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present

All-Star Strings

Soka Performing Arts Center

Friday, March 2, 2018, at 8:00 p.m.

Program

Sextet No. 1 in B-flat Major, Op. 18 .......................BRAHMS (1833-1897)I. Allegro ma non troppoII. Andante ma moderatoIII. Allegro moltoIV. Poco allegretto e grazioso

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Souvenir de Florence, Sextet for Strings, Op.70.............TCHAIKOVSKY I. Allegro con spirito (1840-1893)II. Adagio cantabile e con motoIII. Allegro moderatoIV. Allegro vivace

and

Chamber Music | OC

Glenn Dicterow, violinIryna Krechkovsky, violin

Karen Dreyfus, violaBen Ullery, viola

Robert deMaine, celloRoss Gasworth, cello

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Program Notes

Sextet No. 1 in B-flat Major, Op. 18JOHANNES BRAHMS(Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna)

As a young composer, Brahms was a very severe and harsh critic of his own work. He tirelessly wrote and re-wrote his compositions, then often he destroyed those that he thought did not achieve the standards he set for himself. It was not until 1873 that he was fully satisfied with a string quartet he had written, although he had written about twenty of them before that date. One of his problems was that he found that using only four instruments was constraining and did not suffice to contain and express all the complexities inherent in his musical thought. He had the same difficulty with his early string quintet.

Sometime in the 1850s he attempted a relatively uncommon medium, a sextet made up of string instruments in pairs of violins, violas, and cellos which worked out more satisfactorily for his needs. Increasing the quartet’s number of instrumental “voices” by fifty percent, having two of each instrument, gave him an enrichment of color and texture. Brahms created two great sextets; Brahms’s work influenced Dvoràk’s Sextet of 1879, Bridge’s of 1890, and even Schoenberg’s Transfigured Night of 1899.

Mozart, Beethoven, Schubert, and Mendelssohn provided Brahms with models of quartet and quintet writing, but there was no earlier composer whose music is still performed regularly who wrote for the combination of instruments Brahms used in his sextets. Louis Spohr, who was then a more important musical figure than he is today, wrote a sextet in 1848 that may have influenced Brahms, but Brahms’s music resembles Spohr’s very little. Brahms may possibly have known some other earlier sextets, too. Boccherini wrote one in the 1770s, and there were a few for other combinations of strings. Ignace Pleyel, for example, wrote one for two violins, two violas, cello, and bass in 1791 that was widely circulated.

Brahms’s Sextet No. 1 contains so many melodic ideas that they run on, almost undisciplined, as though they had a will of their own, yet this sextet is a remarkably clear work. Brahms based the first movement, Allegro ma non troppo, on three or perhaps even four distinct melodic ideas, all forcefully stated, discussed and recalled. The second movement, Andante, ma moderato, is a theme and variations movement that begins with a simple melody, like a folk song, beautifully set for a dark-toned quartet of violas and cellos. Its symmetrical eight-measure phrases are exactly reproduced as the series of variations develops in tension and drama, but for the last two variations, there is a sudden change from stormy D Minor to clear and simple


D Major; then the theme returns, and the movement ends with a gentle coda. Next comes a short Scherzo, Allegro molto, with a rough country-dance as a contrasting central Trio section and a rushing coda. The Finale, a long Rondo, Poco allegretto e grazioso, shows qualities comparable to Schubert’s gentle and discursive rambles.

Souvenir de Florence, Sextet for Strings, Op. 70.PETER ILYICH TCHAIKOVSKY(Born May 7, 1840, in Votkinsk; died November 6, 1893, in St. Petersburg)

Tchaikovsky, like many tourists over the last several centuries, was particularly attracted to Italy. In 1880 he went to Rome to visit his brother who was fortunate enough to have an apartment there. While there, during the carnival season, he was inspired to write his Capriccio Italien. A decade later he spent the first three months of 1890 in Florence where he completed his opera The Queen of Spades and began the ebullient, high-spirited sextet, Souvenir de Florence. In May he wrote to the composer Ippolitov-Ivanov, that his projects for the summer were to finish orchestrating the opera and to write a string sextet. In July he completed the sextet and confided his satisfaction with his achievement to his patroness, Nadezhda von Meck: “What a sextet, and what a fugue at the end; it is a pleasure, it’s frightening the degree to which I am pleased with myself!” Furthermore, he said he had accomplished it “with pleasure and enthusiasm, and without the least exertion.” Its spirit of warm nostalgia and good nature pays tribute to the sunny climate and friendly atmosphere he experienced in Italy.

