26TH TUCSON WINTER CHAMBER MUSIC FESTIVAL PETER … · 2019-05-15 · 3 FROM THE ARTISTIC DIRECTOR Dear Friends, Welcome to the 26th Tucson Winter Chamber Music Festival! While I

26TH TUCSON WINTER CHAMBER MUSIC FESTIVALPETER REJTO, FESTIVAL DIRECTOR SUNDAY MARCH 3, 2019

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BOARD OF DIRECTORS

James Reel President

Paul Kaestle Vice-President

Joseph Tolliver Program Director

Helmut Abt Recording Secretary

Wes Addison Treasurer

Philip AlejoNancy BissellKaety Byerley Laura CásarezMichael CoretzDagmar CushingBryan Daum Robert Garrett Marvin GoldbergJoan Jacobson Juan MejiaJay RosenblattElaine RousseauRandy SpaldingPaul St. JohnGeorge TimsonLeslie Tolbert

FESTIVAL COMMITTEE

Randy Spalding, ChairNancy BissellJames ReelGeorge TimsonMarv GoldbergPhilip AlejoDagmar CushingMichael CoretzBryan DaumJoseph TolliverCathy Anderson

FESTIVAL VOLUNTEERS

Nancy Cook Beth Daum Beth FosterBob Foster Marie-France Isabelle Yvonne Merril

FESTIVAL SPONSORS

Randy SpaldingJonathan & Chitra StaleyGarrett-Waldmeyer TrustJean-Paul Bierny & Chris TanzCelia BalfourElliot & Sandy HeimanBoyer RickelCharles & Suzanne PetersAllan & Diane TractenbergMark & Jan Barmann

FESTIVAL HOSTS

Michelle MordenJean-Paul Bierny & Chris TanzNancy BissellDavid Carter & Bobbie-Jo BuelChristine & David HopkinsGretchen GibbsHolly LachowiczDavid Bartlett & Jan WezelmanLeslie Tolbert & Paul St. JohnDagmar Cushing

FESTIVAL STAFF

Matt Snyder, Audio Producer/ EngineerLouie Gutierrez, Stage Manager

USHERS

Barry & Susan AustinLidia DelPiccoloSusan FiferMarilee MansfieldElaine OrmanSusan RockJane RuggillBarbara TurtonDiana WarrMaurice Weinrobe & Trudy Ernst

PROGRAM BOOK CREDITS

EditorJay Rosenblatt

ContributorsRobert Gallerani Holly Gardner Nancy Monsman Jay Rosenblatt James Reel

Advertising Paul Kaestle Allan Tractenberg

DesignOpenform

PrintingWest Press

On the cover: Dmitri Shostakovich

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FROM THE ARTISTIC DIRECTOR

Dear Friends,

Welcome to the 26th Tucson Winter Chamber Music Festival!

While I have been loath to create festivals with themes, you will surely notice the six major Russian works gracing three of the first four programs. The absence of such a work on the final concert may be taken as abstinence, defiance, willfulness, or just laziness, however, I’d prefer if you accepted my reasoning that the works that I selected give an opportunity for all of our superb musicians to appear in the final concert.

This Festival features a raft of new players. The Escher String Quartet appears for the first time at a Festival. We feature violist Ettore Causa in his arrangement of songs by Brahms on the final Sunday. Cellist Edward Arron is heard in perhaps the greatest of all trios, the “Archduke,” and Australian saxophonist Amy Dickson has traveled from London to present Ross Edwards’s new Quintet, “Bright Birds and Sorrows.” Finally, pianist James Giles performs the monumental Taneyev Piano Quartet. Joining these artists are long time Festival favorites Ani Kavafian, Axel Strauss, Bernadette Harvey, and Philip Alejo.

Having recently planned the 27th Festival for 2020, reviewing the current Festival comes as something of a “rediscovery.” In any case, let me give you a small taste of next year’s event. The brilliant pipa player, Wu Man, will return after a long absence. Composer Ross Edwards has been engaged to write a commission for Wu Man (already completed in world record pace!) that will serve as a companion piece to Philip Glass’s “The Sound of a Voice” for pipa, violin, flute, cello, and percussion. Pianist and composer Lera Auerbach has been commissioned to write for the Jasper String Quartet, and percussionist Matthew Strauss will be returning and will feature in a new work by composer Lei Liang for pipa and percussion.

