上海四重奏2020年2月12日至13日

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BOARD OF DIRECTORS

James Reel President

Paul Kaestle Vice-President

Joseph Tolliver Program Director

Helmut Abt Recording Secretary

Wes Addison Treasurer

Philip AlejoNancy BissellKaety Byerley Laura CásarezMichael CoretzDagmar CushingBryan Daum Alan Hershowitz Tim Kantor Juan MejiaJay RosenblattElaine RousseauRandy SpaldingPaul St. JohnGeorge TimsonLeslie Tolbert Ivan Ugorich

PROGRAM BOOK CREDITS

EditorJay Rosenblatt

ContributorsRobert Gallerani Holly Gardner Nancy Monsman Jay Rosenblatt James Reel

Advertising Cathy Anderson Michael Coretz Marvin Goldberg Paul Kaestle Jay Rosenblatt Randy Spalding Allan Tractenberg

DesignOpenform

PrintingWest Press

CONTACT US

Arizona Friends of Chamber Music Post Office Box 40845 Tucson, Arizona 85717

Phone: 520-577-3769 Email: office@arizonachambermusic.org Website: arizonachambermusic.org

Operations ManagerCathy Anderson

USHERS

Barry & Susan AustinLidia DelPiccolo Susan FiferMarilee MansfieldElaine OrmanSusan RockJane Ruggill Barbara TurtonDiana WarrMaurice Weinrobe & Trudy Ernst

VOLUNTEERS

Dana DeedsBeth DaumBeth FosterBob FosterTraudi NicholsAllan TractenbergDiane Tractenberg

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FROM THE PRESIDENT

Our celebration of Beethoven’s 250th anniversary continues this week with a pair of concerts by the Shanghai Quartet, presenting nearly one-third of Beethoven’s string quartet output. The Jerusalem Quartet will have its turn in April, and we’ll conclude the festivities in the fall with double concerts by the Auryn, Juilliard, and Pacifica Quartets.

Most of these ensembles will also be playing music by composers other than Beethoven. Even so, a few of Beethoven’s quartets will be getting more than one airing over the course of 2020. At our most recent meeting, the AFCM board debated whether or not such repeats are a bad thing.

The argument against repeat performances is that Beethoven fatigue is already a danger with all sixteen quartets offered in a single year, and then, when you see that we’ll open next season with a second rendition of the “Harp” Quartet, you’ll decide that this is too much of a good thing and just stay home and binge-watch The Crown.

The argument in favor is that there is no single right way to play Beethoven, and each score offers a wealth of interpretive options. Each ensemble we present has its own distinctive approach to the music—free-wheeling, or elegant, or intense. Opening your ears to multiple interpretations can lead you to hear new details in a score, and think about the music in a different way.

And so we forge ahead. Besides, you’ll have all summer to binge-watch The Crown.

JA M E S R E E L

President

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SHANGHAI QUARTET FEBRUARY 12, 2020

Shanghai QuartetWeigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

MKI Artists One Lawson Lane, Suite 320 Burlington, VT 05401

SHANGHAI QUARTET

Over the past thirty-five years the Shanghai Quartet has become one of the world’s foremost chamber ensembles. The Shanghai’s elegant style, impressive technique, and emotional breadth allow the group to move seamlessly between masterpieces of Western music, traditional Chinese folk music, and cutting-edge contemporary works. Formed at the Shanghai Conservatory in 1983, soon after the end of China’s harrowing Cultural Revolution, the group came to the United States to complete its studies; since then the members have been based in the U.S. while maintaining a robust touring schedule at leading chamber-music series throughout North America, Europe, and Asia.

The Shanghai Quartet has an extensive discography of more than thirty recordings, ranging from the Schumann and Dvořák piano quintets with Rudolf Buchbinder to Zhou Long’s Poems from Tang for string quartet and orchestra with the Singapore Symphony. The Quartet has also recorded a collection of Chinese folk songs called Chinasong, featuring music arranged by Yi-Wen Jiang reflecting on his childhood memories of the Cultural Revolution in China. The Quartet has recorded the complete Beethoven string quartets and is currently recording the complete Bartók quartets.

The Shanghai Quartet performs on four exceptional instruments by Stradivari, Guarneri, Goffriller, and Guadagnini, generously loaned through the Beare’s International Violin Society to honor the quartet’s thirty-fifth anniversary. Serving as Quartet-in-Residence at the John J. Cali School of Music at Montclair State University since 2002, the Shanghai Quartet will also join the Tianjin (China) Juilliard School in fall 2020 as resident faculty members. The Quartet also is the Ensemble-in-Residence with the Shanghai Symphony Orchestra and visiting guest professors of the Shanghai Conservatory and the Central Conservatory in Beijing. They are proudly sponsored by Thomastik-Infeld Strings and BAM Cases.

This is the fourth appearance of the Shanghai Quartet on AFCM’s concerts; we heard them most recently in October 2017.

