26TH TUCSON WINTER CHAMBER MUSIC FESTIVALPETER REJTO, FESTIVAL DIRECTOR TUESDAY MARCH 5, 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: Béla Bartók

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FROM BERNADETTE HARVEY

Greetings,

The Tucson Winter Chamber Music Festival is very close to my heart. It is because of this festival that I married my sweetheart.

I have wonderful friends in Tucson who welcome me as if I’m coming home! How grateful I am for the support and generous hospitality of Jean-Paul Bierny and Chris Tanz each year.

I’ve had the opportunity to meet and play with people who I never would have met in Australia. Because of James Reel, Peter, and the Festival committee, I was able to record four works recently, three of which were premieres I participated in at the Festival here in Tucson, with the fabulous Jupiter Quartet. I send my heartfelt thanks to the Festival supporters who commissioned those premieres.

My parents, Anne and Francis, loved last year’s Festival so much that they’re returning this year. I am glad to be here playing with my old friends Ani and Axel and very excited about meeting and working with all the new musicians.

BERNADETTE HARVEY

Bernadette is one of the Festival’s most frequent guests. A pianist from Australia, she divides her time between collaborations, solo appearances, and recordings. This year will mark her tenth festival appearance.

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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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The art of music, then, is an art expressing itself in terms of meter, rhythm, melody, harmony, counterpoint, form, style, etc., etc., and creating by means of them a thing of beauty. Our appreciation of it consists first of all in an emotional response to the music itself, but that appreciation may be greatly enhanced by a vivid response on our part to all its elements, i.e., to the swing of the meter, the lilt of the rhythm, the play of the counterpoints, one against another, the arrangement of the themes into a coherent form, etc., etc. The person who understands Keats’ “Ode on a Grecian Urn” is the person who answers to the beauty of sound in the words, to the rhythm, to the highly imaginative treatment of the words themselves, etc., as well as to their significance as meaning.

Excerpted from Thomas Whitney Surette, “Music,” in The Significance of the Fine Arts (Boston: Marshall Jones Company, 1923).

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TUESDAY, MARCH 5, 2019Pre-Concert Conversation with James Reel 7:00 p.m.

TONIGHT’S PROGRAM

WOLFGANG AMADEUS MOZART (1756–1791)

Piano Quartet in G Minor, K. 478

Allegro Andante Rondo: Allegro moderato

James Giles, piano Axel Strauss, violin Ettore Causa, viola Edward Arron, cello

BÉLA BARTÓK (1881–1945)

String Quartet No. 5

Allegro Adagio molto Scherzo: Alla bulgarese Andante Finale: Allegro vivace

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

INTERMISSION

LUDWIG VAN BEETHOVEN (1770–1827)

Piano Trio in B-flat Major (“Archduke”), Op. 97

Allegro moderato Scherzo: Allegro Andante cantabile, ma però con moto Allegro moderato

Bernadette Harvey, piano Ani Kavafian, violin Edward Arron, cello

The appearance of Ani Kavafian at the Festival is sponsored by the generous contribution of Elliott & Sandy Heiman.

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

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WITH STE ADY IMPROVEMENTS to the fortepiano (or variously pianoforte) during Mozart’s lifetime, the instrument grew immensely in popularity both for professionals and for numerous Viennese who aspired to attain the social grace its household performance bestowed. In 1785 Mozart contracted with his friend and publisher Franz Anton Hoffmeister to write three piano quartets, a new genre that promised to be marketable to the many Viennese amateur pianists. At that time the piano was not a full thematic partner in the ensemble; early chamber works most often used the keyboard to fill out harmonies supporting the string lines. K. 478, the first of the two piano quartets that Mozart completed, is a breakthrough work in which the piano and the string group achieve equality. The piano score, so virtuosic that it on occasion resembles a concerto, is balanced by equally strong string lines to create a unified chamber work.

Unfortunately for Mozart, Hoffmeister assessed K. 478 as being too difficult for his clients (primarily females, many delicate), and he declined to publish it—but he did allow the cash-strapped Mozart to keep the money that had been advanced. However, Mozart wrote a second piano quartet a few months later and sought out a new venue—Artaria, who became his primary publisher.

