2013 Festival Program (May)

May 10 –June 22, 2013

MainlyMozartFestival

San Diego

IconicEclectic

DynamicFascinating

InnovativeMajesticIntimate

EnlighteningStirring

UpliftingSoothing

InspirationalProvocative

CELE

BRAT

ING TWENTY FIVE YEARS

1 9 8 8 T O 2 0 1 3

25Mainly Mozart

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Dear Friends, Welcome to the 2013 Mainly Mozart Festival – the iconic cornerstone of our 25th Anniversary Season! These six weeks in May and June are the culmination of years of dreaming and planning and we’re so excited to be sharing them with you. The musical experiences will be varied – with FIVE SERIES to choose from – in distinctive venues from Tijuana to Carlsbad – 43 events in 44 days! I invite you to take a look at all our offerings described in this program and on our new website, www.mainlymozart.org, and JOIN US on a musical journey of exploration! Mark your calendars for two spectacular gala events: June 8 in Rancho Santa Fe to open the Orchestral Season and Downtown on June 22 to close the 25th Annual Festival and to honor Founder and Music Director Maestro David Atherton. 2013 is only the beginning! Mainly Mozart has Big Plans for our community outlined in the Three Year Vision Initiative: Connecting through Genius. We’re building upon the legacy of our past, and capitalizing on the opportunities provided by working with a spectacular Artistic Leadership team and a dedicated Board of Directors. We are so very grateful to the special individuals, businesses, community leaders and partner institutions that make serving our community at this level possible. Thank you for sharing this milestone Anniversary celebration with us. Sincerely,

NANCY LATURNO BOJANICFounding Executive Director

Mainly Mozart Festival May 10– June 1 Events

Visit us @ viasat.com

Welcome to the inaugural season of Mozart & The Mind—a unique blend of music and science, of research and artistic expression!

The series will take you on an intellectual and artistic journey as leading scientific and clinical experts share the stage with musicians to explore the impact of music on cognitive function, behavior and health. Stimulate your mind with novel insights into how music affects your brain and behavior. Then follow your curiosity and explore interactive representations of your own brain activity in the Music/Brain Exposition, and finally settle back and feed your soul with world-class performance of some of the greatest chamber music ever composed.

It’s what happens when Mozart meets the Mind!

TIm mULLeN Artistic PartnerMozart & the Mind

Administrative Offices444 West Beech Street, Suite 220 San Diego, CA 92101Phone: (619) 239-0100Fax: (619) 233-4292mainlymozart.org

Box Office(619) 46-MUSIC (619) 466-8742Monday-Friday, 9 am - 5 pmSaturday 10 am - 4 pmVenue box office opens 90 minutesprior to performance.

Festival Season May/June 2013

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Welcome to Mainly Mozart!

What a privilege it is for me to join Nancy Laturno Bojanic and David Atherton for this 25th Anniversary Season. It was a thrill for me to think about programs that celebrate and honor a history of great music-making. Our roster of artists is comprised of some of the most highly acclaimedand exciting musicians in the chamber music world. We will welcome back many of our “family” of artists, as well as introduce some captivating new talents. The programs are filled with beloved masterpieces as well as a few unexpected treasures, all chosen to inspire, entertain and delight you, our cherished audience and supporters. With big thanks to all who make these concerts possible, I invite you to come experience the joy of this landmark 25th year. See you at the concerts!

ANNe-mARIe mcDeRmOTT CuratorSpotlight Series

Board of DirectorsAlexandra PearsonChair

Jack McGroryPresident

Mark BurgessVice President of Long Rangeand Strategic Planning / Treasurer

Linda SatzSecretary

Anne TaubmanMember-at-Large

Vernon AguirreAlida Guajardo de CervantesNancy M. ChaseDonna ConatyDr. Jerrold HellerKate LeonardReinette LevineM. Ernest Ligon, Jr.Peter ManesEsther NahamaDan RatelleMarsha SewellChristopher Weil

AdministrationNancy Laturno BojanicExecutive Director

Tyler Richards HewesAssociate Director

Robert FishmanDirector of Administration

Rosemary BognarController

Greg DarlingFinancial Consultant

America GodinezBookkeeper

Madeline StewartAdministrative Assistant

DEVELOPMENT/ MARKETINGKathryn MartinInterim Director of DevelopmentStrategy & Messaging

Kacie DesmondDevelopment Associate

Judith AndersonExternal Communications

Monica HickeyGraphic Designer

Lauren DitontoMarketing Associate

PATRON RELATIONSLuis AlaridInformation Systems Manager

Laura DeSistoPatron Relations

Constance BettinoClub Amadeus Concierge

Susan LaslavicOutreach Coordinator

Ehren BollenbacherBox Office Representative

Welcome to the May Series!

Friday, May 31 6:00pm FREE LECTURE: Music Therapy: Ancient Practice, Beat of the Future by Dr. Barbara Reuer6:30pm Wine Reception7:30pm ConCERT: Bella Hristova, violin; Che-Yen Chen, viola; Ronald Thomas, cello; Jose Franch-Ballester, clarinet; Julie Landsman, horn; Anna Polonsky, piano Sponsored by Cavignac & Associates

mozart Piano Trio No. 6 in G, K. 564Handel/Halvorsen Passacaglia for Violin and ViolaNovacek Four Rags for Two JonsDohnányi Sextet in C, Op. 374 5

Spotlight-Festival

Friday, May 10 6:00pm FREE LECTURE: Neurotechnology and Music— A Composer’s Perspective by Richard Warp6:30pm Wine Reception7:30pm ConCERT: Pianists Anne-Marie McDermott and Stephen Prutsman Sponsored by Norman Blachford & Peter Cooper Christopher Weil & Company, Inc.

mozart Sonata in D for Piano, four hands, K. 381mozart Sonata in C for Piano, four hands, K. 521Lutoslawski Variations on a Theme of Paganini for Two PianosGershwin An American in Paris for Two Pianosmilhaud Scaramouche Suite for Two Pianos, Op. 165b

Friday, May 17 6:00pm FREE LECTURE: The Basis of Musical Feeling: Pitch, Pulse, and Affective Listening by Dr. Scott Makeig and Grace Leslie

6:30pm Wine Reception7:30pm ConCERT: The St. Lawrence String Quartet Sponsored by Sam Ersan

Bach Selections from “The Art of the Fugue”Haydn String Quartet in F minor, Op. 20, No. 5mendelssohn String Quartet No 4 in E minor, Op. 44, No. 2

Saturday, May 18 5:30pm MoZART & THE MInD: Music and Aging: Exercise for a Well-Tempered Mind Drs. Nina Kraus and Adam Gazzaley 6:30pm Interactive Music & the Brain Exposition7:30pm ConCERT: Repeat of Friday’s St. Lawrence String Quartet concert Sponsored by Sam Ersan

Saturday, june 1 5:30pm MoZART & THE MInD: Rhythm, Music, and the Brain: An interactive presentation on Neuroscience and Percussion Drs. Aniruddh D. Patel, John Iversen, and Aiyun Huang6:30pm Interactive Music & the Brain Exposition7:30pm ConCERT: Repeat of Friday’s concert Sponsored by Alexandra Pearson & Paul Meschler

