La Jolla Music Society Season 46, Program Book October-January

SEASON

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2014-15

OCTOBER-JANUARY

JEAN-YVES THIBAUDET

O CTO B E R 2014

BRANFORD MARSALIS AND THE CHAMBER ORCHESTRA OF PHILADELPHIA FRIDAY, OCTOBER 17, 2014 · 8 PM

HAGEN QUARTET SATURDAY, OCTOBER 25, 2014 · 8 PM

N OVE M B E R 2014

CZECH PHILHARMONIC Jir í Belohlávek, chief conductor Jean-Yves Thibaudet, piano THURSDAY, NOVEMBER 6, 2014 · 8 PM

DANISH STRING QUARTET SATURDAY, NOVEMBER 15, 2014 · 8 PM

JAN UARY 2015

GIDON KREMER, violin & DANIIL TRIFONOV, piano THURSDAY, JANUARY 15, 2015 · 8 PM

TAKÁCS QUARTET SATURDAY, JANUARY 17, 2015 · 8 PM

UKULELE ORCHESTRA OF GREAT BRITAIN FRIDAY, JANUARY 23, 2015 · 8 PM

JIAYAN SUN, piano SUNDAY, JANUARY 25, 2015 · 3 PM

WENDY WHELAN/RESTLESS CREATURE FRIDAY, JANUARY 30, 2015 · 8 PM

NIKOLAY KHOZYAINOV, piano SATURDAY, JANUARY 31, 2015 · 8 PM

F E B R UA RY 2015

KODO FRIDAY, FEBRUARY 6, 2015 · 8 PM

INGOLF WUNDER, piano SUNDAY, FEBRUARY 8, 2015 · 3 PM

ROTTERDAM PHILHARMONIC ORCHESTRA Yannick Nézet-Séguin, music director Hélène Grimaud, piano FRIDAY, FEBRUARY 13, 2015 · 8 PM

SIR ANDRÁS SCHIFF, piano FRIDAY, FEBRUARY 20, 2015 · 8 PM

JERUSALEM QUARTET SATURDAY, FEBRUARY 21, 2015 · 8 PM

GIL SHAHAM, violin FRIDAY, FEBRUARY 27, 2015 · 8 PM

MAR CH 2015

INON BARNATAN, piano FRIDAY, MARCH 6, 2015 · 8 PM

MOMIX Alchemia Moses Pendleton, artistic director FRIDAY, MARCH 13, 2015 · 8 PM

HERBIE HANCOCK & CHICK COREA FRIDAY, MARCH 20, 2015 · 8 PM

CHARLIE ALBRIGHT, piano SUNDAY, MARCH 22, 2015 · 3 PM

LONDON SYMPHONY ORCHESTRA Michael Tilson Thomas, conductor Yuja Wang, piano SUNDAY, MARCH 29, 2015 · 8 PM

APR I L 2015

DANIIL TRIFONOV, piano FRIDAY, APRIL 10, 2015 · 8 PM

BUDDY GUY SATURDAY, APRIL 11, 2015 · 8 PM

MICHAEL FEINSTEIN The Sinatra Legacy SATURDAY, APRIL 25, 2015 · 8 PM

HAN BIN YOON, cello SUNDAY, APRIL 26, 2015 · 3 PM

MAY 2015

MALANDAIN BALLET BIARRITZ Roméo et Juliette Thierry Malandain, artistic director SUNDAY, MAY 3, 2015 · 8 PM

CHRISTIAN TETZLAFF, violin & LARS VOGT, piano SATURDAY, MAY 9, 2015 · 8 PM

ARTURO SANDOVAL & PONCHO SANCHEZ AND HIS LATIN JAZZ BAND SATURDAY, MAY 16, 2015 · 8 PM

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All programs, artists, dates, times and venues are subject to change.

ARTURO SANDOVAL

2 L A J O L L A M U S I C S O C I E T Y

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Season 46 is dedicated to CONRAD PREBYS & DEBBIE TURNER

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La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Steve Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor.

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Dear friends: A year ago, as we plunged into the amazing lineup of events and artists that made our 45th Anniversary so exciting, it seemed hard to think that the 2014-15 Season could match it. But as the staff’s hard work shaped this year’s schedule, our 46th Season has emerged as one of the most exciting ever, and it’s a special pleasure to welcome you to today’s program. Assembling a concert series is like walking a high wire. Each step has to be considered carefully, keeping a keen eye on the ultimate goal. A proper respect for tradition must be counterpoised against investing time and financial resources in artists who are blazing new paths into the future. For La Jolla Music Society’s 46th Season, I think we’ve got it just right. A spectacular Special Event opens our Season: An evening with Grammy® Award-winning saxophonist Branford Marsalis, joined by The Chamber Orchestra of Philadelphia. The Revelle Chamber Music Series features four of the most acclaimed string quartets in the world, the Frieman Family Piano Series presents keyboard artistry at a level usually available only in music capitals such as Paris and London. Both the Celebrity Orchestra and Celebrity Recital Series offer San Diego audiences opportunities to experience internationally-acclaimed ensembles and soloists such as the Czech Philharmonic, Rotterdam Philharmonic and London Symphony orchestras; violinists Gidon Kremer, Gil Shaham and Christian Tetzlaff; and pianists Hélène Grimaud, Jean-Yves Thibaudet, Yuja Wang, Daniil Trifonov and Lars Vogt. And that’s just the beginning. Jazz Series highlights include a duo-concert by superstars Herbie Hancock and Chick Corea; the Dance Series welcomes the return of MOMIX and the U.S. première of Roméo et Juliette by France’s Malandain Ballet Biarritz. You’ll hear the young Discovery Series artists who will shape music’s future in the crystalline acoustics of TSRI’s remarkable auditorium. And the cherries on the sundae? New York City Ballet's Wendy Whelan stars in a program of four new duets called Wendy Whelan/Restless Creature; Kodo: Japan’s taiko drummers expand the near-limitless possibilities of their unique imagination – and nonpareil entertainer Michael Feinstein salutes Frank Sinatra with a big band program that celebrates an American musical legend on his birthday centennial. But perhaps the most exciting endeavor in our 46-year history is the construction of our new performing arts center. I look forward to sharing updates on its progress as we finalize design plans and it begins to takes shape in La Jolla. With a projected opening date of autumn 2017, it will nurture new opportunities for both the artists we present and the audiences who keep music and dance alive and thriving. With your support – as both audience member and financial supporter – LJMS has played a vital part in placing our community in the forefront of America’s musical leadership. As we move into this new era, your support will be more essential than ever. With many thanks and deep appreciation,

Christopher BeachPresident & Artistic Director

SEASON 46 • 2014-15

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LA JOLLA MUSIC SOCIETY 7946 Ivanhoe Avenue, Suite 309, La Jolla, California 92037 Admin: (858)459-3724 | Fax: (858)459-3727

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Martha Dennis, Ph.D. – ChairTheresa Jarvis – TreasurerClara Wu – SecretaryClifford Schireson – Past Chair

Steve BaumChristopher BeachKaren A. BraileanGordon BrodfuehrerWendy BrodyKatherine ChapinRic CharltonElaine Bennett DarwinSilvija DevineBrian DouglassBarbara EnbergMatthew GeamanLehn GoetzSue J. Hodges, Esq.Susan HoehnAngelina K. Kleinbub

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Brenda Baker – Honorary DirectorSteve Baum – Honorary DirectorJoy Frieman, Ph.D. – Honorary DirectorIrwin M. Jacobs – Honorary DirectorJoan K. Jacobs – Honorary DirectorLois Kohn (1924-2010) – Honorary DirectorHelene K. Kruger – Honorary DirectorConrad Prebys – Honorary DirectorEllen Revelle (1910-2009) – Honorary Director

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LA JOLLA MUSIC SOCIETY STAFFChristopher Beach, President & Artistic DirectorCho-Liang Lin, SummerFest Music Director

Chris Benavides – Finance DirectorDebra Palmer – Executive Assistant & Board LiaisonEric Alizada – Administrative Assistant

Leah Z. Rosenthal – Director of Artistic Planning & EducationJazmín Morales – Artist Services Coordinator Jonathan Piper, Ph.D. – Education Manager Marcus Overton – Consultant for Special ProjectsSerafin Paredes – Community Music Center Program DirectorEric Bromberger – Program Annotator

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CALENDAR 2WELCOME LETTER 9LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS 10MARSALIS WELL-TEMPERED 11HAGEN QUARTET 15CZECH PHILHARMONIC 19DANISH STRING QUARTET 24GIDON KREMER & DANIIL TRIFONOV 27TAKÁCS QUARTET 30ARTIST BIOGRAPHIES 34ANNUAL SUPPORT AND MEDALLION SOCIETY 38

SEASON 46 • 2014-15

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MARSALIS WELL-TEMPERED AN EVENING WITH BRANFORD MARSALIS FEATURING THE CHAMBER ORCHESTRA OF PHILADELPHIA FRIDAY, OCTOBER 17, 2014 · 8 PM MCASD SHERWOOD AUDITORIUM

J.S. BACH Air from Suite No. 3 in D Major, BWV 1068(1685-1750)

ALBINONI Concerto à Cinque in C Major for Oboe, Strings, and (1671-1751) Continuo, Opus 9, No. 5 (Transcription by B. Marsalis) Allegro Adagio (non troppo) Allegro

TELEMANN Don Quixote, TWV55:G10(1681-1767) Overture The Awakening of Don Quixote His Attack on the Windmills Amorous Sighs over the Princess Dulcinea Sancho Panza Mocked The Gallop of Rosinante; The Gallop of Sancho’s Ass The Repose of Don Quixote

COUPERIN Concerts royaux, Premier Concert (Trio featuring B. Marsalis)(1668-1733)

INTERMISSION

DORNEL Sonata in G Major for Oboe and Bass Continuo(1680-1756) Prelude Fugue Gravement Gigue

LOCATELLI Concerto Grosso in C Minor, Opus 1, No. 6(1695-1764) Adagio Allegro Largo Allegro

J.S. BACH Concerto for Oboe, Strings, and Continuo in F Major, BWV 1053 (Transcription by B. Marsalis) Allegro Siciliano Allegro

Branford Marsalis last performed for La Jolla Music Society in SummerFest on August 8, 2012.This performance marks The Chamber Orchestra of Philadelphia's La Jolla Music Society debut.


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MARSALIS WELL-TEMPERED - ROSTER/PROGRAM NOTES

Program notes by Eric Bromberger

Air from Suite No. 3 in D Major, BWV 1068

Johann Sebastian BACHBorn March 21, 1685, Eisenach, GermanyDied July 28, 1750, Leipzig Is this music–so simple, so spare, so moving–the most beautiful Bach ever wrote? Certainly it has become some of the most famous–it has been arranged for many different instruments and was best-known a century ago in an arrangement for violin and piano by August Wilhelmj called Air on the G-String. In fact, the Air is the second movement of Bach’s Suite No. 3 in D Major, and even within that context it stands apart as something special. Bach’s four orchestral suites consist of an overture followed by a series of brisk dance movements. An air, however, is a purely melodic piece, and this achingly beautiful music brings a moment of chaste repose amidst the vigor of the other movements of the Third Suite. It is impossible to date the Suite No. 3 accurately. While Bach’s instrumental music is usually assigned to his years at the court of Anhalt-Cothen (1717-1723), recent evidence suggests that the Third Suite may actually have been written around 1730, when Bach–then 45–was serving as cantor at the Thomaskirche in Leipzig. Though the Suite is scored for three trumpets, timpani, two oboes, and strings, the Air uses only strings and continuo. One of the most impressive things about the Air is how Bach creates so beautifully-proportioned a work in so short a span: the Air–without repeats–is only nineteen measures long. Over a quietly walking bass line, Bach spins a long-lined melody that begins simply but grows in power and complexity, then subsides quietly. The stately quality of this music has made it something of a memorial piece: the strings of the Cleveland Orchestra played it–without conductor–in memory of conductor George Szell immediately after his death in 1970.

Concerto à Cinque in C Major for Oboe, Strings, and Continuo, Opus 9, No. 5 (Transcription by B. Marsalis)

Tomaso ALBINONIBorn June 8, 1671, VeniceDied January 17, 1751, Venice Tomaso Albinoni himself was a contemporary of Bach, who admired his music and who paid Albinoni the subtle compliment of borrowing some of his themes to use as fugue subjects. The son of a wealthy family, Albinoni never had to take a court or church position to support himself as a musician, but he was far from being a dilettante, as he is sometimes characterized: he wrote over fifty operas, forty cantatas, and a vast amount of instrumental music that was widely published, and his name was–at the time of his death–known throughout Europe. In 1722 Albinoni published as his Opus 9 a set of twelve concertos in Amsterdam. These are sometimes referred to as Concerti à Cinque because the string orchestra consists of five parts–two for violin, two for viola, and a bassline. Opus 9 offers several concertos for strings alone, several for oboe, and several for trumpet. The Oboe Concerto in C Major is in the three-movement form that Albinoni helped to establish for concertos, and these movements are in the expected fast-slow-fast sequence. The finale, a sprightly movement in 3/8, is particularly attractive. This concerto, like all the solo pieces in this program, is heard in an arrangement for saxophone by Branford Marsalis.

