JONATHAN BISS...JONATHAN BISS Jonathan Biss returns to FCM for the third time, having first appeared at the age of 22 in January 2003, and again with the Borromeo Quartet in 2006

LUDWIG VAN Sonata No. 4 in E-flat major, Op. 7BEETHOVEN Allegro molto e con brio(1770-1827) Largo, con gran espressione Allegro Rondo: Poco allegretto e grazioso BEETHOVEN Sonata No. 17 in D minor, Op. 31, no. 2, The Tempest Largo – Allegro Adagio Allegretto

INTERMISSION

BEETHOVEN Sonata No. 32 in C minor, Op. 111 Maestoso – Allegro con brio ed appassionato Arietta: Adagio molto semplice e cantabile

JONATHAN BISSPIANOSEP TEMBER 28 , 2016

D E N V E R

BOARD OF DIRECTORS

Alix Corboy, President Mary Park, Vice PresidentWalter Torres, SecretaryMyra Rich, Treasurer BOARD MEMBERS

Patsy AronsteinLisa Bain Sue DamourLydia GarmaierJohn Lebsack

Kathy NewmanRichard ReplinChet Stern Sam WagonfeldEli Wald EMERITUS MEMBERS

Rosemarie MuraneSuzanne Ryan

PROJECT ADMINISTRATOR

Desiree Parrott-Alcorn

ALLAN ROSENBAUM IN MEMORIAMFriends of Chamber Music is sad to announce the passing of a long-time friend and board member, Allan Rosenbaum. Serving as board treasurer, Allan provided FCM with strong financial leadership for the last 15 years. Never without a joke, Allan’s wit was as sharp as his pencil.

Allan was a Certified Public Accountant and independent consultant, also serving on the accounting faculty at Metropolitan State University of Denver. Previously he served as Chief Accountant for the Joint Committee on Taxation, U.S. Congress.

While his instrument of choice was the 10 key adding machine, Allan truly loved music. He and his wife, Judith, were long-time FCM subscribers as well as patrons of numerous cultural organizations in the Denver area. He will be deeply missed.

JONATHAN BISS Jonathan Biss returns to FCM for the third time, having first appeared at the age of 22 in January 2003, and again with the Borromeo Quartet in 2006. Biss is a world-renowned pianist who shares his deep musical curiosity in the concert hall and beyond. Over nearly two decades on the concert stage, he has forged relationships with the New York Philharmonic; the Philadelphia, Cleveland, Boston, Chicago, and Philharmonia orchestras; and the Leipzig Gewandhaus, Budapest Festival, and Royal Concertgebouw orchestras, among many others. In addition to performing a full schedule of concerts, the 36 year-old American has spent ten summers at the Marlboro Music Festival. A member of the faculty of his alma mater, the Curtis Institute of Music, since 2010, Biss led the first “massive open online course” (MOOC) offered by a classical music conservatory, Exploring Beethoven’s Piano Sonatas, which has reached more than 150,000 people in 185 countries.

This season Biss continues his latest Beethoven project, Beethoven/5, for which the Saint Paul Chamber Orchestra is co-commissioning five composers to write new piano concertos, each inspired by one of Beethoven’s. The five-year plan began last season, with Biss premiering Timo Andres’s The Blind Banister, which was a finalist for the Pulitzer Prize in Music, and which Biss will play with the New York Philharmonic next spring. This season he premieres Sally Beamish’s concerto, paired with Beethoven’s Piano Concerto No. 1, with the Saint Paul Chamber Orchestra. In the next three years Biss will premiere concertos by Salvatore Sciarrino, Caroline Shaw, and Brett Dean.

In addition to his involvement at Marlboro, Biss spent this summer as the Artist-in-Residence at the Caramoor Center, where he performed chamber music, a solo recital, and the Andres and Beethoven concerto pair with the Orchestra of St. Luke’s. He also gave three recitals at the Aspen Music Festival and appeared at Ravinia, as part of his ongoing concert cycles to perform all the Beethoven sonatas.

This season Biss begins examining, both in performance and academically, the concept of a composer’s “late style.”

