26TH TUCSON WINTER CHAMBER MUSIC FESTIVALPETER REJTO, FESTIVAL DIRECTOR FRIDAY MARCH 8, 2019

2

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 Taneyev

3

Welcome to the concert!

One of my favorite string pedagogy sessions that I lead at the university involves creating a family tree – only instead of tracing relatives, we construct a performance lineage back in time through our teacher, then our teacher’s teacher, and so on. I work alongside my students, reacquainting myself with the familiar biographies of my teachers, while remembering their cherished lessons.

My own tree – and that of most bassists – can be traced directly back to the end of the 18th century. I carry the knowledge of generations of musicians. I attempt to convey to my students the fortune that we have inherited from these musicians. Each time I pick up my instrument, I honor these forebears by pursuing my craft with care, dedication, and love.

I owe it to the upcoming generation of musicians that I do not rest on the achievements of others. Part of my calling as a musician is to respect the past, yes, but also to seek a way forward. What new skills must be developed and shared with the next link on the tree? How can I communicate the meaning of today’s music with you, the audience?

I am similarly honored to perform at this year’s festival in front of my hometown audience.

Thank you for being here and opening your ears to the music of yesterday, the music of today.

PHILIP ALEJO

AFCM Board Member Assistant Professor of Music, UA Festival Musician (Bass)

FROM PHILIP ALEJO

4

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/

5

One Saturday afternoon, when I should have been on the soccer field, I scratched my crystal with the cat’s whisker, searching for Jack Payen and his BBC Dance Orchestra, when I got instead a kind of listening silence with coughs in it, and then a quite incredible flute solo, sinuous, exotic, erotic. I was spellbound. The velvet strings, the striking clarinets, the harps, the muted horns, the antique cymbals, the flute, above all the flute. Eight minutes after the opening flute theme the announcer told me I had been listening to Claude Debussy’s L’Après-midi d’un Faune.

Anthony Burgess, This Man and Music

6

FRIDAY, MARCH 8, 2019Pre-Concert Conversation with James Reel, 7:00 p.m.

TONIGHT’S PROGRAM

JENŐ TAKÁCS (1902–2005)

Two Fantastics for Alto Saxophone and Piano, Op. 88

Tempo rubato: Andante, molto rubato Tempo giusto: Allegro vivace

Amy Dickson, saxophone James Giles, piano

ALFRED SCHNITTKE (1934–1998)

Piano Quintet

Moderato Tempo di Valse Andante Lento Moderato pastorale

Bernadette Harvey, piano

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

KEVIN PUTS (b. 1972)

Air for Cello and Piano

Edward Arron, cello Bernadette Harvey, piano

INTERMISSION

SERGEI TANEYEV (1856–1915)

Piano Quartet in E Major, Op 20

Allegro brillante Adagio più tosto largo Finale: Allegro molto

James Giles, piano Axel Strauss, violin Ettore Causa, viola Edward Arron, cello

The appearance of Danbi Um at the Festival is sponsored by the generous contribution of Celia Balfour.

The appearance of Amy Dickson at the Festival is sponsored by the generous contribution of Jean-Paul Bierny & Chris Tanz.

7

A TRUE COSMOPOLITAN, Hungarian composer and pianist Jenő Takács both concertized and created music worldwide. After completing his studies at the University of Vienna, Takács accepted a professorship at the University of Cairo, where he undertook studies of Arab music, and later he became Professor of Music at the Philippines Conservatory. The gregarious Takács enjoyed musical friendships—Béla Bartók, Paul Hindemith, Curt Sachs, and Egon Wellesz—all of whom influenced his steadily evolving musical style. He spoke of his own compositions: “Certainly composers who keep the same style throughout their lives have an easier standing. But is it the right way? We all develop. I never resolved ‘how’ to compose, only ‘what’—it was the nature of the ideas that led to the ‘how.’ A man like me, who spent nearly his whole life travelling, quite naturally assimilated impressions from all the places where he lived. Egypt, the Philippines, Japan, China—these countries communicated ideas reflected in my work. Anyway, I consider the basic message most important. Each thought, each single work, asks for its specific technique and its own stylistic means to be realized.”

