Arizona Friends of Chamber Music 21st Tucson Winter

Chamber Music FestivalMarch 16–23, 2014

Board of Directors Bryan Daumpresident

Ted Buchholzvice-president

Joseph Tollivercorresponding secretary

Helmut Abtrecording secretary

Wes Addisontreasurer

Jean-Paul BiernyNancy BissellMichael CoretzDagmar CushingBeth FosterTom HanselmannEddy HodakBrad HollandJoan JacobsonPaul KaestleJay RosenblattJerry ShortRandy SpaldingSarah Stanton

Festival Team Randy Spaldingfestival coordinator

Nancy BissellEddy HodakAllan TractenbergBeth FosterMarianne KaestlePaul KaestleTom HanselmannDagmar CushingBeth DaumMarie-France IsabelleMichael CoretzJoseph Tolliver Elaine Rousseau Nancy Cook

Flowers courtesy of Arizona Flowers in the Village at Sam Hughes

Program DesignJamey Aiken

Program EditorJay Rosenblatt

Cover IllustrationBrenda Semanick

Recording EngineerMatthew Snyder

Box Office ManagerCathy Anderson

WebmasterBob Foster

ContactArizona Friends of Chamber Music

PO Box 40845 Tucson, AZ 85717

Phone 520-577-3769

arizonachambermusic.org

Performance Considerations

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

Arizona Friends of Chamber Music 21st Tucson Winter

Chamber Music FestivalMarch 16–23, 2014

Welcome

Special Events

March 16 Program

March 17 Program

March 19 Program

March 21 Program

March 23 Program

Festival Artists

Thank You!

Educational Outreach

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From the Festival Artistic Director...I welcome you to the twenty-first annual Tucson Winter Chamber Music Festival!

This season features the return of many superb artists that you have heard in past festivals and the “debut” of two very special artists, oboist James Austin Smith and the world renowned guitarist, Pepe Romero, who will appear on our first two concerts. Please take note that our traditional Tuesday concert has been moved to Monday to accommodate Pepe’s busy itinerary. We are incredibly grateful to Pepe, a lifelong dear friend of mine, for making room in his schedule to appear in Tucson.

I have tried to program to a variety of tastes. Each program concludes with a known work of considerable stature, but along the way I have tried to find worthy pieces that are not usually heard and programmed only rarely, three of which will be played by James Austin Smith on Monday, Wednesday, and the final Sunday (works by Antal Doráti, Kevin Puts, and Henri Dutilleux). Also, we feature two premieres that are sure to be outstanding: Gunther Schuller’s String Quartet performed by the Miró Quartet on Friday, and Sylvie Bodorová’s Piano Sonata on Sunday by Bernadene Blaha.

May I encourage you to consider supporting the festival by attending the Dinner Gala Concert on Saturday at the Arizona Inn? And please don’t forget about our Master Classes on Saturday afternoon that are open to you free of charge, as are Festival dress rehearsals to evening ticket holders.

–Peter Rejtoartistic director

From the President of the Board of Directors...Welcome to the Arizona Friends of Chamber Music’s twenty-first Winter Chamber Music Festival. This is my first Festival as President of AFCM, and we hope that this year’s Festival is as enjoyable for you, our audience, as all of the previous Festivals.

As many of you know, the Winter Chamber Music Festival is the brainchild of Peter Rejto, festival director, and Jean-Paul Bierny, our immediate past president, who served in that position for thirty-five years. Together they have built the Festival into what it is today—a week of concerts given by internationally recognized musicians. It has become the responsibility of the current Board of Directors to continue the tradition we have received from Jean-Paul and Peter.

Although Jean-Paul and Peter are the driving forces behind the Festival, there are numerous other people who make it a success year after year. The artists are certainly the most visible, but we must not forget the many volunteers who plan transportation, arrange accommodations, and provide refreshments. Many of them are members of AFCM’s Board of Directors, and others are generous people who render a helping hand or open their homes to the musicians. We appreciate all of them.

On behalf of the Board of Directors, we invite you to enjoy a glorious week of inspired music-making.

–Bryan Daumpresident

Youth ConcertLeo Rich TheaterThursday, March 20 10:30am

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

The Youth Concert is generously underwritten by Linda Leedburg and Stan Caldwell.

Open Dress RehearsalsLeo Rich TheaterWednesday, March 19 Friday, March 21 Sunday, March 23 9am–12pm

Dress rehearsals are free for ticket holders to that evening’s concert; for non ticket holders, a donation is requested.

Master Class for Viola: Paul ColettiLeo Rich TheaterSaturday, March 22 3–4pm

For students of Professor Hong-Mei Xiao of the University of Arizona, School of Music. Attendance is free and open to the public.

Master Class for Violin: Martin BeaverLeo Rich TheaterSaturday, March 23 4–5pm

For students of Professors Lauren Roth and Matthew Spieker of the University of Arizona, School of Music. Attendance is free and open to the public.

Gala Dinner & ConcertThe Arizona InnSaturday, March 22 6pm – Cocktails7pm – Musical selections by Festival musicians8pm – Dinner

Call 520-577-3769 for reservations.

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 radio.azpm.org/classical.

Welcome! Special Events

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March 16 Sunday 3PM Pre-concert commentary at 2:30pm by Peter Rejto

Notes by Nancy Monsman

Intermission ➜

Program

Clara Schumann Three Romances, Opus 22Andante molto Allegretto Leidenschaftlich schnell

James Austin Smith, Oboe Bernadene Blaha, Piano

A phenomenally talented child prodigy, Clara Schumann (1819–1896) was acclaimed as one of Germany’s greatest pianists at an early age. In 1840, against the strong protests of her father Friedrich Wieck, she married Robert Schumann, and within fourteen years she bore eight children, seven of whom survived. Although she endured severe time constraints, she continued to concertize and teach; whenever possible, she composed piano and chamber music. Despite her abilities, Clara never had serious ambitions as a composer, possibly because nineteenth-century Germany was subtly hostile to such ambitions in women. She entered in her diary: “I once thought that I possessed creative talent, but I have given up this idea; a woman must not desire to compose—not one has been able to do it, and why should I expect to? It would be arrogance, although my father led me into it in earlier days.” Clara wrote her Opus 22 Romances in 1853 and dedicated them to her violinist friend Joseph Joachim, who proclaimed them “a heavenly pleasure.” The Romances develop with a wealth of lyrical melodies, vivid harmonies, and fine craftsmanship. They suggest the influences of both Mendelssohn (particularly the final Romance, “passionately fast”) and her husband Robert, whose “Fantasiestücke” conjure a similarly fanciful atmosphere.

Henri Dutilleux String Quartet

“Ainsi la nuit” Introduction: Libre et souple I. Nocturne Parenthèse 1 II. Miroir d’espace Parenthèse 2 III. Litanies Parenthèse 3 IV. Litanies 2 Paranthèse 4 V. Constellations VI. Nocturne 2 VII. Temps suspendu

Miró Quartet

Henri Dutilleux (1916–2013) has been recognized as one of France’s greatest twentieth-century composers. Although he remained independent of any particular school, his style evolved as he absorbed various contemporary influences over the course of his six-decade-long career. Dutilleux wrote his remarkable Quartet

“Ainsi la nuit” (Thus the Night) in 1976 for the Juilliard Quartet. His first string quartet, it began as a set of unrelated studies that he sent to the Quartet for commentary. Over a six-year period, he gradually linked these preliminary sketches into a web of variations and cross-references that are minutely worked out but are designed to appear spontaneous. The connecting sections are called Parentheses; the seven movements of the work bear titles that conjure poetic elements of the night: “Night Piece,” “Mirror of Space,” “Litany,” “Constellations,”

“Suspended Time.” Each of these movements focuses on a particular sound effect: pizzicati, glissandi, harmonics, contrasting registers and dynamics. Dutilleux himself described the work as “a sort of nocturnal vision . . . a series of ‘states’ with a somewhat impressionistic side to them.” The eight-note chord heard at the beginning of the short introduction has significance for the entire work; the themes of both the first nocturne and the first Litanies movement are based on this sequence of notes, as is the finale.

Manuel de Falla Siete canciones populares españolas (selections)Canción Nana Polo

Paul Coletti, Viola Pepe Romero, Guitar

Born in Cádiz, Spanish composer Manuel de Falla (1876–1946) became immersed in Andalusian music, especially flamenco’s

“cante hondo” (deep song), during his early student days. After moving to Paris in 1907 he became influenced by Debussy, and he began to fuse the impressionist style with strongly nationalistic Spanish material. Appalled by Franco’s victory in the Spanish Civil War, Falla relocated to Argentina, where he remained in exile despite governmental efforts to lure him back to Spain. However, his remains were returned to his homeland and interred at the Cathedral of Cádiz. Falla’s Siete canciones populares españolas (1922), here transcribed from the original voice and piano to viola and guitar, are arrangements of seven Spanish folk songs. Canción, the sixth song of the set, is a fervent lament about lost love. Nana, the fifth of the set, is a slower lullaby. The fast, percussive Polo, the last of the set, decries “wretched love.”

Isaac Albéniz LeyendaPepe Romero, Guitar

Spanish pianist and composer Isaac Albéniz (1860–1909) studied in France and Germany then briefly worked in the United States, where he performed in both concert halls and bars. After his return to Europe, he wrote piano works that echo the folk music of Spain. Francisco Tárrega, his contemporary, rescored many of Albéniz’s works for guitar, and they are now central to that repertoire. The very popular Leyenda (Legend) is also known as “Asturias,” the richly literary region in northwest Spain. The first movement (Preludio) of Albéniz’s Cantos de España (1892), it was included in his posthumous Suite española, where it received its current name. A lyrical fantasy, the work opens with hypnotic figuration that suggests Moorish filigree. After contrasting declamatory sections, the original figuration returns with greater rhythmic freedom.

Celedonio Romero FantasiaPepe Romero, Guitar

Honored as Knight of the Holy Sepulchre by Pope John Paul II and inducted into the Order de Isabel la Católica by King Juan Carlos I, Spanish-American guitarist and composer Celedonio Romero (1913–1996) was born in Cuba and spent the early part of his career in Spain. Denied travel opportunities by the Franco government, he secretly obtained an American visa. After settling in Southern California, he established a guitar quartet with his three sons Celin, Pepe, and Angel. Celedonio Romero wrote over 100 compositions for guitar and made numerous recordings on the Delos and Philips labels. Romero’s Fantasia (1983) is a virtuoso fantasy that develops with colorful effects such as percussive knocks on the instrument and right hand passages that strum high on the fingerboard. The performer appears to improvise on its dance-like theme, a flexible motif that lends itself to inventive variation.

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Aaron Copland Old American Songs (selections), arr. John LargessSimple Gifts (Shaker Song) The Little Horses (Lullaby) At the River (Hymn Tune) Ching-a-Ring Chaw (Minstrel Song)

Christòpheren Nomura, Baritone Miró Quartet

Throughout his career, Aaron Copland (1900–1990) sought a definably American style that fused the European tradition with our own popular folk themes and jazz. Hoping for greater audience accessibility, during the 1950s he sought to “impose simplicity” on his work by emphasizing its lyrical elements. He then researched early American themes and recast them with his characteristic elegant phrasing, rhythmic vitality, and impeccable craftsmanship. In 1950 and 1952 Copland compiled two sets of Old American Songs, each of which contains five song adaptations. He consulted a variety of sources, most importantly Brown University’s Harris Collection of American Poetry and Plays—a trove of hymns and minstrel tunes published early in the nineteenth century. Originally scored for voice and piano, Copland later orchestrated both sets. These arrangements are by John Largess, violist for the Miró Quartet. A Shaker song dating from 1837–47, “Simple Gifts” is quoted in Edward Andrews’ collection of Shaker songs, rituals and dances entitled

“The Gift To Be Simple.” It is the central melody of Copland’s ballet “Appalachian Spring.” “The Little Horses” is a Southern children’s lullaby with reassuring words but a suggestion of melancholy; Copland’s adaptation is based on John and Alan Lomax’s version in “Folk Song USA.” The words and melody of the hymn “At the River” were written by the Reverend Robert Lowry in 1865. Copland adapted the words of “Ching-a-Ring Chaw” from the original 1833 minstrel song in the Harris Collection at Brown University.