Thank you for your support over these many years! It is truly beyond my comprehension to have imagined back in 1994 when this started that I would be writing about festivals to take place in 2020. The core groups have been selected for 2021, and active discussions are underway for 2022. Stand by and keep your March calendars free.

P ET E R R E JTO

Artistic Director

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FESTIVAL EVENTS

YOUTH CONCERT

Thursday, March 7, 10:30 a.m. Leo Rich Theater

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

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

OPEN DRESS REHEARSALS — LEO RICH THEATER

9:00 a.m. – 12 noon Tuesday, March 5 Wednesday, March 6 Friday, March 8 Sunday, March 10

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

PRE-CONCERT CONVERSATIONS

Conducted by James Reel a half hour before each concert

Sunday, March 3, at 2:30 p.m. Tuesday, March 5, at 7:00 p.m. Wednesday, March 6, at 7:00 p.m. Friday, March 8, at 7:00 p.m. Sunday, March 10, at 2:30 p.m.

MASTER CLASS FOR VIOLIN

Axel Strauss 3:00 pm – 4:00 pm Saturday, March 9 Leo Rich Theater

Featuring students from the University of Arizona, Fred Fox School of Music.

MASTER CLASS FOR VIOLA

Ettore Causa 4:00 pm – 5:00 pm Saturday, March 9 Leo Rich Theater

Featuring students from the University of Arizona, Fred Fox School of Music.

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

GALA DINNER AND CONCERT AT THE ARIZONA INN

Saturday, March 9 5:30 p.m. – Silent Auction 6:00 p.m. – Cocktails 7:00 p.m. – Musical selections by Festival musicians 8:00 p.m. – Dinner

Call 577-3769 for reservations.

Flowers courtesy of Norah & David Schultz, at Flower Shop on 4th Avenue.

RECORDED BROADCAST

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

radio.azpm.org/classical/

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For some reason, people think that music must tell us only about the pinnacles of the human spirit, or at least about highly romantic villains. Most people are average, neither black nor white. They’re gray. A dirty shade of gray. And it’s in that vague gray middle ground that the fundamental conflicts of our age take place.Shostakovich, Dmitriĭ Dmitrievich (1906–1975) and Solomon Volkov, editor. Testimony: The Memoirs of Dmitri Shostakovich. New York: Harper & Row, 1979.

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Early MusicMade New

Founded in 1982, the Arizona Early Music Society presents the finest national and international ensembles specializing

in the music of “Bach and Before.”

Join us this season to hear period instruments and vocal styles of the

Medieval, Renaissance and Baroque periods come alive.

For program information and tickets, visit www.azearlymusic.org or call (520) 721-0846.

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SUNDAY, MARCH 3, 2019Pre-Concert Conversation with James Reel 2:30 p.m.

THIS AFTERNOON’S PROGRAM

WOLFGANG AMADEUS MOZART (1756–1791)

String Quintet in C Major, K. 515

Allegro Menuetto: Allegretto Andante Allegro

Ani Kavafian, violin Axel Strauss, violin Ettore Causa, viola Pierre Lapointe, viola Edward Arron, cello

SERGEI PROKOFIEV (1891–1953)

Sonata in C Major for Two Violins, Op. 56

Andante cantabile Allegro Commodo (quasi Allegretto) Allegro con brio

Axel Strauss, violin Ani Kavafian, violin

INTERMISSION

PHILIP GLASS (b. 1937)

Sonata No. 1 for Violin and Piano (arranged for Saxophone and Piano by Amy Dickson)

Movement I Movement II Movement III

Amy Dickson, saxophone Bernadette Harvey, piano

DMITRI SHOSTAKOVICH (1906–1975)

Piano Quintet in G Minor, Op. 57

Prelude: Lento Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento Finale: Allegretto

James Giles, piano

Escher String Quartet (Adam Barnett-Hart, violin; Danbi Um, violin; Pierre Lapointe, viola; Brook Speltz, cello)

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

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

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PROGRAM NOTES

OVER THE COUR SE of his career Mozart wrote six string quintets that are also known as viola quintets—string quartets with an additional viola. This texturally rich instrumentation appealed to Mozart, who frequently played viola in chamber ensembles. Compared to his string quartets, Mozart’s viola quintets reveal fuller harmonies and a freer exchange of thematic material. For Mozart, the extra middle voice inspired inventive musical dialogue. Many listeners believe that Mozart’s set of viola quintets constitutes his most profound achievement in chamber music.

