ARIZONA FRIENDS OF CHAMBER MUSIC

CHAMBERMUSICFESTIVAL

The 19th Tucson Winter

March 4–11, 2012

Presents

Peter Rejto, Artistic Director

Board of Directors: Helmut Abt, Thomas Aceto, Wes Addison, Jean-Paul Bierny, Nancy Bissell, Michael Coretz, Dagmar Cushing, Bryan Daum, Beth Foster, John Forsythe, Brad Holland, Joan Jacobson, Eddy Muka, Benjamin Nisbet, James Reel, Jay Rosenblatt, Raymond Ryder,Jerry Short, Randy Spalding, Walter Swap, Joseph Tolliver Webmaster: Bob Foster

All concerts and open dress rehearsals will be held at the Tucson ConventionCenter’s Leo Rich Theatre. Concerts and introductory commentary will starton time. Concert hall doors will be closed during the 20-minute introductorycommentary. Doors will reopen 10 minutes prior to the concert. Taking photographs or making recordings is prohibited during performances.

Arizona Friends of Chamber MusicPO Box 40845 • Tucson, AZ 85717 • 520.577.3769www.ArizonaChamberMusic.org

CHAMBERMUSICFESTIVAL

The 19th Tucson Winter

March 4–11, 2012

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Welcome!Thank you for joining us in our 19th year. Regardless of the concert or event you

are attending while reading this, we promise a wonderful roster of musicians and programming masterminded by Peter Rejto, Artistic Director. We also hope you lookat page 3, which details some Festival “treats” you may have yet to experience.Consider attending something new to you—whether it’s Saturday afternoon’s freeMaster Classes for horn and cello, 9 total hours of open dress rehearsals, or the always musically delicious gala dinner and recital at the Arizona Inn. There’s something foreverybody, so why not also introduce a friend to the joys of chamber music and soshare the pleasures? We are most grateful for the financial support of the TucsonBusiness Community and the many generous friends and volunteers who help make ourFestival a continuing success.

Jean-Paul Bierny President of the Board

Arizona Friends of Chamber MusicCOMMISSIONERS’ CIRCLE

The Arizona Friends of Chamber Music created the Commissioners’ Circle for people who wish to sponsor new chamber works with us. Since 1997 we havefeatured World Premiere performances during the regular season, our Piano &Friends series, and the Tucson Winter Chamber Music Festival. Participationgives you the thrill of making a significant contribution to the creation of impor-tant new chamber music and to influence what will be composed in the 21st century. Please contact us if you are interested in joining. Sponsorships are currently available for upcoming commissions.

We thank the following who have joined to date: Fred & Diana Chaffee; Tony& Ellen Lomonaco; Jean-Paul Bierny & Chris Tanz; Susan Small; Anne Nelson;Richard & Judy Sanderson; John & Helen Schaefer; Linda Friedman, Samuel &Jonathan Friedman, and Davina Friedman Doby; Linda & Stuart Nelson; George &Eleanor Marcek; Marya & Robert Giesy; Mr. & Mrs. Charles M. Peters; Mrs. FariaVahdat-Dretler; Members of Tucson’s Czech Community; Henry Weiss; CarlaZingarelli-Rosenlicht; the Estate of Maxwell Rosenlicht; Richard & Galina DeRoeck; Bob & Connie Foster; George & Eleanor Marcek; Paul & Dorothy Olsen;Joan Jacobson; Walter Swap; Members of the Arizona Senior Academy & AcademyVillage; Dan Coleman; the Aasheghan e Aavaaz Group; Harry & Lea GudelskyFoundation; Bill & Lotte Copeland; Hal Myers; Karen Sternal; Ghislaine Polak;Herschel & Jill Rosenzweig; OMA; Helmut Abt; Harold G. Basser; Milos & MilenaChvapil; Sherrill Akyol; Wesley C. Green in memory of Pearl Green; Serene Rein, Dr. Jim M. Cushing, Joyce & David Cornell, and the NOVA ChamberMusic Series.

Special Events

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Youth Concert

Thursday, March 8, 10:30am

Performance of excerpts from prior concerts with commentary by Festival musicians.

Open Dress Rehearsals9am – 12 noonWednesday, March 7Friday, March 9Sunday, March 11Leo Rich Theatre

We invite families and friends of all ages to attend our free, open dress rehearsals.

Master Class for HornWilliam Purvis3:00pm – 4:00pmSaturday, March 10Leo Rich Theatre

Featuring students of Professor Daniel Katzen of the University of Arizona School of Music.

Master Class for CelloSteve Doane4:00pm – 5:00pmSaturday, March 10Leo Rich Theatre

Featuring students of Professor Mark Votapek of the University of Arizona School of Music.

Attendance by the public is open and encouraged.

Gala Dinner and Recital at the Arizona InnSaturday, March 10, Evening6pm – Cocktails7pm – Musical selections by Festival musicians8pm – DinnerCall 577-3769 for reservations

Flowers courtesy of Arizona Flowers in The Village at Sam Hughes.

Repeat PerformancesIf 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 typically featured in the station’s Musical Calendar. See http://radio.azpm.org/classical.

Sunday, March 4, 3pm Pre-concert commentary at 2:30pm by James Reel

Wolfgang Amadeus MozartQuintet in E-flat major for Piano and Winds, K. 452Largo—Allegro moderato Bernadette Harvey, PianoLarghetto Stephen Taylor, OboeRondo: Allegretto Bil Jackson, Clarinet Marc Goldberg, Bassoon William Purvis, Horn

Mozart (1756–1791) completed K. 452, one of his ownfavorite works, only two days before its scheduled premiere inApril, 1784. He wrote to his father: “I composed a quintet whichcalled forth the greatest applause. I myself consider it to be thebest work I have ever composed.” Mozart set a formidable chal-lenge for himself with the quintet’s unusual instrumentation.However, he understood the difficulty of achieving the eleganttonal blend he desired with assorted single instruments ratherthan those in pairs. The first piano and woodwind quintet everpublished, K. 452 is an ingenious work of refined expression thatwas especially admired by Beethoven, who wrote his similarlyscored Opus 16 Piano Quintet as homage.

At the time he wrote the quintet, Mozart was also composinghis first set of mature string quartets. He conceived these six quartets, famously dedicated to Joseph Haydn (“from whom I have learned to write quartets”), as discourses among all instruments rather than as showpieces for individual instruments.A similar esthetic prevails in K. 452, for throughout the quintetall instruments share in the development of ideas, which are generally introduced by the piano.

The masterfully crafted Allegro moderato, in sonata form,develops its long phrases through short motivic contributionsfrom the various instruments, each only briefly prominent. In thesublime Larghetto (B-flat major), written in the style of an operatic aria, the two sustained themes develop through subtleinterweaving of the five instrumental parts. At the end of therondo finale, each instrument participates in the brilliant ensem-ble cadenza, normally a tour de force for the individual soloist.

Béla BartókString Quartet No. 3, Sz. 85Prima Parte: Moderato Tokyo String QuartetSeconda Parte: AllegroRicapitulazione della prima parte:

ModeratoCoda: Allegro molto

Beginning in his rebellious student days, Béla Bartók (1881–1945) longed to break from the cultural domination of HapsburgAustria by creating, as he wrote, “something specifically Hungarianin music.” In 1904 Bartók and his fellow composer ZoltánKodály began to record songs of the Hungarian countryside andcatalogue their findings. Bartók intended to use this vast ethniccollection as a wellspring for his own ideas: “It was not a questionof taking unique melodies and incorporating them. What we hadto do was to divine the spirit of this unknown music and to makethis spirit the basis of our own works.” Bartók gradually assimi-lated the essences of these songs into his own musical thoughtprocesses. Much of the imaginative power of his six string quartets stems from his unique fusion of folk and art music.

The Third Quartet (1927) emerged after Bartók had closelyexplored the contrapuntal techniques of Bach and his predeces-sors. One hears passages of rigorous formal counterpoint as wellas the continuous variation that is a leading characteristic of folkstyle. The briefest yet perhaps most intense of all Bartók’s stringquartets, the work consists of one continuous flow of musicdivided into four sections to create a slow-fast-slow-fast format.The first and third sections are thematically related, as are the second and fourth. However, the connections between the firstpaired sections are not immediately obvious since section three,the recapitulation, freely varies the motivic elements.