Simple Gifts (Shaker Song)

‘Tis the gift to be simple, ‘tis the gift to be free ‘Tis the gift to come down where you ought to be And when we find ourselves in the place just right

‘Twill be in the valley of love and delight. When true simplicity is gained To bow and to bend we shan’t be ashamed To turn, turn will be our delight

‘Till by turning, turning we come round right.

The Little Horses (Lullaby)

Hush you bye, Don’t you cry, Go to sleepy little baby. When you wake, You shall have, All the pretty little horses. Blacks and bays, Dapples and grays, Coach and six-a little horses.

Hush you bye, Don’t you cry, Go to sleepy little baby. When you wake, You’ll have sweet cake And all the pretty little horses. A brown and gray And a black and a bay And a coach and six-a little horses.

Hush you bye, Don’t you cry, Oh you pretty little baby. Go to sleepy little baby. Oh you pretty little baby.

At the River (Hymn Tune)

Shall we gather by the river, Where bright angel’s feet have trod, With its crystal tide forever Flowing by the throne of God? Yes, we’ll gather by the river, The beautiful, the beautiful river, Gather with the saints by the river That flows by the throne of God.

Ere we reach the shining river Lay we every burden down, Praise our spirits will deliver And provide our robe and crown. Soon we’ll reach the shining river, Soon our pilgrimage will cease, Soon our happy hearts will quiver With the melody of peace.

Ching-a-Ring Chaw (Minstrel Song)

Ching-a-ring-a ring ching ching, Hoa dinga ding kum larkee, Ching-a-ring-a ring ching ching, Hoa ding kum larkee.

Brothers gather round, Listen to this story,

‘Bout the promised land, An’ the promised glory.

You don’ need to fear, If you have no money, You don’ need none there, To buy you milk and honey.

There you’ll ride in style, Coach with four white horses, There the evenin’ meal, Has one two three four courses.

Nights we all will dance To the harp and fiddle, Waltz and jig and prance,

“Cast off down the middle!”

When the mornin’ come, All in grand and splendour, Stand out in the sun, And hear the holy thunder.

Brothers hear me out, The promised land’s a-comin’ Dance and sing and shout, I hear them harps a strummin’.

Ludwig van Beethoven Piano Trio in E-flat Major, Opus 70 No. 2Poco sostenuto—Allegro ma non troppoAllegrettoAllegretto ma non troppoFinale: Allegro

Kevin Fitz-Gerald, PianoMartin Beaver, ViolinAntonio Lysy, Cello

Beethoven (1770–1827) wrote two Opus 70 piano trios, both of which reflect the fluent technique and subtle originality characteristic of his middle period works—the primarily large-scale compositions that he produced from 1803–1809. He wrote both of these trios in 1808, the same year he composed his “Emperor” Concerto. During this period, he roomed at the palace of the Countess Anna Maria Erdödy, a deceptively frail widow whose friendship had sustained him when he first recognized his increasing deafness. He dedicated both Opus 70 trios to the Countess, whom he affectionately called his “Father Confessor,” and held both premieres at her salon. Often described as a model of trio construction because of its perfect balance among the three instruments, the introduction to the genial Opus 70 No. 2 opens with a serenely flowing melody initiated by the cello. In the Allegro section, three motifs are developed in sonata form. After a development with delightfully varied scoring, the opening ideas are recapitulated. In the coda, the introduction’s amiable theme returns as a reprise. The Allegretto develops two strongly contrasting ideas in alternating C major and C minor sections. Originally conceived as a gentler minuet, the scherzo movement, Allegretto ma non troppo (A-flat major), reiterates two thematic ideas in a five-part structure (A-B-A-B-A). The brilliant finale (E-flat major) explores three subjects in classical sonata form and concludes with an expansive coda.

This afternoon’s concert is generously underwritten by Carla Zingarelli-Rosenlicht in memory of her son, Alan Rosenlicht, and by Sandy & Elliott Heiman.

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March 17 Monday 7:30PM Pre-concert commentary at 7:00pm by Peter Rejto

Notes by Nancy Monsman

Program

Antal Doráti Notturno and Capriccio for Oboe and String QuartetNotturno: Andante, rubato Capriccio: Vivace, capriccioso

James Austin Smith, Oboe Martin Beaver, Violin Sandy Yamamoto, Violin Paul Coletti, Viola Antonio Lysy, Cello

Born in Hungary, Antal Doráti (1906–1988) became an American citizen in 1947. He studied composition in Budapest at the Franz Liszt Academy, where his important teachers were Zoltán Kodály, Leo Weiner, and Béla Bartók. Doráti is best known as a conductor praised for “crisp, rhythmically alert” performances, and he held important positions with the Philharmonia Hungarica, the Dallas Symphony Orchestra, and the Minneapolis Symphony Orchestra. His long career as a recording conductor is unprecedented—there are over 600 works to his credit, recorded first on monaural in the 1950s, stereo in the 1960s, then digital in the 1980s. Sympathetic to the composers of Eastern Europe, he issued a comprehensive collection of Bartók’s orchestral works on the Mercury label. In 1979 he published his autobiography, “Notes of Seven Decades.” As a composer, Doráti shows the influence of his teachers, particularly Kodály, whose early work suggests French impressionism. He wrote his Notturno and Capriccio (1926) while he was a twenty-year-old composition student. The opening Notturno (Nocturne) is an atmospheric tone poem intended to evoke the mysteriousness of the night. Its chromatic harmonies and flexible tempos impart a sense of restlessness. The whimsical Capriccio, “fast and capricious,” shows the impressionist influence of Debussy.

Luigi Boccherini Guitar Quintet No. 4 in D Major,

“Fandango”Pastorale Allegro maestoso Grave assai—Fandango

Pepe Romero, Guitar Martin Beaver, Violin Sandy Yamamoto, Violin Paul Coletti, Viola Antonio Lysy, Cello

Born in Lucca, Italy, Luigi Boccherini (1743–1805) spent the majority of his career in Madrid, where he was employed as resident court composer and performer by Don Luis, brother of King Charles III of Spain. His employment in Madrid and later Berlin required many chamber compositions, among which are over 100 string quintets, mostly scored for two violins, viola, and two cellos. Influenced by Spain’s strong guitar tradition, he rescored several of these cello quintets for guitar and string quartet. Boccherini’s elegantly ornamented works epitomize the graceful rococo spirit of the late eighteenth century. Once unfortunately described as “Haydn’s wife,” Boccherini has suffered criticism because he developed his incomparable melodies far more simply than his classicist contemporaries in Vienna. Yet his contributions to chamber literature have been significant: he explored new combinations of instruments; he pioneered the string quintet and sextet genres; a cello virtuoso, he expanded the role of his instrument within the chamber format.

Intermission ➜

The Guitar Quintet “Fandango” (1798) has recently been catalogued as G. 448 by Yves Gérard, a French musicologist. He has determined that Boccherini assembled this quintet from two earlier D major cello quintets—G. 270 (1771) and G. 341 (1788)—and rescored them as guitar quintet movements. The Fandango movement was the latest (and finest) addition. The opening Pastorale reveals the superb lyric invention always evident in Boccherini’s slower movements, which steadily evolved toward romanticism. The Allegro maestoso features a prominent cello part that Boccherini (who owned a 1709 Stradivarius cello) would have relished. The superb Fandango movement consists of an introduction and set of variations on an Andalusian folk melody, the musical foundation of a dramatic couples dance traditionally accompanied by guitar, castanets, and handclaps. The fandango’s distinctive descending chords of G minor–F major–E-flat major–D major are heard at several intervals. Enjoy!

Many of our Festival musicians have become favorites of our audience and have returned several times over the years. Married couple Bernadene Blaha and Kevin Fitz-Gerald first joined us for our fourth Festival in 1997. We have also enjoyed the Miró Quartet on two previous occasions, first on our Evening Series in 2004, and as the anchor group for our seventeenth Festival in 2010. Christòpheren Nomura was introduced to us in 2008 and returned in 2010, as well as a recital for Piano & Friends in 2011.

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Franz Schubert “Die Forelle,” D. 550 “Der Tod und das Mädchen,” D. 531Christòpheren Nomura, Baritone Kevin Fitz-Gerald, Piano

Schubert (1797–1828) wrote his song “The Trout” in 1817, two years before he quoted it in his famous “Trout” Quintet. He based the lyrics on a 1783 poem by Christian Daniel Schubart (1739–1791); however, Schubert omits its moralizing final stanza. Scored for solo voice and piano,

“The Trout” moves with animated pace (“Etwas lebhaft”). The sinuous and buoyant piano accompaniment suggests the fish’s exuberant

movement in water. Written in modified strophic structure, the first two stanza verses have identical lyrical melodies, but the third departs from the pattern as the fish is caught. The mode briefly changes from major to minor, and agitated phrases rile the melodic flow. The song “Death and the Maiden,” also composed in 1817, derives its lyrics from the poem by Matthias Claudius (1740–1815); Schubert based the slow movement of his D minor Quartet (1824) on the song’s second half. The ethereal piano introduction (D minor) conjures the theme of death. In the following stanza, both the vocal line and the accompaniment grow agitated as the Maiden pleads for life. After a quiet piano interlude, Death calmly replies to her entreaties, and the mode changes from minor to major as he offers welcome peace.

Franz Schubert String Quartet in D Minor (“Death and the Maiden”), D. 810Allegro Andante con moto Scherzo: Allegro molto Presto

Miró Quartet

When he was twenty-six Franz Schubert (1797–1828) began to suffer from a lengthy and debilitating illness, most probably syphilis. Only days after completing his D. 810 quartet in March, 1824, Schubert wrote to an artist friend: “I feel myself to be the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this makes things worse and worse. . . . Each night I hope I might not wake again, and each morning but recalls yesterday’s grief.” Perhaps because of his dispirited frame of mind, Schubert set aside his new quartet for two years. Finally galvanized by a desperate need for income, in February, 1826 he decided to polish the quartet for its premiere and publication. Although Schubert enjoyed performing as quartet violist, he devoted his energies to revisions of D. 810 during the two rehearsals of the work. Four weeks later he offered the quartet to the Schott publishing firm, but it was rejected. The quartet was finally published in 1831, three years after Schubert’s death.

As was typical of Romantic composers, Schubert frequently based an instrumental composition on his own song motives. The second movement of D. 810 develops Schubert’s 1817 song “Death and the Maiden” (“Der Tod und das Mädchen”), in which a gentle figure of Death arrives to claim the life of a young girl. Perhaps correctly, many commentators have observed that the central position of this song suggests that the entire D. 810 conveys Schubert’s views on death. Yet there is evidence that Schubert simply chose the song at the urging of friends who admired the melody. The Allegro explores two contrasting motives, the first ominous and rhythmically forceful, the second warmly lyrical. The substantial coda builds to a forceful climax, but the movement ends quietly. The somber second movement explores the eponymous song theme through five variations. Its serene, major-key conclusion conveys an atmosphere of peaceful ascension. The syncopated and rhythmically vibrant Scherzo is varied by its graceful and songlike trio section. The movement concludes with a literal repeat of the opening material. The Presto finale resembles a tarantella, a frenzied Italian dance that wards off death with ever faster movement.

Who put the “D” in Schubert? The numbers that are given to the works of Franz Schubert are from a thematic catalog by Otto E. Deutsch, first published in 1950. Because Schubert inscribed dates on so many of his manuscripts, Deutsch was able to make his catalog chronological. Thus nos. 1–965 follow Schubert’s compositions from 1810 (a Fantasy for piano four hands) to one month before his death (a song, “Der Hirt auf dem Felsen”).