Mozart wrote K. 515 in April 1787, less than a month before completing its turbulent companion in G minor, K. 516. Created at the height of his maturity, the monumental C Major Quintet is recognized as one of his greatest works. It is also his longest four-movement chamber work, and its substantial opening exposition equals that of Beethoven’s Ninth Symphony. But as Charles Rosen observes in The Classical Style, “Size by itself means little. Pacing and proportion are everything.” He analyzes Mozart’s achievement: “Irregular phrase lengths in K. 515 assure continuity; their symmetrical arrangement gives balance. Tonal solidity is the principal source of the breadth and majesty of this work. Mozart’s powers of expansion—the delay of cadence, the widening of the center of the phrase—are called into play on a scale he had never known before.” Continuously shifting voice combinations enliven the sonorities and contribute momentum; throughout the work differing pairs of instruments assume dominance as the others accompany.

The Allegro opens dramatically not with a defined melody but rather a melodic fragment—the cello begins on its lowest tone (the open C string) and ascends with a two-octave arpeggio toward the violin’s resolution, ornamented by an expressive turn that persists thematically throughout the movement. A contrasting second motif is based on a flowing eighth note pattern. Brief but intense, the development reaches its climax with a fragment based on a theme from his opera, The Marriage of Figaro, ingeniously styled as a double canon in four voices with free counterpoint in the second viola. The recapitulation expands the original material, and the movement concludes with a gigantic cadence forty-seven measures in length at its masterful coda.

The pensive Menuetto (C major) is varied at its center by a poignantly expressive trio section. Cast in sonata form, the Andante (F major) explores three eloquent themes. The movement often resembles an operatic duet that exploits the differing tonal colors of the first violin and first viola. The delightful finale, an extensive sonata rondo movement, contains an abundance of vivacious themes, many developed contrapuntally.

WHILE SITTING ON A JURY for a Parisian composition contest, Prokofiev suffered through a poor performance of a badly written sonata for two violins. The experience motivated him to contribute his own duet to this underrepresented genre. Later in his biography he wrote about the origins of Opus 56: “Listening to bad music sometimes inspires good ideas. . . . It struck me that in spite of the limitations of such a duet one could make it interesting enough to listen to for ten or fifteen minutes.” He composed the work during his 1932 vacation at St. Tropez, and it was premiered both in Moscow and at the inaugural concert of Triton, a Parisian society dedicated to new chamber music.

Much of the sonata is constructed with “dissonant-tonal counterpoint,” a technique much favored by Shostakovich. In this scheme the lines move with strong dissonances between them during internal phrases but at major cadence points resolve harmoniously. The sequence of movements, described by his son Sviatoslav as “lyrical, playful, fantastic, and violent in turn,” follows the traditional sonata format of four contrasting movements. The opening Andante cantabile develops long lines that allude melodically to other Prokofiev works, specifically his recent Violin Concerto No. 1. The energetic and percussive Allegro suggests the influence of Bartók. Commodo, played with mutes to create a gentler sound, provides the lyrical center of the sonata. The delightful rondo finale increases in speed at its coda (Più presto) and concludes with a reprise of the sonata’s opening material.

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PROGRAM NOTES

“Even as the language of music continues to grow with the times, many basic elements of structure, harmony, and rhythm will have a somewhat familiar sound to today’s audience.” PHILIP GLASS

AN AMERICAN ORIGINAL, Philip Glass is known for his creation of an emotionally-charged minimalist style in which thematic ideas are reduced to essential cells and expanded into long arcs by extensive repetition. Through his gradual infusion of subtle harmonic changes and shifts of tempo, Glass’s works grow into sonorous tapestries that culminate in an atmosphere of rapture. Renowned for large works such as the four-hour opera Einstein on the Beach (1976) and his multimedia project LIFE: A Journey Through Time (2006), celebrating scientific insights about the origin of life on Earth, Glass has “vaulted to a level of popular recognition that no composer since Stravinsky has enjoyed” (The New Yorker). The versatile Glass has also composed eight string quartets. His Sonata No. 1 for Violin and Piano was commissioned by Martin Murray for his wife Lucy and first performed by Maria Bachmann and Jon Klibanoff on February 28, 2009. It was arranged by Amy Dickson for saxophone and piano.

