NAREK ARUTYUNIAN, CLARINETSTEVEN BECK, PIANOMARCH 22, 2020

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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 Alan Hershowitz Tim Kantor Juan MejiaJay RosenblattElaine RousseauRandy SpaldingPaul St. JohnGeorge TimsonLeslie Tolbert Ivan Ugorich

PROGRAM BOOK CREDITS

EditorJay Rosenblatt

ContributorsRobert Gallerani Holly Gardner Nancy Monsman Jay Rosenblatt James Reel

Advertising Cathy Anderson Michael Coretz Marvin Goldberg Paul Kaestle Jay Rosenblatt Randy Spalding Allan Tractenberg

DesignOpenform

PrintingWest Press

CONTACT US

Arizona Friends of Chamber Music Post Office Box 40845 Tucson, Arizona 85717

Phone: 520-577-3769 Email: office@arizonachambermusic.org Website: arizonachambermusic.org

Operations ManagerCathy Anderson

USHERS

Barry & Susan AustinLidia DelPiccolo Susan FiferMarilee MansfieldElaine OrmanSusan RockJane Ruggill Barbara TurtonDiana WarrMaurice Weinrobe & Trudy Ernst

VOLUNTEERS

Dana DeedsBeth DaumBeth FosterBob FosterTraudi NicholsAllan TractenbergDiane Tractenberg

On the cover: Manuel de Falla

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FROM THE PRESIDENT

Welcome to our concert. Now, goodbye!

I’m not shooing you away, just letting you know that this is my final letter to you as president of the Arizona Friends of Chamber Music. If all goes according to plan, barring Russian interference or voter suppression, at our board meeting at the end of this month we’ll elect an excellent new president. I know who it’s supposed to be, because the vote is rigged, but I’ll let him introduce himself to you at the next concert.

I joined the AFCM board about 20 years ago, and had attended its concerts for about two decades before that—sometimes as a music critic, sometimes as a radio producer, and sometimes just as an enthusiastic audience member. I’m still enthusiastic, but like the human body, or the Venetian lagoon, AFCM needs regular circulation to keep the environment fresh and to flush out the stale crud (that would be me).

Even though it doesn’t matter, much, who serves as AFCM president, two constants are essential to maintain: the quality of our programming—superb music, superbly performed—and you, coming to our concerts, sharing your opinions with us and with your friends, slipping us the occasional contribution, and keeping your ears and your hearts open to this colorful, compelling thing that is chamber music. After this month, I’ll be one of you.

JA M E S R E E L

President

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NAREK ARUTYUNIAN, STEVEN BECK MARCH 22, 2020

Narek Arutyunian, clarinet Steven Beck, piano

Young Concert Artists, Inc. 250 West 57th Street Suite 1222 New York, NY 10107

NAREK ARUTYUNIAN

Clarinetist Narek Arutyunian is an artist who “reaches passionate depths with seemingly effortless technical prowess and beguiling sensitivity” (The Washington Post). As soloist with orchestra, his performances include Copland’s Clarinet Concerto with the Orchestra of St. Luke’s at Alice Tully Hall, Artie Shaw’s Concerto for Clarinet with The Boston Pops, Mozart’s Concerto with Oregon’s Newport Symphony and New York’s St. Thomas Orchestra, appearances with Prague Radio Symphony, the Kaliningrad Philharmonic, the Moscow Virtuosi Chamber Orchestra, and the Moscow State Symphony Orchestra, and a recording of Weber’s Concertino with the New Russia State Symphony Orchestra.

Born in Armenia, Mr. Arutyunian’s family moved to Moscow when he was three. As a teenager, he won First Prizes in the International Young Musicians Competition in Prague and the Musical Youth of the Planet Competition in Moscow. He graduated from the Moscow State Tchaikovsky Conservatory as a student of Evgeny Petrov, received a Bachelor’s degree from The Juilliard School, where he worked with Charles Neidich, and continued his studies with Mr. Neidich at the Manhattan School of Music on a Leon Russianoff Memorial Scholarship, where he received a Master’s Degree in 2018.

