26TH TUCSON WINTER CHAMBER MUSIC FESTIVALPETER REJTO, FESTIVAL DIRECTOR WEDNESDAY MARCH 6, 2019

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BOARD OF DIRECTORS

James Reel President

Paul Kaestle Vice-President

Joseph Tolliver Program Director

Helmut Abt Recording Secretary

Wes Addison Treasurer

Philip AlejoNancy BissellKaety Byerley Laura CásarezMichael CoretzDagmar CushingBryan Daum Robert Garrett Marvin GoldbergJoan Jacobson Juan MejiaJay RosenblattElaine RousseauRandy SpaldingPaul St. JohnGeorge TimsonLeslie Tolbert

FESTIVAL COMMITTEE

Randy Spalding, ChairNancy BissellJames ReelGeorge TimsonMarv GoldbergPhilip AlejoDagmar CushingMichael CoretzBryan DaumJoseph TolliverCathy Anderson

FESTIVAL VOLUNTEERS

Nancy Cook Beth Daum Beth FosterBob Foster Marie-France Isabelle Yvonne Merril

FESTIVAL SPONSORS

Randy SpaldingJonathan & Chitra StaleyGarrett-Waldmeyer TrustJean-Paul Bierny & Chris TanzCelia BalfourElliot & Sandy HeimanBoyer RickelCharles & Suzanne PetersAllan & Diane TractenbergMark & Jan Barmann

FESTIVAL HOSTS

Michelle MordenJean-Paul Bierny & Chris TanzNancy BissellDavid Carter & Bobbie-Jo BuelChristine & David HopkinsGretchen GibbsHolly LachowiczDavid Bartlett & Jan WezelmanLeslie Tolbert & Paul St. JohnDagmar Cushing

FESTIVAL STAFF

Matt Snyder, Audio Producer/ EngineerLouie Gutierrez, Stage Manager

USHERS

Barry & Susan AustinLidia DelPiccoloSusan FiferMarilee MansfieldElaine OrmanSusan RockJane RuggillBarbara TurtonDiana WarrMaurice Weinrobe & Trudy Ernst

PROGRAM BOOK CREDITS

EditorJay Rosenblatt

ContributorsRobert Gallerani Holly Gardner Nancy Monsman Jay Rosenblatt James Reel

Advertising Paul Kaestle Allan Tractenberg

DesignOpenform

PrintingWest Press

On the cover: Grażyna Bacewicz

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FROM ANI KAVAFIAN

Greetings,

I love coming to Tucson for this wonderful Winter Chamber Music Festival! What’s not to love? Great music, superb colleagues, a knowledgeable audience, and a town with Southwestern charm and sophistication.

My first time at the Festival was some years ago … no need to say how many! I had such a wonderful time with the musicians, and got to know board members who have been instrumental in making this Festival one of the most successful I have attended. Coming back feels warm and happily familiar.

Although music making is always a thrill, perhaps the most memorable time at the Festival was when I was asked to play the national anthem at a Colorado Rockies baseball game. That was beyond thrilling, as I am a violinist and also a baseball fan!

This year I am looking forward to meeting and performing with new and “old” colleagues, especially in pieces such as the exciting Shostakovich String Octet, the exquisite Arensky Quartet, and, one of my favorites, Mozart’s Two Viola Quintet in C Major. I am also very happy to play a repeat performance at the Festival of the great “Archduke” Trio by Beethoven.

I want to say thank you to our artistic director and my friend, Peter Rejto, for inviting me back and for his inspiring programming and leadership.

ANI KAVAFIAN

Ani, a violinist, is synonymous with chamber music as a longtime member of the Chamber Music Society of Lincoln Center, in duet with her violinist sister, Ida, and through many AFCM performances.

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FESTIVAL EVENTS

YOUTH CONCERT

Thursday, March 7, 10:30 a.m. Leo Rich Theater

Performance of excerpts from prior concerts with commentary by Festival musicians. Attendance is by invitation only.

The Youth Concert is generously underwritten by the Garrett-Waldmeyer Trust.

OPEN DRESS REHEARSALS — LEO RICH THEATER

9:00 a.m. – 12 noon Tuesday, March 5 Wednesday, March 6 Friday, March 8 Sunday, March 10

Dress rehearsals are free for ticket holders. For non ticket holders, a donation is requested.

