ALEXANDER STRING QUARTET JOYCE YANG, PIANO
ALEXANDER STRING QUARTETJOYCE YANG, PIANOFEBRUARY 13, 2019
BOARD OFPROGRAM BOOKCONTACTDIRECTORSCREDITSUSJames ReelPresidentPaul KaestleVice-PresidentJoseph TolliverProgram DirectorHelmut AbtRecording SecretaryWes AddisonTreasurerPhilip AlejoNancy BissellKaety ByerleyLaura CásarezMichael CoretzDagmar CushingBryan DaumRobert GarrettMarvin GoldbergJoan JacobsonJuan MejiaJay RosenblattElaine RousseauRandy SpaldingPaul St. JohnGeorge TimsonLeslie Tolbert2EditorJay RosenblattContributorsRobert GalleraniHolly GardnerNancy MonsmanJay RosenblattJames ReelAdvertisingPaul KaestleAllan TractenbergDesignOpenformPrintingWest PressArizona Friends ofChamber MusicPost Office Box 40845Tucson, Arizona 85717Phone: 520-577-3769Email: office@arizonachambermusic.orgWebsite: arizonachambermusic.orgOperations ManagerCathy AndersonUSHERSBarry & Susan AustinLidia DelPiccoloSusan FiferMarilee MansfieldElaine OrmanSusan RockJane RuggillBarbara TurtonDiana WarrMaurice Weinrobe & Trudy ErnstVOLUNTEERSCory AalandDana DeedsBeth DaumBeth FosterBob FosterMarvin GoldbergEddy HodakMarie-France IsabelleHal MyersTraudi NicholsAllan TractenbergDiane Tractenberg
FROM THE PRESIDENTNearly thirty years ago, early in my music-critic days,I negatively reviewed a concert by the AlexanderString Quartet, our guests tonight. I deemed theirperformance to be fussy and mannered, callingattention to the players rather than faithfullyreporting the notes on the page. I was a musicfundamentalist, insisting on a literal interpretationof the holy scores.But within ten years, I was writing reviews criticizingmusicians for being too literal, too cautious, tooreluctant to bring something of themselves tothe music.Why the change of attitude? Over time, after listeningintensely to multiple performances of the samecompositions, and becoming less young and stupid,I realized that it isn’t sufficient to just play the notes.In fact, a performance that is entirely straightforwardand literal can suck the soul right out of music.What I came to crave was not distortion, but detailand nuance, a more elastic line, more interestingdeployment of inner voices, an illuminating way tophrase a familiar passage. In other words, the sortof performance I had dismissed when I’d heard theAlexander Quartet.If every ensemble played only and exactly the notes onthe page—which isn’t quite possible, anyway—therewould be no need for more than one ensemble in theworld. There would be nothing new to hear in themusic. Imagination—the composers’, the performers’,the listeners’—would be stifled.I can’t wait to find out what the Alexander Quartetand Joyce Yang will be up to tonight.JA M E S R E E LPresident3
ALEXANDER STRING QUARTETFEBRUARY 13, 2019ALEXANDER STRING QUARTETHaving celebrated its 35th Anniversary in 2016,the Alexander String Quartet has performed in themajor music capitals of five continents, securing itsstanding among the world’s premiere ensembles.Widely admired for its interpretations of Beethoven,Mozart, and Shostakovich, the quartet’s recordingsof the Beethoven cycle (twice), and the Bartók andShostakovich cycles have all won internationalcritical acclaim. The quartet has also established itselfas an important advocate of new music through overthirty commissions from such composers as JakeHeggie, Cindy Cox, Augusta Read Thomas, RobertGreenberg, Martin Bresnick, César Cano, andPulitzer Prize-winner Wayne Peterson. A new workby Tarik O’Reagan, commissioned for the Alexanderby the Boise Chamber Music Series, had its premierein October 2016, and a work for piano quintet fromSamuel Adams is planned for premiere in early 2019with pianist Joyce Yang. A major artistic presencein its home base of San Francisco, the Alexanderhas served since 1989 as Ensemble in Residence forSan Francisco Performances and Directors of theMorrison Chamber Music Center in the College ofLiberal and Creative Arts at San FranciscoState University.Alexander String QuartetZakarias Grafilo, violinFrederick Lifsitz, violinPaul Yarbrough, violaSandy Wilson, cellowithJoyce Yang, pianoManagement:Besen Arts7 Delaney PlaceTenafly, NJ 07670-16074The Alexander String Quartet was formed inNew York City in 1981 and captured internationalattention as the first American quartet to win theLondon International String Quartet Competitionin 1985. The quartet has received honorary degreesfrom Allegheny College and St. Lawrence University,and Presidential medals from Baruch College(CUNY ). They play on a matched set of instrumentsmade in San Francisco by Francis Kuttner (born inWashington, D.C. , 1951). This year marks the 30thanniversary of these instruments, known as theEllen M. Egger Quartet.Tonight’s performance is the first appearance of theAlexander String Quartet on our concerts.