Mr. Arutyunian has performed extensively in Australia, Asia, and in Europe, including at the Musée du Louvre in Paris and the Palazzo del Principe in Genoa. Festival appearances include return engagements at the Marlboro Music Festival and at Juilliard’s ChamberFest, where he performed Osvaldo Golijov’s The Dreams and Prayer, the New York Festival of Song, Methow Valley Chamber Music Festival in Washington, Krzyzowa Music Festival in Poland, Germany’s Usedomer Musikfestival, Musica Viva’s Huntington Estate and Sydney festivals in Australia, and Young Concert Artists Festivals in Tokyo and Beijing. In addition to solo recitals, he consistently receives acclaim for his educational outreach programs in New York City public schools and around the country.

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NOW MUSIC

STEVEN BECK

American pianist Steven Beck is a graduate of The Juilliard School, where his teachers were Seymour Lipkin, Peter Serkin, and Bruce Brubaker. He made his debut with the National Symphony Orchestra, and has toured Japan as soloist with the New York Symphonic Ensemble. Other orchestras with which he has appeared include the New Juilliard Ensemble (under David Robertson), Sequitur, the Jupiter Symphony Chamber Players, and the Virginia Symphony.

Mr. Beck has performed as soloist and chamber musician at the Kennedy Center, Alice Tully Hall, Weill Recital Hall at Carnegie Hall, Merkin Hall, Miller Theater, and Steinway Hall, as well as on the New York Philharmonic Ensembles Series and WNYC. Summer appearances have been at the Aspen Music Festival, Lincoln Center Out of Doors, the Greenwich Music Festival, the Woodstock Mozart Festival, and the Wellesley Composers’ Conference. He is an Artist Presenter and regular performer at Bargemusic (where he recently performed all of the Beethoven piano sonatas), performs frequently as a musician with the Mark Morris Dance Group, and has performed with the New York City Ballet.

Composers Mr. Beck has worked with include Elliott Carter, Henri Dutilleux, George Perle, and Charles Wuorinen, and he has appeared with ensembles such as Speculum Musicae, the Da Capo Chamber Players, the Manhattan String Quartet, the Pacifica String Quartet, The Metropolis Ensemble, New York Philomusica, the New York New Music Ensemble, Mosaic, the Lyric Chamber Music Society, the Omega Ensemble, Ensemble Sospeso, the Orchestra of the S.E.M. Ensemble, Counterinduction, the American Contemporary Music Ensemble, the East Coast Composers’ Ensemble, the Fountain Ensemble, Friends and Enemies of New Music, Lost Dog, and Antisocial Music. He is a member of the new music ensemble Future In Reverse (FIRE) as well as the notorious Knights of the Many-Sided Table. His recordings are on the Albany, Bridge, Monument, Mulatta, and Annemarie Classics labels.

THIS AFTERNOON’S PROGRAM

LEONARD BERNSTEIN (1918–1990)

Sonata for Clarinet and Piano

Grazioso—Un poco più mosso Andantino—Vivace e leggiero

ELLIOTT CARTER (1908–2012)

Gra

AARON COPLAND (1900–1990)

Sonata for Clarinet and Piano

Andante semplice—Allegro Lento Allegretto giusto

INTERMISSION

BÉLA BARTÓK (1881–1945)

Romanian Folk Dances

Jocul cu bâtă (Stick Dance) Brâul (Sash Dance) Pe loc (In One Spot) Buciumeana (Dance from Buscum) Poarga Românească (Romanian Polka) Mărunțel (Fast Dance)

MANUEL DE FALLA (1876–1946)

“Nana” from Suite Populaire Espagnole

PAUL SCHOENFIELD (b. 1947)

Klezmer Sonatina for Clarinet and Piano

I. q = 104 II. Allegretto

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PROGRAM NOTES

as well as distinctive tone colors. His intricate creations are sonorous constructs that have been praised critically for their wit and lyricism. The recipient of a National Medal of Arts Award and a Pulitzer Prize, Carter has been labeled “America’s great musical poet.”

Carter writes about his 1993 work (which he rescored the following year for solo trombone): “Gra (‘Play’ in Polish) for solo clarinet, was written as a tribute to my dear friend Witold Lutosławski to commemorate his 80th birthday. During the twenty-five or so years that I have known Witold, I have never ceased to admire his impressive works and his gracious personality. This clarinet piece combines frequently changing, playful characters together (all based on the same material) and recalls to me my many delighted visits with the composer in America and Poland.”

