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

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WENDY WHELAN/RESTLESS CREATURE 2014-15

JANUARY-FEBRUARY

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 UARY 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

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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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SEASON 46 • 2014-15

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Dear Friends..... The 20 days from January 23 to February 13 are packed with an amazing array of performances from one end of the artistic spectrum to the middle and back again. In fact, there are so many extraordinary events that I must tell you a little about each one: The Ukulele Orchestra of Great Britain (January 23, 8 p.m., MCASD Sherwood Auditorium) takes you on an unsurpassed musical adventure. From Tchaikovsky to Nirvana and Otis Redding, this group of all-singing, all-strumming musicians offers a funny, virtuosic, twanging, foot-stomping evening of pure pleasure. 24-year-old pianist Jiayan Sun opens our 2014-15 Discovery Series (January 25, 3 p.m., The Auditorium at TSRI) with a program of Chopin and Debussy, stamped with an already-mature artistry that confirms the wisdom of the judges who awarded him First Prize at the 2010 Toronto International Piano Competition. A dance legend – That’s what audiences have called New York City Ballet’s Wendy Whelan, who recently stood at the center of the New York State Theatre stage to receive the accolades of fellow dancers, audiences and choreographers as she retired from NYCB. Now she embarks on another chapter as a collaborative artist with four male choreographers in a program of four duets called Restless Creature (January 30, 8 p.m., Balboa Theatre). Premiered at Jacob’s Pillow Dance Festival in 2013, this one-of-a-kind program pairs Whelan with four of today’s most acclaimed dance makers: Kyle Abraham, Joshua Beamish, Brian Brooks, and Alejandro Cerrudo. The Frieman Family Piano Series opens on January 31 (8 p.m., MCASD Sherwood Auditorium) with the first of two Russian powerhouse pianists, Nikolay Khozyainov (the other will be Daniil Trifonov, on April 10). Khozyainov’s challenging program showcases music by two composers who tower above all others in the piano music landscape: Chopin and Rachmaninoff. Our second Special Event of the season needs only one word: Spectacular! Kodo One Earth Tour 2015: Mystery (February 6, 8 p.m., Balboa Theatre). The Chopin International Piano Competition is both prestigious and fiercely competitive. The Discovery Series continues with recent Prize Winner Ingolf Wunder (February 8, 3 p.m., TSRI Auditorium), playing not only Chopin (E-flat Major Nocturne, Andante Spianato) but Liszt (Sonetto del Petrarca, Mephisto Waltz) as well. The climax to this 20-day mini-festival of great music and dance: the Rotterdam Philharmonic (February 13, 8 p.m., Jacobs Music Center/Copley Symphony Hall). Led by the young French-Canadian conductor recently elevated to The Philadelphia Orchestra Music Director, Yannick Nézet-Séguin, this superb ensemble, rarely heard in the United States, welcomes guest soloist Hélène Grimaud to perform Ravel’s G-Major Piano Concerto, and closes with Prokofiev’s monumental Symphony No. 5, the work for which he held the opus number 100 in reserve until its completion. Join us for one, join us (I hope) for all. Your support as audience members and donors makes it all possible.

Sincerely,

Christopher BeachPresident & Artistic Director


LA JOLLA MUSIC SOCIETY 7946 Ivanhoe Avenue, Suite 309, La Jolla, California 92037 Ticket Office: (858)459-3728 | Admin: (858)459-3724 | Fax: (858)459-3727

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

Stephen 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 DirectorStephen 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 LiaisonGanesh Subramanyam – 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 10THE UKULELE ORCHESTRA OF GREAT BRITAIN 11JIAYAN SUN 13WENDY WHELAN / RESTLESS CREATURE 17NIKOLAY KHOZYAINOV 20KODO - ONE EARTH TOUR 2015: MYSTERY 24INGOLF WUNDER 25ROTTERDAM PHILHARMONIC 29ARTIST BIOGRAPHIES 33ANNUAL SUPPORT AND MEDALLION SOCIETY 38

SEASON 46 • 2014-15

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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 Stephen 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.

THE UKULELE ORCHESTRA OF GREAT BRITAIN® FRIDAY, JANUARY 23, 2015 · 8 PM MCASD SHERWOOD AUDITORIUM

Program to be announced from the stage

Get ready for a funny, thought-provoking, surprising,

toe-tapping, foot-stomping good time!

PERFORMERS George Hinchliffe

Kitty LuxJonty Bankes

Peter Brooke TurnerWill Grove-White

Leisa ReaDavid Suich

Richie Williams

This performance marks The Ukulele Orchestra of Great Britain's La Jolla Music Society debut.

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THE UKULELE ORCHESTRA OF GREAT BRITAIN - ROSTER

George HinchliffeFounder member and director of the orchestra. Born and grew up in Sheffield. Studied in Leeds. Started playing the ukulele in 1960. Founded the ukes in 1985. Has worked with Michael Nyman, Mary Wells, Brian Eno, The British Youth Choir, Ron Geesin, The Anjaana Asian Music Group of Bradford, Snake Davis and the Alligator Shoes. Was a noteur for Fairground Organs. Writes and arranges for the orchestra, including the original music in “Ukulelescope”, and “Dreamspiel”. Has recorded several solo CDs. Lives in Kent.

Kitty LuxFounder member and director of the orchestra. Born and grew up in London. Studied in Leeds. Started playing the ukulele in 1982. Founded the ukes in 1985.Has worked with Impact Theatre, Brendan Croker, The Mekons, The Gang of Four. Performed and recorded with her bands: Sheeny and the Goys, Really, The Sirens. Has released several CDs. Worked in engineering and architecture gaining a Queen’s Award to industry. Lives in London.

Jonty BankesThe member of the orchestra who in addition to playing the bass ukulele, whistles virtuosically. Born in Branston, Lincolnshire. Grew up Lincolnshire. Started playing the ukulele as a youngster playing George Formby. Joined the ukes in 1992. Has worked with Ray Davis, John Mayall, Lousiana Red and Chuck Berry. Was a London Bus driver. Plays with his own rock group in Hamburg where he lives. Has appeared on numerous CDs with other artists.

Peter Brooke TurnerThe tallest member of the orchestra. Born in Lisbon, Portugal. Grew up in the Soviet Union, Brazil, America, Finland and Italy. Started playing the ukulele in 1989. Joined the ukes in 1995. Has worked with Des O-Connor, Jules Holland, Shaking Stevens and Vic Reeves. Lent his uke to Tiny Tim for a London gig. Usually enters the Eurovision Song Contest. Fronted his own “Ukulele Kings” uke rock group. Has released several solo CDs. Lives in Kent.

Will Grove-WhiteThe youngest member of the orchestra. Born in London. Grew up in Sheperd’s Bush, London. Studied in Manchester. Started playing the ukulele in 1986. Joined the ukes in 1991. Had to have written permission to take the day off school to appear on TV with the ukes. Has won several Royal TV Society awards for his documentaries. Fronts his own “Will Grove-White and the Others” band. Has released several solo CDs. Lives in London.

Leisa ReaThe member of the orchestra who has also trained doctors in the theatre of the patient encounter. Born and grew up in Manchester. Was educated in Wales and Yorkshire. Started playing the ukulele in 1990. Joined the ukes in 2005 as deputy. Has worked with many comedy greats. Was originally a guitarist. Has appeared in comedy and music shows including Adams and Rea. Lives in London.

David SuichThe member of the orchestra with the longest hair. Born in Erith, Kent. Grew up in London. Studied in Leeds. Started playing the ukulele in 1980. Joined the ukes in 1985. Has worked with Rik Mayall, Malcolm Hardy. Also known as “Joe Bazouki”, a Glastonbury Festival compere over 20 years. Fronted his own groups including “Friends of the Monster” and “The Missing Puddings”, and supported “Screaming Lord Sutch”.Has released several solo CDs. Lives in London.

Richie WilliamsOne of the original members of the orchestra, and also the one of the latest additions to the line up, having had over a decade of absence. “Time off for good behaviour”. Born in Bootle. Grew up and studied in Liverpool. Started playing the guitar aged 6. Played at the Cavern Club with Thin Lizzy. Joined the ukes in 1986 and again in 2003. Was a roadie for Frank Zappa and Status Quo. Has worked with Mary Wells, Martha Reeves, Edwin Starr, Ben E King, Snake Davis and the Alligator Shoes. Worked with many other bands including his “Three Men and a Bass”. Has his own recording studio and a collection of vintage guitars. Lives in Dorset.

MEET THE UKULELE ORCHESTRA OF GREAT BRITAIN®

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JIAYAN SUN, pianoSUNDAY, JANUARY 25 ∙ 3 PM THE AUDITORIUM AT TSRI

CHABRIER Selections from Dix Pièces pittoresque(1841-1894) No. 4 Sous-bois No. 6 Idylle

DEBUSSY Selections from Préludes, Book II(1862-1918) La terrasse des audiences du clair de lune Feux d’arti�ce

BARTÓK Out of Doors, Sz.81(1881-1945) With Drums and Pipes: Pesante Barcarolla: Andante Musettes: Moderato Musiques nocturnes: Lento The Chase: Presto

INTERMISSION

CHOPIN Prelude in C-sharp Minor, Opus 45(1810-1849)

Preludes, Opus 28 No. 1 in C Major: Agitato No. 2 in A Minor: Lento No. 3 in G Major: Vivace No. 4 in E Minor: Largo No. 5 in D Major: Allegro molto No. 6 in B Minor: Lento assai No. 7 in A Major: Andantino No. 8 in F-sharp Minor: Molto agitato No. 9 in E Major: Largo No. 10 in C-sharp Minor: Allegro molto No. 11 in B Major: Vivace No. 12 in G-sharp Minor: Presto

This performance marks Jiayan Sun's La Jolla Music Society debut.


The Discovery Series is underwritten by Medallion Society member:Jeanette Stevens

Additional support for the Series is provided by:Gordon Brodfuehrer

PRELUDE 2 PM Young artists from the San Diego Youth Symphony perform

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No. 13 in F-sharp Major: LentoNo. 14 in E-�at Minor: AllegroNo. 15 in D-�at Major: SostenutoNo. 16 in B-�at Minor: Presto con fuocoNo. 17 in A-�at Major: AllegrettoNo. 18 in F Minor: Allegro moltoNo. 19 in E-�at Major: VivaceNo. 20 in C Minor: LargoNo. 21 in B-�at Major: CantabileNo. 22 in G Minor: Molto agitatoNo. 23 in F Major: ModeratoNo. 24 in D Minor: Allegro appassionato


Program notes by Eric Bromberger

Selections from Dix Pièces pittoresque

Emmanuel CHABRIERBorn January 18, 1841, Ambert, Puy-de-Dôme, FranceDied September 13, 1894, Paris Emmanuel Chabrier was–despite stubby fingers–a piano prodigy as a child, and he grew up longing to be a composer. But his parents insisted on a “sensible” career, and so Chabrier spent several unhappy decades as a minor clerk in the Ministry of the Interior who dabbled in composition in his spare time. Chabrier is probably best-remembered today for his orchestral rhapsody España, but he also wrote a great deal of music for his own instrument, the piano. The Pièces pittoresques (“Picturesque Pieces”) date from 1881, when the 40-year-old Chabrier had just abandoned his government job to devote himself to music: he was working as chorus director for the Lamoureux concerts in Paris when he wrote these ten brief piano pieces. Despite the title, it should be understood that Chabrier was not necessarily setting out to paint musical portraits in these ten pieces–their individual titles range from emotional states (“Melancholy”) through musical forms (“Improvisation,” “Scherzo-valse”) to events (“Whirlwind,” “Village Dance”) to the slightly droll (“Pompous Minuet”). These pieces proved so successful that seven years later, in 1888, Chabrier orchestrated four of them to form his Suite pastorale. This recital presents two of those ten pieces. The fourth movement is titled Sous-bois, which has been variously translated as “Under the Trees” or “Underbrush.” This is a gentle little mood-piece. Chabrier marks the left hand part “with a great sweetness and grace,” and it murmurs quietly throughout–its occasional soft discords are part of the fun. Above this the right hand has a melodic line full of unusual rhythmic fluidity. The sixth movement of the Pièces pittoresques is an absolutely charming piece titled Idylle. Only a few minutes long, it is built on the simplest of materials: an irresistible main theme, a pulsing staccato accompaniment, and harmonies that shift subtly all the way through. Chabrier’s performance marking for this piece–“With freshness and naiveté”–is perfect, and Idylle charms at every instant, right through the ending, when it winks out in front of us.