K. 478 is cast in G minor, a dark key that Mozart favored for his more searching works. The terse opening theme, played in unison by all instruments, solidifies this tonality; the solo piano responds with an extension to the phrase, which is then repeated and developed by all instruments. The piano introduces a calmer second subject (B-flat major) first developed contrapuntally by the strings, then recast with varied rhythms. The piano states a third theme, echoed by the violin. After a brief but dramatic development, the themes undergo further development in the recapitulation. The emphatic coda reiterates the succinct opening motive.

The Andante (B-flat major), in sonata form, develops two expressive melodies, both stated first in the piano. Colorful recasts of scoring enhance the fervency of these lyrical themes. The rondo finale (G major) opens with a buoyant idea in the piano; an energetic theme follows in the strings. The brilliant piano score demands virtuosity throughout.

BEGINNING IN HIS rebellious student days Béla Bartók longed to break from Hapsburg Austria’s Eurocentric cultural domination by creating, as he wrote, “something specifically Hungarian in music.” While on a country outing in 1904 he happened upon a young peasant girl singing an indigenous folk song, and his path became clear. Bartók and his colleague Zoltán Kodály packed their unwieldy recording equipment into a primitive truck and began to search out songs from Hungary’s deep countryside. Their ethnomusicology quest resulted in an archive of over a thousand carefully catalogued songs and dances. Bartók intended to use this native material as the inspirational starting point for his original compositions: “It was not a question of taking unique melodies and incorporating them into our works. What we had to do was to divine the spirit of this unknown music and to make this spirit the basis for our own works.” Bartók gradually assimilated the essences of these songs into his own musical thought processes. Much of the imaginative power of his six string quartets stems from his fusion of folk and art music.

Bartók wrote his monumental set of six string quartets during the years from 1909 to 1939, the core of his compositional career in Budapest before his emigration to the United States in 1940. Each quartet both marks the phases of his evolving creative development and serves as a diary of his emotional and intellectual life. These six string quartets, together with the fifteen quartets of Shostakovich, have been recognized as the most important contributions to the genre since the string quartets of Beethoven. Yet they remain demanding works for both listeners and interpreters, in part because of the lofty goal that Bartók set for their composition—to harness the instinctive, primitive forces inherent in his native Hungarian music with the most intellectually sophisticated aspects of the Western European string quartet genre.

PROGRAM NOTES

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PROGRAM NOTES

“It was not a question of taking unique melodies and incorporating them into our works. What we had to do was to divine the spirit of this unknown music and to make this spirit the basis for our own works.” BÉLA BARTÓK

Quartet No. 5, dedicated to its commissioner Elizabeth Sprague Coolidge, was written with uncharacteristic speed during the month of August 1934. Its five movements are arranged symmetrically in an arch form. The first and fifth sections are rapid and share thematic material; the second and fourth are slow and similar in mood; a scherzo, with a central trio section, forms the center of the work. Mirror imaging can be discerned in the opening Allegro: at the recapitulation its three themes reappear inverted and in reverse order. The opening chorale theme of the Adagio molto suggests an homage to Beethoven’s “Hymn of Thanksgiving” from his Opus 132 String Quartet; the following area of “night music,” as in Quartet No. 4, is intended to evoke the murmur of a mysterious woods. Both ideas return with variations in the Andante fourth movement.

The central Scherzo moves in an irregular meter characteristic of Bulgarian folk song. Its measures, nine beats long, are divided so that accents fall at four-, two-, and three-beat units. The tempo accelerates in the trio section as the viola and cello sing a folklike melody.

The vitality of the opening Allegro returns in the presto Finale, thematically based on the dissonant interval of the augmented fourth (B-flat and E). A surprising shift occurs at the recapitulation—all dissonance disappears and the instruments are directed to play like a music box, “con indifferenza, meccanico” (with indifference, mechanically). Dissonance is gradually insinuated into the line, and the vigorous Finale resumes.