OFTEN CALLED “the Dean of American Composers,” Aaron Copland also enjoyed a long career as teacher, conductor, writer, and critic. During the 1920s, Copland studied composition in Paris with Nadia Boulanger, who encouraged him to create a specifically American neoclassical idiom. After exploring avant-garde chromatic and serial techniques in the 1930s, Copland in the 1940s found his national voice with a series of American-themed ballet scores, Billy the Kid, Rodeo, and Appalachian Spring (which won the 1945 Pulitzer Prize). Copland’s style, which balances modernist and folk elements and most often develops with expansive and slow-moving harmonies, has been heard as an evocation of the vast American landscape.

Originally scored for violin and piano, the sonata (1942–3) was dedicated to the memory of Lieutenant Harry H. Dunham, a friend who was killed in action in the South Pacific; Copland rescored the work for clarinet in 1980. Copland discussed his sonata in an interview: “I would say that the sonata is one of my most accessible works. There are no complexities—it’s an uncomplicated and direct musical statement of rather uncomplicated and direct musical ideas that I enjoyed developing. Above all the work is lyrical and there is little pretense to virtuosity. Throughout the piece the piano writing is deliberately spare and its linearity complements the melodic nature of the clarinet part.

“The Clarinet Sonata was my first published piece (1942). I’m still proud of it, despite a certain student element in the music.”LEONARD BERNSTEIN

AMERICAN ICON Leonard Bernstein has been described as a Renaissance man. Renowned as a much-recorded composer, conductor, and pianist, he also wrote influential books and essays that promoted music as a vital, living art. An inspiring teacher, Bernstein brought his messages into American life through televised lectures and Young People’s Concerts. Despite a schedule of astounding complexity, he remained dedicated to numerous humanitarian causes throughout his life. His impressive list of awards includes 21 honorary degrees, 13 Grammy Awards, 11 Emmy Awards, 25 television awards, 23 civic awards, and honorary titles in 20 societies and orchestras, including Laureate Conductor of the New York Philharmonic and the Israel Philharmonic.

While still a student at the Curtis Institute, Bernstein began his clarinet sonata during a 1941 visit to Key West. He recalled in an interview that he had bought a clarinet in a pawnshop two years earlier. “I fooled around with it, so I was inclined towards the instrument. The Clarinet Sonata was my first published piece (1942). I’m still proud of it, despite a certain student element in the music.”

The songful Grazioso combines the neoclassical idiom of Paul Hindemith, his summer teacher at the Tanglewood Institute, with an element of boogie-woogie. The second movement, influenced by both Aaron Copland and Key West jazz clubs, is cast in four sections with alternating slow-fast tempos.

TR AINED BY WALTER PISTON at Harvard and Nadia Boulanger in Paris, Elliott Carter began his remarkably long career as a neoclassicist but after World War II found a new identity as an experimenter devoted to novel formal and rhythmic organizations

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PROGRAM NOTES

“There are three movements—moderate tempo, slow, and fast, the last two played without pause. The first movement alternates in mood between a tender lyricism and a more rapid-paced section. The slow movement is bare in outline and poetic in nature. Harmonically it is very plain—‘white-notey,’ you might say. The last movement is not unlike the Duo for Flute and Piano. It’s snappy and rather rhythmically intricate, combining light and bouncy material with sections that are more serious in tone. A short coda ends the sonata with a reference to the theme of the opening movement.”

HOPING TO REVITALIZE Western art music by creating an accessible archive of folk material, Bartók tirelessly sought themes from his native Hungary, as well as neighboring areas, and incorporated many into his own compositions. Before the outbreak of World War I he collected over 800 instrumental melodies from Romania’s Transylvania region, and in 1915, his “Romanian year,” he created several compositions from this trove. His Romanian Folk Dances, arranged as a six-movement suite for piano, were transcribed for clarinet and piano by Zoltán Székely and Kálmán Berkes.

Bartók admired the pungent instrumental combinations of Romanian music—peasant flute and bagpipes, often paired with violin and guitar—which created colors richer than his native Hungarian music offered. In this arrangement Bartók chose registers and articulations that would best evoke the original timbres. Although the complex rhythms and decorations of the native dances were lost, he compensated by increasing the harmonic complexity of these sparely modal works.