EVENINGSERIESJOYCE YANGBlessed with “poetic and sensitive pianism”(Washington Post) and a “wondrous sense ofcolor” (San Francisco Classical Voice), Grammynominated pianist Joyce Yang captivates audienceswith her virtuosity, lyricism, and interpretivesensitivity. She first came to international attentionin 2005 when she won the silver medal at the 12thVan Cliburn International Piano Competition.The youngest contestant at 19 years old, she tookhome two additional awards: Best Performance ofChamber Music (with the Takács Quartet), andBest Performance of a New Work. In 2006 Ms. Yangmade her celebrated New York Philharmonic debutalongside Lorin Maazel at Avery Fisher Hall alongwith the orchestra’s tour of Asia, making a triumphantreturn to her hometown of Seoul, South Korea.Born in 1986, Ms. Yang received her first piano lessonat the age of four from her aunt. She quickly tookto the instrument, which she received as a birthdaypresent. Over the next few years she won severalnational piano competitions in her native country.By the age of ten, she had entered the School ofMusic at the Korea National University of Arts, andwent on to make a number of concerto and recitalappearances in Seoul and Daejeon. In 1997, Ms. Yangmoved to the United States to begin studies at thepre-college division of the Juilliard School with Dr.Yoheved Kaplinsky, graduating with special honor asthe recipient of the school’s 2010 Arthur RubinsteinPrize, and in 2011 she won its 30th Annual WilliamA. Petschek Piano Recital Award. Ms. Yang appearsin the film In the Heart of Music, a documentaryabout the 2005 Van Cliburn InternationalPiano Competition.We last heard Joyce Yang in February 2010 as part ofour Piano & Friends series.This evening’s concert ispartially sponsored by thegenerous contribution ofMinna J. Shah.TONIGHT’S PROGRAMWOLFGANG AMADEUS MOZART (1756–1791)Piano Quartet in E-flat Major, K. 493AllegroLarghettoAllegrettoSAMUEL ADAMS (b. 1985)Quintet with Pillars (2018), scored for stringquartet and piano prepared with digital resonance(World Premiere)Pillar IPart IPillar IIPart IIPillar IIIINTERMISSIONROBERT SCHUMANN (1810–1856)Piano Quintet in E-flat Major, Op. 44Allegro brillanteIn modo d’una Marcia: Un poco largamenteScherzo: Molto vivaceAllegro, ma non troppoThe World Premiere of SamuelAdams’s Quintet with Pillarsis sponsored by Shirley Chann.5
PROGRAM NOTESTHE PIANO UNDERWENT continuoustransformation during the eighteenth century. Afterits hammer action had been perfected, the playercould at last achieve an even tone and a variety ofdynamic shadings. However, the instrument was stillin a transitional phase of development; the woodenframed Walter piano owned by Mozart offered rapidand crisp note production but a narrow sonic rangethat limited the full expression of his ideas. Soonafter Mozart’s death, piano manufacturers began toexperiment successfully with iron frames that allowedfor heavier strings, resulting in greater sonority.Lacking this technical advance, Mozart combinedthe piano with other instruments to reinforce andamplify his chamber concepts.In 1785 Mozart contracted with his friend andpublisher Franz Anton Hoffmeister to write threepiano quartets, a new genre that promised to bemarketable to the many Viennese amateur pianists.At that time the piano was not a full thematic partnerin the ensemble; early chamber works most often usedthe keyboard to fill out harmonies supporting thestring lines. Mozart’s two completed piano quartetsare breakthrough works in which the piano and thestring group achieve equality. The piano score, sovirtuosic that it on occasion resembles a concerto,is balanced by equally strong string lines to create aunified chamber work.Unfortunately for Mozart, Hoffmeister assessedthe first of the quartets as being too difficult for hisclients, and he declined publication—but he didallow the cash-strapped Mozart to keep the moneythat had been advanced. For his next piano quartet,K. 493 (1786), he sought out a new venue—Artaria,who became his primary publisher.K. 493 is cast in E-flat major, for Mozart a warmkey that he favored for his more genial works.The exposition of the first movement introducesa profusion of lyrical themes. The main theme,distinguished