOULD NOT BOTHER TRYING TO SAY IT IN MUSIC. GUSTAV MAHLER

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THIS AFTERNOON’S PROGRAM

WOLFGANG AMADEUS MOZART (1756–1791)

Flute Quartet in D Major, K. 285

Allegro Adagio Rondeau

Tara Helen O’Connor, flute Yura Lee, violin Dimitri Murrath, viola Julie Albers, cello

BOHUSLAV MARTINŮ (1890–1959)

Three Madrigals for Violin and Viola

Poco allegro—Poco vivo Poco andante—Andante moderato Allegro—Moderato—Tempo I°—Allegro

Alexander Sitkovetsky, violin Dimitri Murrath, viola

ANONYMOUS (CA. 618 A.D.)

“Ambush on Both Sides”

Yang Jin, pipa

INTERMISSION

ALBERTO GINASTERA (1916–1983)

Pampeana No. 2 for Cello and Piano

Julie Albers, cello Kevin Fitz-Gerald, piano

SUNDAY, MARCH 1 3:00 PMPre-Concert Conversation with James Reel, 2:30 pm

BEDŘICH SMETANA (1824–1884)

String Quartet No. 1 in E Minor (“From My Life”)

Allegro vivo appassionato Allegro moderato alla Polka Largo sostenuto Vivace

Jasper String Quartet ( J Freivogel, violin; Karen Kim, violin; Sam Quintal, viola; Rachel Henderson Freivogel, cello)

This afternoon’s concert is sponsored by the generous contribution of Randy Spalding and Nancy Bissell.

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IN 1777 MOZ ART grew restless due to lack of opportunity in his native Salzburg. He resigned from his court position with his unappreciative employer, Prince-Archbishop Hieronymous Colloredo, and embarked on a tour to seek a more favorable post. Although unsuccessful, Mozart did receive enough commissions along the way to finance his travels. One welcome patron was Ferdinand Dejean, a surgeon in the Dutch East India Company and an accomplished amateur flutist. Dejean offered 200 guilders for “three small, easy, brief flute concertos and several flute quartets.” Mozart undertook the commission with enthusiasm, but his interest was soon diverted by other projects; nevertheless, he managed to complete two flute concertos and three flute quartets. Dejean judged the resulting compositions to be of uneven quality and, to Mozart’s chagrin, paid only half the agreed fee.

Mozart completed K. 285 in Mannheim on Christmas Day, 1779. A delightful miniature, it has retained a popular position in the flute ensemble repertoire. The opening Allegro develops two songful themes in an uncomplicated Rococo style. The Adagio is a graceful serenade for flute accompanied by pizzicati in the strings. A graceful theme alternates with contrasting episodes in the spirited Rondeau finale.

THE PROLIFIC CZECH COMPOSER Bohuslav Martinů began his career in Paris but sought asylum in the United States after escaping the Nazis during World War II. Martinů suffered serious injuries in 1946 when he accidentally walked off an ungated balcony at the Berkshire Music School in Massachusetts, where he briefly taught. During the year of his recuperation he composed while reclining on a board set at a forty-five degree angle. Three chamber works emerged from this difficult period, one of which was the Three Madrigals for Violin and Viola. Commissioned by the brother and sister performers Joseph and Lillian Fuchs, who also supported the recovering composer by copying his scores, Three Madrigals (1947) reveals Martinů’s interest in music of the seventeenth century. He wrote of this light, a cappella (unaccompanied) genre: “I am attracted to English madrigals because of their freedom of polyphony and their affinity to Bohemian folk music.” The vigorous first movement exemplifies the rhythmic verve characteristic of

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Martinů. As a nod to English madrigal tradition, the instruments freely exchange their brief and spirited motifs. The quietly mysterious Poco andante suggests Bohemian folk melody. Frequent double stopping in both instruments creates a full, sonorous texture. Despite Martinů’s infirmities, a festive atmosphere prevails in the Allegro finale. Varied by a contrasting reflective interlude at its center, the movement develops with vividly pulsating rhythms.

OFTEN CALLED THE CHINESE lute because of its similar structure and plucked execution, the pipa has remained a popular instrument for the two thousand years of its existence. Legend tells of its invention for a homesick Han Dynasty princess who required a soothing instrument to play on horseback. A classic of the pipa repertoire is Ambush on Both Sides, written by an anonymous composer in 618 A.D. for a solo pipa virtuoso. A musical narrative, Ambush depicts the defeat of General Xiang Yu by Liu Bang in 202 B.C. Written in the traditional multi-sectional da form of pipa composition, the work exists in different versions with varying numbers of small sections, each with its own title; all are consistent in their narrative content. The work opens in the Wu (martial) style with a vivid portrayal of the decisive battle between the armies of Chu and Han at Gaixia (southeast of today’s Linbi county, Anhui Province). The assembled Han army is conjured through percussive sounds that imitate horns and drums. A variety of pipa techniques—known as “flipping, sweeping, circular fingering, wringing, rolling, and halting”—describes the furious battle. The mournful passages that follow suggest the defeated Xiang Yu’s desolation and his suicide beside the Wujiang River. The joyous concluding passages signal the triumph of the victorious Liu Bang.

ARGENTINE AN COMPOSER Alberto Ginastera stands as one of the leading creative personalities in twentieth-century Latin American music. He drew much inspiration from Argentinean literature, especially the nineteenth-century gauchesco folk tales eulogizing both the countryside and its wandering gaucho horsemen. Ginastera wrote three Pampeanas for varied settings, each intended to evoke the essence of the Argentinean plains. He wrote: “Whenever I have crossed the pampa (prairie), my spirit felt itself inundated by changing impressions, now joyful, now

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melancholy, produced by the limitless immensity and by the transformation that the countryside undergoes in the course of the day … from my first contact I desired to write a work reflecting those states of my spirit.” Throughout Pampeana No. 2 (1950) Ginastera exploits characteristic Argentinean dance rhythms—the estilo, which moves first in a slow 4/4, then in a fast 6/8; and the malambo, the rapid foot-stamping dance of the gauchos.

A BRILLIANT PIANO INTERPRETER of international figures such as Chopin and Liszt, Bedřich Smetana followed his uniquely nationalist voice as a composer. He aspired to achieve a distinctively Bohemian quality through patterns that mimic its abundant nature (as the flowing waters of the river Moldau) or that draw from its folk heritage (as heard in The Bartered Bride). In his two programmatic string quartets, he created a self-portrait set against a background of his native Bohemia. After his sudden onset of deafness at age fifty, Smetana projected two string quartets, each to be entitled From My Life. However, only the first quartet (1876) received that title. Intended to be heard as an autobiographical tonal portrait, the E minor Quartet casts the violist as its protagonist—an honor Dvořák enjoyed at its premiere.

Smetana provided his quartet’s program in a letter. The first movement, he writes, “depicts my youthful leanings toward art, the romantic atmosphere, the inexpressible yearnings … and also a warning of my future misfortune (deafness).” The opening theme, an impassioned descending phrase in the viola, represents the misfortune that will soon overtake him. This poignant motive, which recurs throughout the quartet, is followed by a gentler second theme that suggests his delight in artistic pursuits. After development of the first theme and a recapitulation of the second, the movement concludes with somber pizzicato notes in the cello.

Smetana describes the second movement as “a quasi-polka that recalls the joyful days of youth when I composed dance tunes and was known everywhere as a passionate lover of dancing.” The movement begins with a spirited dance motif. The viola introduces a vigorous contrasting idea that Smetana states should be played “like a trumpet.” In the trio section the violins intone chord progressions over a rhythmic pattern articulated by the viola and cello.

An abbreviated version of the opening section and a brief coda conclude the movement.

Smetana continues: “The third movement (the one which, in the opinion of the gentlemen who play this quartet, is unperformable) reminds me of the happiness of my first love, the girl who later became my wife.” Essentially an extended love song, the movement develops two ardent and lyrical themes with rich romantic harmonies and challenging rhythmic figuration. A pensive coda suggests yearning for happier times that have passed.

“The fourth movement describes the discovery that I could develop nationalistic elements in music and my joy in following this path until it was checked by the catastrophe of the onset of my deafness and the prospect of my sad future; and remembering all the promise of my early career, a feeling of painful regret.” The movement opens with a joyous dance that suggests native Bohemian folk music. Vigorous passages alternate with graceful sections, and the dance ends abruptly. After a moment of silence, the first violin plays a piercingly high E over an ominous tremolo in the other strings. “This is the fateful ringing in my ears that announced the beginning of my deafness. I permitted myself this little joke, such as it is, because it was so disastrous for me.” After a synopsis of themes from the earlier movements, the work ends in a mood of quiet resignation.

Notes by Nancy Monsman

“Whenever I have crossed the pampa (prairie), my spirit felt itself inundated by changing impressions, now joyful, now melancholy, produced by the limitless immensity and by the transformation that the countryside undergoes in the course of the day.”