Tchaikovsky never wrote much chamber music; this work, his final chamber work, must be included in the small group that also comprises three string quartets, one string quartet movement, and a trio. To write a sextet was an unusual choice for him, especially since so few composers before him had worked with the grouping of six instruments. The entire repertoire of string sextets was neither large nor old. The first two in that configuration of any importance are those that Brahms worked on from the mid-1850s to 1860s. Tchaikovsky and Brahms used to enjoy each other’s company when they met during their concert tours. Each cordially respected the professionalism of the other, yet neither of them really liked the other’s music; nevertheless, when Tchaikovsky began to work at the difficult problem of writing fluently and interestingly for a sextet, he almost certainly looked to Brahms’s two youthful sextets as models.

The content of Tchaikovsky’s work does not feel anything like that of Brahms; the writing is often reduced to the simple texture of melody with accompaniment, but the very existence of Souvenir de Florence is unimaginable without Brahms’ work. The music of Dvoràk, Brahms’s disciple, may actually have been more instrumental, indirectly transmitting the sextet


tradition to Tchaikovsky. The Czech and Russian had become good friends in 1888; the Slavic heritage they shared gave them a strong sense of kinship.

Tchaikovsky took the sextet to St. Petersburg when he went there for the rehearsals of The Queen of Spades that autumn. He had it performed there in private for some of his friends, who included two young composers, Glazunov and Liadov, whose comments persuaded Tchaikovsky to revise the scherzo and the finale. The work received its first public performance on December 7, 1892, at a concert of the St. Petersburg Chamber Music Society, to which it is dedicated. When it was published, Tchaikovsky appended the descriptive title, Souvenir de Florence.

Tchaikovsky’s other “Italian” work, Capriccio Italien, is a souvenir of the sounds he heard in Rome, but the Sextet is not a “souvenir of Florence” in the same sense. It expresses not so much his pleasure in the place as his satisfaction at having worked so well on his opera there, and it also indicates his cheery optimism about the future. The high-spirited music is charming, rich in quite varied colors, and full of lyrical melodies and vital rhythms. The first two movements are models of elegant Italianate, almost classical, restraint: the rather lengthy first, Allegro con spirito, is a loosely assembled serenade in a kind of extended sonata form. The first violin introduces both the first and the second themes: the first has a sense of drive, while the second is more lyrical. The second movement, Adagio cantabile e con moto, is a lovely song that begins with a series of chords before the first violin announces the melodic line over a pizzicato accompaniment. The brief central section is characterized by many dynamic changes; the initial material returns to round off the movement.

The last two movements are unabashedly Russian in subject matter and in mode of expression: the third is a somewhat scherzo-like Allegro moderato, in ternary form. The mid-section has a faster tempo than the beginning and end. In the last movement, Allegro vivace, Tchaikovsky turns a peasant dance tune into the subject of a fugue. The movement comes to a climax with a fugal treatment of the initial theme.

Program notes by Susan Halpern, copyright 2018.


BiographiesGLEN DICTEROWViolin

Violinist Glenn Dicterow has established himself worldwide as one of the most prominent American concert artists of his generation.

Dicterow has enjoyed a storied career. The concertmaster of the New York Philharmonic for thirty-four years, an all-time record in that major orchestral position, he became the first holder of the Robert Mann Chair in Strings and Chamber Music at the USC Thornton School of Music in 2013. He is also the chairman of the Orchestral Performance Program at New York’s Manhattan School of Music. More than ever before, Dicterow performs as a soloist with orchestras around the nation and beyond, while participating in musical festivals and chamber music, teaching in musical academies, and leading masterclasses around the world, he is also adjudicating competitions, among a plethora of musical assignments in a “second act” easily as active as his much lauded years with the Philharmonic.

Dicterow joined the Los Angeles Philharmonic as associate concertmaster in 1971, becoming concertmaster there before turning twenty-five. He came to New York as that orchestra’s concertmaster in 1980, while soloing annually with the Philharmonic in each of his thirty-four years.