Selections from Préludes, Book II

Claude DEBUSSYBorn August 22, 1862, Saint-Germain-en-Laye, FranceDied March 25, 1918, Paris Debussy composed his two books of piano préludes relatively late in life. The first appeared in 1910, and he composed the second book of twelve preludes over the next several years while he was completing one of his most subtle orchestral scores, the ballet Jeux. Book II was published in Paris on April 19, 1913, just six weeks before Stravinsky’s Le sacre du printemps stood that city on its head. Though he has been inescapably tagged an “impressionist,” Debussy disliked that term. He would have argued that he was not trying to present a physical impression of something but instead trying to create in sound the character of his subject. So little was he concerned to convey a physical impression that he placed the evocative title of each prelude at its end rather than beginning–he did not wish to have an audience (or performer) fit the music into a preconceived mental set but rather wanted the music heard for itself first, identified with an idea or image later. In fact, some have gone so far as to say that perhaps Debussy wanted the music to suggest the title. The twelve préludes of Book II have a dazzling variety of subjects, and Debussy evokes such different locales as Spain, India, England, Egypt, Germany, and–of course–France. This recital offers two of the preludes from Book II. La terrasse des audiences du clair de lune (The Balcony Where Moonlight Holds Court) was inspired by tales of India; the last of the preludes to be composed, it features chords at the extreme ends of the keyboard. The final prélude–Feux d’artifice (Fireworks)–brings a festival of fireworks, and the occasion becomes clear at the end: a bit of “La Marseillaise” sneaks in to remind us that these fireworks celebrate July 14–Bastille Day.

Out of Doors, Sz.81

Béla BARTÓKBorn March 25, 1881, Nagyszentmiklós, HungaryDied September 26, 1945, New York City In 1926 Bartók made some changes in the direction of his career, and his music changed as a result. After years of teaching at the Budapest Royal Academy of Music, Bartók decided to resume his career as a virtuoso pianist. He needed music of his own to play on tour, and so–after an interval of some years–he began to compose again for the

JIAYAN SUN - PROGRAM NOTES

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piano. In 1926 Bartók wrote his First Piano Concerto (it would promptly assault audiences from Frankfurt to New York with its dissonance and percussive piano writing), as well as his Sonata for Piano, Nine Little Pieces, and a collection of five brief movements that he called Out of Doors. Bartók gave the premiere of Out of Doors (at least of several of its movements) at a recital in Budapest on December 8, 1926.

Out of Doors is remarkable music–it is one of Bartók’s most impressive (and difficult) works for the piano, and it shows several unusual influences. Over the preceding several years, Bartók had been editing collections of baroque keyboard music (works by Couperin, Scarlatti, Frescobaldi, and others). Bartók had no interest in the neo-classical movement then in vogue in Europe, but he found himself intrigued by the form of the baroque suite (a collection of movements that might be unrelated) and by the descriptive keyboard music of baroque composers, particularly that of Couperin. He combined the general shape of the baroque suite with his own new interest in the percussive possibilities of the piano to compose Out of Doors, a suite of five concise movements, each with a title and descriptive in intention. This is charming music, but for all its appeal to audiences, it is extraordinarily difficult for the pianist: extended sections are written on three staves, and the music is full of rhythmic and harmonic difficulties. Out of Doors also demands a performer with unusual touch, one who can master the percussive outer movements while creating the full range of color–much of it quite subtle–that Bartók demands in the interior movements.

With Drums and Pipes is a good illustration of Bartók’s percussive writing for piano. Set in a steady 2/4, the music pounds along, its propulsive progress made more pungent by the stinging sound of seconds. Much of this movement is set deep in the piano’s register, and its steady pulse slows only at the end.

A barcarolle is the song of the Venetian gondoliers, and a number of composers–Chopin and Liszt among them–have written keyboard works in this form. Bartók’s Barcarolla preserves the murmuring, rocking sound typical of the form, but his pulse of eighth-notes is enlivened by the fact that he changes meter in almost every measure. Above this, the music shimmers quietly. In Musettes Bartók portrays the bagpipes with whirling dissonances; the bagpipes clatter and wheeze, and tunes emerge from these thick layers of sound.

The most unusual (and impressive) movement in Out of Doors is the fourth, Musiques nocturnes. This is one of the earliest of Bartók’s “night-music” movements, and here he evokes the sounds of nature at night: insects chirp, frogs croak, birds twitter. This movement is written on three staves, and it includes tone clusters that blur the sound,

swirls, murmurs, all broken by the occasional peep of a very high note. Out of these subdued night-sounds, simple tunes emerge and sing, and in the closing section Bartók combines these tunes with his opening material. This movement was clearly close to its creator’s heart. He dedicated it to his wife, and nineteen years later, as he lay dying in New York, he composed his Third Piano Concerto and dedicated that to his wife as well–the slow movement of that concerto is exactly this same sort of night-music movement.

Out of the soft close of the fourth movement, the final movement–The Chase–bursts to life. The keyboard style here is very similar to that of the first movement: both pound along vigorously, and here Bartók has the left hand playing steady sixteenths while the right plays octave eighths. The music pounds its way without any relief right to the sudden stop.

Prelude in C-sharp Minor, Opus 45

Frédéric CHOPINBorn February 22, 1810, Zelazowska Wola, PolandDied October 17, 1849, Paris

On the second half of this program, Jiayan Sun performs Chopin’s Preludes, Opus 28. Those preludes, in each of the twenty-four keys, would seem to be Chopin’s final word on this form, but he came back to it one more time. The composer spent the summer of 1841 at Nohant, George Sand’s summer home, and there he wrote this prelude at the request of his publisher Schlesinger, who had specified that it should be short.

The Prelude in C-sharp Minor is at a slow pace (Chopin’s marking is Sostenuto), and the mood is restrained. Its characteristic sound is the steady tread of the eighth-note accompaniment that unfurls continuously beneath the fragmentary melody. While the prelude may nominally be in C-sharp minor, Chopin leaves that key far behind: this music seems to move through a new key in almost every measure, and harmonic instability is the most distinctive feature of this music. Near the end, a “cadenza” leads to a forceful return of the opening material, and the prelude trails into silence on a concluding chord that is–at last–in unequivocal C-sharp minor.

Preludes, Opus 28

Frédéric CHOPINAs a small boy in Poland, Chopin fell in love with the

keyboard music of Bach. Like Beethoven before him (and




Rachmaninoff and Shostakovich after him), Chopin was particularly drawn to The Well-Tempered Clavier, Bach’s two sets of 24 preludes and fugues in all the major and minor keys of the chromatic scale. Haunted by Bach’s achievement, Chopin wished to try something similar, and in 1836, shortly after completing his Études, Opus 25, he began to compose a series of short preludes, but it would take him three years to complete the entire set of 24. In the fall of 1838, Chopin sailed with George Sand to Mallorca, taking with him a number of Bach scores. On the island, living in an abandoned monastery high in a mountain village that was alternately bathed in Mediterranean sunlight and torn by freezing rainstorms, he completed the Preludes in January 1839; they were published in Paris later that year.

While certain scholars have heard echoes of Bach in the Preludes, this is very much the music of Chopin. And while these preludes do proceed through all the major and minor keys, Chopin does not write accompanying fugues, as Bach did: these are not preludes to anything larger, but are complete works in themselves. The entire set of 24 preludes lasts about 45 minutes, so these are concise essays in all the keys, and they encompass an enormous variety of technique, ranging from very easy preludes (played by every amateur pianist on the planet) to numbingly difficult ones, playable by only the most gifted performers. They cover an unusual expressive range as well, from the cheerful sunlight of some to the uneasy darkness of others.

Each prelude exists as an independent work and may be played separately, or the entire cycle may be played at once, revealing a full world of sharply contrasted moods and music. Rather than describing each prelude in detail, it may be best to let listeners discover each for themselves. Some of the best-known preludes are of course those accessible to non-professionals. These include No. 20 in C Minor, inevitably nicknamed “Funeral March” (Chopin despised all such subjective titles and the effort to attach programs to pieces he wished to have considered solely as music). Also in this category are the graceful No. 7 in A Major (only sixteen measures long) and No. 4 in E Minor, which–however over-familiar it has become–remains some of the most expressive music ever written. At the other extreme are such preludes as No. 24 in D Minor, full of bravura brilliance and the Prelude No. 8 in F-sharp Minor, stormy and impulsive music–Chopin’s marking is Molto agitato. The piece is in constant motion throughout, with the driving theme in the left hand as the right accompanies with perpetual swirls of sound. After all this energy, the subdued conclusion is particularly effective. Many have noted Chopin’s unusual use of repeated chords or notes throughout the set: the tolling sound of these chords is used for quite different expressive purposes in No. 15 in D-flat Major

(nicknamed the “Raindrop” by George Sand, to Chopin’s exasperation), in No. 17 in A-flat Major, and in many others.

One of the particular pleasures of a performance of the complete Preludes is not just to hear each individual prelude, some of which pass by in a matter of seconds, but to experience the totality of the world Chopin creates in this set. It is a world of the most dazzling variety, by turns cheerful, dark, lyric, dramatic, friendly, and terrifying, all superbly disciplined within the tight compass of the 24 keys. Bach would have found much of this music strange, but he would instantly have understood Chopin’s achievement in it.

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RESTLESS CREATUREFRIDAY, JANUARY 30 · 8 PM BALBOA THEATRE

RESTLESS CREATURE

Performance time is approximately 70 minutes with no intermission.

PERFORMERS Wendy WhelanKyle Abraham

Joshua Beamish Brian Brooks

Alejandro Cerrudo EXECUTIVE PRODUCERS Sunny Artist Management Inc. Wendy Whelan

PRODUCERS Ilter Ibrahimof Valérie Cusson

CO-PRODUCERS The Joyce Theater Foundation

CO-COMMISSIONERS Carolina Performing Arts Jacob’s Pillow Dance Festival The Joyce Theater Foundation

CREATIVE DIRECTOR David Michalek

Joe Levasseur, lighting designKaren Young, costume design

Davison Scandrett, production managerMeredith Belis, stage manager

Courtney Ozaki Moch, project manager

This performance marks the La Jolla Music Society debut of Wendy Whelan, Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo.


Tonight’s concert is co-sponsored by Dance Society members:Katherine Chapin, June Shillman, and Jeanette Stevens

Many thanks to our Hotel and Restaurant Partner:The Westgate Hotel

PRELUDE 7 PMMarcus Overton will host a conversation with choreographer Brian Brooks

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WORLDWIDE REPRESENTATION:Sunny Artist Management, Inc.sunnyartistmanagement.comrestlesscreature.com

PRESS REPRESENTATIVE:Blake Zidell & Associates


RESTLESS CREATURE - PROGRAM NOTES

I. EGO ET TU (2013)

Choreography Alejandro CerrudoPerformers Alejandro Cerrudo and Wendy Whelan Musical Works “Monologue” from Perfect Sense and “The Twins (Prague)” by Max Richter

“Orphée’s Bedroom” by Philip Glass“We (Too) Shall Rest” by Ólafur Arnalds“Intermezzo II” by Gavin Bryars

Atlantic Screen Group [Max Richter, “Perfect Sense”], Universal Music Publishing Group [Max Richter, “The Twins (Prague)”]; ©1993, 1984 Dunvagen Music Publishers Inc. Used by Permission [Philip Glass, “Orphée’s Bedroom”]; Nettwerk One Music Group [Ólafur Arnalds]; European American Distributors Company [Gavin Bryars] II. CONDITIONAL SENTENCES (2015)

Choreography Joshua Beamish Performers Joshua Beamish and Wendy Whelan Musical Works “Partita No. 2 in C Minor, BWV 826” by J.S. Bach from Glenn Gould Plays Bach

III. THE SERPENT AND THE SMOKE (2013)

Choreography Kyle AbrahamPerformers Kyle Abraham and Wendy Whelan Musical Works “#304” and “#320” by Hauschka & Hildur Guðnadóttir Music used by permission: Music Sales Corporation, G. Schirmer, Inc.; Touch Music IV. FIRST FALL (2012)

Choreography Brian BrooksPerformers Brian Brooks and Wendy Whelan Musical Works “1957 Award Montage” “November 25, Ichigaya” “1962: Body Building” “Mishima/Closing” “String Quartet No.3”, (‘Mishima’)” by Philip Glass from Brooklyn Rider plays Philip Glass ©1993, 1984 Dunvagen Music Publishers Inc. Used by Permission. First Fall was commissioned by Damian Woetzel for the 2012 Vail International Dance Festival in Vail, Colorado.