The basic element of the Prima Parte is a three-note cell composed of two intervals—a rising fourth and a descendingthird. This motif is continuously developed so that it is heardthroughout the entire section. Especially remarkable is the area of“night music,” subtle instrumental murmurs intended to evokethe rustling sounds of a mysterious forest.

The cello, playing pizzicato, introduces the pervasive motif ofthe rapid Seconda Parte—a simple scalar figure driven by apropulsive rhythm that evokes rural Hungarian dances. The section culminates with a dazzling fugue that further intensifiesthe rhythmic drive. Instrumental effects such as col legno (play-ing with the wood of the bow) and ponticello (bowing very nearthe bridge to achieve a glassy sound) contribute expressive color.

The “Recapitulation of the First Part” condenses and variesmaterial heard in the first section, and its insistent three-note cellemerges strongly. The coda is essentially a transformation of theSeconda Parte with a denser contrapuntal texture. Percussive noterepetitions, glissandi, and relentless ostinatos create a savage andaggressive character.

Intermission

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Sunday, March 4, 3pm

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Ludwig van BeethovenString Quartet, Opus 132Assai sostenuto—Allegro Tokyo String QuartetAllegro ma non tantoHeiliger Danksgesang eines Genesenen

an die Gottheit, in der lydischen Tonart (Molto adagio)—Neue Kraft fühlend (Andante)

Alla Marcia, assai vivaceAllegro appassionato

Beethoven’s monumental Opus 132 is the second of his set ofsix string quartets begun in 1822 and completed only fourmonths before his death. During this late phase of his career,Beethoven (1770–1827) continuously negotiated with theLondon Philharmonic Society, which hoped to lure him toEngland as Composer in Residence. Frustrated by the low feesoffered, he reluctantly terminated these discussions. He then welcomed the generous commission from Prince NicholasGalitzin, a wealthy Russian nobleman, who promised to pay“whatever you feel is appropriate” for three string quartets.However, as he became deeply involved with their creation,Beethoven gradually grew oblivious to his benefactor. He ignoredGalitzin’s correspondence and indeed appeared to forget his existence. The Prince was infuriated to learn that the premiere ofOpus 132 in 1825 was held without his having been notified.

During the composition of Opus 132, Beethoven had becomeseriously ill, most probably with liver disease, and was confinedto bed for an entire month. His sketchbooks show that he hadintended to construct Opus 132 in a traditional four-movementformat. However, upon recovery he decided to add a centralmovement, the “Convalescent’s Holy Song of Thanksgiving tothe Deity,” as an expression of gratitude for his restored health.The inclusion of this fifth movement, a statement of his humbleyet fervent appreciation for life, contributes a deeply spiritualdimension to the entire quartet.

The quartet’s slow introduction begins with a four-note motifin the cello—an ascending half step followed by an upward leap.(One of the many constructive links among these organically unified quartets, this motif resembles the introductory themes ofthe subsequent quartets of the set, Opus 131 and Opus 133,which were sketched at the same time.) This portentous motifreturns between the three main thematic ideas of the Allegro, asonata form movement remarkable in its flexibility. The secondmovement is a wistful scherzo that grows from two melodic cells.After a pastoral musette suggesting a bagpipe drone, the openingmaterial returns.

Beethoven wrote his third movement in the ancient Lydianmode, which corresponds to the modern F major scale without theB flat. Constructed as a five-part aria, the movement alternatesbetween the hymn and faster sections that programmatically depictthe invalid’s strength returning (“Neue Kraft fühlend”). A briefmarch movement follows. After a rhythmically free violin recita-tive, the rondo finale, “fast and impassioned,” reaches an exuberantconclusion as the mode changes from A minor to A major.

Today’s Concert Is Generously Underwritten by David & Joyce Cornell and Dr. Herschel & Jill Rosenzweig

Tuesday, March 6, 7:30pm Pre-concert commentary at 7pm by James Reel

“Mediterranean Nights: Sultry Songs & PassionateDances from 17th-century Italy & Spain”All-Baroque performance by Apollo’s Fire, with Nell Snaidas, Soprano: Jeannette Sorrell, Harpsichord & Direction Steve Player, Guitar/Dance Olivier Brault, Baroque Violin Johanna Novom, Baroque Violin René Schiffer, Baroque Cello Dan Swenberg, Lute Rex Benincasa, Percussion

Consider a 17th-century “jam session”—let’s go back to aperiod when the chasm between serious art music and popularfolk music did not yet exist. Whether a harpsichordist played inthe Duke’s parlor in Mantua, or a couple of guitarists playedaround a bonfire on the beaches of Venice, the music was likely to be quite similar. The great tradition of ground-bass, orostinato, dance repertoire permeated popular culture as well as art music.

Traditional Catalan Melody, arr. J. SorrellEl Cant dels Ocells

Street musicians and concert musicians throughout Europeknew these various harmonic and rhythmic patterns, which wereusually associated with particular dance steps. A continuo player(someone who plays a bass line or chordal instrument) would layout one of these traditional “grounds,” and a treble player wouldimprovise variations over the repeating harmonic pattern. Theseground basses usually took the name of the dance that was associated with them, such as Ciaccona or Chaconne, Passacagliaor Passecaille, Romanesca, Passamezzo, and the famous Folias orFolies d’Espagne.

Benedetto Ferrari (1603–1681) Amanti, io vi so dire

Because various composers wrote variations on the sameground-bass tunes, it is fun to combine different settings of thesame ground. For example, the two Italian composers BenedettoFerrari and Tarquinio Merula both left us settings of the ciacconaground. Ferrari’s is set as a song, Amanti, io vi so dire, in whichthe singer mocks the power of love and advises us that it is muchbetter to flee a beautiful woman. While the singer’s melody isFerrari’s own invention, the repeating ground-bass underneath isthe traditional ciaccona.

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Non accade pensaredi gioir in amareamoroso contentodedicato è al momentoe bella Donna al finerose non dona mai senza le spine

La speme del gioirefondata è sù’l martirebellezza e cortesianon stanno in compagniasò ben dir con mio dannoche la morte ed’amor insieme vanno.

Credete’l à costui che per prova può dirio vidi io fui se creder no’l voletelasciate star che poco importa à meseguitate ad’amarad’ogni modo chi dè rompersi il collonon accade che schiviod’erta ò fondoche per proverbio senti sempre diredal destinato non si può fuggire.

Donna sò chi tu seiamor sò i fatti mieinon tresco più con voialla larga ambi dois’ogn’un fosse com’iosaria un balordo Amor e non un Dio.

It never occurs to usto rejoice in our love,to feel contentment andlive in the moment.Beautiful women in the endnever give roses without thorns.

The hope of rejoicingis found only on suffering.Beauty and kindnessdon’t exist in companyand can only say with disdain thatdeath and love accompany one another.

Believe this from somebody who can sayfrom experience: “I saw, I was there.”If you don’t want to believe, never mind,it doesn’t make any difference to me.Go ahead and fall in love anyway,all you who must go andbreak your necks.Whether from high or low,you won’t avoid hearing the old proverb:“You cannot escape destiny.”

Woman, I know who you are.Love, I know my business.I’ll no longer flirt with either of you,keep your distance!If everyone were like me,Love would be a fool and not a god!

—Translated by Lucas Harris

Amanti, io vi sò direAmanti, io vi sò direch’è meglio assai fuggirebella Donna vezzosaò sia cruda ò pietosaad ogni modo e viail morir per armor è una pazzia.

Lovers, I can tell youLovers, I can tell youthat it’s much better toflee a beautiful woman.Whether she’s cruel or compassionate,dying for love is neveranything other than madness!

Tarquinio Merula (1594–1665)Ciacona

Merula, takes the same ciaccona bass and weaves two violinlines over it, creating a lively dance with virtuosic moments for theviolins. The continuo players (guitar, harpsichord, cello, lute) willweave these two pieces together, enjoying our Zen-like repetitionof the ciaccona ground while the soprano and violins perform theactual composed lines by Ferrari and Merula.