Today, Dicterow is as committed to passing on the great musical legacy that spurred his own career as he once was in his orchestral duties. Beside his endowed chair at the USC-Thornton School and his innovative work in the Manhattan School’s orchestral program, he is the leader of the String Leadership Program at Santa Barbara’s Music Academy of the West, training new generations of concertmasters and principal second violinists.

Among his many honors, the Young Musicians Foundation, a Los Angeles institution which has spurred the careers of innumerable artists, honored Dicterow in February 2015 with its Living the Legacy Award. It should be noted that in his early teens, Dicterow, who is now on the YMF Advisory Board, won that organization’s Debut Concerto Competition in 1963.

Glenn Dicterow and his wife, Karen Dreyfus, are founding members of the Lyric Piano Quartet and the Amerigo Trio, performing, recording, teaching, and proselytizing at leading festivals and musical institutions around the world.

Bio by Andrew Freund


IRYNA KRECHKOVSKYViolin

Canadian violinist Iryna Krechkovsky is a prize-winning violinist with an international career in solo, chamber, and orchestral performances. Celebrated for her tone, emotionality, and precision, she has performed in concert venues from Stern Auditorium at Carnegie Hall and Alice Tully Hall in New York City, to the American Church in Paris and Roy Thomson Hall in Toronto, and was featured on National Public Radio, KABC-TV Los Angeles, the Public Broadcasting Service, and, most recently, as a speaker/performer at TEDxChapmanU. She was a top-prize winner at the Sorantin International Competition, the Canadian Music Competition, the Kocian International Violin Competition in Czech Republic, the Beverly Hills Auditions, and the Canada Council for the Arts Musical Instrument Bank Competition which afforded her a three-year loan of the 1689 “Baumgartner” Stradivari violin.

She has performed as soloist with the Lviv National Symphony Orchestra of Ukraine, the Toronto Sinfonietta, the Seoul National University Virtuosi, the California Chamber Orchestra, the Warren Philharmonic Orchestra, and the Canadian Academy Chamber Orchestra, and appears alongside principals from the Orpheus Chamber Orchestra, Metropolitan Opera Orchestra, and Orchestra of St. Luke’s in performances with the New York Women’s Ensemble Orchestra. Krechkovsky has performed hundreds of recitals throughout North America, Europe, and Asia with her husband, pianist Kevin Kwan Loucks, as part of the award-winning Krechkovsky/Loucks Duo. In 2012 the duo formed Trio Céleste with cellist Ross Gasworth and are currently Ensemble-in-Residence at the Claire Trevor School of the Arts at the University of California, Irvine, where they also direct the annual Summer Chamber Music Festival. Krechkovsky is also co-founder and director of the Young Artist Program of Chamber Music | OC, one of the most dynamic classical music projects in the country dedicated to advancing the art of chamber music through performance, education, and community outreach.

Born in Ukraine, Iryna Krechkovsky holds a doctor of musical arts degree from Stony Brook University in New York and earned her bachelor and master of music degrees from the Cleveland Institute of Music where she was awarded the Dr. Jerome Gross Prize in Violin. Her mentors include David and Linda Cerone, Philip Setzer, Philippe Graffin, Pamela Frank, and Henk Guittart. Krechkovsky performs on a 2007 violin by Ryan Soltis and Samuel Zygmuntowicz.


KAREN DREYFUSViola

Karen Dreyfus ranks high among the leading American violists of the current era. She maintains a richly varied career, dedicated to concertizing in solo, orchestral, and chamber music settings; her wide-ranging recordings, and to teaching.

Dreyfus began violin studies from an early age with her father, a member of the Philadelphia Orchestra. Soon adopting the viola, her teachers included Leonard Mogill, Heidi Castleman, and Martha Katz. Dreyfus subsequently graduated from Curtis Institute of Music, where she studied with Karen Tuttle and Michael Tree.

Maintaining an international performance schedule, among such groupings as Musicians from Marlboro, the New York Philomusica Chamber Ensemble, Theater Chamber Players of the Kennedy Center, Orpheus Chamber Orchestra, and the New York Philharmonic, Dreyfus has collaborated in recital with Yehudi Menuhin at Carnegie Hall, and has concertized alongside such artists as Rudolf Serkin, Alexander Schneider, Leon Fleisher, Chick Corea, and members of the Guarneri Quartet. She is also a founding member of the Lyric Piano Quartet and the Amerigo Trio.