RESTLESS CREATURE is the inaugural work of the Wendy Whelan New Works Initiative, and is made possible by a creative residency space grant provided by the Baryshnikov Arts Center. Presentations of Restless Creature are made possible by the MetLife Community Connections Fund of the New England Foundation for the Arts’ National Dance Project. Major support for National Dance Project is provided by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. Restless Creature and the Wendy Whelan New Works Initiative is made possible by the generous support of: Founders’ Circle: *Diana and Joe DiMenna, *Mary Jo and Ted Shen; Producers’ Circle: *Ian ArcherWatters, *Stephen Reidy, *Catherine and Mark Slavonia; Partners’ Circle: *Charles and Debbie Adelman, *Kerry Clayton and Paige Royer, *Stuart H. Coleman, Esq., *Judith M. Hoffman, and *Michèle and Steven Pesner; Patrons: Jody and John Arnhold, Candace and Rick Beinecke, Margo Krody and Mitchell J. Blutt, Mary Sharp Cronson, Barry Friedberg and Charlotte Moss, New York Community Trust/Wallace Special Projects Fund, Jon L. Stryker and Slobodan Randjelović. Additional support from Gillian Attfield, Davis S. Brown, Joseph P. Doherty, Hilda Kraker, and Fred and Irene Shen.

*Denotes a Founding Sponsor of the Wendy Whelan New Works Initiative

Ms. Whelan wishes to express her gratitude to Donya Bommer, Diana DiMenna, and Mary Jo and Ted Shen for their unwavering belief and support; Ilter Ibrahimof, David Persky, Valérie Cusson, Courtney Ozaki and Sunny Artist Management; Linda Shelton, Martin Wechsler, Cathy Eilers, Katy Myers, Margaret Hollenbeck, and the Joyce Theater Foundation; Mikhail Baryshnikov, Georgiana Pickett, Eleanor Wallace, and the Baryshnikov Arts Center; Peter Martins, Katherine E. Brown, Julia Rosenfeld, and the New York City Ballet; Rose Caiola, Erin Fogarty, and Manhattan Movement & Arts Center; Hubbard Street Dance Chicago; Wilhelm Burmann, Zvi Gotheiner, and all of the teachers who have brought inspiration with their vision of dance; and to these individuals: Ian ArcherWatters, Ella Baff, Peter Boal, Dr. Philip Bauman, Dr. Srino Bharam, Siobhan Burns, Rena Butler, Claire Chase, Francesco Clemente, James Gallegro, Jill Johnson, Ana Lopez, David Michalek, Marika Molnar, Chalvar Monteiro, Wendy Perron, Dr. Marc Philippon, Pauline Reyniak, Michelle Rodriguez, Risa Steinberg, Alexandra Wells, Deborah Wingert Arkin, Damian Woetzel, and Karen Young.

RESTLESS CREATUREWorld Première: Jacob’s Pillow Dance Festival, Becket, MA, USA on Wednesday August 14, 2013

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CHOREOLab 2015 held at San Diego State University on Thursday, January 29, 2015 and in conjunction with La Jolla Music Society’s Dance Series presentation of WENDY WHELAN / RESTLESS CREATURE.

LA JOLLA MUSIC SOCIETY’S

CHOREOLab 2015

For more information about this event and all of the educational opportunities LJMS offers throughout the year, please contact Jonathan Piper, Education Manager, at 858-459-3724 x221 or [email protected]

CHOREOLab is an amazing opportunity for San Diego’s incredible dance makers to present their work to leading �gures in the global dance community. After an initial performance, participants receive valuable feedback from a panel of choreographers, dancers, artistic directors, managers, and dance a�cionados. Participants then present their work a second time based on that feedback and engage in open dialogue with the panel and audience about the successes of their work.

As part of La Jolla Music Society’s Education Programs, CHOREOLab aims to support San Diego’s vibrant arts communities. We are endlessly grateful for all the amazing artists who share their craft by participating in these programs.

CONGRATULATIONS to our featured participants: Blythe Barton, Geoffrey Gonzalez, Ami Ipapo, Melissa Nunn and Elyssa Dru Rosenberg.

THANK YOU to Kyle Abraham, Brian Brooks, Joshua Beamish, Alejandro Cerrudo and Marcus Overton for your participation and San Diego State University, San Diego Dance Connect, San Diego Dance Network, La Jolla Music Society’s Dance Society, and the vibrant dance community of San Diego for your generous support.

CHOREOLab 2016 date announcement and call for submissions will be posted at www.LJMS.org later this year!

CHOREOLab 2012


NIKOLAY KHOZYAINOV, pianoSATURDAY, JANUARY 31 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

CHOPIN Ballade No. 2 in F Major, Opus 38(1810-1849)

Three Waltzes Waltz in C-sharp Minor, Opus 64, No. 2 Waltz in A-�at Major, Opus 69, No. 1 Waltz in B Major, Opus 69, No. 2

TCHAIKOVSKY Theme and Variations in F Major, Opus 19, No. 6(1840-1893)

LISZT Rhapsodie espagnole, S.254(1811-1886)

INTERMISSION

RAVEL Pavane pour une infante défunte(1875-1937)

RACHMANINOFF Piano Sonata No. 1 in D Minor, Opus 28(1873-1943) Allegro moderato; Allegro Lento Allegro molto

Nikolay Khozyainov last performed for La Jolla Music Society in the Discovery Series on May 12, 2013.


The Frieman Family Piano Series is underwritten by Medallion Society members:Conrad Prebys and Debbie Turner

Many thanks to our Hotel and Restaurant Partner:La Valencia Hotel

PRELUDE 7 PMLecture by Steven Cassedy:Crazy-Dif�cult Piano Music

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NIKOLAY KHOZYAINOV - PROGRAM NOTES


Ballade No. 2 in F Major, Opus 38

Frédéric CHOPINBorn February 22, 1810, Zelazowska Wola, PolandDied October 17, 1849, Paris Chopin himself was the first to use the term “ballade” to refer to a piano composition, appropriating the name from the literary ballad. He appears to have been most taken with the lyric and dramatic possibilities of the term, for his four ballades fuse melodic writing with intensely dramatic–almost explosive–gestures. After Chopin’s death, Liszt, Grieg, Fauré, and Brahms would compose works for solo piano that they too called ballades. Formally, Chopin’s ballades most closely resemble the sonata-form movement (an opening idea contrasted with a second theme-group, and the two ideas developed and recapitulated), but the ballades are not strictly in sonata-form, nor was Chopin trying to write sonata-form movements. His ballades are quite free in form, and their thematic development and harmonic progression are sometimes wildly original. All four ballades employ a six-beat meter (either 6/4 or 6/8), and the flowing quality of such a meter is particularly well-suited to the sweeping drama of this music. All four demand a pianist of the greatest skill. Because of the literary association and the dramatic character of the music, many have been quick to search for extra-musical inspiration for the ballades, believing that such music must represent the attempt to capture actual events in sound. Some have heard the Polish struggle for independence in this music, others the depiction of medieval heroism. Chopin himself discouraged this kind of speculation and asked the listener to take the music on its own terms rather than as a representation of something else. Chopin dedicated the Ballade in F Major to Robert Schumann. The actual composition of this piece was spread over several years, and Schumann was surprised when the text published in 1840 bore little resemblance to a version Chopin had played for him in 1836. The Ballade in F Major is built on two distinct theme-groups. The gently-rocking opening, marked Andantino, moves along gracefully but is suddenly shouldered aside when the Presto con fuoco explodes to life. These two sections alternate, and the music comes to a close on a quiet fragment of the opening melody.

Three Waltzes

Frédéric CHOPIN This set offers three waltzes written at different moments in Chopin’s career. The three waltzes that make up Chopin’s Opus 64 were the last that he published. He composed them in 1846-47 and performed them frequently, both in Paris and in England, during the final two years of his brief life. These sparkling waltzes, which have become some of his best-known music, require little introduction. The second of them, in C-sharp minor, has become famous (even without benefit of a nickname); its popularity springs from the wealth of its thematic ideas, and Chopin concludes nicely by returning not to the opening theme but to the haunting second. The final work Chopin published during his lifetime was his Cello Sonata, Opus 65, which appeared in 1847. But after his death two years later at age 39 various editors and colleagues collected some of his unpublished works and presented them as his Opus 66 through Opus 74. These works, which the composer had chosen not to publish, sometimes joined together pieces that had been written at quite different times and under quite different circumstances. Such is the case with the two waltzes that make up Chopin’s Opus 69. The Waltz in A-flat Major was written in September 1835, fourteen years before the composer’s death. That summer, Chopin left Paris and traveled through Germany, where he saw his parents for the last time. At the end of the trip, he went on to Dresden and stayed with the Wodzínski family. In Poland, he had been a school-friend of the family’s three sons, but now he was struck by their sister, Maria, who had just turned 16. She was a remarkable beauty, and just before leaving Dresden Chopin presented her with a parting gift, the Waltz in A-flat Major. As a result, the waltz is sometimes given the nickname “L’adieu.” The usual form of Chopin’s waltzes is an opening section, a central episode that is usually in a different key, and a return of the opening material. The two waltzes of Opus 69 observe this pattern only generally. The Waltz in A-flat Major opens with the firm waltz rhythm in the left hand, while the right has the more supple main melody. Its middle section, based on firmer rhythms, is quite brief–so brief, in fact, that it passes almost before one knows it. A return of the opening rounds off this waltz. The Waltz in B Minor dates from 1829, when Chopin was only 19. The smooth opening gives way to a central episode in B major, marked dolce and full of dotted rhythms. Once again, the middle section is over quickly, and Chopin eases his way back to B minor and the opening material.



Theme and Variations in F Major, Opus 19, No. 6

Peter Ilych TCHAIKOVSKYBorn May 7, 1840, Votkinsk, RussiaDied November 6, 1893, St. Petersburg Mention the name Tchaikovsky, and audiences think automatically of sumptuous ballets and dramatic orchestral works. Very few think of Tchaikovsky as the composer of piano music, but in fact he was quite a good pianist, and he composed a great deal of music for solo piano across the span of his career. Among his compositions are a number of collections of short works for piano that he usually published under the French title morceaux: “pieces.” In the fall of 1873, while he was teaching at the Moscow Conservatory, the thirty-year-old Tchaikovsky completed a collection of pieces that he titled Six morceaux, Opus 19. These six pieces are not in any way connected and are usually performed individually. The last of them–the longest and most substantial in the set–is a set of twelve variations on a theme Tchaikovsky had composed himself. The Theme and Variations in F Major is quite a compact piece of music: the theme, twelve variations, and coda pass by in about ten minutes. Tchaikovsky’s fundamental theme consists of an eight-bar chordal statement followed by an eight-bar extension, and the variations follow without pause. Tchaikovsky’s variations are usually melodic (that is, one can hear his original theme throughout all the variations), and they range from big and brilliant, such as the fourth variation, to the gentle: the fifth is marked Andante amoroso. Particularly noteworthy are the ninth, marked Alla mazurka, which offers a delicately-syncopated little dance, and the eleventh, which Tchaikovsky titles Alla Schumann. Robert Schumann was one of Tchaikovsky’s favorite composers, and this Allegro brillante variation–which dances powerfully along its dotted rhythms–is an act of homage to that earlier composer. Tchaikovsky rounds off the set with a Presto coda. Here the original theme is heard above a rush of sixteenth-notes, and Tchaikovsky drives matters to a close on some very brilliant writing marked con molto fuoco: “with much fire.”

Rhapsodie espagnole, S.254

Franz LISZTBorn October 22, 1811, Raiding, AustriaDied July 31, 1886, Bayreuth, Germany Liszt composed his Rhapsodie espagnole in 1863, when he was in his early fifties. He had for some time been drawn to the idea of composing piano works based on themes of specific national character, and he used tunes of Hungarian,

Russian, Polish, French, German, English, and other origins as the material for these. This “Spanish Rhapsody” is based on two famous themes of ancient Spanish origin, both of them already treated by other important composers: La Folia, which nearly two centuries earlier had formed the ground bass for a set of violin variations by Corelli, and the Jota aragonesa, which Glinka had used for a brilliant orchestral work. Liszt’s Rhapsodie espagnole opens with a terrific cadenza, then La Folia is heard deep in the left hand and is transformed into music of roof-rattling virtuosity before the quiet statement of the Jota aragonesa. This too is extended brilliantly (much of the writing is in the piano’s ringing high register) before the Rhapsodie closes on a fragment of La Folia. A generation after Liszt composed this music, the Italian composer-pianist Ferruccio Busoni made a tremendous arrangement of Rhapsodie espagnole for piano and orchestra. One of the early performers of the Busoni version was a superb young pianist (and great admirer of Liszt) named Béla Bartók.