by an ornamental turn, is first heard inthe solo piano and immediately echoed by the violin.In the intricate development the strings explorethe main theme as the piano provides harmonicbackground; its two sections are separated by aunison statement of this theme. All themes are brieflyrecapitulated, and the concise coda offers a fugalreworking of the main idea.6The Larghetto (A-flat major), in sonata form,develops a pensive melody through exchangesamong the three strings and piano. The movementconcludes with a serene coda. The Allegretto finale, insonata rondo form, opens with a theme that has beendescribed as “the purest, most childlike and godlikemelody ever sung”; an energetic theme follows in thestrings. The brilliant piano score demands virtuositythroughout.SAMUEL ADAMS , son of the Pulitzer Prize-winningcomposer John Adams, is a composer of acousticand electroacoustic music. His work has been hailedas “mesmerizing” and “music of a composer with apersonal voice and keen imagination” by the NewYork Times, “canny and assured” by the ChicagoTribune, and “wondrously alluring” by The SanFrancisco Chronicle. In May 2018 his new ChamberConcerto was premiered by the Chicago SymphonyOrchestra to mark the 20th anniversary of the CSO ’scontemporary series MusicNOW ; it was hailed asmusic of “allusive subtlety and ingenuity” by theChicago Tribune.Adams grew up in the San Francisco Bay area wherehe attended Berkeley’s Crowden School. He wenton to study at Stanford University, where he earneda bachelor’s degree with honors in composition andelectroacoustic music. He then received a master’sdegree in composition from Yale University. Acommitted educator, Adams frequently engages inprojects with young musicians; in 2015 he helped toestablish the Civic Orchestra New Music Workshop,a program for emerging composers. Adams alsoworks regularly with the students of The CrowdenMusic Center (Berkeley) and maintains a privateteaching studio.From the composer: “Quintet with Pillars exploresthe question: what would it sound like if a piece wereto build itself ? To answer this question, I first had toconstruct the ‘piece’ (Part II) before pulling it apartto reveal the process of its becoming (Part I), makingmuch of the compositional process similar to solvinga temporal puzzle. Three short episodes—or pillars—buttress the larger musical arc and serve as markers forthe beginning, middle, and end of the form.
“Quintet with Pillars exploresthe question: what would itsound like if a piece were tobuild itself ?”SAMUEL ADAMS“Much to my surprise, writing this work was anemotionally-charged experience propelled notso much by the joy of creation (though I enjoyedcomposing it immensely) but by an urgency to makethings whole again.“I began sketching Quintet with Pillars in the springof 2018 and completed the score the followingOctober. My deepest gratitude to the AlexanderString Quartet and Joyce Yang for their intrepidspirits bringing this music to life.”Quintet with Pillars was commissioned by theArizona Friends of Chamber Music and sponsoredby Shirley Chann; The Robert and Margrit MondaviCenter for the Performing Arts, UC Davis; SanFrancisco Performances; and Soka University ofAmerica, for the Alexander Quartet and Joyce Yang.EARLY IN HIS CAREER , Schumann often craftedgroups of works in specific genres during intensebinges of writing. In 1840, the year of his marriageto Clara Wieck against the vehement protests ofher father, he created over 100 songs. The followingyear was devoted to symphonies. In 1842, guided byan inner voice that advised him to write chamberworks, he created his three string quartets and hisOpus 44 Piano Quintet. Written in the ferventheart of inspiration, the creation of these worksexhausted Schumann. Shortly after their completion,he suffered the first of his mental breakdowns. Claraattributed his collapse to overwork and arranged fora stay at a Bohemian spa. However, he remained infragile mental health for the duration of his brief life.Schumann’s Opus 44 Piano Quintet is regardedas one of the finest creations of 1842, his “chambermusic year.” At the time he composed these chamberworks, he closely studied the compositionaltechniques of Haydn and Mozart—thus the