Saturday, May 11 5:30pm MoZART & THE MInD: In Sync: Music, Synchrony, and Attention; Drs. Alexander Khalil & Victor Minces with the Giri Nata Ensemble 6:30pm Interactive Music & the Brain Exposition7:30pm ConCERT: Repeat of Friday’s McDermott/Prutsman performance Sponsored by Pam Slater-Price and Helen Hodges

Mozart & the Mind Sponsored by

May 10 Mozart & the Mind The Auditorium at TSRI, La Jolla 6:00pm PRE-CONCERT LECTURE

May 10 & May 11 Spotlight-Festival6:30pm WINE RECEPTION | 7:30pm CONCERT

Anne-Marie McDermott, piano

Stephen Prutsman, piano

mozart Sonata in D for Piano, four hands, K. 381 I. Allegro II. Andante III. Allegro molto

mozart Sonata in C for Piano, four hands, K. 521 I. Allegro II. Andante III. Allegretto

Lutoslawski Variations on a Theme of Paganini for Two Pianos

Gershwin An American in Paris for Two Pianos

milhaud Scaramouche Suite for Two Pianos, Op. 165b I. Vif II. Modere III. Braziliera

May 10 Concert Sponsored byNorman Blachford & Peter Cooper

andChristopher Weil & Company, Inc.

May 11 Concert Sponsored byPam Slater-Price

andHelen Hodges

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Neurotechnology and Music – A Composer’s Perspective May 10 and May 11 Spotlight-Festival Concert

RICHARD WARPan award-winning composer, producer and sound designer based in San Francisco.Mr. Warp holds a Masters’ degree in Composition from Goldsmiths’ College, University of London, where he studied with Mick Grierson and Michael young. He has collaborated on projects with several neuroscientists to develop

Brain-Computer Music Interfaces that explore not only the technological capabilities of such systems, but that seek to better contextualize their output for the audience. He is a current member and West Coast chapter co-founder of the Manhattan Producers’ alliance.

Sponsored by Christopher Weil & Company, Inc.

award-winning composer, producer and sound designerRichard Warp presents a free talk exploring his work on musicalenvironments which respond to expressions, emotions and other states of body, brain and mind. He discusses the challenges and rewards of working at the intersection of art, science and technology.

Mainly Mozart wishes to express its deepest gratitude to usher captain Muriel Sandy for her 17 years of faithful service. Muriel has been responsible for recruiting and organizing the usher corps of white-jacketed volunteers at our La jolla (Spotlight) and downtown (Festival) concerts. Muriel will be retiring after our 25th anniversary season. She and her late husband Bob have been familiar faces for many years and will be greatly missed.

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May 10 and May 11 Spotlight-FestivalMay 10 & May 11 Spotlight-Festival The Auditorium at TSRI, La Jolla 7:30pm CONCERT

ANNe-mARIe mCDeRmOTT PianoIn her 25-year career, anne-Marie McDermott has played concertos, recitals and chamber music in hundreds of cities throughout the United States, Europe and asia. She recently completed a recital tour with violinist Nadja Salerno-Sonnenberg that include New york’s 92nd Street y. In Mayshe makes her debut recital tour in Japan.

Ms. McDermott has been a member of the Chamber Music Society of Lincoln Center since 1996, and is an active recording artist. This summer at Bravo! Vail, where she serves as artistic Director, her Mozart Piano Concertos for Piano and String Quartet recorded by Bridge Records with the Calder String Quartet will be released and performed live. Ms McDermott has served as Mainly Mozart’s Curator of Chamber Music since 2012, and first appeared with Mainly Mozart in 1996.

STePHeN PRUTSmAN PianoStephen Prutsman moves easily from classical to jazz, to world music styles as a pianist and composer. as a composer, he has written and arranged works for many of the world’s leading classical performers and ensembles. Mr. Prutsman was a medal winner at the Tchaikovsky and Queen Elisabeth Piano Competitions, received the

avery Fisher Career Grant, and has performed internationally as soloist with many of the world’s leading orchestras. He was artistic Partner with the St. Paul Chamber Orchestra. From 2009-2012, he served as artistic Director of the Cartagena International Festival of Music. a father of an autistic son, Mr. Prutsman is involved in several projects whose missions are to create enjoyable artistic or recreational environments for children on the autistic spectrum and their families. 2013 marks Mr. Prutsman’s first appearances with the Mainly Mozart Festival.

Wolfgang Amadeus MozartBorn: January 27, 1756, Salzburg Died: December 5, 1791, Vienna

Mozart: Sonata in D for Piano, four hands, K. 381

a sonata requiring the talents of two pianists can be structured in one of two ways. One can have two pianists, each at his or her own piano. Conversely, one can have two pianists at the same piano at the same time, one using the right half of the keyboard, the other the left half. This approach was called a sonata for four hands, and in Mozart’s time during the late eighteenth century, it was by far the more common.

Mozart’s Sonata in D for Piano, four hands, K. 381 is a relatively early work, written when he was in his mid-teens and still living in his native Salzburg. There, he often played piano duets with his sister Nannerl, five years his senior and not a bad musician herself. This sonata may have been intended for them to play together. Throughout its three movements, the player managing the right half of the keyboard – its higher notes – consistently has the more dominant part. Presumably, this part was for Wolfgang himself, as he, the sibling being honed for a professional career, was the better player. Its first movement alternates perky moods with wistful ones, its second is sweet and gentle, and its third lively and dance-like. In all, it stands as fine proof of how quickly the young man’s skills had developed. In 1783, this sonata – paired with the Sonata in B-flat, four hands, K. 358 – would be published in Vienna as his opus 3.

Mozart: Sonata in C for Piano, four hands, K. 521

Mozart’s Sonata in C for Piano, four hands, K. 521 was completed in Vienna May 29, 1787, as the composer’s own dating of the manuscript reveals. His earlier sonatas for four hands often favor one player – usually, the one playing the right half of the keyboard – over the other, so that this player has more intricate and demanding music. Such is not the case here. Perhaps intending that this time, he would partner with some pianist equal to him in skill, he gave both parts significant and, indeed, comparable, challenges. Phrases are frequently introduced by one player only to reappear in the music of

May 10 and May 11 Program Notes

the other, so that neither is slighted. Playful moods, assertive ones, and reflective ones all appear in turn, making for music of impressive variety, even though there is only a single instrument being used.

Witold LutosławskiBorn: January 25, 1913, Warsaw Died: February 7, 1994, Warsaw

Lutoslawski: Variations on a Theme of Paganini for Two Pianos

Poland’s most admired twentieth century composer, Witold Lutoslawski (1913 – 1994) was born in Warsaw. Music studies began in his homeland, and he had intended to continue his studies abroad. However, World War II intervened, and by the close of the war, Poland’s political climate had changed. The new Communist regime had strict expectations of composers, insisting that their music be supportive of the party and “useful” to society, forcing Lutoslawski to walk a fine line in order to win acceptance for his music.

His Variations on a Theme of Paganini dates from 1941, before Lutoslawski’s political troubles appeared. The theme in question is Paganini’s most famous, and indeed one of the most commonly varied of all themes, having been chosen earlier by Liszt, Brahms, and Rachmaninoff: that of the Paganini’s Caprice no. 24. after opening with the familiar rise and fall of the original melody, Lutoslawski then explores various new disguises for the melody, with much interaction between the pair of pianos.