Andrea Falconieri (1586–1656)Passecaille

Marco Uccellini (1603–1680)Duo BergamascaBernardo Storace (Selva di Varie Compositioni, 1664)Folias

Two other popular ground-basses from the Mediterraneanwere the bergamasca and the passacaglia (or passecaille). These twogrounds form the essence of Uccellini’s delightful DuoBergamasca and Falconieri’s Passecaille, demonstrating what flightsof fancy can be developed over just four repeating bass notes.

Tuesday, March 6, 7:30pm

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Diego Ortiz (1510–1570), arr. J. SorrellRomanesca (Recercada VII)

The great Spanish viola da gamba composer Diego Ortiz leftus many settings of the traditional ground bass tunes. His landmark treatise on ornamentation published in Rome in 1533contains 9 pieces for viola da gamba and keyboard, which he callsRecercadas. Each of these is a set of virtuoso variations for thegamba laid over a ground bass ostinato. These pieces lend them-selves easily to arrangement for other instruments.

Luigi Rossi (1597–1653), arr. J. Sorrell Lamento di Euridice, from L’Orfeo ed EuridiceRiu, Riu, Chiu, trad.

This folk carol “Riu Riu Chiu” closes the first half in a cele-bration of that uniquely Mediterranean worldview, in which thestories, legends and images of the Christian tradition are sodeeply woven into the fabric of secular life that no one thinkstwice about blending the sacred and the secular. Nightingales,love and seduction, legendary wolves threatening the VirginMary, and the suffering of the Messiah are all mixed in a kind ofpungent ratatouille of unquestioned traditions. Like the people ofthe Mediterranean, “Riu Chiu” is a tune that is supposed to bereligious but really wants to dance.

Intermission

Santiago de Murcia (fl. early 18th century), arr. J. SorrellDifencias sobre la Gayta (“Bagpipes”)Martin y Coll (d.1733), arr. J. SorrellChinfoniaDario Castello (1590–1658) Sonata No. 2

Dario Castello, a younger colleague of the great Monteverdi atSt. Mark’s in Venice, was a composer of striking imagination anddaring invention. His publications are advertised as being “in stilmoderno.” In fact, he achieves a blend of the old and new stylesby alternating passages in the old strictly contrapuntal “canzona”style with contrasting sections in the new freely expressive style.His Sonata No. 2 is full of quick changes of mood, leading finallyto a dramatic and powerful conclusion. With nothing but a bassline and melody indicated (no tempos, dynamics, etc.) the piececan sound quite different every night.

Luis de Briçeño, arr. G. Herreid Romance biejo (The 10 Commandments)

Lamento di EuridiceMio ben, teco il tormento Più dolce io troverei Che con altri il contento. Ogni dolcezza è sol dovè tu sei.

E per me, Amor aduna Nel girar de’ tuoi sguardi ogni fortuna

Riu, riu chiuRiu, riu chiu…La guarda ribera:Dios guardo el lobo de nestra cordera.

El lobo rabioso La quiso morder,mas Dios poderoso La supo defender;Quisole hazer que no pudiesse pecar,Ni aun original Esta Virgen to tu viera.Riu, riu chiu…

Este ques nacido es el gran Monarcha,Christo patriarca de carne vetido;Hanos redimido con se hazer chiquito:Aunque era in finito Finito se hiziera.Riu, riu chiu…

Muchas profecias Lo han profetizado;Youn en nuestros dias lohemos alcancado.A Dios humanado vemos en el sueloy al hombre en el cielo porqueel le quisiera.Riu, riu chiu…

Lament of EuridiceMy beloved, with you I would find torment sweeter Than happiness with others. Every sweetness is only where you are

And for me, Love gathers fortune At the turn of your every glance.

Riu, riu chiu Riu, riu chiu (nightingale sounds)He who herds by the river,God kept the wolf from our Lamb.

The furio us wolf tried to bite herbut Almighty God protected her well.He made her so she could know no sin,a virgin unstained.Riu, riu chiu…

The newborn child is the mightiest King,Christ patriarchal in the flesh.He made himself tiny and soredeemed us;He who was infinite became finite.Riu, riu chiu…

Many a prophecy told of his coming,And now in our days we have seenthem fulfilled.God became man, on earth we beholdhim,and see man in heaven becausehe so willed.Riu, riu chiu…

Romance biejoLa bella Çelia que adoraUn galan alo modernoPor cumplir con su perroquiaSe fue açierto monasterio.

Hincandose de rodillasAnte un padre gran sujetoSe començo a confesarDesta manera diçiendo.

Padre si de amor supistesEn vuestros años primerosQue son pocos los que escapanDeste tirano soberbio.

Escuchad a una mujerQue tiene dentro en supechoMil flechas atravesadasViviendo en dolor heterno.

Por un pecado de amorAsido al alma y al cuerpoHe venido a que brantarTodos los diez mandamientos.

En el primero me acusoQue no amo a dios como devoPor que tengo amor a un hombreQue mas que ami vida quiero.

En el segundo he juradoCon mas de mil juramentosDe no olvidarle jamasNo estan grave pues no miento.

En el teçero me acusoQue quando estoy en el temploNo estoy atenta a la misa.Por que en berle me divierto.

The 10 Commandments The beautiful Celia, that adoreda gallant man in the modern way,to fulfill her religious dutywent to a certain monastery.

Going down on both kneesbefore a venerable priest,she began her confession,speaking in this way:

“Father, if in your tender yearsyou ever knew about love,for they are few who escapethis arrogant tyrant,

“Hearken to a womanthat holds in her breasta thousand piercing arrows,and lives in eternal sorrow.

"For a sin of lovehas seized my soul and my body:I have come to breakall of the Ten Commandments.

“In the first, I accuse myselfof not loving God as I should,for I am in love with a manwhom I love more than my own life.

“In the second, I have swornmore than a thousand oaths,to not forget him ever;it is not so bad, but I won’t lie.

“In the third, I accuse myselfthat when I am in the templeI don’t pay attention to the mass,for I delight only in looking at him.

Tuesday, March 6,7:30pmSantiago de Murcia & Luigi Boccherini, arr. J. Sorrell Fandango

Like our ground-bass pieces in the first half, the notoriousFandango is built on an ostinato (repeating bass pattern). In the 17th century this dance was considered far too seductive and indecent for genteel consumption. However, by the 18thcentury, composers like Murcia and Luigi Boccherini dressed upthis dance with a layer of aristocratic lace that rendered it harm-less and charming. Murcia’s solo guitar setting of the Fandangoappears in the Mexican manuscript known as the Saldivar CodexNo. 4, from 1730. I have arranged the piece as a kind of duel for guitar and harpsichord, paving the way for the finale ofBoccherini’s “Fandango Quintet.” Boccherini’s version is a clas-sical take on the traditionally wild fandango. Our arrangement ofthis piece as a kind of “concerto grosso” may draw out some ofthe less aristocratic roots of the piece. Though Boccherini wouldprobably be surprised, we believe that he knew what a real fandango was, and that he would be happy to take a place in ourjam session.

— Notes by Jeanette Sorrell. Thanks to St. Philip’s in the Hills Episcopal Church

for use of their Richard Kingston harpsichord.

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En el quarto no he guardadoAmis padres el respectoPor que le amo tan locaQue ael solameÏnte obedezco.

En el quinto he deseadoLa muerte a infinitos neçiosQue an procurado apartarNuestro amor por muchas medios.

Y pues sois discreto padreNo ay que deçir enel sestoQue por lomenos sabreisQue abre tenido deseos.

En el septimo no se paseSin poner culpa amis yerrosPues hurto para hablalleTodos los ratos que puedo.

Y a estamos en el octavoY en ese padre confiesoQue he mentido muchas veçesPor que importa al amor nuestro.

Solamente mi apetitoNo apecado enel novenoPor que no me da lugarNi habla conmigo el preçepto.

El deçimo he deseadoTodos los bienes ajenosPara entregarselos todosSin dexar nada enel suelo.

Y lomas inrremediableDelo que padre me quexoEs de no poder hallarAl alma arrepentimiento

Conesto se desmayoDexando el padre suspensoY lo Roxo de su caraTroco en color Maçilento.

“In the fourth, I have not paidto my parents enough respect,for I love him so madlythat I obey only him.