Die Forelle

In einem Bächlein helle, Da schoß in froher Eil Die launische Forelle Vorüber wie ein Pfeil. Ich stand an dem Gestade Und sah in süßer Ruh Des muntern Fischleins Bade Im klaren Bächlein zu.

Ein Fischer mit der Rute Wohl an dem Ufer stand, Und sah’s mit kaltem Blute, Wie sich das Fischlein wand. So lang dem Wasser Helle, So dacht ich, nicht gebricht, So fängt er die Forelle Mit seiner Angel nicht.

Doch endlich ward dem Diebe Die Zeit zu lang. Er macht Das Bächlein tückisch trübe, Und eh ich es gedacht, So zuckte seine Rute, Das Fischlein zappelt dran, Und ich mit regem Blute Sah die Betrogene an. Der Tod und das Mädchen

Vorüber! ach, vorüber! Geh, wilder Knochenmann! Ich bin noch jung, geh Lieber! Und rühre mich nicht an.

Gib deine Hand, du schön und zart Gebild! Bin Freund, und komme nicht zu strafen. Sei guten Muts! Ich bin nicht wild, Sollst sanft in meinen Armen schlafen!

The Trout

In a bright brooklet there shot in merry haste the wily trout like an arrow past me. I stood on the shore and watched in sweet calm the cheerful fish bathing in the clear brooklet.

A fisher with his rod stood there on the bank, and cold-bloodedly watched how the fish swam about. As long as the clear water, I thought, was not disturbed, he would not be able to catch the trout with his fishing rod.

But finally the thief grew tired of waiting. He made the brooklet treacherously muddy, and before I realized it, his rod was twitching, the fish dangled on it, and I, with blood boiling gazed at the deceived one. Death and the Maiden

“Pass by, ah, pass by! Go, you savage skeleton! I am still young, go my dear, and do not touch me!”

“Give me your hand, you fair and tender form! I am a friend and come not to punish. Be of good cheer! I am not savage, gently you will sleep in my arms!”

Tonight’s concert is generously underwritten by Carla Zingarelli-Rosenlicht in memory of her son, Alan Rosenlicht, and by Drs. John & Helen Schaefer.

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Ludwig van Beethoven String Trio in G Major, Opus 9 No. 1Adagio—Allegro con brio Adagio, ma non tanto, e cantabile Scherzo: Allegro Presto

Martin Beaver, Violin Paul Coletti, Viola Antonio Lysy, Cello

Early in his career, Beethoven (1770–1827) wrote five string trios, possibly as a preparation for his later string quartets. Although ostensibly a simpler genre than the string quartet, the string trio medium (violin, viola, cello) presents a unique set of challenges for the composer. A long-standing premise holds that the trio should not mimic quartet sonorities but must project a true three-voice concept. However, the greater difficulty is to combine three individual instruments successfully without the blending capabilities of a second violin. The three works in the Opus 9 set (1797) stand as the finest of Beethoven’s string trios—which he subsequently abandoned in favor of the string quartet. The G major trio opens with a classically symphonic Adagio introduction that gains drama from its wide dynamic range. This leads directly into the Allegro, a robust sonata form movement that explores two themes with rich invention. At several points Beethoven compensates for the missing second violin through double stops—two notes played simultaneously by one instrument. The gracefully ornamented Adagio (E major) resembles an operatic aria with songful passages for all three instruments. The playful Scherzo (G major) is varied by a smoother central section (C major) that contrasts to the angularity of the opening idea. The brilliant finale develops two contrasting ideas in sonata form. After a recapitulation of themes, the movement accelerates to a spirited conclusion.

Kevin Puts Concerto for Oboe and Strings (1997)Movement I: F major Movement II: D-flat major Movement III: A minor

James Austin Smith, Oboe Martin Beaver, Violin Sandy Yamamoto, Violin Paul Coletti, Viola Antonio Lysy, Cello Philip Alejo, Double Bass

Winner of the 2012 Pulitzer Prize for the opera “Silent Night,” Kevin Puts (b. 1978) has been hailed as one of the most important composers of his generation. His work has been commissioned and performed by leading orchestras of the United States and abroad, including the New York Philharmonic, the symphony orchestras of Cincinnati, Detroit, Atlanta, Houston, and the Minneapolis Orchestra, which commissioned his Sinfonia Concertante. Chamber music commissions include the Miró Quartet, the Eroica Trio, and the Chamber Music Society of Lincoln Center. Puts’s orchestra catalog includes four symphonies and several concertos written for some of today’s top soloists. In 2005 Mr. Puts received the tremendous honor of a commission in celebration of David Zinman’s 70th birthday, and the result was a concerto premiered by Yo-Yo Ma and the Aspen Music Festival Orchestra. Puts has received awards and grants from the American Academy in Rome and the Guggenheim Foundation, among others. He has served as composer-in-residence for Young Concert Artists and the Los Angeles Chamber Orchestra. Born in St. Louis, he received his training as composer and pianist at the Eastman School of Music and Yale University. Since 2006 he has been a member of the composition department at the Peabody Institute in Baltimore, Maryland. Puts writes: “My Concerto for Oboe and Strings was commissioned by the National Symphony Orchestra for their ‘Prelude’ concert series. It was premiered in January 1997 by oboist Rudolph Vrbski and other members of the National Symphony Orchestra at the Kennedy Center, Washington, D.C.

“Scored for solo oboe and either single strings or small orchestra, my concerto recalls both the spirit and contrapuntal textures of Bach’s Brandenburg Concertos, particularly the sixth. The first movement opens with a busy canon between the violins. The chords implied by this canon provide the harmonic material of the entire concerto. The oboe is then added by sustaining certain notes the violins play and simply doubling others. Many of the melodies in this piece are derived in this way, by extracting notes from a busy, grid-like texture. “The second movement places the oboe high atop a bed of quietly undulating strings. Eventually the oboe’s melody is reinforced by the first violin, which all the while maintains the accompanimental motion of the opening. “The third movement returns to the bustling activity of the first, this time in A minor. The motion of this final movement is virtually relentless, and several ideas from the first two movements are recalled as the music rushes by. “The attentive listener will notice the pervasive sound of augmented harmonies. These are used to create a sense of stasis, or to provide a break in the forward motion of the music. This harmonic color is reflected by the key scheme of the entire piece which comprises the notes of the augmented chord.”

March 19 Wednesday 7:30PM Pre-concert commentary at 7:00pm by Peter Rejto

Notes by Nancy Monsman

Intermission ➜

As we continue to celebrate our Festival musicians, we note that Paul Coletti first joined us in 2003, and we have heard him thus far in five subsequent Festivals. In a like manner, we were introduced to Antonio Lysy in 2008, with him returning in 2009 and 2011. Martin Beaver has been with us as part of the Tokyo String Quartet, and Sandy Yamamoto was previously on our stage as a member of the Miró Quartet.

Program

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Edward Elgar Piano Quintet in A Minor, Opus 84Moderato—Allegro Adagio Andante—Allegro

Kevin Fitz-Gerald, Piano Miró Quartet

England’s most celebrated romantic composer, Edward Elgar (1857–1934) contributed three important works to the chamber repertoire—a violin sonata, a string quartet, and the Opus 84 Piano Quintet. Elgar wrote all three works simultaneously beginning in 1918. His wife Alice had recently relocated the couple to a quiet cottage in Sussex, and Elgar, recovering from a throat operation, was delighted with its situation. Alice heard new sounds in the emerging works, the first chamber music that Elgar had written in thirty years—greater harmonic simplicity and an autumnal mood that she poetically described as “wood magic.” Elgar’s property encompassed an eerily twisted group of white trees, a continual source of fascination for him. Local legend held that the trees were the ghosts of Spanish monks who had practiced black magic in the area. His literary interests at this time, encouraged by a visit from Algernon Blackwood, the noted author of truly terrifying horror tales, fueled his imagination. Elgar then requested that several novels of Edward Bulwer-Lytton (notorious for his opener “It was a dark and stormy night . . .”) be sent to his remote cottage. Both he and Alice were enchanted by Bulwer-Lytton’s “Strange Story,” in which true love and witchcraft collide in an English village. Alice suggested the source of the Quintet’s brooding atmosphere in a diary entry: “E. wrote more of the wonderful Quintet. Sad disposed trees and their dance and unstilled regret for their evil fate. . . . Lytton’s ‘Strange Story’ seems to sound through it too.”

Although the local gothic legend certainly did influence the atmosphere of Opus 84, the ongoing spectacle of World War I doubtless contributed to the restless duality heard in the Quintet. Throughout the entire work two themes continuously interweave—first, a somber motif based on plainchant that could be heard as the ominous beginning of a requiem mass; second, a lilting theme that suggests the elegance and vivacity of the Old Europe. In Opus 84 Elgar perhaps poses the question of whether or not the familiar order can continue. The Quintet opens “Moderato” with an aura of mystery as the piano quietly intones the stark main theme in octaves (“serioso”) and the strings utter a subdued accompaniment. The graceful second idea, which the violins play in thirds, resembles a Spanish dance theme. In the Allegro section, the two themes are recast and developed with symphonic richness. At the atmospheric conclusion, the strings and piano, now in its lowest register, engage in dramatic dialogue to create a sense of awe. The three-part Adagio (E major) begins with a viola solo of poised elegance. The other strings join and interweave to create rich harmonies. Echoes of the opening movement themes return with variations; an elegiac motif is introduced by the first violin and answered by the cello. A calmly contrasting section (F major) features the viola, soon joined by the other strings. The original harmonies return (C-sharp minor/E major) and the movement grows in fervency and sweep. The plainchant idea reappears and the movement closes in a hushed atmosphere. The finale’s Andante introduction reprises motifs from the opening movement. The ensuing Allegro develops two passionate themes in sonata form. Echoes of the first movement themes reappear and intertwine with these new ideas. A muted recapitulation of the nostalgic “Spanish” theme leads to the extended coda, which continuously accelerates until its “grandioso” conclusion.

Tonight’s concert is generously underwritten by Wesley C. Green & Jerry Short, Merrill Lynch, Sr. Financial Advisor.

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Hugo Wolf Mörike Lieder (selections), arr. John LargessUm Mitternacht Fußreise

Christòpheren Nomura, Baritone Miró Quartet

“Poetry is the true source of my music,” wrote Hugo Wolf (1860–1903), the Austrian late romanticist who is often regarded as the greatest of all lied composers because of his sensitive merging of text and accompaniment. Wolf followed a distinct process in the creation of his settings: after choosing a congenial poet, he immersed himself in that author’s work, barely parting with the poem collections for even moments. Once he had divined the essence of a particular poem, he distilled this into musical language that is intensely bonded with the text. He allowed only the specifics of the verse, never his independent perceptions, to guide every aspect of the song from its large design to its slightest nuance.

An admirer of Wagner’s harmonic daring, Wolf created bold schemes of chromatic modulation that shade into subtle color inflections. His vocal lines often consist of expressive, flexible declamation. To project the scenarios of his art songs, he elevated the accompaniment’s significance to new heights. A secondary partnership in many earlier lieder, the accompaniment now contributes crucially to the atmosphere of the song; in certain settings it actually carries the song’s meaning with only commentary from the singer. During the extraordinarily productive year of 1888, Wolf set fifty-three poems by Edward Mörike (1804–1875), sometimes completing two and even three songs in a day. “Um Mitternacht” (At Midnight), made foreboding by unusual vocal intervals, dissonant harmonies, and an ominous bass line undercurrent, was composed on April 20. “Fußreise” (Wandering), a sturdy walking song animated by buoyant rhythmic figures in the accompaniment, was written March 21. The songs were originally composed for voice and piano and arranged by the violist of the Miró Quartet, John Largess.