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EVENING SERIES

PROGRAM FOR FEBRUARY 12

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in D Major, Op. 18, no. 3

Allegro Andante con moto Allegro Presto

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in F Minor (“Serioso”), Op. 95

Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto espressivo—Allegretto agitato

INTERMISSION

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in E-flat Major, Op. 127

Maestoso—Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale: Allegro

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PROGRAM NOTES FEBRUARY 12, 2020

BEFORE BEETHOVEN LEFT B ONN for Vienna in 1792, his friend Count Waldstein told him that there “he would receive the spirit of Mozart from Haydn’s hands.” Beethoven had hoped to study with Mozart in Vienna—but since Mozart had recently died, Beethoven undertook instruction from Haydn instead. However, Beethoven, whom Haydn called “The Great Mogul,” was too impatient to appreciate the master’s lessons, and the studies soon ended because of their temperamental differences. But when Beethoven began to write his Opus 18 Quartets he closely examined the mature quartets of Mozart and especially Haydn for guiding principles. A high point of his “first style period,” the Opus 18 set was written from 1798 to 1800 and published in 1801. It reveals the pervasive influence of Haydn and Mozart but hints at the imminent expansion of Classicism’s boundaries. Beethoven’s originality is evident in all six Opus 18 Quartets, each of which opens with a small generative idea that gradually expands to form a large and uniquely detailed design.

Despite Haydn’s position as Beethoven’s early mentor, it was reported that when the aging composer heard these inventive and deeply expressive quartets at Prince Lobkowitz’s concerts, he decided to abandon string quartets and devote his efforts to choral masses. Since Viennese composers typically avoided competing genres, this observation most probably holds truth.

The D Major Quartet unfolds with ease and elegance, but Beethoven’s sketchbooks reveal the intensive labor of its creation. The first of the Opus 18 set to be completed, this quartet shows his new mastery of counterpoint—a high baroque technique of combining diverse but complementary lines. Beethoven described counterpoint as “a hard nut, but one that must be cracked” in order to create the intricate yet clear texture he desired.

Although the quartet offers songful obeisance to Mozart, Beethoven’s innovative details permeate the work. Each of the lyrical Allegro’s two themes begins in harmonies unorthodox for their time, leading critics to charge that Beethoven had violated tonal rules. In the eloquent Andante con moto movement (B-flat major), Beethoven inventively references

earlier themes—for example, in its recapitulation the second theme functions as a bass accompaniment for the first theme.

As a departure from the classical scherzo, Beethoven’s third movement is a gentle intermezzo (D major) with a mysterious contrasting section in D minor. The vigorous Presto finale, which suggests good-natured rustic dance, opens with an incisive three-note motif that sustains its momentum until the whispered conclusion.

BEETHOVEN WROTE HIS Opus 95 string quartet for his friend and confidant Nikolaus Zmeskall, an amateur cellist and composer who frequently hosted informal chamber music sessions in his home. This quartet was initially completed in 1810, but Beethoven revised it extensively in 1814 and premiered it that year. Before its publication Beethoven wrote in a letter: “The Quartet is written for a small circle of connoisseurs, and it is not to be performed in public.” Possibly he issued this directive because he perceived that the quartet was stylistically far ahead of its time and therefore likely to be misunderstood. Although Opus 95 is Beethoven’s final middle period quartet chronologically, it reveals characteristics of his final set of quartets, begun ten years later. Most notably there is often similarly terse expression, the result of strongly stated ideas separated by minimal transitions.

Beethoven inscribed the words Quartetto serioso on his manuscript and included the word “serious” in the third movement’s tempo marking. There is conjecture that this subtitle, as well as the pervasive mood of tragic intensity in Opus 95, stems from Beethoven’s unfortunate love affair with the much younger Therese Malfatti during this same year. The quartet shows expressive affinities to the Goethe-inspired Egmont Overture, also in F minor, which it immediately followed.

Like his other four middle period quartets, Opus 95 opens with a movement in sonata form. However, the brusquely passionate Allegro con brio is the most condensed and elliptical movement that Beethoven ever wrote in that form. Pared to essentials, the movement eliminates the customary repeat of the exposition. Its two contrasting themes undergo only a brief development and a truncated recapitulation.

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PROGRAM NOTES FEBRUARY 12, 2020

The second movement (D major) develops two contrasting ideas, a cantabile theme and a fugato that suggest the opening movement of the much later quartet Opus 131. The third movement, a scherzo with a contrasting trio section at its center, follows without pause. Abrupt and jagged rhythms anticipate patterns heard in the final quartets. The finale’s poignant Larghetto introduction, thematically related to the third movement, leads to the Allegretto agitato, which develops two restless subjects in sonata rondo form. After a dramatic ritardando, the mode changes to major and the tempo accelerates to suggest a victorious resolution.

DURING THE EIGHT YE AR S before Beethoven began his monumental final set of string quartets, he endured a period of spiritual isolation. Because of complete deafness, desertion by earlier patrons, and difficulties with both family and publishers, he often lacked the will to compose. Fortunately, he was galvanized by a commission from Prince Nikolas Galitzin, a Russian nobleman and amateur cellist, for “two or three string quartets, for which labor I will be glad to pay you what you think proper.” From May 1824 until November 1826, only four months before his death, Beethoven devoted all his energies to the creation of works for Galitzin (Opp. 127, 130, 132, and 133), as well as two other quartets written without commission (Opp. 131 and 135). Each of these transcendent works explores a musical universe expanded by an unprecedented fluidity of structure that allows each work to develop according to the demands of Beethoven’s vision.