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PROGRAM NOTES

ONE OF VIENNA’S more congenial nobles was the Archduke Rudolph, younger brother of the Emperor of Austria. Rudolph was a loyal patron for Beethoven, but in exchange for support he expected piano tutoring sessions of great length and frequency. Much correspondence exists detailing Beethoven’s latest reason for postponing a lesson; Beethoven was also heard stating that Rudolph was “the one pupil he would gladly be rid of if he could.” Nevertheless, Beethoven’s appreciation is evident in the list of major works dedicated to Rudolph, among which is the Opus 97 Piano Trio (1811). This popular trio, nicknamed “Archduke,” is said to suggest an idealized portrait of the expansive Rudolph.

Beethoven himself performed the enormous piano score at the work’s premiere, held in April 1814 for a charity benefit. Because of his increasing deafness, this was to be Beethoven’s last public appearance as a pianist. Fellow composer Ludwig Spohr sadly described the performance: “In forte passages, the poor deaf man pounded on the keys until the strings jangled, and in the piano sections he played so softly that whole groups of notes were omitted.” The last of his piano trios, the “Archduke” is considered to be his greatest work in this medium.

Like most of his chamber works of his middle period, the trio begins with a movement in sonata form—a framework established by earlier classicists that organizes ideas into a coherent succession: an exposition of motifs, followed by a development of these ideas; then a recapitulation related to the opening section and a concluding coda. Within this scheme, Beethoven achieved maximum dramatic expression through contrasting modulations, particularly in the development section, and his uniquely flexible treatment of themes.

The Allegro moderato opens with a broad theme (B-flat major) that establishes the expansive mood of the entire work. A gently descending second subject (G major) is heard first in the piano and then assumed by the strings. The development section is a sustained conversation among all three instruments as they explore elements of the exposition’s opening themes. After a restatement of ideas, the movement concludes with a brief coda.

A vivacious tune in the strings opens the Scherzo, which alternates twice with the two-part Trio—a substantial section that consists of a mysterious fugato and a contrasting dance.

The Andante cantabile (marked “slow and singing, however with motion”) offers five variations and a recitative coda on a hymnlike theme. In each variation, the melody undergoes a radical transformation, but its harmonic structure is largely maintained.

The sublime mood is disrupted by the energetic rondo finale, which follows without pause. Virtuoso piano writing is heard throughout this brilliant movement, in which four appearances of the main theme alternate with contrasting episodes that refer thematically to earlier ideas. Near its end a change of meter from 2/4 to 6/8 accelerates the momentum, driving the work to an exhilarating conclusion.

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

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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!

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VERSE

On Joy and SorrowBY K A H L I L G I B R A N

Then a woman said, Speak to us of Joy and Sorrow.

And he answered:

Your joy is your sorrow unmasked.

And the selfsame well from which your laughter rises was oftentimes filled with your tears.

And how else can it be?

The deeper that sorrow carves into your being, the more joy you can contain.

Is not the cup that holds your wine the very cup that was burned in the potter’s oven?

And is not the lute that soothes your spirit, the very wood that was hollowed with knives?

When you are joyous, look deep into your heart and you shall find it is only that which has given you sorrow that is giving you joy.

When you are sorrowful look again in your heart, and you shall see that in truth you are weeping for that which has been your delight.

From The Prophet. Public Domain.

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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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5599 N. Oracle Road 10425 N. Oracle Road, Suite 135

eyestucson.com

With the Precision of a Fine Performance.

520-293-6740

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

SaddleBrooke Saturdays at 7:30 pm

DesertView Performing Arts Center

39900 S. Clubhouse Drive

Northwest Tucson Sundays at 3:00 pm

St. Andrew’s Presbyterian Church7650 N Paseo Del Norte

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

Indoor and outdoor pools • State-of-the-art wellness Pavilion Preferred access to a continuum of support • Financial peace of mind with our exclusive LifeLease commitment • Superb dining, from elegant to casual • Over 100 acres of beautifully

maintained grounds • Independent living in a variety of home options: from spacious apartments to

award-winning houses

La Posada is an award-winning, nationally accredited not-for-profit continuing care community.

350 E. Morningside Rd., Green Valley PosadaLife.org

Explore the La Posada Lifestyle