March 21 Friday 7:30PM Pre-concert commentary at 7:00pm by Peter Rejto

Notes by Nancy Monsman

Um Mitternacht

Gelassen stieg die Nacht an’s Land, Lehnt träumend an der Berge Wand, Ihr Auge sieht die goldne Wage nun Der Zeit in gleichen Schalen stille ruhn; Und kecker rauschen die Quellen hervor, Sie singen der Mutter, der Nacht, in’s Ohr Vom Tage, vom heute gewesenen Tage.

Das uralt alte Schlummerlied, Sie achtet’s nicht, sie ist es müd; Ihr klingt des Himmels Bläue süßer noch, Der flücht’gen Stunden gleichgeschwung’nes Joch. Doch immer behalten die Quellen das Wort, Es singen die Wasser im Schlafe noch fort Vom Tage, vom heute gewesenen Tage. Fußreise

Am frischgeschnittnen Wanderstab, Wenn ich in der Frühe So durch Wälder ziehe, Hügel auf und ab:

Dann, wie’s Vöglein im Laube Singet und sich rührt, Oder wie die gold’ne Traube Wonnegeister spürt In der ersten Morgensonne:

So fühlt auch mein alter, lieber Adam Herbst und Frühlingsfieber, Gottbeherzte, nie verscherzte Erstlings Paradiseswonne.

Also bist du nicht so schlimm, o alter Adam, wie die strengen Lehrer sagen; Liebst und lobst du immer doch, Singst und preisest immer noch, Wie an ewig neuen Schöpfungstagen, Deinen lieben Schöpfer und Erhalter.

Möcht’ es dieser geben, Und mein ganzes Leben Wär’ im leichten Wanderschweiße Eine solche Morgenreise!

At Midnight

Calmly the night climbs on to the land, leans dreamily against the wall of mountains, its eyes now see the golden weights of time stand still in equal scales of quiet peace; and the streams gush out still more boldly, they sing in the ear of their mother, the night, of the day that was today.

The ancient old lullaby, she pays no attention, she is tired of it; to her the blue heaven sounds yet sweeter, the well-poised yoke of the fleeting hours. But still the streams repeat the tale, the waters continue to sing even in their sleep of the day that was today. Wandering

With a fresh-cut walking staff, early in the morning I go through the woods, up and down the hills:

then, as the little bird on the twig sings and stirs, or as the golden grapes sense the spirit of rapture in the first morning sun;

so I feel in my age, beloved Adam’s spring and autumn fever, the God-protected, never discarded first delights of Paradise.

Then you are not so bad, O old Adam, as the strict teachers say; you are ever loving and praising, ever singing and extolling, as on an ever new day of creation, your beloved Creator and Preserver.

Would that it were so, and my whole life were spent in simple wanderer’s sweat on such a morning’s walk!

Program

Continued ➜

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Ernest Chausson Piano Quartet in A Major, Opus 30Animé Andante Simple et sans hâte Animé

Bernadene Blaha, Piano Martin Beaver, Violin Paul Coletti, Viola Antonio Lysy, Cello

French composer Ernest Chausson (1855–1899) has been described as the late romantic link between César Franck, his teacher and continuing mentor, and Claude Debussy, his close friend. During his early years, Chausson created lushly textured works with elegant, fluent melodies that suggest the operatic arias of Jules Massenet, his stylistically influential Paris Conservatory professor. Fond of French Symbolist poetry and Russian novels, Chausson established a salon, and his literary friends encouraged him to compose with heightened drama. After the death of his father, Chausson moved toward a subtler impressionistic style with clear and skillfully crafted lines. Chausson himself died five years later at age forty-four after a bicycle accident—while riding downhill on his pre-safety cycle, he lost control of his vehicle and crashed into a brick wall. At the time of his early death, Chausson had earned a solid reputation as a composer of both operas and instrumental works. He created six chamber compositions, all works of refined lyric poetry that significantly contribute to the repertoire. Chausson began his Opus 30 in the spring of 1897 and premiered it that same year. The work blends serene classicism with rhapsodic lyricism. The opening movement, animated by alternating rhythmic patterns, develops two themes based on the pentatonic scale (the black keys of the piano). The eloquent Andante (D-flat major) develops an extended theme that evokes alternately pathos and reverie. The dance-like third movement, “simple and without haste,” is a light and elegant scherzo based on a melody suggesting Spanish folksong. The bravura finale, remarkable in its rhythmic flexibility, recalls themes from the earlier movements to create a cyclic form. The quartet concludes with a passionate recapitulation of the lyrical theme heard in the second movement.

Hans Steinmetz Liebesruf eines FaunJames Austin Smith, English Horn Kevin Fitz-Gerald, Piano

Little is known about the life of Hans Steinmetz (1901–1975); most probably he descended from the Steinmetz family of wind musicians who flourished at the Dresden court beginning in the latter part of the eighteenth century and left numerous wind compositions in manuscript. The brief Liebesruf eines Faun (Love Call of a Faun, 1954) is one of the few works known to be written by Hans. A romantic tone poem tinged with impressionist harmonies, the haunting “Love Call” was doubtless influenced by Debussy’s

“L’après-midi d’un Faun” (Afternoon of a Faun, 1894), which also portrays a faun’s world through evocative wind passages.

Gunther Schuller String Quartet (World Premiere)Miró Quartet

The Quartet begins with a maximum explosion, both rhythmically and dynamically, that a mere four string instruments can produce, albeit calming down rather quickly into a more relaxed mood and greatly reduced complexity. In the course of the first movement’s unfolding the listener encounters subtle allusions to (a) jazz, i.e., swing, (b) a leisurely waltz section (marked Valse lente), and (c) to sudden unexpected contrasts: contrasts of wood, of great intensity being suddenly interrupted by seemingly totally unrelated calmer segments. It is as if the prevailing music is suddenly interrupted by music from another piece — from another planet.

I also often indulge in the first movement in what I call a “polyphony of rhythms,” where three or four layerings of different rhythms occur simultaneously. (Debussy was the first to play such rhythmic games a hundred years ago [1913] in his ballet music Jeux, where triplets, quintuplets, duplets, sextuplets occur simultaneously.) The second movement starts with an a cappella solo viola, in a rather melancholy mood, which, strangely enough, suddenly elides into a Scherzando leggiero, a lighthearted sequence, full again of drastic dynamic changes, also a section where the strings play around with a left-hand pizzicato effect that Paganini invented, alternating rapidly between bowed and plucked notes — a lot like a torrent of rain drops. The scherzo suddenly becomes very heavy, weighty, and returns to the viola’s melancholy opening, now played a cappella by the first violin and in both retrograde and inversion. The third movement, Intermezzo leggiero, is again in a lighter mood, also playing around with rhythmic meter changes, from the usual 4/4s and 3/4s to 10/8, 11/8, 14/8 dance rhythms, very popular in Balkan countries. I also take some basic thematic/motivic material, and mis- and displace it into the

“wrong” part of the measure. (Ives did a lot of this in his music, and Brahms did so even earlier, in the late nineteenth century.) The fourth movement begins as a tumultuous Presto, also later using a

“walking bass,” borrowed from jazz, now played pizzicato by the cello. Occasionally you’ll hear some quarter tones. (Please don’t think that the players are playing out of tune.) Lastly, I ended the quartet with a very ordinary “classical” ending, at least in its rhythms. Even Mozart could almost have written it, in one of his more boisterous moods. I’ve been wanting to do this for several decades. Enjoy!

–Gunther Schuller

Intermission

The World Premiere of Gunther Schuller’s String Quartet is sponsored by Carla Zingarelli-Rosenlicht in memory of Dana Nelson, and by Ted & Celia Brandt, Grace McIlvain, Serene Rein, Jim Cushing, and Elliott & Wendy Weiss, as a gift to their grandchildren.

Tonight’s concert is generously underwritten by Jayant Shah and Minna Mehta.

Every Winter Chamber Music Festival since 2000 has included at least one world premiere and many of them two, and new commissions are scheduled through 2016. AFCM is justifiably proud of its Commissioning Program, all works completely supported by our audience.

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Gustav Mahler Lieder eines fahrenden GesellenI. Wenn mein Schatz Hochzeit macht II. Ging heut morgen übers Feld III. Ich hab ein glühend Messer IV. Die zwei blauen Augen

Christòpheren Nomura, Baritone Kevin Fitz-Gerald, Piano

Mahler (1860–1911) began his song cycle “Lieder eines fahrenden Gesellen” (Songs of a Wayfarer) in 1884 while serving as assistant conductor of the Kassel Opera. He had fallen in love with Johanna Richter, one of its singers, but she rejected him. Despondent, he wrote the set of four songs

as catharsis. Mahler himself is the Wayfarer, the melancholy youth who seeks, but does not find, consolation in Nature. The opening lyrics are based on a song from the folk collection Des Knaben Wunderhorn (From the Youth’s Magic Horn), and the remaining verses are his own. The cycle evolved over a twelve-year period since Mahler made numerous revisions and also orchestrated the piano score; he finally permitted its premiere and subsequent publication in 1896. A wellspring for its composer, two of the cycle’s songs reappear in movements one and three of Mahler’s First Symphony. Composed for baritone, the work unfolds with darkly shaded, long melodic lines that are enhanced by the mysterious timbres of the low voice.

I.Wenn mein Schatz Hochzeit macht, When my sweetheart has her wedding, Fröhliche Hochzeit macht, has her merry wedding, Hab’ ich meinen traurigen Tag! I will have my day of sadness! Geh’ ich in mein Kämmerlein, I will go into my little room, Dunkles Kämmerlein, dark little room, Weine, wein’ um meinen Schatz, weep, weep for my sweetheart, Um meinen lieben Schatz! for my dear sweetheart!

Blümlein blau! Verdorre nicht! Little flower of blue! Do not wither! Vöglein süß! Du singst auf grüner Heide. Sweet little bird! You sing in the green meadow. Ach, wie ist die Welt so schön! Ah, how fair the world is! Ziküth! Ziküth! Chirp! Chirp! Singet nicht! Blühet nicht! Do not sing! Do not bloom! Lenz ist ja vorbei! Spring is over now! Alles Singen ist nun aus. All singing is done. Des Abends, wenn ich schlafen geh’, In the evening, when I go to sleep, Denk’ ich an mein Leide, I think of my sorrow, An mein Leide! of my sorrow!

II.Ging heut morgen übers Feld, I went this morning in the field, Tau noch auf den Gräsern hing; dew still hung on the grass; Sprach zu mir der lust’ge Fink: the merry finch spoke to me:

“Ei du! Gelt? Guten Morgen! Ei gelt? “Hi you! Is that right? Good morning! Isn’t it? Du! Wird’s nicht eine schöne Welt? You there! Isn’t it a lovely world? Zink! Zink! Schön und flink! Tweet! Tweet! Fine and bright! Wie mir doch die Welt gefällt!” How I love the world!”

Auch die Glockenblum’ am Feld Also the bluebell in the field Hat mir lustig, guter Ding’, told me merry, cheerful things, Mit den Glöckchen, klinge, kling, with their bells, ding, ding, Ihren Morgengruß geschellt: rang out their morning greeting:

“Wird’s nicht eine schöne Welt? “Isn’t it a lovely world? Kling, kling! Schönes Ding! Ding, ding! Lovely thing! Wie mir doch die Welt gefällt! Heia!” How the world pleases me! Heigh-ho!”

Und da fing im Sonnenschein And then in the sunshine Gleich die Welt zu funkeln an; the world suddenly began to glitter; Alles Ton und Farbe gewann all things took on sound and color Im Sonnenschein! in the sunshine! Blum’ und Vogel, groß und klein! Flower and bird, large and small!

“Guten Tag, ist’s nicht eine schöne Welt? “Good day, isn’t it a lovely world? Ei du, gelt? Schöne Welt?” You there, is that right? Lovely world?”

Nun fängt auch mein Glück wohl an? Now will my luck begin? Nein, nein, das ich mein’, No, no, I think that Mir nimmer blühen kann! nothing will ever bloom for me!