Two gypsy violinists introduced Bartók to the moderately-paced “Stick Dance” (Dorian mode/ A minor). The faster second movement, “Sash Dance” (Dorian mode/F-sharp minor), is a traditional dance that requires a scarf. The slower third movement, the mysterious “In One Spot” (Aeolian mode/D minor), is followed by a moderate “Dance from Buscum” (Mixolydian mode/C major). Two connected rapid movements, the “Romanian Polka” (Lydian mode/ D major) and the two-part “Fast Dance” (Mixolydian to Dorian/D major to A major) create a lively finale.

B ORN IN CÁDIZ, Spanish composer Manuel de Falla became immersed in Andalusian music, especially flamenco’s cante hondo (deep song), during his early student days. After moving to Paris in 1907, he became influenced by Debussy, and he began to fuse the impressionist style with strongly nationalistic Spanish material. Appalled by Franco’s victory in the Spanish Civil War, Falla relocated to Argentina, where he remained in exile despite governmental efforts to lure him back to Spain. However, his remains were returned to his homeland and interred at the Cathedral of Cádiz.

Falla’s Siete canciones populares españolas (1922), here transcribed from the original voice and piano, are arrangements of seven Spanish folk songs. “Nana,” the fifth of the set, is a slow lullaby.

PAUL SCHOENFIELD RECEIVED his Doctor of Musical Arts degree from the University of Arizona, where his principal teachers were Ozan Marsh and Robert Muczynski. After living in Israel during the 1990s, he returned to the United States, where he has pursued an active career as a touring pianist and composer. He has been awarded numerous commissions and grants from organizations such as the National Endowment for the Arts, the Rockefeller Fund, and Chamber Music America. Often compared to Gershwin, Schoenfield takes inspiration from a wide range of musical experience—American and foreign popular styles, folk traditions, and established classical practice, often treated with a sly twist. He delights in combining these diverse elements within a single work. The result, he states,

“is not the kind of music for relaxation, but the kind that makes people sweat; not only the performer, but the audience.”

Klezmer, a genre of the Ashkenazi Jewish tradition, originally implied spirited dance tunes played for celebrations; in recent decades it has incorporated American jazz elements. The two movements of Schoenfield’s playful and virtuosic Klezmer Sonatina proceed without pause. The composer indicates that the first should be performed “always very marked, exaggerated and grotesque,” and the second “drunken and lively.”

Notes by Nancy Monsman

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THANK YOU TO OUR SUPPORTERS!

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$100 – $249

Helmut Abt Philip AlejoMark & Jan BarmannMargaret BashkinKathryn BatesJoyce Bolinger Sarah BorosonElizabeth BuchananJohn BurcherPatricia & Ed Campbell Robert D. Claassen & John T. Urban Tom Collazo Cornell CollinsC. Jane DeckerTerence DeCarolisMartin Diamond & Paula Wilk Monika DormanBrian EdneyJohn & Mary EnemarkDorothy Fitch & John MunierJames & Ruth FriedmanLinda L. Friedman Peter & Linda FriedmanTommy & Margot FriedmannJuan GallardoThomas & Nancy GatesMarvin & Carol GoldbergBen & Gloria GoldenKathryn GordonJanet GraysonMarilyn Halonen Clare Hamlet Cynthia Hartwell James Hays Les & Suzanne HaytSara HeitshuRuth B. HelmJim HomewoodRobert & Claire HugiSara Hunsaker Jeffrey HurtigLee Kane Joe Kantauskis & Gayle Brown Tim KantorCarl KanunWilliam Kruse

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GIFTS IN MEMORY OF

Ann Blackmarrby Cathy Anderson

David Cornellby Jean-Paul Bierny & Chris Tanz by Joyce Cornell, in loving memory by Larry & Nancy Morgan

Michael Cusanovichby Marilyn Halonen

Harry Fonsecaby Jean-Paul Bierny & Chris Tanz

Rayna Leah Gellman by Mark Haddad Smith

His mother, Helen Margaret Hodakby Eddy Hodak

Raymond Hoffmanby Sandra Hoffman

Kathy Kaestleby Paul & Marianne Kaestle

Jim Rusk by Carolyn Leigh

Brenda Semanickby Jean-Paul Bierny & Chris Tanz

Stephen G. Tellmanby Jennalyn Tellman

Carl T. Tomizukaby Sheila Tobias

Contributions are listed from March 1, 2019 through February 29, 2020. 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.