“In the fifth, I have wisheddeath upon innumerable foolsthat worked to undoour love by many means.

“And since you are discrete, father,I don’t have to speak of the sixth,for at least you must knowdesire will have its way.

“In the seventh, it won’t passwithout laying blame on my sins,since I steal every moment I canto speak with him.

“Now we are at the eighth,and in this one, father, I confessthat I have lied many timeswhen it was important for our love.

“Only in the ninth hasmy appetite not sinned, neither does it concern me.

“In the tenth, I have covetedall the goods of others,to abandon myself to themwithout another thought.

“And the most incurableof all these, father, that I lament,is not being able to findrepentance in my soul.”

With that she fainted,leaving the priest astonished,and the roses in her cheeksturned pale and wan.

Today’s Concert Is Generously Underwritten by Emma & Gerald Talen and the Arizona Early Music Society.

Wednesday, March 7, 7:30pm

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Wolfgang Amadeus MozartString Quintet No. 1 in B-flat Major, K. 174I. Allegro moderato Tokyo String QuartetII. Adagio Helena Baillie, ViolaIII. Menuetto ma allegrettoIV. Allegro

Mozart’s string quintets are also known as viola quintets—string quartets with an additional viola. This instrumentationappealed to Mozart (1756–1791), who frequently played viola inchamber ensembles, and over the course of his career he com-posed six of these quintets. Compared to his string quartets,Mozart’s viola quintets reveal richer harmonies and a freerexchange of thematic material. For Mozart, the extra middlevoice inspired inventive musical dialogue.

Mozart was introduced to the viola quintet form by his friendMichael Haydn, Joseph’s brother. Michael had completed hisfirst viola quintet in February 1773, and the teenaged Mozart was sufficiently impressed to work on his own quintet for an unchar-acteristic length of three months. Mozart’s first effort resembledMichael’s quintet in its sequence of movements, prominence ofthe first violin and first viola, frequent echo effects, and codas atthe ends of the movements. However, by December Michael hadcompleted a second viola quintet, and Mozart was stunned by hisimprovement. He quickly recast the last two movements of K. 174 with more elaborate counterpoint and sections of development. Evidently he was pleased with his new version; but14 years passed before he attempted another viola quintet.

The delightful Allegro moderato unfolds in sonata form—after full statements of the themes, a development section followswith several harmonic surprises, then the opening material clearlyreturns. The expressive center of K. 174, the songful Adagio (E-flat major) features exchanges between the first violin and firstviola. The Menuetto, which resembles a rustic dance, is varied bythe smoother trio section at its center. The finale develops withinteresting dialogues and echo effects among the instruments.

Antonín DvorákSerenade in D minor for Winds, Cello, and Bass, Opus 44 I. Moderato quasi marcia Stephen Taylor, OboeII. Menuetto Neil Tatman, Oboe III. Andante con moto Bil Jackson, ClarinetIV. Allegro molto Jerry Kirkbride, Clarinet Marc Goldberg, Bassoon Jessica Campbell, Bassoon William Purvis, Horn Daniel Katzen, Horn Margaret McGillivray, Horn Steve Doane, Cello Volkan Orhon, Bass

The serenade enjoyed strong popularity in both the 18th and19th centuries as a lighter alternative to the symphonic and cham-ber genres. Occasionally called “garden music,” the serenade ofthese eras suggested charming evening entertainment provided bystrolling musicians. The serenade most often consisted of several loosely related movements, the first of which was a marchaffirming the genre’s outdoor origins. A classical minuet charac-teristically followed, and the finale often included a recall of theopening movement.

Dvorák (1841–1904) wrote his D minor Serenade in 1878, aphenomenally productive year in which he abandoned his pursuitof a western European sound in the mode of Wagner and beganto incorporate native Czech rhythms and melodies into his works.After hearing the Serenade, the influential Brahms wrote: “Itwould be difficult to discover a finer, more refreshing impressionof really abundant and charming creative talent.” Worldwiderecognition followed the publications of the Serenade, SlavonicDances, Slavonic Rhapsodies, Bagatelles, and String Sextet, allcomposed that same year.

The opening march recalls the stirring and harmonious windband music that was a feature of central European village life. The Menuetto consists of two Czech folk dances, the pastoralsousedska (“neighbor’s dance”) and the vivacious, triple-time furiant that varies the movement as a central trio section. TheAndante offers variations of a calmly lyrical theme. The jubilantfinale alludes to the opening march before its spirited conclusionin D major.

Intermission

Pre-concert commentary at 7pm by James Reel

Wednesday, March 7, 7:30pmLera AuerbachSonata No. 1 for Violoncello and PianoPrelude—Allegro moderato Clive Greensmith, CelloAlla breve Lera Auerbach, PianoModerato—Lento—InterludeVivoAllegro ma non troppo, con fuoco

Ms. Auerbach (b. 1973) writes: “I began working on the piecewhile reading Herman Hesse’s novel Demian. Although there isno direct connection and the work is not programmatic, perhapssome of the imagery from Hesse’s novel may have infiltrated thewriting, especially in the first movement, in which I thought of adance of Abraxas, a mysterious god, who combines in himselfboth good and evil. In this sonata, as well as in my other chambermusic works, the piano is an equal partner. In a dramatic sensethe instruments often play different roles even though they mightbe playing at the same time. At times the co-existence is a dia-logue; at times a struggle; at times an attempt to solve inner ques-tions.

“The sonata starts with solos for both instruments—the pianopresents a dark, inwardly tense statement and the cello a morehuman, desperately questioning solo that becomes a leitmotifthroughout the sonata. The introduction leads to a darkly strangewaltz in 5/4, a suggestion of shadows emerging from the depthsof the past. The second theme, both dreamy and passionate, leadsto a fugal development with dry twists.

“The juxtaposition of the instruments continues in the Adagioof the second movement. The piano carries a steady choral pro-gression while the cello intones a lamenting monologue, free anddeeply human.

“The third movement is a toccata with fiery syncopations andobsessive energy. The last movement is one of the most intenseand tragic pieces I have ever written. It begins on a high emotion-al point as the cello plays microtonal trills intended to sound likeintense vibrato. My vision is of that time in life when one standsat the edge of an abyss alone with a trembling soul. But throughthe darkness and tragedy an inner light emerges. Through painone may find lost beauty, and a feeling of tragedy may release apart of one’s soul that was aching to be freed. Both instrumentsrise at the end to the breathtaking height of their registers as ifentering a different kind of existence.”

Franz SchubertQuintet in A major for Piano and Strings Op.Post 114,

D. 667, “Die Forelle” (“The Trout”)Allegro vivace Mihae Lee, PianoAndante Benny Kim, ViolinScherzo: Presto Helena Baillie, ViolaThema: Andantino Steve Doane, CelloFinale: Allegro giusto Volkan Orhon, Bass

Schubert (1797–1828) wrote his “Trout” Quintet during his1819 holiday in the picturesque Austrian town of Steyr. Thework was commissioned by the town’s musical patron, SylvesterPaumgartner, a prosperous mine manager and accomplishedamateur cellist. Paumgartner, who frequently hosted musicalevenings in his home, specifically requested the quintet’s particu-lar instrumentation because friends had recently enjoyed playingthe Hummel quintet for the same unusual scoring. SincePaumgartner admired Schubert’s 1817 strophic song “TheTrout,” he also requested that the composer include a variationmovement based on its theme. Schubert was delighted by theprospect of an appreciative audience for his work, and withinweeks he had both completed the score and had written out thelengthy parts for the individual players.

The Quintet is essentially a lyrical serenade for chamberensemble. Throughout the work, graceful interplay among thefive instruments creates an atmosphere of sociable conversation.The animated Allegro vivace opens with a dramatic arpeggio inthe piano, followed by a more serene string melody. Expansion ofthese ideas leads to a songful duet between the violin and cello.After a harmonically rich development section and a restatementof themes, the movement ends without a coda.

The Andante consists of three contrasting sections, the secondof which explores a Magyar-type theme derived from an ideaheard in the first movement. The Scherzo opens with an energeticfour note motto, a theme that is developed in passages alternatelytempestuous and calm.