Galitzin was mystified by Opus 127, the first of the commissioned quartets, because of its enormous stylistic differences from the earlier quartets he had admired. Early critics were also puzzled by Opus 127, which suffered from an inadequately rehearsed premiere in March, 1825. There were objectionsto the level of dissonance, which the deaf composer accepted but which remained uncomfortable to listeners for decades after his death. There was consternation that the work overall appeared to be a web woven from thematic particles rather than a developed set of themes with strong profiles, although these do exist. Unexpected changes of tempo within movements left the audience lost. The prevalent opinion was voiced by one present:

“Although we do not understand it, each of us was conscious that we had been in the presence of something higher than ourselves, beyond our capacity to comprehend.”

Opus 127, like the other late opus quartets, stands in two differing tonal worlds—the Classic and the Romantic. Initially the work promises to unfold with the coherent regularity characteristic of an earlier classical composition. Yet the work develops with rhythmic subtleties and harmonic ambiguities that obscure the clarity of its underlying structure. The opening Maestoso, while ostensibly similar to many of Beethoven’s other introductions, establishes a uniquely questioning mood. These opening measures recur in the following Allegro section (in effect dividing it into three parts), where they function to stabilize the free harmonic scheme of the movement as it develops.

The Adagio second movement is a set of five variations based on two deceptively simple themes. These subtly elaborated variations move through daring and remote key modulations to achieve moments of true sublimity.

The incisive rhythms of the Scherzando abruptly bring the listener from this high plane. Unexpected changes of rhythms, dynamics, and mood contribute to a sense of unrest. The finale, a more classical exploration of two folklike themes, restores an atmosphere of clarity. The coda, initiated by a newly faster tempo, propels the work toward an exhilarating conclusion.

Notes by Nancy Monsman

“Although we do not understand it, each of us was conscious that we had been in the presence of something higher than ourselves, beyond our capacity to comprehend.”A MEMBER OF THE AUDIENCE AT THE PREMIERE OF OP. 127

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SHANGHAI QUARTET FEBRUARY 13, 2020

Shanghai QuartetWeigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

MKI Artists One Lawson Lane, Suite 320 Burlington, VT 05401

INDIVIDUAL BIOGRAPHIES

Born into a family of well-known musicians in Shanghai, WEIGANG LI began studying the violin with his parents when he was five and went on to attend the Shanghai Conservatory at age fourteen. Three years later, in 1981, he was selected to study for one year at the San Francisco Conservatory of Music through the first cultural exchange program between the sister cities of Shanghai and San Francisco. In 1985, upon graduating from the Shanghai Conservatory, Mr. Li left China again to continue his studies at Northern Illinois University and later studied and taught at the Juilliard School as teaching assistant to the Juilliard String Quartet. His teachers have included Shmuel Ashkenasi, Isadore Tinkleman, and Tan Shu-Chen.

Mr. Li is a violin professor at Montclair State University in New Jersey and Bard College Conservatory of Music in New York. He plays on a 1714 Antonio Stradivari nicknamed “Kneisel Grün” generously loaned to him by the Beare International Violin Society.

YI-WEN JIANG was born into a musical family in Beijing where both parents were professional musicians. Beginning his violin studies with his father at age six, Mr. Jiang won top prize at the first China Youth Violin Competition in 1981 and was accepted to study with Professor Han Li at the Central Conservatory of Music. In 1985, after receiving a full scholarship from McDonnell-Douglas, Mr. Jiang came to the U.S. to study with Taras Gabora and Michael Tree. In 1990, with the support of the Ken Boxley Foundation, he went to Rutgers University to work with Arnold Steinhardt of the Guarneri Quartet.

Mr. Jiang teaches at Montclair State University and the Bard College Conservatory of Music. He is also guest professor at the Central Conservatory of Music in Beijing and the Shanghai Conservatory. Mr. Jiang plays a 1729 Giuseppe Guarneri del Gesu nicknamed

“The Stretton” generously loaned to him by the Beare International Violin Society.

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EVENING SERIES

HONGGANG LI began studying the violin with his parents at age seven. When the Central Conservatory of music in Beijing reopened in 1977 after the Cultural Revolution, Mr. Li was selected to attend from a group of over five hundred applicants. He continued his training at the Shanghai Conservatory and co-founded the Shanghai Quartet with his brother Weigang while in his senior year in the conservatory. The quartet soon became the first Chinese quartet to win a major international chamber music competition (the London International) and came to the U.S. in 1985. He received his MM from North Illinois University and served as a teaching assistant at the Juilliard School in New York.

Mr. Li is currently an Artist-in-Residence and faculty member at Montclair State University and previously held the same title at the University of Richmond in Virginia from 1989 to 2003. He plays on a 1700 Matteo Goffriller viola generously loaned to him by the Beare International Violin Society.

