26TH TUCSON WINTER CHAMBER MUSIC FESTIVALPETER REJTO, FESTIVAL DIRECTOR SUNDAY MARCH 10, 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: Sergei Prokofiev

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While the Festival is coming to an end, I assure you that chamber music is not. If you’ve enjoyed what you have heard this week, and are not already one of our season subscribers, why not pick up tickets for the two remaining concerts in our 2018–19 season?

On April 3 at 7:30 p.m. we present our final Evening Series concert with the internationally renowned Jerusalem Quartet, which sells out its concerts in New York and will likely sell out in Tucson, especially since a lot of you have heard the group here and know what to expect.

On April 18 at 7:30 p.m. at the Pima Community College’s Proscenium Theatre the ZOFOMOMA Live Concert Experience will unfold. It’s an aurally and visually stunning walking tour through a virtual museum of modern art, and the final concert in our NOW Music Series.

Looking ahead, our 2019–20 season will begin with three Summer Series concerts at the University of Arizona’s Holsclaw Hall, the first of which will be for violin and piano on June 5, followed by a Silk Road-inspired program pairing guitar and guzheng on July 24, and concluding with the Arizona Wind Quintet on August 14.

No need to write down the dates. Look for our 2019–20 season brochure in your mailbox next month. If you don’t receive our materials, leave your contact information with the box office before you leave this afternoon. As always, the latest information is on our website.

Thank you for coming to the Festival. We value your support of chamber music in Southern Arizona.

JA M E S R E E L

President

FROM THE PRESIDENT

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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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*Momentum, in literary mosaic, derives not from narrative but the subtle, progressive buildup of thematic resonances.

*I look at melody as rhythm.

*All art constantly aspires toward the condition of music.

From David Shields, “Reality Hunger: A Manifesto,” Salmagundi 164/165 (Fall 2009–Winter 2010), page 76. Shields’ essay consists of brief paragraphs separated by asterisks, more than half of them drawn from sources that are left unattributed. We reproduce it as he wrote it but point out that the last statement is, of course, the well known quotation of Walter Pater (1839–1894).

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SUNDAY, MARCH 10, 2019Pre-Concert Conversation with James Reel 2:30 p.m.

THIS AFTERNOON’S PROGRAM

JOHANNES BRAHMS (1833–1897)

Lieder (arranged for Viola and Piano by Ettore Causa)

Wie Melodien zieht es mir, Op. 105, no. 1 Immer leiser wird mein Schlummer, Op. 105, no. 2 Verzagen, Op. 72, no. 4 Ich wandte mich und sahe an, Op. 121, no. 2 (from Vier ernste Gesänge)

Ettore Causa, viola James Giles, piano

CHRIS ROGERSON (b. 1988)

String Quartet No. 4 (World Premiere)

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

INTERMISSION

KEVIN PUTS (b. 1972)

Concerto for Oboe and Strings (arranged for Saxophone by Rowan Harvey-Martin)

Movement I: F Major Movement II: D-flat Major Movement III: A Minor

Amy Dickson, saxophone Axel Strauss, violin Ani Kavafian, violin Ettore Causa, viola Edward Arron, cello Philip Alejo, double bass

FELIX MENDELSSOHN (1809–1847)

Sextet in D Major for Piano and Strings, Op. 110

Allegro vivace Adagio Menuetto: Agitato Allegro vivace

Bernadette Harvey, piano Ani Kavafian, violin Ettore Causa, viola Pierre Lapointe, viola Edward Arron, cello Philip Alejo, double bass

The World Premiere of Chris Rogerson’s String Quartet No. 4 is sponsored by Jim Cushing.

This afternoon’s concert is sponsored by the generous contribution of Jean-Paul Bierny & Chris Tanz.

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PROGRAM NOTES

A PROLIFIC MELODIST, Brahms published thirty-one solo lieder volumes containing 196 songs over the course of his career; many are said to have been inspired by the women in his life. Brahms favored contemporary poets for his texts, and often he chose poems for their suggested musical possibilities rather than their literary merit. His critical friend Clara Schumann once observed of a song inspired by another woman: “The music is altogether interesting, which makes me forget a certain unpleasantness of the words.”