PRE-CONCERT CONVERSATIONS

Conducted by James Reel a half hour before each concert

Sunday, March 3, at 2:30 p.m. Tuesday, March 5, at 7:00 p.m. Wednesday, March 6, at 7:00 p.m. Friday, March 8, at 7:00 p.m. Sunday, March 10, at 2:30 p.m.

MASTER CLASS FOR VIOLIN

Axel Strauss 3:00 pm – 4:00 pm Saturday, March 9 Leo Rich Theater

Featuring students from the University of Arizona, Fred Fox School of Music.

MASTER CLASS FOR VIOLA

Ettore Causa 4:00 pm – 5:00 pm Saturday, March 9 Leo Rich Theater

Featuring students from the University of Arizona, Fred Fox School of Music.

Attendance at the master classes is free and open to the public.

GALA DINNER AND CONCERT AT THE ARIZONA INN

Saturday, March 9 5:30 p.m. – Silent Auction 6:00 p.m. – Cocktails 7:00 p.m. – Musical selections by Festival musicians 8:00 p.m. – Dinner

Call 577-3769 for reservations.

Flowers courtesy of Norah & David Schultz, at Flower Shop on 4th Avenue.

RECORDED BROADCAST

If you miss a Festival concert or simply want to hear one again, please note that Classical KUAT-FM will broadcast recorded performances on 90.5/89.7 FM. Festival performances are often featured in the station’s Musical Calendar.

radio.azpm.org/classical/

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The inexpressible depth of all music, by virtue of which it floats past us as a paradise quite familiar and yet eternally remote, and is so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from its pain.

Arthur Schopenhauer, The World as Will and Representation

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NORTHERN LIGHTSOctober 19 - 21, 2018

AMERICAN RHYTHMNovember 3 - 4, 2018

LESSONS & CAROLS BY CANDLELIGHTDecember 13 - 16, 2018

TRUE CONCORD GOES LATIN!January 18 - 20, 2019

CORINNE WINTERS IN RECITALJanuary 22, 2019

BACH ST. MATTHEW PASSIONFebruary 22 - 24, 2019

MOZART REQUIEMMarch 29 - 31, 2019

VISIT TRUECONCORD.ORG FOR TICKETING OR VENUE INFORMATION

OR CALL 520-401-2651

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WEDNESDAY, MARCH 6, 2019Pre-Concert Conversation with James Reel 7:00 p.m.

TONIGHT’S PROGRAM

DMITRI SHOSTAKOVICH (1906–1975)

Two Pieces for String Octet, Op. 11

Prelude: Adagio Scherzo: Allegro molto

Escher String Quartet (Adam Barnett-Hart, violin; Danbi Um, violin; Pierre Lapointe, viola; Brook Speltz, cello)

Ani Kavafian, violin Axel Strauss, violin Ettore Causa, viola Edward Arron, cello

ROSS EDWARDS (b. 1943)

Bright Birds and Sorrow: Suite for Soprano Saxophone and String Quartet

Songbird I Chorale Lullaby Lament for the Sacred Earth Sanctus Laughing Dance (Songbird II)

Amy Dickson, saxophone

Escher String Quartet (Adam Barnett-Hart, violin; Danbi Um, violin; Pierre Lapointe, viola; Brook Speltz, cello)

INTERMISSION

GRAŻYNA BACEWICZ (1909–1969)

Partita for Violin and Piano

Preludium: Grave Toccata: Vivace Intermezzo: Andantino melancolio Rondo: Presto

Axel Strauss, violin Bernadette Harvey, piano

ANTON ARENSKY (1861–1906)

String Quartet in A Minor for Violin, Viola, and Two Cellos, Op. 35

Moderato Variations on a Theme of Pyotr Tchaikovsky Finale: Andante sostenuto—Allegro moderato

Ani Kavafian, violin Ettore Causa, viola Edward Arron, cello Brook Speltz, cello

This evening’s concert is partially sponsored by the generous contribution of Jonathan & Chitra Staley.

The appearance of Brook Speltz at the Festival is sponsored by the generous contribution of Boyer Rickel.

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PROGRAM NOTES

SHOSTAKOVICH WROTE his brief Opus 11 in two stages during his highly experimental early period, the post-student years when he wavered between the “revolutionary Romanticism” of 1920s Russia and an astringent classicism. The Octet, his first important chamber work, emerged soon after his delicately transparent First Symphony (Opus 10).