A native of Spanish Harlem in New York City, NICHOL AS TZ AVAR AS has toured the globe as a chamber musician, soloist, and educator for the past two decades. He has performed more than 1500 concerts worldwide, from Cartegena Columbia to the Tonhalle in Zurich to Nagasaki Japan. Since 2000, Mr. Tzavaras has been the cellist of the Shanghai Quartet. He is currently the coordinator of the String Department and Artist-in-Residence at Montclair State University.

Mr. Tzavaras began the violin at age two with his mother, Roberta Guaspari, and moved to the cello when he was six. A graduate of the Bronx High School of Science, he went on to receive degrees from the New England Conservatory and the State University of New York at Stony Brook where his cello teachers were Laurence Lesser and Timothy Eddy. He plays on a rare 1710 Giuseppe Guarneri filius Andrea cello generously loaned to him by the Beare International Violin Society.

A note on the Shanghai Quartet may be found on page 4

PROGRAM FOR FEBRUARY 13

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in F Major (“Razumovsky”), Op. 59, no. 1

Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Thème russe: Allegro

INTERMISSION

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet in B-flat Major, Op. 130

Adagio ma non troppo—Allegro Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo

Grosse Fuge, Op. 133

This evening’s concert is partially sponsored by the generous contribution of George & Irene Perkow.

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“I said to Beethoven, that he surely did not consider these works to be music?—to which he replied, ‘Oh, they are not for you, but for a later age!’ ”FELIX RADICATI ON BEETHOVEN’S OP. 59

PERHAPS THE MOST musically knowledgeable of Beethoven’s aristocratic patrons was Count Andreas Razumovsky, the Russian son of the Empress Catherine’s “favorite” and recipient of a lifetime ambassadorship to the Hapsburg Court at Vienna. An accomplished amateur violinist and cellist who maintained a superb string quartet as part of his household staff, Razumovsky commissioned Beethoven to write three quartets for concerts intended to serve a dual purpose—both to celebrate his palatial new embassy, grandly adorned with statuary by Canova, and also as remembrance for the grievous 1805 Austro-Russian military defeat by Napoleon at Austerlitz, which left thousands of his countrymen dead. Razumovsky stipulated that each of the quartets include Russian themes as a patriotic gesture, and Beethoven searched for appropriate melodies to honor this request. Although engaged with other large-scale projects of his productive “middle period,” Beethoven devoted his full attention to the commission, and he soon completed the three quartets of his Opus 59 (1806). These “Razumovsky” Quartets mark a new era for the string quartet. Formerly a genre written for intimate chambers, the string quartet is here an expanded, quasi-orchestral form intended for a concert hall with a large audience.

Beethoven at this time was obsessed by his desire to master sonata form—an established, yet flexible, eighteenth-century scheme that provided large works with a coherent structure: the exposition of ideas, their full development, their return in mostly original form, and an extensive coda. This clear framework allowed Beethoven to create dramatically nuanced, spacious designs with maximum thematic and harmonic contrast. Each of the Razumovsky Quartets features at least the opening movement in sonata

form. Remarkably, in Opus 59 No. 1 each of the four movements is constructed according to this plan.

Perhaps because Razumovsky favored the cello, the monumental Allegro of Opus 59 No. 1 opens with a forthright statement in the cello’s middle register. This boldly confident theme is continued by the violin, which soon introduces the second subject. A codetta leads to the vast and imaginative development section, which includes a fugal section at its center. The cello begins the recapitulation, which is subtly linked to the development by overlying passages in the violin. Returning ideas are varied and expanded in both the recapitulation and the concluding coda.

The second movement also begins with a cello statement, but one that struck the Count’s resident quartet as a very poor joke—a solo rhythmic figure on the note B-flat. Although launched by ostensibly unpromising material, this scherzo movement develops with wit and lyricism.

The profound Adagio is a sonata form movement of unprecedented length. In his sketches Beethoven wrote the words “A weeping willow or acacia tree upon my brother’s grave.” Perhaps an allusion to a brother who had died in infancy, the inscription suggests that the movement should be heard as a sustained lament. The cello eloquently sings its two themes in the upper register. The violin shares the material, which is developed through brilliant scoring and varied accompaniments. Runs in the violin connect the movement to the Allegro finale, which begins with an animated Russian theme. Beethoven evidently found the melody in a collection of Russian folk songs; originally a slow tune in D minor, the song here is a rapid statement in F major. A second theme is introduced, and both motifs are developed in imitation. A sudden adagio stops the momentum, but the vivacity soon returns to conclude the movement.

BEETHOVEN HAD SPECIAL affection for his late Opus 130, which he referred to as the Liebquartett (Dear Quartet) in his conversation books. Perhaps because of his deafness he chose not to attend the work’s premiere in March, 1826 but rather to wait in a nearby tavern for word of the audience’s response. His nephew Karl soon brought positive news that two of the six movements met with such favor that they had

PROGRAM NOTES FEBRUARY 13, 2020

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PROGRAM NOTES FEBRUARY 13, 2020

to be repeated. Karl also gave less favorable news—the fugal finale confused listeners (“as incomprehensible as Chinese,” said one present). Beethoven exploded with anger. Soon after the premiere his publisher and several friends persuaded Beethoven to compose a new, more traditional finale for Opus 130 and to allow the original movement, the “Great Fugue,” to stand as a separate composition (now Opus 133).