ALBERTO GINASTERA ON THE INSPIRATION FOR HIS COMPOSITIONS ENTITLED PAMPEANA

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WHO HEARS MUSIC FEELS HIS SOLITUDE PEOPLED AT ONCE. ROBERT BROWNING

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TONIGHT’S PROGRAM

PHILIP GLASS (b. 1937)

The Sound of a Voice (arr. for flute, pipa, violin, cello, and percussion)

Tara Helen O’Connor, flute Yang Jin, pipa Yura Lee, violin Julie Albers, cello Matthew Strauss, percussion

GABRIEL FAURÉ (1845–1924)

Sonata No. 1 in A Major for Violin and Piano, Op. 13

Allegro molto Andante Allegro vivo Allegro quasi presto

Yura Lee, violin Kevin Fitz-Gerald, piano

INTERMISSION

FRANZ SCHUBERT (1797–1828)

Piano Quintet in A Major (“Trout”), D. 667

Allegro vivace Andante Scherzo: Presto Andantino—Allegretto Finale: Allegro giusto

Kevin Fitz-Gerald, piano Alexander Sitkovetsky, violin Dimitri Murrath, viola Julie Albers, cello Philip Alejo, double bass

TUESDAY, MARCH 3 7:30 PMPre-Concert Conversation with James Reel, 7:00 pm

The appearance of Yura Lee at the Festival is sponsored by the generous contribution of Celia Balfour.

The appearance of Dimitri Murrath at the Festival is sponsored by the generous contribution of Jean-Paul Bierny & Chris Tanz.

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ONE OF THE MOST PROLIFIC and influential composers in the United States today, Philip Glass first became known as a stylistic minimalist who created immense dramatic works (such as his 1976 Einstein on the Beach) from nearly imperceptibly changing rhythms and harmonies. Once the guru of a small cult of admirers, since the 1980s Glass has become part of the musical mainstream. He has continuously enlarged his language by incorporating elements from rock and ethnic music as well as the classical techniques he absorbed from his early studies with Nadia Boulanger in Paris. His large repertoire includes works for opera, dance, theater, chamber ensembles, orchestra, and numerous films such as The Truman Show and The Hours, for which he received Golden Globe Awards. Glass describes himself as a composer of “music with repetitive structures,” which he has helped evolve stylistically.

In his 2003 opera The Sound of a Voice Glass sets the dream and fantasy stories of David Henry Hwang to a score combining Asian and Western elements. The original opera with mezzo-soprano and baritone is 65 minutes in duration; the instrumental chamber version heard tonight will be one-third that length (21 minutes). Glass writes: “The Sound of a Voice explores how intimacy is achieved between people who have lived in seclusion. In the first part an aging Japanese warrior arrives at the home of a mysterious woman who lives like a hermit deep in the woods. Has he come as her suitor or her assassin? Does she intend to love him or to imprison him forever, like the flowers she cultivates so assiduously? The battles of love become a deadly contest in this tale, blurring the distinction between hero and coward, between victor and vanquished. In the second part, an elderly Japanese writer visits a mysterious brothel, which caters to men near the end of their lives by providing them with a means to relive their youth. The writer’s initial contempt for the house gives way first to acceptance then to regular visits. Ultimately he finds his dreams and fantasies exposed before the brothel’s elderly Madame, and he embarks with her on an ethereal journey beyond sex and love.”

GABRIEL FAURÉ IS celebrated as late romantic France’s most subtle and poetic stylist of chamber music and art song. Fauré wrote his Opus 13 Sonata (1877) as he began to enhance his reputation as a

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founding member of the Société nationale de musique, formed with Saint-Saëns to promote new French music. The sole sonata of his early maturity, the work was followed forty years later by Fauré’s final three, composed as he moved towards a more spare, modernist aesthetic. Energetic yet sensuous, Opus 13 has remained among the most popular of his chamber works. Yet the sonata encountered early difficulties. After its completion during Fauré’s vacation at the home of friends, the sonata was rejected by French firms who hesitated to invest in a little-known composer. Fauré’s host then approached Breitkopf and Härtel, eventually achieving a contract that granted the German firm full publication rights and copyright ownership without compensation to Fauré. Further misfortune occurred after its subsequent German premiere, at which Opus 13 was negatively criticized as “full of eccentric modulations intolerable to the structure … only firm willpower and good nerves might get players through the work.” As an additional blow, the sonata was affectionately dedicated to the brother of Fauré’s fiancée Marianne, who soon broke off their engagement—leaving a lasting wound for this most sensitive of composers. Fortunately Saint-Saëns salvaged Opus 13’s reputation in France by writing a glowing review in response to the German criticism. In the Parisian Journal de musique he enthused: “Above all that allure of melodic wealth, unusual sonorities, and unanticipated rhythms hovers a charm that envelops the entire work.”

“Above all that allure of melodic wealth, unusual sonorities, and unanticipated rhythms hovers a charm that envelops the entire work.”SAINT-SAËNS ON FAURÉ’S VIOLIN SONATA, OP. 13

Fauré, Saint-Saëns, and Franck comprise the trio of important instrumental composers in late nineteenth-century France, and mutual influences can be detected. The warm and compelling works of

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both Fauré and Franck develop with a surging lyrical flow tempered by moments of classical reserve that is a hallmark of Saint-Saëns’ oeuvre. Fauré’s impassioned Opus 13 reveals affinities to César Franck’s A major Sonata (written ten years later), especially in its continuously evolving accompaniment figures.

The Allegro molto explores its two widely arched themes in sonata form. Rippling piano figuration underpins the animated melodies and creates a full, sonorous texture. Restless and colorful harmonies—unresolved seventh chords, accented dissonances, free chromaticism—reveal Faure’s modernist proclivities. Songful duets, imitatively developed between piano and violin, are heard throughout.

The reflective Andante (D minor) develops two ideas in sonata form. Gently undulating rhythmic patterns suggest a barcarolle, a boatman’s song. The movement reaches a fervent climax (D major), then ends in an atmosphere of calm.

The scherzo, fleet and elfin in the manner of Mendelssohn, is varied by a songful trio interlude at its center. Irregular phrases and piquant cross rhythms enliven the texture.

Cast in sonata-rondo form, the vibrant finale develops two contrasting themes interspersed with quiet interludes. Syncopated rhythms in the second theme animate the flow. The movement concludes with a bravura coda that offers virtuoso passagework for the violin.

FOLLOWING A WALKING TRIP through Upper Austria in the summer of 1819, Schubert wrote his “Trout” Quintet in the picturesque Austrian town of Steyr. It has been suggested that the beautiful countryside was a secret collaborator in the Quintet, a work admired for its haunting melodies and radiant spirit. The Quintet was commissioned by the town’s musical patron, Sylvester Paumgartner, a prosperous mine manager and accomplished amateur cellist. Paumgartner, who frequently hosted musical evenings in his home, specifically requested the quintet’s particular instrumentation because friends had recently enjoyed playing the Hummel quintet for the same unusual scoring. Since Paumgartner admired Schubert’s 1817 strophic song “The Trout,” he also requested that the composer include a

variation movement based on its theme. Schubert was delighted by the prospect of an appreciative audience for his work, and within weeks he had both completed the score and had written out the lengthy parts for the individual players.

One of Schubert’s four large works based on variations of an earlier song (others are the “Death and the Maiden” Quartet D. 810, the “Wanderer” Fantasy D. 760, and the D. 934 Fantasy for Violin and Piano), the Quintet is essentially a lyrical serenade for chamber ensemble. Throughout the work, graceful interplay among the five instruments creates an atmosphere of sociable conversation.

The animated Allegro vivace opens with a dramatic arpeggio in the piano, followed by a more serene string melody. Expansion of these ideas leads to a songful duet between the violin and cello. After a harmonically rich development section and a restatement of themes, the movement ends quickly without a coda.

Three contrasting sections, the second of which explores a Magyar-type theme derived from an idea heard in the first movement, comprise the Andante. The low notes of the string bass effectively echo the piano’s dotted-rhythm leaps in the closing idea.

The Scherzo opens with an energetic four note motto, a theme that is developed in passages alternately tempestuous and calm. Its central trio section suggests distant hunting horns.

Six variations on the opening phrases of Schubert’s song “The Trout” are heard in the fourth movement. Introduced softly by the strings alone, the melody is initially varied and ornamented in the upper octave of the piano, then by the viola and cello, followed by the double bass. The theme is substantially altered in the fourth and fifth variations, which move hauntingly into remote harmonic areas. In the final variation the song appears in its original form as the piano articulates a rippling accompaniment to suggest the wriggling of the elusive trout.

A portentous long-held note introduces the sonata-rondo finale. Written “in the Hungarian style,” the movement develops two lively themes, the second of which recalls the opening movement of the quintet.