Don Quixote, TWV55:G10

Georg Philipp TELEMANNBorn March 14, 1681, Magdeburg, GermanyDied June 25, 1767, Hamburg Miguel de Cervantes’ great novel Don Quixote has charmed and moved (and haunted) readers for the last four centuries. Not only has that novel contributed a word to the

VIOLIN IMeichen Liao-Barnes

Concertmaster/Leader

Aisha DossumovaBenjamin Scott

Nina VieruAlex Link

VIOLIN IIAlexandra Cutler-Fetkewicz

Principal

Michelle BishopAzer Damirov

Madison MarcucciJames Wilson

VIOLAJoseph Kauffman

Adelya ShagidullinaMichael DavisWilliam Hakim

CELLOMichal Schmidt

Elizabeth ThompsonNaomi Gray

BASSDaniel TurkosJerrell Jackson

HARPSICHORDRaphael Fusco

THE CHAMBER ORCHESTRA OF PHILADELPHIA

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English language (quixotic), but everyone identifies with its hero, an idealistic man forced to live in a prosaic and compromised world. It has inspired countless operas and plays, a Broadway musical (Man of La Mancha), and pieces by composers as diverse as Mendelssohn, Ravel, Falla, and Richard Strauss, whose tone poem Don Quixote may be the greatest of them all. Georg Philipp Telemann was also taken with Cervantes’ tale, and late in his long life he composed what he called a “burlesque de Quixote”: an orchestral suite with movements inspired by some of the most famous scenes from the novel. Audiences should approach this music fully aware that musical scene-painting was in its infancy when Telemann wrote his Don Quixote. Richard Strauss, a master of descriptive music, once claimed that his highest aim was to write fork music that could never be mistaken for a spoon, and his musical portraits of scenes from the novel are masterly. By comparison, Telemann’s can seem more generalized, but we should not judge Telemann for failing to be Strauss, and his musical scenes are quite enjoyable on their own. Telemann begins with an Overture in the French style. The powerful opening, full of dotted rhythms, is marked Maestoso, and the music rushes ahead at the fugal central episode before the return of the opening material. There follow five “scenes” from the novel, all but one in binary form. The Awakening of Don Quixote is followed by the spirited Attack on the Windmills. This is probably the most famous (and the most dramatic) scene in the novel, and Telemann writes a particularly active part for the first violins here. The gentle Amorous Sighs over the Princess Dulcinea is followed by Sancho Panza Mocked–here the Don’s faithful servant is tossed on a blanket when he and the knight cannot pay for their lodging. The next movement is in three-part form: the Gallop of Rosinante depicts the gait of the Don’s aged horse, while the trio section–The Gallop of Sancho’s Ass–offers a variant portraying the trot of the squire’s mount. The last movement, Repose of Don Quixote, brings the death of the noble knight, and Telemann marks this movement doucement (“gently”). Rather than ending heroically, the music simply fades away, and that conclusion is all the more effective for its understatement.

Concerts royaux, Premier Concert

François COUPERINBorn November 10, 1668, ParisDied September 11, 1733, Paris François Couperin trained as an organist and a harpsichordist, and his rise was meteoric. In 1693–at the age of only 25–he was named organiste du roi, and in 1717 he became clavecinist to the king. Much of his music was composed

for the cultured Louis XIV, and from the music he composed for the court Couperin later drew a series of what he called Concerts royaux: “Royal Concerts.” These were suites of brief movements, but the remarkable thing was that Couperin did not specify an exact instrumentation for them, nor did he seem to care. He said that they might be performed by a single harpsichord or by a chamber ensemble that consisted of a high melodic instrument (like violin, oboe, or flute), an instrument of somewhat lower range (viol or bassoon), and a bass continuo line that could be undertaken by different instruments. For Couperin, the instrumentation of this music was fluid, and he doubtless would have been delighted to hear it this evening in Branford Marsalis’ arrangement. The first in the series Premier concert takes the general form of the baroque partita, which was understood to be a collection of “parts”: generally a collection of dance movements. The movements of Couperin’s piece conform very closely to Bach’s notion of the partita (an opening Prelude followed by an Allemande, Sarabande, and Gigue), and–like Bach again–Couperin adds extra movements such as a Gavotte and a Minuet. Audiences listening to this music might imagine themselves at one of the Sunday afternoon concerts at Versailles, enjoying music that had been composed specifically for the pleasure of the court. Couperin begins with a suitably solemn Prelude–his marking his Gravement–and then offers a series of elegant dance movements. These are usually in binary form, and they are very brief–each movement is printed on a single page. The one departure from binary form comes in the last movement, a Minuet in the expected ABA form.

Sonata in G Major for Oboe and Basso Continuo

Louis-Antoine DORNELBorn about 1680Died after 1756, Paris Louis-Antoine Dornel was a contemporary of Bach and Handel, and he made his career in Paris, but beyond that little is known about him. His birth and death dates are unknown, much of his music appears to have been lost, and we are left with a handful of works: vocal settings, keyboard pieces, and chamber music. Dornel was an organist, and some of his music for that instrument has survived as well. Among the most popular of his compositions is a series of sonatas for oboe and bass continuo: the latter could be undertaken by keyboard or by an instrumental ensemble. The Sonata in G Major has become the most popular of these and has been recorded several times. It consists of four brief movements. The Prelude gets off to a stately beginning in 4/4, then shifts to 3/4 and speeds ahead before concluding with a return to the opening meter and tempo; the Fugue is based on a

MARSALIS WELL-TEMPERED - PROGRAM NOTES


very short subject. The solemn Gravement–only 21 measures long–features a richly-embellished melodic line, while the concluding Gigue is in binary form.

Concerto Grosso in C Minor, Opus 1, No. 6

Pietro LOCATELLIBorn September 3, 1695, Bergamo, ItalyDied March 30, 1764, Amsterdam Pietro Locatelli learned to play the violin as a boy, and he quickly became so good that his parents sent him south from his native Bergamo for further study in Rome. There he developed into a virtuoso and toured throughout Italy and the German states. In 1729, while still in his early thirties, Locatelli settled in Amsterdam and made that city his home for the rest of his life. By all accounts a highly educated man, he became involved in publishing music in these years, when Amsterdam was the center of music publishing. As might be expected, Locatelli wrote a great deal for solo violin, but his Opus 1 was a set of twelve concerti grossi, which he published in Amsterdam in 1721; eight years later, when he settled in Amsterdam permanently, Locatelli returned to this set, revised it, and republished it. Locatelli may have studied with Antonio Corelli in Rome–the evidence is unclear. But what is clear is that Corelli’s conception of the concerto grosso–with a set of solo strings emerging from the texture of a larger string orchestra and contrasting with it–very much influenced Locatelli. The Concerto Grosso in C Minor, the sixth in Locatelli’s Opus 1, falls into four brief movements in the expected slow-fast-slow-fast sequence. The firm beginning of the opening Adagio establishes the dark mood of this music, and from out of this powerful sound the four solo instruments–two violins, a viola, and a cello–emerge with lines of their own. The Allegro is a spirited fugue; this time the solo instruments lead and are gradually joined by the larger ensemble. Solo strings once again open the brief Largo, which really serves as a preparation for the final movement. In binary form, this Allegro bristles with rhythmic energy–much of it is sharply syncopated–and drives to its conclusion on a firm C-minor chord.

Concerto for Oboe, Strings, and Continuo in F Major, BWV 1053

Johann Sebastian BACH In April 1729, shortly after leading performances of his monumental St. Matthew Passion, Bach made a significant change in his musical life. After six exhausting years as cantor at St. Thomas’s Church in Leipzig–during which he

had composed cantatas, oratorios, and passions for religious observances–Bach became director of the Leipzig Collegium Musicum. The Collegium Musicum corresponded somewhat to the modern university-community symphony orchestra: it was an ensemble of student, amateur, and professional instrumentalists who rehearsed weekly and performed orchestral music. The orchestra gave public concerts on Wednesday afternoons from 4 to 6 in a coffee-garden called Grimmische’s Thor during the warm months and inside Zimmerman’s coffee-house on Friday evenings from 8 to 10 during the winter. After six years of having to produce a new cantata almost every week, Bach was–at age 44–doubtless glad to put his responsibilities for church music behind him and turn to the quite different pleasures of secular music. As director, Bach was responsible for choosing the music the Collegium Musicum performed, and he quickly discovered that he needed new keyboard concertos, probably for his talented sons Wilhelm Friedemann and Carl Philipp Emanuel to perform with the orchestra. He turned to his library and recycled a number concertos he had written much earlier–often for other instruments–by arranging them as keyboard concertos. These concertos had been composed during his years as kapellmeister in Cöthen (1717-1723), and some may actually date from his years in Weimar (1708-1717). In 1738-39, Bach carefully prepared manuscripts for seven of these keyboard concertos, and so they exist today in accurate texts, although it is not always possible to determine the exact instruments for which they were originally composed. Evidence suggests that the Concerto in E Major may have been transcribed from an early oboe concerto, and scholars have been able to recreate that earlier version, transposing it to F major in the process. The concerto is heard this evening in an arrangement for saxophone and orchestra by Branford Marsalis. The opening Allegro bursts to life with a great rush of ebullient energy, and the bright spirits of that ritornello sustain the entire movement; it is a feature of this non-stop energy that the soloist plays throughout the movement. After the glistening first movement, this Siciliano sounds particularly somber. Bach preserves the swaying dotted rhythms of that old dance form (its title suggests its place of origin) and has the violins announce the main idea as the soloist accompanies; gradually the soloist assumes the central role, and the strings accompany. The concluding Allegro returns to the key and manner of the opening movement. Set in a quick 3/8, this movement spins off energy and dances the concerto to its spirited close.

MARSALIS WELL-TEMPERED - PROGRAM NOTES

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HAGEN QUARTETSATURDAY, OCTOBER 25, 2014 · 8 PM MCASD SHERWOOD AUDITORIUM

Lukas Hagen, Rainer Schmidt, violins;Veronika Hagen, viola; Clemens Hagen, cello

MOZART String Quartet in C Major, K.465 “Dissonant”(1756-1791) Adagio; Allegro Andante cantabile Menuetto: Allegro Allegro non troppo

SHOSTAKOVICH String Quartet No. 8 in C Minor, Opus 110(1906-1975) Largo Allegro molto Allegretto Largo Largo

INTERMISSION

BRAHMS String Quartet in B-flat Major, Opus 67(1833-1897) Vivace Andante Agitato (Allegretto non troppo Poco Allegretto con Variazioni

This performance marks the Hagen Quartet's La Jolla Music Society debut.


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PRELUDE 7 PMLecture by Nicolas Reveles: Dissonance in Mozart, Shostakovich and Brahms

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Hagen Quartet appears by arrangement withArts Management Group www.artsmg.com



String Quartet in C Major, K.465 “Dissonant”

Wolfgang Amadeus MOZARTBorn January 27, 1756, SalzburgDied December 5, 1791, Vienna When Mozart arrived in Vienna, the towering figure in music was Franz Joseph Haydn, then nearly 50. Haydn had taken the string quartet, which for the previous generation had been a divertimento-like entertainment, and transformed it. He liberated the viola and cello from what had been purely accompanying roles and made all four voices equal partners; he further made each detail of rhythm and theme and harmony an important part of the musical enterprise. Under Haydn’s inspired hands, the string quartet evolved from entertainment music into an important art form. Mozart, who was 25 when he arrived in Vienna, quickly grasped what the older master had achieved with the string quartet and embarked on a cycle of six quartets of his own. These are in no sense derivative works–they are thoroughly original quartets, each of them a masterpiece–but Mozart acknowledged his debt (and admiration) by dedicating the entire cycle to Haydn when it was published in 1785. The “Dissonant” Quartet, the last of the six, was completed on January 14, 1785. The nickname comes from its extraordinary slow introduction. The quartet is in C major and the music opens with a steady pulse of C’s from the cello, but as the other three voices make terraced entrances above, their notes (A-flat, E-flat, and A–all wrong for the key of C major) grind quietly against each other. The tonality remains uncertain until the Allegro, where the music settles into radiant C major and normal sonata form. The surprise is that after this unusual introduction, the first movement is quite straightforward, flowing broadly along its bright C-major energy; an ebullient coda eventually draws the movement to a quiet close. The Andante cantabile develops by repetition, its lyric main idea growing more conflicted as it evolves. The Menuetto sends the first violin soaring across a wide range, while the dramatic trio section moves unexpectedly into urgent C minor. After these stresses, the concluding Allegro, in sonata form, returns to the bright spirits of the opening movement. This finale, which has a brilliant part for the first violin, fairly flies to its resounding close. Mozart may have been struck by Haydn’s quartets, but now it was Haydn’s turn to be amazed. When he heard the “Dissonant” Quartet and two others of this cycle performed at a garden party in Vienna in February 1785, Haydn pulled Mozart’s father Leopold aside and offered as sincere a compliment as any composer ever gave another: “Before God and as an honest man I tell you that your son is the greatest

composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.”