Ingeniously constructed through series of repeated cells interspersed with free material, Sonata No. 1 has been praised for the bold harmony of its first movement, the affecting lyricism of its second movement, and the fine solo passages for both instruments in the third. The Sonata concludes with a quiet statement foreshadowed in its opening. Glass comments on its composition: “Among my earliest memories of enjoying music are the many hours spent listening to the great masterpieces of 19th-century chamber music with my father, Benjamin Glass. He had a small record shop in downtown Baltimore, and he regularly would bring home albums of 78 RPMs, the staple for music lovers in those days. Among his favorites were the violin/piano sonatas of Brahms, Fauré, and the great masterpiece of Franck. I spent many, many hours with my father listening to these works.

“When violinist Maria Bachmann approached me about a new work for her and pianist Jon Klibonoff, these musical memories came immediately to mind. Of course, the great composers of the past have set an almost impossible standard for the present. However, it is fair to say that they continue to inspire today’s and, hopefully, future generations. Also it is fair to say that even as the language of music continues to grow with the times, many basic elements of structure, harmony, and rhythm will have a somewhat familiar sound to today’s audience.”

SHOSTAKOVICH CRE ATED his Opus 57 Piano Quintet in 1940, a year of calm between storms in Soviet Russia. The Great Terror, during which hundreds of artists and writers were arrested and often killed, had mostly subsided, and Germany did not yet threaten to invade. Shostakovich realized that he was fortunate to be able to write. Stalin, the author of the Terror, had viewed Shostakovich with suspicion ever since he angrily left a 1936 performance of the composer’s expressionist opera Lady Macbeth of the Mtsensk District. Soon after, both Stalin and Pravda vehemently denounced Shostakovich for writing decadent music that lacked correct moral and social values. The composer’s career was temporarily stalled.

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PROGRAM NOTES

Stalin considered Beethoven to be the first “Social realist” composer and insisted on an esthetic not far removed from 18th-century tradition. Despite this constraint, Shostakovich achieved personal expression by channeling his private thoughts through the intimate medium of chamber music. To insure survival, he earned party favor by producing deliberately simple, conventional, and grand works that celebrated various Soviet endeavors such as Stalin’s reforestation plan. It is a measure of Shostakovich’s successful musical diplomacy that when the Nazis invaded Leningrad in 1941, Stalin insisted that Shostakovich be airlifted to the relative safety of eastern Russia. Doubtless this was a dubious honor for the patriotic Shostakovich, who only three months earlier had placed himself in danger to defend Muscovites from enemy bombs.

Stalin admired the Opus 57 Piano Quintet and awarded it the 1940 “Stalin Prize.” This immense cash award of 100,000 rubles was perhaps justified by the enthusiastic public response—at its premiere the ensemble repeated the Scherzo and Finale to satisfy the cheering crowd. However, Western critics were skeptical of a work so strongly endorsed by the Soviet government. Despite its conservative formal structure, the Quintet did eventually win wide critical acceptance because of its fine themes and superb craftsmanship.

Shostakovich wrote his Opus 57 at the request of the Soviet Union’s Beethoven Quartet, which had asked him to perform as their pianist. Prominent throughout the Quintet, the piano introduces and develops many of the work’s thematic ideas. The contemplative three-part Prelude leads without pause to the Fugue, influenced by J. S. Bach. Scored initially for strings, this contrapuntal movement opens with a somber theme that suggests Russian folk origin. Momentum gradually builds to an impassioned thematic statement, then slowly subsides to a hush.

Brilliantly colorful string effects—glissandos, pizzicatos, upper register passages—give vibrancy to the explosive Scherzo. This hard-driving movement careens to a stunning conclusion.

The broadly melodic Intermezzo opens with a lyrical passage in the first violin; drama increases as other instruments enter. The rhapsodic Finale follows without pause. The piano introduces its two themes, first a subdued motif then an angular second idea, famed as the clowns’ entrance music in the Russian circus. The work concludes quietly with a gentle statement derived from the movement’s first theme.

Notes by Nancy Monsman

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Artistic director PETER

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

THE ESCHER STRING

QUARTET has received acclaim for its expressive, nuanced performances that combine unusual textural clarity with a rich, blended sound. In its hometown of New York, the ensemble serves as Season Artists of the Chamber Music Society of Lincoln Center, where it has presented the complete Zemlinsky Quartets Cycle as well as being one of five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets. Last season, the quartet toured with CMS to China.

Within months of its inception in 2005, the ensemble came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre and the Perlman Chamber Music Programme on Shelter Island, NY. They are currently String Quartet in Residence at Southern Methodist University in Dallas, Texas, and Tuesday Musical in Akron, Ohio. The Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s

method of interplay between individual components working together to form a whole.