The fourth movement offers six variations on the openingportion of Schubert’s song, “The Trout.” Stated by the stringsalone, the melody is varied and ornamented first in the upperoctave of the piano, then by the viola and cello, followed by thedouble bass. The theme is substantially altered in the fourth andfifth variations, which move into hauntingly remote harmonicareas. In the final variation the song appears in its original formwith the piano articulating a rippling accompaniment. Thefinale, “in the Hungarian style,” develops two lively themes, thesecond of which recalls the opening movement of the quintet.

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Today’s Concert Is Generously Underwritten by Wesley G. Green, Sandy & Elliott Heiman, and Casino del Sol.

Friday, March 9, 7:30pm

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Lera AuerbachThis Mirror Has Three Faces, Trio No. 2 for Violin,Violincello and Piano (World Premiere)I. Prelude (Left Exterior Panel) Lera Auerbach, Piano – Moderato libero Martin Beaver, ViolinII. First Unfolding (Left Interior Clive Greensmith, Cello Panel) – Allegro appassionato III. Second Unfolding (Right Interior Panel) – Tempo di valzer IV. Tell ’em What You See (Center Panel) – Allegro assaiV. Folding – Postlude (Right Exterior Panel) – Adagio nostalgico

Ms. Auerbach (b. 1973) will discuss the work from the stageon the day of the performance.

The World Premiere of Lera Auerbach’s trio This Mirror HasThree Faces was made possible by the following member of theArizona Friends of Chamber Music Commissioners’ Circle: Dr. Jim M. Cushing.

Robert SchumannPiano Quintet in E-flat major, Opus 44Allegro brilliante Tokyo String QuartetIn Modo d’una Marcia: Bernadette Harvey, Piano

Un poco largamente Scherzo: Molto vivaceAllegro ma non troppo

Early in his career, Schumann (1810–1856) often craftedgroups of works in specific genres during intense writing binges.In 1840, the year of his marriage to Clara Wieck against the vehe-ment protests of her father, he created more than 100 songs. Thefollowing year was devoted to symphonies. In 1842, guided by aninner voice that advised him to write for string instruments, hecreated his three string quartets and his Opus 44 Piano Quintet.Written in the fervent heart of inspiration, the creation of theseworks exhausted Schumann. Shortly after their completion, hesuffered the first of his mental breakdowns. Clara attributed hiscollapse to overwork and arranged for a stay at a Bohemian spa.However, he remained in fragile mental health for the duration ofhis brief life.

Schumann’s Opus 44 Piano Quintet is regarded as one of thefinest creations of 1842, his “chamber music year.” At the timehe composed these chamber works, he closely studied Haydn andMozart’s compositional techniques—thus the intensely emotionaland romantic Quintet develops formally according to an established classical design. The Quintet was dedicated to Clara,who expected to play its substantial piano part at the premiere.However, she fell ill, and Schumann’s friend and colleague Felix Mendelssohn performed in her place. He subsequently suggested revisions, to which Schumann agreed. Robert evenreplaced a substantial part of his third movement with livelier“Mendelssohnian” themes.

Pre-concert commentary at 7pm by James Reel

Because the Quintet was written for the virtuoso Clara, it features a massive piano part and a broadly orchestral string scorethat provides a counterbalance. The work opens with a bold state-ment of the principal theme—a clearly profiled motif that recursthroughout the movement and also at the coda of the finale as aunifying device for the entire composition. The second theme is areflective dialogue between the viola and cello. Both themesundergo a classically formal development, lavishly ornamentedwith virtuosic piano runs, and a recapitulation of ideas.

The somber character of the opening movement’s secondtheme pervades the Un poco largamente (C minor). Described by Schumann as written “in the style of a march,” the move-ment conjures a stately procession. Strongly contrasting lyricaland dramatic episodes are interspersed between statements of the main theme, presented by the first violin after a brief piano introduction.

The Scherzo opens with an E-flat major scale pattern that isvaried and repeated by all instruments. It offers two contrast-ing trio sections, the first of which explores a contemplativetheme; the second trio inverts this melody, now accompanied by rapid figuration.

The robust finale develops both an emphatic motif, “alwaysstrongly marked,” and a quieter second theme. As a departurefrom tradition, the movement opens in C minor and reaches itstonic key of E flat only after the third statement of the maintheme. The remarkable coda introduces two fugal sections, eachrecapitulating elements heard earlier in the work.

Intermission

Carl VineSelections from the Anne Landa Preludes for Solo PianoShort Story Bernadette Harvey, PianoFiligreeEver After EverThumper

Vine writes about his Anne Landa Preludes (2006): “AnneLanda made an extraordinary and sustained contribution to theencouragement of young pianists in Australia, and although herlegacy continues, her passion, energy and dedication were takenfrom us far too soon. Unlike earlier works, this set of 12 smallpieces emerged slowly and sometimes with inexplicable difficulty.Each piece is as highly differentiated from its neighbors as I couldmake it. One or more of these preludes may be played in anyorder for any reason. A short passage of text accompanies each.These are not so much program notes as my stray reflections andidle curiosities linked in some way to the process of composition.”

Short Story (Prelude No. 1)—This prelude contains a story.But the drama emerges through its own internal logic rather thanfrom a specific series of predetermined events.

Friday, March 9, 7:30pmFiligree (Prelude No. 2)—One problem with pianos is that

their keyboards are straight, yet our bodies are not. Interestingcompensatory techniques have evolved so that our organicallyradial appendages may move more rapidly around these unyield-ing contraptions.

Ever After Ever (Prelude No. 4)—Only impermanence lastsforever; everything else permanently changes. Our personal “everafter” is only as much of the ever remaining to us from now on.Living happily in that “ever after” is no simple matter even if youaccept that impermanence is everlasting.

Thumper (Prelude No. 3)—My first piano teacher often reprimanded me for thumping on the keyboard. She was so sternthat it took me years to discover that playing loudly might alsoresult from good musicianship. Here is an open invitation tothump, although finesse is still advised.

Ludwig van BeethovenSeptet in E-flat major, Opus 20Adagio: Allegro con brio Benny Kim, ViolinAdagio cantabile Helena Baillie, ViolaTempo di Menuetto Steve Doane, CelloTema con Variazione: Andante Volkan Orhon, BassScherzo: Allegro molto e vivace Bil Jackson, ClarinetAndante con moto alla marcia; Presto Marc Goldberg, Bassoon William Purvis, Horn

Although Beethoven (1770–1827) wrote his Septet (1800)during a period of stress due to his increasing deafness, it hasemerged as one of his most radiantly cheerful works. After itsresoundingly successful premiere at the home of PrinceSchwarzenberg, Opus 20 was presented publicly at Beethoven’sfirst Viennese Academy, a group endeavor designed both to introduce new compositions and to raise funds for the works’composers. The Septet was performed just after a duet fromHaydn’s Creation and was received with equal accolades.Immensely pleased, Beethoven declared of his Opus 20: “This ismy Creation!” However, his satisfaction soon changed to irritation. Because the Septet was written in the entertainingdivertimento style so popular with the Viennese, it received far

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Today’s Concert Is Generously Underwritten by Drs. John & Helen Schaefer and Merrill Lynch Financial Advisors Jerry Short,

Steve Strong, Elizabeth Weiner-Schulman, and Matthew Apostolik.

more attention than Beethoven’s more serious works. Beethovencomplained: “That confounded work. I wish it could be burned.”Its persistent popularity was evident at the auction of Beethoven’seffects held soon after his death. His autographed scores generallysold for one or two florins—the cost of a fine dinner for two at aViennese inn—but the Opus 20 autograph brought 18 florins.

Structurally, the Opus 20 follows the format of an 18th-centuryserenade, a form consisting of an entertaining succession of short,melodious movements. The Septet’s first movement is the mostsubstantial, for it opens with a slow introduction, develops twothemes, and concludes with a lengthy coda. The graceful Adagiocantabile movement unfolds with lyrical melodies that are rhyth-mically varied and enhanced by fioritura passages on the violin.The Menuetto features a theme that also appears in Beethoven’sOpus 49, No. 2 Piano Sonata, composed three years earlier. Aspirited trio provides a contrast and the opening material returns.