Although Opus 130 was described by Beethoven’s biographer Schindler as “the monster among all quartets,” its framework follows the basic four-movement classical pattern. However, Beethoven expands this scheme by adding both a scherzo and a slow movement before the finale. Within these movements thematic material develops with extreme flexibility. Opus 130 begins with a serene Adagio that appears to be a traditional introduction, but fragments surprisingly re-emerge between the Allegro’s faster statements. The resulting shifts of mood led Aldous Huxley to describe the movement as “majesty alternating with a joke.”

The fleet Presto (B-flat minor) functions as a bridge between the complex opening movement and the rhythmically intricate third movement. Based on short and repeated melodic units, the Presto unfolds with contrasting simplicity.

The following Andante (D-flat major), marked “moderately slow with motion, but not too much,” combines levity with wistful melancholy. The viola states the principal theme, marked “a little playfully,” in its lower register. The violins develop melodies and countermelodies continuously underpinned by rhythmic figuration in the cello.

The graceful Alla danza tedesca (Dance in the German Style, G major), constructed in A-B-A form, functions as a second scherzo. This fluent movement resembles a gentle Ländler, a rustic triple-time German dance.

The Cavatina (“Little Aria”) is an outpouring of heartfelt song. This brief movement begins with calm serenity but steadily gains intensity until its poignant harmonic shift from C-flat major to A-flat minor—at which place Beethoven penned the word “anguished” in the manuscript. His friend Karl Holz wrote that the Cavatina was composed “amid sorrow and tears; never did his music breathe so deep an inspiration,

and even the memory of this movement brought tears to his eyes.” (A Budapest Quartet recording of the Cavatina was included in the Golden Record for Voyager’s interstellar journey, commenced in 1977.)

Although it will not be heard this evening, the alternate Allegro finale deserves comment. Despite ongoing illness and discomfort, Beethoven crafted an ostensibly good-natured sonata form movement that alludes to the quartet’s earlier themes and harmonic relationships. It stands as Beethoven’s final composition.

The remarkable Grosse Fuge, published posthumously as Opus 133 in 1827, is often performed as the finale of Opus 130. This intense and driving “Great Fugue” begins with an overture (Allegro, G major) that introduces the concise, somewhat jagged, motto theme. After a variation of this theme in a brief passage marked “less motion, moderate tempo,” the powerful fugue begins to develop (Allegro, B-flat major). The motto passes in turn from the first violin to the second violin, then to the viola and cello. A variation of the motto becomes a countersubject to the main theme. The fugue builds over a tremendous crescendo and comes to a dramatic pause. A quieter variant of the motto is developed in a pianissimo section again marked “less motion, moderate tempo” (G-flat major). The fugue returns at a fortissimo section marked “very fast and with spirit” (B-flat major). After a robust development that emphasizes the fervent and jagged character of the theme, the marking “less motion, moderate tempo” returns (F minor). The tempo gradually accelerates, and the marking “very fast and with spirit” returns. On the final pages the themes are transformed into a dance of victory.

Throughout the fugue one hears numerous thematic links to the quartet’s earlier movements—a compelling argument that the Grosse Fuge belongs to Opus 130 as its appropriate finale.

Notes by Nancy Monsman

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A festival is a dynamic array of chamber music’s best, performed by musicians from around the globe, under unique conditions—which results in live performances you won’t hear any other time of year.

Buy tickets now for best seats!

SUNDAY, MARCH 1, AT 3:00 PM

Mozart: Flute Quartet in D Major, K. 285 Martinů: Three Madrigals for Violin and Viola Anon. (ca. 618 A.D.): “Ambush on Both Sides” Ginastera: Pampeana No. 2 for Cello and Piano Smetana: String Quartet No. 1 in E Minor (“From My Life”)

TUESDAY, MARCH 3, AT 7:30 PM

Glass: The Sound of a Voice Fauré: Violin Sonata No. 1 in A Major, Op. 13 Schubert: Piano Quintet in A Major (“Trout”), D. 667

WEDNESDAY, MARCH 4, AT 7:30 PM

Dvořák: Sonatina in G Major for Violin and Piano, Op. 100 Cotton: Meditation, Rhapsody, and Bacchanal for Violin and Percussion Jolivet: Chant de Linos for Flute and Piano Beethoven: String Quintet in C Major, Op. 29

FRIDAY, MARCH 6, AT 7:30 PM

Kodály: Serenade for Two Violins and Viola, Op. 12 Prokofiev: Trio for Piano, Violin, and Cello (arr. Flute Sonata, Op. 94) Four Seasons for String Quartet (World Premiere) Joan Tower: “Wild Summer” Christopher Theofanidis: “Fall” Akira Nishimura: “Spring” Lera Auerbach: “Winter”

SATURDAY, MARCH 7, AT 6:00 PM

Gala dinner & concert at the Arizona Inn. Advance reservation only–until full. Cost includes champagne, wine, hors d’oeuvres, dinner, and live performance by the Festival musicians.