String Quartet No. 8 in C Minor, Opus 110

Dmitri SHOSTAKOVICHBorn September 25, 1906, St. PetersburgDied August 9, 1975, Moscow In the summer of 1960 Shostakovich went to Dresden, where he was to write a score for the film Five Days, Five Nights, a joint East German and Soviet production. The devastation of Dresden by Allied bombing in 1945–the event that drove Kurt Vonnegut to write Slaughterhouse Five–was still evident in 1960, and it stunned the composer. He interrupted his work on the film score and in the space of three days (July 12-14) wrote his String Quartet No. 8, dedicated “To the memory of the victims of fascism and war.” The Eighth Quartet has become the most-frequently performed of Shostakovich’s fifteen quartets, but this intense music appears to have been the product of much more than an encounter with the horrors of war–it sprang straight from its creator’s soul. In it Shostakovich quotes heavily from his own works: there are quotations from the First, Fifth, Tenth, and Eleventh Symphonies, Piano Trio in E Minor, Cello Concerto No. 1, and his opera Lady Macbeth of the Mtsensk District, as well as from several Russian songs. The quartet also uses as its central theme Shostakovich’s musical “signature” DSCH: he took the letters D for Dmitri and SCH from the first three letters of his last name pronounced "De-Es-Ce-Ha" and set down their musical equivalents: D-Es (E-flat in German notation)-C-H (B in German notation). That motto–D-Eb-C-B–is the first thing one hears in this quartet, and it permeates the entire work. Why should a quartet inspired by the destruction of a foreign city (and an “enemy” city, at that) have turned into so personal a piece of music for its composer? Vasily Shirinsky–second violinist of the Beethoven Quartet, which gave the première–offered the official Soviet explanation of so dark a work: “In this music, there is a portrait of Shostakovich, the musician, the citizen, and the protector of peaceful and progressive humanity.” But in Testimony, Shostakovich’s much-disputed memoirs, the composer strongly suggests that the quartet is not about fascism but is autobiographical and is about suffering, and he cites his quotation of the song “Languishing in Prison” and of the “Jewish theme” from the Piano Trio as pointing a way toward understanding the quartet. In her recent biography of the composer, Laurel Fay suggests an even darker autobiographical significance. In the

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spring of 1960, just before his trip to Dresden, Shostakovich was named head of the Union of Composers of the Soviet Federation, and the Russian government clearly expected such a position to be held by a party member. Under pressure to join the party, the composer reluctantly agreed and then was overwhelmed by regret and guilt. There is evidence that he intended that the Eighth Quartet, a work full of autobiographical meaning, should be his final composition and that he planned to kill himself upon his return to Moscow. Five days after completing the quartet, Shostakovich wrote to a friend: “However much I tried to draft my obligations for the film, I just couldn’t do it. Instead I wrote an ideologically deficient quartet nobody needs. I reflected that if I die someday then it’s hardly likely anyone will write a work dedicated to my memory. So I decided to write one myself. You could even write on the cover: ‘Dedicated to the memory of the composer of this quartet.’” Was the Eighth Quartet to be Shostakovich’s epitaph for himself? The quartet is extremely compact and focused–its five interconnected movements last twenty minutes. The brooding Largo opens with the DSCH motto in the solo cello, which soon turns into the fanfare from the First Symphony, followed in turn by a quotation from the Fifth Symphony. The movement, somber and beautiful, suddenly explodes into the Allegro molto, in which the first violin’s pounding quarter-notes recall the “battle music” from the composer’s wartime Eighth Symphony. At the climax of this movement comes what Shostakovich called the “Jewish theme,” which seems to shriek out above the sounds of battle. The Allegretto is a ghostly waltz in which the first violin dances high above the other voices. Each of the final two movements is a Largo. The fourth is built on exploding chords that some have compared to gunshots, others to the fatal knock on the door in the middle of the night. At the climax of this movement come the quotations from the prison song and–in the cello’s high register–from Shostakovich’s opera Lady Macbeth. The fifth movement returns to the mood and music of the first. The DSCH motto enters fugally and many of the quartet’s earlier themes are recalled before the music closes very quietly on a chord marked morendo. SIDE NOTE: The film for which Shostakovich was to write the score, that summer, was a typical product of Cold War propaganda. A joint work by Russian and East German filmmakers, Five Days, Five Nights told the politically-correct confabulation that heroic Russian troops had entered Dresden in February 1945 and helped preserve the city’s artistic treasures from Allied bombing (in fact, Russian troops were nowhere near Dresden during the bombing). Shostakovich’s score for the film is unremarkable except that it too makes use of quotations: in the course of the music,

the theme from the finale of Beethoven’s Ninth Symphony gradually breaks in on Shostakovich’s own music. And for the record: on September 14, 1960–two months after composing the Eighth Quartet–Shostakovich officially became a member of the Communist Party.

String Quartet in B-flat Major, Opus 67

Johannes BRAHMSBorn May 7, 1833, HamburgDied April 3, 1897, Vienna Brahms’ final string quartet is his most original–and perhaps most successful–essay in that form. He completed this quartet and several other works during the summer of 1875, which he spent happily at Ziegelhausen, near Heidelberg. Throughout that relaxed summer, though, Brahms continued to work on his First Symphony, a project that had occupied (some would say obsessed) him for over twenty years. He could at least escape into the other works he wrote that summer, and typically he deprecated them as “useless trifles, to avoid facing the serious countenance of a symphony.” The Quartet in B-flat Major–hardly a useless trifle–had its first performance on October 30, 1876, five days before the long-awaited première of the First Symphony. Brahms’ first two string quartets had been tightly-argued affairs, but in the Third Quartet he seemed to relax, and this music flows and shimmers. Its bright surface, though, conceals many original touches, and the genial finale in particular is a compositional tour de force. Brahms gives the opening movement the unusual marking Vivace, more typical of a scherzo than a sonata-form first movement. It is built on two contrasted theme-groups, but in fact the real contrast in this movement is between two quite different meters. The opening–inevitably compared to hunting horn calls–is in 6/8, while the second theme is in 2/4: its slightly-square rhythms have reminded some commentators of a polka. Brahms builds the movement around subtle contrasts between these different meters, jumping back and forth between them and at several points experimenting with some modest polyrhythmic overlapping. The movement concludes with a cadence derived from the “hunting-horn” opening. The ternary-form second movement opens with a long violin melody reminiscent of the music of Brahms’ close friend Robert Schumann. Brahms marks the violin part cantabile, but it must cut through a thick accompaniment, which is often double-stopped. The middle section, full of fierce declarations and rhythmic swirls, gradually gives way to the opening material and quiet close. The third movement is marked Agitato, but that is more an indication of mood than tempo, and Brahms puts the real tempo



direction–Allegretto non troppo–in parentheses. Particularly remarkable here is the sound: Brahms mutes all instruments except the viola, which dominates this movement. Its husky, surging opening idea contrasts with the silky, rustling sound of the muted accompanying voices. The trio section likewise emphasizes the sound of the viola, followed by a da capo repeat and coda. The finale–Poco Allegretto con Variazioni–is the most remarkable of the four movements, and Brahms’ biographer Karl Geiringer called it “the nucleus of the whole work.” As Brahms’ marking suggests, it is a set of variations, based on a folk-like tune announced immediately. There follow six variations, all fairly closely derived from the opening tune, and then some remarkable things begin to happen. Into the seventh variation suddenly pops the hunting-horn tune from the quartet’s very beginning, the eighth variation is based on a transition passage from the first movement, and in the closing moments Brahms puts on a real show of compositional mastery: he combines the hunting-horn tune from the very beginning with the variation melody of the finale and presents them simultaneously. Such a description makes this music sound terribly learned, and that might in fact be the case, were it not so much fun. We greet these themes as old friends when they appear to take up their place in the dance, and Brahms rounds off the quartet with this bright union of his opening and closing movements.

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CZECH PHILHARMONIC Jirí Belohlávek, chief conductor and music directorJean-Yves Thibaudet, pianoTHURSDAY, NOVEMBER 6, 2014 · 8 PM JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

JANÁCEK Taras Bulba(1854-1928) The Death of Andri The Death of Ostap The Prophecy and the Death of Taras Bulba

LISZT Piano Concerto No. 2 in A Major, S.125(1811-1886) Adagio sostenuto assai Allegro agitato assai Allegro moderato Allegro deciso Marziale un poco meno allegro Allegro animato Jean-Yves Thibaudet, piano

INTERMISSION

DVORÁK Symphony No. 9 in E Minor, Opus 95 “From the New World”(1841-1904) Adagio: Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

The Czech Philharmonic last performed for La Jolla Music Society in the Celebrity Orchestra Series on February 24, 2008.

Jean-Yves Thibaudet last performed for La Jolla Music Society in the Frieman Family Piano Series on November 2, 2012.


The Celebrity Orchestra Series is underwritten by Medallion Society members:Joan and Irwin Jacobs

Many thanks to our Restaurant Partner:The University Club Atop Symphony Towers

PRELUDE 7 PMLecture by Steven Cassedy: Looking Backward, Looking Forward – Three composer-giants look for meaning inside and outside music

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Tour Direction:Tim Fox and Alison Ahart WilliamsColumbia Artists Management LLCNew York, NYwww.cami.com


FIRST VIOLINSJosef Špaček Jr. *Jan Fišer *Miroslav VilímecMiluše SkoumalováMagdaléna Mašlaňová Jan JouzaEduardo Garcia SalasBarbora KolářováZdeněk StarýJindřich VáchaMilan Vavřínek Zdeněk ZelbaViktor MazáčekPavel NechvíleMarie DvorskáLuboš DudekBohumil Kotmel

SECOND VIOLINSFrantišek HavlínVáclav Prudil Ondřej SkopovýJan LudvíkMarcel KozánekZuzana HájkováPetr HavlínLibor VilímecJiří ŠevčíkJan JírůPavel Herajn Jitka KokšováPetra BrabcováVítězslav Ochman

VIOLASJaroslav Pondělíček Pavel Ciprys Dominik TrávníčekJaromír PávičekPetr ŽďárekJaroslav KroftJan ŠimonJan MarečekJiří ŘehákLukáš ValášekJiří PosledníOndřej Kameš CELLOSVáclav Petr *Josef Špaček Sr.Josef DvořákFrantišek Lhotka Jakub Dvořák Tomáš HostičkaJan Holeňa Peter MišejkaMarek NovákIvan Vokáč

DOUBLE BASSESJiří HudecPetr Ries Jiří Valenta Ondřej BalcarMartin HilskýJaromír ČerníkJiří VopálkaPavel Hudec FLUTESRadomír PivodaJan MachatPetr VeverkaOto Reiprich

OBOESIvan SěquardtJana Brožková Vojtěch JouzaVladislav Borovka

CLARINETSFrantišek BláhaTomáš KopáčekZdeněk TesařPetr Sinkule

BASSOONSOndřej RoskovecJaroslav KubitaVáclav VonášekTomáš Františ

FRENCH HORNSJan VobořilJiří HavlíkZdeněk DivokýZdeněk VašinaJindřich KolářKateřina Javůrková

TRUMPETSJaroslav HalířLadislav KozderkaZdeněk ŠedivýAntonín Pecha

TROMBONESBřetislav KotrbaRobert KozánekLukáš MoťkaKarel Kučera

TUBAKarel Malimánek

HARPJana Boušková

PERCUSSIONPetr HolubMichael Kroutil Pavel Polívka

ORGANKosinová Valtová

CONDUCTORJiří Bělohlávek

SOLOISTJean-Yves Thibaudet, piano

* Concert Master/Principal

CZECH PHILHARMONIC - ROSTER

CZECH PHILHARMONIC Jirí Belohlávek, chief conductor and music director

Jean-Yves Thibaudet, piano

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Taras Bulba

Leoš JANÁCEKBorn July 3, 1854, Hukvaldy, MoraviaDied August 12, 1928, Moravska Ostrava, Czech Republic Has there ever been a more horrific piece of music than Janáček’s Taras Bulba? Across its 24-minute span, a father murders his son, one of the main characters is tortured and screams in pain as his enemies dance in joy before the spectacle, and the title character is nailed to a tree and burned to death. Virtually every minute of this music brings one more bloody horror, yet for Janáček this was heroic, optimistic music, and he made his intentions clear in a concise statement: “In it I celebrate a prophecy of Slavonicism.” Clearly there is a story behind all this, and it is complex. In 1835 Nikolai Gogol published a novella loosely based on the historical figure of Taras Bulba, who had led Ukrainian Cossacks in a seventeenth-century revolt against the repressive Poles. Though he was killed in the course of the fighting, Taras Bulba–and Gogol’s depiction of him–have remained vivid in the popular imagination across the centuries: Hemingway is reported to have called Taras Bulba one of the ten greatest novels ever written, and it was the basis for an epic 1962 movie starring Tony Curtis and Yul Brynner. But Janáĉek was attracted to Gogol’s tale for reasons very different than Hollywood filmmakers. When World War I broke out in 1914, Janáček was sixty years old. He was a respected but virtually unknown provincial composer, and–like Smetana and Dvořák before him–he was a passionate believer in the cause of Czech nationalism. Janáček saw in the Russian army a great hope: fellow Slavs, they would defeat the Germans and in the process liberate the Czechs from centuries of oppressive Hapsburg rule. In 1915 Janáček began work on a piece of music he at first referred to as a “Slavonic Rhapsody” that would depict the exploits of a great Slavic leader against foreign domination. By the time Janáček completed the score on March 29, 1918, of course, the Russian army was no longer a player in World War I–the Communist Revolution had swept that nation and its army in an entirely different direction. But Janáček’s Slavic nationalism was rewarded all the same: the republic of Czechoslovakia was proclaimed in 1918, three years before Taras Bulba was premièred on October 9, 1921. Janáĉek may have called this music a “rhapsody” but it is really a tone poem in which each of the three movements depicts the death of a main character. Andri was Taras Bulba’s younger son, who–like his brother Ostap–was

called home by his father to take part in the fighting. While studying in Poland, however, Andri had fallen in love with a young Polish woman, and–reunited with her during the siege of Dubno–he abandons his cause to fight for the Poles. His reward for this betrayal is death: his father tracks him down in battle, Andri accepts his fate and kneels, and his father beheads him. The opening of the first movement depicts Andri’s love for the young Polish woman, and mournful solos for English horn, oboe, and violin suggest that his conscience is troubled even as he falls in love. The music gradually accelerates, and to the sound of ringing bells trombones make a fierce entrance–this music, associated with Taras Bulba himself, is menacing and overpowering. A brief reminiscence of the love music leads to the dramatic close. In the second movement, Ostap has been captured by the Poles, who celebrate as he is tortured and executed. His father, disguised, manages to infiltrate the mob, and when Ostap screams out in pain, asking if his father is there, Taras Bulba shouts out encouragement to his dying son and then disappears into the crowd. Though this movement begins quietly, tensions build quickly, and Janáček depicts the celebration of the Poles with a wild mazurka accompanied by the sound of a triangle. Ostap’s screams of pain are heard in the shrieks of an E-flat clarinet, and the movement concludes at the moment of his execution. The final movement brings the death of Taras Bulba himself: the Poles capture him, nail him to a tree, and burn him to death. But even as the flames billow up around him Taras Bulba retains his composure and looks forward calmly to the triumph of his peoples’ cause (this is “the prophecy of Slavonicism” that Janáček described as the essence of the music). Marked Con moto, the movement opens with dark premonitions. Trombones recall the music associated with Taras Bulba in the opening movement, and this rises to a climax as dramatic timpani strokes depict his being nailed to the tree. But now the mood changes sharply: organ, harp, and bells enter as Taras Bulba proclaims his faith in his people, the movement drives to a heroic climax, and Janáček’s Taras Bulba comes to its conclusion on a violent final page that seems to mix equal measures of tragedy and triumph.