Notes by Nancy Monsman

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TO PAY ATTENTION, THIS IS OUR ENDLESS AND PROPER WORK. MARY OLIVER

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TONIGHT’S PROGRAM

ANTONÍN DVOŘÁK (1841–1904)

Sonatina in G Major for Violin and Piano, Op. 100

Allegro risoluto Larghetto Molto vivace Allegro

Alexander Sitkovetsky, violin Bernadette Harvey, piano

JEFFREY COTTON (1957–2013)

Meditation, Rhapsody, and Bacchanal: Duo for Violin and Percussion

Meditation Rhapsody Bacchanal

Yura Lee, violin Matthew Strauss, percussion

INTERMISSION

ANDRÉ JOLIVET (1905–1974)

Chant de Linos for Flute and Piano

Tara Helen O’Connor, flute Bernadette Harvey, piano

WEDNESDAY, MARCH 4 7:30 PMPre-Concert Conversation with James Reel, 7:00 pm

LUDWIG VAN BEETHOVEN (1770–1827)

String Quintet in C Major, Op. 29

Allegro moderato Adagio molto espressivo Scherzo: Allegro Presto

Jasper String Quartet ( J Freivogel, violin; Karen Kim, violin; Sam Quintal, viola; Rachel Henderson Freivogel, cello) Dimitri Murrath, viola

This evening’s concert is partially sponsored by the generous contribution of Nancy Bissell.

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ALTHOUGH DVOŘ ÁK COMPOSED sonatas throughout his career, he allowed only those produced in his final years to survive—perhaps because of their endorsement by Brahms and the violinist Joachim. He wrote his Opus 100 Sonatina within two weeks during his sojourn in New York City (1893), shortly after his New World Symphony had been completed. The Sonatina was published the following year with the dedication: “To my children … on the occasion of having completed my hundredth work.” Although Dvořák conceived the Sonatina as an uncomplicated piece for his fifteen-year-old daughter Otilie and ten-year-old son Toník, he wrote to his publisher Simrock that “adults should be able to converse with it too.”

Fresh and buoyant, the Sonatina develops with clear structures supported by captivating rhythms. Pentatonic scales, a leading characteristic of the Native American music he admired during his visit, color the harmonies. Only the Larghetto (G minor) interrupts the joyful atmosphere with a suggestion of Dvořák’s wistful longing for his native Bohemia. It is reported that the composer wrote out its melancholy theme on his shirtsleeve as he visited Minnesota’s Minnehaha Falls a few months earlier. Simrock sold this movement separately (without Dvořák’s permission), and it was performed frequently by Fritz Kreisler as Indian Lament. The piquant finale recalls motifs from the opening movement of the New World Symphony.

A NATIVE OF LOS ANGELES, Jeffery Cotton studied composition at California State University at Northridge, where he received a Bachelor of Music cum laude in 1983. Awarded a Fulbright scholarship, Cotton studied with Hans Werner Henze in Cologne and subsequently accompanied him to New Mexico, where he served as his assistant at the Santa Fe Opera. From 1992 to 1996 Cotton was Composer-in-Residence for St. Luke’s Chamber Ensemble in New York City, where he premiered numerous works to critical acclaim; also at St. Luke’s he created “Second Helpings,” a continuing series showcasing second performances by emerging composers in an informal setting. After a Guggenheim Fellowship spent in Berlin, Cotton became Composer-in-Residence for the Boston String Orchestra Metamorphosen under the direction of Scott Yoo. Lyra (1999), his first work

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among many for the ensemble, was described by The Boston Globe as “a work that draws the ear into the mystery of utterance.” Cotton received numerous awards and honors, including a 2002 Aaron Copland Award and a 2004 Camargo Foundation Fellowship.

Cotton writes about Meditation, Rhapsody, and Baccanal, which was premiered at the 2005 Tucson Winter Chamber Music Festival: “As the title suggests, the work is structured as a wedge, starting out quietly and ending with a raucous bang. But the inclusion of a meditation at one end and a bacchanal at the other also indicates that the tongue is firmly planted in cheek. This Meditation is more about the attempt to meditate rather than the actual act. The percussion part is divided into two distinct groups: a set of four mixed cymbals of the percussionist’s choosing, plus three tuned gongs. The cymbals represent the intrusion of the real world into the meditation process. The gongs represent the meditative state. Appearances of the mantra, after the opening solemn statement from the violin, range from angry to pleading to comic, as the violin struggles to find some peace. The appearance of the waterphone at the end of the movement represents not so much a meditation as a compromised state-of-mind.

“A rhapsody is usually thought of as a musical work, but the word actually comes from the Greek meaning ‘to recite epic poetry.’ This seems apt, because the second movement contains a vague narrative. The violin part is marked ‘bluesy’ at the start, suggesting this poem is more mundane than epic. Emphasizing the ‘bluesiness’ is that the violin and marimba never agree on a key—when one is in the major mode, the other is in minor.

“The Bulgarian tapan, the instrument featured in the last movement, looks like nothing more than a small, primitive bass drum. But I am so impressed by the range of sounds the instrument can produce that it inspired the third movement’s title.”

INITIALLY INFLUENCED BY Ravel and Schoenberg, French composer André Jolivet was the only student of the avant-gardist Edgard Varèse, a musical architect who shaped his works acoustically through atonal sound masses. Tiring of abstract approaches to composition, in 1936 Jolivet co-founded the group La jeune France (Youthful France) together with his

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compatriots Olivier Messiaen, Jean-Yves Daniel-Lesur, and Yves Baudrier, who wished to pursue a more “human and spiritual” form of expression. Jolivet stated his ideal: “I wish to give back to music its original, ancient meaning, when it was the magical, incantatory expression of the religious beliefs of human groups. Music should be a sonorous manifestation directly related to the universal cosmic condition.”

Jolivet wrote Chant de Linos as a commission from the Paris Conservatory, which required a work for their 1944 flute competition (won by Jean-Pierre Rampal). The work has become a staple of the modern flute repertory. Chant de Linos was inspired by the mythological figure Linus, the music teacher of Orpheus and Heracles. Jolivet writes that the work is “an ancient mourning chant consisting of laments interspersed with cries and dances.” Harmonically the work is based on the modal scale of G, A-flat, B, C-sharp, D, and F. The rhythms alternate between an asymmetric 5/4 meter for the laments and a strongly accented 7/8 meter for the dance sections. After an introduction that suggests free improvisation, the chant unfolds in a single movement with four main sections (slow-fast-slow-fast). Flutter-tonguing, extreme dynamic ranges, and challenging irregular phrase structures create a virtuoso showpiece for the flutist.

“Music should be a sonorous manifestation directly related to the universal cosmic condition.”ANDRÉ JOLIVET

THE SONOROUS INSTRUMENTATION of the viola quintet—a string quartet with an added viola—appealed to the Viennese classicists and especially Mozart, who wrote six over the course of his career. After studying Mozart’s scores and performing them as violist, Beethoven began to make sketches for his own viola quintet in 1800 while his breakthrough set of Opus 18 string quartets was still in progress. His sole work in this form, Opus 29 was finally completed

in 1801, an often stressful year due to Beethoven’s realization of his steadily increasing deafness. Written at a time of transition, the quintet reflects traits of both Beethoven’s first and second period works— its first two movements conjure the tranquility of eighteenth-century classicism, while the turbulent final movements reveal Beethoven’s affinity to the Romantic movement. The striking unrest of the Presto finale has prompted listeners to name Opus 29 “The Storm Quintet.”

Although the Quintet attracted little attention after its 1802 premiere in Beethoven’s Vienna apartment, the work soon achieved notoriety because of publication illegalities. Beethoven’s brother Carl, working as his agent, strived to achieve higher fees for Ludwig’s compositions; dissatisfied with the 90 florin fee for Beethoven’s First Symphony, Carl successfully persuaded Breitkopf and Härtel to pay 170 florins for the Quintet. However, Carl also allowed an unauthorized second edition to appear, embroiling Ludwig in a lawsuit that lasted nearly a decade. Similar issues with other works led to the brothers’ public street fight in the quiet village of Heiligenstadt. Beethoven forgave Carl but predicted a sorry future “if he did not radically change his life and behavior.”

The expansive Allegro moderato, cast in sonata form, unfolds with a harmonically inventive scheme that ranges from C major to A major-minor, then to F major and D-flat major. Its spacious coda combines the two main themes and a new syncopated figure. The luxuriantly long-lined Adagio molto espressivo, also written in sonata form (F major), suggests the mature works of Mozart. But the taut, intense Scherzo (C major) heralds a later era. Beethoven’s treatment of the one-bar motif, relentlessly repeated by each instrument on different steps of the scale, anticipates the monumental scherzos of his later decades. The forceful Presto, the most contrapuntally complex movement Beethoven had yet created, masterfully interweaves three distinct themes and a coda.