AFCM last heard the Escher String Quartet on an Evening Series concert in December 2015.

FESTIVAL MUSICIANS

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FESTIVAL MUSICIANS

PHILIP ALEJO is Assistant Professor of Bass at the University of Arizona. He has performed alongside Menahem Pressler, Yehonatan Berick, Maiya Papach, Spencer Myer, Katinka Kleijn, and David Bowlin, and at numerous music festivals in the US and Europe. In addition, he collaborates regularly with harpist Claire Happel as the River Town Duo, and they are committed to commissioning works for harp and bass; to date, they have premiered works by Caroline Shaw, Hannah Lash, and Frederick Evans. Dr. Alejo previously took part in the Festivals of 2014, 2015, and 2017.

Cellist EDWARD ARRON has garnered recognition worldwide for his elegant musicianship, impassioned performances, and creative programming. A native of Cincinnati, Mr. Arron made his New York recital debut in 2000 at the Metropolitan Museum of Art. Since that time, he has appeared in recital, as a soloist with major orchestras, and as a chamber musician throughout North America, Europe, and Asia. He began playing the cello at age seven and continued his studies in New York with Peter Wiley. A graduate of the Juilliard School, where he was a student of Harvey Shapiro, Mr. Arron is currently on the faculty at University of Massachusetts Amherst.

Italian-born ETTORE

CAUSA is considered one of the most brilliant violist performers and pedagogues of our time. Awarded both the “Peter Schidlof Prize” and the “John Barbirolli Prize” for “the most beautiful sound” at the prestigious Lionel Tertis International Viola Competition in 2000, he is praised for his exceptional artistry, passionate intelligence, and complete musicianship. Mr. Causa studied at the International Menuhin Music Academy with Alberto Lysy and Johannes Eskar, and at the Manhattan School of Music with Michael Tree, and he joined the faculty of the Yale School of Music in 2009. He performs on a viola made for him by Frédéric Chaudière in 2003.

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FESTIVAL MUSICIANS

Now based in London, AMY DICKSON was born in Sydney and began musical studies at the age of two, taking her first saxophone lesson aged six. She made her concerto debut at sixteen, and on her 18th birthday made her first recording as soloist with the Sydney Symphony Orchestra. That year she moved to London to study at the Royal College of Music and then at the Conservatorium van Amsterdam. Recognized widely for her exceptional musicality, Gramophone described her as “a player with a difference who has an individual and unusual tone, luscious, silky-smooth, sultry, and voluptuous by turns.”

A native of North Carolina, pianist JAMES GILES studied with Byron Janis at the Manhattan School of Music, Jerome Lowenthal at the Juilliard School, Nelita True at the Eastman School of Music, and Robert Shannon at Oberlin College. He received early career assistance from the Clarisse B. Kampel Foundation and was awarded a Fulbright Grant to study in Italy with the legendary pianist Lazar Berman. In an eclectic repertoire encompassing the solo and chamber music literatures, Dr. Giles is equally at home in the standard repertoire as in the music of our time. He currently teaches at the Bienen School of Music at Northwestern University.

Australian pianist BERNADETTE HARVEY divides her time between collaborations, solo appearances, and recordings. She has had several works written for her, including a solo piano sonata by Festival composer Ross Edwards which she performed and recorded in 2014. Several years ago she inaugurated The Sonata Project, an ongoing commissioning and performing program of new large-scale Australian works for solo piano. A faculty member at the Sydney Conservatorium of Music, she is also the recipient of the Centenary Medal of Australia presented by John Howard for her service to Australian music. This year marks her tenth Festival appearance.

Violinist ANI KAVAFIAN enjoys a prolific career as a soloist, recitalist, and chamber musician. She has performed with virtually all of America’s leading orchestras, including the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, the San Francisco Symphony, and many others. Ms. Kavafian is also a renowned chamber musician and has performed with the Chamber Music Society of Lincoln Center since 1979. Her numerous solo recital engagements include performances at New York’s Carnegie and Alice Tully halls, as well as in major venues across the country. She was part of our first Festival, and this year we hear her for the seventh time.