Beethoven borrowed a popular Rhenish song, “Ach, Schiffen,lieber Schiffen!” (Ah, Boats, lovely Boats), for the theme of theAndante (fourth movement). As the movement progressesthrough its five variations and coda, it exploits a variety of sonori-ties. The joyous Scherzo replaces the slower Menuetto normallyheard at this point in the serenade. Its vigorous opening featuresthe French horn, and a melodious cello line in the middle sectionoffers a smooth contrast. The finale opens with a slow, minor keysection that effectively introduces the brilliant Presto. The move-ment concludes with an exuberant coda.

Sunday, March 11, 3pm Pre-concert commentary at 2:30pm by James Reel.

Francis PoulencTrio for Oboe, Bassoon, and Piano I. Presto—Lento—Presto Mihae Lee, PianoII. Andante Stephen Taylor, OboeIII. Rondo: Très vif Marc Goldberg, Bassoon

Early in his career, Poulenc (1899–1963) gained notoriety asthe most impudent member of “Les Six,” a revolutionary groupof French composers who disdained the old guard represented byFauré and Debussy. Influenced by the musical and literary irrev-erence of Erik Satie, the group cultivated a light, popular caféstyle of performance enlivened by jazz. As his career progressed,Poulenc retained his early tendencies toward the outrageous butalso taught himself to compose elegant and lyrical works thatstand in the classical French tradition of Saint-Saëns. Poulencexpressed his own musical esthetic in a letter: “I seek a musicalstyle that is healthy, clear and robust—a style that is plainlyFrench as Stravinsky’s is Slavic. I take as my models whateverpleases me, especially from every source.”

Poulenc’s first major chamber work, the classically conciseTrio for Oboe, Bassoon, and Piano was composed during hissojourn on the French Riviera in April 1926. The first movementunfolds freely with the character of an operatic recitative; thePresto following the slow Lento section develops with wit andverve. The Andante resembles an extended lyrical song. In thescintillating Rondo movement, statements of the principal themealternate with inventive interludes. The ending surprises with itssudden appearance.

Pierre JalbertSecret Alchemy for Violin, Viola, Cello, and Piano (World Premiere)I. Mystical Bernadette Harvey, Piano II. Agitated, relentless Benny Kim, ViolinIII. Timeless, mysterious, reverberant Helena Baillie, ViolaIV. With great energy Steve Doane, Cello

Pierre Jalbert (b. 1967) writes: “With any new composition,there is a sense of discovery and mystery during the creativeprocess. Though the piece is not programmatic, imagining the airof secrecy and mysticism surrounding a medieval alchemist atwork provided a starting point for the piece.

“The first movement begins with this sense of mystery. Stringharmonics are used to create the rhythmic backdrop for melodiclines played by the cello and later, the viola. The second move-ment is a relentless scherzo characterized by pizzicato strings, turbulent piano writing, and quickly alternating rhythmic patterns. The third movement is influenced by medieval musicwith its use of open fifths, chant-like lines played non-vibrato bythe strings, and reverberant piano harmonies, simulating thesound and reverberation in a large cathedral. The fourth move-ment concludes the work with an energetic music characterizedby strings playing fast measured tremolo figures (rapid movementof the bow back and forth on the string). These alternate with the

piano’s massive chords and occasional rapid melodic figures,along with muted tones emanating from inside the piano.”

The World Premiere of Pierre Jalbert’s Secret Alchemy wasmade possible by the following members of the Arizona Friends ofChamber Music Commissioners’ Circle: Karen Sternal, Jean-PaulBierny & Chris Tanz.

Intermission

Franz SchubertOctet in F major for Two Violins, Viola, Cello, Double bass, Clarinet, Bassoon, and Horn, D. 803 Adagio—Allegro Tokyo String QuartetAndante un poco mosso Volkan Orhon, BassScherzo: Allegro vivace Bil Jackson, ClarinetAndante Marc Goldberg, BassoonMenuetto: Allegretto William Purvis, HornAndante molto—Allegro

Schubert (1797–1828) wrote the D. 803 Octet (1824), hislargest-scale chamber work, as a commission for CountFerdinand Troyer, an amateur clarinetist who wished to expandthe limited chamber repertoire for his instrument. Troyer requested that the new Octet’s style and format should be similarto Beethoven’s Opus 20 Septet of 1800. Schubert acquiesced andquickly became absorbed in this project. His friends noted:“Schubert works with the greatest zeal on his Octet. If you go tosee him, he says ‘How are you? Good!’ And you depart.”Schubert considered the work to be a success, and he submittedit to several publishers. Unfortunately, the work was rejected during his lifetime and was published 19 years after his death.

However, the audience at Troyer’s home premiere appreciatedthe Octet and enjoyed its similarity to Beethoven’s popularmodel. Schubert added a second violin to the Septet’s instrumen-tation and closely followed the Septet’s key relationships. Hedigressed only slightly from the Opus 20’s movement sequenceby adjusting the positions of the minuet and scherzo movements.Both works unfold in a six-movement format that recalls thetunefully entertaining eighteenth-century divertimento. Each ofthe works radiates cheerful good humor.

The slow introduction’s strongly rhythmic motif foreshadowsthe Allegro’s primary theme; the introductory material reappears at the recapitulation of this vivacious movement. Curiously, thesecond movement is marked Adagio (slow) in Schubert’s 1824manuscript but Andante un poco mosso (moderate tempo withsome motion) in the 1853 first publication, indicating a strong editorial hand. This lyrical movement (B-flat major), written inthree-part song form, opens with a pensive clarinet solo followedby a violin melody that is accompanied by a countertheme in the clarinet.

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Today’s Concert Is Generously Underwritten by Jean-Paul Bierny & Chris Tanz and Philip Pappas II, Sr. Financial Advisor of Ameriprise Financial.

Festival Musicians

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Artistic Director Peter Rejto has performedthroughout the US and abroad in perform-ances as soloist and with the Los Angeles PianoQuartet of which he was a founding member.Mr. Rejto has appeared at the summer festivalsof Aspen, La Jolla, Round Top, Carmel Bach,Marlboro, Fairbanks, Sitka, Santa Fe, GrandCanyon, and BRAVO! Colorado. He has also

been Artistic Director of the Tucson Winter Chamber MusicFestival since its inception. His many honors include winning theYoung Concert Artists International competition and the DebutAward of the Young Musicians Foundation, Los Angeles. He hasrecorded for Sony Classical, Silva Classics, Summit, MusicMasters, and Pickwick.

Apollo’s Fire Baroque Ensemble is namedafter the classical god of music and the sun, and is dedicated to the performance of 17th- and 18th-century music on the periodinstruments for which it was written. Theensemble has been praised internationally forstylistic freshness and buoyancy, animatedspontaneity, technical excellence, and creative

programming. Apollo’s Fire was founded in 1992 by JeannetteSorrell, Harpsichordist and Conductor, who studied with GustavLeonhardt in Amsterdam. She is also the recipient of the 1994Erwin Bodky Award, given by the Cambridge Society for EarlyMusic; an honorary doctorate from Case Western ReserveUniversity in Cleveland; and the Cleveland Arts Prize. Ms. Sorrelland her accompanying musicians—including Nell Snaidas,Soprano; Steve Player, Guitar/Dance; Olivier Brault, BaroqueViolin; Johanna Novom, Baroque Violin; René Schiffer, BaroqueCello; Dan Swenberg, Lute; and Rex Benincasa, Percussion—arecommitted to the baroque ideal of emotional expression throughmusic. Apollo’s Fire tours internationally and has performed atsuch venues as the Aspen Music Festival, the Boston Early MusicFestival, the Library of Congress, and the ChautauquaInstitution. In addition, the ensemble has been featured on various PBS, NPR, CBC, and BBC broadcasts. Apollo’s Fire and Jeannette Sorrell are recipients of the Noah Greenberg Award from the American Musicological Society, given for anoutstanding project involving the collaboration of scholars and performers.