Notes by Nancy Monsman

PROGRAM NOTES WEDNESDAY, MARCH 4

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TELL ME WHO ADMIRES AND LOVES YOU, AND I WILL TELL YOU WHO YOU ARE. ANTOINE DE SAINT-EXUPÉRY

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TONIGHT’S PROGRAM

ZOLTÁN KODÁLY (1882–1967)

Serenade for Two Violins and Viola, Op. 12

Allegramente Lento, ma non troppo Vivo

Yura Lee, violin Alexander Sitkovetsky, violin Dimitri Murrath, viola

LUDWIG VAN BEETHOVEN (1770–1827)

Piano Trio in D Major (“Ghost”), Op. 70, no. 1

Allegro vivace e con brio Largo assai ed espressivo Presto

Bernadette Harvey, piano Alexander Sitkovetsky, violin Julie Albers, cello

INTERMISSION

FRIDAY, MARCH 6 7:30 PMPre-Concert Conversation with James Reel, 7:00 pm

Four Seasons / Four ComposersA Commissioning Project by the Jasper String Quartet

CHRISTOPHER THEOFANIDIS (b. 1967)

“Fragile Autumn”

LERA AUERBACH (b. 1973)

“Frozen Dreams” (World Premiere)

AKIRA NISHIMURA (b. 1953)

“Spring—Azure Dragon”

JOAN TOWER (b. 1938)

“Wild Summer”

Jasper String Quartet ( J Freivogel, violin; Karen Kim, violin; Sam Quintal, viola; Rachel Henderson Freivogel, cello)

The world premiere of Lera Auerbach’s “Frozen Dreams” is sponsored by Leonid Friedlander & Elena Landis.

This evening’s concert is partially sponsored by the generous contribution of Stan Caldwell & Linda Leedberg.

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VENER ATED BY HIS countrymen as a composer whose works embodied the spirit of Hungary, Zoltán Kodály drew inspiration from the folk roots of his native music. Convinced that a nation’s art music should develop from its indigenous material, Kodály and his colleague Béla Bartók devoted years to scientific study of hundreds of folk songs collected in the field. The free melodies, supple rhythms, and modal harmonies of these songs pervade Kodály’s music.

Bartók wrote about Kodály’s Serenade (1920): “In spite of its unusual chord combinations and surprising originality, the Serenade is firmly based on tonality, a system that has not been exhausted, despite the ‘atonal’ inclinations of modern music. Superbly rich in instrumental effects and extraordinarily rich in melodies, the work reveals a personality with something entirely new to say. Especially in the slow second movement, where the strangely floating passionate melodies of the viola alternate with spectral flashing motifs in the violin, we find ourselves in a fairy world not dreamed of before.”

The energetic first movement develops two strongly profiled subjects in sonata form. A movement with kaleidoscopic color shifts, the Lento unfolds as a dialogue between the first violin and viola over muted tremolo chords in the second violin. Its two themes create an AABA framework with the second theme (B) based on the main idea of the previous movement. The high-spirited and rhapsodic Vivo finale is a virtuosic set of variations that mimics the improvisatory quality of folk music.

Kodály’s numerous affective markings in the Serenade’s score (such as “hopelessly” at the end of the second movement) suggest a programmatic content. His Hungarian biographer, László Eősze, hears “three musicians playing a serenade beneath a woman’s window, then a song by the lover, played by the viola. The second movement opens with a dialogue between the lover and his mistress, while the tremolos of the

PROGRAM NOTES FRIDAY, MARCH 6

second violin suggest the atmosphere of night. To the lover’s pleading the woman responds with laughter, her coyness gradually turning into passionate rejection. The lover dismisses the musicians, whereupon the woman relents and the man now laughs. The third movement portrays reconciliation, and the tale is brought to an end with an invigorating dance.”

BEETHOVEN WROTE T WO Opus 70 piano trios, both of which reflect the fluent technique and subtle originality characteristic of his middle period works—the primarily large-scale compositions that he produced from 1803 to 1809. He wrote both trios in 1808, the same year he composed his Emperor Concerto. During this period, he roomed at the palace of the Countess Marie Erdödy, a deceptively frail widow whose friendship had sustained him when he first recognized his increasing deafness. He dedicated both Opus 70 trios to the Countess, whom he affectionately called his “Father Confessor,” and held their premieres at her salon.

The classically structured first movement of Opus 70 No. 1 opens with statements of two motifs—an assertive figure played in unison by all the instruments and a singing phrase in the cello. The piano then introduces an emphatic third motif, accompanied by scale passages in the strings. After a compact development of these ideas, the recapitulation restates and expands the material.

Opus 70 No. 1 is popularly known as “The Ghost” because of its eerie second movement, a somber D minor Largo that sustains an atmosphere of mystery and suspense. Beethoven partially based the movement on sketches for the Witches’ Scene in his projected opera Macbeth. Ominous crescendos and diminuendos underpin the two plaintive motifs that recur throughout the movement. Darkly shimmering figuration in the piano creates a sense of foreboding.

The vigorous Presto proceeds without pause. Clearly structured in classical sonata form and animated by playful imitative passages among all three instruments, it provides warm relief from the stark and uncertain atmosphere of the Largo. Its two themes, both of which reference thematic notes of the Largo, develop with expansive geniality. A spirited coda concludes the movement.

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“This commission of Four Seasons for string quartet, as written by four remarkable composers from around the world, brings the brilliant muse of the seasons to the string quartet genre.”JASPER STRING QUARTET

THE JASPER QUARTET WRITES: “The perpetual flux of our natural world is a universally shared source of inspiration, fascination, and beauty in art. Vivaldi wrote his genre-defining Four Seasons concertos almost 300 years ago, and Piazzola, Stravinsky, and others have followed suit. This commission of Four Seasons for string quartet, as written by four remarkable composers from around the world, brings the brilliant muse of the seasons to the string quartet genre.”

Christopher Theofanidis describes his music for the first season: “Fragile Autumn explores a sense of the precariousness that vulnerable seasons of our lives carry. The music climbs steadily upwards over time, like a mountain climber, past the musical slips of the foot that are inevitably on the path. Beginning with a cello solo, the piece unfolds as a tapestry of lines in imitative counterpoint, insisting on lyricism, even as it trips on protruding punctuations like crags in the mountainside. In contrast to obstacles that arise, a still and steady thread interposes moments of spaciousness that culminate in a final bright, epiphanic moment.”

Lera Auerbach prefaces Frozen Dreams with a poem:

I.

Life is an ouroboros. Spring Doesn’t keep count, but accurately binds Everything and everyone, life and death. For centuries, this world’s rebirth has turned The earth. Only God, surely, knows What lies behind this endless rotation.

When life lies ahead, we are more honest; Stripping down this earth, we lay our deposit on love. At times like this we can be happy in a cell And the poorest shelter can become our palace. At this age, the year seems long And we battle windmills like the Don.

II.

The days pass, and in this time of life Spent Spring feels Summer’s farewell breath behind. We grow used to maturity, and it always Reminds us of home, of our native land, Of household chores, and of the family, Of work and the titles we have taken on …

This time of hot middays, when the sun Stares straight into its own reflection Its single eye shattering the water (Life allows us to submit to the flow)— Stamping out grains of dust with yellow rays It reaches the height of its paralyzed state.

III.

The days pass and the birds fly by, away, The leaves fall, fall, but still they cannot Quite find a way to settle on the ground … At times my thoughts cohere— A sign offered up my senses Like a question put to a departing God.

Life resembles a flowing garment. Sewn Out of days like a toga’s folds, the last Made from foreknowledge of coming winter. The cradle is draped with sunset’s shroud. And the fir tree’s fractured trunk Crooked, like a hanging question mark.

PROGRAM NOTES FRIDAY, MARCH 6

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IV.

The days pass. Crows’ nests— Old rags on the bare branches. The snow settling on your temple No longer even melts, and iron nails Start to come loose, and the frame of the house Breaks up, springing leaks like a canoe

Or like an ancient ship. And the heart’s gasp Oppresses. Something weighs down on your breast Sounds are muffled … The deadly scaffold Rises up suddenly, a cross on your path; So unexpected is it that you have Time for just three words: “For everything—forgive.”

Lera Auerbach (originally in Russian), English translation by Maria Donde and Lera Auerbach.

Lera Auerbach’s String Quartet No. 10, “Frozen Dreams,” was commissioned by the Arizona Friends of Chamber Music and sponsored by Leonid Friedlander and Elena Landis.

Spring—Azure Dragon is Akira Nishimura’s eighth string quartet. It was composed in Tokyo in February and March 2019 by commission of the Jasper String Quartet.

Nishimura writes: “The theme of this work is ‘spring,’ and the piece is composed as a hymn to spring. The title Azure Dragon is a magical sacred symbol of spring in East Asia. It is also a symbol of the eastward orientation of the rising sun. (The other symbols of the seasons are Vermillion Bird in summer, White Tiger in autumn, and Black Tiger in winter.) The azure color represents the blue of the sky as well as the greenery of the plants that cover the earth.

“Azure Dragon awakens from winter sleep, saturates its vitality, rises to heaven, and dances in the spring sky. Dragon is also a symbol of springs and the powerful flow of water, and is said to have the power to evoke spring storms. This song is also a hymn to Azure Dragon, the holy spring beast.

“Part of the song depicts a row of cherry blossoms in full bloom, a symbol of Japan’s spring, shining in the spring sunlight.”

Of the fourth season, Joan Tower comments: “Wild Summer was commissioned by the Jasper String Quartet as part of a four-season set composed by four composers. I was asked to represent summer. The first thoughts I had about summer were memories of when I was younger and going to school. Although I was expected to get a summer job, it was also a time for a vacation to finally be free and to have a really good time. Since I was a rather wild teenager, I vividly remember being intent on as much dancing, partying, and going after the boys as possible. This goal had an intense manic side to it that bordered on an anxiety, a possible failure of actually having a good time, sort of like the vacation you fantasized about that never quite worked out the way you expected. This nine-minute piece alternates between a driving, wild, and manic type of energy with a relaxed, meditative, slow feeling in between—a breathing and recuperating space (on the beach).”