Pavane pour une infante défunte

Maurice RAVELBorn March 7, 1875, Ciboure, Basses-Pyrénées, FranceDied December 28, 1937, Paris Ravel composed the Pavane pour une infante défunte (“Pavane for a Dead Princess”) for solo piano in 1899, when he was 24, and it became his first significant success. A pavane is an ancient dance of stately character and in duple meter, probably of Italian origin. There is an old custom that during periods of mourning in the Spanish court, a pavane might be danced before the funeral bier. Ravel may have been referring to this custom when he chose the title for this music, though he later admitted choosing it simply because he liked the sound of the words. He is quoted as saying: “Do not attach to the title any more importance than it has. Do not dramatize it. It is not a funeral lament for a dead child, but rather an evocation of the pavane which could have been danced by such a little princess as painted by Velazquez at the Spanish court.” The Pavane opens with the simple but haunting main theme. The piece is in rondo form, with the theme treated in three episodes, developed and harmonized differently each time. Ravel is said to have become tired of the Pavane’s great popularity, and he is known to have insisted that the music be played straight: without sentimentality or undue expression. This did not prevent his making the famous crack–after sitting through a dull performance of the Pavane–to the pianist: “I have written a pavane for a

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deceased princess, not a deceased pavane for a princess.” In 1910, Ravel orchestrated the Pavane, and the music has become well-known in this version, in which the opening statement is a famous solo for French horn.

Piano Sonata No. 1 in D Minor, Opus 28

Sergei RACHMANINOFFBorn April 1, 1873, Semyonovo, RussiaDied March 28, 1943, Beverly Hills In February 1906 Rachmaninoff resigned his position as conductor at the Bolshoi and moved his family to Dresden. He had won critical praise as a conductor, but the demands of that position prevented him from composing, which was what he really wanted to do. He loved the quiet house he rented in Dresden–it was surrounded by a garden–and he set to work immediately. The next few years were some of his most productive, for they included the composition of his Second Symphony, Isle of the Dead, and Third Piano Concerto. Also from these years came a work that has proven much less familiar, the First Piano Sonata. Rachmaninoff sketched the sonata in January and February 1907 and had it complete on May 14 of that year. But he was by no means comfortable with his latest creation. To a friend he described his problems with it: “The sonata is certainly wild and interminable. I think it takes about 45 minutes. I was lured into this length by its guiding idea. This is–three contrasting types from a literary work. Of course no program will be indicated, though I begin to think that the sonata would be clearer if the program were revealed. Nobody will ever play this composition, it’s too difficult and long . . . At one time I wanted to make a symphony of this sonata, but this seemed impossible because of the purely pianistic style in which it is written.” The premiere, given in Moscow on October 17, 1908, by Konstantin Igumnov, got a respectful but mystified reaction, and the composer had scarcely any more success when he played the sonata on his recitals during the next several seasons. Perhaps it may help audiences to know that the “literary work” that inspired this sonata was Goethe’s Faust and that its three movements were apparently inspired in turn by Faust, Gretchen, and Mephistopheles. Small wonder that the work struck Rachmaninoff as symphonic in character: these are the titles and sequence of the three movements of Franz Liszt’s Faust Symphony, composed in 1857. Rachmaninoff chose not to reveal the inspiration, and this sonata is in no sense programmatic: its three movements should be understood more as character pieces than as pieces that depict specific events.

This is an extremely difficult sonata for the performer, and it generates textures so full and dramatic that Rachmaninoff was right to wonder if it might really be symphonic music. The Allegro moderato alternates tentative figures with fierce outbursts before rushing ahead at the Allegro; its second subject, marked Moderato, is built on repeated notes that emerge from murmuring figurations. This movement, long and technically demanding, drives to a sonorous climax that rides along great waves of sound before the music subsides to recall the second subject and to close quietly, even peacefully. The main idea of the Lento is introduced above rocking triplet accompaniment, and that rhythm will eventually drive this movement to an agitated climax; a striking sequence of descending trills brings the movement to its restrained close. The finale has seemed to some who know of the sonata’s original inspiration to have been inspired by the Flight to Brocken in Goethe’s Faust. It opens with hammered octaves that are marked both fortissimo and marcato and then races ahead; the second subject is a quiet, march-like idea that Rachmaninoff marks “very resolute.” These two ideas alternate throughout the movement, which also features some lyric and haunting melodies. The music accelerates to the close, where Rachmaninoff rounds matters off with a great chordal climax full of the sound of pealing bells and a suitably furious cadence.


One Earth Tour 2015: MysteryFRIDAY, FEBRUARY 6 ∙ 8 PM BALBOA THEATRE

JAMAI Traditional, arranged by Kodo

YOMICHI Composed by Tsuyoshi Maeda (2013)

WALL Composed by Yosuke Oda (2013)

AJARA Composed by Mitsuru Ishizuka (2006)

AKE NO MYOJO Composed by Yosuke Oda (2012)

HAREWATARU Composed by Eri Uchida (2013)

NAMAHAGE Arranged by Kodo Featuring “Yomichi” by Tsuyoshi Maeda, 2013

MUTE Composed by Yosuke Oda (2013)

KUSA-WAKE Composed by Yuta Sumiyoshi (2013)

KEI KEI Composed by Yuta Sumiyoshi (2012)

INTERMISSION

CHIT CHAT Composed by Eri Uchida (2013)

SHISHIMAI Arranged by Kodo, Featuring “Lion” by Leonard Eto (1990)

YUYAMI Composed by Yuta Sumiyoshi (2013)

COLOR Composed by Masayuki Sakamoto (2009)

MIYAKE Traditional, arranged by Kodo

YATAI-BAYASHI Traditional, arranged by Kodo

JAMAI Traditional, arranged by Kodo

HEKIREKI Composed by Masayuki Sakamoto (2013)

*The following pieces are based on these regional traditional performing arts:

Kodo last performed for La Jolla Music Society in a Special Event on February 11, 2011.


Tonight’s performance is sponsored by the:Twin Dragon Foundation

Many thanks to our Hotel Partner:The Lodge at Torrey Pines

Kodo appears by arrangement with IMG Artists, LLC, 152 W. 57th St., 5th Floor, New York, NY 10019. 212-994-3500

Tamasaburo Bando, artistic director Yosuke Oda, assistant artistic director

Kazumi Boy, choreography Martin Lechner, technical director

Takashi Akamine, company manager

Kenichi Mashiko (S.L.S.), lighting designer Takeshi Arai, stage manager

Nanako Suzuki (Niigata Shoumei Giken), assistant stage manager

Yui Kawamoto, Mio Teycheney, assistant company managers

PERFORMERS Masayuki Sakamoto, Eri Uchida, Mariko Omi, Yosuke Kusa,

Shogo Komatsuzaki, Akiko Ando, Yuta Sumiyoshi, Tetsumi Hanaoka, Kosuke Urushikubo, Jun Jidai, Koki Miura, Shunichiro Kamiya,

Ryoma Tsurumi, Kengo Watanabe, Tomoe Miura

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Jamai: Iwami Kagura (Iwami Region, Shimane)

Miyake: Kamitsuki Mikoshi Taiko (Miyake Island, Tokyo)

Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama)

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INGOLF WUNDER, pianoSUNDAY, FEBRUARY 8 · 3 PM THE AUDITORIUM AT TSRI

CHOPIN Nocturne in E-�at Major, Opus 55, No. 2(1810-1849)

Allegro de Concert in A Major, Opus 46

Andante Spianato et Grande Polonaise Brillante, Opus 22

INTERMISSION

LISZT Hexaméron, S.392(1811-1886)

Sonetto 104 from Années de pèlerinage (Deuxième année: Italie), S.161/5

Mephisto Waltz No. 1, S.110/2

This performance marks Ingolf Wunder's La Jolla Music Society debut.


The Discovery Series is underwritten by Medallion Society member:Jeanette Stevens

Additional support for the Series is provided by:Gordon Brodfuehrer

PRELUDE 2 PM Young artists from the San Diego Youth Symphony perform

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INGOLF WUNDER - PROGRAM NOTES


Nocturne in E-�at Major, Opus 55, No. 2

Frédéric CHOPINBorn February 22, 1810, Zelazowska Wola, PolandDied October 17, 1849, Paris The two nocturnes of Chopin’s Opus 55 come from 1843. A nocturne suggests music not just with a nocturnal atmosphere but of an intimate, personal nature, and that is certainly true of the Nocturne in E-flat Major, which is remarkable for the equal importance of the two hands. The left hand is here not relegated to the role of accompanist but given a musical line that co-exists with the pianist’s right hand. Counterpoint is not a characteristic one automatically associates with Chopin, but this nocturne is an exercise in the deft treatment of simultaneous musical lines.

Allegro de Concert in A Major, Opus 46

Frédéric CHOPIN When he arrived in Paris in September 1831, the 21-year-old Chopin brought with him from Poland two piano concertos, which he performed in Paris, and in 1832 he began a third–there is some evidence that this may have been intended as a concerto for two pianos and orchestra. He sketched the first movement of this concerto, and then abandoned it. Why? Probably for several reasons. Chopin was not really interested in a career as public virtuoso in the manner of Liszt and many others, and the piano concerto represented one of the most visible forms of that virtuosity. Further, he was not particularly interested in writing for the orchestra or in concerto form. He soon discovered that he was able to make a career in Paris by teaching and performing before private audiences, and it is not surprising that he should abandon a composition that was going to lead him in a direction he wished to avoid. About a decade later, in 1841, Chopin returned to the abandoned sketches, transformed them into a piece for piano solo that he called Allegro de Concert, and published it that same year as his Opus 46. This did not involve a radical transformation (Chopin had earlier arranged both his completed piano concertos as works for solo piano), and it is quite possible in the Allegro de Concert to make out which are the “orchestral” passages and those that had been intended for the soloist. Marked Allegro maestoso, the piece opens with the long “orchestral” exposition, which sets the dotted rhythms of the opening against more

lyric secondary material. The “piano” makes a deceptively quiet entrance, but from there on this is extraordinarily difficult music, full of passages in octaves, complex chordal writing, and consciously “virtuosic” writing before Chopin rounds the movement off with a resounding “orchestral” close. The Allegro de Concert is seldom heard today, and a performance offers the opportunity to hear not just unusual Chopin, but a rare instance of this composer setting out to write consciously virtuosic music.

Andante Spianato et Grande Polonaise Brillante, Opus 22

Frédéric CHOPIN The Andante Spianato et Grande Polonaise Brillante had a curious genesis and exists today in a variety of forms. Chopin originally wrote just the Grande Polonaise as a virtuoso concert piece for piano and orchestra between September 1830 and July 1831, when he was in his early twenties. This was an emotionally wrenching time for the composer. He had left his native Poland at exactly the moment it was being subjugated by Russia, and–suddenly homeless–he had spent a disappointing eight months trying to make a career in Vienna before finally fleeing to Paris in 1831. Three years later, in 1834, Chopin returned to the Grande Polonaise and wrote an introduction for it, the Andante Spianato, scored for piano alone. This was the period when touring piano virtuosos were entertaining audiences with concertos, and Chopin had hoped to win a following in Paris with this sort of large-scale work. He gave the premiere of the Andante Spianato et Grande Polonaise Brillante in Paris on April 26, 1835, but this was to prove one of Chopin’s final public performances: he disliked performing before large crowds (modern concert conditions would have appalled him) and thereafter limited his performances to private audiences. In 1836, Chopin returned once again to this music and arranged it for piano quartet, and two years after that he arranged the entire piece for solo piano. At this concert it is heard in the version for solo piano. The Andante Spianato is unusually calm (“spianato” has been variously translated as “level,” “even,” “smoothed out”). Over a rippling accompaniment, the gentle first idea of this nocturne-like introduction is heard; a brief trio section leads to the return of this opening material. Fanfares signal the beginning of the Polonaise, which is brilliant music, full of swirling triplets and hammered octaves. A polonaise is an old Polish dance in triple time, but to that stately old dance Chopin in this case brings unusual

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virtuosity. Like the Andante Spianato, the Polonaise is in ABA form: both the flowing main idea and the dark and noble center section (in C minor) feature some of Chopin’s most characteristic melodic material, and the conclusion is dazzling.