intenselyemotional and romantic Quintet develops formallyaccording to an established classical design. TheQuintet was dedicated to Clara, who expectedto play its substantial piano part at the premiere.However, she fell ill, and Schumann’s friend andcolleague Felix Mendelssohn performed in herplace. He subsequently suggested revisions, towhich Schumann agreed. Robert even replaced asubstantial part of his third movement with livelier“Mendelssohnian” themes.Because the Quintet was written for the virtuosoClara, it features a massive piano part and abroadly orchestral string score that provides acounterbalance. The work opens with a boldstatement of the principal theme—a clearly profiledmotif that recurs throughout the movement andagain at the coda of the finale as a unifying devicefor the entire composition. The second theme is areflective dialogue between the viola and cello. Boththemes undergo a classically formal development,lavishly ornamented with virtuoso piano runs, and arecapitulation of ideas.The somber character of the opening movement’ssecond theme pervades the Un poco largamente (Cminor). Described by Schumann as written “in thestyle of a march,” the movement conjures a statelyprocession. Strongly contrasting lyrical and dramaticepisodes are interspersed between statements of themain theme, presented by the first violin after a briefpiano introduction.The Scherzo opens with an E-flat major scalepattern that is varied and repeated by all instruments.It offers two contrasting trio sections, the first ofwhich explores a contemplative theme; the secondtrio inverts this melody, now accompanied byrapid figuration.The robust finale develops both an emphatic motif,“always strongly marked,” and a quieter second theme.As a departure from tradition, the movement opensin C minor and reaches its tonic key of E-flat onlyafter the third statement of the main theme. Theremarkable coda introduces two fugal sections, eachrecapitulating elements heard earlier in the work.Notes by Nancy Monsman7
THANK YOU TO OUR SUPPORTERS! 10,000 & ABOVEJean-Paul Bierny & Chris TanzJim CushingBoyer Rickel 5,000 – 9,999Shirley ChannDavid & Joyce CornellJohn & Terry ForsytheLeonid FriedlanderCharles & Suzanne PetersJohn & Helen SchaeferPaul A. St. John & Leslie P. TolbertWalt Swap 2,500 – 4,999Celia BalfourStan Caldwell & Linda LeedbergDagmar CushingAlison Edwards & Henri FrischerGarrett-Waldmeyer TrustJames Lindheim & James TharpGeorge & Irene PerkowMinna J. ShahRandy SpaldingJonathan & Chitra StaleyWalter SwapElliott & Wendy Weiss 1,000 – 2,499Nancy BissellRichard & Martha BlumCelia BrandtGail D. Burd& John G. HildebrandRobert D. Claassen& John T. UrbanBryan & Elizabeth DaumDonald & Louise DoranPeter & Carole FeistmannMilton Francis & Marilyn HeinsBeth FosterJulie GibsonKatherine Havas8Elliott & Sandy HeimanEddy HodakRobert & Deborah JohnsonArthur & Judy KidderAl KogelHerschel & Jill RosenzweigJohn & Ila RupleyRichard & Judith SandersonReid & Linda SchindlerJoe & Connie TheobaldGeorge TimsonTeresa TyndallGwen WeinerElizabeth Zukoski 500 – 999Bob Albrecht & Jan KubekFrank & Betsy BabbGail BernsteinBarbara CarpenterJames & Chris DauberRaul & Isabel DelgadoStephen & Aimee DoctoroffMichael EvanstonPhilip & Nancy FahringerHarold FrommJ. D. & Margot GarciaGerald & Barbara GoldbergEloise Gore & Allen HileWesley GreenHelen HirschSidney & Martha HirshDavid JohnsonPaul & Marianne KaestleGeorge & Cecile KlavensLarry & Rowena G. MatthewsMartie MecomKitty & Bill MoellerLawrence & Nancy MorganSerene ReinArnie & Hannah RosenblattSally SumnerMaurice Weinrobe & Trudy ErnstSherman L. WeitzmonBonnie WinnAnne Wright & Richard Wallat 250 – 499Thomas & Susan AcetoWes & Sue AddisonSydney ArkowitzAnn BlackmarrNathaniel & Suzanne BloomfieldRichard & Martha BlumJan Buckingham& LM RonaldJack BurksJames CookNancy CookJanna-Neen CunninghamPhilip M. DavisMarilyn DettloffMark DickinsonLionel & Karen FaitelsonThomas & Nancy GatesTom & Janet GethingSandra HoffmanWilliam & Ann IvesonDr. & Ms. Michael& Sennuy KaufmanDaniela LaxAlan Levenson& Rachel GoldwynAmy & Malcolm LevinMark LuprechtBill & Kris McGrathHal MyersRichard & Susan NisbettNancy Ostromencki& Phil RenaudMary Peterson & Lynn NadelBarbara & Jay PisikJudith C. PottleSeymour ReichlinHerbert RubensteinDavid & Ellin RuffnerStephen & Gale ShermanMark Haddad SmithBarbara StraubNancy StraussSheila TobiasCharles & Sandy TownsdinAllan & Diane TractenbergEllen Trevors