The emotionally intense D minor Prelude, written in December 1924, explores two chromatic themes with rhythmic freedom. The movement falls into three sections: a declamatory opening section is followed by a presto with numerous points of imitation; in the final section, a violin cadenza leads to a recapitulation of the opening material.

Zestful movements came easily to Shostakovich, and the G minor Scherzo was written quickly in July 1925. Satirical and dissonant, the Scherzo reflects his attraction to the more avant-garde idioms in European music. Propelled by ever more rapid canons, decorated by numerous glissandi, this Scherzo has been called the wildest movement in all the literature for eight instruments.

BRIGHT BIRDS AND SORROWS is a collection of short pieces that provides insight into the composer’s personal vision as well as his outlook on the external world. The musical language of Ross Edwards has steadily evolved since his early decision to reject European modernism. Following his own intuition, Edwards began to explore and give musical voice to sounds of the natural world. He writes that his music “abounds with nature symbolism—shapes and patterns abstracted from birdsong and the mysterious sound world of insects and frogs. Drones remember the earth, and there is music reference, by way of personal symbols, to an Earth Mother archetype that pervades all my work.” Committed to conveying both his personal mythology and his strong ecological focus, Edwards overlays his works with cross-cultural references to various chants and deities with environmental associations.

The composer describes the individual movements as follows:

Songbird I. “I’ve always been captivated by birdsong. Rather than try to replicate it in music, I usually allow my subconscious to work on it until it emerges as a sort of mythical transformation of what I’ve heard. Sometimes vestiges of the original remain, and when I’m working in the mountains I occasionally hear a fragment of my own music echoed from a tree! We have some expert mimics among Australian birds. There are two bird pieces in this suite. I composed the first as a ritualized response to a striking melodic outpouring of unidentified birdsong which happened to conform to the blues scale.”

Chorale. “Over the sound of a distant chorale, filaments of melody begin to take shape, intertwine, and slowly spiral upwards, as if seeking an answer to some profound question that can’t quite be defined.”

Lullaby. “One of the most ancient forms of music is the lullaby, whose essential purpose is to bring sleep upon a child. Throughout all ages mothers have soothed and coaxed with gently rocking melodies and appropriate words. The melodies are usually simple, although in some cultures, especially some Asian ones, they can be elaborate and quite difficult to sing. A lullaby can also act as a vehicle for the mother to voice her concerns, so that a simple sentiment can be overlaid with strong emotion. My lullaby, while not without moments of intricacy and angst, always returns the mother’s undivided attention to her child.”

Lament for the Sacred Earth. “This somber piece is an expression of grief over the tragic descent of humanity’s relationship with the earth from veneration to exploitation, placing the planet in grave danger.”

Sanctus. “The mysterious, sacred earth is adored in this hymn to harmoniousness, wholeness, and the interrelationship of all things. The Sanctus of the Catholic Mass, alluded to in various ways, is interpreted here in an environmental context. The Latin word Sanctus, which translates as ‘holy,’ has an alternate meaning traced by 19th-century Jewish and English scholars as ‘whole’—particularly relevant as we witness the disintegration of the environment. The Sanctus bell, traditionally used to underline the solemnity of the text, has been retained.”

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PROGRAM NOTES

Laughing Dance (Songbird II). “There’s a natural connection between laughter and spontaneous musical impulses, more so in the participatory ceremonies of indigenous peoples than in western art music. Like music, laughter is a universal language, and today there’s even a movement called Laughing Yoga, emanating from India and fast spreading around the world. I originally conceived this exuberant miniature for bass clarinet and percussion. It caught on rather well, and I made this alternate version in the hope of widening the audience.”

Bright Birds and Sorrows, generously commissioned for Amy Dickson, the Elias Quartet, and Musica Viva Australia by Kim Williams AM, was premiered during the April 2017 Musica Viva Festival in Sydney.