Lera Auerbach, Composer/Pianist, (b. 1973)is one of the most widely performed composersof the new generation. A virtuoso performer,she continues the grand tradition of pianist-composers of the 19th and 20th centuries.Auerbach’s music is characterized by its stylistic freedom and juxtaposition of tonaland atonal musical language. She was born in

Chelyabinsk, a city in the Urals bordering Siberia. Since 1991she has made New York City her permanent residence and

Hamburg her European home. She earned her Bachelor’s andMaster’s degrees in piano and music composition from TheJuilliard School and later was graduated from the prestigiouspiano soloist program of the Hannover Hochschule für Musik.Ms. Auerbach’s work as a composer and pianist is regularly featured in leading halls and musical events around the world.Commissions include ballets, operas, symphonies, concertos, stringquartets and a number of other chamber and solo music. She wasawarded the prestigious Hindemith Prize by the Schleswig-Holstein Music Festival in Germany, Deutschelandfunk’sFörderpreis, and selected as a Paul and Daisy Soros Fellow. Shewas also recently named Poet-of-the-Year by the InternationalPushkin Society. Her literary works include five published volumes of poetry and prose, and she has recently completed herfirst stage play.

Helena Baillie, Viola, was born in London toa musical family and was graduated from TheCurtis Institute of Music, where she studiedviolin and viola. First violinists of major stringquartets were her teachers, including ArnoldSteinhardt, Philip Setzer, Shmuel Ashkenasi,Robert Mann and Peter Oundjian. She studiedviola with Roberto Diaz, Joseph de Pasquale,

and Wilfried Strehle of the Berlin Philharmonic. Isaac Stern,Lorand Fenyves, Felix Galimir, and Leon Fleisher guided her inchamber music. Ms. Baillie’s 2008 New York violin recital debutat Bargemusic was hailed by The Strad for its “brilliance andpoignance.” Since then she has also appeared in chamber musicwith Pinchas Zukerman, the Beaux Arts Trio at the Alte Oper inFrankfurt, and at Carnegie Hall in the Alexander SchneiderSeries. She is the recipient of numerous awards, including theBarenreiter-urtext prize at the 2004 Munich ARD competitionand prizes at the 2001 Banff and 2003 Tertis competitions.

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Festival MusiciansPierre Jalbert, Composer, (b. 1967) is ahighly regarded American composer, earningwidespread notice for his richly colored andsuperbly crafted scores. Jalbert’s instrumentalworks articulate a musical language that isengaging, expressive, and deeply personal.Among his many honors are the Rome Prize,the BBC Masterprize, the Chamber Music

Society of Lincoln Center’s Stoeger Award, and a 2010 AmericanAcademy of Arts and Letters award. Born in New Hampshire,Jalbert grew up in northern Vermont. Following undergraduatestudies in piano and composition at Oberlin Conservatory, heearned a Ph.D. in Composition at the University of Pennsylvaniaunder George Crumb. Jalbert has served as Composer-in-Residence with the Los Angeles Chamber Orchestra, Chicago’sMusic in the Loft Chamber Music Series, and the CaliforniaSymphony. His chamber music works feature performances bythe Borromeo, Chiara, Enso, Jasper, Maia, and Ying StringQuartets, and the violinist Midori. Since 1996, Mr. Jalbert isProfessor of Composition and Theory at Rice University’sShepherd School of Music.

Benny Kim, Violin, is the winner of severalprestigious awards, including the YoungConcert Artists International Auditions in1983. The Washington Post writes that his“technique was dazzling; his is a style thattouches the peak of romantic violin playing.”In addition to performing with leadingAmerican orchestras, including the Chicago

and St. Louis Symphonies, he maintains a busy solo, recital, andchamber music career across the U.S. Mr. Kim has participated ininternational music festivals, such as Interlochen, Aspen,Marlboro, BRAVO! Colorado, Cape Cod, the Grand Canyon,Santa Fe, and Vancouver. He is first violinist of the Miami StringQuartet, winner of the prestigious Cleveland Quartet Award,whose members participate as faculty members and Quartet inResidence at Kent State University in Kent, Ohio. He is a graduate of Juilliard and teaches violin at the University ofMissouri/Kansas City Conservatory of Music. His instrument is aStradivarius dated 1732.

Steven Doane, Cello, has earned an interna-tional reputation as both performer and teacher.Formerly principal cellist of the MilwaukeeSymphony and Rochester Philharmonic, and amember of the Naumburg Award winningNew Arts Trio during the 1980s, Mr. Doanehas since built a performance career as concertosoloist, recitalist, and chamber musician. He

holds the Eisenhart Award for Excellence in Teaching from theEastman School, where he has been on the cello faculty since1981, and the Piatigorsky Commendation for teaching excellencefrom the New England Conservatory. Mr. Doane was anAssociate in Cello at the Royal College of Music in London from1995–99, and following a series of Master Classes at the RoyalAcademy in London was named Visiting Professor by that insti-tution. His recordings have been lauded by the internationalmusic press and are found on the Pantheon, Daedmon, and Sonylabels. Most recently he has become the cellist of the Los AngelesPiano Quartet.

Bernadette Harvey, Piano, is one of Australia’smost sought after pianists. She received herDMA from the Eastman School, where shewas a winner in several international pianocompetitions. Afterward she moved to Bostonand taught at the New England Conservatoryand the Longy School of Music. She returnedto Australia in 1997 to direct the Australian

Women’s Music Festival and form a piano duo with her brother.As a core member of the Sydney Soloists and The Collective, Ms. Harvey has become a mainstay of Sydney’s music scene. She performed as a soloist and in collaboration for the AuroraFestival, toured regional New South Wales for Musica Viva, andappeared at the Sydney Chamber Music Festival, in addition tolive radio broadcasts. Recently, she joined the Keyboard Unit ofthe Sydney Conservatorium of Music, where she teaches Pianoand Piano Pedagogy.

Bil Jackson, Clarinet, enjoys a varied musicalcareer that includes solo, orchestral, and chamber music appearances across the US. Heis the principal clarinetist with the ColoradoSymphony Orchestra and the Aspen ChamberSymphony. Mr. Jackson is the only player toever win the International Clarinet Competitiontwice, and was a finalist in the Prague

International Clarinet Competition. In 2008 Bil was a featuredartist at the Japan International Clarinet Festival. In addition toperforming recitals and presenting master classes, he is Instructorof Clarinet at the University of Northern Colorado and is on the Artist Faculty of the Aspen Music Festival. His education was at Northwestern University where he studied withRobert Marcellus.

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Mihae Lee, Piano, has been charming inter-national audiences in solo recitals and chambermusic concerts with poetic lyricism and scintillating virtuosity. The Boston Globe saysshe is “simply dazzling.” Ms. Lee is an artistmember of the Boston Chamber MusicSociety and is a founding member of theTriton Horn Trio with violinist Ani Kavafian

and hornist William Purvis. She regularly performs in majorinternational venues and chamber music festivals and has premiered and recorded works by such composers as GuntherSchuller, Ned Rorem, and Paul Lansky, among others. A first-prize winner of the Kosciuszko Foundation ChopinCompetition, Ms. Lee received her bachelor’s and master’sdegrees from The Juilliard School and her artist diploma from theNew England Conservatory, studying with Martin Canin andRussell Sherman. She is the Artistic Director of the Essex WinterSeries in Connecticut and has released recordings on the Bridge,Etcetera, EDI, Northeastern, and BCM labels.

Volkan Orhan, Bass, is acclaimed for hismusicality and virtuosity as one of the topdouble bassists in the world today. Awardsinclude finalist and prizewinner in the ConcertArtists Guild Solo Competition, co-first placewinner of the International Society of BassistsSolo Competition, and the grand prize at theAmerican String Teacher’s Association Solo

Competition. Mr. Orhon has performed with internationally recognized musicians and has been a soloist with symphonies andperformed in chamber festivals in the US and Europe. Born andraised in Turkey, he began playing the double bass at the age of12 and later came to the US to continue his studies with GaryKarr at The Hartt School of Music, where he earned an ArtistDiploma and Master of Music. Mr. Orhon is currently AssistantProfessor of double bass at The University of Iowa and principaldouble bass in the Cedar Rapids Symphony Orchestra. He is aD’Addario Diamond Performing Artist.