III.Ich hab’ ein glühend Messer, I have a gleaming knife, Ein Messer in meiner Brust, a knife in my breast, O weh! Das schneid’t so tief O grief! It cuts so deep In jede Freud’ und jede Lust. into every joy and every pleasure. Ach, was ist das für ein böser Gast! Ah, what a cruel guest it is! Nimmer hält er Ruh’, nimmer hält er Rast, Never grants me peace, never grants me rest, Nicht bei Tag, noch bei Nacht, wenn ich schlief. not by day, not by night, when I sleep. O Weh! O grief!

Wenn ich in dem Himmel seh’, When I look into the sky, Seh’ ich zwei blaue Augen stehn. I see two blue eyes standing there, O Weh! Wenn ich im gelben Felde geh’, O grief! When I go in the yellow fields, Seh’ ich von fern das blonde Haar I see from far away blond hair Im Winde wehn. waving in the wind. O Weh! O grief!

Wenn ich aus dem Traum auffahr’ When I start out of the dream Und höre klingen ihr silbern’ Lachen, and hear her silvery laughter ringing, O Weh! O grief!

Ich wollt’, ich läg auf der schwarzen Bahr’, I wish I were lying on the black bier, Könnt’ nimmer die Augen aufmachen! never to open my eyes!

IV.Die zwei blauen Augen von meinem Schatz, The two blue eyes of my sweetheart, Die haben mich in die weite Welt geschickt. they have sent me into the wide world. Da mußt ich Abschied nehmen vom allerliebsten Platz! Then I had to take my leave of all the places I love best! O Augen blau, warum habt ihr mich angeblickt? O blue eyes, why did you look at me? Nun hab’ ich ewig Leid und Grämen. Now I have forever pain and grief.

Ich bin ausgegangen in stiller Nacht I went out into the still of the night Wohl über die dunkle Heide. across the dark heath. Hat mir niemand Ade gesagt. No one said goodbye to me. Ade! Mein Gesell’ war Lieb’ und Leide! Goodbye! My companions were love and pain!

Auf der Straße steht ein Lindenbaum, On the street stands a linden tree, Da hab’ ich zum ersten Mal im Schlaf geruht! There for the first time I found sleep! Unter dem Lindenbaum, Under the linden tree, Der hat seine Blüten über mich geschneit, which snowed its blossoms over me, Da wußt’ ich nicht, wie das Leben tut, then I no longer knew what life was doing, War alles, alles wieder gut! all, all was well again! Alles! Alles, Lieb’ und Leid All, all, love and pain Und Welt und Traum! and world and dream!

March 23 Sunday 3PM Pre-concert commentary at 2:30pm by Peter Rejto

Notes by Nancy Monsman

Program

Continued ➜

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Henri Dutilleux Sonata for OboeAria: Grave Scherzo: Vif Final: Assez allant

James Austin Smith, Oboe Bernadene Blaha, Piano

The early music of Henri Dutilleux (1916–2013) was strongly influenced by his compatriots Debussy and Ravel, but especially by the neo-classicist Albert Roussel. Like Roussel (1869–1937), Dutilleux was essentially a highly self-critical traditionalist. Technical solidity and poetic refinement were of supreme importance to these two perfectionists, who discarded any work that did not meet their exacting standards. Dutilleux was also a highly visual composer whose works were often influenced by specific objects of art; the bold lines of the Oboe Sonata suggest a clearly chiseled statue. The piano introduces the Aria in a somber passage with densely chromatic harmonies. The oboe enters in its middle range, but as the momentum builds it ascends to its upper register. Brief oboe cadenzas punctuate the developing dialogue with the piano. High-energy rhythms propel the rapid Scherzo movement. In its more sustained central section, the oboe and piano exchange thematic ideas imitatively; syncopated rhythms enliven the melodies. The final movement (“somewhat bustling”) develops two themes through imitative passages and syncopated rhythms. It then relaxes to conclude songfully.

Sylvie Bodorová “Three Sonnets,” Sonata for Piano (World Premiere)Bernadene Blaha, Piano

An inspiration to many because of her moral strength and endurance, nurse and mother Anne Nard has led a life that can be summarized by Tibetan monk Sogyal Rinpoche: “Just as when the waves lash at the shore, the rocks suffer no damage but are sculpted and eroded into beautiful shapes, so our character can be molded and our rough edges worn smooth by changes.” Czech composer Sylvie Bodorová (b. 1954) writes about her “Three Sonnets,” a tribute to Anne:

“When I read the touching story of the life of Anne Nard, full of setbacks but also of incredible vitality, I remembered Shakespeare’s sonnets. There is a gulf of 400 years between their time and ours, and yet they have accompanied us for generations, comforting us in our transience and posing questions for which we have no answers to this day. There is no user guide to life—we all have to struggle with our fate, each the same and each differently. There are those who shine with their inner strength like a beacon to the rest of us—in spite of themselves being sorely tested—just like Shakespeare’s sonnets have been shining for centuries. The work was composed in 2013 and commissioned by the Arizona Friends of Chamber Music, sponsored by Linda Leedberg, in honor of her mother, Anne Nard. It was written with great admiration for her will and strength in giving joy in spite of her own destiny. “The Three Sonnets for Piano consist of three movements. “The first movement draws its inspiration from William Shakespeare’s 60th sonnet and in doing so is quite symbolic: as the hour with its sixty minutes is fast on the wane, so just as fast flows the time of our life. “The contrasting second movement is headed by a quotation from Shakespeare’s Sonnet No. 91: ‘Thy love is better than high birth to me, richer than wealth.’ The music reflects a brittle celebration of love, putting it above all else. “The third movement is built on Shakespeare’s Sonnet No. 115. Its toccata-like character comes to grips with the hegemony of time, in part returning thematically to the musical material of the first movement. “In the first and third movements I make maximum use of pianistic stylization, while the second movement is in contrast quite simple, its brittle notes floating beyond space and time.”

Felix Mendelssohn Octet for Strings in E-flat Major, Opus 20Allegro moderato ma con fuoco Andante Scherzo: Allegro leggierissimo Presto

Martin Beaver, Violin Sandy Yamamoto, Violin Paul Coletti, Viola Antonio Lysy, Cello Miró Quartet

Mendelssohn (1809–1847) wrote his Octet during the summer and fall of 1825, when he was sixteen years old. Considered to be the most outstanding chamber composition ever written by one so young, the Octet was written for the twenty-third birthday of Eduard Rietz, Mendelssohn’s violin teacher. It premiered at one of the weekly Mendelssohn family musicales held in their sumptuous home. The most distinguished musicians of Berlin, as well as Felix himself, participated in these musicales. In his Octet Mendelssohn, who had been composing for only five years, achieved his own unique idiom, one that develops romantic ideas within a classical framework. All four movements follow sonata form, the established eighteenth-century framework heard in the works of the great classicists. Yet Mendelssohn succeeds in painting a romantic landscape, particularly in the fanciful scherzo movement.

The first movement develops two themes, a soaring motif in the first violin and a more lyrical theme heard first as a violin and viola duet. Tremolos and syncopations contribute to the rich, orchestral texture. After a development and recapitulation that offer intriguing variants of the ideas, a fiery coda concludes the movement. The serene Andante, moving in a lilting siciliano rhythm, varies its folklike themes with animated interweaving of the motifs. The magical scherzo movement is the romantic highlight of the Octet. Mendelssohn is believed to have been inspired by a passage from Goethe’s “Faust”: “Trails of cloud and mist brighten from above; breezes in the foliage and wind in the reeds—everything is scattered.” Mendelssohn’s sister Fannie explains the movement: “It must be played staccato and pianissimo. All is new and strange . . . one feels near a world of ghosts, lightly blown aloft. At the end the first violin flutters upward, light as a feather—and all vanishes away.” The scherzo theme returns, together with new themes, in the eight-part fugato of the finale.

This afternoon’s concert is generously underwritten by Walter Swap, and Jean-Paul Bierny & Chris Tanz.

Intermission

The World Premiere of Sylvie Bodorová’s

“Three Sonnets” is sponsored by Linda Leedburg, in honor of her mother, Anne Nard.

The music of Sylvie Bodorová has been a great favorite at our Festival concerts, and this afternoon’s concert represents the third world premiere in Tucson of one of her works. Eleven years ago, at our tenth Festival, we heard the premiere of Mysterium Druidum, and last year, at our twentieth Festival, her Quartet for Clarinet and Strings. In addition, at our Festival in 2010 her Terezin Ghetto Requiem was performed.

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Peter Rejto Peter Rejto celebrates his twenty-first anniversary as Artistic Director of the Tucson Winter Chamber Music Festival, a position he has held since its inception. A founding member of the Los Angeles Piano Quartet and former professor at Oberlin and the University of Arizona, he initially studied mainly with his father, the noted cellist Gabor Rejto—who was one of the first artists engaged by AFCM in the late 1940s. Mr. Rejto has appeared at the summer festivals of Aspen, La Jolla, Round Top, Carmel Bach, Marlboro, Fairbanks, Sitka, Santa Fe, Grand Canyon, and BRAVO! Colorado. His many honors include winning the Young Concert Artists International competition and the Debut Award of the Young Musicians Foundation, Los Angeles. In 2004 he gave master classes in Korea, at the Central Conservatory in Beijing, and at the Sichuan Conservatory, China. Recently he has presented master classes at the Sydney Conservatory and Australian National Academy of Music. Mr. Rejto has recorded for Sony Classical, Silva Classics, Summit, Music Masters, and Pickwick.

Philip Alejo A native of Iowa, double bassist Philip Alejo has performed in a wide variety of settings as an orchestral musician, chamber player, and recitalist. He collaborates regularly with harpist Claire Happel in River Town Duo, recently presenting recitals at the Mackinac Island Music Festival, St. Ambrose University, and the University of Arizona. His other chamber music performances have taken place alongside such artists as Menahem Pressler, Yehonatan Berick, Maiya Papach, Spencer Myer, Katinka Kleijn, and David Bowlin. Mr. Alejo has performed at numerous music festivals, including Spoleto Festival USA (SC), Lucerne Festival Academy (Switzerland), Oaxaca Instrumenta (Mexico), Britten Pears Young Artist Program at the Aldeburgh Festival (England), Pacific Music Festival (Japan), and Aspen Music Festival (CO). While at the University of Michigan, he was a fellow at the Center of World Performance Studies, which supported his study of tango performance in Buenos Aires. Mr. Alejo graduated from Oberlin College with degrees in Hispanic Studies and Music Performance before completing a MM at the Yale School of Music and a DMA from the University of Michigan. His principal teachers include Linda Gannett, Diana Gannett, Peter Dominguez, Thomas Sperl, and Donald Palma. He was recently appointed Assistant Professor of Double Bass and Music Theory at the University of Arizona.

Martin Beaver Canadian violinist Martin Beaver was First Violin of the world-renowned Tokyo String Quartet from June 2002 until its disbanding in July 2013. As such, he appeared to critical and public acclaim on the major stages of the world including New York’s Carnegie Hall, London’s Wigmore Hall, the Berlin Philharmonie, Tokyo’s Suntory Hall, and the Sydney Opera House. His concerto and recital appearances span four continents with orchestras such as the San Francisco Symphony, l’Orchestre Philharmonique de Liège, and the Sapporo Symphony Orchestra, and under the batons of Kazuyoshi Akiyama, Raymond Leppard, and Charles Dutoit, among others. Chamber music collaborations include such eminent artists as Leon Fleisher, Pinchas Zukerman, Lynn Harrell, Sabine Meyer, and the late Alicia de Larrocha. Mr. Beaver’s teachers include Victor Danchenko, Josef Gingold, and

Henryk Szeryng. He is a laureate of the Queen Elisabeth, Montreal, and Indianapolis competitions, and has subsequently served on the juries of major international violin competitions. A devoted educator, Mr. Beaver has conducted master classes throughout North and South America, Europe, Asia, and Australia. He has held teaching positions at the Royal Conservatory of Music, the University of British Columbia and the Peabody Conservatory. More recently, he served on the faculty of New York University and as Artist in Residence at the Yale School of Music, where he was awarded its highest honor—the Sanford Medal. He joined the faculty of the Colburn School in August 2013. Mr. Beaver plays a 1789 Nicolo Bergonzi violin.