GR AŻYNA BACEWICZ, one of Poland’s greatest 20th-century composers, is honored in her homeland with public statues and streets bearing her name. A violin and piano prodigy, Bacewicz pursued early composition studies in Paris with Nadia Boulanger. Shaped as a neoclassicist, Bacewicz in the mid-fifties embraced the avant-garde techniques of her compatriot Lutosławski. She gradually evolved a personal style that has been described as “sonorism,” or composing in tone color. Although she continued to value the clarity of neoclassicism, her later works develop as kaleidoscopic progressions of sound images. Bacewicz writes about her composition: “For me, the work of composition is like sculpting a stone, not like transmitting the sounds of imagination or inspiration. I stand alone and work out my own system.” Bacewicz composed in a wide variety of genres, but chamber music remained her favored medium. She achieved her greatest international success with her early (1950) Concerto for String Orchestra, performed in Washington, DC, by the National Symphony.

Bacewicz wrote her Partita (1955) while she recovered from a car accident that interrupted her performing career. Originally scored for orchestra, the work imaginatively explores a wide range of tone colors and instrumental textures. Dissonant but not fully atonal, the work is punctuated by pungent note clusters.

Preludium explores a reflective violin melody through intriguing harmonic shifts; the piano underpins the theme with an ominous ostinato (repeating) figure that suggests tolling bells. The rapid Toccata references Polish folk themes. Effects such as ponticello—phrases played at the bridge to achieve a thin, ominous sound—as well as percussive pizzicati and prominent glissandi create strong color. Sonorous and introspective, Intermezzo develops a lyrical subject that Bacewicz favored throughout her career. The violin and piano engage in playful dialogue throughout the virtuoso Rondo.

B ORN INTO A MUSICAL FAMILY, Russian composer, pianist, and conductor Anton Arensky studied composition with the brilliant tonal colorist Rimsky-Korsakov at the St. Petersburg Conservatory. After graduation, he was appointed Professor of Composition at the Moscow Conservatory, where his notable pupils included Rachmaninoff, Scriabin, and Glière. His colleague Tchaikovsky became his friend and mentor. After an important but brief period as Director of the Imperial Chapel, Arensky retired at age 40 with a generous pension and planned to devote his life to concertizing and composition. Unfortunately, his alcoholism led to a fatal case of tuberculosis, and he died at age 45. Appalled at the waste of tremendous gifts, Rimsky-Korsakov predicted that Arensky would soon be forgotten; but his reputation as an important Russian late Romantic remained secure. Arensky is now remembered for a small number of works, several of which are miniatures, and his significant pedagogical influence.

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PROGRAM NOTES

“For me, the work of composition is like sculpting a stone, not like transmitting the sounds of imagination or inspiration. I stand alone and work out my own system.” GRAZ

.YNA BACEWICZ

One of imperial Russia’s more eclectic composers, Arensky was most strongly influenced by Europe’s leading romantic composers, particularly Chopin and Mendelssohn. Arensky’s works all reveal fluent technique, singing melodic lines, and an affinity for unusual rhythmic patterns. A keen sense of instrumental color pervades his work.

Arensky began his A minor Quartet (1894) soon after the death of Tchaikovsky. The work was intended as a memorial to his friend, and the use of the second cello in place of the customary second violin contributes strongly to the quartet’s elegiac quality. Later he rescored the work for the standard quartet instrumentation and also for string orchestra. In its orchestral format the work has become his best-known composition.

The first movement opens with a muted psalm theme borrowed from ancient Russian church music. In its central section the mode shifts to A major, but the minor-key psalm theme returns to conclude the movement.

The second movement develops seven variations on a folklike children’s song by Tchaikovsky, who had been steeped in native Russian melody from his earliest childhood. The song, When Jesus Christ was Still a Child, was taken from his Legend No. 5, Sixteen Songs for Children, Opus 54. A muted coda recalling the ancient Russian chant concludes the movement.

After an introductory Andante sostenuto section, the Finale fugally develops the Russian hymn Slava Bogu no nebe Slava (“Glory to God in Heaven”), which also appears in the Allegretto movement of Beethoven’s second Razumovsky quartet, Opus 59 No. 2.

Notes by Nancy Monsman

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October 20 & 21, 2018 – Márquez’ lively favorites Conga del Fuego Nuevo and Danzón No. 2, Saint-Saëns’ audience-favorite Piano Concerto No. 2, Debussy’s poetry-inspired Petite Suite and Chávez’s Symphony No. 2.

November 17 & 18, 2018 – Bernstein’s Candide Overture, Arutiunian’s challenging Trumpet Concerto, Jobim’s chart-topping Girl from Ipanema and Borodin’s Symphony No. 2.