SUNDAY, MARCH 8, AT 3:00 PM

Richard Strauss: Sextet from Capriccio, Op. 85 Bax: Sonata for Viola and Piano Ross Edwards: Four Inscapes (World Premiere) Mendelssohn: Quartet in D Major, Op. 44, no. 1

FESTIVAL ARTISTS

Jasper String Quartet Yura Lee, violin/viola Alexander Sitkovetsky, violin Dimitri Murrath, viola Julie Albers, cello Rafael DeStella, double bass Tara Helen O’Connor, flute Yang Jin, pipa Matthew Strauss, percussion Lera Auerbach, piano/composer Bernadette Harvey, piano Ross Edwards, composer

TICKETS

Festival Pass $120 (5 concerts for the price of 4) Single concert tickets $30 adults and $10 students Gala dinner and concert $180 (RSVP by March 3) All concerts take place at the Leo Rich Theater. arizonachambermusic.org 520-577-3769

TWENTY-SEVENTH TUCSON WINTER CHAMBER MUSIC FESTIVAL

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JUNE 10, 2020

Joseph Rousos-Hammond, violin and Yasmin Alami, piano

JULY 15, 2020

Woodsmusic with Rex Woods, piano Alexander Woods, violin and Garrick Woods, cello

AUGUST 12, 2020

Michelle Gott, harp

OCTOBER 21 & 22, 2020

Auryn Quartet

OCTOBER 29, 2020

Hub New Music

NOVEMBER 11 & 12, 2020

Juilliard String Quartet

NOVEMBER 22, 2020

Xavier Foley, double bass

DECEMBER 6, 2020

Andrew and Daniel Hsu, piano four hands

DECEMBER 16 & 17, 2020

Pacifica Quartet

JANUARY 21, 2021

Accordo

JANUARY 27, 2021

Alexander String Quartet, with Kindra Scharich, mezzo-soprano

FEBRUARY 17, 2021

Apollon Musagete Quartet, with Garrick Ohlsson

FEBRUARY 27, 2021

Ioana Cristina Goicea, violin

MARCH 14–21, 2021

Winter Chamber Music Festival

APRIL 7, 2021

Parker Quartet

COMING NEXT SEASON

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Jean-Paul Bierny & Chris TanzJoyce Cornell Walter Swap

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$250 – $499

Thomas & Susan AcetoSydney Arkowitz Wes & Sue AddisonPeter BleasbyNathaniel & Suzanne BloomfieldRichard & Martha Blum

Jan Buckingham & L.M. RonaldJack BurksMichael Bylsma & Mark FlynnRichard & Patricia Carlson Shirley ChannNancy CookJanna-Neen CunninghamPhilip M. DavisMark DickinsonStephen & Aimee Doctoroff Alison EdwardsKaren & Lionel Faitelson Edna Fiedler & Walter SipesTom & Janet GethingGerald & Barbara GoldbergLouis HessSandra HoffmanJanet & Joe Hollander Willliam & Sarah HuffordWilliam & Ann IvesonDavid JohnsonMichael & Sennuy KaufmanGeorge & Cecile KlavensDaniela LaxKeith & Adrienne LehrerAmy & Malcolm LevinAlan Levenson & Rachel K. GoldwynWilliam Lindgren Karen E. & Leonard L. LoebMark Luprecht Max McCauslin & John SmithBill & Kris McGrathJoan McTarnahan Harry Nungesser Mary Peterson & Lynn NadelJay & Barbara Pisik Steve Reitz & Elizabeth EvansDavid & Ellin RuffnerMark Haddad Smith Barbara StraubNancy StraussSheila TobiasCharles & Sandy TownsdinAllan & Diane Tractenberg Ellen Trevors Patricia WaterfallDaryl Willmarth

THANK YOU TO OUR SUPPORTERS!

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THANK YOU TO OUR SUPPORTERS!

$100 – $249

Helmut Abt Philip AlejoMark & Jan BarmannMargaret BashkinKathryn BatesJoyce Bolinger Sarah BorosonElizabeth BuchananJohn BurcherPatricia & Ed Campbell Robert D. Claassen & John T. Urban Tom Collazo Cornell CollinsC. Jane DeckerTerence DeCarolisMartin Diamond & Paula WilkBrian EdneyJohn & Mary EnemarkDorothy Fitch & John MunierJames & Ruth FriedmanLinda L. Friedman Peter & Linda FriedmanTommy & Margot FriedmannJuan GallardoThomas & Nancy GatesMarvin & Carol GoldbergBen & Gloria GoldenKathryn GordonJanet GraysonMarilyn Halonen Clare Hamlet Cynthia Hartwell James Hays Les & Suzanne HaytSara HeitshuRuth B. HelmJim HomewoodRobert & Claire HugiSara HunsakerLee Kane Joe Kantauskis & Gayle Brown Tim KantorCarl KanunWilliam KruseRobert Lupp