Piano Concerto No. 2 in A Major, S.125

Franz LISZTBorn October 22, 1811, Raiding, HungaryDied July 31, 1886, Bayreuth, Germany Both of Liszt’s piano concertos took a very long time to complete. He first sketched the music that would become his Piano Concerto No. 2 in September 1839, just as he turned 28. But he then shelved these sketches as he resumed the

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life of a traveling virtuoso and did not return to them until 1849, when he was music director in Weimar. Even then, when he was devoting much of his time to composition, this concerto took shape slowly–he revised it several times over the next twelve years, finally completing it in 1861, twenty-two years after he had made his first sketches. The concerto was first performed on January 7, 1857, on a pension fund concert to benefit the members of the Weimar Orchestra. Curiously, Liszt–the greatest pianist on the planet–was not the soloist. That part was taken by one of his students, Hans von Bronsart, and Liszt, seriously ill at that time with a leg infection, almost had to drag himself into the hall to conduct the performance. The most striking feature of this concerto is that it is in only one movement. Gone completely is the three-movement sonata-form structure of the concerto as it had been refined by Mozart and Beethoven. Liszt respected those concertos and performed them, but he also believed that a composer should not repeat the past (as he felt Brahms was trying to do). Instead, Liszt evolved a new form–though one that had its roots in the music of Schubert–in which one fundamental theme becomes the basis for an entire work. That theme is transformed across the span of the work, reappearing in completely different guises and for different expressive purposes. Some have suggested that this music is not really a piano concerto at all but instead a symphonic poem in which the piano has a prominent part, and Liszt himself referred to it as a Concerto symphonique at the 1857 première, only settling on the more traditional title when the music was published in 1863. One early critic, William Apthorp of the Boston Evening Transcript, was so struck by Liszt’s method and sense of form in this concerto that he described it glibly (but accurately!) as “The life and adventures of a melody.” To serve as the basis for such an extended musical adventure, a melody must be remarkable, and the impressive thing about Liszt’s basic theme is that it at first seems so unremarkable. This subdued little tune is sung at the very beginning by a handful of woodwinds, and Liszt specifies that it should be dolce, soave (the Italian soave does not translate as our “suave” but “gentle, sweet”). The piano does not make a grand entrance but slips in almost unnoticed, touching on that opening melody only as part of a series of arpeggios. But from this unassuming opening, Liszt builds a remarkable and varied structure, and one of the pleasures of this music lies in following the ingenious ways this simple opening is transformed across the concerto’s twenty-minute span. It can be stamped out by full orchestra one moment, but seconds later it has become a lyric cello solo, and presently it becomes something else. Liszt does employ some secondary material, and this also goes through similar transformation, all woven into the evolution of the opening idea.

The concerto drives to a stirring climax when Liszt transforms his theme into a powerful military march that blazes tautly to life. But this is not the final destination. Instead, the theme continues to evolve, and Liszt spins a magical, lyric transformation he marks appassionato before this imaginative, exciting music rushes to its resounding close.

Symphony No. 9 in E Minor, Opus 95 “From the New World”

Antonín DVORÁKBorn September 8, 1841, Muhlhausen, BohemiaDied May 1, 1904, Prague When Dvořák landed in America in the fall of 1892 to begin his three-year tenure as director of the National Conservatory of Music in New York, his new employers tried to turn his arrival into a specifically “American” occasion: they timed his arrival to coincide with the 400th anniversary of Columbus’ discovery of America, and the composer himself was to mark that occasion by writing a cantata on the poem The American Flag. Shortly after arriving, Dvořák announced his intention to write an opera on Longfellow’s Hiawatha, and soon “American” elements–Indian rhythms, spirituals, and a birdsong he heard in Iowa–began to appear in the music he wrote in this country. These elements touched off a debate that has lasted a century. Nationalistic American observers claimed that here at last was a true American classical music, based on authentic American elements. But others have pointed out that the musical characteristics that make up these “American” elements (pentatonic melodies, flatted sevenths, extra cadential accents) are in fact common to folk music everywhere, and that–far from being American–the works Dvořák composed in this country remain quintessentially Czech. Dvořák himself left contradictory signals on this matter. At the time of the première of the “New World” Symphony, he said: “The influence of America can be felt by anyone who has ‘a nose.’” Yet after his return to Europe, he wrote to a conductor who was preparing a performance in Berlin: “I am sending you Kretzschmar’s analysis of the symphony, but omit that nonsense about my having made use of ‘Indian’ and ‘American’ themes–that is a lie. I tried to write only in the spirit of those national American melodies.” Perhaps safest is Dvořák’s simple description of the symphony as “Impressions and greetings from the New World.” Composed in the first months of 1893, Dvořák’s Ninth Symphony had an absolutely triumphant première on December 16, 1893, by the New York Philharmonic in Carnegie Hall–one New York critic observed tartly of the


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thunderous ovation that followed each movement: “the staidness and solemn decorum of the Philharmonic audience took wings.” That occasion has been described as the greatest triumph of Dvořák’s life, and the surprised composer wrote to his publisher Simrock: “I had to show my gratitude like a king from the box in which I sat. It made me think of Mascagni in Vienna (don’t laugh!).” One of the most impressive aspects of this music is Dvořák’s use of a single theme-shape to unify the entire symphony. This shape, a rising dotted figure, first appears in the slow introduction, where it surges up in the horns and lower strings as a foreshadowing of the Allegro molto: there the shape is sounded in its purest form by the horns. This theme (actually in two parts–the horn call and a dotted response from the woodwinds) becomes the basis for the entire movement: when the perky second subject arrives in the winds, it is revealed as simply a variation of the second part of the main theme. The third theme, a calm flute melody in G major that has been compared to “Swing Low, Sweet Chariot” seems at first to establish a separate identity, but in fact it is based–at a much slower tempo–on the rhythm of the main theme. That rhythm saturates the movement: within themes, as subtle accompaniment, or thundered out by the full orchestra. Dvořák drives the movement to a mighty climax that, pushed ahead by stinging trumpet calls, combines all these themes. Solemn brass chords introduce the Largo, where the English horn sings a haunting melody that was later adapted as the music for the spiritual “Goin’ Home.” More animated material appears along the way (and the symphony’s central theme rises up ominously at the climax), but the English horn returns to lead this movement to its close on an imaginative stroke of orchestration: a quiet chord built on a four-part division of the double basses. The Scherzo has sounded like “Indian” music to many listeners–and for good reason: Dvořák himself said that it “was suggested by the scene at the feast in Hiawatha where the Indians dance, and is also an essay I made in the direction of imparting the local color of Indian character to music.” The pounding opening section gives way to two brief trios, and in the coda the symphony’s central theme boils up one more time in the brass. After a fiery introduction, the sonata-form finale leaps to life with a ringing brass theme that is, for a change, entirely new. But now Dvořák springs a series of surprises. Back come themes from the first three movements (there is even a quotation–doubtless unconscious–of “Three Blind Mice” along the way). The movement drives toward its climax on the chords that opened the Largo, and it reaches that soaring climax as Dvořák ingeniously combines the main themes of the first movement and the finale. At the end, the composer has one final surprise: instead of ringing out decisively, the

last chord is held and fades into silence.



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DANISH STRING QUARTETSATURDAY, NOVEMBER 15, 2014 · 8 PM MCASD SHERWOOD AUDITORIUM

Frederik Øland, Rune Tonsgaard Sørensen, violins;Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello

HAYDN String Quartet in G Major, Opus 77, No. 1(1732-1809) Allegro moderato Adagio Menuetto: Presto Presto

NIELSEN String Quartet No. 4 in F Major, Opus 44, FS36(1865-1931) Allegro non tanto e comodo Adagio con sentimento religioso Allegro moderato ed innocente Finale: Molto adagio; Allegro non tanto, ma molto scherzoso

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BEETHOVEN String Quartet in C-sharp Minor, Opus 131(1770-1827) Adagio, ma non troppo e molto espressivo Allegro molto vivace Allegretto moderato Andante, ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro

This performance marks the Danish String Quartet's La Jolla Music Society debut.


Tonight’s concert is sponsored by:Sam B. Ersan


PRELUDE 7 PMLecture by Nicolas Reveles: Carl Nielsen and his String Quartets

SEASON 46 • 2014-15

North American Representation:Kirshbaum Demler & Associates, Inc.711 West End Avenue, Suite 5KN New York, NY 10025www.kirshdem.com

The Danish String Quartet has recorded for DaCapo and CAvi-Music/BR Klassik

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String Quartet in G Major, Opus 77, No. 1

Franz Joseph HAYDNBorn March 31, 1732, Rohrau, AustriaDied May 31, 1809, Vienna Haydn turned the string quartet into a great form. Music for two violins, viola, and cello had been written for years–usually as background or entertainment music–but in his cycle of 83 quartets Haydn transformed the quartet into an ensemble of four equal partners, wrote music that demanded the greatest musicianship and commitment from all four performers, and made the quartet the medium for some of his most refined expression. His quartet-writing, however, came to an end in the late 1790s. Haydn had just returned from two quite successful visits to London, and now–in his mid-sixties–he was losing interest in purely instrumental music. He would write no more symphonies and would instead devote his final years to vocal music: from these last years came his oratorios The Creation and The Seasons, as well as the great masses. Just as he was embarking on these new directions, Haydn completed the two string quartets of his Opus 77 (and actually began one more, destined to remain unfinished). Commissioned by Prince Lobkowitz, who would later be Beethoven’s patron, the two Opus 77 quartets of 1799 represent the culmination of a lifetime spent developing and refining the form: the Quartet in G Major performed on this concert is widely considered one of Haydn’s finest, and that is saying a great deal. Audiences might best approach this quartet by listening for the many signs of a master’s touch: the liberation of all four voices, the rapid exchanges of melodic line between them, and the beautifully idiomatic writing for all four instruments–including the often-neglected viola. The opening Allegro moderato is in the expected sonata form, though with some original thematic touches: the main subject is a genial march-like tune–the steady 4/4 pulse of this march strides along easily throughout the movement. The second subject is hardly a theme at all, just a flowing two-measure figure that moves between the two violins–it is a measure of Haydn’s mature mastery that he can find so much in such simple material. The Adagio is built on a single theme, which is then repeated, growing more elaborate with each recurrence. The brisk minuet (its marking is Presto!) sends the first violin soaring from the bottom of its range to the very top, while the trio makes a surprising leap from the minuet’s G major to the unexpected key of E-flat major, which in turn slides into C minor as it goes. The finale, also marked Presto, is a miniature sonata-form movement

that blisters along at a pace that makes it feel almost like a perpetual-motion. Some suspect that Haydn derived its central theme from a Hungarian folksong, but–whatever its origin–this movement is a real showcase for the first violin, and Haydn demands sparkling, athletic playing from all four players throughout this movement.

String Quartet No. 4 in F Major, Opus 44, FS36

Carl NIELSENBorn June 9, 1865, Nørre-Lyndelse, DenmarkDied October 3, 1931, Copenhagen Carl Nielsen liked unusual titles for his pieces–he wrote symphonies with nicknames like The Four Temperaments, Sinfonia Espansiva, The Inextinguishable, and Sinfonia Semplice. But even more fun are his subjective–and often spicy and provocative–markings for individual movements within his compositions. He gave movements such titles as Allegro orgoglioso (“arrogant, proud”), Allegro collerico (“furious”), and Allegro cavalleresco (“chivalrous”). With these markings, Nielsen wanted to provoke his performers and listeners into a particular state of mind as they played and heard his music. Such nicknames were very much a part of the music we know today as Nielsen’s String Quartet No. 4 in F Major. Between February and July 1906 Nielsen composed a piece for string quartet that he titled simply Piacevolezza: “relaxed, agreeable.” He was at that time 41 years old and the successful composer of two symphonies–his great comic opera Maskarade would be premièred later that year. The new piece for string quartet was given several private performances for friends before its official première in Copenhagen on November 30, 1907. That première brought sharply-mixed reviews, and the composer himself must not have been wholly satisfied with his new quartet, because he came back to it twelve years later–in 1919–and revised and published it as his Opus 44. As part of that revision, Nielsen changed some of his titles. What had been called Piacevolezza now became his String Quartet No. 4, and the first movement–which originally had the tantalizing marking Allegro piacevole ed indolente (“fast, relaxed and lazy”)–now became Allegro non tanto e comodo (“not too fast, but comfortable”). Despite these changes, the original spirit of this piece remained intact: this quartet is indeed relaxed, agreeable, and very pleasing music. Its first movement opens with the quietly-flowing opening subject, but dissonances emerge even from within these smooth lines. The animated second theme is treated as the subject of a brief fugato before the movement comes to a beautiful conclusion on a quiet extension of its opening theme.