February 2 & 3, 2019 – Brahms’ Double Concerto for Violin and Cello plus two works by Mendelssohn – The Hebrides (inspired by a visit to a sea cave in Scotland) and Symphony No. 5, The Reformation.

March 2 & 3, 2019 – Offenbach’s Orpheus in the Underworld, inspired by Greek mythology, plus the premiere of White’s Concertino, Dukas’ spritely The Sorcerer’s Apprentice and Rimsky-Korsakov’s Capriccio Espagnol.

April 6 & 7, 2019 – Suppé’s The Beautiful Galathea Overture and classics by Mozart – his final Violin Concerto, known as The Turkish, and his Coronation Mass, with SASO Chorus.

Season Sponsor: Dorothy Vanek

For tickets call (520) 308-6226 or visit www.sasomusic.org

SaddleBrooke Saturdays at 7:30 pm

DesertView Performing Arts Center

39900 S. Clubhouse Drive

Northwest Tucson Sundays at 3:00 pm

St. Andrew’s Presbyterian Church7650 N Paseo Del Norte

(Ticket fee waived for students ages 17 and under at this location)

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Artistic director PETER

REJTO is committed to presenting the finest chamber music, both well-loved works and new, unfamiliar ones, performed by some of the world’s finest musicians. Highlights of his international career include the world premiere of Gerard Schurmann’s “Gardens of Exile” with the Bournemouth Symphony broadcast live over the BBC, and the recording of Miklós Rózsa’s Cello Concerto in Hungary. Mr. Rejto is a founding member of the Los Angeles Piano Quartet and a former professor of the University of Arizona School of Music as well as professor emeritus at the Oberlin College Music Conservatory.

THE ESCHER STRING

QUARTET has received acclaim for its expressive, nuanced performances that combine unusual textural clarity with a rich, blended sound. In its hometown of New York, the ensemble serves as Season Artists of the Chamber Music Society of Lincoln Center, where it has presented the complete Zemlinsky Quartets Cycle as well as being one of five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets. Last season, the quartet toured with CMS to China.

Within months of its inception in 2005, the ensemble came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre and the Perlman Chamber Music Programme on Shelter Island, NY. They are currently String Quartet in Residence at Southern Methodist University in Dallas, Texas, and Tuesday Musical in Akron, Ohio. The Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s

method of interplay between individual components working together to form a whole.

AFCM last heard the Escher String Quartet on an Evening Series concert in December 2015.

FESTIVAL MUSICIANS

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FESTIVAL MUSICIANS

PHILIP ALEJO is Assistant Professor of Bass at the University of Arizona. He has performed alongside Menahem Pressler, Yehonatan Berick, Maiya Papach, Spencer Myer, Katinka Kleijn, and David Bowlin, and at numerous music festivals in the US and Europe. In addition, he collaborates regularly with harpist Claire Happel as the River Town Duo, and they are committed to commissioning works for harp and bass; to date, they have premiered works by Caroline Shaw, Hannah Lash, and Frederick Evans. Dr. Alejo previously took part in the Festivals of 2014, 2015, and 2017.

Cellist EDWARD ARRON has garnered recognition worldwide for his elegant musicianship, impassioned performances, and creative programming. A native of Cincinnati, Mr. Arron made his New York recital debut in 2000 at the Metropolitan Museum of Art. Since that time, he has appeared in recital, as a soloist with major orchestras, and as a chamber musician throughout North America, Europe, and Asia. He began playing the cello at age seven and continued his studies in New York with Peter Wiley. A graduate of the Juilliard School, where he was a student of Harvey Shapiro, Mr. Arron is currently on the faculty at University of Massachusetts Amherst.

Italian-born ETTORE

CAUSA is considered one of the most brilliant violist performers and pedagogues of our time. Awarded both the “Peter Schidlof Prize” and the “John Barbirolli Prize” for “the most beautiful sound” at the prestigious Lionel Tertis International Viola Competition in 2000, he is praised for his exceptional artistry, passionate intelligence, and complete musicianship. Mr. Causa studied at the International Menuhin Music Academy with Alberto Lysy and Johannes Eskar, and at the Manhattan School of Music with Michael Tree, and he joined the faculty of the Yale School of Music in 2009. He performs on a viola made for him by Frédéric Chaudière in 2003.