Hexaméron, S.392

Franz LISZTBorn October 22, 1811, Raiding, AustriaDied July 31, 1886, Bayreuth, Germany

Princess Cristina Belgiojoso-Trivulzio was one of the most colorful (some would say flamboyant) figures in Parisian salon life during the 1830s. During the winter of 1837 she conceived of an extravagant–and very imaginative–idea for a concert to benefit the poor: she chose the march of the puritans from Bellini’s opera I puritani, which had been premiered in Paris only two years earlier, and invited six leading pianists of the day to contribute a variation on that theme and to play their variation at her concert. Paris was then home to the greatest pianists in the world, as her choices made clear: Frédéric Chopin, Johann Peter Pixis, Sigismond Thalberg, Carl Czerny, Henri Herz, and Franz Liszt. Not all the variations were complete at the time of the Princess’ benefit concert, nor were all the pianists present to play “their” variation, and Liszt, then 26 years old, was eventually put in charge of assembling the composite work. He wrote an introduction, the statement of Bellini’s theme, transitional music between some of the variations, and a finale. Liszt liked the composite piece, which was named Hexaméron to recognize the participation of its six different composers: he referred to it as “the monster work” and performed it on recitals throughout Europe.

The Princess Belgiojoso was known for her revolutionary sympathies–she had been thrown out of Italy because of her political views–and she chose a theme close to her heart: Bellini’s chorus is a call to arms in the name of liberty. Liszt’s subtitle makes clear that this music was intended as a virtuoso work: “Morceau de Concert. Grande Variations Bravoure sur le Marche Des Puritains.” Hexaméron opens with Liszt’s portentous introduction, full of deep tremolandi, huge chords, and powerful octave writing. His introduction contains hints of Bellini’s theme, which is then given a grandiloquent presentation marked Allegro marziale. The six variations follow. Thalberg’s variation, marked Ben marcato, is full of powerful runs, while Liszt’s own Moderato variation sounds almost chaste after Thalberg’s animated writing. Pixis marks his variation Di bravura and con fuoco (“with fire”); it features

much writing in octaves, and Liszt supplies a transition to Herz’s variation, marked legato e grazioso. This section is extremely fast, with sparkling runs set high in the pianist’s right hand. Czerny’s variation is similarly brilliant. Marked Vivo e brillante, it too is set high in the piano’s high register, and Liszt wrote a transitional passage to lead from this brilliant writing to Chopin’s more restrained variation, a slow movement. Listeners will recognize the essential Chopin style in this Largo, which builds from a quiet beginning to a fortissimo climax before falling back. Liszt then steps in to supply a knock-out bravura finale to all that has gone before. Liszt later made an arrangement of Hexaméron for solo piano and orchestra, and much of the writing in this finale sounds as if it had been conceived with an orchestra in mind.

Liszt may have championed Hexaméron on his concert tours, but performances today are rare, which is too bad. Hexaméron may be a very unusual piece of music, a strange stylistic hybrid, but it does give us a window into musical life in Paris in the 1830s and into the quite different styles of six of the leading pianists active in that city and that era.

Sonetto 104 from Années de pèlerinage (Deuxième année: Italie), S.161/5

Franz LISZT Liszt and his mistress Marie d’Agoult made an extended

visit to Italy in 1838-39, and they fell in love with the country, its people, its art. While in Italy, Liszt began to sketch a second collection of piano pieces in the manner of the first book of Années de pèlerinage. But where the first collection had been devoted to physical locations in Switzerland, now Liszt changed his focus, and a set of seven pieces inspired by varied works of Italian art began to take shape.

In Italy, Liszt and Marie d’Agoult read through the sonnets of Petrarch together, and Liszt was so struck by these poems that the following year he wrote three songs that set Petrarch’s sonnets 104, 47, and 123. These appear to have been the first songs composed by Liszt, who was 28 at the time. These dramatic songs have been described as operatic, for they were written for high tenor and go up to high C-sharp. Liszt immediately transcribed the three songs as piano pieces, and these transcriptions were published as a set–in a slightly different order–in 1846. Several years later, Liszt returned to these piano pieces and revised them for inclusion in the second book of Années de pèlerinage.

While the impulse behind these three pieces is lyric, Liszt turned the piano versions into virtuoso keyboard


works: moments of melting lyricism will give way almost instantly to bravura writing that demands an absolutely first-class pianist simply to get the notes. The famous Sonetto 104opens powerfully (Agitato assai), as befits the troubled topic of this sonnet, but this abrupt beginning quickly gives way to the melody of the song, which is then extended at length. The writing for piano is particularly impressive here, with difficult chordal passages, powerful writing in octaves, great cadenza-like flourishes, and chains of thirds. After all this energy, the peaceful main theme returns to draw the music to its close on quietly-arpeggiated chords.

Mephisto Waltz No. 1, S.110/2

Franz LISZT In 1860, as he neared the end of his tenure as music

director at the Weimar court, Franz Liszt wrote a pair of orchestral works that he titled Two Episodes from Lenau’s Faust. Nicolas Lenau (1802-50) was a Hungarian-Austrian poet who wrote his own versions of the Faust legend (different from Goethe’s) and the Don Juan story (which would inspire Richard Strauss’ tone poem later in the century). Liszt’s pieces depict quite different episodes from Lenau’s dramatic poem. The first, Der nächtlige Zug (“The Ride by Night”), is a portrait of a religious procession passing by in the night, carrying torches as they go. It is seldom played, but the second has become one of Liszt’s most familiar orchestral works. Liszt titled it Der Tanz in der Dorfschenke (“The Dance in the Village Tavern”), though it is most commonly known today under the title Mephisto Waltz No. 1. Liszt completed this music in January 1861 and led its first performance at Weimar on March 8, 1861, only months before his departure from that city (and only months before his fiftieth birthday).

In the score, Liszt printed a synopsis of the action that his music depicts. Faust and Mephistopheles wander into a village tavern, where Faust is smitten by a “black-eyed beauty.” But he is afraid to approach her, and Mephistopheles chides him for being willing to stand up to the creatures of hell but cowering at the prospect of approaching a woman. Bored with the tavern, its inhabitants, and the music, Mephistopheles challenges the local musicians to dig in and play with some life. He takes up a violin and begins to play, and his playing is so exciting that it whips those in the tavern into a frenzy of excitement. Under the spell of the music, Faust overcomes his fears and leads the “black-eyed beauty” out into the warm night, where they cross a meadow and enter a dark forest. Deep in that forest, they hear the music from the distant tavern as a

nightingale sings overhead.Liszt’s music does not set out to depict these events in

the sort of realistic detail that Richard Strauss would have brought to the task. Instead, he offers a more generalized impression, and his piece is structured as a series of waltzes: some are fiery, some languorous, and some dance with an almost Mendelssohnian lightness. After all this excitement, the music turns quiet as Faust and his companion enter the dark woods.

The Mephisto Waltz No. 1 is heard on this recital in Liszt’s own arrangement for solo piano.


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ROTTERDAM PHILHARMONICYannick Nézet-Séguin, music directorHélène Grimaud, pianoFRIDAY, FEBRUARY 13 ∙ 8 PM JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

RAVEL Suite from Ma Mère l’Oye (Mother Goose)(1875-1937) Pavane of the Sleeping Princess

Hop O’ My Thumb Empress of the Pagodas Beauty and the Beast The Enchanted Garden

Piano Concerto in G MajorAllegramenteAdagio assaiPresto

Hélène Grimaud, piano

INTERMISSION

PROKOFIEV Symphony No. 5 in B-�at Major, Opus 100(1891-1953) Andante

Allegro marcato Adagio Allegro giocoso

This performance marks Rotterdam Philharmonic's La Jolla Music Society debut. Hélène Grimaud last performed for La Jolla Music Society in the

Frieman Family Piano Series on March 6, 2009.


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 Marcus Overton:Always a Bridesmaid….

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

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ROTTERDAM PHILHARMONIC - ROSTER

ROTTERDAM PHILHARMONIC 2015 U.S. TOUR ROSTER

Yannick Nézet-Séguin, music directorHélène Grimaud, piano

FIRST VIOLIN Igor Gruppman concert masterMarieke Blankestijn concert masterQuirine ScheffersEdward LeCouffeAesil KimItamar ShimonArno BonsMireille van der WartShelly Greenberg Cor van der LindenRachel BrowneMaria Dingjan Marie-José Schrijner Noëmi BoddenPetra Visser Sophia Torrenga Annelieke Schaefer-van BeestLoortje van den Brink

SECOND VIOLINCharlotte Potgieter Frank de GrootLaurens van Vliet Agnes TönköEbred ReijnenTomoko HaraElina Hirvilammi-StaphorsiusJun Yi Dou Bob BruynLetizia SciaroneEefje HabrakenMaija Reinikainen Sumire HaraWim Ruitenbeek

VIOLAAnne Huser Maartje van RheedenGalahad SamsonAlison EwerKerstin BonkLex PrummelJanine BallerFrancis SaundersVeronika LénártováPierre-Marc Vernaudon

CELLOFloris Mijnders Joanna PachuckaDaniel Petrovitsch Geneviève LeCouffeMario RioGé van LeeuwenEelco BeinemaCarla SchrijnerPepijn Meeuws

DOUBLE BASSPeter LuitMatthew MidgleyYing Lai GreenHarke WiersmaRobert FranenbergPeter LeerdamJonathan FocquaertJoost MaegermanArjen Leendertz

FLUTEJuliëtte HurelDésirée Woudenberg FLUTE/PICCOLOWim Steinmann

OBOERemco de Vries Karel Schoofs Hans CartignyAnja van der Maten

OBOE/COR ANGLAIS Ron Tijhuis

CLARINETJulien Hervé Jan Jansen

CLARINET/BASS CLARINETRomke-Jan Wijmenga

BASSOONPieter Nuytten Marianne Prommel

BASSOON/CONTRABASSOONHans Wisse FRENCH HORNMartin van de Merwe Bob StoelJos Buurman Wendy Leliveld Richard Speetjens

TRUMPETAndré HeuvelmanAd van ZonArto HoornwegSimon WierengaJos Verspagen

TROMBONEPierre VoldersAlexander VerbeekRemko de Jager

BASS TROMBONE/ CONTRABASS TROMBONEBen van Dijk

TUBAHendrik-Jan Renes

TIMPANI/PERCUSSION Randy MaxDanny van de WalRonald EntMartin BaaiKoen Plaetinck

HARPCharlotte Spren

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Suite from Ma Mère l’Oye (Mother Goose)

Maurice RAVELBorn March 7, 1875, Ciboure, Basses-Pyrénées, FranceDied December 28, 1937, Paris Ravel was a very strange mixture as a person. A man of enormous sophistication and intelligence, he nevertheless felt throughout his life a stinging longing for the world of the child: he collected toys and was fascinated by the illustrations in children’s books. Not surprisingly, he made friends easily with children and sometimes abandoned the adults at parties to go off and play games with their children. Ravel’s fascination with the world of the child found expression in his art: he wrote music for children to hear (such as his opera L’Enfant et les Sortileges) and music for them to play. His Ma Mère l’Oye (“Mother Goose Suite”) for piano-four hands dates from 1908. Ravel wrote it for Jean and Mimi Godebski, aged 8 and 10, the son and daughter of some of his friends, though it was two other children–aged 7 and 10–who played the premiere in Paris in 1910. Each of the five movements was inspired by a scene from an old French fairy tale; the suite, however, should be understood as a collection of five separate scenes rather than as a connected whole. In an oft-quoted remark, Ravel described his aim and his technique in this music: “My intention of awaking the poetry of childhood in these pieces naturally led me to simplify my style and thin out my writing.” This may be music for children to hear–and for very talented children to play–but it is also music for adults: it evokes the freshness and magic of something long in the past. In 1911, Ravel orchestrated Ma Mère l’Oye, slightly expanding the music in the process. The very gentle Pavane of the Sleeping Princess depicts the graceful dance of the attendants around the sleeping Princess Florine. Hop O’ My Thumb tells of one of the most famous figures in children’s tales–the little boy who leaves a trail of breadcrumbs behind in the woods, only to become lost when birds eat the crumbs. The music itself seems to wander forlornly as the lost boy searches for the path; high above him, the birds who ate his crumbs cry out tauntingly. Empress of the Pagodas tells the story of the empress who is made ugly by a spell, only to be transformed to beauty at the end. When she steps into her bath in the garden, bells burst out in happy peals. Ravel’s use of the pentatonic scale–the music is played mostly on black keys of the piano–evokes an exotic atmosphere. Beauty and the Beast brings another classic tale. Ravel depicts Beauty with a gentle waltz, Beast with a lumpish, growling theme in the contrabassoon’s low register. A delicate glissando depicts his transformation, and Ravel skillfully combines the music of both characters. The Enchanted Garden brings the suite to a happily-ever-after ending. The opening–for strings alone–is simple, almost chaste, but gradually the music assumes a broad, heroic character and–decorated with brilliant runs–drives to a noble close in shining C major.