DANISH STRING QUARTET - PROGRAM NOTES

Nielsen titled the second movement Adagio con sentimento religioso, and it opens with a fortissimo statement of its chorale-like main theme. The exact sentimento religioso the composer had in mind is never specified, but this movement remains very much in character, alternating that firm opening with more introverted secondary material. The Allegretto moderato ed innocente may well be innocent–certainly it is the shortest movement in the quartet. It is also full of a graceful, skittering energy, and that lively progress is continually interrupted by great outbursts from all four players. A grand one-measure introduction opens the finale, which then overflows with high spirits and relaxed energy. The cello has the espressivo second theme, which is soon followed by a cadenza-like solo interlude for first violin. The very ending, which combines equal parts strength and relaxation, makes a fitting conclusion to all that has gone before.

String Quartet in C-sharp Minor, Opus 131

Ludwig van BEETHOVENBorn December 16, 1770, BonnDied March 26, 1827, Vienna Beethoven had been commissioned in 1822 by Prince Nikolas Galitzin of St. Petersburg to write three string quartets, though he had to delay them until after he finished the Missa Solemnis and the Ninth Symphony. He completed the three quartets for Galitzin in 1825, but those quartets had not exhausted his ideas about the form, and he pressed on to work on another. Begun at the end of 1825, the Quartet in C-sharp Minor was complete in July 1826. This is an astonishing work in every respect. Its form alone is remarkable: seven continuous movements lasting a total of forty minutes. But its content is just as remarkable, for this quartet is an unbroken arc of music that sustains a level of heartfelt intensity and intellectual power through every instant of its journey. This was Beethoven’s favorite among his quartets. On the manuscript he sent the publisher, the composer scrawled: “zusammengestohlen aus Verschiedenem diesem und jenem” (“Stolen and patched together from various bits and pieces”). The alarmed publishers were worried that he might be trying to palm off some old pieces he had lying around, and Beethoven had to explain that his remark was a joke. But it is at once a joke and a profound truth. A joke because this quartet is one of the most carefully unified pieces ever written, and a truth because it is made up of “bits and pieces”: fugue, theme and variations, scherzo, and sonata form among them.

The form of the Quartet in C-sharp Minor is a long arch. The substantial outer movements are in classical forms, and at the center of the arch is a theme-and-variation movement that lasts a quarter-hour by itself. The second and third and the fifth and sixth form pairs of much shorter movements, often in wholly original forms. The opening movement is a long, slow fugue, its haunting main subject laid out immediately by the first violin. There is something rapt about the movement (and perhaps the entire quartet), as if the music almost comes from a different world. In a sense, it did. Beethoven had been completely deaf for a decade when he wrote this quartet, and now–less than a year from his death–he was writing from the lonely power of his musical imagination. Molto espressivo, he demands in the score, and if ever there has been expressive music, this is it. The fugue reaches a point of repose, then modulates up half a step to D major for the Allegro molto vivace. Rocking along easily on a 6/8 meter, this flowing movement brings relaxation–and emotional relief–after the intense fugue. The Allegro moderato opens with two sharp chords and seems on the verge of developing entirely new ideas when Beethoven suddenly cuts it off with a soaring cadenza for first violin and proceeds to the next movement. The Allegro moderato seems to pass as the briefest flash of contrast–the entire movement lasts only eleven measures. The longest movement in the quartet, the Andante ma non troppo e molto cantabile is one of its glories. Beethoven presents a simple theme, gracefully shared by the two violins, and then writes six variations on it. At times the variations grow so complex that the original theme almost disappears; Beethoven brings it back, exotically decorated by first violin trills, at the very end of the movement. Out of this quiet close explodes the Presto, the quartet’s scherzo, which rushes along on a steady pulse of quarter-notes; this powerful music flows easily, almost gaily. Beethoven makes use of sharp pizzicato accents and at the very end asks the performers to play sul ponticello, producing an eerie, grating sound by bowing directly on the tops of their bridges. There follows a heartfelt Adagio, its main idea introduced by the viola. Beethoven distills stunning emotional power into the briefest of spans here: this movement lasts only 28 measures before the concluding Allegro bursts to life with a unison attack three octaves deep. In sonata form, this furiously energetic movement brings back fragments of the fugue subject (sometimes inverted) from the first movement. It is an exuberant conclusion to so intense a journey, and at the very end the music almost leaps upward to the three massive chords that bring the quartet to its close.

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GIDON KREMER, violin & DANIIL TRIFONOV, pianoTHURSDAY, JANUARY 15, 2015 · 8 PM MCASD SHERWOOD AUDITORIUM

MOZART Sonata for Piano and Violin in E-flat Major, K.481(1756-1791) Molto Allegro Adagio Thema: Allegretto

SCHUBERT Fantasy in C Major for Violin and Piano, D.934(1797-1828) Andante molto; Allegretto; Andantino; Allegro vivace; Presto

INTERMISSION

RACHMANINOFF Piano Trio in D Minor, Opus 9 “Trio élégiaque”(1873-1943) Moderato; Allegro moderato Quasi variazione Allegro risoluto Gidon Kremer, violin; Giedre Dirvanauskaite, cello; Daniil Trifonov, piano

Gidon Kremer last performed for La Jolla Music Society with Kremerata Baltica in the Celebrity Series on November 4, 2004.

Daniil Trifonov last performed for La Jolla Music Society in SummerFest on August 20, 2013.

La Jolla Music Society’s 46th season is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Steve Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor.

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Opus 3 Artists as exclusive representative



Sonata for Piano and Violin in E-flat Major, K.481

Wolfgang Amadeus MOZARTBorn January 27, 1756, SalzburgDied December 5, 1791, Vienna About the composition of some of Mozart’s works we know a great deal, and about some we know virtually nothing. This sonata falls into the latter category. The manuscript bears only a date–December 12, 1785–but history records nothing else: no specific occasion for which it was written, no particular violinist, not even any mention in Mozart’s correspondence. This was the period of his greatest fame in Vienna, and he interrupted his work on The Marriage of Figaro to compose this music, perhaps writing it in the space of just that one day. It is important to keep Mozart’s exact title in mind: for him, this was not a violin sonata, but a Sonata for Piano with Violin Accompaniment. Such a title does not mean that the violin is superfluous, but it does suggest the primacy of the piano here, particularly in the outer movements, where it introduces the themes and generally leads the way, with the violin following and answering. The real glory of this sonata, though, lies in the central Adagio, a movement astonishing for its tonal freedom. Mozart usually stayed within a narrow tonal framework in an individual movement–such discipline was for him an integral part of the form–but here he writes with spectacular freedom. The Adagio begins in A-flat major, passes through the relative minor (F minor), and then through D-flat major, C-sharp major, A major, G-sharp minor, and finally back to A-flat major. What makes this movement even more unusual is that at certain points Mozart writes the violin and piano parts in separate keys and–for a few moments–even has the pianist’s two hands in different keys. This music is never dissonant or abrasive (some of the modulations are enharmonic), but such harmonic freedom brings extraordinary expressiveness and some of Mozart’s most delicately shaded music. In this Adagio, the piano has the simple opening idea (marked dolce), while the violin has the quiet but heartfelt second subject (also marked dolce) over rippling piano accompaniment: the effect of this theme–and of the entire movement–is pure magic. In the company of such extraordinary music, the outer movements can seem a little earthbound, yet both are taut, well-made movements. The opening Molto Allegro is in the expected sonata form, with the piano announcing both themes; particularly striking here is the development, where the violin’s soaring line (again marked dolce) floats above muttering, propulsive piano accompaniment; a bit of this comes back in the coda. The finale is a variation-form

movement. Mozart’s biographer Alfred Einstein hears a Beethoven-like quality in what he calls Mozart’s “work-a-day sort of theme,” and the six variations on this tune are animated and straightforward. The last of them, marked Allegro, moves from the basic 2/4 meter to a 6/8 pulse as it gallops home in a great burst of energy.

Fantasy in C Major for Violin and Piano, D.934

Franz SCHUBERTBorn January 31, 1797, ViennaDied November 19, 1828, Vienna Schubert wrote the Fantasy for Violin and Piano in December 1827, only eleven months before his death at age 31. The music was first performed in public on January 20, 1828, by violinist Joseph Slavik and pianist Karl von Bocklet, one of Schubert’s close friends. That première was a failure. The audience is reported to have begun to drift out during the performance, reviewers professed mystification, and the Fantasy was not published until 1850, twenty-two years after Schubert’s death. Hearing this lovely music today, it is hard to imagine how anyone could have had trouble with it, for the only thing unusual about the Fantasy is its structure. About twenty minutes long, it falls into four clear sections that are played without pause. Though it seems to have some of the shape of a violin sonata, the movements do not develop in the expected sonata form–that may have been what confused the first audience–and Schubert was quite correct to call this piece a “fantasy,” with that term’s implication of freedom from formal restraint. Melodic and appealing as the Fantasy may be to hear, it is nevertheless extremely difficult to perform, and it demands players of the greatest skill. The first section, marked Andante molto, opens with shimmering ripples of sound from the piano, and the lovely violin line enters almost unnoticed. Soon, though, it rises to soar high above the accompaniment before brief cadenza-like passages for violin and then piano lead abruptly to the Allegretto. Here the violin has the dance-like opening idea, but the piano immediately picks this up, and quickly the instruments are imitating and answering each other. The violin writing in this section, full of wide skips and string-crossings, is particularly difficult. The third section, marked Andantino, is a set of variations. The piano alone plays the melody, which comes from Schubert’s song Sei mir gegrüsst (“Greetings to Thee”), written in 1821. Some of Schubert’s best-known compositions–the “Death and the Maiden” Quartet and the “Trout” Quintet–also build a movement out of variations on one of the composer’s own songs, and in the Fantasy Schubert offers four variations

GIDON KREMER & DANIIL TRIFONOV - PROGRAM NOTES

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GIDON KREMER & DANIIL TRIFONOV - PROGRAM NOTES

on Sei mir gegrüsst. These variations grow extremely complex, and once again the music makes great demands on its performers. At the conclusion of the variations, the shimmering music from the beginning returns briefly before the vigorous final section, marked Allegro vivace. Schubert brings the Fantasy to a close with a Presto coda, both instruments straining forward before the violin suddenly flashes upward to strike the concluding high C.

Piano Trio in D Minor, Opus 9 “Trio élégiaque”

Sergei RACHMANINOFFBorn April 1, 1873, Semyonovo, RussiaDied March 28, 1943, Beverly Hills Rachmaninoff wrote two piano trios, and–curiously–both are nicknamed “Trio élégiaque.” The first, in G minor, dates from 1892, and the source of its inspiration has been forgotten, but the second sprang from a painful moment in its composer’s life. On November 6, 1893, Tchaikovsky died, and Rachmaninoff–who had regarded the older composer as mentor and friend–was shattered. That same day, he set to work on a piano trio in Tchaikovsky’s memory, and its composition–a slow and painful process–occupied the twenty-year-old composer for the rest of the year. When he set out to write a memorial to Tchaikovsky, Rachmaninoff chose as his model the piano trio Tchaikovsky had written as a memorial to his teacher and friend, Nikolay Rubinstein, the Piano Trio in A Minor, Opus 50. The parallels between the two trios are striking: both are dedicated “To the memory of a great artist,” for instance. Both trios open with a long and grieving first movement; both have a theme-and-variation second movement; and Tchaikovsky’s trio concludes with a final variation marked Allegro risoluto that becomes in effect a brief finale, while Rachmaninoff simply rounds his trio off with a brief finale marked Allegro risoluto. To draw the parallel even more completely, both composers use as the theme of their variations movements a melody each associated with his mentor: Tchaikovsky uses a peasant song he and Rubinstein had heard at a picnic, while Rachmaninoff uses a theme from his own work The Rock, which Tchaikovsky had been scheduled to conduct. The Rachmaninoff Trio in D Minor has remained much less well-known than its model–the work of a student composer inevitably suffers when compared to the work of a mature and successful composer. As might be expected, Rachmaninoff is much more comfortable writing for piano than for strings, and in his trio the piano frequently dominates textures, while the strings are given subordinate roles and often set in unison. Still, this youthful music can be very effective, and there are many flashes here of the artist

Rachmaninoff would later become. The lengthy Moderato opens darkly with a tolling piano ostinato, and gradually the strings enter to sing their sad song. At the Allegro moderato, the music leaps ahead powerfully–here is one of those moments that sounds like mature Rachmaninoff. The development is very long and turbulent, with much vigorous bowing from the strings; these episodes alternate with slow and dark passages, full of lamentation. Rachmaninoff marks his slow movement Quasi variazione, and piano alone plays the chordal melody that will serve as the basis for variation (in what seems now a strange decision, Rachmaninoff had originally assigned the first statement of this theme to the harmonium, but reversed himself when revising the trio). There follow eight clearly-defined variations, and some of these are quite distinct: the second is for piano solo, the third for racing piano and pizzicato strings, the seventh a dialogue for piano and strings. The concluding Allegro risoluto is extremely dramatic, and at the end Rachmaninoff brings back the lugubrious beginning of the first movement, and his memorial trio–like Tchaikovsky’s before him–marches grimly into silence.


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TAKÁCS QUARTETSATURDAY, JANUARY 17, 2015 · 8 PM MCASD SHERWOOD AUDITORIUM

Edward Dusinberre, Károly Schranz, violins;Geraldine Walther, viola; András Fejér, cello

DEBUSSY String Quartet in G Minor(1862-1918) Animé et très décidé Scherzo: Assez vif et bien rythmé Andantino doucement expressif Très modéré; Très mouvementé; Très animé

BARTÓK String Quartet No. 4, Sz.91(1881-1945) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

INTERMISSION

BEETHOVEN String Quartet in B-flat Major, Opus 130(1770-1827) Adagio, ma non troppo; Allegro Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Allegro

Takács Quartet last performed for La Jolla Music Society in the Revelle Chamber Music Series on February 25, 2012.



PRELUDE 7 PMLecture by Nicolas Reveles: Bartók’s Dialogue with Debussy

SEASON 46 • 2014-15

The Takács Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and Decca/London Records.