Bernadene Blaha Originally from Canada, pianist Bernadene Blaha first came to international attention as a prizewinner in the Montreal Symphony Orchestra Competition; the Young Keyboard Artists International Piano Competition, Grand Rapids, Michigan; the Masterplayers International Competition, Lugano, Switzerland; and the 11th Annual International Piano Competition, New York City. This latter award resulted in two highly acclaimed recital appearances, at Carnegie Recital Hall and the Lincoln Center Library. Soon afterward, Ms. Blaha was featured in the opening orchestra concert and a solo recital at the XXIX International Chopin Festival in Marianske Lazne, Czechoslovakia, followed by solo recitals at the Phillips Collection in Washington, D.C., and in London, England. A highly regarded chamber musician, Ms. Blaha has been a regular guest at international festivals including The Newport Festival, The Tucson Winter Chamber Music Festival, La Jolla Summerfest, Festival of the Sound, Bard Festival, Banff Festival of the Arts, Round Top International Festival, and Festival de San Miguel de Allende, Mexico. Ms. Blaha’s teachers include Boris Berlin at the Royal Conservatory of Music in Toronto and Ania Dorfmann at the Juilliard School, where she graduated with a Bachelor and Master of Music Degree. Her other mentors include Marek Jablonski, Menahem Pressler, Gyorgy Sebok, and Ludwig Stefanski. She currently resides in Los Angeles, and since 1993 has been a member of the Keyboard Faculty at the Thornton School of Music, University of Southern California.

Sylvie Bodorová Prestigious Czech composer Sylvie Bodorová studied composition at the Janácek Academy in Brno, The Academy of Music in Prague, and the Academia Chigiana. Since the 1980s her works have been performed worldwide and as far as the Antarctic, where her elegy for guitar, Homage to Columbus, was performed in 1997. She has won several composition prizes (Mannheim, Czech Radio Prague) and received numerous

commissions from Europe, South America, and the United States. Her activities extend beyond music to the restoration of Gustav Mahler’s birthplace in Kalište near Humpolec in the Czech Republic. Ms. Bodorová has stated, “I would like to give my listeners a piece of beauty, to share with the wonder of creation. Music . . . is a bridge between heaven and earth.” This Festival marks her third world premiere for the Arizona Friends of Chamber Music. Her first Festival commission was in 2003, a Druid-inspired work for harp and strings, and the 2013 Festival heard the performance of her Quartet for Clarinet and Strings.

Paul Coletti Violist Paul Coletti made his New York, San Francisco, and Chicago debuts at age twenty-three. He has been both a conductor and soloist with the New Japan Philharmonic Orchestra in Tokyo, has given jazz and tango concerts with Claude Bolling, and written and arranged music for pop albums. His compositions have been recorded on Sony and published by Oxford University Press. Mr. Coletti began playing the viola at age eight in his hometown of Edinburgh. He studied at the Royal Scottish Academy with Jimmy Durrant and with Alberto Lysy at the International Menuhin Music Academy in Gstaad, Switzerland. After completing his education in Cincinnati, the Banff Center, and the Juilliard School, where he studied with Dorothy Delay, Felix Galimir, and Zoltán Székely, he returned to IMMA as a teacher. He was also a teaching assistant to Sándor Végh and Donald McInnes. He has won prizes at several competitions, including the Golden Harp in Belgrade in 1982. His career includes frequent national and international radio and television appearances, notably performing Bartók’s Viola Concerto with Lord Yehudi Menuhin, televised live from Berlin. He has given master classes worldwide and has been a professor at Johns Hopkins University, Head of Chamber Music at UCLA, and at age twenty-five was Head of Strings at the University of Washington. Mr. Coletti is currently on the faculty of the Colburn School of Music.

Festival Artists

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Kevin Fitz-Gerald Canadian pianist Kevin Fitz-Gerald enjoys a versatile performing career as recitalist, orchestra soloist, and chamber musician, and his concert tours and performances have taken place in major concert halls, universities, and concert organizations throughout the world. In constant demand as a chamber musician, he has collaborated with internationally renowned artists such as Hagai Shaham, Patrick Gallois, Midori, Stephen Isserlis, Anne Akiko Meyers, Richard Stolzman, Alan Civil, Camilla Wicks, Eudice Shapiro, Milton Thomas, Karen Tuttle, Donald McInnes, Ronald Leonard, and the Bartók, St. Petersburg, and St. Lawrence String Quartets. He regularly performs two-piano and four-hand recitals with Bernadene Blaha, appearing at prestigious festivals, conventions, music teachers’ symposiums, and concert venues throughout North America, South America, Europe, and Asia. Mr. Fitz-Gerald was a full scholarship student at the Victoria Conservatory of Music, The Banff Centre School of Fine Arts, and the Royal Conservatory of Music in Toronto, where his principal teachers were Marek Jablonski, Robin Wood, and Alma Brock-Smith. A winner of several prestigious competitions, grants and awards, he has also worked extensively with Menahem Pressler, John Perry, Gyorgy Sebok, and Leon Fleisher. Mr. Fitz-Gerald is currently Professor of Piano Performance and Collaborative Arts at the USC Thornton School of Music in Los Angeles.

Antonio Lysy Antonio Lysy, a cellist of international stature and a dedicated pedagogue, has performed as a soloist in major concert halls worldwide. He has appeared with such orchestras as the Royal Philharmonic and Philharmonia Orchestras of London, Camerata Academica of Salzburg, Zurich Tonhalle, the Zagreb Soloists, Orchestra di Padova e il Veneto, Israel Sinfonietta, the Montreal Symphony Orchestra, the Toronto Symphony Orchestra, and Les Violons du Roi. He has collaborated with distinguished conductors including Yuri Temirkanov, Charles Dutoit, Sir Yehudi Menuhin, Sándor Végh, and Kees Bakels, and continues to perform regularly both as a solo and chamber music artist. Mr. Lysy enjoys exploring the versatility of the cello’s voice, from Baroque to electric, and is committed to projects which enrich his diverse interests in music. His love and commitment to chamber music is demonstrated by his musical directorship and founding in 1989, of the annual Incontri in Terra di Siena Chamber Music Festival in Tuscany, Italy. In the summer of 2003 Mr. Lysy accepted the position of Professor of Cello at the University of California, Los Angeles. Prior to moving to the United States, he held a professorship at McGill University in Montréal. He was also, for a number of years, visiting professor at the International Menuhin Music Academy in Switzerland. He now resides with his family in Los Angeles.

Miró Quartet Now in their 18th year, the Miró Quartet is consistently praised for their deeply musical interpretations, exciting performances, and thoughtful programming. Each season, the Quartet performs throughout the world on the most important chamber music series and on the most prestigious concert stages, garnering accolades from critics and audiences alike. Concert highlights of recent seasons include a highly anticipated and sold out return to Carnegie Hall to perform Beethoven’s complete Opus 59 Quartets (which they also recorded); collaborations with award-winning actor Stephen Dillane as part of Lincoln Center’s White Lights Festival; and festival appearances at Chamber Music Northwest, Orcas Island Chamber Music Festival, Music@Menlo, and Ottawa ChamberFest. Daniel Ching, a founding member of the Miró Quartet, began his violin studies at the age of three under the tutelage of his father. At age five, he entered the San Francisco Conservatory Preparatory Division on a full twelve-year scholarship, where he studied violin with Serban Rusu and Zaven Melikian, and chamber music with Susan Bates. At the age of ten, he was first introduced to string quartets. A graduate of the Oberlin Conservatory of Music, Mr. Ching studied violin with Kathleen Winkler, Roland and Almita Vamos, and conducting with Robert Spano and Peter Jaffe. He completed his Masters degree at the Cleveland Institute of Music, where he studied with former Cleveland Quartet violinist Donald Weilerstein. Mr. Ching is on faculty at the Sarah and Ernest Butler School of Music at the University of Texas at Austin, where he teaches private violin students and coaches chamber

music. In his free time, he enjoys hosting happy hours with friends and lounging at home with his wife Sandy, their two sons, and two cats. Winner of the Lincoln Center Martin E. Segal Award, violinist William Fedkenheuer has distinguished himself as a versatile artist with international performances as soloist, chamber, and orchestral musician. Making his solo violin debut with the Calgary Philharmonic in 1994, he went on to receive a Bachelor of Music from Rice University’s Shepherd School of Music under the tutelage of Kathleen Winkler and continued his graduate studies with Miriam Fried at Indiana University. From 2000–2006, Mr. Fedkenheuer was a member of the Borromeo String Quartet and on the faculty of the New England Conservatory of Music in Boston. Most recently, he has served as the first violinist of the Fry Street Quartet and was on the teaching faculty of the Caine College of the Arts at Utah State University. An active hiker and fly-fisherman, William and his wife, violinist Yi Ching Fedkenheuer, have two sons, Max and Olli, and two dogs, Archibald and Lulu. William performs on a bow by Charles Espey and a violin by Peter and Wendy Moes. Violist John Largess began his studies in Boston at age twelve in the public schools, studying with Michael Zaretsky of the Boston Symphony, and later as a student of Michael Tree at the Curtis Institute of Music in Philadelphia. In 1995, he graduated from Yale University to join the Colorado String Quartet as interim violist with whom he toured the United States and Canada teaching and concertizing. The following year he was appointed principal violist of the Charleston Symphony Orchestra in South Carolina, a position he held until joining the Miró Quartet in 1997. With his training in Greek and Latin Literature and his Bachelor’s degree in Archeology from Yale University, as well as studies at the Hebrew University in Israel, Mr. Largess has participated in excavations in Greece, Israel, and

Jordan. He loves to cook gourmet cuisine, particularly French pastry and fine desserts; luckily, he also enjoys exercising. He is a trained yoga instructor, having studied Vinyasa Power Yoga with Baron Baptiste. He also practices Kundalini, Bikram, and Astanga styles, and teaches yoga at 24 Hour Fitness and the Bodhi Yoga studio in Austin, Texas where he lives. When not standing on his head, he enjoys making his Tibetan Singing Bowl sing. Mr. Largess serves as Senior Lecturer and Coordinator of String Chamber Music at the University of Texas at Austin Butler School of Music. Cellist Joshua Gindele, a founding member of the Miró Quartet, began his cello studies at the age of three playing a viola his teacher had fitted with an endpin. As cellist for the Miró, he has won numerous international awards including an Avery Fisher Career Grant, the Naumburg Chamber Music Award, and the Cleveland Quartet Award and has shared the stage with Pinchas Zukerman, Joshua Bell, Midori, Matt Haimovitz, Eliot Fisk, Leif Ove Andnes, and The Oak Ridge Boys. He continues to perform across four continents and on some of the world’s most prestigious concert stages. Mr. Gindele serves as Senior Lecturer at the University of Texas at Austin Butler School of Music, where he teaches a select number of private cello students and coaches chamber music. In his free time he regularly hikes, climbs, runs, goes to the gym, plays tennis and golf, skis, cooks French food, and enjoys the occasional glass of wine.

Christòpheren Nomura The wide-ranging repertoire of baritone Christòpheren Nomura is heard on concert, opera, and recital stages. He performs with North America’s leading symphony orchestras including Baltimore, Boston, Charlotte, Indianapolis, Minnesota, Philadelphia, San Francisco, Utah, and Vancouver, the National Symphony Orchestra, and the Boston Pops. He also solos with the Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, and Philharmonia Baroque Orchestra. His ensemble collaborations have been with the S’Kampa, Borromeo, Brentano, and St. Lawrence String Quartets, and with pianists Martin Katz, Dalton Baldwin, Charles Wadsworth,

Jean-Yves Thibaudet, and William Bolcom. Mr. Nomura performs at America’s leading Chamber Music Festivals in Santa Fe, La Jolla, Music@Menlo, Spoleto, Marlboro, Tanglewood, and the Chamber Music Society of Lincoln Center. Numerous awards and distinctions have been bestowed on him, including a four-year Fulbright Grant to study with the world’s leading lieder singers—Dietrich Fischer-Dieskau, Hermann Prey, and Gérard Souzay. He has won the Young Concert Artists International Auditions, the Naumburg and the Marilyn Horne Foundation Competitions, and was a Music Ambassador for the United States Information Agency. He holds a Masters degree and Artists Diploma from the New England Conservatory of Music.