Piano Concerto in G Major

Maurice RAVEL Throughout his career Ravel had written no concertos, and then in the fall of 1929–at the age of 54–he set to work simultaneously on two piano concertos. One was the Concerto for the Left Hand for the pianist Paul Wittgenstein, and the other–the Concerto in G Major–was intended for the composer’s own use. The Concerto for the Left Hand is dark and serious, but the Concerto in G Major is much lighter. Ravel described it as “a concerto in the truest sense of the term, written in the spirit of Mozart and Saint-Saëns. Indeed, I take the view that the music of a concerto can very well be cheerful and brilliant and does not have to lay claim to profundity or aim at dramatic effect . . . At the beginning I thought of naming the work a divertissement; but I reflected that this was not necessary, the title ‘Concerto’ explaining the character of the music sufficiently.” The actual composition took longer than Ravel anticipated, and the concerto was not complete until the fall of 1931. By that time, failing health prevented the composer from performing this music himself. Instead, he conducted the premiere in Paris on January 14, 1932. The pianist was Marguerite Long, to whom Ravel dedicated the concerto (Long had given the first performance of Ravel’s Le tombeau de Couperin in 1919). Ravel may have taken Mozart and Saint-Saëns as his model, but no listener would make that association. What strikes audiences first are the concerto’s virtuoso writing for both piano and orchestra, the brilliance and transparency of the music, and the influence of American jazz. It is possible to make too much of the jazz influence, but Ravel had heard jazz during his tour of America in 1928 and found much to admire. When asked about its influence on this concerto, he said: “It includes some elements borrowed from jazz, but only in moderation.” Ravel was quite proud of this music and is reported to have said that in this work “he had expressed himself most completely, and that he had poured his thoughts into the exact mold that he had dreamed.” The first movement, marked Allegramente (“Brightly”), opens with a whipcrack, and immediately the piccolo plays the jaunty opening tune, picked up in turn by solo trumpet before the piano makes its sultry solo entrance. Some of the concerto’s most brilliant music occurs in this movement, which is possessed of a sort of madcap energy, with great splashes of instrumental color, strident flutter-tonguing by the winds, string glissandos, and a quasi-cadenza for the harp. The Adagio assai, one of Ravel’s most beautiful slow movements, opens with a three-minute solo for the pianist, who lays out the haunting main theme at length. The return of this theme later in the movement in the English horn over delicate piano accompaniment is particularly effective. Despite its seemingly easy flow of melody, this movement gave Ravel a great deal of trouble, and he later said that he wrote it “two bars at a time.” The concluding Presto explodes to life with a five-note riff that recurs throughout, functioning somewhat like the ritornello

ROTTERDAM PHILHARMONIC - PROGRAM NOTES


ROTTERDAM PHILHARMONIC - PROGRAM NOTES

of the baroque concerto. The jazz influence shows up here in the squealing clarinets, brass smears, and racing piano passages. The movement comes to a sizzling conclusion on the five-note phrase with which it began.

Symphony No. 5 in B-�at Major, Opus 100

Sergei PROKOFIEVBorn April 23, 1891, Sontsovka, RussiaDied March 5, 1953, Moscow

The premiere of Prokofiev’s Fifth Symphony on January 13, 1945, in Moscow, was one of those storybook tales, almost too good to be true. As Prokofiev mounted the podium, the sound of distant artillery rumbled through the hall. The news had just arrived that the Russian army had smashed across the Vistula River in Poland and was preparing for its final assault on Nazi Germany. After four horrific years of war, the end was in sight–that artillery barrage was the sound of the garrison in Moscow celebrating the now-inevitable victory. And so it was that Prokofiev’s Fifth Symphony was heard for the first time with a prelude of artillery thunder. This music made an overwhelming impression on audiences, both that night in Moscow and around the world in the following months, and it remains today one of the most frequently performed of twentieth-century symphonies.

Prokofiev composed this music in the space of one month during the summer of 1944 at the Composer’s House in Ivanovo, an artists retreat 150 miles northeast of Moscow. Shostakovich was also there that summer, composing two works that many have felt were touched by the war, the Trio in E Minor and Second String Quartet. Prokofiev refused to make a connection between the war and his new work, saying only that he “conceived it as a symphony of the grandeur of the human spirit.”

Like Stravinsky and Copland, Prokofiev was not by nature a symphonist, finding himself more comfortable with dance scores and smaller forms–his Third and Fourth Symphonies are based on material he drew from his ballets The Fiery Angel and The Prodigal Son. Now, however–in the face of a defining national moment–Prokofiev turned to the most serious of orchestral forms and wrote with vision and force. His Fifth Symphony builds across an effective sequence in its four movements: a broad-scaled and conflicted first movement gives way to a propulsive scherzo, which is in turn followed by a painful Adagio; the symphony concludes with an almost happy-go-lucky finale that takes themes from the first movement and transforms them to suit its mood of celebration. The symphony’s themes are simple, even singable, its orchestration masterful. Some of Prokofiev’s early scores had been brutal in their impact (the young composer had taken delight in outraging audiences), but now at age 53 he handles the orchestra with distinction: the scoring here ranges from the most delicate effects (the majority of its themes are introduced by solo woodwinds) to some of the loudest music ever written.

The combination of dramatic content, attractive themes, skillful orchestration, and formal control makes this music almost unique among Prokofiev’s works, and one observer has gone so far as to describe Prokofiev’s Fifth as “Shostakovich’s finest symphony,” a remark that–however witty–is unfair to both composers.

The very beginning is deceptively innocent: Prokofiev’s Fifth Symphony opens with the pastel sound of two flutes and a bassoon playing the simple opening idea, and the other themes–all introduced quietly and lyrically–appear quickly. This movement is an Andante rather than the expected Allegro, but while the pace may be measured, it is also inexorable, and the music gathers force as it proceeds. In its closing moments, skies blacken over what had been a generally serene landscape, and the climax is shattering, one of the most impressive in all symphonic music: tunes that had seemed genial on their first appearance now explode as the strength pent up in those simple figures is unleashed.

The ticking accompaniment heard at the very beginning of the Allegro marcato continues throughout–this near-demonic tick-tock-tick-tock is so pervasive that the ear seems to hear it even when it is not there. Solo clarinet leads the way in this music, full of rhythmic energy and instrumental color. Much of this color comes from Prokofiev’s imaginative handling of percussion, particularly snare drum, woodblock, piano, and tambourine. The piercing sound of oboe and clarinet herald the arrival of the good-natured trio, but the return of the opening material brings a surprise: over the halting (almost suppressed) sound of staccato trumpets, timpani, and pizzicato strings, the opening theme now sounds lugubrious. Gradually the tempo accelerates, and the Scherzo smashes its way to the close.

While Prokofiev would not make a specific connection between this symphony and the war that had raged across Russia for three years when it was written, it is hard not to feel that the Adagio is touched by the events of those years. This grieving music opens with a simple clarinet melody that quickly turns impassioned, and a range of melodic material follows, including a broadspanned theme that rises up over a span of four octaves and a grotesque march that sounds like something straight out of a Mahler symphony. Much of the writing here, particularly for the strings, is very high, yet for all this movement’s pain, its quiet closing moments are among the most beautiful in the symphony.

The concluding Allegro giocoso is well named, for this truly is fast and happy music. Prokofiev re-introduces several themes from the first movement here, but now he transforms them–ideas that had sounded poised in the first movement become rollicking in this finale. Violas lead the way into the main section, full of sweep and high spirits–it takes little imagination to hear the sound of laughter at moments in this music of celebration. The ending is particularly effective. With the music racing along, Prokofiev suddenly reduces his forces to just a handful of players, and for a few moments this mighty symphony becomes chamber music. In the last seconds, the entire orchestra leaps back in for the ear-splitting rush up the scale that drives Prokofiev’s Fifth Symphony to its exultant close.

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KYLE ABRAHAM, choreographer and performer 2013 MacArthur Fellow, Kyle Abraham, began his dance training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts. In 2010, Kyle received a prestigious Bessie Award for Outstanding Performance in Dance for

his work in The Radio Show, and a Princess Grace Award for Choreography in 2010. The previous year, he was selected as one of Dance Magazine’s 25 To Watch for 2009. In November 2012, Abraham was named the newly appointed New York Live Arts Resident Commissioned Artist for 2012-2014. Just one month later, Alvin Ailey American Dance Theater premiered Abraham’s newest work, Another Night at New York’s City Center to rave reviews. That same year, Abraham was named the 2012 Jacob’s Pillow Dance Award recipient and 2012 USA Ford Fellow. In 2011, OUT Magazine labeled Abraham as the “best and brightest creative talent to emerge in New York City in the age of Obama.” For more information, please visit: abrahaminmotion.org.

JOSHUA BEAMISH, choreographer and performer Joshua Beamish founded MOVE: the company in 2005 and his works have since toured throughout North America, Europe, Asia and Africa. Outside of the company, he has created in collaboration with The Royal Ballet, Cirque du Soleil, NYCB Principal Ashley Bouder for The Ashley Bouder Project, The National Ballet of Canada’s YOUdance, Compania Nacional de Danza de Mexico, Cape Dance Company/South Africa, the Royal Winnipeg Ballet, Toronto

Dance Theatre and Kansas City’s Wylliams/Henry Contemporary Dance, among others. He also choreographed for the CBC Radio Canada series Ils Dansent and the Cultural Olympiads for both the 2010 and 2012 Olympics. Joshua is the recipient of residencies throughout North America, including Jacob’s Pillow and the National Incubator Artist for the American Dance Institute in Washington, DC. He is an alumni of the NY Choreographic Institute, an affiliate organization of New York City Ballet, and a Jerome Robbins Foundation grantee. Notable recent presentations include The Royal Opera House, the Guggenheim and a 24-dancer evening for MOVE: the company commissioned by the Bangkok International Festival to celebrate 50 years of Canadian and Thai political relations. Joshua is a current member of The Joyce Theatre’s Young Leader’s Circle Committee. Joshua would like to extend his special thanks to Joanna and Brian Fisher, Deborah Wingert Arkin, Cathy Eilers, Larry Henry, Ella Baff, Chalvar Monteiro, Pablo Francisco Ruvalcaba Tovar, Erin Fogarty, Kyle Abraham, Risa Steinberg, Joshua Green and Chelsea Beamish.

BRIAN BROOKS, choreographer and performer Choreographer Brian Brooks was awarded with a 2013 Guggenheim Fellowship. In the same year, he was also a proud recipient of the NY City Center Fellowship, the Jerome Robbins New Essential Works grant, and the Joyce Theater’s Artist Residency. Based in New York City, his dance group, the Brian Brooks Moving Company, has been presented throughout the US, South Korea and in Germany, and was presented by BAM in their 2013 Next Wave Festival. The

company will be presented by The Joyce Theater in June 2015. For three consecutive years, Brooks has been commissioned by Damian Woetzel at the Vail International Dance Festival to create new works featuring dancers from NYC Ballet. Brooks choreographed director Julie Taymor’s production of A Midsummer Night’s Dream (2013), which was the inaugural performance at Theatre for a New Audience’s Brooklyn home. As a guest artist, he has created new dances at schools including The Juilliard School and The Boston Conservatory. He has served as part time faculty at both Rutgers University and Princeton University, and was a Teaching Artist at the Lincoln Center Institute from 1999 to 2012. Originally from Hingham, MA, Brooks lives in New York City.

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BIOGRAPHIES

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’s 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.

ALEJANDRO CERRUDO, choreographer and performer Alejandro Cerrudo was born in Madrid, Spain and trained at the Real Conservatorio Profesional de Danza de Madrid. His professional career began in 1998 and includes work with Victor Ullate Ballet, Stuttgart Ballet and Nederlands Dans Theater 2. Cerrudo joined Hubbard Street Dance Chicago in 2005, was named Choreographic Fellow in 2008, and became the company’s first Resident Choreographer in 2009. Fifteen works choreographed to date for Hubbard Street include

collaborations with the Chicago Symphony Orchestra, The Second City and Nederlands Dans Theater 2. These pieces and additional commissions are in repertory at companies around the U.S. as well as in Australia, Denmark, Germany and the Netherlands; touring engagements have brought his work still further abroad, to audiences in Algeria, Canada, Morocco and Spain. In March 2012, Pacific Northwest Ballet invited Cerrudo to choreograph his first work for the company, Memory Glow, upon receiving the Joyce Theater Foundation’s second Rudolf Nureyev Prize for New Dance. Additional honors include an award from the Boomerang Fund for Artists (2011), and a Prince Prize for Commissioning Original Work from the Prince Charitable Trusts (2012) for his acclaimed, first evening length work, One Thousand Pieces. Cerrudo was recently announced the 2014 USA Donnelley Fellow by United States Artists.