Dreyfus was invited to join the viola faculty of the Manhattan School of Music in 1991, and began teaching orchestral repertoire at the school a decade later. She since added an affiliation at the Juilliard School, teaching a sonata class and chamber music.

Dreyfus’s festival participations are numerous, including performances at the Marlboro Music Festival, Casals, Tannery Pond Concerts, the Seattle Chamber Music Society Summer Festival, and Lorin Maazel’s Castleton (Virginia) Festival, with teaching stints and masterclasses at the Music Academy of the West, Bowdoin International Music Festival, Marrowstone Music Festival, the Brevard Music Center, and the Icicle Creek Music Festival. In the summer of 2015 Karen Dreyfus joined the viola faculty at the Music Academy of the West where she is also co-director of chamber music. She has distinguished herself as a recipient of many prizes both in this country and abroad, including the Naumburg Viola Competition (1982), the Lionel Tertis Competition (1980), and the Washington International Competition (1979). Dreyfus joined the faculty of the USC Thornton School of Music in 2013 as director of chamber music and associate professor of viola.


BEN ULLERYViola

Ben Ullery is assistant principal viola of the Los Angeles Philharmonic, a position he has held since 2012. Prior to moving to Los Angeles he spent three seasons as a member of the Minnesota Orchestra. Recently, he has was guest principal viola with the Detroit Symphony, the Australian Chamber Orchestra, and the Aspen Chamber Symphony.

Ullery has been featured in chamber music performances on NPR’s Performance Today, as well as local broadcasts on KUSC in Los Angeles and Minnesota Public Radio. He has recorded chamber works for Bridge and Albany records. Recent summer festival appearances include the Aspen, Grand Teton, Mozaic, and Music in the Vineyards festivals. In the upcoming season he will be featured in the Emerald City (Seattle, Washington), Music at Millford (South Carolina), La Sierra University (Riverside, California), and Virtuosi USA (Los Angeles) chamber series.

Ullery is a faculty member at the Colburn School, where he teaches orchestral repertoire and coaches the Colburn Orchestra’s viola section. His students have gone on to hold positions in major orchestras in the United States and Europe.

Ullery is a graduate of the Oberlin Conservatory, where he studied violin with Gregory Fulkerson and received numerous honors upon graduation. He later attended New England Conservatory and the Colburn School, studying with James Buswell and Paul Coletti, respectively. He has also studied chamber music with members of the Guarneri, Takács, Vermeer, Borromeo, Miró, and St. Petersburg quartets.

ROBERT DEMAINECello

Praised by the New York Times as “an artist who makes one hang on every note,” Robert deMaine is the principal cellist of the Los Angeles Philharmonic. A highly sought-after solo artist and chamber musician, he is a frequent guest artist at many of the world’s premier chamber music festivals, including those of Marlboro, Seattle, Great Lakes, Limoges, Heidelberg Schlossfest, Chamberfest Cleveland, Montréal, Seoul’s Ditto Festival, and most recently


featured as a soloist at the 2016 Piatigorsky Cello Festival. His playing is noted for its “beautiful singing tone, lapidary technical precision, and a persuasive identification with the idiom of the music at hand.” As a soloist, he performs the great works of the repertoire both old and new from concertos by Haydn, Dvorák , Elgar, and Penderecki, as well as more recent works by John Williams and Christopher Theofanidis. As a recitalist, the great works for cello and piano, as well as the suites of J. S. Bach remain staples of his repertoire, and, as one critic noted, his playing was “magnificent” and that his “technical brilliance is surpassed only by the beauty of tones he produces.”

DeMaine has appeared on the stages of Carnegie Hall and Lincoln Center, the Kennedy Center, Teatro Colón, Amsterdam’s Concertgebouw, the Berlin Philharmonie, Vienna Konzerthaus, Moscow’s Tchaikovsky Hall, Auditorium du Louvre, Suntory Hall, Seoul Arts Center, the Shanghai Oriental Arts Center and Conservatory, and London’s Wigmore Hall, among others. He is the recipient of a career grant from the Helen M. Saunders Foundation, and the gift of a Vuillaume cello from the Cecilia Benner Foundation. His principal teachers include Leonard Rose, Stephen Kates, Steven Doane, Paul Katz, Luis García-Renart, and Aldo Parisot. Masterclasses and additional studies were undertaken with Bernard Greenhouse, János Starker, Boris Pergamenschikow, Felix Galimir, and Jerome Lowenthal.