George GershwinBorn: September 26, 1898, Brooklyn Died: July 11, 1937, HollywoodGershwin: An American in Paris for Two Pianos

George Gershwin was already a vibrant pianist and consummate jazz man when he burst onto the classical scene in 1924 with Rhapsody in Blue. Only 26 years old, he found himself reflecting that there might be more possibilities in this idea crafting a hybrid of classical and jazz influences, if only he had a clearer sense of what those classical influences were. So off he went to Paris, the cutting edge of fine music at that time. The most dramatic result of that adventure was the orchestral rhapsody known as An American in Paris. Gershwin first drafted the work for two pianos, giving himself the advantage of an instrument that he knew intimately. Then he crafted an orchestration that was somewhat shorter than the two-piano original. Both versions were

delivered to his publisher, who printed up the orchestrated version and set the two-piano one entirely aside. It is the orchestral american in Paris that achieved fame and eventually inspired the Gene Kelly film of the same name. Gershwin had no hand in the film, as by then he had been in his grave a dozen years.

Piano transcriptions of an american in Paris promptly appeared, but they were not Gershwin’s own. His publisher had given away that original manuscript and it was long lost from view. Only in the 1980s would it reappear, too late for George, but his brother Ira was still around to authenticate the handwriting. Those who know the famed orchestral work well may be startled by this two-piano version, somewhat more expansive than the orchestral version. However, it is not only Gershwin’s own work but also his original vision of the piece. Hearing it today is like stepping back into Gershwin’s imagination.

Darius MilhaudBorn: September 4, 1892, aix-en-Provence Died: June 22, 1974, GenevaMilhaud: Scaramouche Suite for Two Pianos, Op. 165b

French composer Darius Milhaud (1892 – 1974) wrote a great deal of incidental music: various short pieces to accompany live performance of a play. Some were for insignificant dramas or comedies. Others were intended for the works of the greatest playwrights, including Shakespeare and Molière. It was for one of the latter gentleman’s creations, Le médicin volant, that Milhaud first crafted tonight’s music in 1937. Later that same year, he reworked several of those pieces into a three-movement suite for two pianos, naming it Scaramouche after a clown character of old Italian commedia dell’arte. Since that time, the music has reappeared in myriad arrangements for assorted small ensembles.

The first movement is bright and effusive with some rather astringent harmonies and a nimble circus-like mood evocative of the title character. By contrast, the second movement offers gentle pastel moods that seem to imagine a soft spring morning. However, the suite springs back into action for the final movement, its danceable rhythms and high spirits reminiscent of a vibrant street festival. In all, Scaramouche is a colorful kaleidoscope of sound with something new around every musical corner.

all Spotlight Series program notes by Betsy Schwarm, author of “Classical Music insights” and “Operatic insights”.

May 10 and May 11 Program Notes Continued May 10 and May 11 Program Notes Continued

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May 11 Mozart & the Mind The Auditorium at TSRI, La Jolla 5:30pm PRESENTATION 6:30pm interaCtiVe MuSiC & tHe Brain eXPO

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In Sync: Music, Synchrony and Attention

WE ARE PROUD TO PARTNER WITH THESE AGENCIES WHICH SHARE OUR COMMITMENT TO THE HEALING POWER OF MUSIC.

PARKINSON’SAssociation of San Diego

DR. ALexANDeR KHALILan ethnomusicologist, performer, and composer, Dr. Kahlil has been deeply involved in the study of traditional music in Indonesia, China, and Japan over the past two decades. Currently a postdoctoral scholar at the department of Cognitive Science at UCSD, he is conducting research

on music, timing, and cognitive development.

DR. VICTOR mINCeSargentine-born Victor Minces obtained his Ph.D. in Computational Neurobiology at the University of California, San Diego, in 2010. His thesis focused on how the brain processes sounds in states associated with wakefulness and sleep, as well as extensive theoretical work on the statistics of neural coding.

The ability to attend is among the most important skills that children must develop and refine. In an interpersonal context, the ability to attend may be related to the ability to synchronize, or co-process time. From simple co-attention with a parent during infancy to more complex interactions such as conversation, the ability to synchronize facilitates smooth transfer of information. The practice of music is a valuable context in which to study interpersonal time processing, since it requires participants to synchronize across multiple timescales. In this talk Dr. Minces and Dr. Khalil briefly review their work linking the ability to synchronize rhythmically with others to the ability to regulate attention and discuss current work exploring the possibility that improved time processing achieved through music practice may improve attention. The Balinese art of gamelan epitomizes ensemble synchrony. Because of this, it is also the context in which we conduct much of our work. Gamelan Girinata, led by Dr. Khalil and I Putu Hiranmayena, will perform at the end of the talk with special guests David Borgo, baritone saxophone, and Tyler yamin, drums.

you’ve arrived at an interactive playground providing you a unique opportunity to engage with scientists, musicians, and fellow music aficionados around a series of interactive installations exploring connections between music and the brain. Here you can gain first-hand insight from scientists and artists into their fascinating interdisciplinary work, demonstrated through interactive exhibits and installations. along the way, you will have the opportunity to experience some of the cutting-edge technology being used both to study brain function and as new medium for artistic and musical expression. as you explore these installations, we invite you to follow your curiosity – experiment, ask questions, explore your creativity while reasoning scientifically; but, most importantly, enjoy yourself!

BrainMovie3D explore 3d models of your brain activity and network interactions in real-time.

MoodMixer 3 Link up with a partner and have MoodMixer compose new music reflecting your combined cognitive and emotional state.

EEG Ocean: A Sea Inside A Musician’s Mind a unique audio-visual experience in which a musician improvises live in response to an artistic interpretation of his own changing brain activity.

Disklavier and Brain a unique audio-visual experience in which a musician improvises live in response to an artistic interpretation of his own changing brain activity.

The Gamelan Project explore relationships between attention and synchrony as software tracks and visualizes your performance in rhythmically synchronizing on Gamelan with dr. Khalil and members of the Giri nata ensemble.

Sponsored by

May 17 Mozart & the Mind The Auditorium at TSRI, La Jolla 6:00pm PRE-CONCERT LECTURE

May 17 & May 18 Spotlight-Festival6:30pm WINE RECEPTION | 7:30pm CONCERT

St. Lawrence String Quartet

Bach Selections from “The Art of the Fugue” I. Allegro moderato II. Menuetto III. Adagio IV. Finale: Fuga a due soggetti

Haydn String Quartet in F minor, Op. 20, No. 5

mendelssohn String Quartet No 4 in E minor, Op. 44, No. 2 I. Allegro assai appassionato II. Scherzo: Allegro di molto III. Andante – Attaca IV. Presto agitato

May 17 & May 18 Concerts Sponsored bySam Ersan

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The Basis of Musical Feeling: Pitch, Pulse, and Affective Listening May 17 and May 18 Spotlight Festival Concert

DR. SCOTT mAKeIGFounding director of the Swartz Center for Computational Neuroscience, where over 50 staff, students, and faculty work on finding and applying direct links between human brain electrical patterns, behavior, and experience. a lifelong amateur musician and composer, Dr. Makeig and colleagues

premiered a suite for brain and instrumental trio which he composed to demonstrate the possibility of reading subtle musical feelings from recordings of the brain.