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He has put together programs of Bach, Beethoven, Brahms, Britten, Elgar, Gesualdo, Kurtág, Mozart, Schubert, and Schumann’s later works, both for solo piano and in collaboration with the Brentano Quartet and tenor Mark Padmore, which he will play at Carnegie Hall, San Francisco Performances, the Philadelphia Chamber Music Society, London’s Barbican Centre, and Amsterdam’s Concertgebouw.

Biss has embarked on a nine-year, nine-disc recording cycle of Beethoven’s complete piano sonatas, and in early 2017 he will release the sixth volume, which includes the monumental “Hammerklavier” sonata. Upon the release of the fourth volume, BBC Music Magazine said, “Jonathan Biss will surely take his place among the greats if he continues on this exalted plane.” His bestselling eBook, Beethoven’s Shadow, published by RosettaBooks in 2011, was the first Kindle Single written by a classical musician, and he will continue to add lectures to his extraordinarily popular online course, Exploring Beethoven’s Piano Sonatas, until he covers all of them.

Throughout his career, Biss has been an advocate for new music. Prior to the Beethoven/5 project he commissioned Lunaire Variations by David Ludwig, Interlude II by Leon Kirchner, Wonderer by Lewis Spratlan, and Three Pieces for Piano and a concerto by Bernard Rands, which he premiered with the Boston Symphony Orchestra. He has also premiered a piano quintet by William Bolcom.

Biss represents the third generation in a family of professional musicians that includes his grandmother, Raya Garbousova, one of the first well-known female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents, violinist Miriam Fried and violist/violinist Paul Biss. Growing up surrounded by music, Biss began his piano studies at age six. His first musical collaborations were with his mother and father. He studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music in Philadelphia with Leon Fleisher. At age 20, Biss made his New York recital debut at the 92nd Street Y’s Tisch Center for the Arts and his New York Philharmonic debut under Kurt Masur. Biss lives in New York.


NOTESProgram notes © Betsy Schwarm

Beethoven and the piano sonata are an inseparable pairing: no one interested in one half of that equation is likely to ignore the other, and both the composer and the instrument came to maturity at the beginning of the 19th century. Jonathan Biss’s recital tonight is devoted solely to that master’s music, with works originating in what have been described as Beethoven’s Early, Middle, and Late Periods. Performed tonight in chronological order,these three sonatas give a clear view of how Beethoven’s sense of the drama inherent in the piano evolved over the course of twenty-five years.

Published in 1797, Beethoven’s Piano Sonata No. 4 was his first freestanding sonata, rather than being part of a set of several works in contrasting moods and keys. Perhaps the composer realized that this sonata, the longest of his early works in the genre, was assertive enough to stand on its own. After all, it is in the same key that he would later use for his epic Symphony No. 3, the Eroica. The sonata was dedicated to Countess Barbara von Kegelvics, to whom he had privately given piano lessons.

The sonata’s four movements span the better part of half an hour, with the structural approaches typical of a full symphony. The first movement is brisk, the second thoughtful, the third dance-like, and the last brings things to a close with a proverbial bang. If it were a suitable plan for a symphony, it was, apparently, also suitable for a piano sonata.

For the Allegro molto e con brio first movement, Beethoven alternates flowing phrases and strong chords that punctuate the action. Often there are large skips of range, for example, from a relatively high pitch to a much lower one. Very rapid passagework keeps everything in motion. In the more solemn second movement, rolled chords and detached staccato notes stand against one another. Beethoven has labeled it Largo con gran espressione. Indeed, expressive

BEETHOVEN: SONATA NO. 4 IN E-FLAT MAJOR,OP. 7

Program NotesContinued


moods are the focus, though in general it is more song-like than sober.

The third movement is designated neither “minuet,” as Haydn or Mozart would likely have had it, nor “scherzo,” which would become Beethoven’s own preference. Rather, it is simply headed Allegro. Nonetheless, there is a nimble spirit, airy and playful in the opening pages, stormier in the central ones. Even early in his career Beethoven understood the advantage of musical contrast.

With the final movement, Rondo: Poco allegretto e grazioso, Beethoven opens with a gently sunlit theme that will soon alternate with others of a more dramatic character. Rapid-fire passagework suggests that the sonata might scurry to its conclusion. However, Beethoven has something of a surprise in mind with a quick shift to tender moods, closing out his Piano Sonata No. 4 with a gentle smile, rather than a belly laugh.