Michael & Mary TurnerJan Wezelman & David Bartlett 100 – 249Andrea & Gary AbramowitzHelmut A. AbtPhilip AlejoMark & Jan BarmannMargaret BashkinKathryn BatesPeter & Betty BengtsonPeter BleasbyJoyce BolingerSarah BorosonElizabeth BuchananPatricia & Ed CampbellThomas & Debra CollazoTerence DeCarolisC. Jane DeckerMartin Diamond & Paula WilkBrian EdneyJohn & Mary EnemarkPenny & Mark EstominBob FosterJames & Ruth FriedmanLinda L. FriedmanMargot & Tommy FriedmannJuan GallardoMarvin & Carol GoldbergBen & Gloria GoldenKathryn GordonJanet GraysonMarilyn HalonenClare HamletLes & Suzanne HaytSara HeitshuRuth B. HelmJim HomewoodWilliam & Sarah HuffordRobert & Claire HugiSara HunsakerLee L. KaneJoe Kantauskis& Gayle BrownCarl KanunKaren LoebRobert LuppFrank & Janet MarcusWarren & Felicia MayMax McCauslinJoan McTarnahanHarry NungesserKaren Ottenstein BeerDavid & Cookie PashkowMargaret Pope& Norman EpsteinJohn RaittLynn RatenerJames ReelHelen RosenJay & Elizabeth RosenblattDr. Elaine RousseauKenneth J. RyanHoward & Helen SchneiderJennifer SchneiderStephen & Janet SeltzerTanya ServaasSara ShifrinShirley SnowHarry StacyRonald StaubMichael TaborShirley TaubeneckJennalyn TellmanSheila TobiasKarla Van Drunen LittooyDimitri VoulgaropoulosAnn WardPatricia WaterfallPatricia WendelDaryl WillmarthSheila Wilson & Hal BarbarPeggy WolfGIFTS IN MEMORY OFClifford & Wendy Crookerby Beth FosterRaymond Hoffmanby Sandra HoffmanKathy Kaestleby Paul & Marianne KaestleGloria Ottensteinby Andrea & Gary Abramowitzby Penny & Mark EstominDr. Michael Patrick Sullivanby Gail BernsteinStephen Tellmanby Sara HeitshuCarl T. Tomizukaby Sheila TobiasCarol Zuckertby Cathy AndersonGIFTS IN HONOR OFCathy Andersonby C. Jane DeckerDr. & Mrs. Nathaniel Bloomfieldby Dr. Melvin & Maude ShafronJames Reelby C. Jane Deckerby Hal MyersDr. Elaine Rousseauby Les & Suzanne HaytRandy Spaldingby Thomas and Debra CollazoRandy Spalding & Jim Cookby David & Cookie PashkowAllan & Diane Tractenbergby Mark & Jan BarmannContributions are listed fromJanuary 1, 2018 through December31, 2018. Space limitations preventus from listing contributions lessthan 100.Every contribution helps securethe future of AFCM .Please advise us if your name is notlisted properly or inadvertentlyomitted.9
THANK YOU TO OUR SUPPORTERS!JEAN-PAUL BIERNYLEGACY SOCIETYJean-Paul Bierny & Chris TanzNancy BissellMr. & Mrs. Nathaniel BloomfieldTheodore & Celia BrandtNancy CookDagmar CushingDr. Marilyn HeinsJoe & Janet HollanderJudy KidderLinda LeedbergTom LewinGhislaine PolakBoyer RickelRandy SpaldingAnonymous 25,000 and aboveFamily Trust of Lotte ReyersbachPhyllis Cutcher, Trustee of theFrank L. Wadleigh TrustAnne DennyRichard E. FirthCarol KramerArthur MalingClaire B. Norton Fund(held at the CommunityFoundation for SouthernArizona)Herbert PlochLusia Slomkowska Living TrustAgnes Smith 10,000 – 24,999Marian CowleMinnie KramerJeane SerranoUp to 9,999Elmer CourtlandMargaret FreundenthalSusan R. PolleysAdministrative TrustFrances ReifEdythe TimbersListed are current plans andposthumous gifts.10COMMISSIONSCORPORATE SUPPORTERSJean-Paul Bierny & Chris TanzShirley ChannJim CushingMr. Leonid FriedlanderAmeriprise FinancialArizona Early Music SocietyCantera Custom CreationsCenter for Venous DiseaseCopenhagenDowntown Kitchen CocktailsFishkind, Bakewell,Maltzman, HunterFlower Shop on 4th AvenueHolualoa CompaniesHomecare AssistanceKinghorn Heritage Law GroupLa PosadaLey PianoLoft CinemaMister Car WashRogue TheaterTrue ConcordTucson Guitar SocietyCONCERT SPONSORSHIPSJean-Paul Bierny & Chris TanzStan Caldwell & Linda LeedbergDavid & Joyce CornellJim CushingJohn & Terry ForsytheGarrett-Waldmeyer TrustJim Lindheim & Jim TharpGeorge & Irene PerkowJohn & Helen SchaeferMinna J. ShahRandy SpaldingJonathan & Chitra StaleyTucson Desert Song FestivalMUSICIAN SPONSORSHIPSCelia BalfourJean-Paul Bierny & Chris TanzDagmar CushingElliott and Sandy HeimanBoyer RickelAll commission, concert,and musician sponsors areacknowledged with posters inthe theater lobby and in concertprograms.