Frank & Janet Marcus Warren & Felicia May Richard & Judith MeyerWalter Miller Karen Ottenstein Beer Eileen OviedoJohn PalmerDetlev Pansch & Julie Steffen David & Cookie PashkowJudith C. PottleJohn RaittLynn Ratener Kay Richter & Stephen BuchmannSeymour ReichlinErin Riordan & Ben WilderBetsy RollingsJay & Elizabeth RosenblattElaine RousseauHerbert Rubenstein Kenneth J. Ryan Evelyn SalkJennifer P. SchneiderHoward & Helen Schneider Stephen & Janet SeltzerShirley SnowHarry StacyRonald StaubMichael TaborShirley TaubeneckJennalyn TellmanBarbara Turton Ivan Ugorich Karla Van Drunen Littooy Peter & Reyn VoevodskyDimitri Voulgaropoulos & Tyna Callahan Diana WarrJude WeiermanPatricia Wendel Sheila Wilson & Hal Barbar

GIFTS IN MEMORY OF

Ann Blackmarrby Cathy Anderson

David Cornellby Jean-Paul Bierny & Chris Tanz by Joyce Cornell, in loving memory by Larry & Nancy Morgan

Michael Cusanovichby Marilyn Halonen

Harry Fonsecaby Jean-Paul Bierny & Chris Tanz

Rayna Leah Gellman by Mark Haddad Smith

His mother, Helen Margaret Hodakby Eddy Hodak

Raymond Hoffmanby Sandra Hoffman

Kathy Kaestleby Paul & Marianne Kaestle

Jim Rusk by Carolyn Leigh

Brenda Semanickby Jean-Paul Bierny & Chris Tanz

Stephen G. Tellmanby Jennalyn Tellman

Carl T. Tomizukaby Sheila Tobias

Contributions are listed from February 1, 2019 through January 31, 2020. Space limitations prevent us from listing contributions less than $100.

Every contribution helps secure the future of AFCM.

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

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THANK YOU TO OUR SUPPORTERS!

GIFTS IN HONOR OF

AFCM Board of Directorsby C. Jane Decker

Nancy Cook’s birthday, to support Music in the Schoolsby Susan Aiken by Frank & Betsy Babbby Linda Barter by Avery & Carolyn Bates by Jean-Paul Bierny & Chris Tanz by Larry & Gerry Campbell by Tom Collazo by Cornell Collins by Gail & Bill Eifrig by Patricia & David Eisenbergby Barbara Hutchinson by Lucy Mastermanby Margie Matterby John McNulty & Jeff Brown by Mary Ellen Morbeck & John Hoffman by Bob Nevins by Larry & Deborah Ogden by Andy and Lisa Remack by Boyer Rickelby Erin Riordan & Ben Wilder by Betsy Rollings by Evelyn Salk by Susan Sangston by Randy Spalding by Bob & Donna Swaim by Adam Ussishkin & Adam Wedel by Peter & Reyn Voevodskyby Patricia Waterfall by Jude Weierman

Elaine Rousseauby Les & Suzanne Hayt

Randy Spaldingby John Burcher

Allan & Diane Tractenbergby Mark & Jan Barmann

Elliott Weiss's special birthdayby Barbara Levy

JEAN-PAUL BIERNY LEGACY SOCIETY

Jean-Paul Bierny & Chris TanzNancy BissellNathaniel & Suzanne BloomfieldTheodore & Celia BrandtNancy CookDagmar Cushing Lidia DelPiccolo-MorrisDr. Marilyn HeinsJoe & Janet HollanderJudy KidderLinda LeedbergTom & Rhoda LewinGhislaine PolakBoyer RickelRandy SpaldingAnonymous

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

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

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

Listed are current plans and posthumous gifts.

COMMISSIONS

Jean-Paul Bierny & Chris TanzBob FosterMr. Leonid Friedlander

CONCERT SPONSORSHIPS

Anonymous Jean-Paul Bierny & Chris Tanz Stan Caldwell & Linda Leedberg Jack & Terry ForsytheEOS Foundation Garrett-Waldmeyer Trust George & Irene PerkowBoyer RickelRandy SpaldingJonathan & Chitra Staley

MUSICIAN SPONSORSHIPS

Celia BalfourJean-Paul Bierny & Chris TanzDagmar Cushing Elliott & Sandy HeimanEloise Gore & Allen Hile

MUSIC IN THE SCHOOLS

Susan & Barry Austin Herschel and Jill Rosenzweig Randy Spalding Paul A. St. John & Leslie Tolbert Joe & Connie TheobaldGeorge Timson

FOUNDATIONS

Arizona Commission on the ArtsArts Foundation for Tucson and Southern ArizonaAssociated Chamber Music PlayersTucson Desert Song Festival