The Tokyo String Quartet has captivat-ed audiences since it was founded in 1969at the Juilliard School of Music. TheQuartet traces its origins to the TohoSchool of Music in Tokyo, where thefounding members were profoundly influ-

enced by Professor Hideo Saito. They eventually came to Americafor further study. Soon after its creation, the Quartet won FirstPrize at the Coleman Competition, Munich Competition, andYoung Concert Artists International Auditions. The members ofthe Tokyo have served on the faculty of the Yale School of Musicsince 1976 as Quartet-in-Residence. Members perform on “thePaganini Quartet,” a group of Stradivarius instruments acquired

and played by the renowned virtuoso in the 19th century. Theinstruments have been loaned to the ensemble by the NipponMusic Foundation since 1995. The Tokyo String Quartet hasreleased more than 30 recordings, earning such honors as theGrand Prix du Disque Montreux, Gramophone awards, andseven Grammy nominations.

The Quartet: Martin Beaver, Violin, is the newest member,having joined in 2002. He was a top prize winner at major violin competitions in Montreal and Indianapolis and a silver-medal winner at the Queen Elisabeth Competition in Belgium.Kikuei Ikeda, Violin, was born in Tokyo and came to the U.S. in1971, where he studied with Dorothy DeLay and members ofthe Juilliard String Quartet. Kazuhide Isomura, Viola, is theother remaining founding member of the Quartet. He attendedthe Juilliard School and studied with Ivan Galamian, RobertMann and Walter Trampler. He records solo viola repertoire forMusic Masters/Musical Heritage Society. Clive Greensmith,Cello, joined the ensemble in 1999. Formerly the principal cellistof the London Royal Philharmonic, he is a frequent performer atinternational festivals and a soloist with major orchestras.

New York Woodwind Quintet members performing here include include MarcGoldberg, Bassoon; William Purvis, Horn;and Stephen Taylor, Oboe. For almost 60 seasons, the New York Woodwind Quintet hasmaintained an active international perform-ance schedule while also teaching the next generation of woodwind performers. Current

members of the ensemble are all internationally recognized performers and teachers, continuing the Quintet’s 15-year residency at The Juilliard School, where they present eight semi-nars each year for student woodwind quintets, teach individualstudents, and give regular coaching sessions. The Quintet hascommissioned and premiered more than 20 compositions, someof which have become classics of the repertoire. Many are to befound in their recordings for such labels as Boston Skyline,Bridge, New World Records, and Nonesuch.

Woodwind Faculty Members of theUniversity of Arizona School of Music willbe performing in Dvorák’s Serenade onWednesday March 7. They include: JessicaCampbell, Bassoon; Daniel Katzen, Horn;Jerry Kirkbride, Clarinet; Neil Tatman,

Oboe; and graduate student Margaret McGillivray, Horn. Theyare among a nationally and internationally recognized faculty of61 artists and scholars providing instruction, inspiration, andguidance to the School’s 500+ music majors. The School offers awide variety of degree programs and musical experiences, andpresents more than 300 concerts and recitals each year. Also,internationally known artists, scholars, and clinicians are broughtto the campus for concerts, workshops, lectures, clinics, and master classes.

Festival Musicians

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The Arizona Friends of Chamber Music gratefully acknowledges the contributions and in-kind services provided by the following individuals, businesses, and organizations for this year’s Festival. Their support is essential in establishing and maintaining our newestArizona musical tradition. Assistance received after February 8, 2012 is not reported here because of scheduling deadlines.

Champions($5000+)Jean-Paul Bierny and Chris TanzDavid and Joyce Cornell

Patrons($2500 – $4999)Mr. Wesley Green Dr. & Mrs. Elliott and Sandy Heiman Dr. Hershell and Jill RosenzweigDrs. John and Helen SchaeferEmma and Gerry Talen Mrs. Betsy Zukoski

Supporters($1000 – $2499)Celia A. Balfour Nancy Bissell Mr. & Mrs. Donald Doran Mr. John Forsythe Jayant Shah and Minna Mehta Mrs. Ghislaine Polak Jorge Spellvin

Contributors($500 – $999)Jim Cushing Ms. Dagmar Cushing Joan Jacobson Keith Kumm and Sandy Pharo Dr. & Mrs. Harold and

Marjory Margulies Mr. Eddy Muka Mr. & Mrs. John Rupley Mr. Jim Schilling Jerry and Kathleen Short Dr. Mildred Strassberg Mr. John Vazquez

Advocates($250 – $499)Mr. Harold Basser Richard and Galina De Roeck Charles FlemingDr. Marilyn Heins Mr. & Mrs. Sidney Hirsh Dr. & Mrs. Henry Koffler Harry Nungesser Reid and Linda Schindler

Si and Eleanor Schorr Randy Spalding Paul A. St. John and Leslie P. Tolbert Jan Wezelman and David Bartlett Carla Zingarelli Rosenlicht

Friends($100– $249)Thomas and Susan Aceto Joyce Bolinger Cynthia and Lee J. Cannon Robert and Susan CarlsonWilliam and Barbara Carpenter Nancy Cook Philip Davis Martin Diamond and Paula WilkLeonid Friedlander and Yelena Landis Mrs. Linda Friedman Paul and Marianne Kaestle Ms. Lee L. Kane Arthur and Judy KidderDr. Daniela Lax Ms. Maxine Manewal Dr. & Mrs. Frank Marcus Mr. & Mrs. Warren and Felicia May Ms. Frances Moore Mr. Herbert Ploch Richard and Harlene Reeves James Reel and Yvonne MerrillBoyer Rickel Ms. Rita Rosenberg Dr. & Mrs. Richard Sanderson Ms. Susan S. Small Ms. Shirley Snow Ted and Shirley Taubeneck Ms. Iris C. Veomett Young Foundation

Associates($25 – $99)Julian Babad Ms. Gail Bernstein Sarah N. Cohen Drs. J. D. and Margot GarciaAlison Edwards Ms. Suzanne Fishman Joyanne B. Mills Larry MorganMr. Hal Myers Ms. Gisele Nelson George F. Timson

Corporate Patrons($2500 – $4999)Casino del SolMerrill Lynch & Company Foundation:

Jerry Short, Steve Strong, Elizabeth Weiner-Schulman, Matthew Apostolik

Philip Pappas II, Ameriprise Financial

Corporate Supporters($1500 – $2499)Radiology Ltd.UA Presents

Corporate Contributors($1000 – $1499)AnonymousCopenhagenDeGrazia FoundationDOWNTOWN Kitchen + CocktailsHotel ArizonaLey Piano CompanyLoft TheatreResearch Corporation for Science

Advancement

Corporate Advocates($500 – $999)Arizona FlowersConfluencenter at the UAKUAT Radio & TVLong Realty Cares FoundationUdall Law Firm, LLPVazquez Portfolio Group,

UBS Financial Svcs.

Thank You

Cover illustration: Brenda SemanickProgram notes: Nancy MonsmanProgram design: GroundZeroRecording Engineer: Matthew SnyderStage Manager: Christopher Johnson

500 N. Tucson Blvd., Ste. 190In The Village at Sam Hughes

Arizona Flowers

EVENING SERIESJuilliard String Quartet: October 23 & 24, 2012

Prazak Quartet: November 7, 2012

Pacifica Quartet with Clarinetist Anthony McGill:

December 5, 2012

Trio Solisti: January 23, 2013

Harlem Quartet: February 13 & 14, 2013

Ébène Quartet: April 10, 2013

PIANO & FRIENDS SUNDAY MATINÉEBehzod Abduraimov, piano:

November 4, 2012

Sergey Antonov, cello and Bernadene Blaha, piano:

January 20, 2013

Caroline Goulding, violin: April 14, 2013

20thTUCSON WINTER

Camber Music FestivalMARCH 17–24, 2013

Featuring the Shanghai String Quartet, Sergey Antonov, Helena Baillie, Sylvie Bodorova, Colin Carr, Jennifer Foster,

Bernadette Harvey, Ani Kavafian, Cynthia Phelps, David Shifrin, Axel Strauss, Carl Vine, and others to be named.

Schedules, performers, and programs are subject to change. See our website at www.arizonachambermusic.org for continuing

updates, along with a large variety of videos, photos, and relevant links.

2012–13 SCHEDULE

ARIZONA FRIENDS OF CHAMBER MUSIC

CHAMBERMUSICFESTIVAL

The 19th Tucson Winter

March 4–11, 2012