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FESTIVAL MUSICIANS

Now based in London, AMY DICKSON was born in Sydney and began musical studies at the age of two, taking her first saxophone lesson aged six. She made her concerto debut at sixteen, and on her 18th birthday made her first recording as soloist with the Sydney Symphony Orchestra. That year she moved to London to study at the Royal College of Music and then at the Conservatorium van Amsterdam. Recognized widely for her exceptional musicality, Gramophone described her as “a player with a difference who has an individual and unusual tone, luscious, silky-smooth, sultry, and voluptuous by turns.”

A native of North Carolina, pianist JAMES GILES studied with Byron Janis at the Manhattan School of Music, Jerome Lowenthal at the Juilliard School, Nelita True at the Eastman School of Music, and Robert Shannon at Oberlin College. He received early career assistance from the Clarisse B. Kampel Foundation and was awarded a Fulbright Grant to study in Italy with the legendary pianist Lazar Berman. In an eclectic repertoire encompassing the solo and chamber music literatures, Dr. Giles is equally at home in the standard repertoire as in the music of our time. He currently teaches at the Bienen School of Music at Northwestern University.

Australian pianist BERNADETTE HARVEY divides her time between collaborations, solo appearances, and recordings. She has had several works written for her, including a solo piano sonata by Festival composer Ross Edwards which she performed and recorded in 2014. Several years ago she inaugurated The Sonata Project, an ongoing commissioning and performing program of new large-scale Australian works for solo piano. A faculty member at the Sydney Conservatorium of Music, she is also the recipient of the Centenary Medal of Australia presented by John Howard for her service to Australian music. This year marks her tenth Festival appearance.

Violinist ANI KAVAFIAN enjoys a prolific career as a soloist, recitalist, and chamber musician. She has performed with virtually all of America’s leading orchestras, including the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, the San Francisco Symphony, and many others. Ms. Kavafian is also a renowned chamber musician and has performed with the Chamber Music Society of Lincoln Center since 1979. Her numerous solo recital engagements include performances at New York’s Carnegie and Alice Tully halls, as well as in major venues across the country. She was part of our first Festival, and this year we hear her for the seventh time.

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FESTIVAL MUSICIANS

The first German artist to ever win the international Naumburg Violin Award in New York, AXEL STR AUSS has been equally acclaimed for his virtuosity and his musical sensitivity. He made his American debut at the Library of Congress in Washington, DC, and his New York debut at Alice Tully Hall in 1998. His chamber music partners have included Menahem Pressler, Kim Kashkashian, Joel Krosnick, Robert Mann, and Bernard Greenhouse. Mr. Strauss serves as Professor of Violin at the Schulich School of Music of McGill University in Montreal. He previously took part in our twenty-fourth Festival in 2017, and this year marks his sixth Festival appearance.

Composer CHRIS

ROGER SON has been hailed as a “confident, fully-grown composing talent” whose music has “virtuosic exuberance” and “haunting beauty” (The New York Times). He has received commissions and performances from numerous orchestras including the San Francisco Symphony, Atlanta Symphony, Houston Symphony, and the Kansas City Symphony (a work for cellist Yo-Yo Ma). Mr. Rogerson has won awards such as the Presser Music Award and prizes from the National Foundation for the Advancement of the Arts and the National Association for Music Education, among many others. The Dover Quartet recently toured his new clarinet quintet, Thirty Thousand Days, with David Shifrin.

Although not one of the Festival musicians, NANCY MONSM AN has been an integral part of the Festival from the beginning through her informative program notes. An active cellist, Nancy’s practical knowledge of the repertoire communicates the essence of each piece to our audience. She has degrees in both English literature and cello performance from Northwestern University and a Doctor of Musical Arts degree from the University of Arizona, where she studied with Peter Rejto. Also trained as a visual artist, her paintings have had international recognition. She recently published a book of her program notes, A Friend’s Guide to Chamber Music: European Trends from Haydn to Shostakovich.

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Early MusicMade New

Founded in 1982, the Arizona Early Music Society presents the finest national and international ensembles specializing

in the music of “Bach and Before.”

Join us this season to hear period instruments and vocal styles of the

Medieval, Renaissance and Baroque periods come alive.

For program information and tickets, visit www.azearlymusic.org or call (520) 721-0846.

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THANK YOU TO OUR SUPPORTERS!

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THANK YOU TO OUR SUPPORTERS!