Tonight’s performance of Four Seasons is the first time the entire cycle of four string quartets has been played together as well as the world premieres of Lera Auerbach’s and Christopher Theofanidis’ contributions. Joan Tower’s “Wild Summer” was funded by an anonymous donor and premiered in June 2018 at Bard College. Premiered in April 2019, Akira Nishimura’s “Spring—Azure Dragon” was commissioned by (and first performed at) the Freer|Sackler Galleries in Washington D.C. “Fragile Autumn” by Theofanidis was commissioned by Chamber Music Northwest. Auerbach’s “Frozen Dreams” was commissioned by the Arizona Friends of Chamber Music and sponsored by Leonid Friedlander and Elena Landis.

Notes by Nancy Monsman

PROGRAM NOTES FRIDAY, MARCH 6

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FOREVER IS COMPOSED OF NOWS. EMILY DICKINSON

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THIS AFTERNOON’S PROGRAM

RICHARD STRAUSS (1864–1949)

Sextet from the opera “Capriccio,” Op. 85

Yura Lee, violin Alexander Sitkovetsky, violin Dimitri Murrath, viola Sam Quintal, viola Julie Albers, cello Rachel Henderson Freivogel, cello

ARNOLD BAX (1883–1953)

Sonata in G Major for Viola and Piano

Molto moderato—Allegro Allegro energico ma non presto Molto lento

Dimitri Murrath, viola Bernadette Harvey, piano

INTERMISSION

ROSS EDWARDS (b. 1943)

Four Inscapes: Quintet for Flute, Pipa, Percussion, Violin, and Cello (World Premiere)

Inscape with Frog and Bird Dance of the Merciful Mothers Floating Moon Ritual Earth Dance

Tara Helen O’Connor, flute Yang Jin, pipa Matthew Strauss, percussion Alexander Sitkovetsky, violin Julie Albers, cello

SUNDAY, MARCH 8 3:00 PMPre-Concert Conversation with James Reel, 2:30 pm

FELIX MENDELSSOHN (1809–1847)

String Quartet in D Major, Op. 44, no. 1

Molto Allegro vivace Menuetto: Un poco Allegretto Andante espressivo ma con moto Presto con brio

Jasper String Quartet ( J Freivogel, violin; Karen Kim, violin; Sam Quintal, viola; Rachel Henderson Freivogel, cello)

The world premiere of Ross Edwards’ “Four Inscapes” is sponsored by Jean-Paul Bierny & Chris Tanz, Wendy & Elliott Weiss, Bob Foster, & Jim Cushing.

This afternoon’s concert is partially sponsored by the generous contribution of Jean-Paul Bierny & Chris Tanz.

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RICHARD STR AUSS COMPOSED his Sextet as the overture to his final opera, Capriccio (1941), first performed in Munich, October 1942. A neoclassical work set in eighteenth-century France, the opera provided relief from the difficult circumstances of wartime Germany.

In the opera’s context, the Sextet has been recently composed by the musician Flamand, and the actual overture functions thematically as its rehearsal. Near the conclusion of the Sextet the curtain rises on the garden of a rococo chateau, and one hears the final strains as if it were played in an adjacent room. The Sextet’s polished phrasing and refined workmanship evoke aristocratic grace and elegance. Structurally, it falls symmetrically into three sections. The outer areas present calm and poised themes developed with graceful counterpoint, and the more turbulent and chromatic middle section provides contrast.

Strauss, who wrote that his opera was “a conversation piece for music,” used Capriccio as a vehicle for exploring a philosophical idea that had long absorbed both him and his eighteenth-century predecessors: which is more important to opera, the music or the words? Capriccio is set during the time when the French composer Gluck was urging composers to streamline the music in opera so that the words might be clearly discerned. The main characters of Capriccio—the young widowed Countess and her two suitors—explore this issue through extended conversations about theater and opera. The Countess must decide during the course of one evening which of the two suitors she will marry, the poet Olivier or the composer Flamand. At the end she faces the mirror and realizes that her indecision will remain—a symbolic gesture implying the perfect equality of text and music.

B ORN INTO A WE ALTHY London family, trained at the Royal Academy of Music, and knighted by King George VI in 1937, the British late Romanticist Arnold Bax drew his deepest inspiration from Ireland’s literature and seascapes. A staunch supporter of Irish independence, Bax wrote both political tracts and fiction under the pseudonym “Dermot O’Byrne.” He became a significant figure in Dublin’s literary circles even as he continued to compose. In his 1943 memoirs Bax wrote: “I worked very hard at the Irish language and steeped myself in its history and saga,

PROGRAM NOTES SUNDAY, MARCH 8

folk-tale and fairy-lore. Under this domination my musical style became strengthened. I began to write ‘Irishly,’ using figures and melodies of a definitely Celtic curve.”

Exempt from military service in World War I because of a heart condition, Bax produced a large body of instrumental works during his early career; he was considered England’s pre-eminent symphonist until his reputation was overtaken by Vaughan Williams and Walton in the 1940s. Bax’s romantic sensibilities did not resonate with post-war modernists, and his music gradually fell into nearly complete neglect. In recent years his music has been rediscovered, and it is actively promoted and recorded by the Sir Arnold Bax Trust, founded in 1985.

Bax began his viola sonata in 1921 and completed it in in 1922. At its London premiere in Aeolian Hall, Bax performed as pianist with the sonata’s dedicatee, the great English violist Lionel Tertis. In his viola sonata, Bax followed the design of his popular violin sonata, also a three-movement work with two moderate sections framing a rapid scherzo. Bax wrote that in his early years he “wallowed” in Wagner but also closely studied works of Richard Strauss; the expressive chromatic harmonies heard throughout the sonata reveal similar late Romantic tendencies. The sonata’s florid keyboard writing suggests the influence of Franz Liszt.

The main theme of the opening movement, intoned in the viola’s darkly low register, suggests pensive Irish song. The theme is spun out and continuously varied by metric shifts and brooding changes of modality. Dance rhythms intrude into moments of quiet melancholy to create a sense of unease.

Fast and harmonically unsettled, the frenetic scherzo suggests wild Irish dance. A melodious central section (A major) is followed by a return of the opening material, which grows ever faster. A coda based on a series of A minor chords concludes the movement.

The expansive finale, essentially the sonata’s slow movement, begins with the designation declamato (declaiming) in the viola line. Syncopated piano figures energize the long cantabile (singing) lines heard throughout. The opening theme of the first movement returns to unify this varied and intense composition.

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ONE OF AUSTR ALIA’S best known and most performed composers in an array of genres, Ross Edwards has created a distinctive sound world that, in the composer’s words, “seeks to reconnect music with elemental forces and to restore such qualities as ritual, spontaneity, and the impulse to dance.” Based on his profound ecological views, Edwards’ music is universal in its concerns with ancient mysteries surrounding humanity and at the same time deeply connected both to its Australian roots and to his country’s cultural diversity. His art draws shapes and patterns from Australia’s natural environment, including birdsong and the mysterious drones of summer insects. Intensely aware of his vocation as a composer, Edwards maintains strong belief in the healing power of music. As a composer living and working on the Pacific Rim, he is conscious of the exciting potential of this vast region.

Ross Edwards writes of his 2018 composition: “Four Inscapes is a poeticized fusion of my imaginings and observations of events and characteristic patterns of human nature.

I. Inscape with Frog and Bird is a personalized response to the natural world, in which healing sounds of flowing water are punctuated by imagined birdsong and the lone voice of a frog. Into this idyllic scene drifts a cello melody tinged with sadness, later to be joined by violin and flute.

II. Dance of the Merciful Mothers. My music, essentially drawn from the ecological sound world of Australia’s coastal regions, is overlaid with far-reaching cultural associations. This lively movement brings together universal symbols of nurturing and healing in the form of chant fragments relating to the European concept of Mother Mary and her East Asian counterparts.

III. Floating Moon, for solo pipa, is a nocturne intended as a tribute to Wu Man’s subtle mastery of her instrument. It also pays homage to Guan-Yin, the graceful Chinese Goddess of Compassion, symbolized by the Tang Dynasty poet Po Chu-I as the moon’s reflection floating in pure, clear water. Composed in simple three-part song form, it is based on a scale associated with the Japanese koto, a stringed instrument with similarities to the pipa as well as the European lute, Arabic oud, and many

others from a diversity of cultures. The human family is well connected through music!

IV. Ritual Earth Dance. The work concludes with an exuberant, celebratory maninya—a form of Australian dance-chant of my own invention—with spirited dialogue between pipa and darbuka, an Arabic goblet drum.

Four Inscapes was commissioned by the Arizona Friends of Chamber Music and generously sponsored by Jean-Paul Bierny & Chris Tanz, Wendy & Elliott Weiss, Bob Foster, and Jim Cushing. I would particularly like to thank Artistic Director Peter Rejto for organizing the commission, and also Lu Liu, from the Sydney Conservatorium, for her help in guiding me through the intricacies of pipa technique.”