Brahms wrote his Opus 105 Five Songs in 1886 (published in 1888) during his summer vacation at Lake Thun, Switzerland. Constructed with three contrasting verses and marked to be performed “sweetly,” Opus 105 No. 1, Wie Melodien zieht es mir (“Melodies are like thoughts are to me,” A major) is based on a text by Klaus Groth (1819–1899). One of Brahms’s most popular songs, Opus 105 No. 2, Immer leiser wird mein Schlummer (“Ever quieter grows my slumber”), based on the poem by Hermann Lingg (1820–1905), is a strophic song marked “slow and gentle” that moves expressively from C-sharp minor to its major mode.

The five songs of the Opus 72 cycle were composed in 1876–1877. The fourth, Verzagen (“Despondency,” F-sharp minor, marked “moving”) is accompanied by rippling arpeggiated figures that suggest an unsettled sea: art historian and song writer Karl Lemcke (1831–1913) provided the text.

Based on Biblical texts and set for low voice and piano, the Opus 121 Four Serious Songs (1896) was written near the end of Brahms’s life. Strong in their emotional weight, these simply structured songs project the philosophical resignation of a man for whom life is precious but who accepts his inevitable destiny. The second song, Ich wandte mich und sahe an (“So I returned and considered,” G minor, marked Andante), is based on Ecclesiastes 4:1–3.

The English translations for the text of these songs may be found on page 9.

“I do hope that the listener feels the same timelessness, the same stillness that I felt when walking across this vast and sweeping landscape [the Wakhan Corridor in Afghanistan].” CHRIS ROGERSON

B ORN IN 1988 in Amherst, New York, Chris Rogerson began piano at the age of two and cello at age eight. He studied at the Curtis Institute of Music, Yale, and Princeton. His mentors include Jennifer Higdon, Aaron Jay Kernis, and Steve Mackay. Rogerson currently serves on the Music Studies Faculty at Curtis.

From the composer: “This work is my fourth string quartet, written for an ensemble that I greatly admire, the Escher String Quartet. My deepest thanks are to the Arizona Friends of Chamber Music, who commissioned this piece, and to Jim Cushing, who sponsored it.

“The heart of this quartet is its nearly sixteen-minute final movement, an extended meditation. This past summer, I trekked for two weeks in a remote, mountainous part of Afghanistan called the Wakhan Corridor, hiking a similar route to the one Marco Polo took centuries ago. In this desolate but hauntingly beautiful place, sometimes called the Roof of the World, people live in extremely harsh circumstances. As I hiked across the steppe, I returned to this idea again and again of timelessness. I was reminded of a poem, “What the Mountain Saw,” by the British poet Philip Gross.

“For all of my lifetime, Afghanistan had been a land shrouded in mystery—a place steeped in epic history, difficult to traverse, now seemingly impossible to even visit. Over the years, what had these mountains seen? I do not intend this movement to be a portrait of a place that I do not have full understanding of, nor a statement of any kind. But I do hope that the listener feels the same timelessness, the same stillness that I felt when walking across this vast and sweeping landscape.”

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ONE OF THE MOST significant composers of his generation, Kevin Puts has created a large body of works that have been commissioned, performed, and recorded by leading orchestras, ensembles, and soloists throughout North America, Europe, and the Far East. Praised for his multi-dimensional artistry, Puts offers a unique voice that has been described as “exhilarating and compelling” (The New York Times).

Puts writes: “My Concerto for Oboe and Strings was commissioned by the National Symphony Orchestra for their ‘Prelude’ concert series. It was premiered in January 1997 by oboist Rudolph Vrbski and other members of the National Symphony Orchestra at the Kennedy Center, Washington, DC.

“Scored for solo oboe and either single strings or small orchestra, my concerto recalls both the spirit and contrapuntal textures of Bach’s Brandenburg Concertos, particularly the sixth. The first movement opens with a busy canon between the violins. The chords implied by this canon provide the harmonic material of the entire concerto. The oboe is then added by sustaining certain notes the violins play and simply doubling others. Many of the melodies in this piece are derived in this way, by extracting notes from a busy, grid-like texture.

“The second movement places the oboe high atop a bed of quietly undulating strings. Eventually the oboe’s melody is reinforced by the first violin, which all the while maintains the accompanimental motion of the opening.

“The third movement returns to the bustling activity of the first, this time in A minor. The motion of this final movement is virtually relentless, and several ideas from the first two movements are recalled as the music rushes by.