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

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YEAR-END CAMPAIGN

Sydney Arkowitz Mark & Jan Barmann Peter & Betty Bengtson Nancy Bissell Peter Bleasby Nathaniel & Suzanne Bloomfield Richard & Martha Blum Sarah Boroson Bina Breitner Elizabeth Buchanan Jan Buckingham & L.M. Ronald Richard & Patricia Carlson Robert D. Claassen & John T. Urban Nancy Cook Jim Cushing James & Chris Dauber Kathryn Day Raul & Isabel Delgado Mark Dickenson Stephen & Aimee Doctoroff Lionel & Karen Faitelson Peter & Carole Feistmann Edna Fiedler & Walter Sipes James & Ruth Friedman Peter & Linda Friedman Linda L. Friedman Tommy & Margot Friedmann Thomas & Nancy Gates Tom & Janet Gething Gerald & Barbara Goldberg Marvin & Carol Goldberg Kathryn Gordon Clare Hamlet Cynthia Hartwell Sally Harwood James Hays Les & Suzanne Hayt Elliott & Sandy Heiman Marilyn Heins & Milton Francis Sara Heitshu Allen Hile & Eloise Gore Willliam & Sarah Hufford Sara Hunsaker Joe Kantauskis & Gayle Brown Michael & Sennuy Kaufman Daniela Lax Keith & Adrienne Lehrer

Amy & Malcolm Levin Karen E. & Leonard L. Loeb Warren and Felicia May Max McCauslin & John Smith Joan McTarnahan Richard & Judith Meyer Walter Miller Richard & Susan Nisbett Harry Nungesser Karen Ottenstein Beer Eileen Oviedo Detlev Pansch & Julie Steffen Mary Peterson & Lynn Nadel Jay & Barbara Pisik John Raitt Steve Reitz & Elizabeth Evans Kay Richter & Stephen Buchmann Boyer Rickel Arnie & Hannah Rosenblatt Herschel and Jill Rosenzweig John & Helen Schaefer Howard & Helen Schneider Stephen & Janet Seltzer Stephen & Gale Sherman Mark Haddad Smith Harry Stacy Jonathan & Chitra Staley Ronald Staub Barbara Straub Sally Sumner Michael Tabor Ellen Trevors Michael & Mary Turner Barbara Turton Karla Van Drunen Littooy James Verrier Marianne Vivirito & Ross Iwamoto Dimitri Voulgaropoulos & Tyna Callahan Patricia Waterfall Maurice Weinrobe & Trudy Ernst Patricia Wendel Sheila Wilson & Hal Barbar

Our heartfelt thanks to those who responded to our year-end campaign.

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COMING SOON IN 2020

FEBRUARY 23, 2020

Lineage Percussion3:00 pm, Berger Performing Arts Center

MARCH 1–8, 2020

Tucson Winter Chamber Music FestivalLeo Rich Theater

MARCH 22, 2020

Narek Arutyunian, clarinet Steven Beck, piano3:00 pm, Leo Rich Theater

APRIL 1 & 2, 2020

Jerusalem Quartet7:30 pm, Leo Rich Theater

APRIL 9, 2020

Poulenc Trio7:30 pm, Berger Performing Arts Center

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VERSE

EleganceL I N DA G R E G G

All that is uncared for.Left alone in the stillnessin that pure silence marriedto the stillness of nature.A door off its hinges,shade and shadows in an empty room.Leaks for light. Raw wherethe tin roof rusted through.The rustle of weeds in theirdifferent kinds of air in the mornings,year after year.A pecan tree, and the housemade out of mud bricks. Accurateand unexpected beauty, rattlingand singing. If not to the sun,then to nothing and to no one.

Reprinted with permission. From All of It Singing: New and Selected Poems. Graywolf Press, 2008.

This poem was selected for the concert by Sarah Kortemeier, Library Director, Julie Swarstad Johnson, Senior Library Specialist, and Leela Denver, Senior Library Assistant at the UA Poetry Center.

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2019/2020Tucson Guitar Society

TucsonGuitarSociety.org (520) 342-0022Mamedkuliev

Feuillâtre

Russell

European Guitar QuartetDuo Assad

Bostridge & Yang

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27

ANNIVERSARY

SE A S O N

2019 - 2020 Linus Lerner

Music Director

Northwest Tucson Sundays at 3:00 pm St. Andrew’s Presbyterian Church7575 N. Paseo del Norte

2019-2020 Performances

Mexican Independence Day ConcertSeptember 14-15, 2019Fox Tucson Theatre & Sunnyside H.S.

From Paris to LeningradOctober 19-20, 2019

Carmina BuranaNovember 16-17, 2019

SaddleBrooke Saturdays at 7:30 pmDesertView Performing Arts Center39900 S. Clubhouse Drive

Concert Venues

Die Fledermaus (full opera production)January 18-19, 2020, at Rincon H.S.

Beethoven & StraussFebruary 15-16, 2020

Tchaikovsky & a Live PainterMarch 14-15, 2020

Gershwin & BeethovenApril 25-26, 2020

2019-2020 SEASONInG E N I U S

VISIT TRUECONCORD.ORG FOR TICKETING & VENUE

INFORMATION OR CALL 520-401-2651

SHAKESPEARE IN SONG11 - 13 October

MOZART & DA VINCI22 - 24 November

LESSONS & CAROLSBY CANDLELIGHT

Songs of the Magi12 - 15 December

AMERICA SINGS!24 - 26 Januaryin partnership with

Tucson Desert Song Festival

BEETHOVEN & GOETHE21 - 23 February

BACH B-MINOR MASS27 - 29 March