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Pepe Romero One of the most celebrated and versatile musicians of his generation on any instrument, Spanish-born guitarist Pepe Romero has enjoyed a varied and illustrious career. Together with his father, the legendary Celedonio Romero, and his brothers Celin and Angel, Pepe established the Romeros Quartet—the “Royal Family of the Guitar”—as the leading guitar ensemble in the world. With the Quartet, Mr. Romero gave his first concert at the age of seven, and over the course of more than fifty years he has given thousands of concerts worldwide, many with his family and many as a solo instrumentalist (including a number of world premieres). Since his first recording (at the age of fifteen) he has recorded over fifty solo albums and thirty albums as part of the Romero Quartet. Mr. Romero has served as Professor of Guitar at the University of Southern California, University of California at San Diego, Southern Methodist University, and the University of San Diego. He has conducted master classes at the Salzburg Summer Academy, Córdoba Guitar Festival, and the Schleswig-Holstein Festival. In 2004 he was appointed Distinguished Artist in Residence at the University of Southern California’s Thornton School of Music. Known for classical per-formances of dazzling virtuosity, compelling interpretations, and flawless technique, Mr. Romero is also a passionate advocate of the traditional flamenco of his native Andalusia.

Gunther Schuller It seems safe to say that at this stage in his life and career, composer Gunther Schuller represents, for countless musicians, concertgoers, and record buyers around the world, American music making at its best. His father played violin in the New York Philharmonic Orchestra for many decades, and it was he who oversaw Mr. Schuller’s early training. He mastered the French horn with remarkable speed as a student at the Manhattan School of Music (1939–1941)—in 1942, aged just sixteen, his horn playing was heard across the country in the American radio premiere of Shostakovich’s then brand-new “Leningrad” Symphony. A series of high-profile orchestra jobs followed: first the American Ballet Theater Orchestra, then the Cincinnati Symphony Orchestra, and then fourteen seasons in the Metropolitan Opera Orchestra. During the 1950s Mr. Schuller became interested in jazz and made a name for himself as a performer in that field, playing with Miles Davis, Dizzy Gillespie, and other jazz stars; in the years to come, he combined jazz and traditional

composition in new ways—something that he called “third stream music.” After the 1958–1959 season, Mr. Schuller gave up his career at the Met to build a new career as a composer. In this role, he ranks among the most eclectic of his generation or any other. Schoenberg’s techniques meet jazz meets Stravinskian rhythmicism meets Haydn in ways that one could

never imagine without the score on the table. And his output is very large: twenty-plus concertos for solo instrument(s) and orchestra, several dozen orchestral items (including the 1994 Pulitzer Prize-winning “Of Reminiscences and Reflections”), better than seventy miscellaneous chamber pieces for ensembles and combinations of all kinds, a pair of operas, and a library of arrangements of other composers’ music. In 1964 Mr. Schuller was appointed to the composition faculty of Yale University. He has also taught and administered at the Manhattan School of Music, the New England Conservatory, and Tanglewood.

Edited from notes by Blair Johnston

James Austin Smith James Austin Smith has earned an enviable reputation as a performer of chamber music, having played as oboist with the International Contemporary Ensemble (ICE), the Talea Ensemble, Decoda, and the Chamber Music Society of Lincoln Center (Chamber Music Society Two), as well as a regular guest of the Orpheus Chamber Orchestra and Cygnus. Mr. Smith’s festival appearances include Marlboro, Lucerne, Chamber Music Northwest, Schleswig-Holstein, Stellenbosch, Mecklenburg-Vorpommern, OK Mozart, Schwetzingen, and Spoleto USA. He has also performed with the St. Lawrence and Orion String Quartets and recorded for the Nonesuch, Bridge, Mode, and Kairos labels. In 2005 Mr. Smith earned his Bachelor of Arts (Political Science) and Bachelor of Music degrees from Northwestern

University, and in 2008 received his Master of Music degree from the Yale School of Music. He spent a year as a Fulbright Scholar in Leipzig at the Hochschule für Musik und Theater “Felix Mendelssohn-Bartholdy” and is an alumnus of Ensemble ACJW, a collaboration of Carnegie Hall, The Juilliard School, the Weill Music Institute, and the New York City Department of Education. Mr. Smith’s principal teachers are Stephen Taylor, Christian Wetzel, Humbert Lucarelli, Hansjörg Schellenberger, and Ray Still. In the fall of 2012 he joined the faculty of the State University of New York at Purchase. The son of musician parents and eldest of four boys, Mr. Smith was born in New York and raised in Connecticut.

Sandy Yamamoto Violinist Sandy Yamamoto has dazzled audiences in concert performances around the globe for the past three decades as a soloist and as a member of the Miró Quartet. She began her violin studies at the age of four and at age eleven made her solo debut with the North Carolina Symphony. Since that time, Ms. Yamamoto has appeared with orchestras throughout the US and Europe to critical acclaim. With the Miró Quartet, she has performed on the major concert stages of the world, regularly concertizing in North America, South America, Europe, and Asia. As a member of the Quartet, she was a recipient of the Naumburg Chamber Music and Cleveland Quartet Awards, won First Prize at the Banff International String Quartet Competition, and was one of the first chamber musicians to be awarded an Avery Fisher Career Grant. Since leaving the Quartet in May 2011, she has been appointed Senior Lecturer of Violin at the Butler School of Music at the University of Texas at Austin, where she teaches a studio of violin students and performs concertos and recitals regularly. In the fall of 2011, she formed the Butler Trio with Miró Quartet cellist, Joshua Gindele, and pianist, Colette Valentine. Ms. Yamamoto was also invited to be a guest speaker and role model in New York City for the winners of the 2003 Glamour Magazine’s Top Ten College Women. When she is not busy teaching and performing, Ms. Yamamoto enjoys spending time with her husband, Daniel, her two sons, Adrian and Brian, and her cat, Poko.

Commissioning Program

The Arizona Friends of Chamber Music Commissioning Program gives our audience members the opportunity to sponsor new chamber works. Since 1997 we have featured World Premiere performances during the regular season, our Piano & Friends series, and the Tucson Winter Chamber Music Festival. Participation makes a significant contribution to the creation of new music and influences what will be composed and performed throughout the 21st century. Please contact us if you are interested in sponsoring a composition.

We thank the following, who have generously sponsored works as part of the Commissioning Program:

Helmut Abt; Sherrill Akyol; Harold G. Basser; Jean-Paul Bierny & Chris Tanz; Ted & Celia Brandt; Fred & Diana Chaffee; Milos & Milena Chvapil; Dan Coleman; Bill & Lotte Copeland; Joyce & David Cornell; Dr. Jim M. Cushing; Richard & Galina De Roeck; Bob & Connie Foster; Linda Friedman, Samuel & Jonathan Friedman, and Davina Friedman Doby; Bob & Ursula Garrett; Marya & Robert Giesy; Wesley C. Green; Joan Jacobson; Linda Leedburg; Tony & Ellen Lomonaco; George & Eleanor Marcek; Grace McIlvain; Hal Myers; Anne Nelson; Linda & Stuart Nelson; Paul & Dorothy Olsen; Suzanne & Charles Peters; Ghislaine Polak; Serene Rein; Boyer Rickel; the Estate of Maxwell Rosenlicht; Herschel & Jill Rosenzweig; Richard & Judy Sanderson; Drs. John & Helen Schaefer; Susan Small; Karen Sternal; Walter Swap; Mrs. Faria Vahdat-Dretler; Elliott & Wendy Weiss; Henry Weiss; Carla Zingarelli-Rosenlicht; and the following groups and organizations: the Aasheghan e Aavaaz Group; Members of the Arizona Senior Academy & Academy Village; Arts Integration Solutions (formerly the OMA Foundation); Members of Tucson’s Czech Community; Harry & Lea Gudelsky Foundation; the NOVA Chamber Music Series.

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Arizona Friends of Chamber Music gratefully acknowledges the contributions and in-kind services provided by the following individuals, businesses, and organizations. Space limitations prevent us from listing contributions less than $100. We are grateful, however, for every donation, each of which helps us to secure the future of AFCM. (Assistance received after February 28, 2014 is not reported here because of production deadlines.)

$30,000Ghislaine Polak

$5,000–$9,999Jean Paul Bierny & Chris Tanz Joyce & David Cornell Margaret T. Morris Foundation Boyer Rickel Drs. John & Helen Schaefer Walt Swap Carla Zingarelli-Rosenlicht Anonymous

$2,500–$4,999Stan Caldwell & Linda Leedberg Jim Cushing Caleb & Elizabeth Deupree Wesley C. Green Dr. & Mrs. Elliott & Sandy Heiman Grace McIlvain Serene Rein Jayant Shah & Minna Mehta Hal Myers Jerry & Kathy Short Randy Spalding Wendy & Elliott Weiss

$1,000–$2,499Celia A. Balfour Nevenka Bierny Nancy Bissell Dagmar Cushing Richard & Galina De Roeck Mr. & Mrs. Donald Doran EOS Foundation Beth Foster Milton Francis Thomas Hanselmann Keith Kumm & Sandy Pharo Tom Lewin Eddy Muka Dr. & Mrs. Herschel & Jill Rosenzweig Irene & George Perkow Mr. & Mrs. John Rupley Ellie & Si Schorr Paul St. John & Leslie Tolbert

$500–$999Anonymous Frank & Betsy Babb Olga & Thomas Bever Selma Bornstein Cynthia & Lee Cannon Bryan & Elizabeth Daum Mr. & Mrs. John Forsythe Leonid Friedlander & Yelana Landis Harold Fromm Drs. J.D. & Margot Garcia Elizabeth Giles & Stephen Simmes Dr. Marilyn Heins Ruth B. Helm Drs. John G. Hildebrand & Gail D. Burd Dr. & Mrs. Robert & Harriet Hirsch Mr. & Mrs. Sidney Hirsh Paul & Marianne Kaestle I. Michael Kasser Arthur & Judy Kidder Dan Leach Dr. & Mrs. Wayne Magee Sumner Milender John Raitt Reid & Linda Schindler Ted & Shirley Taubeneck Jan Wezelman & David Bartlett Peggy Wolf Betsy Zukoski

$250–$499Helmut Abt Julia Annas Mary Lonsdale Baker Ann & Neal Blackmarr Tim & Diane Bowden Dr. & Mrs. Harvey W. Buchsbaum Peter Caparis & Anna Anderson Philip M. Davis Philip & Nancy Fahringer Richard E. Firth Linda Friedman John & Reyna Gellman Helen & Jerry Hirsch Henry & Phyllis Koffler Daniela Lax Keith & Adrienne Lehrer Dr. Alan Levenson Marjory Margulies Larry & Rowena Matthews Warren & Felicia May Harry Nungesser John & Farah Palmer Herbert Ploch Dr. Seymour Reichlin Dr. Elaine Rousseau Dr. & Mrs. Richard Sanderson Reid & Linda Schindler Si & Eleanor Schorr Steve Strong James Wittenberg & Pamela Weiner John & Helen Wilcox