Although some of Beethoven’s piano sonatas have illustrative nicknames, few of those nicknames were chosen by the composer himself, who had an enduring dislike of descriptive titles. That his Sonata No. 17 is known as The Tempest is due to the composer’s not-always-reliable friend Anton Schindler, who alleged that, when queried about the work’s meaning, Beethoven responded, “Read Shakespeare’s The Tempest.” Even if Beethoven made that statement it may have been meant humorously, but one must admit that both the play and the sonata have moods that vary greatly from one moment to the next.

Dating from the composer’s Middle Period, Sonata No. 17 is the second of a set of three piano sonatas written in 1802, the others in the keys of G major and E-flat major. When the three sonatas came to print they bore no dedication, suggesting that he wrote them more for his own use than for others.

The opening Largo – Allegro movement opens with a slow introduction built upon a rising arpeggio that serves as preface to the driving main body of the movement. Though

BEETHOVEN: SONATA NO. 17 IN D MINOR, OP. 31, NO. 2, THE TEMPEST

Tonight marks the first performance of this work on our series.

Tonight marks the first performance of this work on our series.


what follows is often literally tempestuous, one also finds quieter recollections of that opening arpeggio, as if Beethoven were not quite finished with that idea. The first movement is a vivid study in contradictions.

In distinct contrast, the second movement Adagio begins as if evoking wisps of fog, with short, arpeggiated phrases that play about the keyboard. Gradually, these become broader, though still more reflective than dramatic.

As for genuine drama, the Allegretto finale has this in full force, with brisk and anxious passagework charging up and down the keyboard. Sometimes Beethoven chooses to end his minor key works by modulating to sunshine. Consider, for example, the famed Symphony No. 5 in C minor. Here, however, he seems to feel no need to calm the storm. This “tempest” will surge nearly to the final chord, the last few moments being given to a repeated sequence of quiet phrases derived from the stormier action earlier in the movement.

The last of all Beethoven’s piano sonatas stands firmly in his Late Period, published in the same year (1822) by two different international firms. The Vienna edition was dedicated to the Archduke Rudolf, younger brother of the Austrian emperor and ever-present in the composer’s correspondence. By contrast, the London edition, appearing further from the composer’s homeland, and less likely to come into the hands of anyone who knew him personally, was dedicated to Antonie Brentano, by all credible evidence Beethoven’s famed “Immortal Beloved.”

Some composers would close an epic series of works with something quite ambitious in scope. However, Sonata No. 32 is not the grandest of Beethoven’s sonatas, an honor belonging to Sonata No. 29, the Hammerklavier. Somewhat less than half an hour in length, Sonata No. 32 has just two movements. This is true of only five of Beethoven’s piano sonatas, each of which is barely half as long as No. 32. Here, two-thirds of the work is devoted to the second movement, one of the composer’s longest single movements.

BEETHOVEN: SONATA NO. 32IN C MINOR, OP. 111


Last performed on our series December 10, 2010 (Jeremy Denk, piano)

In the opening lines of the first movement Maestoso – Allegro con brio ed appasionato, stern chords alternate with gentler ones. Arpeggios and decorative trills leave his listeners in suspense about what direction the sonata will take. The tempo change brings a thunderous, fugue-like energy with several melodic ideas juxtaposed simultaneously against one another. Mellower interludes appear for contrast, though the overall impact is one of a very great number of notes driven along like wildfire.

The spacious second and, in this case, final movement is thoughtful and songlike. Beethoven has labeled it an “arietta” – a “little song” – and such it seems in spirit. Its theme is restated again with ever more ornamentation, as if one were adding a few more brush strokes to a canvas that is nearly, but not quite perfect. At times Beethoven chooses to decorate his theme with very long passages of floating trills, the lightness of which sets the softly flowing theme in greater relief.

As with the previous sonatas on this program, all ends with tenderness rather than high drama. Beethoven may not have realized that he would never again complete another piano sonata. Five more years remained to him, and he would be composing new works nearly until his last days. However, even if it were not intended to be last, Sonata No. 32 serves as a lovely benediction to a genre that had come to him from Haydn and Mozart, but in his hands grew to become something more ambitious and distinctly his own.

MASTER CLASS WITH JONATHAN BISSOn Thursday, September 29, 10:00 a.m., Jonathan Biss will teach a Master Class in the Newman Center's Hamilton Hall. This class is open to the public and free of charge. We invite you to join us.