VERSEMozart SongbookJ OA N L A R K I NOutside on Fremont Ave, blacksnow and no such thing as awhite wig or a lovestruck violetwho sings his heart out. My lungsached, huge with breath and the harshsweetness of strange words. Veilchen,Mädchen—my brother spoke themto show how my tongue was a gatethat could open secrets. He pressedkeys partway, to draw softest soundsfrom the upright, and what he lovedI loved. That was my whole faith then.Reprinted with permission of the author. Originally published bythe Academy of American Poets, Poem-a-Day, 2015.Selected for tonight’s concert by Sarah Kortemeier, Instructionand Outreach Librarian, and Julie Swarstad Johnson, LibrarySpecialist, at the University of Arizona Poetry Center.11
2018 YEAR-ENDCAMPAIGNPhilip AlejoFrank & Betsy BabbMark & Jan BarmannKathryn BatesKaren Ottenstein BeerGail BernsteinJim BertoliniJean Paul Bierny & Chris TanzNancy BissellPeter BleasbyNathaniel & Suzanne BloomfieldRichard & Martha BlumRegina BohnertAndrew BroanElizabeth BuchananJeff BuchellaWen BucherJack BurksEd & Patricia CampbellBarbara CarpenterNancy CookJanna-Neen CunninghamJim CushingJames & Chris DauberBryan & Elizabeth DaumKathryn DayRaul & Isabel DelgadoMark DickinsonStephen & Aimee DoctoroffBrian EdneyPeter & Carole FeistmannDavid FerreLinda L. FriedmanPeter & Linda FriedmanMargot & Tommy FriedmannJuan GallardoThomas & Nancy GatesJ. D. & Margot GarciaTom & Janet Gething12Gerald & Barbara GoldbergKathryn GordonEloise Gore & Allen HileJanet GraysonLes & Suzanne HaytSara HeitshuRuth HelmEddy HodakWilliam & Sarah HuffordMorris & Judith HughesRobert & Claire HugiSara HunsakerWilliam & Ann IvesonCarl KanunJoe Kantauskis & Gayle BrownDr. & Ms. Michael& Sennuy KaufmanGeorge & Cecile KlavensAl KogelJoan LarkinDaniela LaxAmy & Malcolm LevinConnie LewisMark LuprechtLarry & Rowena MatthewsCarol MaywoodMax McCauslinBill & Kris McGrathJoan McTarnahanRebecca MillerRichard & Susan NisbettDetlev Pansch & Julie SteffenDavid & Cookie PashkowGeorge & Irene PerkowBarbara & Jay PisikJohn RaittStephen Reitz & Elizabeth EvansWynne RifeJay & Elizabeth RosenblattHerschel & Jill RosenzweigDr. Elaine RousseauHerbert RubensteinJohn & Helen SchaeferAnn-Marie SchafferReid & Linda SchindlerHoward & Helen SchneiderJennifer SchneiderStephen & Gale ShermanMark Haddad SmithShirley SnowHarry StaceyJonathan & Chitra StaleyRonald StaubNancy StraussSally SumnerWalt SwapMichael TaborShirley TaubeneckCharles & Sandy TownsdinAllan & Diane TractenbergMichael & Mary TurnerBarbara TurtonDimitri VoulgaropoulosGwen WeinerMaurice Weinrobe & Trudy ErnstAnne Wright & Richard WallatPatricia WaterfallSherman L. WeitzmonPatricia WendelDaryl WillmarthElizabeth ZukoskiOur heartfeltthanks to thosewho respondedto our year-endcampaign.