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FESTIVAL MUSICIANS

The first German artist to ever win the international Naumburg Violin Award in New York, AXEL STR AUSS has been equally acclaimed for his virtuosity and his musical sensitivity. He made his American debut at the Library of Congress in Washington, DC, and his New York debut at Alice Tully Hall in 1998. His chamber music partners have included Menahem Pressler, Kim Kashkashian, Joel Krosnick, Robert Mann, and Bernard Greenhouse. Mr. Strauss serves as Professor of Violin at the Schulich School of Music of McGill University in Montreal. He previously took part in our twenty-fourth Festival in 2017, and this year marks his sixth Festival appearance.

Composer CHRIS

ROGER SON has been hailed as a “confident, fully-grown composing talent” whose music has “virtuosic exuberance” and “haunting beauty” (The New York Times). He has received commissions and performances from numerous orchestras including the San Francisco Symphony, Atlanta Symphony, Houston Symphony, and the Kansas City Symphony (a work for cellist Yo-Yo Ma). Mr. Rogerson has won awards such as the Presser Music Award and prizes from the National Foundation for the Advancement of the Arts and the National Association for Music Education, among many others. The Dover Quartet recently toured his new clarinet quintet, Thirty Thousand Days, with David Shifrin.

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

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October 20 & 21, 2018 – Márquez’ lively favorites Conga del Fuego Nuevo and Danzón No. 2, Saint-Saëns’ audience-favorite Piano Concerto No. 2, Debussy’s poetry-inspired Petite Suite and Chávez’s Symphony No. 2.

November 17 & 18, 2018 – Bernstein’s Candide Overture, Arutiunian’s challenging Trumpet Concerto, Jobim’s chart-topping Girl from Ipanema and Borodin’s Symphony No. 2.

February 2 & 3, 2019 – Brahms’ Double Concerto for Violin and Cello plus two works by Mendelssohn – The Hebrides (inspired by a visit to a sea cave in Scotland) and Symphony No. 5, The Reformation.

March 2 & 3, 2019 – Offenbach’s Orpheus in the Underworld, inspired by Greek mythology, plus the premiere of White’s Concertino, Dukas’ spritely The Sorcerer’s Apprentice and Rimsky-Korsakov’s Capriccio Espagnol.

April 6 & 7, 2019 – Suppé’s The Beautiful Galathea Overture and classics by Mozart – his final Violin Concerto, known as The Turkish, and his Coronation Mass, with SASO Chorus.

Season Sponsor: Dorothy Vanek

For tickets call (520) 308-6226 or visit www.sasomusic.org

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Northwest Tucson Sundays at 3:00 pm

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(Ticket fee waived for students ages 17 and under at this location)

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THANK YOU TO OUR SUPPORTERS!

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THANK YOU TO OUR SUPPORTERS! THANK YOU TO OUR SUPPORTERS!

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$100 – $249

Andrea & Gary Abramowitz Helmut A. Abt Philip AlejoMark & Jan BarmannMargaret Bashkin Kathryn BatesPeter & Betty BengtsonPeter BleasbyJoyce BolingerSarah BorosonElizabeth BuchananPatricia & Ed CampbellThomas & Debra Collazo Terence DeCarolisC. Jane DeckerMartin Diamond & Paula Wilk Brian EdneyJohn & Mary EnemarkPenny & Mark EstominBob FosterJames & Ruth FriedmanLinda L. FriedmanMargot & Tommy Friedmann Juan GallardoMarvin & Carol GoldbergBen & Gloria Golden Kathryn Gordon Janet GraysonMarilyn HalonenClare HamletLes & Suzanne Hayt Sara HeitshuRuth B. HelmJim Homewood William & Sarah Hufford Robert & Claire HugiSara HunsakerLee L. KaneJoe Kantauskis & Gayle BrownCarl KanunKaren Loeb

Robert LuppFrank & Janet MarcusWarren & Felicia MayMax McCauslin Joan McTarnahanHarry NungesserKaren Ottenstein Beer David & Cookie PashkowMargaret Pope & Norman EpsteinJohn RaittLynn RatenerJames ReelHelen RosenJay & Elizabeth RosenblattDr. Elaine Rousseau Kenneth J. Ryan Howard & Helen Schneider Jennifer SchneiderStephen & Janet SeltzerTanya ServaasSara ShifrinShirley SnowHarry StacyRonald Staub Michael Tabor Shirley TaubeneckJennalyn Tellman Sheila TobiasKarla Van Drunen Littooy Dimitri Voulgaropoulos Ann WardPatricia Waterfall Patricia WendelDaryl WillmarthSheila Wilson & Hal BarbarPeggy Wolf