Program NotesContinued


“MUSIC IN THE GALLERIES” AT THE CLYFFORD STILL MUSEUM

On September 11, Friends of Chamber Music brought the Ivy Street Ensemble to the Clyfford Still Museum, opening a second season of “Music in the Galleries” concerts. The Ivy Street Ensemble, a trio of CSO musicians – Cathy Peterson (flute), Erik Peterson (violin), and Phillip Stevens (viola) – played a wonderfully varied program of music by Beethoven, Szervanszky, and Bunch.

On November 18-20, the Clyfford Still Museum celebrates its fifth-year anniversary with a weekend of free activities for the whole family, including guided tours, art-making, and music. On Sunday, November 20, two ensembles will play in a musical double bill presented by Friends of Chamber Music and Swallow Hill Music.

TRIO THESSALIA (11:00 AM)CSO musicians Karen Kinzie (violin), Leah Kovach (viola), and Susan Cahill (bass) will perfom works by Mark O’Connor, Susan Cahill, and Beethoven.

THE DUSTIN ADAMS TRIO (2:00 PM) The Trio will present its take on jazz from the 30’s and 40’s, exploring Still’s collection of Pintop Smith, Montana Taylor, and Meade Lux Lewis, among others.

Enjoy the eclectic range of music Still appreciated and join our friends at the Clyfford Still Museum in celebrating its special milestone.

Watch our website for additional “Music in the Galleries” performances, including a December 11 performance by the Altius Quartet.


GOOD VIBRATIONS FREE FAMILY CONCERT

WITH THE ALTIUS QUARTETOCTOBER 9, 2:00 PM

Join us on October 9 for Friends of Chamber Music’s third annual Family Concert. The Altius Quartet, Fellowship Quartet-in-Residence at the University of Colorado-Boulder, will present an interactive “shuffle” program for all ages. Audience participation is a must in this unique concert! From a wide-ranging “menu” of pieces— from Mozart and Beethoven to Taylor Swift and Led Zeppelin — audience members will choose what they want the quartet to play. Release your inner DJ and learn about a variety of composers and musical styles. Come and create a set list with your friends and family!

We’ll have refreshments and a chance to meet the musicians in the lobby following this interactive program — fun for all ages!

Free to the public

Sunday, October 9, 2:00 - 3:30 p.m.Denver School of the Arts

7111 Montview Blvd, Denver 80220

For more information visit friendsofchambermusic.com


P IANO SALONS WITH HSING-AY HSUThis fall FCM will once again host two Piano Salons with Steinway Artist Hsing-ay Hsu, focused on the music of Brahms and Dohnányi. TUESDAY, NOVEMBER 8, 2016, 7:30 - 9:00 PMTUESDAY, DECEMBER 6, 2016, 7:30 - 9:00 PM

Savor the melancholy and idealism of German Romanticism. Discuss your reactions with fellow music lovers in the intimacy of a private residence, and then enjoy the performance of the Dohnányi Piano Quintet No. 2 on November 9 (with the Ariel Quartet and pianist Orion Weiss) and the Brahms Violin Sonata Nos. 1 & 3 on December 7 (with violinist Stefan Jackiw and pianist Anna Polonsky).

Space is limited to a maximum of 16 participants with registrations accepted on a first-come, first-served basis.

L O C AT I O N The home of FCM President, Alix Corboy

T I C K E T S

$30 single class$50 both classes

O R D E R BY P H O N E

303-388-9839

O R D E R BY M A I L

Send a check to: FCM, 191 University Blvd #974, Denver, CO 80206. Include name of each participant, date(s) of each class you plan to attend, and email address for class confirmation.

Note: Concert tickets are not included in the price of the salons. To purchase tickets, visit friendsofchambermusic.com.

40 UNDER 40Thank you to the following Friends who have sponsored “40 Under 40” guests for our 2016-17 Piano Series.

BACKSTAGE RECEPTIONTonight’s backstage reception for new Piano Series subscribers and “40 Under 40” guests/sponsors will be held immediately following Mr. Biss’s recital. To enter the backstage area, please follow the signs beginning at the bottom of the west staircase.