TUCSON WINTERCHAMBER MUSIC FESTIVALBuy your tickets now for the26th Festival, a week ofworld-class concerts thatbegins March 3rd.Highlights include Australian saxophonist AmyDickson’s Tucson debut with the US premiereof Ross Edwards’s new quintet. Also in his Tucsondebut, pianist James Giles will perform themonumental Taneyev Piano Quartet.A first at the Festival will be Chris Rogerson’s newwork written for the Escher Quartet. Look for violistEttore Causa in an impressive selection of Brahms’sLieder, and cellist Edward Aron performing“Air”from the Pulitzer Prize winning composerKevin Puts.Violinist Axel Strauss and pianist BernadetteHarvey will perform 20th-century composerGrażyna Bacewicz’s Partita for Violin and Piano.Also returning is violinist and Yale School of Musicprofessor Ani Kavafian, who appeared in our firstFestival in 1994.This year’s Festival also has a slight Russian theme,so the Taneyev Quartet will be augmented by theShostakovich Quintet, Schnittke Quintet, and therarely performed Arensky Quartet for two cellos.FESTIVAL MUSICIANSPeter Rejto, Artistic DirectorEscher String Quartet (Adam Barnett-Hart, violin;Danbi Um, violin; Pierre Lapointe, viola;Brook Speltz, cello)Philip Alejo, double bassEdward Arron, celloEttore Causa, violaAmy Dickson, saxophoneJames Giles, pianoBernadette Harvey, pianoAni Kavafian, violinChris Rogerson, composerAxel Strauss, violinCONCERT 1Sunday, March 3, 20193:00 pm, Leo Rich TheaterMozart – String Quintet in C Major, K. 515Prokofiev – Sonata for Two Violins in C Major, Op. 56Philip Glass – Violin Sonata (arranged for Saxophone)Shostakovich – Piano Quintet, Op. 57CONCERT 2Tuesday, March 5, 20197:30 pm, Leo Rich TheaterMozart – Piano Quartet in G Minor, K. 478Bartók – String Quartet No. 5Ludwig van Beethoven – Piano Trio in B-Flat Major(“Archduke”), Op. 97CONCERT 3Wednesday, March 6, 20197:30 pm, Leo Rich TheaterShostakovich – Two Pieces for String Octet, Op. 11Edwards – Quintet for Saxophone and Strings,“Bright Birds and Sorrows”Bacewicz – Partita for Violin and PianoArensky – String Quartet No. 2 in A Minor, Op. 35CONCERT 4Friday, March 8, 20197:30 pm, Leo Rich TheaterJenö Takács – Two FantasticsAlfred Schnittke – Piano QuintetKevin Puts – Air for Cello and PianoTaneyev – Piano Quartet in E Major, Op. 20CONCERT 5Sunday, March 10, 20193:00 pm, Leo Rich TheaterKevin Puts – Oboe Concerto (arranged for Saxophone)Brahms – Lieder (arranged for Viola and Piano)Chris Rogerson – String QuartetMendelssohn – Sextet in D Major, Op. 11013
Early MusicMade NewFounded in 1982, the Arizona EarlyMusic Society presents the finest nationaland international ensembles specializingin the music of “Bach and Before.”Join us this season to hear periodinstruments and vocal styles of theMedieval, Renaissance and Baroqueperiods come alive.For program information and tickets, visitwww.azearlymusic.org or call (520) 721-0846.14
15
16
LUMINOUS—18 —SEASON—19 —NORTHERN LIGHTSOctober 19 - 21, 2018AMERICAN RHYTHMNovember 3 - 4, 2018LESSONS & CAROLS BY CANDLELIGHTDecember 13 - 16, 2018TRUE CONCORD GOES LATIN!January 18 - 20, 2019CORINNE WINTERS IN RECITALJanuary 22, 2019BACH ST. MATTHEW PASSIONFebruary 22 - 24, 2019MOZART REQUIEMMarch 29 - 31, 2019VISIT TRUECONCORD.ORG FORTICKETING OR VENUE INFORMATIONOR CALL 520-401-2651Tucson Guitar es Ségoviarevolutionized Spanish guitar.Now a new generation of artistsis building on his legacy.Come hear whatthe excitement is about!International Concert Artist Series17
18
With the Precisionof a Fine Performance.5599 N. Oracle Road10425 N. Oracle Road, Suite 135eyestucson.com520-293-6740For tickets call (520) 308-6226 or visit www.sasomusic.orgOctober 20 & 21, 2018 – Márquez’ lively favorites Conga del Fuego Nuevo andDanzón No. 2, Saint-Saëns’ audience-favorite Piano Concerto No. 2, Debussy’spoetry-inspired Petite Suite and Chávez’s Symphony No. 2.November 17 & 18, 2018 – Bernstein’s Candide Overture, Arutiunian’schallenging Trumpet Concerto, Jobim’s chart-topping Girl from Ipanemaand Borodin’s Symphony No. 2.February 2 & 3, 2019 – Brahms’ Double Concerto for Violin and Cello plustwo works by Mendelssohn – The Hebrides (inspired by a