GIFTS IN MEMORY OF

Clifford & Wendy Crookerby Beth Foster

Raymond Hoffmanby Sandra Hoffman

Kathy Kaestleby Paul & Marianne Kaestle

Gloria Ottensteinby Andrea & Gary Abramowitz by Penny & Mark Estomin

Dr. Michael Patrick Sullivanby Gail Bernstein

Stephen Tellmanby Sara Heitshu

Carl T. Tomizukaby Sheila Tobias

Carol Zuckertby Cathy Anderson

GIFTS IN HONOR OF

Cathy Andersonby C. Jane Decker

Dr. & Mrs. Nathaniel Bloomfieldby Dr. Melvin & Maude Shafron

James Reelby C. Jane Decker by Hal Myers

Dr. Elaine Rousseauby Les & Suzanne Hayt

Randy Spaldingby Thomas and Debra Collazo

Randy Spalding & Jim Cookby David & Cookie Pashkow

Allan & Diane Tractenbergby Mark & Jan Barmann

Contributions are listed from January 1, 2018 through December 31, 2018. Space limitations prevent us from listing contributions less than $100.

Every contribution helps secure the future of AFCM.

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

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JEAN-PAUL BIERNY LEGACY SOCIETY

Jean-Paul Bierny & Chris TanzNancy BissellMr. & Mrs. Nathaniel BloomfieldTheodore & Celia BrandtNancy CookDagmar CushingDr. Marilyn HeinsJoe & Janet HollanderJudy KidderLinda LeedbergTom LewinGhislaine PolakBoyer RickelRandy SpaldingAnonymous

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

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

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

Listed are current plans and posthumous gifts.

COMMISSIONS

Jean-Paul Bierny & Chris TanzShirley ChannJim CushingMr. Leonid Friedlander

CONCERT SPONSORSHIPS

Jean-Paul Bierny & Chris Tanz Nancy Bissell Stan Caldwell & Linda LeedbergDavid & Joyce Cornell Jim CushingJohn & Terry Forsythe Garrett-Waldmeyer Trust Jim Lindheim & Jim Tharp George & Irene PerkowJohn & Helen SchaeferMinna J. ShahRandy Spalding Jonathan & Chitra StaleyTucson Desert Song Festival

MUSICIAN SPONSORSHIPS

Celia BalfourJean-Paul Bierny & Chris TanzDagmar Cushing Elliott and Sandy Heiman Boyer Rickel

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

CORPORATE SUPPORTERS

Ameriprise Financial Arizona Early Music Society Cantera Custom Creations Center for Venous Disease CopenhagenDowntown Kitchen + CocktailsFishkind, Bakewell, Maltzman, Hunter Flower Shop on 4th AvenueHolualoa Companies Homecare Assistance Kinghorn Heritage Law GroupLa Posada Ley Piano Loft Cinema Mister Car WashRogue Theater True Concord Tucson Guitar Society

THANK YOU TO OUR SUPPORTERS!

23

VERSE

Instructions on Not Giving UpBY A DA L I M Ó N

More than the fuchsia funnels breaking out

of the crabapple trees, more than the neighbor’s

almost obscene display of cherry limbs shoving

their cotton candy-colored blossoms to the slate

sky of spring rains, it’s the greening of the trees

that really gets to me. When all the shock of white

and taffy, the world’s baubles and trinkets, leave

the pavement strewn with the confetti of aftermath,

the leaves come. Patient, plodding, a green skin

growing over whatever winter did to us, a return

to the strange idea of continuous living despite

the mess of us, the hurt, the empty. Fine then,

I’ll take it, the tree seems to say, a new slick leaf

unfurling like a fist, I’ll take it all.

Reprinted with the permission of the author. From The Carrying, Milkweed Editions, 2018.

Selected for tonight’s concert by Sarah Kortemeier, Instruction and Outreach Librarian, and Julie Swarstad Johnson, Library Specialist, at the University of Arizona Poetry Center.

24

WORKING TOGETHER TO BUILD A STRONGER COMMUNITY

Proud to Support

Bringing World Class Chamber Music to Tucson

Arizona Friends of Chamber Music

25

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The Confident Retirement® approach is not a guarantee of future financial results.

Investment advisory products and services are made available through Ameriprise Financial Services, Inc., a registered investment adviser.

© 2015 Ameriprise Financial, Inc. All rights reserved. (10/15)

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