DeMaine studied at the Juilliard School, the Eastman School of Music, the University of Southern California, Yale University, and the Kronberg Academy in Germany. A first-prize winner in many national and international competitions, deMaine was the first cellist ever to win the grand prize at San Francisco’s prestigious Irving M. Klein International Competition for Strings. As soloist, he has collaborated with many of the world’s most distinguished conductors, including Neeme Järvi, Rafael Frühbeck de Burgos, Gustavo Dudamel, Esa-Pekka Salonen, Peter Oundjian, Mark Wigglesworth, Joseph Silverstein, Mirga Gražinyte-Tyla, and Leonard Slatkin, and has performed nearly all the major cello concertos with the Detroit Symphony Orchestra, where he served as principal cello for over a decade. DeMaine has also served as guest principal cellist of the Saint Paul Chamber Orchestra, the Toronto Symphony, and the Bergen Philharmonic in Norway. A founding member of the Ehnes Quartet in 2010, he also performs in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu.

DeMaine has recorded for Naxos, Chandos, Onyx, CBC, DSO, Elysium, and Capstone and has been featured on the BBC, PBS, NPR’s Performance Today, the Canadian Broadcasting Company, France Musique, and RAI, among others. His recording of the John Williams Cello Concerto (Detroit Symphony, Leonard Slatkin conducting) was released by Naxos in fall 2015. DeMaine is an exclusive Thomastik-Infeld artist and performs on a cello made in 1684 by Antonio Stradivari, the “General Kyd, ex-Leo Stern.”


ROSS GASWORTHCello

Cellist Ross Gasworth’s playing has been praised as “gorgeous” (Waco Tribune-Harold) and “warm and generous” (Orange County Register), having concertized and taught throughout the United States, as well as in Asia and Europe. He has performed chamber music alongside principal players from the Vienna Philharmonic, Berlin Philharmonic, Chicago Symphony, San Diego Symphony, and Orpheus Chamber Orchestra. Gasworth was selected by Michael Tilson-Thomas to perform as principal cellist of the YouTube Symphony Orchestra at the Sydney Opera House in Sydney, Australia, and at Google’s annual Zeitgeist festival in London, England.

Gasworth has performed as a soloist with the Rochester Symphony, Birmingham-Bloomfield Symphony, Michigan Youth Arts Festival Orchestra, Detroit Symphony Civic Orchestra, and the UCI Symphony. As an orchestral musician, Gasworth has performed with the Los Angeles Philharmonic, San Diego Symphony, Houston Symphony, Fort Worth Symphony, New World Symphony, Artosphere Festival Orchestra, and as principal cellist with the Waco Symphony and Miami Symphony. Major festival appearances include the Kneisel Hall Chamber Music Festival, Aspen Music Festival, and Pacific Music Festival. Gasworth has played in studio recording sessions for major motion pictures at Sony Picture Studios, FOX Studios, and Warner Brothers Studios, as well as albums at Capitol Records for recording artists such as Barbra Streisand, Michael Bublé, and Herb Alpert. He has performed at major venues around the world, including Carnegie Hall, Tokyo’s Suntory Hall, the Hollywood Bowl, the Sydney Opera House, and Paris’s Radio France Concert Hall.

Since 2012 Gasworth has been a member of the award-winning Trio Céleste, Ensemble-in-Residence at the Claire Trevor school of the Arts at the University of California, Irvine, where the Trio directs the Summer Festival for Chamber Music as well. Trio Céleste is also the permanent Ensemble-in-Residence at Chamber Music | OC, for which Gasworth is Director of Media and Marketing. He is also co-director of the Summer Chamber Music Camp at the David Adler Music and Arts Center in Libertyville, Illinois.

A committed educator, Gasworth has been a teaching assistant at the University of North Texas, University of Illinois, and Cleveland Institute of Music. As one of the directors of Chamber Music | OC, Gasworth teaches Dalcroze Eurhythmics in the Chamber Music | OC Young Artist Program workshops.


Additionally, he has taught cello, chamber music, and eurhythmics at the Kneisel Hall Young Musician’s Program, the Idyllwild Arts Academy, the Dallas Symphony Orchestra Young Strings Program, and the Orange County School of the Arts.