THANK YOU TO OUR SUPPORTERS!

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THANK YOU TO OUR SUPPORTERS!

JEAN-PAUL BIERNY LEGACY SOCIETY

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$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.

GIFTS IN HONOR OF

AFCM Board of Directorsby C. Jane Decker

Nancy Cook’s birthday, to support Music in the Schoolsby Susan Aiken by Frank & Betsy Babbby Linda Barter by Avery & Carolyn Bates by Jean-Paul Bierny & Chris Tanz by Larry & Gerry Campbell by Tom Collazo by Cornell Collins by Gail & Bill Eifrig by Patricia & David Eisenbergby Barbara Hutchinson by Lucy Mastermanby Margie Matterby John McNulty & Jeff Brown by Mary Ellen Morbeck & John Hoffman by Bob Nevins by Larry & Deborah Ogden by Andy and Lisa Remack by Boyer Rickelby Erin Riordan & Ben Wilder by Betsy Rollings by Evelyn Salk by Susan Sangston by Randy Spalding by Bob & Donna Swaim by Adam Ussishkin & Adam Wedel by Peter & Reyn Voevodskyby Patricia Waterfall by Jude Weierman

Elaine Rousseauby Les & Suzanne Hayt

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CONCERT SPONSORSHIPS

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MUSIC IN THE SCHOOLS

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FOUNDATIONS

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THANK YOU TO OUR SUPPORTERS!

YEAR-END CAMPAIGN

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Keith & Adrienne Lehrer Amy & Malcolm Levin Karen E. & Leonard L. Loeb Warren and Felicia May Max McCauslin & John Smith Joan McTarnahan Richard & Judith Meyer Walter Miller Richard & Susan Nisbett Harry Nungesser Karen Ottenstein Beer Eileen Oviedo Detlev Pansch & Julie Steffen Mary Peterson & Lynn Nadel Jay & Barbara Pisik John Raitt Steve Reitz & Elizabeth Evans Kay Richter & Stephen Buchmann Boyer Rickel Arnie & Hannah Rosenblatt Herschel and Jill Rosenzweig John & Helen Schaefer Howard & Helen Schneider Stephen & Janet Seltzer Stephen & Gale Sherman Mark Haddad Smith Harry Stacy Jonathan & Chitra Staley Ronald Staub Barbara Straub Sally Sumner Michael Tabor Ellen Trevors Michael & Mary Turner Barbara Turton Karla Van Drunen Littooy James Verrier Marianne Vivirito & Ross Iwamoto Dimitri Voulgaropoulos & Tyna Callahan Patricia Waterfall Maurice Weinrobe & Trudy Ernst Patricia Wendel Sheila Wilson & Hal Barbar

Our heartfelt thanks to those who responded to our year-end campaign.

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

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Bostridge & Yang

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ANNIVERSARY

SE A S O N

2019 - 2020 Linus Lerner

Music Director

Northwest Tucson Sundays at 3:00 pm St. Andrew’s Presbyterian Church7575 N. Paseo del Norte

2019-2020 Performances

Mexican Independence Day ConcertSeptember 14-15, 2019Fox Tucson Theatre & Sunnyside H.S.

From Paris to LeningradOctober 19-20, 2019

Carmina BuranaNovember 16-17, 2019

SaddleBrooke Saturdays at 7:30 pmDesertView Performing Arts Center39900 S. Clubhouse Drive

Concert Venues

Die Fledermaus (full opera production)January 18-19, 2020, at Rincon H.S.

Beethoven & StraussFebruary 15-16, 2020

Tchaikovsky & a Live PainterMarch 14-15, 2020

Gershwin & BeethovenApril 25-26, 2020

2019-2020 SEASONInG E N I U S

VISIT TRUECONCORD.ORG FOR TICKETING & VENUE

INFORMATION OR CALL 520-401-2651

SHAKESPEARE IN SONG11 - 13 October

MOZART & DA VINCI22 - 24 November

LESSONS & CAROLSBY CANDLELIGHT

Songs of the Magi12 - 15 December

AMERICA SINGS!24 - 26 Januaryin partnership with

Tucson Desert Song Festival

BEETHOVEN & GOETHE21 - 23 February

BACH B-MINOR MASS27 - 29 March