visit to a sea cavein Scotland) and Symphony No. 5, The Reformation.March 2 & 3, 2019 – Offenbach’s Orpheus in the Underworld, inspired bySaddleBrookeSaturdays at 7:30 pmDesertViewPerforming Arts Center39900 S. Clubhouse DriveNorthwest TucsonSundays at 3:00 pmSt. Andrew’s Presbyterian Church7650 N Paseo Del Norte(Ticket fee waived for studentsages 17 and under at this location)Greek mythology, plus the premiere of White’s Concertino, Dukas’ spritelyThe Sorcerer’s Apprentice and Rimsky-Korsakov’s Capriccio Espagnol.April 6 & 7, 2019 – Suppé’s The Beautiful Galathea Overture and classics byMozart – his final Violin Concerto, known as The Turkish, and his CoronationMass, with SASO Chorus.Season Sponsor:Dorothy Vanek19
Proud to SupportArizona Friends ofChamber MusicBringing World Class Chamber Musicto TucsonWORKING TOGETHER T O B U I L D A STRONGER COMMUNITY20
AuthenticHand CavedCantera StoneWe OfferCustomDesigns heresSculpturesAnd More!Open Monday-Friday 9am - 5pmCanteraCustomCreations.com4818 E Speedway Blvd.(520) 326 605121
When an older adult in yourlife needs help, choosea higher class of home care. Expert Oversight by ProfessionalCare Managers High Expectations for All CareEmplo
ALEXANDER STRING QUARTET Having celebrated its 35th Anniversary in 2016, the Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premiere ensembles. Widely admired for its interpretations of Beethoven, Mozart, and Shostakovich, the quartet’s recordings
Barber, Samuel String Quartet No.1, Op.11 Bartok, Bela String Quartet No.2, Op.17 String Quartet No.4 Beethoven, Ludwig van String Quartet No.1 in F major, Op.18 No.1 String Quartet No.2 in G major, “Compliments” Op.18 No.2 String Quartet No.6 in B-flat major, Op.18 No.6 String Quartet No.7 in F major, “Rasumovsky 1” Op.59 No.1
String Quartet n. 15 op. 144 Anton Webern String Quartet op. 28 Five Movements for String Quartet Six Bagatelles for String Quartet Alexander Von Zemlinsky String Quartet n. 2 op. 15 2) Toshio Hosokawa UTA-ORI. Weaving Song for string quartet (2020) New composition for String Quartet
Barber: Serenade for string quartet Roussel: String Quartet Les Vendredis Weill: String Quartet Malipiero: String Quartet No. 1 Skalkottas: String Quartet No. 4 4. Introduction to the First Edition This eBook was written to address the following situation: there are many, many
Ying Quartet Haydn: String Quartet in B-flat Major, Op. 33, No. 4 Barber: String Quartet, Op. 11 Dvořák: String Quartet in F Major, Op. 96, “American” Sunday, March 14, 2010 – 7 pm Pre-Concert Talk at 6 pm Ives Quartet with Jerome Simas, clarinet Mozart: String Quartet in B-flat Major, K.458, “The Hunt” Dan Becker: “Time Rising”
You can also tune your guitar to a keyboard or piano. The open strings of a guitar correspond to certain notes on a keyboard. SESSION 1 3 Starting Off Right Learn &Master Guitar E A D G B E B 6th string 5th string 4th string 3rd string 2nd string 1st string 5th Fret 1st string 6th string 5th string 4th string 3rd string 2nd string E A D GB E .
You can also tune your guitar to a keyboard or piano. The open strings of a guitar correspond to certain notes on a keyboard. SESSION 1 3 Starting Off Right Learn &Master Guitar E A D G B E B 6th string 5th string 4th string 3rd string 2nd string 1st string 5th Fret 1st string 6th string 5th string 4th string 3rd string 2nd string E A D GB E .
Schubert String Quartet no 13 in A minor Rosamunde James Ledger String Quartet no 2 Transmissions* Shostakovich String Quartet no 10 in A-flat major op 118 *World premiere performances Perth Wed 26 September, 7pm Brisbane Mon 1 October, 7pm Melbourne Tue 2 October, 7pm Sydney Wed 3 October, 7pm Canberra Sun 7 October, 2pm Adelaide Tue 9 October, 7pm Works by two of the great quartet
Korean language will become increasingly important. And the best way to start learning Korean is to learn to read Hangeul, the Korean writing system. That’s where this challenge comes in. Did you know that there are fewer Korean characters than there are letters in the English alphabet? Korean has 10 vowels and 14 consonants. Unlike Japanese or Chinese, which have thousands of characters and .