MENDELSSOHN WROTE THE three quartets of his Opus 44 set in 1838, a year of personal contentment for this incessant worker. Happily married and recently the father of a son, Mendelssohn basked in his secure reputation as Europe’s greatest conductor, composer, and pre-eminent violinist and pianist. Because he followed an arduous touring schedule, Mendelssohn composed primarily during the relatively calm summer months. He completed Opus 44 No. 1, the final quartet of the set of three despite its opus number, in late July and dedicated it to the Crown Prince of Sweden. He indicated in a letter to a friend that this quartet was his favorite one of the set: “I have just finished my third quartet, in D major, and I like it very much. It is more spirited than the others and seems to me to be more grateful for the players.”

The opening movement develops two themes, the first spirited and exuberant, the second more restrained. A compact recapitulation leads into the vibrant coda. As a contrast to this energetic movement, Mendelssohn replaced his characteristic scherzo movement with the more tranquil Menuetto (D major); its haunting central section (B minor) reiterates flowing eighth note patterns. The reflective Andante movement (B minor) develops two lyrical themes in sonata form. The finale resembles a brilliant saltarello, a lively Italian dance. As in the preceding movements, two contrasting themes are developed. High spirits and virtuosic passagework drive the movement to a buoyant conclusion.

Notes by Nancy Monsman

PROGRAM NOTES SUNDAY, MARCH 8

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FESTIVAL MUSICIANS

PETER REJTO

Artistic director Peter Rejto is committed to presenting the finest chamber music, both well-loved works and new, unfamiliar ones, performed by some of the world’s finest musicians. Highlights of his international career include the world premiere of Gerard Schurmann’s “Gardens of Exile” with the Bournemouth Symphony broadcast live over the BBC, and the recording of Miklós Rózsa’s Cello Concerto in Hungary. Mr. Rejto is a founding member of the Los Angeles Piano Quartet and a former professor of the University of Arizona School of Music as well as professor emeritus at the Oberlin College Music Conservatory. He has directed the programming and selected the musicians for every Festival, beginning with the first in 1994.

JULIE ALBERS

Cellist Julie Albers was born into a musical family in Longmont, Colorado and began violin studies at the age of two with her mother, switching to cello at four. She moved to Cleveland during her junior year of high school to pursue studies through the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Aaron. She currently is Assistant Professor and holds the Mary Jean and Charles Yates Cello Chair at the McDuffie Center for Strings at Mercer University in Macon, Georgia. We welcome Ms. Albers to her first Festival.

JASPER STRING QUARTET

Winner of the prestigious CMA Cleveland Quartet Award, Philadelphia’s Jasper String Quartet is the Professional Quartet-in-Residence at Temple University’s Center for Gifted Young Musicians and the Founder and Artistic Director of Jasper Chamber Concerts. Formed at Oberlin Conservatory, the Jaspers began pursuing a professional career in 2006 while studying with James Dunham, Norman Fischer, and Kenneth Goldsmith as Rice University’s Graduate Quartet-in-Residence. In 2008, the quartet continued its training with the Tokyo String Quartet as Yale University’s Graduate Quartet-in-Residence. The Quartet was the 2010–12 Ensemble-in-Residence at Oberlin Conservatory and, in conjunction with Astral Artists, was awarded a 2012 Chamber Music America grant through its Residency Partnership Program for work in Philadelphia schools.

The Jaspers perform pieces emotionally significant to its members ranging from Haydn and Beethoven through Berg and Ligeti. They have commissioned string quartets from some of today’s best composers, including Aaron Jay Kernis, Andrew Norman, Nicholas Omiccioli, Conrad Tao, and Annie Gosfield. They take their name from Jasper National Park in Alberta, Canada, and the ensemble is represented exclusively by Dispeker Artists.

AFCM last heard the Jasper String Quartet on an Evening Series concert in February 2018. This is their first Festival.

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FESTIVAL MUSICIANS

ROSS EDWARDS

One of Australia’s best known and most performed composers, Ross Edwards has created a distinctive sound world based on deep ecology and awareness of the need to reconnect music with elemental forces and restore its traditional association with ritual. He has composed prolifically in most musical genres. Works for the concert hall sometimes require special lighting, movement, costume, and visual accompaniment—notably his Fourth Symphony Star Chant, his oboe concerto Bird Spirit Dreaming, and his saxophone concerto Full Moon Dances. Mr. Edwards’ music has been heard at past Festivals, and Tucson Mantras, written for string quartet, percussion, and didgeridoo, received its world premiere at the Festival in 2008.

KEVIN FITZ-GERALD

Born in Kelowna, British Columbia, Kevin Fitz-Gerald was a full scholarship student at the Victoria Conservatory of Music, The Banff Centre School of Fine Arts, and the Royal Conservatory of Music in Toronto, where his principal teachers were Marek Jablonski, Robin Wood, and Alma Brock-Smith. A winner of several prestigious competitions, grants and awards, he has also worked extensively with Menahem Pressler, John Perry, György Sebők, and Leon Fleisher. In addition to his position as Professor of Piano Performance and Collaborative Arts at the USC Thornton School of Music in Los Angeles, Mr. Fitz-Gerald is a frequent guest master class teacher at many national and international music festivals and institutions. This is his seventh Festival.

LERA AUERBACH

Lera Auerbach is a poet, composer, concert pianist, and visual artist. She has published more than 100 works for opera, ballet, orchestra, and chamber music, and performs as concert pianist throughout the world. Her work is championed by leading artists, conductors, stage directors, and choreographers, with recent works staged by the San Francisco Ballet, Hamburg Opera, Theater an der Wien, National Ballet of China, Finnish National Ballet, National Ballet of Canada, Netherlands Dance Theater, Semperoper and Staatskapelle Dresden, and New York’s Lincoln Center. She holds degrees from the Hanover University of Music, Drama, and Media, and The Juilliard School. We last heard her as composer and pianist at our 2012 Festival.

PHILIP ALEJO

Philip Alejo is Associate Professor of Bass at the University of Arizona. He has performed alongside Menahem Pressler, Yehonatan Berick, Maiya Papach, Spencer Myer, Katinka Kleijn, and David Bowlin, and at numerous music festivals in the US and Europe. In addition, he collaborates regularly with harpist Claire Happel as the River Town Duo, and they are committed to commissioning works for harp and bass; to date, they have premiered works by Caroline Shaw, Hannah Lash, and Frederick Evans. Dr. Alejo was recently named Guest Professor at the Wuhan Conservatory of Music and MusAid Teaching Artist at El Sistema, El Salvador. This is his fifth Festival.

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DIMITRI MURRATH

Born in Brussels, Belgian-American violist Dimitri Murrath regularly performs in venues throughout the world. He began his musical education at the Yehudi Menuhin School where he studied with Natalia Boyarsky. From there he attended the Guildhall School of Music and Drama, working with David Takeno, and he graduated with an Artist Diploma from the New England Conservatory as a student of Kim Kashkashian. Currently Mr. Murrath is on the viola faculties of the San Francisco Conservatory of Music and Bowdoin International Music Festival. An avid chamber musician, he is a member of the Boston Chamber Music Society and of Mistral Music. We welcome him to his first Festival.

TARA HELEN O’CONNOR

Flutist Tara Helen O’Connor is recipient of an Avery Fisher Career Grant, a two-time Grammy nominee, and the first wind player chosen to participate in The Bowers Program (formerly CMS Two). She is now a Season Artist of the Chamber Music Society of Lincoln Center and regularly participates in the Santa Fe Chamber Music Festival, among many others. Currently she is Associate Professor of Flute, Head of the Woodwinds Department and Coordinator of Classical Music Studies at Purchase College School of the Arts Conservatory of Music and also on the faculty of Bard College Conservatory of Music and the Contemporary Performance Program at Manhattan School of Music. This is her first Festival.

FESTIVAL MUSICIANS

YURA LEE

Violinist/violist Yura Lee is the winner of the only first prize awarded across the four categories of the ARD Music Competition in Munich. She studied at the Juilliard School, New England Conservatory, Salzburg Mozarteum, and Kronberg Academy, where her teachers included Namyun Kim, Dorothy DeLay, Hyo Kang, Miriam Fried, Paul Biss, Thomas Riebl, Ana Chumachenko, and Nobuko Imai. A teacher of both violin and viola at the Mason Gross School of the Arts at Rutgers University, Ms. Lee is currently a member of the Chamber Music Society of Lincoln Center and Boston Chamber Music Society. This is her third Festival, and we also heard her on our Evening Series as a member of the Ensō Quartet.

BERNADETTE HARVEY

Australian pianist Bernadette Harvey divides her time between collaborations, solo appearances, and recordings. She has had several works written for her, including by Festival composer Ross Edwards, who completed a new solo piano sonata for her to perform and record in 2014. A faculty member at the Sydney Conservatorium of Music, she is also the recipient of the Centenary Medal of Australia presented by John Howard for her service to Australian music. Her most recent CD was recorded with the Jupiter Quartet and features three works commissioned by AFCM that were premiered at various Festivals. This year marks her tenth Festival appearance.