“The attentive listener will notice the pervasive sound of augmented harmonies. These are used to create a sense of stasis, or to provide a break in the forward motion of the music. This harmonic color is reflected by the key scheme of the entire piece which comprises the notes of the augmented chord.”

MENDELSSOHN WROTE his brilliant Sextet for Piano and Strings (1824) over the course of thirteen days when he was fifteen years old; the work precedes his famous Octet by a year. Published posthumously in 1868 as Opus 110, the work’s misleadingly high opus number refers to its publication order rather than its composition sequence. During his early adolescence Mendelssohn intently studied the scores of a variety of significant composers—Weber, Mozart, and Beethoven, among others—and experimented with their techniques in his own compositions. His family provided strong motivation for him to compose prolifically. Their large Berlin estate provided the setting for weekly Sunday morning musicales at which the most distinguished musicians of the day concertized informally. A capable pianist, violinist, and violist, Mendelssohn performed on whatever instrument was needed for presentation of his latest works. Most importantly, he absorbed the musical suggestions that followed these sessions and blossomed as a composer.

The spirited virtuoso style of the Sextet suggests the influence of Carl Maria von Weber, an early Mendelssohn favorite. Like Weber, long stretches of the two Allegro vivace movements are scored with high decorative runs in the piano over supportive bass progressions. The opening one explores its two themes in classical sonata form. Its clearly structured development, recapitulation, and effervescent coda contribute to a crystalline effect.

The serene Adagio (F-sharp minor) opens with a gentle melody in the muted strings; the piano offers a reply. The piano and strings exchange their reflective material throughout, and the movement reaches a quiet conclusion.

Throughout his career Mendelssohn excelled at creating fanciful and exciting scherzo forms. The Opus 110 Menuetto is a demonic scherzo in D minor; its major key trio section provides a calming contrast. In the vigorous finale (D major), the theme from the D minor Menuetto returns at a section marked “Allegro con fuoco” (fast and with fire). Themes are further developed, and the work concludes with a coda that grounds the key of D major.

Notes by Nancy Monsman

PROGRAM NOTES

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Translations of the Brahms songs:

Wie Melodien zieht es mir (Opus 105 No. 1) Like melodies, thoughts are passing quietly through my mind; like spring flowers they blossom and then drift away like a fragrance.

Yet when words come and capture them and bring them into my view, they turn pale like grey mist and vanish like a breath.

But there surely remains hidden within the rhyme a certain fragrance that has been gently summoned out of the silent blossom by a tearful eye.

—Translation by Eric Sams

Immer leiser wird mein Schlummer, Opus 105 No. 2My sleep grows ever quieter; only my grief, like a veil, lies trembling over me. I often hear you in my dreams calling outside my door. No one wakes and lets you in; I awake and weep bitterly.

Yes, I shall have to die; you will kiss another when I am pale and cold. Before the May breezes blow, before the thrush sings in the wood: if you would see me once again, come, oh come soon!

—Translation by Eric Sams

Verzagen (Despondency), Opus 72 No. 4I sit by the shore of the rushing sea and there I search for peace; I look at the drifting waves with a dull resignation.

The waves are rushing to the shore, they foam and vanish again; the clouds, the winds above, they come and blow away.

Be still, impetuous heart, and be resigned in peace, let the waves and winds console you; why do you weep?

—Translation by Emily Ezust

Ich wandte mich und sahe an, Opus 121 No. 2So I returned and considered all the oppressions that are done under the sun: and behold, the tears of such as were oppressed, and they had no comforter; and on the side of their oppressors there was power; but they had no comforter.

Wherefore I praised the dead which are already dead more than the living which are yet alive. Yea, better is he than both they, which hath not yet been, who hath not seen the evil work that is done under the sun.

—Translation by William Mann

PROGRAM NOTES

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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

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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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WORKING TOGETHER TO BUILD A STRONGER COMMUNITY

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Bringing World Class Chamber Music to Tucson

Arizona Friends of Chamber Music

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THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE

Jean-Paul Bierny & Chris TanzJim CushingBoyer Rickel

$5,000 – 9,999

Shirley ChannDavid & Joyce CornellJohn & Terry ForsytheLeonid FriedlanderCharles & Suzanne PetersJohn & Helen Schaefer Paul A. St. John & Leslie P. TolbertWalt Swap