As its title implies, Two Fantastics (1969) is a related pair of imaginative and fanciful movements that showcase the alto saxophone. The first movement, leisurely and atmospheric, features reflective soliloquies for saxophone with piano support. The animated second Fantastic, discordant and restless, suggests the influence of American jazz. After a recall of the reflective theme from the first movement, the work concludes with a virtuoso flourish. Because of its initial success, Takács rescored Two Fantastics for clarinet in A and piano.

OFTEN CONSIDERED to be the successor to Shostakovich, Alfred Schnittke is one of the most frequently performed twentieth-century Russian composers. The prolific Schnittke created a significant body of chamber works as well as numerous large compositions ranging from film scores to symphonies. Perhaps because of his German heritage, his dramatic, highly expressive compositions combine diverse elements from both the Austro-German and Russian traditions. Schnittke never feared to experiment, and he was at times criticized for his eccentric stylistic juxtapositions. He wrote: “The goal of my life has been to unify serious and light music, even if I break my neck doing so.” As his career progressed, Schnittke began to compose in a more spare and accessible style.

Schnittke began work on his Piano Quintet immediately after the death of his mother and completed it four years later in 1976. Commenting on the work’s complex composing process, he states: “There were many variations and sketches. Eventually in early 1976 I found the second movement, the B-A-C-H waltz. Suddenly and astonishingly everything came together, and I was able to complete the work.”

Schnittke continues: “The first and last movements frame an elaborate waltz inspired by Pushkin’s Eugene Onegin…In the first movement, after a piano introduction, the string quartet develops in an expressive crescendo over the piano, increasing from a small cluster to a thumping organ point.

“The second movement develops in canonical, intertwining waltz motions and freezes into static trill passages. The third movement begins with fluid string sounds; an accelerando, emerging by repetition of quartet note motives, leads to a final ostinato in 5�4 time. The Lento goes from pianissimo to extreme fortissimo to create an eruption of despair. The finale, motivated by pain and nostalgia, is a passacaglia with 14 repetitions of a soft horn motive, fading away in an almost tuneless continuation.”

PROGRAM NOTES

8

PROGRAM NOTES

“He is not afraid to write a melody—and to write a melody is one of the hardest things to do. He taps into a beauty that seems to resonate with audiences.” EVELYN GLENNIE ON THE MUSIC OF KEVIN PUTS

WINNER OF THE 2012 Pulitzer Prize for the opera Silent Night, Kevin Puts has been hailed as one of the most important composers of his generation. His work has been commissioned and performed by leading orchestras of the United States and abroad, including the New York Philharmonic, the symphony orchestras of Cincinnati, Detroit, Atlanta, Houston, and the Minneapolis Orchestra, which commissioned his Sinfonia Concertante. Chamber commissions include the Miró Quartet, the Eroica Trio, and the Chamber Music Society of Lincoln Center. Puts has received awards and grants from the American Academy in Rome and the Guggenheim Foundation, among others. He has served as composer in residence for Young Concert Artists and the Los Angeles Chamber Orchestra. Born in St. Louis, he received his training as composer and pianist at the Eastman School of Music and Yale University. Since 2006 he has been a member of the composition department at the Peabody Institute in Baltimore, Maryland.

Performer Evelyn Glennie has commented about his writing: “There’s a harmonic satisfaction that people can relate to. Also, he is not afraid to write a melody—and to write a melody is one of the hardest things to do. He taps into a beauty that seems to resonate with audiences. He’s not trying to sound like another composer, not following trends. He’s completely comfortable with what feels right for him as a composer.”

9

PROGRAM NOTES

Aria for cello and piano is the second movement of his Four Airs, commissioned by Music from Angel Fire. Puts writes: “Four Airs was composed in the summer of 2004 and premiered in September of that year. Each movement features only one instrument with piano accompaniment, the most substantial being the second Air, for cello and piano. The opening bears a strong Baroque influence, though the simple ‘short-long’ motive in the piano recurs incessantly throughout the movement and may have its roots in the second movement of Ravel’s Gaspard de la nuit, ‘Le gibet’.”