The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London

Web-site: www.takacsquartet.com

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String Quartet in G Minor

Claude DEBUSSYBorn August 22, 1862, Saint Germain-en-Laye, FranceDied March 25, 1918, Paris Early in 1893, Debussy met the famed Belgian violinist Eugene Ysaÿe. Debussy was at this time almost unknown (Prelude to the Afternoon of a Faun was still a year in the future), but he and Ysaÿe instantly became friends–though Ysaÿe was only four years older than Debussy, he treated the diminutive Frenchman like “his little brother.” That summer, Debussy composed a string quartet for Ysaÿe’s quartet, which gave the first performance in Paris on December 29, 1893. Debussy was already notorious with his teachers for his refusal to follow musical custom, and so it comes as a surprise to find him choosing to write in this most demanding of classical forms. Early audiences were baffled. Reviewers used words like “fantastic” and “oriental,” and Debussy’s friend Ernest Chausson confessed mystification. Debussy must have felt the sting of these reactions, for he promised Chausson: “Well, I’ll write another for you . . . and I’ll try to bring more dignity to the form.” But Debussy did not write another string quartet, and his Quartet in G Minor has become one of the cornerstones of the quartet literature. The entire quartet grows directly out of its first theme, presented at the very opening, and this sharply rhythmic figure reappears in various shapes in all four movements, taking on a different character, a different color, and a different harmony on each reappearance. What struck early audiences as “fantastic” now seems an utterly original conception of what a string quartet might be. Here is a combination of energy, drama, thematic imagination, and attention to color never heard before in a string quartet. Debussy may have felt pushed to apologize for a lack of “dignity” in this music, but we value it today just for that failure. Those who think of Debussy as the composer of misty impressionism are in for a shock with his quartet, for it has the most slashing, powerful opening Debussy ever wrote: his marking for the beginning is “Animated and very resolute.” This first theme, with its characteristic triplet spring, is the backbone of the entire quartet: the singing second theme grows directly out of this opening (though the third introduces new material). The development is marked by powerful accents, long crescendos, and shimmering colors as this movement drives to an unrelenting close in G minor. The Scherzo may well be the quartet’s most impressive movement. Against powerful pizzicato chords, Debussy sets the viola’s bowed theme, a transformation of the quartet’s

opening figure; soon this is leaping between all four voices. The recapitulation of this movement, in 15/8 and played entirely pizzicato, bristles with rhythmic energy, and the music then fades away to a beautifully understated close. Debussy marks the third movement “Gently expressive,” and this quiet music is so effective that it is sometimes used as an encore piece. It is in ABA form: the opening section is muted, while the more animated middle is played without mutes–the quartet’s opening theme reappears subtly in this middle section. Debussy marks the ending, again played with mutes, “As quiet as possible.” The finale begins slowly but gradually accelerates to the main tempo, “Very lively and with passion.” As this music proceeds, the quartet’s opening theme begins to reappear in a variety of forms: first in a misty, distant statement marked “soft and expressive,” then gradually louder and louder until it returns in all its fiery energy, stamped out in double-stops by the entire quartet. A propulsive coda drives to the close, where the first violin flashes upward across three octaves to strike the powerful G major chord that concludes this most undignified–and most wonderful–piece of music.

String Quartet No. 4, Sz.91

Béla BARTÓKBorn March 25, 1881, Nagyszentmiklós, HungaryDied September 26, 1945, New York City Ten years separated Bartók’s Second and Third Quartets, but after completing the Third during the summer of 1927 the composer waited only a year to write his Fourth String Quartet. He composed the Fourth between July and September of 1928, composing it even before he had heard the Third. The Fourth was completed so quickly, that when the Waldbauer-Kerpely Quartet gave the Hungarian première of the Third on March 20, 1929, in Budapest, that same concert concluded with the world première of the Fourth. Perhaps it is not surprising that the Third and Fourth Quartets are so close in time: the advances consolidated in the Third burst into full flower in the Fourth, which speaks a deeper and more expressive language. The Fourth Quartet is one of the earliest examples of Bartók’s fascination with arch form, an obsession that would in some ways shape the works he composed over the rest of his life. There had been hints of symmetrical formal structures earlier, but the Fourth Quartet is the first explicit and unmistakable statement of that form–the form here is palindromic. At the center of this five-movement quartet is a long slow movement, which Bartók described as “the kernel” of the entire work. Surrounding that central movement are two scherzos (“the inner shell”) built on related material,



and the entire quartet is anchored on its powerful opening and closing movements (“the outer shell”), which also share thematic material. There is a breathtaking formal balance to the Fourth Quartet, and that balance is made all the more remarkable by its concentration: the entire five-movement work spans only 23 minutes. The Third Quartet had been marked by its attention to string sonority, but the Fourth takes us into a completely new sound-world. It marks the first appearance of the “Bartók pizzicato” (the string plucked so sharply that it snaps off the fingerboard), but there are many other new sounds here as well: strummed pizzicatos, fingered ninths, chords arpeggios both up-bow and down-bow. If the Third Quartet had opened up a new world of sound for Bartók, in the Fourth he luxuriates in those sounds, expanding his palette, yet employing these techniques in the service of the music rather than as an end in itself. One of the most remarkable things about the Fourth Quartet is its motivic concentration. Always a characteristic of Bartók’s music, that concentration is here focused in dazzling ways. Much of Fourth Quartet is derived from a simple rising-and-falling figure announced by the cello in the opening moments of the first movement. Bartók will then use this six-note cell through an almost infinite variety of forms, themes, rhythms, harmonies, and permutations. Such a description makes this music sound cerebral and abstract. In fact, the Fourth Quartet offers some of the most exciting music Bartók ever wrote, as if the “cerebral” technique of the Third Quartet was the gateway into this new world of passion and beauty. Many observers have been tempted to describe the outer movements of the Fourth Quartet as being in sonata form, and it is true that they are structured–generally–on the notion of exposition, development, and recapitulation. But to try to push those movements into a traditional form is to violate them. The outer movements of the Fourth Quartet do not divide easily into those component sections, and in fact the entire quartet is characterized by a continuous eruption and transformation of ideas. Themes develop even as they are being presented and continue to evolve even as they are being “recapitulated.” For Bartók, form is a dynamic process rather than a structural plan. The Allegro opens with an aggressive tissue of terraced entrances, and beneath them, almost unobtrusively, the cello stamps out the quartet’s fundamental thematic cell in the seventh measure. This tight chromatic cell (all six notes remain within the compass of a minor third) will then be taken through an infinite sequence of expansions: from this pithy initial statement through inversions, expansions to more melodic shapes, and finally to a close on a massive restatement of that figure.

If the outer movements are marked by a seething dynamism, the three interior movements take us into a different world altogether. Bartók marks the second movement Prestissimo, con sordino and mutes the instruments throughout. The outer sections are built on the opening theme, which is announced by viola and cello in octaves. The central section, which does not relax the tempo in any way, rushes through a cascade of changing sonorities–glissandos, pizzicatos, grainy ponticello bowing–before the return of the opening material. This movement comes to a stunning close: glissandos swoop upward and the music vanishes on delicate harmonics. At the quartet’s center lies one of Bartók’s night-music movements. Textures here are remarkable. At the beginning Bartók asks the three upper voices–the accompaniment–to alternate playing both without and also with vibrato: the icy stillness of the former contrasts with the warmer texture of vibrato. Beneath these subtly-shifting sonorities, the cello has a long and passionate recitative that has its roots in Hungarian folk music, and the first violin continues with a series of soaring trills suggestive of bird calls The fourth movement is the companion to the second, this one played entirely pizzicato. The viola’s main theme is a variant of the principal theme of the second movement, here opened up into a more melodic shape. This use of pizzicato takes many forms in this movement: the snapped “Bartók pizzicato,” arpeggiated chords, strummed chords, glissandos. Brutal chords launch the final movement. This is the counterpart to the opening movement, but that opening Allegro is now counterbalanced by this even faster Allegro molto. Quickly the two violins outline the main theme, a further variation of the opening cell, which returns in its original form as this music dances along its sizzling way. As if to remind us how far we have come, the quartet concludes with a powerful restatement of that figure.

String Quartet in B-flat Major, Opus 130

Ludwig van BEETHOVENBorn December 16, 1770, BonnDied March 26, 1827, Vienna Beethoven composed the Quartet in B-flat Major between July and December of 1825, and the music had its première in Vienna on March 21, 1826, almost exactly a year to the day before the composer’s death. This massive quartet, consisting of six movements that span a total of nearly 50 minutes, concluded with a complex and extremely difficult fugue that left the first audience stunned. Beethoven, by this time totally deaf, did not attend the première, but when told that the fourth and fifth movements had been so

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enthusiastically applauded that they had to be repeated, he erupted with anger at the audience: “Yes, these delicacies! Why not the Fugue? Cattle! Asses!” But it was not just the audience at the première that found the concluding fugue difficult. With some trepidation, Beethoven’s publisher asked the crusty old composer to write a substitute finale and to publish the fugue separately. To everyone’s astonishment, Beethoven agreed to that request and wrote a new finale–a good-natured rondo–in the fall of 1826. Since that time, critics have debated which ending makes better sense artistically, and this is one of those debates that will probably continue forever. At this concert the Quartet in B-flat Major is performed with Beethoven’s substitute rondo-finale as the last movement. In either version, this music presents problems of unity, for the six movements are quite different from each other. The issue is intensified when the Grosse Fuge is used as the finale, for this movement is so individual that it does seem an independent statement (as, in fact, it is usually played). In its present form, the quartet consists of a huge first movement, four short inner movements (two scherzos and two slow movements), and the concluding rondo. The music encompasses a wide range of emotion, from the frankly playful to some of the most deeply-felt Beethoven ever wrote. The unifying principle of this quartet may simply be its disunity, its amazing range of expression and mood. The first movement, cast in the highly-modified sonata form Beethoven used in his final years, is built on two contrasting tempos: a reverent Adagio and a quick Allegro that flies along on a steady rush of sixteenth-notes. These tempos alternate, sometimes in sections only one measure long–there is some extraordinarily beautiful music here, full of soaring themes and unexpected shifts of key. By contrast, the Presto–flickering and shadowy–flits past in less than two minutes; in ABA form, it offers a long center section and a sudden close on the return of the opening material. The solemn opening of the Andante is a false direction, for it quickly gives way to a rather elegant movement in sonata form, full of poised, flowing, and calm music. Beethoven titled the fourth movement Alla danza tedesca, which means “Dance in the German Style.” In 3/8 meter, it is based on the rocking, haunting little tune that opens the movement; a brief center section leads to a reprise of the opening. The Cavatina has become one of the most famous movements in all Beethoven’s quartets. Everyone is struck by the intensity of its feeling, though few agree as to what it expresses–some feel it tragic, others view it as serene; Beethoven himself confessed that even thinking about this movement moved him to tears. Near the end comes an extraordinary passage that Beethoven marks Beklemmt (“Oppressive”): the music seems to stumble and then makes

its way to the close over halting and uncertain rhythms. The concluding rondo has troubled many listeners precisely because it is so different from the fugue it replaces. Where the fugue had provided a violent–and disruptive–conclusion, the substitute finale has seemed to some to go too far in the other direction. After the abrasive furies of the Grosse Fuge, the rondo will inevitably sound a little sugar-coated, and those who disagree with Beethoven’s decision to change finales note that the replacement rounds off too smoothly a quartet whose whole thrust has been dislocation. Does this new finale, pleasing as it is, represent artistic capitulation–or a tacit admission by Beethoven that the fugue had been wrong as a conclusion to the quartet? What we can say is that it was Beethoven himself who decided to detach the fugue, to write this new (and more congenial) finale, and to regard the Grosse Fuge as an independent work. It need not follow that every decision a composer makes about his music is correct, and there are many who regret Beethoven’s decision. Beethoven began this rondo-finale in Gneixendorf in September 1826 and mailed the manuscript off to his publisher on November 22. He returned to Vienna the following week, took to bed, and died the following March. This dancing, high-spirited music is the last that he completed.


STEVEN CASSEDY, prelude presenter Steven Cassedy, Distinguished Professor of Literature and Associate Dean of Graduate Studies at UCSD, is a classically trained pianist who studied at The Juilliard School’s Pre-College Division and at the University of Michigan School of Music. He received his undergraduate degree in comparative literature at the University of Michigan in 1974 and his Ph.D. in comparative literature at Princeton University in 1979. He has been a member of the

Department of Literature since 1980.

THE CHAMBER ORCHESTRA OF PHILADELPHIA A founding resident company of The Kimmel Center for the Performing Arts, The Chamber Orchestra of Philadelphia is a 33-member professional ensemble led by Music Director Dirk Brossé. The Chamber Orchestra, founded in 1964, has a well-established reputation for distinguished performances of repertoire from the Baroque period through the twenty-first century. The Orchestra’s development was motivated in part by the desire to provide performance

opportunities to young professional musicians emerging from the Curtis Institute of Music and other regional training programs but also by a desire to make substantial contribution to the City and region’s cultural life. The ensemble also championed new music, focusing on regional composers. In total, the organization has commissioned and premiered over seventy new works. The Chamber Orchestra has performed with such internationally acclaimed guest artists as Plácido Domingo, Luciano Pavarotti, Vladimir Ashkenazy, Mstislav Rostropovich, Issac Stern, Rudolph Serkin, The Eroica Trio, Jean-Pierre Rampal, The Romeros Guitar Quartet, Julie Andrews, Bernadette Peters, Ben Folds, Elvis Costello, Sylvia McNair, Steven Isserlis, Joseph Silverstein, Ransom Wilson, Gerard Schwarz, Jahja Ling and Nadja Salerno-Sonnenberg, among others.