GRACe LeSLIea music cognition researcher and electronic musician, Ms. Leslie is currently completing her Ph.D. in Music & Cognitive Science at UCSD, where she studies music engagement, running experiments at the Swartz Center for Computational Neuroscience.

Dr. Scott Makeig, founding director of the Swartz Center forComputational Neuroscience at UCSD, will demonstrate how aweb of notes contained in a single musical tone underlies ouremotional perception of music. With musician and cognitivescientist Grace Leslie, he will show new research that uses full-body motion capture and mobile brain imaging to explore how musical pulse conveys feeling.

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May 10 and May 11 Spotlight-Festival

Johann Sebastian Bach Born: March 31, 1685, Eisennach Died: July 28, 1750, Leipzig

Bach: Selections from “The Art of the Fugue”

Johann Sebastian Bach (1685 – 1750) literally wrote the book on the fugue, and here it is. The fugue was a popular pattern of composition during the Baroque Era and afterward, requiring composers to combine several sufficiently contrasting melodies that nonetheless could be played simultaneously without causing musical disaster. Each melody starts in one layer of the music, then proceeds to another layer while other subsidiary melodies gradually appear to accompany it. Bach had not invented the idea personally, but made much use of it in diverse compositions, most famously in his solo organ pieces but also in instrumental works and choral cantata movements.

In his last years, he decided to write a textbook on the subject. His plan was apparently that a sequence of fugues would appear in order, each slightly more complicated than that which preceded it, so that a student working through the fugues in order would gradually learn the various tricks of the trade. Early in 1750, the sixty-five year old Bach sent off the first portion of the manuscript to a respected publisher with whom he had worked before. Tragically, the composer died before the proofs were ready for inspection, even before he had completed the last portion of the manuscript. Thus, finalization of the collection fell to Bach’s surviving sons, four of whom, even the youngest Johann Christian who was still in his late teens, were already pursuing their own composition careers. They made their best guesses about their father’s intended ordering and got the final product into print about a year after their father’s passing.

Copies of “The art of the Fugue” circulated amongst Bach’s students and their own eventual students, gradually building the work’s reputation. In 1802, a new edition arranged for piano appeared in print in Switzerland, and many other arrangements would follow, some of the entire work, others of selected movements. although Bach intended the collection to be played on keyboard (either harpsichord or organ; he played both and did not specify which he

May 17 & May 18 Spotlight-Festival The Auditorium at TSRI, La Jolla 7:30pm CONCERT

ST. LAWReNCe STRING qUARTeTThe St. Lawrence String Quartet has established itself among the world-class chamber ensembles of its generation. Its mission: bring every piece of music to the audience in vivid color, with pronounced communication and teamwork, and great respect to the

composer. Since winning both the Banff International String Quartet Competition and young Concert artists International auditions in 1992, the quartet has delighted audiences with its spontaneous, passionate, and dynamic performances. alex Ross of The New yorker writes, “the St. Lawrence are remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection.” 2013 marks the quartet’s debut with Mainly Mozart.

The St. Lawrence String Quartet appears by arrangement with David Rowe Artists (www.davidroweartists.com) St. Lawrence String recordings can be heard on EMI Classics and ArtistShare (www.artistshare.com) The St. Lawrence String Quartet is Ensemble-in-Residence at Stanford University (www.slsq.com)

Artist Biographies | May 17 and May 18 Program Notes

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wanted here), it has also been adopted by orchestras, chamber orchestras, string quartets, and even saxophone ensembles. as long as the assembled players are attentive to the nuanced interactions between melodies, the spirit remains intact, and Bach would not likely be troubled, provided his music was still being played clearly and articulately.

Joseph HaydnBorn: March 31, 1732, Rohrau Died: May 31, 1809, Vienna

Haydn: String Quartet in F minor, Op. 20, No. 5

Joseph Haydn (1732 – 1809) composed nearly six-dozen quartets, works that have filled the repertoires of professionals and talented amateurs alike from the late 19th century to the present day. His first quartets, ten works dating from around 1760, exude a carefree spirit ideal for their original purpose: that of simple enjoyment, of friends gathering together to join in music. Later quartets, though more substantial than their predecessors, still brought great delight to listeners.

The six quartets of Haydn’s opus 20 were published together in 1772 with a rising sun pictured on the cover page, hence, their nickname in his day as the “Sun” Quartets. The often mournful mood of the fifth of the series reflects a popular artistic trend of the day, known in the German-speaking lands as “Sturm und Drang” (Storm and Stress). The concept, explored in visual art and literature as well as music, sought to bring out the more dramatic side of existence rather than always well-ordered realms. It was not yet the dark chaos of the early 20th century, yet still a move away from the powdered wigs that flavored Haydn’s youth. In this quartet, he lets some of these moodier ideas into the open air, while still invoking brighter imagery from time to time, for the sake of contrast. Haydn shifts expectation by moving the dance-like minuet from its usual third movement position to second, placing third a gentle adagio. For his finale, he builds an intricate fugue, bringing unusual levels of complexity into a genre that in earlier years might have been more often light entertainment. In Haydn’s hands, a quartet is no longer dinner music, becoming instead an artistic expression of its own.

Felix Mendelssohn-BartholdyBorn: February 3, 1809, Hamburg Died: November 4, 1847, Leipzig

Mendelssohn: String Quartet No. 4 in E minor, Op. 44, No. 2

When not otherwise occupied with symphonies and solo piano pieces, Felix Mendelssohn (1809 – 1847) wrote chamber music throughout his short life. His catalog includes six string quartets, two piano trios, two piano quartets, and two piano quintets, along with various sonatas, concert pieces, and a great quantity of solo piano music. By and large, the works show Mendelssohn at his best: as a man who could blend light-hearted lyricism with the most rigorous mastery of traditional classical forms. His String Quartet in E minor, Op. 44, No. 2, was completed June 18, 1837, nearly eight years after his previous string quartet. It would premiere in Leipzig that fall. The other two quartets with which it would eventually be published as three volumes of opus 44 would follow about a year later.

Although it was the first of the three to be composed, the E minor quartet was numbered in the middle of the set. as is typical for Mendelssohn, it is a well-crafted work with the various parts in perfect balance. Of particular note is the light-footed second movement reminiscent of the scherzo in a Midsummer Night’s Dream which was still six years in the future. Also, in the final movement, Mendelssohn juxtaposes two themes which have different pitches but similar rhythms, as if to prove that there was more than one way to evoke a rhythmic pattern.


May 17 and May 18 Program Notes Continued May 17 and May 18 Program Notes Continued

May 18 Mozart & the Mind The Auditorium at TSRI, La Jolla 5:30pm PRESENTATION

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Music and Aging‚ Exercise for the Well-Tempered Mind

DR. ADAm GAzzALeYHaving obtained an M.D. and a Ph.D. in Neuroscience at the Mount Sinai School of Medicine, Dr. Gazzaley is founding director of the Neuroscience Imaging Center at the U.C. San Francisco, an associate Professor in Neurology, Physiology and Psychiatry, and Principal Investigator of a cognitive neuro-

science laboratory, a major accomplishment of his research has been to expand our understanding of alterations in the aging brain that lead to cognitive decline.