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ALEXANDER SITKOVETSKY

Born in Moscow into a family with a well-established musical tradition, violinist Alexander Sitkovetsky made his concerto debut at the age of eight, and in the same year he moved to the UK to study at the Menuhin School. Lord Menuhin was his inspiration throughout his school years, and they performed together on several occasions. Mr. Sitkovetsky was awarded first prize at the Trio di Trieste Duo Competition alongside pianist Wu Qian. An alumnus of the prestigious Chamber Music Society Two program at Lincoln Center, in 2016 Mr. Sitkovetsky received the Lincoln Center Emerging Artist Award. He is also a founding member of the Sitkovetsky Piano Trio. We welcome him to his first Festival.

MATTHEW STRAUSS

Matthew Strauss has held positions as Percussionist with the Houston Symphony and Timpanist with the American Symphony Orchestra at the Bard Music Festival, and is currently an Associate Professor of Percussion at Rice University, Lecturer at the University of Miami’s Frost School of Music, and faculty member at the Texas Music Festival at the University of Houston. Prior to his post in Houston, he performed as a member of the percussion section in the Chicago Symphony Orchestra throughout the 2002–03 and 2003–04 seasons. Mr. Strauss received his bachelor’s degree in Percussion Performance from the Juilliard School and his master’s degree in Performance from the Temple University. His previous Festival appearance was in 2016.

FESTIVAL MUSICIANS

YANG JIN

Yang Jin is one of the leading pipa soloists of her generation. Born in Datong, Shanxi Province, in 1982, she began her study of the instrument at age nine and received her BA and MA degrees from the Central Conservatory of Music in Beijing. Before relocating to the U.S., she served as a pipa instructor at Wuhan Conservatory of Music. In 2010, Ms. Yang was the only pipa performer from China selected to participate in the “Kronos Quartet and Wu Man Master Class” at Carnegie Hall. AFCM last heard the pipa in 2006, and we are happy to welcome Yang Jin to her first Festival.

NANCY MONSMAN

Although not one of the Festival musicians, Nancy Monsman has been an integral part of the Festival from the beginning through her informative program notes. An active cellist, Nancy’s practical knowledge of the repertoire communicates the essence of each piece to our audience. She has degrees in both English literature and cello performance from Northwestern University and a Doctor of Musical Arts degree from the University of Arizona, where she studied with Peter Rejto. Also trained as a visual artist, her paintings have had international recognition. In 2019 she published a book of her program notes, A Friend’s Guide to Chamber Music: European Trends from Haydn to Shostakovich.

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$10,000 & ABOVE

Jean-Paul Bierny & Chris TanzJoyce Cornell Walter Swap

$5,000 – $9,999

Nancy Bissell Stan Caldwell & Linda Leedberg Jim Cushing Jack & Terry ForsytheLeonid Friedlander George & Irene Perkow Boyer RickelJohn & Helen SchaeferGwen Weiner

$2,500 – $4,999

Anonymous Bina BreitnerBob FosterGarrett-Waldmeyer Trust Elliott & Sandy HeimanJim Lindheim & Jim TharpMinna J. ShahRandy SpaldingPaul A. St. John & Leslie P. TolbertJonathan & Chitra StaleyWendy & Elliott Weiss

$1,000 – $2,400

Susan & Barry Austin Frank & Betsy BabbCelia A. Balfour Celia BrandtGail D. Burd & John G. HildebrandBryan & Elizabeth Daum Dagmar CushingBeth FosterJ.D. & Margot GarciaJulie GibsonAllen Hile & Eloise Gore Eddy HodakArthur & Judy Kidder

Al KogelMilton Francis & Marilyn HeinsRandolph & Margaret NesseHerschel & Jill RosenzweigJohn & Ila RupleyReid & Linda SchindlerGeorge F. Timson Michael & Mary Turner Teresa TyndallAnne Wright & Richard Wallat Maurice Weinrobe & Trudy ErnstElizabeth Zukoski

$500 – $999

Bob Albrecht & Jan Kubek Peter & Betty Bengtson Gail BernsteinBarbara CarpenterMichael & Ulla CoretzJames & Chris DauberRaul & Isabel DelgadoCarole & Peter FeistmannHarold FrommDonita GrossHelen HirschPaul & Marianne KaestleLarry & Rowena G. MatthewsMartie MecomKitty & Bill MoellerLawrence & Nancy Morgan Richard & Susan NisbettJay & Barbara PisikSerene ReinArnie & Hannah Rosenblatt Stephen & Gale Sherman Sally SumnerSherman WeitzmonBonnie Winn

$250 – $499

Thomas & Susan AcetoSydney Arkowitz Wes & Sue AddisonPeter BleasbyNathaniel & Suzanne BloomfieldRichard & Martha Blum

Jan Buckingham & L.M. RonaldJack BurksMichael Bylsma & Mark FlynnRichard & Patricia Carlson Shirley ChannNancy CookJanna-Neen CunninghamPhilip M. DavisMark DickinsonStephen & Aimee Doctoroff Alison EdwardsKaren & Lionel Faitelson Edna Fiedler & Walter SipesTom & Janet GethingGerald & Barbara GoldbergLouis HessSandra HoffmanJanet & Joe Hollander Willliam & Sarah HuffordWilliam & Ann IvesonDavid JohnsonMichael & Sennuy KaufmanGeorge & Cecile KlavensDaniela LaxKeith & Adrienne LehrerAmy & Malcolm LevinAlan Levenson & Rachel K. GoldwynWilliam Lindgren Karen E. & Leonard L. LoebMark Luprecht Max McCauslin & John SmithBill & Kris McGrathJoan McTarnahan Harry Nungesser Mary Peterson & Lynn NadelJay & Barbara Pisik Steve Reitz & Elizabeth EvansDavid & Ellin RuffnerMark Haddad Smith Barbara StraubNancy StraussSheila TobiasCharles & Sandy TownsdinAllan & Diane Tractenberg Ellen Trevors Patricia WaterfallDaryl Willmarth

THANK YOU TO OUR SUPPORTERS!

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$100 – $249

Helmut Abt Philip AlejoMark & Jan BarmannMargaret BashkinKathryn BatesJoyce Bolinger Sarah BorosonElizabeth BuchananJohn BurcherPatricia & Ed Campbell Robert D. Claassen & John T. Urban Tom Collazo Cornell CollinsC. Jane DeckerTerence DeCarolisMartin Diamond & Paula Wilk Monika DormanBrian EdneyJohn & Mary EnemarkDorothy Fitch & John MunierJames & Ruth FriedmanLinda L. Friedman Peter & Linda FriedmanTommy & Margot FriedmannJuan GallardoThomas & Nancy GatesMarvin & Carol GoldbergBen & Gloria GoldenKathryn GordonJanet GraysonMarilyn Halonen Clare Hamlet Cynthia Hartwell James Hays Les & Suzanne HaytSara HeitshuRuth B. HelmJim HomewoodRobert & Claire HugiSara HunsakerLee Kane Joe Kantauskis & Gayle Brown Tim KantorCarl KanunWilliam Kruse

Robert LuppFrank & Janet MarcusClarissa Marques Warren & Felicia May Richard & Judith MeyerWalter Miller Karen Ottenstein Beer Eileen OviedoJohn PalmerDetlev Pansch & Julie Steffen David & Cookie PashkowJudith C. PottleJohn RaittLynn Ratener Kay Richter & Stephen BuchmannSeymour ReichlinErin Riordan & Ben WilderBetsy RollingsJay & Elizabeth RosenblattElaine RousseauHerbert Rubenstein Kenneth J. Ryan Evelyn SalkJennifer P. SchneiderHoward & Helen Schneider Stephen & Janet SeltzerShirley SnowHarry StacyRonald StaubMichael TaborShirley TaubeneckJennalyn TellmanBarbara Turton Ivan Ugorich Karla Van Drunen Littooy Peter & Reyn VoevodskyDimitri Voulgaropoulos & Tyna Callahan Diana WarrJude WeiermanPatricia Wendel Sheila Wilson & Hal Barbar

GIFTS IN MEMORY OF

Ann Blackmarrby Cathy Anderson

David Cornellby Jean-Paul Bierny & Chris Tanz by Joyce Cornell, in loving memory by Larry & Nancy Morgan

Michael Cusanovichby Marilyn Halonen

Harry Fonsecaby Jean-Paul Bierny & Chris Tanz

Rayna Leah Gellman by Mark Haddad Smith

His mother, Helen Margaret Hodakby Eddy Hodak

Raymond Hoffmanby Sandra Hoffman

Kathy Kaestleby Paul & Marianne Kaestle

Jim Rusk by Carolyn Leigh

Brenda Semanickby Jean-Paul Bierny & Chris Tanz

Stephen G. Tellmanby Jennalyn Tellman

Carl T. Tomizukaby Sheila Tobias

Contributions are listed from March 1, 2019 through February 29, 2020. Space limitations prevent us from listing contributions less than $100.