NIKOLAY KHOZYAINOV, piano One of the most promising pianists of his generation, Nikolay Khozyainov was born in 1992 in Blagoveshchensk, a city in the Russian Far East. He began playing piano at age five and graduated from the Central Musical School of Moscow State P.I. Tchaikovsky Conservatory. Since 2005, he has studied with Professor Mikhail Voskresensky at the Moscow Conservatory. In 2012 Mr. Khozyainov won the first and special prizes at the Dublin International Piano Competition and was awarded second and

numerous special prizes at the 10th Sydney International Piano Competition, including “best performance of a Study by Liszt.” He also won first and special prizes in the 2003 Virtuosi per Musica di Pianoforte in the Czech Republic, the 2004 Carl Filtsch Piano Competition in Romania, the 2008 Scrabin Competition in Paris and was the youngest finalist in the 16th International Fryderyk Chopin Piano Competition in Poland in 2010. Since 2011 he has recorded works by Beethoven, Schubert, Ravel, Chopin and Liszt for CD Accord and JVC Victor in Japan. Mr. Khozyainov has performed in renowned concert halls around the world and made debuts in New York’s Carnegie Hall and London’s Wigmore Hall in April 2013 and May 2014, respectively.

KODO Making their debut at the Berlin Festival in 1981, Kodo is based on Sado Island in Niigata, Japan, and has given over 5500 performances in 46 countries worldwide under the theme “One Earth.” Spending about a third of the year overseas, a third touring in Japan and a third on Sado Island, Kodo is always on the move, giving performances that transcend borders, genres and time. Kodo returns to North America in 2015 with another new production, Kodo - One Earth Tour: Mystery,

created by its Artistic Director and Japanese Living National Treasure Tamasaburo Bando. Tamasaburo Bando, a leading Kabuki actor, and the most popular and celebrated onnagata (actor specializing in female roles) currently on stage, was a catalyst for Kodo to break new ground in taiko expression. Kodo continues to explore limitless possibilities and forge new directions with their unique and vibrant living art-form. This 2015 North America Tour marks the Kodo - One Earth Tour: Mystery’s debut outside of Japan.

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BIOGRAPHIES

MARCUS OVERTON, prelude presenter In a 50-year career, Marcus Overton has crossed almost every disciplinary boundary, as performer, teacher and coach for singers and actors, opera and theatre stage director, critic for major publications and Emmy Award-winning radio and television producer. His arts management career began at the Lyric Opera of Chicago, continued in senior management at the Ravinia Festival, included nine years as Senior Manager of Performing Arts at the Smithsonian Institution and – by

invitation of Gian Carlo Menotti – the general manager’s post at Spoleto Festival USA.

ROTTERDAM PHILHARMONIC The Rotterdam Philharmonic ranks among Europe’s foremost orchestras, being internationally known for the intense energy of its performances, its acclaimed recordings and its innovative audience approach. The Rotterdam Philharmonic was founded in 1918. From 1930, under chief-conductor Eduard Flipse, it developed into one of the foremost orchestras of the Netherlands. In the 1970s, with Jean Fournet and Edo de Waart, the orchestra gained international recognition. In 1995,

Valery Gergiev’s appointment as Music Director heralded a new period of bloom. He was succeeded by Yannick Nézet-Séguin,with whom the orchestra has made numerous successful tours and recordings. In September 2013 Jiří Bělohlávek joined the Rotterdam Philharmonic as its Principal Guest Conductor. Home of the Rotterdam Philharmonic is De Doelen Concert Hall, but the orchestra can frequently be heard in other locations – from the local venues to the most prestigious halls at home and abroad. Since 2010, the Rotterdam Philharmonic has been a resident orchestra of the Paris Théâtre des Champs-Elysées. Since the groundbreaking Mahler recordings with Eduard Flipse in the 1950s, the Rotterdam Philharmonic has made a large number of critically lauded recordings. At present the orchestra has contracts with Deutsche Grammophon and BIS Records; in recent years it also recorded for EMI and Virgin Classics.

Yannick Nézet-Séguin, music director Yannick Nézet-Séguin is Music Director of The Philadelphia Orchestra and Rotterdam Philharmonic Orchestra. He has been Artistic Director and Principal Conductor of Montreal’s Orchestre Métropolitain since 2000, and is Artist-in-Residence at Konzerthaus Dortmund, which he will thrice visit this season. Maestro Nézet-Séguin was Principal Guest Conductor of the London Philharmonic Orchestra from 2008-14, with which he continues to be closely associated. Highlights

in his 2014-15 season include a North American tour with the Rotterdam Philharmonic, a European tour with The Philadelphia Orchestra, projects with the Bavarian Radio Symphony and Don Carlo at The Metropolitan Opera. Mo. Nézet-Séguin has an extensive discography. His most recent releases include the complete Schumann symphonies with the Chamber Orchestra of Europe, The Rite of Spring with The Philadelphia Orchestra and Tchaikovsky with the Rotterdam Philharmonic, all for Deutsche Grammophon. A native of Montreal, Mo. Nézet-Séguin studied at the Conservatoire de musique du Québec in Montreal and Westminster Choir College in Princeton, New Jersey before going on to study with renowned conductors, most notably Carlo Maria Giulini. He has honorary doctorates from the University of Quebec in Montreal (2011) and Curtis Institute in Philadelphia (2014). He was appointed a Companion of the Order of Canada in 2012.

Hélène Grimaud, piano One of the most celebrated pianists of our time, Hélène Grimaud is also a highly respected wildlife conservationist, human rights activist and author. Accepted into the Paris Conservatoire at 13, in 1987 she made her Tokyo recital debut followed by an invitation to perform with the Orchestre de Paris. Between her 1995 debuts with the Berliner Philharmoniker and the New York Philharmonic in 1999 — Grimaud established the Wolf Conservation Center in New York. An exclusive Deutsche

Grammophon artist since 2002, Grimaud is the first woman of the 21st century to record the two Brahms Piano Concertos in 2013. The CD was recorded with Andris Nelsons conducting the Bavarian Radio Symphony Orchestra for the first concerto and the Vienna Philharmonic for the second. Previous releases include DUO in 2012 with cellist Sol Gabetta which won the 2013 ECHO Award for “chamber recording of the year.” Her 2011 Mozart Piano Concertos No. 19 and No. 23,


BIOGRAPHIES

featured singer Mojca Erdmann on Mozart’s Ch’io mi scordi di te? Grimaud has authored three books: "Variations Sauvages," "Leçons Particulières," and "Retour à Salem." Grimaud’s deep dedication to her musical career, both in performances and recordings, is reflected and reciprocally amplified by the scope and depth of her environmental and literary pursuits.

SAN DIEGO YOUTH SYMPHONY AND CONSERVATORY The San Diego Youth Symphony and Conservatory is the 6th oldest continuously operating youth symphony in the US, and serves over 600 students annually in ten ensembles in Balboa Park. Skill levels range from beginner to pre-professional, with participating students ages 8 to 25. In

addition to its Balboa Park programs, SDYS launched the Community Opus Project in 2010 as a strategy to demonstrate the benefits of music education, build support for music in the community, and convince school districts to provide music as part of students’ regular curriculum. SDYS was the 2012 Grand Prize Winner of the BoardSource/Prudential Leadership Awards for Exceptional Nonprofit Boards.

JIAYAN SUN, piano “Technically flawless, poetically inspired and immensely assured playing,” the Toronto Star praised Jiayan Sun, who has performed worldwide in venues such as Carnegie Hall and Lincoln Center in New York, Severance Hall in Cleveland, National Concert Hall in Dublin and Beethoven-Haus in Bonn. He has collaborated with many distinguished conductors such as Michail Jurowski, Sir Mark Elder, Stefan Sanderling, Leon Fleisher and prestigious orchestras

including The Cleveland Orchestra, The Hallé, Chinese National, RTÉ National, Fort Worth and Toledo Symphony Orchestras. His performances have been broadcasted on BBC, RTÉ, China Central Television and classical music radio stations in North America. He was awarded First Prize in the inaugural CCC Toronto International Piano Competition, Third Prize in the Leeds International Piano Competition, Second Prize in the Dublin International Piano Competition and Fourth prize and audience prize in Cleveland International Piano Competition. Born in 1990 in Yantai, Shandong Province, China, Mr. Sun moved to the U.S. in 2006. He has earned his Bachelor’s and Master’s degrees from The Juilliard School, and continues his studies as a C. V. Starr Doctoral Fellow under the tutelage of Dr. Yoheved Kaplinsky and Stephen Hough. An accomplished performer on early keyboard instruments, he is also a devoted composer.

THE UKULELE ORCHESTRA OF GREAT BRITAIN® Founded by George Hinchliffe and Kitty Lux in 1985 as a “bit of fun,” the Orchestra is an ensemble featuring ukuleles of various sizes and registers, accompanied by voices of performers. The Ukulele Orchestra of Great Britain’s first gig was “an instant sell-out,” and they’ve been performing ever since. By 1988 they had released an LP, appeared on BBC TV, played at WOMAD and recorded a BBC Radio 1 session. They have sold-out concerts in

countless countries around the world, more recently at the Sydney Opera House (2012), London’s Royal Albert Hall (2009, 2012) and New York’s Carnegie Hall (2010, 2012). The Ukulele Orchestra of Great Britain has spawned hundreds of imitators, and suggests a possible claim for the current increased popularity of the instrument. Their music has been featured in films, plays and commercials, and clips of the Orchestra’s live concerts and TV appearances have been viewed on websites such as YouTube millions of times. Collaborators have included Madness, David Arnold, the British Film Institute, the Ministry of Sound, Yusuf Islam (aka Cat Stevens) and Kaiser Chiefs. Dubbed “The Nation’s Ukulele Orchestra” by BBC, the current ensemble has been playing together for over 20 years. For more information, visit: ukuleleorchestra.com.

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PHOTO CREDITS: Cover: W. Whelan © 2013 Christopher Duggan; Pg 2: A. Sandoval courtesy of artist; Pg. 11 & 36: The Ukulele Orchestra of Great Britain courtesy of artist; Pg. 13: J. Sun by Roger Mastroianni; Pg. 17: Restless Creature © 2013 Christopher Duggan; Pg. 19 & 34: N. Khozyainov © Grzymala Design; Pg. 24 & 34: Kodo by Takashi Okamoto; Pg. 25 & 37: I. Wunder © Patrick Walter/DG; Pg. 29: Rotterdam Philharmonic © Hans van der Woerd; Pg. 33: K. Abraham © 2013 Christopher Duggan; J. Beamish © 2013 Christopher Duggan; B. Brooks © 2013 Christopher Duggan; Pg. 34: S. Cassedy courtesy of presenter; A. Cerrudo © 2013 Christopher Duggan; Pg. 35: M. Overton courtesy of presenter; Rotterdam Philharmonic © Simon van Boxtel; Y. Nézet-Séguin © Simon van Boxtel; H. Grimaud © Mat Hennek/DG; Pg. 36: J. Sun courtesy of artist; Pg. 37: W. Whelan © 2013 Christopher Duggan; Back Cover: Rotterdam Philharmonic © Hans van der Woerd

B IOGRAPHIES

WENDY WHELAN, performer Wendy Whelan was born and raised in Louisville, Kentucky, where at the age of three she began taking dance classes with Virginia Wooton, a local teacher. At age eight she performed as a mouse with the Louisville Ballet in its annual production of The Nutcracker. Joining the Louisville Ballet Academy that year, she began intense professional training. In 1981 she received a scholarship to the summer course at the School of American Ballet (SAB), the official school of New York City

Ballet and a year later she moved to New York to become a fulltime student there. She was invited to become a member of the New York City Ballet corps de ballet in 1986 and was promoted to principal dancer in 1991. Ms. Whelan has performed a wide spectrum of the Balanchine repertory and worked closely with Jerome Robbins on many of his ballets. She has originated featured roles in 13 ballets for Christopher Wheeldon, as well as in the ballets of William Forsythe, Alexei Ratmansky, Wayne McGregor, Jorma Elo, Shen Wei, Jerome Robbins and Twyla Tharp. In 2007, Ms. Whelan was nominated for an Olivier Award and a Critics Circle Award for her performances with Morphoses/Wheeldon Company. She received the 2007 Dance Magazine Award, and in 2009 was given a Doctorate of Arts, honoris causa, from Bellarmine University. In 2011, she was honored with both The Jerome Robbins Award and a Bessie Award for her Sustained Achievement in Performance. Ms. Whelan was recently appointed an Artistic Associate at New York’s City Center. She resides in New York City with her husband, the artist David Michalek.