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THANK YOU TO OUR SUPPORTERS! THANK YOU TO OUR SUPPORTERS!

Michael & Mary TurnerJan Wezelman & David Bartlett

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GIFTS IN MEMORY OF

Clifford & Wendy Crookerby Beth Foster

Raymond Hoffmanby Sandra Hoffman

Kathy Kaestleby Paul & Marianne Kaestle

Gloria Ottensteinby Andrea & Gary Abramowitz by Penny & Mark Estomin

Dr. Michael Patrick Sullivanby Gail Bernstein

Stephen Tellmanby Sara Heitshu

Carl T. Tomizukaby Sheila Tobias

Carol Zuckertby Cathy Anderson

GIFTS IN HONOR OF

Cathy Andersonby C. Jane Decker

Dr. & Mrs. Nathaniel Bloomfieldby Dr. Melvin & Maude Shafron

James Reelby C. Jane Decker by Hal Myers

Dr. Elaine Rousseauby Les & Suzanne Hayt

Randy Spaldingby Thomas and Debra Collazo

Randy Spalding & Jim Cookby David & Cookie Pashkow

Allan & Diane Tractenbergby Mark & Jan Barmann

Contributions are listed from January 1, 2018 through December 31, 2018. Space limitations prevent us from listing contributions less than $100.

Every contribution helps secure the future of AFCM.

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

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JEAN-PAUL BIERNY LEGACY SOCIETY

Jean-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 the Frank L. Wadleigh TrustAnne DennyRichard E. FirthCarol KramerArthur Maling Claire B. Norton Fund (held at the Community Foundation for Southern Arizona)Herbert PlochLusia Slomkowska Living TrustAgnes Smith

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

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

Listed are current plans and posthumous gifts.

COMMISSIONS

Jean-Paul Bierny & Chris TanzShirley ChannJim CushingMr. Leonid Friedlander

CONCERT SPONSORSHIPS

Jean-Paul Bierny & Chris Tanz Nancy Bissell Stan Caldwell & Linda LeedbergDavid & Joyce Cornell Jim CushingJohn & Terry Forsythe Garrett-Waldmeyer Trust Jim Lindheim & Jim Tharp George & Irene PerkowJohn & Helen SchaeferMinna J. ShahRandy Spalding Jonathan & Chitra StaleyTucson Desert Song Festival

MUSICIAN SPONSORSHIPS

Celia BalfourJean-Paul Bierny & Chris TanzDagmar Cushing Elliott and Sandy Heiman Boyer Rickel

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

CORPORATE SUPPORTERS

Ameriprise Financial Arizona Early Music Society Cantera Custom Creations Center for Venous Disease CopenhagenDowntown Kitchen + CocktailsFishkind, Bakewell, Maltzman, Hunter Flower Shop on 4th AvenueHolualoa Companies Homecare Assistance Kinghorn Heritage Law GroupLa Posada Ley Piano Loft Cinema Mister Car WashRogue Theater True Concord Tucson Guitar Society

THANK YOU TO OUR SUPPORTERS!

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VERSE

The ConcertBY E D N A ST. VI N C E N T M I L L AY

No, I will go alone.I will come back when it’s over.Yes, of course I love you.No, it will not be long.Why may you not come with me? —You are too much my lover.You would put yourselfBetween me and song.

If I go alone,Quiet and suavely clothed,My body will die in its chair,And over my head a flame,A mind that is twice my own,Will mark with icy mirthThe wise advance and retreatOf armies without a country,Storming a nameless gate,Hurling terrible javelins downFrom the shouting walls of a singing town

Where no women wait!Armies clean of love and hate,Marching lines of pitiless soundClimbing hills to the sun and hurlingGolden spears to the ground!Up the lines a silver runnerBearing a banner whereon is scoredThe milk and steel of a bloodless woundHealed at length by the sword!

You and I have nothing to do with music.We may not make of music a filigree frame,Within which you and I,Tenderly glad we came,Sit smiling, hand in hand.

Come now, be content.I will come back to you, I swear I will;And you will know me still.I shall be only a little tallerThan when I went.

From The Harp-Weaver and Other Poems. Edna St. Vincent Millay. 1923. Public Domain.

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WORKING TOGETHER TO BUILD A STRONGER COMMUNITY

Proud to Support

Bringing World Class Chamber Music to Tucson

Arizona Friends of Chamber Music

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