Gasworth performs on a 2005 cello by William Whedbee.

CHAMBER MUSIC | OC

Launched in 2012 by pianist Dr. Kevin Kwan Loucks and violinist Dr. Iryna Krechkovsky, Chamber Music | OC has established itself as one of the most dynamic classical music organizations in the country dedicated to advancing the art of chamber music through performance, education, and community outreach.

The Performance Division of Chamber Music | OC is designed to provide residents of Southern California with world-class chamber music recitals featuring rising stars and established veterans in the classical music world. Distinguished guest artists have included Colin Carr, cello; Yuri Cho, violin; Paul Coletti, viola; Robert deMaine, cello; Eugene Drucker, violin; Grace Fong, piano; Alan Kay, clarinet; Julian Martin, piano; David Samuel, viola; Philip Setzer, violin; William VerMeulen, horn; the Jupiter String Quartet; and Trio Céleste.

The 2016/2017 season featured the organization’s Carnegie Hall Debut and the world premiere of a new commission by composer Paul Dooley.

The Education Division of Chamber Music | OC is anchored by the Young Artist Program, the only tuition-free program of its kind in the country. Open to exceptionally talented musicians between the ages of twelve and twenty-five, the program provides a unique and comprehensive musical education that features chamber music coachings and performance classes, musicianship and eurythmics workshops, career development seminars, participation in distinguished guest artist master classes, community outreach performances, the Rising Stars Recital Series, and the Young Artist Honors Ensemble.

The Community Outreach Division of Chamber Music | OC aspires to make the benefits of music widely accessible through collaborations with local schools and community organizations. The program offers a range of single- and multi-session workshops designed to give participants the opportunity to enjoy and learn about how music can positively affect their well-being. Partnering organizations include the Irvine Adult Day Health Services, Kids Institute for Development and Advancement, Human Options, the Orange County Children’s Therapeutic Art Center, and the Delhi Center.


Soka University of America Board of Trustees:Steve Dunham, JD, ChairTariq Hasan, PhD, Vice ChairYoshihisa Baba, PhDMatilda BuckLawrence E. Carter Sr., PhD, DD, DH, DRSMaria Guajardo, PhDClothilde V. Hewlett, JDLawrence A. Hickman, PhD

Soka University of America Administration:Daniel Y. Habuki, PhD, PresidentEdward M. Feasel, PhD, Vice President of Academic Affairs & Chief Academic OfficerArchibald E. Asawa, Vice President for Finance and Administration & CFO & Chief Investment

OfficerTomoko Takahashi, PhD, Vice President of Institutional Research and Assessment & Dean of

Graduate SchoolKatherine King, PHR, Vice President for Human Resources and Risk ManagementWendy Harder, MBA, APR, Director of Community RelationsHyon J. Moon, EdD, Dean of StudentsAndrew Woolsey, EdD, Director of Enrollment ServicesBryan Penprase, PhD, Dean of Faculty

We would like to thank our Board of Trustees and our Administration for their extraordinary support of

Soka Performing Arts Center.

With deepest gratitude to the donors who made Soka Performing Arts Center possible.

Kris Knudsen, JDKaren Lewis, PhDDaniel Nagashima, MBAGene Marie O’Connell, RN, MSDavid P. Roselle, PhDYoshiki TanigawaShunichi Yamada, MBA

Soka Performing Arts Center Staff:David C. Palmer, General ManagerRebecca Pierce Goodman, Marketing and Administrative ManagerShannon Lee Blas-Blair, Patron Services ManagerSam Morales, Technical Services ManagerSteve Baker, House Manager; Lindsey Cook, Production Assistant; Mitsu Hashimoto, Stage Technician; Hana Kurihara, Stage Manager; Ray Mau, Lighting TechnicianJim Merod, Director, Jazz Monsters Series and Soka University Jazz Festival

Students of Soka University of America who serve as patron and technical services crew, as well as marketing assistants. Citizens of Aliso Viejo and surrounding communities who volunteer their service as ushers and hospitality aides.

Our Sponsors and Partners:Orange County Register, KJazz 88.1, KUSC 91.5, California Presenters, California Arts Council.

present all-star strings · work, must be included in the small group that also comprises three...

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