CZECH PHILHARMONIC The Czech Philharmonic is enjoying a renewed reputation as one of the most exciting ensembles on the world stage. The orchestra was recently joined by Garrick Ohlsson, Frank Peter Zimmermann and Alisa Weilerstein to record Dvořák’s complete symphonies and his three concertos, under its Chief Conductor, Jiří Bělohlávek for Decca. Dvořák himself conducted the orchestra in its debut performance in 1896 at the Rudolfinum in

Prague, which is still home to its Prague concerts. The Czech Philharmonic performs in the world’s most prestigious concert halls, including Berlin’s Philharmonie, Suntory Hall in Tokyo, Carnegie Hall in New York and Vienna Musikverein. Festival appearances include the BBC Proms and the Edinburgh Festival. With Jiří Bělohlávek, the Czech Philharmonic has undertaken successful tours in Australia, Germany, Japan, Luxembourg, Spain, the United Arab Emirates, and the UK. The orchestra welcomes many distinguished guest conductors, such as Herbert Blomstedt, Semyon Bychkov, Christoph Eschenbach, Valery Gergiev, and David Zinman. The Czech Philharmonic has made nine television programs each of which features one of Dvořák’s nine symphonies, and produced a Czech Television documentary about Dvořák, Jiří Bělohlávek, and the current work of the Czech Philharmonic itself. Further exciting projects include competitions for composers and soloists. ©Czech Philharmonic, 2014

Jirí Belohlávek, chief conductor and music director Jiří Bělohlávek was born in Prague in 1946. From an early age, he studied cello and conducting, and in 1968 he was invited to become assistant conductor to Sergiu Celibidache. In 1977, Jiří Bělohlávek served as Chief Conductor of the Prague Symphony Orchestra, a position he held until 1990, when he was appointed Chief Conductor of the Czech Philharmonic. After serving as its Principal Guest Conductor between 1995 and 2000, Jiří

Bělohlávek was appointed Chief Conductor of the BBC Symphony Orchestra in 2006. Jiří Bělohlávek has regularly conducted the Berlin Philharmonic, Boston Symphony, Gewandhausorchester Leipzig,

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New York Philharmonic, and the San Francisco Symphony Orchestra, among others. He was recently appointed Principal Guest Conductor of the Rotterdam Philharmonic Orchestra. He has worked in the world of opera throughout his career. Recent and forthcoming highlights include new productions of Dvořák’s Rusalka at the Vienna Staatsoper (2014) and Janáček’s Jenůfa at the San Francisco Opera (2016). Jiří Bělohlávek has an extensive discography, including a complete Dvořák Symphonies cycle recently released by Decca, and is the first conductor since Herbert von Karajan to receive the Gramophone Award for Orchestral Recording two years running. In 2012, Queen Elizabeth II appointed Jiří Bělohlávek an honorary CBE for services to music. ©Czech Philharmonic, 2014

Jean-Yves Thibaudet, piano Jean-Yves Thibaudet, considered one of the best pianists in the world, has the rare ability to combine poetic musical sensibilities with dazzling technical prowess. His talent at coaxing subtle and surprising colors and textures from even old favorites led The New York Times to exclaim “…every note he fashions is a pearl…the joy, brilliance and musicality of his performance could not be missed.” Thibaudet, who has performed around the world for more than 30 years and recorded more

than 50 albums, has a depth and natural charisma that have made him one of the most sought-after soloists by today’s foremost orchestras, conductors, and festivals. In 2010 the Hollywood Bowl honored Thibaudet by inducting him into its Hall of Fame. His recordings have been nominated for two Grammy® Awards and won many prizes, including the Schallplattenpreis, the Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo Awards, and the Edison Prize. Thibaudet was the soloist on the Oscar- and Golden Globe-award winning soundtrack to Atonement, the Oscar-nominated Pride and Prejudice, and Extremely Loud & Incredibly Close. Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012. Mr. Thibaudet’s worldwide representation: IMG Artists, LLC / Mr. Thibaudet records exclusively for Decca Records.

DANISH STRING QUARTET Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello Embodying the quintessential elements of a chamber music ensemble, the Danish String Quartet has established a reputation for possessing an integrated sound, impeccable intonation and judicious

balance. Since making its debut in 2002 at the Copenhagen Festival, the highly sought-after Quartet has demonstrated a passion for Scandinavian composers while also proving skilled and profound performers of the classical masters. The Danish String Quartet’s 2014-15 season brings first-time tours to Israel and South America. Other international tours include Brussels, Copenhagen, Glasgow, Dortmund, Weimar and London as well as the Lofoten Festival in Norway. Currently in their second season with Lincoln Center’s CMS Two program, they collaborate with pianists Gilles Vonsattel and Jon Kimura Parker. The Quartet presents the U.S. premiere of Danish composer Thomas Agerfeldt Olesen’s Quartet No. 7 “The Extinguishable” in Chicago, followed by performances in St. Paul, Santa Barbara, Pasadena, New Haven, Gainesville, Jacksonville and Laramie. Their robust schedule rounds out with Washington, D.C., Philadelphia, Vancouver, Tulsa, New Orleans, La Jolla and Houston. In November the ensemble launches their recording of Danish folk songs, Wood Works on the DaCapo label, at Subculture in New York. The Quartet has been named a BBC Radio 3 New Generation Artist for 2013-15.

GIEDRE DIRVANAUSKAITE, cello Giedre Dirvanauskaite was born in Kaunas, Lithuania, to a family of musicians. She graduated from the Lithuanian Music Academy, is a laureate of several national competitions, and attended master classes given by Rostropovich, Geringas, Beyerle and Grindenko, among others. Since 2009, she regularly performs and tours in a trio with violinist Gidon Kremer and pianist Khatia Buniatishvili and has been a member of Kremerata Baltica since its foundation in 1997. As a soloist

Dirvanauskaite has performed with many different chamber and symphony orchestras in Europe, Asia, and the Middle East.Dirvanauskaite plays an instrument by Alexander Gaglianus, made in 1709.


BIOGRAPHIES

HAGEN QUARTET Lukas Hagen, Rainer Schmidt, violins; Veronika Hagen, viola; Clemens Hagen, cello The Hagen Quartet begins its 2014-15 season with a Mozart cycle, featuring Mozart’s ten major string quartets in musical centers throughout Europe and Asia. The quartet’s 30th anniversary

season was celebrated with two new recordings, released on myrios classics, of works by Mozart, Webern, Beethoven, Grieg and Brahms. The Hagen Quartet was recognized with the prestigious ECHO Klassik award as Ensemble of the Year 2011. In 2012, the quartet was named Honorary Member of Vienna’s Konzerthaus. The unprecedented three-decade career of the Hagen Quartet began in 1981. Its early years were marked by a series of prizes in chamber music competitions and an exclusive recording contract with Deutsche Grammophon. This enabled the group to work its way through the quartet repertoire from which the distinctive profile of the Hagen has emerged. Collaborations with artistic personalities such as Nikolaus Harnoncourt and György Kurtág are as important to the quartet as its concert appearances with performers including Maurizio Pollini, Mitsuko Uchida, Sabine Meyer and Krystian Zimerman. Since mid-2013, the Hagen Quartet has been performing on instruments made by Antonio Stradivari, known as the “Paganini” quartet, generously on loan by the Nippon Music Foundation.

GIDON KREMER, violin Of all the world’s leading violinists, Gidon Kremer perhaps has the most unconventional career. Born in Riga, Latvia, he began studying at the age of four and three years later entered Riga Music School. At sixteen he was awarded the first Prize of the Latvian Republic and soon after began his studies with David Oistrakh at the Moscow Conservatory. He went on to win prestigious awards including the 1967 Queen Elizabeth Competition and the first prize in both Paganini and

Tchaikovsky International Competitions. This success launched Gidon Kremer’s distinguished international career. He has appeared on virtually every major concert stage with the most celebrated orchestras of Europe and America and collaborated with today’s foremost conductors. In 1997, Gidon Kremer founded Kremerata Baltica chamber orchestra to foster outstanding young musicians from the three Baltic States. Since then, he has been touring extensively with the orchestra appearing at the world’s most prestigious festivals and concert halls. Gidon Kremer’s repertoire is unusually extensive, spanning from standard classical and romantic violin works, music by twentieth- and twenty-first century masters and the works of living Russian and Eastern European composers. He plays a Nicola Amati, dated from 1641.

BRANFORD MARSALIS, saxophone NEA Jazz Master, Grammy Award® winning saxophonist and Tony Award® nominee Branford Marsalis is one of the most revered instrumentalists of his time. Leader of one of the finest jazz quartets today, and a frequent soloist with classical ensembles, Branford has become increasingly sought after as a featured soloist with such acclaimed orchestras as the Chicago, Detroit, Düsseldorf, and North Carolina Symphonies and the Boston Pops, with a growing repertoire that

includes compositions by Copland, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem and Vaughn Williams. Following his first appearance with the New York Philharmonic in the summer of 2010, Marsalis was again invited to join them as soloist in their 2010-2011 concert series where he unequivocally demonstrated his versatility and prowess, bringing “a gracious poise and supple tone…and an insouciant swagger” (New York Times) to the repertoire. Whether on the stage, in the recording studio, in the classroom or in the community, Branford Marsalis embodies a commitment to musical excellence and a determination to keep music at the forefront.

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NICOLAS REVELES, prelude presenter A San Diego County native, Nicolas Reveles is currently the Director of Education and Community Engagement for San Diego Opera. A pianist and composer as well as a coach and educator, he holds a doctorate in piano from the Manhattan School of Music in New York. Before joining San Diego Opera, he was a professor of music at the University of San Diego, and hosts an annual – and very popular – series of broadcasts – “Opera Talk with Nic Reveles” – on UCSD-TV.

TAKÁCS QUARTET Edward Dusinberre, Károly Schranz, violins;Geraldine Walther, viola; András Fejér, cello Recognized as one of the world’s great ensembles, the Takács Quartet plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring

fresh insights to the string quartet repertoire. In May of 2014 they became the first string quartet to win the Wigmore Hall Medal. Long having been lauded with awards, including a Grammy®, multiple Gramophone Awards, and a Chamber Music of America Award, in 2012 they were appointed the first-ever Associate Artists at Wigmore. Known for innovative programming, they performed Philip Roth’s “Everyman” program with Meryl Streep in September. The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest. Quartet members are Christoffersen Faculty Fellows at the University of Colorado Boulder, where they are based. They have helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The Quartet’s commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West, Santa Barbara. They are also Visiting Fellows at the Guildhall School of Music and Drama, London.

DANIIL TRIFONOV, piano Combining consummate technique with rare sensitivity, Russian pianist Daniil Trifonov has made a spectacular ascent to classical stardom. This season, he makes debuts with the symphony orchestras from Seattle to Vienna, and returns to the New York Philharmonic, Chicago Symphony, and others. He also tours Japan with the Mariinsky Orchestra and the U.S. with violinist Gidon Kremer, and gives solo recitals at such key at international and U.S. venues as Théatre des Champs Elysées in

Paris and New York’s Carnegie Hall—where he will return for the third consecutive year. After taking First Prize at both the Tchaikovsky and Rubinstein competitions in 2011 at the age of 20, Trifonov made first appearances with all the “Big Five” U.S. orchestras, as well as with London’s Royal Philharmonic and other top European ensembles. In 2013 he won the Franco Abbiati Prize for Best Instrumental Soloist and premièred his own first piano concerto in Cleveland. The pianist now records exclusively as a Deutsche Grammophon artist, recently having released Trifonov: The Carnegie Recital. Born in Nizhny Novgorod in 1991, Trifonov studied at Moscow’s Gnessin School of Music and the Cleveland Institute of Music.

PHOTO CREDITS: Cover: J. Thibaudet courtesy of Decca/Kasskara; Pg 2: A. Sandoval courtesy of artist; Pg. 11 & 36: B. Marsalis courtesy of artist; Pg. 15 & 36: Hagen Quartet by Harald Hoffmann © myrios classics; Pg. 19 & 34: Czech Philharmonic © Daniel Havel; Pg. 24 & 35: Danish String Quartet © Caroline Bittencourt; Pg. 27: G. Kremer by Horst Helmut Schmeck; Pg. 30 & 37: Takács Quartet © Keith Saunders Photography; Pg. 34: S. Cassedy courtesy of presenter; The Chamber Orchestra of Philadelphia © Janette McVey 2011; J. Belohlávek © Vaclav Jirasek; Pg. 35: J. Thibaudet courtesy of Decca/Felix Broede; G. Dirvanauskaite courtesy of artist; Pg. 36: G. Kremer courtesy of artist; Pg. 37: N. Reveles © Seth Mayer; D. Trifonov © www.lexiv.ru; Back Cover: Danish String Quartet © Caroline Bittencourt


La Jolla Music Society’s high quality presentations, artistic excellence, and extensive education and community engagement programs are made possible in large part by the support of the community. There are many ways for you to play a crucial role in La Jolla Music Society’s future —from annual support to sponsorships to planned giving. For information on how you can help bring the world to San Diego, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or [email protected].