Every contribution helps secure the future of AFCM.

Please advise us if your name is not listed properly or inadvertently omitted.

THANK YOU TO OUR SUPPORTERS!

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THANK YOU TO OUR SUPPORTERS!

GIFTS IN HONOR OF

AFCM Board of Directorsby C. Jane Decker

Nancy Cook’s birthday, to support Music in the Schoolsby Susan Aiken by Frank & Betsy Babbby Linda Barter by Avery & Carolyn Bates by Jean-Paul Bierny & Chris Tanz by Larry & Gerry Campbell by Tom Collazo by Cornell Collins by Gail & Bill Eifrig by Patricia & David Eisenbergby Barbara Hutchinson by Lucy Mastermanby Margie Matterby John McNulty & Jeff Brown by Mary Ellen Morbeck & John Hoffman by Bob Nevins by Larry & Deborah Ogden by Andy and Lisa Remack by Boyer Rickelby Erin Riordan & Ben Wilder by Betsy Rollings by Evelyn Salk by Susan Sangston by Randy Spalding by Bob & Donna Swaim by Adam Ussishkin & Adam Wedel by Peter & Reyn Voevodskyby Patricia Waterfall by Jude Weierman

Elaine Rousseauby Les & Suzanne Hayt

Randy Spaldingby John Burcher

Allan & Diane Tractenbergby Mark & Jan Barmann

Elliott Weiss’s special birthdayby Barbara Levy

JEAN-PAUL BIERNY LEGACY SOCIETY

Jean-Paul Bierny & Chris TanzNancy BissellNathaniel & Suzanne BloomfieldTheodore & Celia BrandtNancy CookDagmar Cushing Lidia DelPiccolo-MorrisDr. Marilyn HeinsJoe & Janet HollanderJudy KidderLinda LeedbergTom & Rhoda LewinGhislaine PolakBoyer RickelRandy SpaldingAnonymous

$25,000 and aboveFamily Trust of Lotte ReyersbachPhyllis Cutcher, Trustee of the Frank L. Wadleigh TrustAnne DennyRichard E. FirthCarol KramerArthur Maling Claire B. Norton Fund (held at the Community Foundation for Southern Arizona)Herbert PlochLusia Slomkowska Living TrustAgnes Smith

$10,000 – $24,999Marian CowleMinnie KramerJeane Serrano

Up to $9,999Elmer CourtlandMargaret FreundenthalSusan R. Polleys Administrative TrustFrances ReifEdythe Timbers

Listed are current plans and posthumous gifts.

COMMISSIONS

Jean-Paul Bierny & Chris TanzBob FosterLeonid Friedlander & Elena Landis

CONCERT SPONSORSHIPS

Anonymous Jean-Paul Bierny & Chris Tanz Stan Caldwell & Linda Leedberg Jack & Terry ForsytheEOS Foundation Garrett-Waldmeyer Trust George & Irene PerkowBoyer RickelRandy SpaldingJonathan & Chitra Staley

MUSICIAN SPONSORSHIPS

Celia BalfourJean-Paul Bierny & Chris TanzDagmar Cushing Elliott & Sandy HeimanEloise Gore & Allen Hile

MUSIC IN THE SCHOOLS

Susan & Barry Austin Clarissa Marques Herschel and Jill Rosenzweig Randy Spalding Paul A. St. John & Leslie Tolbert Joe & Connie TheobaldGeorge Timson

FOUNDATIONS

Arizona Commission on the ArtsArts Foundation for Tucson and Southern ArizonaAssociated Chamber Music PlayersTucson Desert Song Festival

All commission, concert, and musician sponsors are acknowledged with posters in the theater lobby and in concert programs.

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YEAR-END CAMPAIGN

Sydney Arkowitz Mark & Jan Barmann Peter & Betty Bengtson Nancy Bissell Peter Bleasby Nathaniel & Suzanne Bloomfield Richard & Martha Blum Sarah Boroson Bina Breitner Elizabeth Buchanan Jan Buckingham & L.M. Ronald Richard & Patricia Carlson Robert D. Claassen & John T. Urban Nancy Cook Jim Cushing James & Chris Dauber Kathryn Day Raul & Isabel Delgado Mark Dickenson Stephen & Aimee Doctoroff Lionel & Karen Faitelson Peter & Carole Feistmann Edna Fiedler & Walter Sipes James & Ruth Friedman Peter & Linda Friedman Linda L. Friedman Tommy & Margot Friedmann Thomas & Nancy Gates Tom & Janet Gething Gerald & Barbara Goldberg Marvin & Carol Goldberg Kathryn Gordon Clare Hamlet Cynthia Hartwell Sally Harwood James Hays Les & Suzanne Hayt Elliott & Sandy Heiman Marilyn Heins & Milton Francis Sara Heitshu Allen Hile & Eloise Gore Willliam & Sarah Hufford Sara Hunsaker Joe Kantauskis & Gayle Brown Michael & Sennuy Kaufman Daniela Lax Keith & Adrienne Lehrer

Amy & Malcolm Levin Karen E. & Leonard L. Loeb Warren and Felicia May Max McCauslin & John Smith Joan McTarnahan Richard & Judith Meyer Walter Miller Richard & Susan Nisbett Harry Nungesser Karen Ottenstein Beer Eileen Oviedo Detlev Pansch & Julie Steffen Mary Peterson & Lynn Nadel Jay & Barbara Pisik John Raitt Steve Reitz & Elizabeth Evans Kay Richter & Stephen Buchmann Boyer Rickel Arnie & Hannah Rosenblatt Herschel and Jill Rosenzweig John & Helen Schaefer Howard & Helen Schneider Stephen & Janet Seltzer Stephen & Gale Sherman Mark Haddad Smith Harry Stacy Jonathan & Chitra Staley Ronald Staub Barbara Straub Sally Sumner Michael Tabor Ellen Trevors Michael & Mary Turner Barbara Turton Karla Van Drunen Littooy James Verrier Marianne Vivirito & Ross Iwamoto Dimitri Voulgaropoulos & Tyna Callahan Patricia Waterfall Maurice Weinrobe & Trudy Ernst Patricia Wendel Sheila Wilson & Hal Barbar

Our heartfelt thanks to those who responded to our year-end campaign.

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2019/2020Tucson Guitar Society

TucsonGuitarSociety.org (520) 342-0022Mamedkuliev

Feuillâtre

Russell

European Guitar QuartetDuo Assad

Bostridge & Yang

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ANNIVERSARY

SE A S O N

2019 - 2020 Linus Lerner

Music Director

Northwest Tucson Sundays at 3:00 pm St. Andrew’s Presbyterian Church7575 N. Paseo del Norte

2019-2020 Performances

Mexican Independence Day ConcertSeptember 14-15, 2019Fox Tucson Theatre & Sunnyside H.S.

From Paris to LeningradOctober 19-20, 2019

Carmina BuranaNovember 16-17, 2019

SaddleBrooke Saturdays at 7:30 pmDesertView Performing Arts Center39900 S. Clubhouse Drive

Concert Venues

Die Fledermaus (full opera production)January 18-19, 2020, at Rincon H.S.

Beethoven & StraussFebruary 15-16, 2020

Tchaikovsky & a Live PainterMarch 14-15, 2020

Gershwin & BeethovenApril 25-26, 2020

2019-2020 SEASONInG E N I U S

VISIT TRUECONCORD.ORG FOR TICKETING & VENUE

INFORMATION OR CALL 520-401-2651

SHAKESPEARE IN SONG11 - 13 October

MOZART & DA VINCI22 - 24 November

LESSONS & CAROLSBY CANDLELIGHT

Songs of the Magi12 - 15 December

AMERICA SINGS!24 - 26 Januaryin partnership with

Tucson Desert Song Festival

BEETHOVEN & GOETHE21 - 23 February

BACH B-MINOR MASS27 - 29 March

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2020–2021 SEASON

JUNE 10, 2020

Joseph Rousos-Hammond, violin, and Yasmin Alami, piano

JULY 15, 2020

Woodsmusic with Rex Woods, piano, Alexander Woods, violin, and Garrick Woods, cello

AUGUST 19, 2020

Michelle Gott, harp Molly Gebrian, viola

OCTOBER 21 & 22, 2020

Auryn Quartet

OCTOBER 29, 2020

Hub New Music

NOVEMBER 11 & 12, 2020

Juilliard String Quartet

NOVEMBER 22, 2020

Xavier Foley, double bass Kelly Lin, piano

DECEMBER 6, 2020

Andrew and Daniel Hsu, piano four hands

DECEMBER 16 & 17, 2020

Pacifica Quartet with Michael Brown, piano

JANUARY 21, 2021

Accordo

JANUARY 27, 2021

Alexander String Quartet, with Kindra Scharich, mezzo-soprano

FEBRUARY 17, 2021

Apollon Musagète Quartet, with Garrick Ohlsson, piano

FEBRUARY 27, 2021

Ioana Cristina Goicea, violin Chih-Yi Chen, piano

MARCH 14–21, 2021

Tucson Winter Chamber Music Festival

APRIL 7, 2021

Parker Quartet