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Music has a profound positive impact on the brain, throughout the lifespan. This has been recognized for a long time. With age, we begin to lose our proficiency in listening in noise, sensory processing, timing and memory. We are interested in ways to slow or prevent these declines. Dr. Kraus has developed a measure of underlying brain processes that actually allows the recording of brain activity that looks and sounds like the sounds that you hear. They have observed slowed neural timing and increased variability in the brains of older people compared to young adults. The brains of older musicians, however, are resistant to these declines. Because music engages sensory, cognitive and reward circuits in the brain, we expect that music lessons, even if initiated in older age, will promote improved communication and promote creative, healthy aging. Dr. Gazzaley studies the brain’s own natural music, known as neural oscillations. He will take us on a tour of how these rhythms of the brain underlie our thinking and novel ways in which they may influence the brain’s songs to improve our cognitive abilities throughout our lives.

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Remember mainly mozart in your estate planning and let us know,so we can say “thank you!”

Volunteer! In the office, at concerts and events, on a committee, or as amember of the Board of Directors

Connecting Through Genius

In 2013, we celebrate and honor our first 25 years, and embark on an exciting course for the future—with a commitment to making a difference in people’s lives through music.Your Donation Today Helps Us Achieve Our Three Year Vision to:

g Honor the legacy of our Founding Music Director

g Engage and inspire audiences through thoughtfully curated, innovative, interactive programming

g Serve the San Diego/Tijuana region with over 200 concerts and events yearly

g Turn the national arts spotlight on San Diego through innovation, quality and bi-national leadership

g Inspire over 20,000 school children yearly with classical music experiences

g Provide enriching experiences for adult amateur musicians

g Conduct multi-year artistic planning through multi-year community support

g Seize opportunities that will benefit our region supported by strong fiscal governance and nimble organizational structure

A THREE YEAR VISION INITIATIVE

25 TH ANNIVERSARY LEADERSHIP CIRCLE MEMBERS

The following have generously madegifts/pledges for 2013 each totaling $25,000 and above

in celebration of our 25th anniversary:

Sam ErsanMichael Hostettler and Erica Pascal

Joan and Irwin JacobsJack McGrory – The McGrory Family Fund

alexandra Pearson and Paul MeschlerThe Mandell Weiss Charitable Trust

The Patricia and Christopher Weil Family FoundationThe Richard Woltman Family Foundation

as of april 30, 2013

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Call 619/239-0100, ext 304 for informationor donate on line at www.mainlymozart.org

Family of Supporters Mainly Mozart

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Thank You!Mainly Mozart is grateful to the generous individuals who support us through donations of all levels. We look forward to acknowledging the full list of donors in the June 2013 Festival25th Anniversary Program Book!

A Very Special Thank You…

Mainly Mozart expresses deep appreciation to the City of San Diego andthe Commission for Arts and Culture for their support of the arts in San Diego.

Mayor BoB Filner

San Diego City CounCilSherri Lightner, District 1

Kevin Faulconer, District 2Todd Gloria, District 3Mark Kersey, District 5

Lorie Zapf, District 6Scott Sherman, District 7David Alvarez, District 8Marti Emerald, District 9

San Diego CoMMiSSion For artS & Culture

Vicki Reed, ChairRobert H. Gleason, Vice Chair

Larry BazaColette Carson Royston

Garet ClarkJoanne Hayakawa

Dea HurstonLewis Klein

Judy McDonaldLaurie Mitchell

Sharletta RichardsonRebecca SmithLorin Stewart

John VenekampSheryl White


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25 TH ANNIVERSARY CONCERT & SERIES SPONSORS

Rick anderson and Bobbie Hoderanonymous

Barney & BarneyMark Bennett

Norman Blachford and Peter CooperCalifornia Bank & TrustCavignac & associates

Coldwell BankerIrene Chandler and Jim Shultz

Christopher Weil & Company, Inc.Sam Ersan

Dr. Merle and Teresa FischlowitzGlen Freiberg

Dr. Jerrold HellerDrs. Kay and John Hesselink

Bobbie HoderHelen Hodges

Michael Hostetler and Erica PascalJo ann Kilty

Kate Leonard and Richard ForsythDr. Franklin and Jeanee Lusby

Reinette and Marvin LevineM. Ernest Ligon, Jr. and Donna Fabbri

McKenna Long & aldridge LLPEsther Nahama

alexandra Pearson and Paul MeschlerPeter and Jane Polgar

Popular Community BankPam Slater-Price

ResMed FoundationChris Steinhardt and Linda Ivoranne Taubman and David Boyle

The Patricia and Christopher Weil Family FoundationViaSat, Inc.

as of april 30, 2013Please call Executive Director Nancy Laturno Bojanic at (619) 239-0100, ext. 301

or [email protected] for more information


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CHaMBer MuSiC artiSt SPOnSOrS:

ann FulmerPhyllis and Gordon HarrisKimberly HellerReinette and Marvin LevinePeter Manes and yoko SakaguchiPaul MeschlerTom and Pat Nickolsalexandra Pearson

Richard D. Della Penna, M.D.Robert and Fran PreismanPam Slater-Price and Hershell Price Joan RobertsLinda and Joe SatzMarsha Sewell and Bob MaddalenaSharon Lynn Sherman

Charlene abrahamsonLarry alldredge and Dawn MooreDr. Louis and Brenda alpinieri SanonymousNorman Blachford and Peter Cooper SMark and Julie Burgess Larry Clapper and Gretchen VikSam ErsanDr. Merle and Teresa FischlowitzChuck Freebernann Fulmer SMichael and Brenda GoldbaumPhyllis and Gordon Harris SDr. Jerrold HellerJohn and Kay Hesselink SNeil and Sonja Johnson

Russell and Mary JohnsonJo ann KiltyBarbara KjosKate Leonard and Richard ForsythReinette and Marvin Levine SPeter Manes and yoko SakaguchiThe Mortenson FamilyEsther Nahama Jeanne Obenchainalexandra Pearson and Paul Meschler Joan RobertsLinda and Joe Satzanne Taubman and David BoyleDr. Charles and Brita TesarChristopher and Patricia Weil

FeStiVaL OrCHeStra artiSt SPOnSOrS:

S artist also appears on Spotlight Chamber Music Series


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artist Sponsors enjoy connecting with their artists at rehearsals, post-concert dinners and exciting private events – building long-lasting relationships with world-class musicians, while providing key support to Mainly Mozart.

Sam ErsanNorman Blachford& Peter Cooper

Pam Slater-PriceAlexandra Pearson & Paul Meschler

Helen Hodges

a rt i S t S P O n S O r S – H a F F n e r H O S t Sthank you to our May 2013 Sponsors

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Hank and Pat Nickol Tom and Pat NickolsJeanne Obenchainalexandra Pearson and Paul MeschlerPeter and Jane Polgar Ole PrahmPeter and Peggy Preuss Joan Roberts Larry and Cathy Robinson Robert and Sandra Rosenthal Nina SabbanManley and Linda Sarnowsky Joe and Linda Satz

Jonathan and Wendy Segal Marsha Sewell and Bob MaddalenaSharon Lynn Sherman Pam Slater-Price and Hershell PriceBritt and Belynda Talbertanne Taubman and David BoyleDr. Charles and Brita Tesar Gretchen Vik and Larry ClapperWilliam Webb Christopher and Patricia WeilRichard Woltman Michael and Carole Ziegler Marvin and Bebe Zigman


Please call Constance Bettino at (619) 239-0100, ext. 310or [email protected] for more information!