FCM

Patsy & Jim AronsteinLisa and Steve BainKate BerminghamDavid CohenDonna & Ted ConnollyAlix CorboyPaula & Stan GudderRichard HealyBill Juraschek

Desiree Parrott-AlcornTodd & Carolyn PicktonPriscilla PressMyra and Robert RichLee & Jill RichmanGregory RobbinsLaura RogersGreta & Randy Wilkening


JOYCE YANGWED, MAR 15, 2017 | 7:30 PMGramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

PROGRAM:

Schumann: Three Romances, Op. 94Vine: The Anne Landa PreludesGranados: Goyescas, Nos. 1 and 4Schumann: Symphonic Etudes, Op. 13

MURRAY PERAHIAWED, MAY 3, 2017 | 7:30 PM“Perahia’s extraordinary pianism is a sacrament of purification and a kind of return to an age of pianistic innocence.” – LOS ANGELES T IMES

PROGRAM: TBA

Single tickets $35 each ($60 for Murray Perahia)$10 Students (25 years or younger)Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-872-7720 | www.newmantix.com

Apply the cost of tonight’s ticket and purchase the remaining series for only $50! Call 303-388-9839 to order.

TO ORDER P IANO SER I ES T ICKETS :

PIANO SERIES2016 -2017

YES ON SCFDSince 1989, the Scientific & Cultural Facilities District (SCFD), a voter-approved tax levy of one penny on every ten dollar purchase, has distributed funds to almost 300 non-profit organizations in Denver and the seven-county metropolitan area, including Friends of Chamber Music.

A national model of public funding for the arts, the SCFD has been an essential element in providing access to arts, science, and cultural offerings for some 15 million visitors a year. This November voters will determine whether to reauthorize SCFD for another 12-year period. The ballot question asks voters to

renew support for SCFD by voting YES on issue 4B, which will be found at the end of a very long ballot and will ask if there “…shall be an extension until June 2030…of the sales and use tax currently levied…to assist scientific and cultural facilities?”

Friends of Chamber Music has enjoyed significant support over the years from SCFD. In turn, we offer our support for the reauthorization of SCFD. We encourage you to vote YES and help ensure the ongoing cultural, educational, and scientific vitality of our community.

For more information, please consult www.YesOnSCFD.com.

HARLEM QUARTETTHURSDAY, JAN 12, 2017 | 7:30 PMFriends of Chamber Music is pleased to present the Harlem Quartet in a special event performance on Thursday night, January 12, at 7:30 pm.

The Harlem Quartet is “bringing a new attitude to classical music, one that is fresh, bracing and intelligent,” says the Cincinnati Enquirer. The quartet’s mission is to advance diversity in classical music, engaging young and new audiences through the discovery and presentation of varied repertoire that includes works by minority composers.

L O C AT I O N Hamilton HallTIC KETS $25 each/$10 students 25 and youngerwww.newmantix.com

This concert is part of a week-long residency which will include two master classes with area music students and three additional community events. We are delighted to collaborate with this young and exciting quartet of outstanding musicians.

These activities are supported, in part, by Imagine 2020: Denver’s Cultural Plan, as well as with funds provided by the Western States Arts Federation (WESTAF), Colorado Creative Industries, and the National Endowment for the Arts.

SPEC IA L EVENT

THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

$25,000 +Bonfils-Stanton FoundationScientific and Cultural Facilities District, Tier III

$5,000 +The Denver Foundation

$2,500 +Alix & John Corboy Imagine 2020: Denver's Cultural PlanCynthia & John KendrickRichard Replin & Elissa Stein

$1,000 +AnonymousPatsy & James Aronstein *Lisa & Steve BainBob & Cynthia BensonHoward & Kathleen BrandBucy Family FundC. Stuart Dennison Jr.Ellen & Anthony EliasFackler Legacy GiftJoyce FrakesRobert S. GrahamMax Grassfield, in memory of Pat GrassfieldCeleste & Jack GrynbergMichael Huotari & Jill StewartMcGinty Co.Kim MillettFrank & Pat MoritzRobert & Judi NewmanMary Park & Douglas HsiaoMyra & Robert RichJeremy & Susan Shamos Bobbi & Gary SiegelMarlis & Shirley SmithTourWest, a program of WESTAF (Western States Arts Federation), supported by

a grant from the National Endowment for the Arts.