$100–$249Anonymous Thomas & Susan Aceto Jerry & Priscilla Anderson Louise Anthony Dan Asia Mark Barmann Dr. Nathaniel Bloomfield Gary & Linda Blumenshine Joyce Bolinger Sarah Boroson Cynthia & Lee J. Cannon William & Bonnie Carpenter R. & D. Cassady Shirley Chann Nancy Cook Phyllis Cutcher Jane Decker Raul & Isabel Delgado Anne Denny Marilyn & John Dettloff Martin Diamond Aimee & Stephen Doctoroff Karla van Drunen Littooy Mary & John Enemark Karen & Lionel Faitelson Stefanie Fife Carole & Peter Feistmann Klaus & Denise Fohlmeister Bob Foster Leonid Friedlander James & Ruth Friedman Margot & Tommy Friedmann Elfriede von Glinski Dr. & Mrs. Gerald & Barbara Goldberg Ben Golden Rachael K. Goldwyn Marilyn Halonen Clare T. Hamlet Dr. & Mrs. M.K. Haynes Joe & Janet Hollander Edgar Jenkins Dr. David Johnson Ms. Lee L. Kane Joseph Kantauskis Carl Kanun Barbara Katz Boris & Billie Kozolchyk Madeleine Lapointe Mary Ellen Lewis Karen Loeb Dr. Dhira Mahoney Ana Mantilla Dr. & Mrs. Frank Marcus Joan Mctarnahan Martha Mecom Judith Meyer Joyanne Mills Frances Moore Lawrence & Nancy Morgan Gisele Nelson Dr. Mary Peterson & Lynn Nadel Donn Poll & Eric S. Nelson Jim & Debbie Quirk Howard & Estelle Raiffa Lynn Ratener

Richard & Harlen Reeves Law Office of Kay Richter Jay & Elizabeth Rosenblatt Herschel & Jill Rosenzweig Audrey Saltzman Dror & Lea Sarid Helen & Howard Schneider Dr. Stephen & Janet Seltzer Goldie & Isidore Shapiro Barbara & Al Silvian Susan S. Small Mark Haddad Smith Shirley Snow Donna Somma George F. Timson Stokes Tolbert Joseph Tolliver Allan & Diane Tractenberg Ellen Trevors Barbara Turton Iris C. Veomett Gail Wahl Patricia Waterfall Patricia Wendel Sam & Grace Young Steve & Elizabeth Zegura

Gifts in honor ofJean-Paul Bierny by William & Bonnie Carpenter by Raul & Isabel Delgado by Joe & Janet Hollander by Barbara Katz by Dan Leach by Sam & Grace Young Anne Nard by her daughter, Linda Leedberg Peter Rejto by Stefanie Fife Allan & Diane Tractenberg by Mark Barmann

Gifts in memory ofDr. Murray Bornstein by Selma Bornstein Clifford & Wendy Crooker by Beth Foster Mike Cusanovich by Marilyn Halonen Rudolf von Glinski by Elfriede von Glinski Kathy Kaestle by Paul & Marianne Kaestle Patte Lazarus by Jean-Paul Bierny & Chris Tanz by Nancy Bissell by Dagmar Cushing by Beth Foster by Joan Jacobson by Randy Spalding by Joseph Tolliver Rhoda Lewin by Tom Lewin Dana Nelson by Carla Zingarelli-Rosenlicht Harry & Louise Rickel by their son, Boyer Rickel Alan Rosenlicht by his mother, Carla Zingarelli-Rosenlicht Norman Vainio by Marilyn Halonen

Businesses47 Scott Arizona Flowers DeGrazia Foundation Downtown Kitchen & Cocktails Dragonfly Gallery Fidelity Holualoa Companies Hotel Tucson City Center Ley Piano The Loft Theater Merrill Lynch Mister Car Wash Morris, Hall & Kinghorn Saint House Rum Bar Steve Przewlocki Research Corporation UBS Udall Law Firm, LLP

The Jean-Paul Bierny SocietyThe members of The Jean-Paul Bierny Society support the Arizona Friends of Chamber Music through their generosity and foresight by including AFCM in their wills or estate plans. Jean-Paul served AFCM for thirty-five years as President, and it was his vision that made AFCM the world-class organization that it is today. We invite you to show your appreciation for his effort and to join other lovers of chamber music by leaving a legacy gift to AFCM. If you have already made such a provision, we encourage you to notify us, so that we may appropriately recognize your generosity.

LegacyJean-Paul Bierny and Chris Tanz Nancy Bissell Mr. and Mrs. Nathaniel Bloomfield Theodore and Celia Brandt Richard E. Firth Randy Spalding Anonymous

$25,000–$50,000Family Trust of Lotte Reyersbach Phyllis Cutcher, Trustee of the Frank L. Wadleigh Trust Carol Kramer Claire B. Norton Fund (held at the Community Foundation for Southern Arizona) Agnes Smith

$10,000–$24,999Marian Cowle Minnie Kramer Jeane Serrano

Up to $9,999Elmer Courtland Margaret Freundenthal Susan R. Polleys Administrative Trust Frances Reif Edythe Timbers

Legacy: current plans Dollar amounts: posthumous

Thank You!

Donate Today Help ensure that the music you love is here for tomorrow’s audiences. Please call 520-577-3769, or use our convenient website arizonachambermusic.org.

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Audience members of AFCM concerts are quite aware of the extraordinary power classical music has on their lives, but many young people have yet to experience this effect. In fact, most people in the world will never even hear a musical masterpiece, much less a live performance by an acclaimed musician. We are lucky to have repeated opportunities to experience such fulfilling events. Expanding the opportunities for musical experiences often requires more than just making performances available at Leo Rich Theater. Sometimes an encouraging hand is required to awaken people to the rewards of classical music. AFCM takes seriously its commitment to musical education, an optimistic commitment to the future of the world and its people. AFCM has therefore developed a significant Educational Outreach Program, which consists of three active parts:

–During the Winter Chamber Music Festival a Youth Concert is presented to 500 local students, without charge, at Leo Rich Theater. At the concert, world-class festival musicians present a program of music and commentary designed to be particularly appealing to a young audience. Many of these students have never been exposed to classical music, and most have never been to a professional classical music performance. Yet, every year these concerts are received with great enthusiasm by the audience.

–Each year AFCM funds “Music in the Schools,” a series of chamber music concerts presented in Tucson area schools, with special attention to those that are underserved. Dr. Kim Hayashi, Tucson pianist, accompanist, and educator arranges for ensembles from the Tucson Symphony Orchestra and the University of Arizona School of Music to give eighteen performances a year to approximately 1,550 students.

–Five times a year, musicians performing for the AFCM Winter Festival and the Piano and Friends series present Master Classes, which are free and open to the public. These classes provide promising young musicians from Tucson and the University of Arizona the opportunity to perform before an audience and then receive instant on-stage coaching from a famous musician. Such coaching has an immediate effect on the quality of the student’s performance and is very enlightening and inspiring for the audience members.

Educational Outreach

The continuing goal of AFCM is to provide the world’s great chamber music to current audiences and to reveal the magic of that music to the next generation.

Supporters

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Located in the heart of the Historic Downtown Presidio

Arts District. Olympic-sized heated pool/spa,

sand volleyball, downtown Tucson’s largest ballroom and

meeting space. Free airport transportation. Pet Friendly.

475 N. Granada Ave Tucson, AZ 85701

Phone: 520-622-3000 Fax: 520-843-2011

Toll Free: 1 (888) 784-8324

Supporters

36

Arizona Friends of Chamber Music thanks its volunteers:Anne Bissell Fundraising Committee

Chris Black Marketing Committee

Amy Burmeister Marketing Committee

Kevin Chau Marketing Committee

Beth Daum Festival Team & Fundraising Committee

Bob Foster AFCM webmaster

Marie-France Isabelle Travel Agent

Marianne Kaestle Festival Team & Fundraising Committee

Keith Kumm CD Sales

Nancy Monsman Program Notes

Sandy Pharo CD Sales

Allan Tractenberg Festival Team

Hosts: Mary Lonsdale Baker, Nancy Bissell, Dagmar Cushing & Dana Deeds, Chris Tanz & Jean-Paul Bierny, Leslie Tolbert & Paul St. John, Adam Ussishkin & Andrew Wedel, Jan Wezelman & David Bartlett

Ushers: Barry Austin, Susan Austin, Stan Caldwell, Linda Leedburg, Marilee Mansfield, Elaine Orman, Barbara Turton, Paula Zinsser, Carol Zuckert

Evening SeriesHagen QuartetOctober 29, 2014

Morgenstern Piano TrioNovember 5 & 6, 2014

Pacifica Quartet with Anthony McGill, clarinetDecember 10 & 11, 2014

Hermitage Piano TrioJanuary 21, 2015

Auryn QuartetFebruary 25, 2015

Artemis QuartetApril 8, 2015

Piano & Friends—Sunday MatinéeBehzod Abduraimov, pianoNovember 9, 2014

Tucson Desert Song Festival: Vocal RecitalJanuary 18, 2015

Stefan Jackiw, violinFebruary 1, 2015

Narek Hakhnazaryan, celloApril 12, 2015

Winter FestivalMarch 15–22, 2015

Featuring: Prazak Quartet Bernadene Blaha Katerina Englichova Marie-Catherine Girod Clive Greensmith Bernadette Harvey Bil Jackson Joseph Lin Paul Neubauer Nokuthula Ngwenyama Axel StraussSchedules, performers, and programs are subject to change. See our website at arizonachambermusic.org for continuing updates, along with a large variety of videos, photos, and relevant links.

2014–2015 ScheduleFestival Volunteers

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

Arizona Flowers

The Commissioning Program gives our audience members the opportunity to sponsor new chamberworks commissioned by the Arizona Friends of Chamber Music. Since 1997 we have featured WorldPremiere performances during the regular season, our Piano & Friends series, and the Tucson WinterChamber Music Festival. Participation makes a significant contribution to the creation of new music andinfluences what will be composed and performed throughout the 21st century. Please contact us if youare interested in sponsoring a composition.

We thank the following, who have generously sponsored works as part of the CommissioningProgram: Helmut Abt; Sherrill Akyol; Harold G. Basser; Jean-Paul Bierny & Chris Tanz; Ted & Celia Brandt;Fred & Diana Chaffee; Milos & Milena Chvapil; Dan Coleman; Bill & Lotte Copeland; Joyce & David Cornell;Dr. Jim M. Cushing; Richard & Galina De Roeck; Bob & Connie Foster; Linda Friedman, Samuel & JonathanFriedman, and Davina Friedman Doby; Marya & Robert Giesy; Wesley C. Green; Joan Jacobson; Tony &Ellen Lomonaco; George & Eleanor Marcek; Grace McIlvain; Hal Myers; Anne Nelson; Linda & StuartNelson; Paul & Dorothy Olsen; Suzanne & Charles Peters; Ghislaine Polak; Serene Rein; the Estate ofMaxwell Rosenlicht; Herschel & Jill Rosenzweig; Richard & Judy Sanderson; John & Helen Schaefer; SusanSmall; Karen Sternal; Walter Swap; Mrs. Faria Vahdat-Dretler; Henry Weiss; Carla Zingarelli-Rosenlicht;and the following groups and organizations: the Aasheghan e Aavaaz Group; Members of the ArizonaSenior Academy & Academy Village; Arts Integration Solutions (formerly the OMA Foundation); Membersof Tucson’s Czech Community; Harry & Lea Gudelsky Foundation; the NOVA Chamber Music Series.

Arizona Friends of Chamber Music

Commissioning Program

If you enjoyed this concert, please consider making

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Arizona Friends of Chamber Music

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Founded in 1952, Udall Law Firm, LLP is one of Southern Arizona’s oldest and most respected law firms, offering a full range of quality legal services for business and individual clients.

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Supporters

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DeGrazia Gallery in the Sun6300 North SwanTucson, Arizona 85718

Phone: +1 520 299 9191 +1 800 545 2185

DeGrazia Gallery in the SunOpen daily from 10am to 4pm, free admission

The Tucson Winter Chamber Music Festival is grateful for the financial support of our audiences. Please consider a donation to AFCM today. Thank you.

Call 520-577–3769, or use our convenient website arizonachambermusic.org.