Mozart Society (Planned Giving)

The Mozart Society’s members are strong believers in Mainly Mozart and its mission. They have included Mainly Mozart in their estate planning through bequests in wills and trusts, beneficiary designations on retirement accounts and life insurance, and other estate-planning vehicles. Planned gifts to Mainly Mozart qualify for the Federal Estate Tax Charitable Deduction. We invite you to add your name!Please call Tyler Hewesat (619) 239-0100, ext. 307for more information.

Anonymous Nancy Laturno Bojanic & Radomir Bojanic

Arthur EckerDr. Peter and Carol Frank

Kimberly HellerReinette LevineJack McGrory

Dr. Charles and Ilene MittmanAlexandra Pearson

Marsha Sewell

Mainly Mozart’s aficionado group connects committed and passionate music lovers with the world’s greatest music, world-class musicians, and each other. Members receive VIP concert tickets, attend exclusive in-home concerts, travel opportunities, discounts on additional tickets for friends and family, and more! $300 of membership is tax-deductible.

2013 MeMBer LiStCharlene abrahansonVernon and Cynthia aguirre Larry alldredge and Dawn MooreLouis and Brenda alpinieriDr. Janet anderson Thom Barnett John and Raffaella Belanich amnon and Lee Ben-yehuda Dr. Neil Berkowitz and Dr. Ruth NelsonNorman Blachford and Peter CooperDallas Boggs and Susan FellowsDrs. Johan and Sevil BrahmeMark and Julie Burgess Deann Cary and Bill JechIrene ChandlerNancy Chase Richard Cloward Donna Conaty Susan Bailey Cowan Peggy Duly Richard and arlene Esgate Bob and adriene Feldner Dr. Merle and Teresa Fischlowitz Richard Forsyth and Kate LeonardNancy Frank Chuck Freebern Glen Freiberg Katie Fulhorstann Fulmer George and Martha Gafford Dr. Einar and Sally Gall Dr. Joyce Gattas

Joel and Judi Gerber Irma Gigli Cauleen Glass Dr. Michael and Brenda Goldbaum Danford and Nancy Hand Susan Hayes Dr. Ronald and Susan Heller Dr. Jerrold Heller Kimberly Heller and Tom WilcoxTessa Heunis Helen Hodges Michael Hostetler and Erica PascalGeorge Howard Hart and Patricia Isaacs Linda Ivor and Chris SteinhardtJoan and Irwin Jacobs Russell and Mary Johnson Neil and Sonja Johnson Vicki Johnson Jo ann Kilty Barbara Kjos Marvin and Reinette Levine Ernest Ligon Franklin and Jeanee Lusby Peter Manes and yoko SakaguchiJack McGroryLouis and Judi Mezzullo Dr. Charles and Ilene Mittman Veryl Mortenson Dennis MuckermannDavid and Janice Mullin Esther Nahama

C L u B a M a d e u S

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Family of Supporters Club AmadeusMainly Mozart

Ron Roberts, ChairDistrict 4

Greg Cox, Vice-ChairDistrict 1

Dianne JacobDistrict 2

Dave RobertsDistrict 3

Bill Horn District 5

Mainly Mozart wishes to express deep appreciation

to the County Board of Supervisors

for their support of the arts in San Diego.

6:30pm INTERACTIVE MUSIC & THE BRAIN EXPO

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WE ARE PROUD TO PARTNER WITH THESE AGENCIES WHICH SHARE OUR COMMITMENT TO THE HEALING POWER OF MUSIC.

PARKINSON’SAssociation of San Diego

DR. NINA KRAUSas Professor, at Northwestern University, Dr. Kraus directs the auditory Neuroscience Laboratory. Dr. Kraus investigates biological bases of speech and music, investigating learning-associated brain plasticity throughout the lifetime in normal, expert (musicians), clinical populations (dyslexia; autism; hearing

loss) and animal models.




Your Brain on Music, Music from your Brain don wearable brainwave technology and enjoy a stunning real-time 3d visualization and musical sonification of your brain activity superimposed on detailed brain anatomy.

BrainVolts: Auditory Neuroscience Lab Demos explore relation-ships between attention and synchrony as software tracks and visualizes your performance in rhythmically synchronizing on Gamelan with dr. Khalil and members of the Giri nata ensemble.


May 31 & JUNE 1 Spotlight-Festival6:30pm WINE RECEPTION | 7:30pm CONCERT

Bella Hristova, violinChe-Yen Chen, viola

Ronald Thomas, celloJose Franch-Ballester, clarinetJulie Landsman, french horn

Anna Polonsky, piano

mozart Piano Trio No. 6 in G, K. 564 I. Allegro II. Andante III. Allegretto

Handel/Halvorsen Passacaglia for Violin and Viola

Novacek Four Rags for Two Jons I. Schenectady II. 4th Street Drag III. Recuperation IV. Full Stride Ahead

Dohnányi Sextet in C, Op. 37 I. Allegro appassionato II. Intermezzo – Adagio III. Allegro con sentimento

IV. Finale – Allegro vivace, giocoso

May 31 Concert Sponsored byCavignac & Associates

June 1 Concert Sponsored byAlexandra Pearson & Paul Meschler

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May 31 and June 1 Spotlight Festival Concert

May 31 Mozart & the Mind The Auditorium at TSRI, La Jolla 6:00pm FREE LECTURE

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Music Therapy: Ancient Practice, Beat of the Future

DR. BARBARA ReUeRKnown internationally for her expertise in music-centered wellness and music therapy, Dr. Reuer is founder and Director of MusicWorx, Dr. Reuer more than 35 years of clinical experience in schools, convalescent facilities, hospices, hospitals, among others. Major areas of Dr. Reuer’s current professional

involvement are in the area of music therapy programs.

Drawing on over 35 years of clinical, entrepreneurial, and educational experience in music-centered wellness and music therapy, Dr. Reuer will take the audience on a journey that demonstrates the power of music to heal, maintain health and transform lives, including those diagnosed with neurological disorders and diseases such as autism, alzheimer’s, and Parkinson’s.

Sponsored by

The Sam Ersan Outreach FundProviding access to those of need

Fifteen hundred concert tickets will be provided to San Diego’s families of need who might not otherwise have access to the transformative qualities of a live musical performance – great music performed brilliantly. your gift to The Sam Ersan Outreach Fund is an investment in the future of classical music and in our community. Will you help? your tax-deductible $100 donation will allow a family of five to experience what might be their first exposure to classical music. $1,000 fills fifty seats with new and important audience members. To help provide access to the arts to all San Diegans, please call Kacie Desmond at (619) 239-0100, ext. 304 or [email protected] to make your gift today!