$500 +Jules & Marilyn AmerGeorgia ArribauLinda & Dick BatemanDavid S. CohenSusan & Tim Damour *

Max & Carol EhrlichKathe & Michael GendelStephen & Margaret HagoodRogers & Ruth HauckJohn Lebsack & Holly BennettTheodor LichtmannRex & Nina McGeheeKathy Newman & Rudi HartmannRay SatterHenry R. SchmollEdie SonnChet & Ann SternWalter & Kathleen Torres

$250 +Jan BaucumPam BeardsleyBarbara BohlmanTheodore BrinAndrew & Laurie BrockPeter Buttrick & Anne Wattenberg David & Joan ClarkGeri CohenFran CorselloGeorge & Sissy GibsonPaula & Stan GudderDavid & Lynn HurstAnn & Douglas JonesHannah Kahn & Arthur BestGeorge KrugerCarol & Lester LehmanJohn & Terry LeopoldMark & Lois LevinsonAnn LevyNina & Alan LipnerDavid & Lyn Loewi, in memory of Ruth & Roger LoewiJeri LoserPhilippa MarrackRobert MeadeKirsten & Dave MorganMarilyn Munsterman & Charles BerberichRosemarie & Bill MuraneJohn & Mary Ann ParfreyCarolyn & Garry PattersonDavid S. PearlmanJane & Bill RussellCharley SamsonRichard & Jo Sanders

Alan & Gail SeaySan Mao ShawDavid & Patty SheltonRic Silverberg & Judith CottSteven SnyderDavid Spira & Shirleyan PriceClaire StilwellAnn Richardson & Bill StolfusMargaret StookesberryDick & Kathy SwansonBerkley & Annemarie TagueEli & Ashley WaldNorman Wikner & Lela LeeJoseph & Barbara WilcoxAndrew Yarosh *

$100 +Barton & Joan AlexanderJim & Ginny AllenAnonymousShannon ArmstrongCarolyn & Ron BaerDell & Jan BernsteinSandra BoltonCarolyn & Joe BorusMichael & Elizabeth BrittanDarrell Brown & Suzanne McNittPeter & Cathy BuirskiSusan Lee CableBonnie CampNancy Kiernan CaseCecile CohenDana Klapper CohenAnne CulverCatherine C. DeckerVivian & Joe DoddsKevin & Becky DurhamBarbara EllmanDavid & Debra FlitterJudy FredricksRobert C. FullertonHerbert & Lydia GarmaierDonna & Harry GordonKazoo & Drusilla GotowJohn S. GravesGary & Jacqueline GreerGina GuyPam & Norman HaglundJeff & Carmen HallRichard & Leslie HandlerDorothy Hargrove


Larry HarveyJune HaunRichard W. HealyEugene Heller & Lily ApplemanDavid & Ana HillJoseph & Renate HullFrank & Myra IsenhartStanley JonesSuzanne KallerMichael & Karen KaplanEdward Karg & Richard KressRobert KeatingeBruce KindelRoberta & Mel KleinEllen Krasnow & John BlegenElizabeth KreiderDoug & Hannah KreningJack Henry KuninRichard LeamanSeth LedererIgor & Jessica LeventalPhilip Levy Penny LewisJudy & Dan LichtinArthur LiebCharles & Gretchen LobitzJohn & Merry LowElspeth MacHattie & Gerald ChapmanEvi & Evan MakovskyRoger MartinAlex & Kathy MartinezBill and Lisa MauryMyron McClellan & Lawrence PhillipsBert & Rosemary MelcherDave & Jean MilofskyPaul & Barb MoeDouglas & Laura MoranBetty Naster *Robert & Ilse NordenholzRobert N. O’NeillTina & Tom ObermeierDee & Jim OhiJohn PascalDon & Becky PerkinsCarl PletschCarol PrescottRalph & Ingeborg RatcliffReid ReynoldsGene & Nancy RichardsMarv & Mary RobbinsHerb Rothenberg, in memory of Doris RothenbergLorenz Rychner