$2,500 – 4,999

Celia Balfour Stan Caldwell & Linda LeedbergDagmar CushingAlison Edwards & Henri FrischerGarrett-Waldmeyer Trust Jim Lindheim & Jim Tharp George & Irene Perkow Minna J. ShahRandy Spalding Jonathan & Chitra Staley Walter SwapElliott & Wendy Weiss

$1,000 – 2,499

Nancy BissellRichard & Martha Blum Celia BrandtGail D. Burd & John G. HildebrandRobert D. Claassen & John T. Urban Bryan & Elizabeth DaumDonald & Louise Doran Peter & Carole FeistmannMilton Francis & Marilyn HeinsBeth Foster Julie GibsonKatherine Havas

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$500 – $999

Bob Albrecht & Jan Kubek Frank & Betsy BabbGail BernsteinBarbara CarpenterJames & Chris Dauber Raul & Isabel Delgado Stephen & Aimee DoctoroffMichael EvanstonPhilip & Nancy FahringerHarold FrommJ. D. & Margot Garcia Gerald & Barbara GoldbergEloise Gore & Allen HileWesley GreenHelen HirschSidney & Martha Hirsh David JohnsonPaul & Marianne Kaestle George & Cecile KlavensLarry & Rowena G. MatthewsMartie MecomKitty & Bill MoellerLawrence & Nancy Morgan Serene ReinArnie & Hannah Rosenblatt Sally Sumner Maurice Weinrobe & Trudy Ernst Sherman L. WeitzmonBonnie WinnAnne Wright & Richard Wallat

$250 – $499

Thomas & Susan AcetoWes & Sue AddisonSydney ArkowitzAnn BlackmarrNathaniel & Suzanne Bloomfield Richard & Martha BlumJan Buckingham & LM Ronald Jack BurksJames CookNancy Cook Janna-Neen CunninghamPhilip M. DavisMarilyn Dettloff Mark DickinsonLionel & Karen Faitelson Thomas & Nancy Gates Tom & Janet GethingSandra HoffmanWilliam & Ann Iveson Dr. & Ms. Michael & Sennuy KaufmanDaniela LaxAlan Levenson & Rachel GoldwynAmy & Malcolm Levin Mark Luprecht Bill & Kris McGrathHal MyersRichard & Susan NisbettNancy Ostromencki & Phil RenaudMary Peterson & Lynn Nadel Barbara & Jay PisikJudith C. PottleSeymour Reichlin Herbert Rubenstein David & Ellin Ruffner Stephen & Gale Sherman Mark Haddad SmithBarbara StraubNancy StraussSheila Tobias Charles & Sandy TownsdinAllan & Diane TractenbergEllen Trevors

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THANK YOU TO OUR SUPPORTERS!

Michael & Mary TurnerJan Wezelman & David Bartlett

$100 – $249

Andrea & Gary Abramowitz Helmut A. Abt Philip AlejoMark & Jan BarmannMargaret Bashkin Kathryn BatesPeter & Betty BengtsonPeter BleasbyJoyce BolingerSarah BorosonElizabeth BuchananPatricia & Ed CampbellThomas & Debra Collazo Terence DeCarolisC. Jane DeckerMartin Diamond & Paula Wilk Brian EdneyJohn & Mary EnemarkPenny & Mark EstominBob FosterJames & Ruth FriedmanLinda L. FriedmanMargot & Tommy Friedmann Juan GallardoMarvin & Carol GoldbergBen & Gloria Golden Kathryn Gordon Janet GraysonMarilyn HalonenClare HamletLes & Suzanne Hayt Sara HeitshuRuth B. HelmJim Homewood William & Sarah Hufford Robert & Claire HugiSara HunsakerLee L. KaneJoe Kantauskis & Gayle BrownCarl KanunKaren Loeb

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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!

23

VERSE

VIIE . E . C UM M I N G S

i was considering how within night’s loose sack a star’s nibbling in–

fin –i– tes– i –mal– ly devours

darkness the hungry star which will e

–ven tu– al –ly jiggle the bait of dawn and be jerked

into

eternity. when over my head a shooting star Bur s

(t into a stale shriek like an alarm-clock)

From Tulips and Chimneys, 1923. Public Domain.

24

25

5599 N. Oracle Road 10425 N. Oracle Road, Suite 135

eyestucson.com

With the Precision of a Fine Performance.

520-293-6740

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)

26

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© 2015 Ameriprise Financial, Inc. All rights reserved. (10/15)

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