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RONALD THOmAS Cello co-founder and artistic Director Emeritus of the Boston Chamber Music Society, Principal Cellist of the Saint Paul Chamber Orchestra and artistic Director of Chestnut Hill Concerts in Madison, CT. He has appeared as soloist and in recital with orchestras throughout the U.S., Europe and the Far East and has performed

with the Chamber Music Society of Lincoln Center. Other appearances include the Seattle Chamber Music Festival, Bravo! Colorado Chamber Music Festival, Spoleto Festival, Chamber Music Northwest Festival, La Musica, Music@Menlo, Sarasota Festival, Music from angel Fire, Music in the Mountains, yale at Northfolk Festival, and the festivals of Dubrovnik, Edinburgh and amsterdam. Mr. Thomas is the recently-appointed artistic Partner for Mainly Mozart’s new, June Chamber Players series. Mr. Thomas debuted with Mainly Mozart in 1990.

JOSe FRANCH-BALLeSTeR Clarinet received the highly coveted avery Fisher Career Grant in 2008 and was First Prize winner in both the 2004 young Concert artists International auditions in New york and the astral artists 2004 National audition in Philadelphia. He has performed countless concerts throughout the United

States, Europe, asia and South america. Mr. Franch-Ballester is a member of The Chamber Music Society of Lincoln Center 2 in New york. Mr. Franch-Ballester is in demand at numerous festivals, including Chamber Music Northwest, the Skaneateles Festival, the Bridgehampton Chamber Music Festival, Music from angel Fire, and Verbier Festival. He graduated in 2000 from the Conservatoy Superior of Music “Joaquín Rodrigo” of Valencia and then he entered the Curtis Institute of Music in Philadelphia. 2013 marks Mr. Franch-Ballester’s debut with Mainly Mozart.

May 31 and June 1 Program Notes

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May 10 and May 11 Spotlight-FestivalMay 31 & JUNE 1 Spotlight-FestivalThe Auditorium at TSRI, La Jolla 7:30pm CONCERT

BeLLA HRISTOVA Violin has performed extensively as both a chamber musician and orchestra soloist. Festival appearances have included The Grand Teton Festival, Music@Menlo, and Music from angel Fire. First Prize Winner in the 2009 young Concert artists International auditions, Ms. Hristova was awarded a career grant from the Salon de

Virtuosi in New york and is a Laureate of the 2006 International Violin Competition of Indianapolis. She performs programs of contemporary music at the Shanghai International Music Festival and at Seoul National University. Ms. Hristova studied at The Curtis Institute of Music and at Indiana University in 2010. 2013 marks Ms. Hristova’s debut with Mainly Mozart.

CHe-YeN CHeN Viola is the first-prize winner of the 2003 William Primrose Viola Competition and qualified for the Principal Viola positions of both the Los angeles Philharmonic and San Francisco Symphony. He has performed in venues such as alice Tully Hall Merkin Hall, Weill Recital Hall, Carnegie Hall, and the Metropolitan Museum

of art. Festival appearances include the Kingston Chamber Music Festival, Chamber Music International, La Jolla Summerfest, Bath International Music Festival, Incontri in Terra di Siena, Emilia Romagna Festival, and numerous others. Mt. Chen began studying viola at the age of 6. a four-time winner of the National Viola Competition in Taiwan, Mr. Chen studied at The Julliard School and Curtis Institute of Music. He has held the Principal Viola position of the San Diego Symphony since 2005. Mr. Chen debuted with Mainly Mozart in 2005.

Wolfgang Amadeus MozartBorn: January 27, 1756, Salzburg Died: December 5, 1791, Vienna

Mozart: Piano Trio No. 6 in G, K. 564

Mozart’s last three piano trios date from the summer and fall of 1788, a very difficult time for the composer. His opera, Don Giovanni, after a successful run in Prague, had failed in Vienna, and the Viennese public was no longer eager to support his concerts. In addition, cultural activities as a whole were sharply limited by the austrian Empire’s new war with Turkey. as a consequence, Mozart’s income dropped, though his spending was not adjusted accordingly. Soon, he found himself deep in debt, borrowing from friends, and moving to cheaper lodgings in Vienna’s suburbs. adding further to his troubles, his infant daughter Theresia died, and Mozart, for one of the few times in his life, was finding it difficult to focus upon composition. The only significant works he completed this summer were his last three symphonies and three piano trios.

Mozart rarely composed with no particular purpose in mind. Generally, his compositions were written on commission, or for his own concerts, or as gifts for friends. Of these six large works from this summer, the three symphonies seem to have been intended for a London tour, although no such tour took place, and the symphonies were not published during the composer’s lifetime. The trios attracted some attention from the composer’s colleagues, who knew the value of such works for chamber concerts. However, in the case of the G major trio – last of the three – its smaller scale and relatively simpler musical substance hint that Mozart may have been thinking of the lucrative domestic market of amateur music lovers in search of something to play with friends and family. Moreover, the keyboard part dominates the two string players, which was the preferred style for home music. The manuscript bears the composer’s own date of October 27, 1788. It first came to press with a London publisher the following year, and then in Vienna.


May 31 and June 1 Program Notes

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Artist Biographies

JULIe LANDSmAN Horn has been a frequent and beloved guest of Mainly Mozart over the years. For 25 years Ms. Landsman was was Principal Horn chair with the Metropolitan Opera. Prior to her appointment with the MET Orchestra, she was Co-Principal horn with the Houston Symphony. She has toured throughout the

world with the Ny Philharmonic and Orpheus. Other summer appearances have included The Marlboro Music Festival, Chamber Music Northwest, and the Santa Fe Chamber Music Festival. Ms. Landsman is on the faculties of The Juilliard School and Bard Conservatory. a graduate of Juilliard, Ms. Landsman debuted with Mainly Mozart in 2004.

ANNA POLONSKY Piano has appeared with the Moscow Virtuosi, the Buffalo Philharmonic, the Columbus Symphony Orchestra, the Memphis Symphony, the Chamber Orchestra of Philadelphia, the St. Luke’s Chamber Ensemble, and many others. She has collaborated with the Guarneri, Orion, and Shanghai Quartets

and performs chamber music at festivals such as Marlboro, Chamber Music Northwest, Seattle, and Caramoor. Ms. Polonsky has toured extensively throughout the United States, Europe, and asia. a frequent guest at the Chamber Music Society of Lincoln Center, she was a member of the Chamber Music Society Two during 2002-2004. Ms. Polonsky made her solo piano debut at the age of seven at the Special Central Music School in Moscow, Russia. She received her Bachelor of Music diploma from The Curtis Institute of Music and a Master’s Degree from the Juilliard School. Ms. Polonsky was a recipient of the 2003 Borletti-Buitoni Trust Fellowship, and of the 2011 andrew Wolf Chamber Music award. In addition to performing, she serves on the piano faculty of Vassar College. She is a Steinway artist. Ms. Polonsky debuted with Mainly Mozart in 2010.

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redolent of Scott Joplin seems ideal, as the characters of the instruments are ideal for the moods at hand.