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MEMBERS OF THE MAJOR DONOR SOCIETY SUPPORT LA JOLLA MUSIC SOCIETY WITH GIFTS OF AT LEAST $5,000

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SUSTAINER ($15,000 - $24,999) AnonymousDr. James C. & Karen A. BraileanBill & Wendy BrodyMartha & Ed DennisSue & Chris FanElaine Galinson & Herbert SolomonRichard & Lehn GoetzTheresa Jarvis & Mr. Ric ErdmanWilliam Karatz & Joan SmithAngelina K & Fredrick KleinbubCarol Lam & Mark BurnettNational Endowment for the ArtsBetty-Jo PetersenStacy & Don RosenbergLeigh P. RyanJohn Venekamp & Clifford SchiresonThomas & Maureen ShiftanVail Memorial FundJack & Joanna TangClara Wu & Joseph TsaiCarolyn Yorston-Wellcome & H. Barden Wellcome

SUPPORTER ($10,000 - $14,999) Joan Jordan BernsteinBob & Betty BeysterKatherine ChapinRic & Barbara CharltonCounty of San Diego / Community Enhancement ProgramBrian Douglass, President digital OutPostFrench American Cultural Exchange, French U.S. Exchange in DanceTheodore & Ingrid FriedmannCam & Wanda GarnerMichael & Brenda GoldbaumDr. & Mrs. Michael GrossmanJudith Harris & Robert Singer, M.D.Alexa Kirkwood HirschSue J. HodgesKatherine KennedyKeith & Helen KimSharon & Joel LabovitzVivian Lim & Joseph WongNew England Foundation for the ArtsPhil & Pam PalisoulEthna Sinisi PiazzaDeirdra PriceQUALCOMM Incorporated

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AMBASSADOR ($5,000 - $9,999) Anonymous (2)Norman Blachford & Peter CooperJohan & Sevil BrahmeAnne & Bob ConnBernard & Rose Corbman Endowment FundThe Rev. Eleanor EllsworthJeane ErleyOlivia & Peter C. FarrellPauline FosterDr. Lisa Braun-Glazer & Dr. Jeff GlazerRobert & Margaret HulterWarren & Karen KesslerLeanne Hull MacDougallMichel Mathieu & Richard McDonaldStephen Warren Miles & Marilyn MilesPaul Hastings, LLPSusan Shirk & Samuel PopkinMaria & Dr. Philippe ProkocimerDrs. Jean & Catherine RivierJames RobbinsLawrence & Cathy RobinsonSandra & Robert RosenthalIvor & Colette RoystonSheryl & Bob ScaranoGianangelo VerganiRonald WakefieldJohn B. & Cathy WeilAbby & Ray WeissBebe & Marvin Zigman *In Memoriam

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Since 1999, La Jolla Music Society has operated Community Music Center, a free afterschool music education program in Southeast San Diego. Beyond learning how to read music and play their instruments, students in this program learn valuable lessons in commitment, perseverance and responsibility.

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SummerFest Fellowship Artists are selected from among the finest young musicians in the country. Alumni ensembles go on to win major awards, like the Banff International String Quartet Competition and the CMS Two Program of The Chamber Music Society of Lincoln Center.

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Shirley YoungSu Mei YuStephen YuJoan & Karl ZeislerThomas W. ZieglerTim & Ellen ZinnJosephine M. ZolinEmma & Leo Zuckerman

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FOUNDATIONS The Atkinson Family FoundationAyco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable FoundationBettendorf, WE Foundation: Sally FullerThe Blachford-Cooper FoundationThe Catalyst Foundation: The Hon. Diana Lady DouganThe Clark Family TrustEnberg Family Charitable Foundation The Epstein Family Foundation: Phyllis EpsteinThe Fidelity Charitable Gift Fund: Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable TrustRichard and Beverly Fink Family FoundationInspiration Fund at the San Diego Foundation: Frank & Victoria HobbsThe Jewish Community Foundation: Bernard & Rose Corbman Endowment Fund The Sondra & Robert Berk Fund Diane & Elliot Feuerstein Fund Foster Family Foundation Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund David & Susan Kabakoff Fund Warren & Karen Kessler Fund Liwerant Family Fund Theodora F. Lewis Fund Jaime & Sylvia Liwerant Fund The Stephanie Jean Hayo Robins Memorial Fund The Allison & Robert Price Family Foundation Fund Gary & Jean Shekhter Fund John & Cathy Weil FundSharon & Joel Labovitz FoundationThe Stephen Warren Miles and Marilyn Miles FoundationThe New York Community Trust: Barbara & William Karatz FundRancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised FundResMed FoundationThe San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund Inspiration Charitable Trust The Julius J. Pearl Fund The Ivor & Colette Carson Royston Fund The Scaranao Family Fund The Shiftan Family FundSchwab Fund for Charitable Giving: Alexa Kirkwood Hirsch Fund Ted McKinney & Frank Palmerino Fund

The Shillman FoundationSilicon Valley Community Foundation: The William R. & Wendyce H. Brody FundThe Haeyoung Kong Tang Foundation:The John M. and Sally B. Thornton FoundationThe John H. Warner Jr. and Helga M. Warner FoundationVail Memorial FundThomas and Nell Waltz Family FoundationSheryl and Harvey White Foundation

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In Honor of Karen and Jim Brailean: Thomas & Judith TheriaultIn Honor of Gordon Brodfuehrer’s Birthday: AnonymousIn Honor of Bill and Wendy Brody: Helene KrugerIn Honor of Brian Devine’s Birthday: Helene KrugerIn Honor of Brian and Silvija Devine: Gordon Brodfuehrer Dave & Elaine Darwin Helene KrugerIn Honor of Joy Frieman: Linda & Tim HolinerIn Memory of David Goldberg: Patricia WinterIn Honor of Susan and Bill Hoehn: Tom & Loretta HomIn Honor of Irwin Jacobs’ Birthday: Martha & Ed DennisIn Honor of Edith Kohn’s Birthday: Helene KrugerIn Memory of Lois Kohn: Ingrid PaymarIn Honor of Helene Kruger: Anonymous Christopher Beach & Wesley Fata Brian & Silvija Devine Bryna Haber Patricia Manners Paul & Maggie Meyer Ann Mound Debbie Horwitz & Paul Nierman Don & Stacy Rosenberg Beverly Schmier Nell Waltz Pat Winter

In Honor of Joel and Sharon Labovitz: Helene KrugerIn Honor of Carol Lam: QUALCOMM IncorporatedIn Honor of Peter Preuss’ Birthday: Judith Harris & Robert Singer, MDIn Honor of Peggy and Peter Preuss: Judith Harris & Robert Singer, MD Ivor & Colette RoystonIn Honor of Clifford Schireson: Rhonda Berger & Robert Abrams Laurie Mitchell & Brent WoodsIn Honor of Marge and Neal Schmale: Pat NickolIn Honor of Beverly Schmier’s Birthday: Helene KrugerIn Honor of Gigi and Joe Shurman’s 50th Wedding Anniversary: Ferdinand Marcus Gasang Dr. & Mrs. Michael NormanIn Memory of Carleton and Andree Vail: Vail Memorial FundIn Honor of Richard and Susan Ulevitch: Joy Frieman James & Lois Lasry Leslie SimonIn Honor of Abby Weiss: Anonymous Jane & Michael GlickIn Honor of Dolly Woo: Jack & Joanna TangIn Honor of Carolyn Yorston’s Birthday: Martha & Ed Dennis Maria & Dr. Philippe Prokocimer *In Memoriam

MATCHING GIFTS

Bank of AmericaIBM, InternationalQUALCOMM, Inc. The San Diego Foundation Sempra Energy

To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Benjamin Guercio at 858.459.3724, ext. 216. This list is current as of September 16, 2014. Updates and amendments will be reflected in the next program book in February 2015.

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CROWN JEWEL

Brenda Baker and Steve BaumConrad Prebys and Debbie Turner

DIAMOND Joy Frieman+Joan and Irwin JacobsRaffaella and John Belanich

EMERALD

Rita and Richard Atkinson

RUBY

Silvija and Brian Devine

GARNET

Elaine GalinsonPeggy and Peter Preuss

SAPPHIRE

Kay and John HesselinkKeith and Helen KimSharon and Joel Labovitz

TOPAZ AnonymousJoan Jordan Bernstein Mary Ann Beyster+Dr. James C. and Karen A. BraileanDave and Elaine DarwinBarbara and Dick EnbergJeane ErleyMargaret and Michael GrossmanAlexa Kirkwood HirschMargaret and Robert HulterTheresa JarvisAngelina and Fred KleinbubJoseph Wong and Vivian Lim+Michel Mathieu and Richard McDonaldRafael and Marina PastorMaria and Dr. Philippe ProkocimerDon and Stacy RosenbergLeigh P. Ryan+Neal and Marge SchmaleDrs. Joseph and Gloria ShurmanJeanette StevensElizabeth TaftGianangelo VerganiDolly and Victor WooBebe and Marvin Zigman

*In Memoriam

Note: + 5-year termListing as of September 16, 2014

MEDALLION SOCIETYIn 1999, the Board of Directors officially established the Medallion Society to begin to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made a multi-year commitment of at least three years to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.

SEASON 46 • 2014-15


DANCE SOCIETYLa Jolla Music Society has quickly become the largest presenter of major American and great international dance companies in San Diego. In order for LJMS to be able to fulfill San Diego’s clear desire for dance and ballet performances by the very best artists around the world, the Dance Society was created. We are grateful to the following friends for their passion and support of our dance programs.

LEGACY SOCIETYThe Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways – through their wills, retirement gifts, life income plans and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends.

Anonymous (2)June L. Bengston*Joan Jordan BernsteinBjorn and Josephine BjeredeDr. James C. and Karen A. BraileanBarbara BuskinTrevor CallanAnne and Robert ConnGeorge and Cari DamooseTeresa & Merle FischlowitzTed and Ingrid FriedmannJoy and Ed* FriemanSally FullerMaxwell H. and Muriel S. Gluck*Dr. Trude HollanderEric LasleyTheodora LewisJoani NelsonBill Purves

Darren and Bree Reinig Jay W. RichenJack and Joan SalbJohanna SchiavoniDrs. Joseph and Gloria ShurmanJeanette StevensElizabeth and Joseph* TaftNorma Jo ThomasDr. Yvonne E. VaucherLucy and Ruprecht von ButtlarRonald WakefieldJohn B. and Cathy WeilCarolyn Yorston-Wellcome and H. Barden WellcomeKarl and Joan ZeislerJosephine Zolin

*In Memoriam

Listing as of September 16, 2014

GRAND JETÉ Anonymous

ARABESQUE June and Dr. Bob ShillmanJeanette Stevens

PIROUETTE Elaine Galinson and Herbert SolomonAnnie SoMarvin and Bebe Zigman

PLIÉStefana BrintzenhoffMara LawrenceJoani Nelson Elyssa Dru RosenbergElizabeth Taft


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BUILDING THE SOCIETY FOR FUTURE GENERAT IONS

GUARANTOR

The Catamaran Resort & SpaThe Lodge at Torrey Pines

SUSTAINER

The Westgate Hotel

SUPPORTER

digital OutPostPaul Hastings LLPProcopio, Cory, Hargreaves & Savitch LLPResMedSan Diego Gas & Electric

AMBASSADOR

ACE Parking Management, Inc. Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis ClubLa Jolla Sports Club La Valencia Hotel NINE-TEN RestaurantPanache ProductionsRoppongi Restaurant & Sushi Bar

AFICIONADO

Adelaide’s La JollaCallan Capital Girard Gourmet Sharp HealthCareThe University Club

ASSOCIATE

Jade J. Schulz ViolinsJimbo’s…Naturally! Sprinkles Cupcakes

ENTHUSIAST

Nelson Real Estate


BUSINESS SOCIETYMembers of our Business Society are committed to the LJMS community. For information on how your business can help bring world-class performances to San Diego, please call Allison Estes at 858.459.3724, ext. 206 or email [email protected].


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APR I L 2015

DANIIL TRIFONOV, piano FRIDAY, APRIL 10, 2015 · 8 PM

BUDDY GUY SATURDAY, APRIL 11, 2015 · 8 PM

MICHAEL FEINSTEIN The Sinatra Legacy SATURDAY, APRIL 25, 2015 · 8 PM

HAN BIN YOON, cello SUNDAY, APRIL 26, 2015 · 3 PM

MAY 2015

MALANDAIN BALLET BIARRITZ Roméo et Juliette Thierry Malandain, artistic director SUNDAY, MAY 3, 2015 · 8 PM

CHRISTIAN TETZLAFF, violin & LARS VOGT, piano SATURDAY, MAY 9, 2015 · 8 PM

ARTURO SANDOVAL & PONCHO SANCHEZ AND HIS LATIN JAZZ BAND SATURDAY, MAY 16, 2015 · 8 PM

O CTO B E R 2014

BRANFORD MARSALIS AND THE CHAMBER ORCHESTRA OF PHILADELPHIA FRIDAY, OCTOBER 17, 2014 · 8 PM SPECIAL EVENT MCASD SHERWOOD AUDITORIUM

HAGEN QUARTET SATURDAY, OCTOBER 25, 2014 · 8 PM REVELLE CHAMBER MUSIC SERIES MCASD SHERWOOD AUDITORIUM

N OVE M B E R 2014

CZECH PHILHARMONIC Jir í Belohlávek, chief conductor Jean-Yves Thibaudet, piano THURSDAY, NOVEMBER 6, 2014 · 8 PM CELEBRITY ORCHESTRA SERIES JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

DANISH STRING QUARTET SATURDAY, NOVEMBER 15, 2014 · 8 PM REVELLE CHAMBER MUSIC SERIES MCASD SHERWOOD AUDITORIUM

JAN UA RY 2015

GIDON KREMER, violin & DANIIL TRIFONOV, piano THURSDAY, JANUARY 15, 2015 · 8 PM CELEBRITY RECITAL SERIES MCASD SHERWOOD AUDITORIUM

TAKÁCS QUARTET SATURDAY, JANUARY 17, 2015 · 8 PM REVELLE CHAMBER MUSIC SERIES MCASD SHERWOOD AUDITORIUM

TICKETS ON SALE NOW! 858.459.3728 · WWW.LJMS.ORG

DANISH STRING QUARTET

La Jolla Music Society Season 46, Program Book October-January

Documents

Transcript of La Jolla Music Society Season 46, Program Book October-January