INGOLF WUNDER, piano Ingolf Wunder’s 2014 debut with the London Chamber Orchestra led The Guardian to note: “It’s a long time since a young pianist made such an impression…Wunder seems a fearless player, with a totally secure technique that he never flaunts unnecessarily, and the musical intelligence to put it to good use.” Highlights of his 2014-15 tour also include performances with the NDR Sinfonieorchester Hamburg and a return to the Warsaw Philharmonic Orchestra. On tour he will

perform in Taiwan and the United States and at the Wiener Konzerthaus, Porto Casa da Música and Schubertiade Hohenems. Mr. Wunder achieved worldwide recognition at the 2010 International Chopin Piano Competition in Warsaw, winning several special awards including Best Concerto and Best Prize for Polonaise-Fantaisie, as well as second prize overall. Internationally, Mr. Wunder has performed at Zurich’s Tonhalle, Théâtre du Palais-Royal Paris and more. Mr. Wunder records exclusively for Deutsche Grammophon. His recordings include an all-Chopin recital disc released in June 2011 and his second CD, 300, was released in 2013. His latest recording, featuring concertos by Tchaikovsky and Chopin in collaboration with Vladimir Ashkenazy and St. Petersburg Philharmonic Orchestra, was named Classic FM’s Album of the Week. For more information, visit: ingolfwunder.at.


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].

FOUNDER ($250,000 and above)

ANGEL ($100,000 - $249,999)

BENEFACTOR ($50,000 - $99,999)

GUARANTOR ($25,000 - $49,999)

Brenda Baker & Stephen BaumConrad Prebys & Debbie Turner

City of San Diego Commission for Arts and CultureJoy & Ed* FriemanJoan & Irwin Jacobs

Rita & Richard AtkinsonRaffaella & John BelanichDave & Elaine DarwinSilvija & Brian DevineSam B. ErsanKay & John HesselinkMao & Dr. Bob Shillman

AnonymousMary Ann BeysterGordon BrodfuehrerMr. & Mrs. Dick EnbergSusan & Bill Hoehn William Karatz & Joan SmithRafael & Marina PastorPeter & Peggy PreussJeremiah & Cassidy RobinsMarge & Neal SchmaleJean & Gary ShekhterJeanette StevensElizabeth Taft

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 Brody Katherine & Dane ChapinMartha & Ed DennisSue & Chris FanElaine Galinson & Herbert SolomonRichard & Lehn GoetzTheresa Jarvis & Mr. Ric ErdmanAngelina 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 BeysterRic & 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 ResMed Foundation

Drs. Joseph & Gloria ShurmanHaeyoung Kong TangPeter & Sue WagenerDolly & Victor Woo

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 McDonaldMorgan & Elizabeth OliverStephen Warren Miles & Marilyn MilesPaul Hastings, LLPSusan Shirk & Samuel PopkinMaria & Dr. Philippe ProkocimerDrs. Jean & Catherine RivierJames RobbinsLawrence & Cathy RobinsonSandra & Robert RosenthalIvor & Colette RoystonSheryl & Bob ScaranoJoyce & Ted StraussGianangelo VerganiRonald Wake�eldJohn B. & Cathy WeilAbby & Ray WeissBebe & Marvin Zigman *In Memoriam

DID YOU KNOW?

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.

MAJOR DONOR SOCIETY


AFICIONADO ($2,500 - $4,999) Anonymous (2)Jim BeysterR. Nelson & Janice ByrneCalifornia PresentersCallan CapitalValerie & Harry CooperNina & Robert DoedeGigi FenleyBryna HaberPaul & Barbara HirshmanElisa & Rick JaimeJeanne Jones & Don BreitenbergJudith Bachner & Dr. Eric L. LasleyArleen & Robert LettasTheodora LewisSue & John MajorGail & Edward Miller Naser PartoviAnnie SoMatthew & Iris StraussMrs. Nell WaltzMargie Warner & John H. Warner, Jr.Kathy WrightRolfe & Doris Wyer

ASSOCIATE ($1,000 - $2,499) Lisa & Steve AltmanVarda & George BackusChristopher Beach & Wesley FataRobert & Sondra BerkBjorn Bjerede & Jo KiernanGinny & Bob BlackTeresa O. CampbellMarsha & Bill ChandlerJune ChochelesAnthony F. Chong & Annette Thu NguyenDon & Karen CohnVictor & Ellen CohnSandra & Bram DijkstraThe Hon. Diana Lady DouganPhyllis EpsteinNomi FeldmanDiane & Elliot FeuersteinRichard & Beverly FinkSally FullerRon & Kaye HarperFrank HobbsLinda & Tim HolinerDr. Trude HollanderLinda HowardElizabeth HoyleTom & Loretta HomDaphne & James JamesonPeter & Beth JuppDavid & Susan KabakoffLouise KaschJessie Knight & Joye BlountJaime & Sylvia LiwerantGail Myers & Lou LupinHon. M. Margaret McKeown & Peter CowheyPaul & Maggie MeyerBill Miller & Ida HoubyFenner Milton & Barbara McQuistonDr. Sandra MinerLaurie Mitchell & Brent Woods Will & Nora Hom NewbernHank & Robin NordhoffHai PhuongRobert & Allison PriceSandra Redman / California Bank & TrustFrank & Demi RogozienskiYan Sha & Baoqun ZhangJoanne SniderFred & Erika TorriSusan & Richard UlevitchJo & Howard Weiner

MEMBERS OF THE PATRON SOCIETY SUPPORT LA JOLLA MUSIC SOCIETY WITH GIFTS OF $250 TO $4,999

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DID YOU KNOW?

SummerFest Fellowship Artists are selected from among the �nest 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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David & Sibyl WescoeHarvey & Sheryl WhiteJoseph & Mary WitztumShirley YoungSu Mei YuStephen YuJoan & Karl ZeislerThomas W. ZieglerTim & Ellen ZinnJosephine M. ZolinEmma & Leo Zuckerman

FRIEND ($500 - $999) AnonymousK. Andrew AchterkirchenBarry & Emily BerkovLuc Cayet & Anne Marie PleskaRobert & Jean ChanMarilyn Colby Caroline DeMarBetsy & Alan EpsteinEd & Linda JanonJain MalkinWinona MathewsTed McKinney & Frank PalmerinoJoani NelsonRobert Nelson & Jean FujisakiJill Q. PorterFrances & Tom PowellGordana & Dave SchniderWilliam SmithLeland SprinkleJonathan & Susan TiefenbrunDr. Lee & Rhonda VidaYvonne VaucherSuhaila WhiteEdward & Anna Yeung

ENTHUSIAST ($250 - $499) Aaron & Naomi AlterFiona Bechtler-LevinSteven & Patricia BlostinBenjamin BrandStefana BrintzenhoffPeter ClarkHugh J. CoughlinDr. Ruth Covell

Gary Recker & Kathy DavisDouglas P. & Robin Doucette Edith & Edward DrcarEllen Potter & Ron EvansDrs. Lawrence & Carol GartnerJane & Michael GlickCarrie & Jim GreensteinNan & Buzz KaufmanGladys & Bert KohnRobert & Elena KusinskiMara & Larry LawrenceElinor Merl & Mark BrodieAlan Nahum & Victoria DanzigGaynor & Gary PatesAghdas PezeshkiWilliam PurvesTed Roberts Elyssa Dru RosenbergPeter & Arlene SacksPat ShankAnne & Ronald SimonRuth SternEdward Stickgold & Steven CandeNorma Jo ThomasKevin Tilden & Philip Diamond M.D.Eleanor L. tum Suden Laurette VerbinskiGeoff WahlCarey Wall Karen M. WalterWells Fargo AdvisorsOlivia & Marty WinklerTerry & Peter Yang

PATRON SOCIETY

DID YOU KNOW?

La Jolla Music Society is a strong supporter of the San Diego dance community. Artists and companies performing in the Dance Series lead eye-opening – and life-changing – Master Classes and Open Rehearsals with local student and professional dancers.


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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 Louise D. Kasch Donor Advised Fund 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 FoundationThe 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

HONORARIA/ MEMORIAL GIFTS

In Honor of Christopher Beach: Helene KrugerIn 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 Memory of Kristen Sakamoto's Grandmother: Ferdinand GasangIn Honor of Jean Shekhter: Morgan & Elizabeth OliverIn Honor of Clifford Schireson: Rhonda Berger & Robert Abrams Laurie Mitchell & Brent Woods Kevin Tilden & Philip Diamond M.D.In Honor of Marge and Neal Schmale: Pat NickolIn Honor of Beverly Schmier’s Birthday: Helene KrugerIn Memory of Fiona Tudor: Mary Ann Beyster Ferdinand GasangIn Honor of Richard and Susan Ulevitch: Joy Frieman James & Lois Lasry Leslie SimonIn Memory of Carleton and Andree Vail: Vail Memorial FundIn 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 or [email protected]. This list is current as of December 5, 2014. Updates and amendments will be re�ected in the next program book on February 20, 2015.

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Brenda Baker and Stephen 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 December 5, 2014

MEDALLION SOCIETYIn 1999, the Board of Directors of�cially established the Medallion Society to begin to provide long-term �nancial 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.

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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 ful�ll 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 Nelson

Bill PurvesDarren 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 Wake�eldJohn B. and Cathy WeilCarolyn Yorston-Wellcome and H. Barden WellcomeKarl and Joan ZeislerJosephine Zolin

*In Memoriam

Listing as of December 5, 2014

GRAND JETÉ Anonymous

ARABESQUE Katherine and Dane ChapinJune and Dr. Bob ShillmanJeanette Stevens

PIROUETTE Elaine Galinson and Herbert SolomonAnnie SoMarvin and Bebe Zigman

POINTE Teresa O. Campbell

DEMI POINTE Gordana and Dave Schnider

PLIÉ Stefana BrintzenhoffMara LawrenceJoani NelsonElyssa Dru RosenbergElizabeth Taft


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BUILDING THE SOCIETY FOR FUTURE GENERAT IONS

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 contact Allison Estes at 858.459.3724, ext. 206 or [email protected].

GUARANTOR The Catamaran Resort & SpaThe Lodge at Torrey Pines

SUSTAINER The Westgate Hotel

SUPPORTER digital OutPostPaul Hastings LLPProcopio, Cory, Hargreaves & Savitch LLPSan 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 HeatlhcareThe University Club

ASSOCIATE Hotel PalomarJade J. Schulz ViolinsJimbo’s…Naturally! Sprinkles Cupcakes

ENTHUSIAST Nelson Real Estate



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CORP580A ©2014 SHC

SHARP APP�UDS LA�JOLLA�

MUSIC�SOCIETYFOR ITS EFFORTS

TO ENRICH

THE CULTURAL LIFE

OF SAN DIEGO.

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we like to

watch, too

K IMPTONHOTELS .COM

Palomar San Diego and Saltbox Dining & Drinking are proud partners of La Jolla Music Society


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CREATING MEMORABLE EVENTS IS OUR SPECIALTY.

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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

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

J A NUARY 2015

UKULELE ORCHESTRA OF GREAT BRITAIN FRIDAY, JANUARY 23, 2015 · 8 PM SPECIAL EVENT MCASD SHERWOOD AUDITORIUM

JIAYAN SUN, piano SUNDAY, JANUARY 25, 2015 · 3 PM DISCOVERY SERIES THE AUDITORIUM AT TSRI

WENDY WHELAN/RESTLESS CREATURE FRIDAY, JANUARY 30, 2015 · 8 PM DANCE SERIES BALBOA THEATRE

NIKOLAY KHOZYAINOV SATURDAY, JANUARY 31, 2015 · 8 PM FRIEMAN FAMILY PIANO SERIES MCASD SHERWOOD AUDITORIUM

F E B R UARY 2015

KODO FRIDAY, FEBRUARY 6, 2015 · 8 PM SPECIAL EVENT BALBOA THEATRE

INGOLF WUNDER, piano SUNDAY, FEBRUARY 8, 2015 · 3 PM DISCOVERY SERIES THE AUDITORIUM AT TSRI

ROTTERDAM PHILHARMONIC ORCHESTRA Yannick Nézet-Séguin, music director Hélène Grimaud, piano FRIDAY, FEBRUARY 13, 2015 · 8 PM CELEBRITY ORCHESTRA SERIES JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

ROTTERDAM PHILHARMONIC ORCHESTRA Yannick Nézet-Séguin, music director

Documents

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