The first rag, named for the town in New York, is bright and sassy with all the quirky syncopation one could wish of ragtime. The second, rich with languid blues effects, draws its title not from a specific thoroughfare but from the intervals between prominent notes, an interval known as a “fourth.” The third movement offers a peppy, bouncy theme that overlies a steady beat. For the finale, playful clarinet phrases combine with strong piano statements before all erupts into fireworks for both players. Much of the piano part draws upon the old jazz idea of “stride” piano. In all, it is a lively and colorful suite that well captures the effusive side of both piano and clarinet.

Ernst von Dohnányi Born: July 27, 1877, Bratislava Died: February 9, 1960, New york City

Dohnányi: Sextet in C, Op. 37

Ernst von Dohnányi (1877 – 1960) – or Ernö Dohnányi, to give the name its Hungarian form – was born in what is now Bratislava. In 1894, the teenaged Dohnányi began composition studies in Budapest. He progressed quickly, so quickly that his composition teacher showed to Brahms (then widely regarded as Europe’s greatest living composer) a piano quintet that young Dohnányi had just completed. Remarking that he couldn’t have written it better himself, Brahms arranged a performance in Vienna, thus giving Dohnányi an international reputation at the age of eighteen. For the remainder of his life, Dohnányi admired Brahms, whose Romantic lyricism often permeates the younger man’s works.

The Sextet in C, Op. 37, of Dohnányi dates from 1935 and is scored for an unusual assortment of instruments: piano, clarinet, horn, and string trio. It dates from a difficult time in his career, when health problems and the demands of his post as director of the Budapest academy were cutting into his international career as a pianist. Soon, the rise of Nazi influence in his homeland would further decrease his professional activities. However, this generally high-spirited sextet, filled with lush harmonies and carefully balanced structures, belies those increasingly dark times.Dohnányi, it seems, could escape from everyday troubles into music, and share those brighter visions with his listeners.

May 31 and June 1 Program Notes Continued

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George Frideric HandelBorn: February 23, 1685, Halle Died: april 14, 1759 London

Johan HalvorsenBorn: March 15, 1864, Drammen Died: December 4, 1935, Oslo

Handel/Halvorsen: Passacaglia for Violin and Viola

a younger countryman of the famed Norwegian composer Edvard Grieg, Johan Halvorsen (1864 – 1935) began his career as a violinist, but soon turned instead to conducting. Between 1893 and 1899, he conducted two orchestras in Grieg’s hometown of Bergen. Then, in 1899, he moved on to the national capital of Kristiania (now Oslo) to begin a thirty-year stint directing the National Theater Orchestra. Conducting duties dominated Halvorsen’s career, but he also found time to compose, producing three symphonies, two rhapsodies, incidental music for over thirty plays, and a variety of shorter works.

Halvorsen’s Passacaglia on a theme by Handel pays tribute to Baroque era styles. a passacaglia, also known as a ground bass, was a set of different melodies all of which used the same bass part. The form was quite popular during the Baroque Era. Handel himself wrote many passacaglias; this particular one comes from the Baroque master’s Keyboard Suite No. 7 in G minor. In Halvorsen’s setting of the piece, the two strings state the central theme boldly at the outset, then proceed to offer a sequence of ever-more elaborate treatments. all rest upon the same foundation, but that which stands of that foundation is increasingly more vividly colored. The general structure of the work is Handel’s, but it was Halvorsen who made it work for a pair of strings, rather than a single keyboard.

Ottokar NovacekBorn: May 13, 1866, Bela Crkva, Banat Died: February 3, 1900

Novacek: Four Rags for Two Jons

although himself a pianist with an active performing career, composer John Novacek (b. 1964) had two other men in mind for this chamber work, both of whom spell “John” without the H. His Four Rags, dating from 2006, were intended for pianist Jon Nakamatsu and clarinetist Jon Manasse, who share the post of artistic director for the Cape Cod Chamber Music Festival. The pairing of two instruments so at home with jazz for a set of pieces

May 31 and June 1 Program Notes Continued

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6:30pm INTERACTIVE MUSIC & THE BRAIN EXPO

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DR. ANIRUDDH PATeLCurrently on the faculty at Tufts University, in the Psychology Department, Dr. Patel’s research focuses on how the brain processes music and language, especially in what the similarities and differences the two reveal about each other and about the brain itself.

DR. JOHN IVeRSeNa cognitive neuroscientist studying music and the brain, Dr. Iversen’s work has focused on the study of rhythm perception and production in music and language, spanning behavioral and neuroscience approaches; addressing the role of culture in rhythm perception, whether rhythm perception

is specially tied to the auditory sense, and brain mechanisms involved in generating the perceived beat in music.

PARKINSON’S

Association of San Diego




Brain/Sync Gain fresh insight into concepts of synchronization – both in music and in the brain – as participants create rhythms together and form a network of communication using data analysis and visualization similar to that used understand synchronization in the brain.

JUNE 1 Mozart & the Mind The Auditorium at TSRI, La Jolla 5:30pm PRESENTATION

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Rhythm, Music, and the Brain: A Dialog on Neuroscience and Percussion

DR. AIYUN HUANGThe ever-evolving aiyun Huang enjoys a musical life as soloist, chamber musician, researcher and teacher. a researcher at the Centre for Interdisciplinary Research in Music Media and Technology in Montreal, she is currently she leading the research project Memory in Motion to study memory in

percussion ensemble playing. Born in Kaohsiung, a southern city of Taiwan, aiyun holds a DMa degree from the University of California, San Diego. Between 2004 and 2006, she was a Faculty Fellow at UCSD. Currently she is the Chair of the Percussion area as well as director of the McGill Percussion Ensemble at the Schulich School of Music of McGill University in Montreal, Canada.

Rhythm is a central aspect of the world we live in and is essential to how we find meaning in music and language. What is the connection between rhythms in the world and rhythms within the brain? Why do we move to the beat of music? How can the power of rhythm be harnessed to heal or teach the brain? Drs. aniruddh D. Patel (Tufts University) and John Iversen (UCSD Institute for Neural Computation) join forces with prize-winning percussionist aiyun Huang of the Centre for Interdisciplinary Research in Music Media and Technology (Montreal) in an exciting hour of world-class performance and cutting-edge neuroscience. This dynamic trio will engage each other and the audience, exploring topics such as the neurobiology of musical rhythm, the interplay of music and memory, and the influence of music on early brain development and in restoring brain function. The audience will leave with a greater appreciation for the important role rhythm plays in our lives and in our brain.

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The New Mainly Mozart Festival

Six weeks of unequalled classical music experiencesin distinctive venues from Tijuana to Carlsbad

g All-Star Orchestra The Nation’s Top Orchestral Players

g Chamber Players Chamber Music in Intimate Venues

g Mozart & the Mind Where Music and Neurotechnology Merge

g Spotlight-Festival Masterworks by Master Musicians

g Evolution Celebrating Today’s Musical Innovators

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Celebrate the 25th Anniversary of San Diego’s Iconic and Innovative Music Festival!

Spotlight-FestivalMay 10 – June 1

Chamber PlayersJune 2 – June 18

EvolutionJune 6 – June 21

Mozart & the MindMay 10 – June 1

Festival OrchestraJune 8 – June 22

maestro

David

Atherton’s

Farewell

Season

2013 Festival Program (May)

Documents

Transcript of 2013 Festival Program (May)