Donald Schiff, in memory of Rosalie SchiffJohn & Patricia SchmitterKathryn SpuhlerMorris & Ellen SusmanDecker SwannCle SymonsMalcolm & Hermine TarkanianMargot K. ThomsonTom Vincent Sr. & Tom Vincent Jr.Jeff & Martha WelbornGreta & Randy Wilkening *Robert & Jerry WolfeRuth WolffKaren Yablonski-TollJeff Zax & Judith GrahamR. Dale ZellersCarl & Sara Zimet

$50 +Lorraine & Jim AdamsVernon BeebeThomas ButlerBarbara CaleyHilary Carlson & Janet EllisMarlene Chambers Jane CooperStephen & Dee DanielsNancy & Mike FarleyJanet & Arthur FineJohn & Debora FreedMartha FulfordBarbara Gilette & Kay KotzelnickBarbara GoldblattHenry & Carol GoldsteinSandra GoodmanSanders GrahamThomas & Gretchen GuitonLeonard & Abbey KapelovitzDaniel & Hsing-ay Hsu KelloggDoris Lackner, in memory of Edwin KornfeldDella LevyJames Mann & Phyllis LoscalzoEstelle Meskin, for Darlene Harmon, piano teacher

extraordinaireRhea MillerJoanna MoldowBetty MurphyMary MurphyKathy Newman & Rudi Hartmann, in honor of Mollie

Jankovsky's birthday.

Mari NewmanLarry O’DonnellMartha OhrtSarah PrzekwasRobert RasmussenMichael ReddyMargaret RobertsSuzanne Ryan Cheryl SaborskyMichael & Carol SarcheJo ShannonArtis SlivermanLois SollenbergerPaul SteinSteve SusmanBarbara Walton

* Gift made to FCM Endowment

MEMORIAL GIFTS In memory of Allan RosenbaumLeslie Clark BakerRobert Charles BakerKate BerminghamCarnes Wealth Management (John Carnes) & Pam OliverMary and Michael DavisDavid & Laura DirksDr. & Mrs. Paul FishmanJim & Donna FlemmingLarry HarveySuzanne KallerAlfred KelleyFred & Debra KrebsMarjorie MaltinJay and Lois MillerRosemarie and Bill MuraneKathy Newman & Rudi HartmannDesiree Parrott-AlcornGarry & Carolyn PattersonMichael ReddyRobert & Myra RichStanley & Karen Saliman

In memory of Henry ClamanDr. & Mrs. James AdamsDavid & Geraldine BrickleyShirley EpsteinDr. & Mrs. Paul FishmanJim, Marty, & Megan HartmannHanna & Mark LevinePaul & Barbara MoeJoan F. Skiffington


UPCOMING CONCERTS

SPECIAL THANKS

Gates Concert Hall • Newman Center for the Performing Arts • University of Denverfriendsofchambermusic.com

C HAMBER SERIESWu Han, pianoPhilip Setzer, violinDavid Finckel, celloWednesday, October 5, 7:30 PMAriel Quartet Orion Weiss, pianoWednesday, November 9, 7:30 PMStefan Jackiw, violin Anna Polonsky, pianoWednesday, December 7, 7:30 PMDanish String Quartet Monday, February 13, 7:30 PMVenice Baroque Orchestra Nicola Benedetti, violinWednesday, February 22, 7:30 PMSteven Isserlis, cello Connie Shih, pianoTuesday, April 25, 7:30 PM

PIANO SERIESJoyce YangWednesday, March 15, 7:30 PMMurray PerahiaWednesday, May 3, 7:30 PMSPECIAL EVENTSFree Family Concert with the Altius QuartetOctober 9, 2:00 PM Denver School of the ArtsHarlem QuartetJanuary 12, 7:30 PM Hamilton HallADVANCE SINGLE TICKETS ARE AVAILABLE FOR ALL CONCERTS.Visi t our website:www.friendsofchambermusic.comor contact the Newman Center Box Office, 303-871-7720; www.newmantix.com

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)for supporting FCM’s outreach efforts through school residencies and master classes

COLORADO PUBLIC RADIO (KVOD 88.1 FM)for broadcasting FCM concerts on its “Colorado Spotlight” programs

BONFILS-STANTON FOUNDATIONfor sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story

ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHELfor providing lead gifts to the FCM Endowment Fund

Documents

JONATHAN BISS...JONATHAN BISS Jonathan Biss returns to FCM for the third time, having first appeared at the age of 22 in January 2003, and again with the Borromeo Quartet in 2006