ALTHOUGH LITTLE KNOWN outside his native Russia, Sergei Taneyev is one of the most significant romanticists of the late nineteenth and early twentieth centuries. A piano prodigy, Taneyev enrolled in the Moscow Conservatory when he was ten years old, and within three years he began to study composition with Tchaikovsky. After Tchaikovsky’s resignation from the Conservatory, Taneyev assumed his position, and he soon became known as one of Russia’s greatest composition teachers; among his many students were Rachmaninoff, Glière, and Scriabin. He further cemented his pedagogical reputation by writing a major treatise on strict counterpoint. After reducing his teaching responsibilities in 1889, Taneyev began to compose prolifically with an essentially conservative, mainstream European voice. A virtuoso pianist, Taneyev created numerous chamber works requiring piano so that he could participate in their performances.

Taneyev’s reputation perhaps suffered because of his remarkable bluntness. Openly disapproving of his contemporary nationalist composers, the “Mighty Five,” he also claimed to dislike the music of Brahms, to whom he was often compared. He frequently criticized the works of his teacher Tchaikovsky, although his own compositions often echo that master’s lyricism. One of his society’s rare teetotalers, he discouraged even eminent visitors from drinking or smoking in his home. Strikingly handsome, he aroused admiration in numerous women such as Tolstoy’s wife, but affected not to notice.

Before beginning a composition, Taneyev experimented painstakingly with possible themes to determine their contrapuntal pliability. After selecting appropriate motives, he crafted multiple fugues and canons on the ideas, and from these rigorous contrapuntal exercises he made numerous sketches and studies to achieve deep familiarity with his material. Although highly intellectualized, his approach resulted in elegant compositions with superb polish. Rimsky-Korsakov commented that Taneyev’s method should have created “dry work devoid of the shadow of an inspiration . . . but it is striking in its wealth of beauty and expressiveness.”

The first of his major chamber works for piano, Opus 20 is written on a grand scale. Each movement offers a luxuriant tapestry of themes enlarged through ingenious extensions and developed with inventive counterpoint. The aptly titled Allegro brillante, cast in a large sonata form, unfolds with brilliant piano passages that demand extraordinary virtuosity. Its two primary themes are continuously recast and extended by all instruments.

The second movement, “Slow but tending toward very slow,” is written in three-part song form. The violin introduces the lyrical main idea, and the piano presents the fervent theme of the more agitated central section. The extensive sonata form Finale features a melodious fugue at its center, perhaps the most rapturous to be heard in all the romantic chamber literature. The movement concludes with a calm section marked “seraphic,” and the piano interjects peals marked “quasi campanella” (like a bell).

Notes by Nancy Monsman

10

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.

11

12

13

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

LUMINOUS —18 —SEASON —19 —

International Concert Artist Series

Andres Ségoviarevolutionized Spanish guitar.

Now a new generation of artistsis building on his legacy.

Come hear what

the excitement is about!

Tucson Guitar Society www.tucsonguitarsociety.org 520-342-0022

14

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

15

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.

16

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.

17

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.

18

WORKING TOGETHER TO BUILD A STRONGER COMMUNITY

Proud to Support

Bringing World Class Chamber Music to Tucson

Arizona Friends of Chamber Music

19

Open Monday-Friday 9am - 5pm

CanteraCustomCreations.com 4818 E Speedway Blvd. (520) 326 6051

TablesSpheresSculpturesAnd More!

FireplacesFountainsPaversBenches

Authentic Hand Caved

Cantera StoneWe Offer Custom

Designs And Service

20

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

Elliott & Sandy Heiman Eddy HodakRobert & Deborah JohnsonArthur & Judy Kidder Al Kogel Herschel & Jill RosenzweigJohn & Ila RupleyRichard & Judith Sanderson Reid & Linda SchindlerJoe & Connie TheobaldGeorge TimsonTeresa TyndallGwen Weiner Elizabeth Zukoski

$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

21

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

Robert LuppFrank & Janet MarcusWarren & Felicia MayMax McCauslin Joan McTarnahanHarry NungesserKaren Ottenstein Beer David & Cookie PashkowMargaret Pope & Norman EpsteinJohn RaittLynn RatenerJames ReelHelen RosenJay & Elizabeth RosenblattDr. Elaine Rousseau Kenneth J. Ryan Howard & Helen Schneider Jennifer SchneiderStephen & Janet SeltzerTanya ServaasSara ShifrinShirley SnowHarry StacyRonald Staub Michael Tabor Shirley TaubeneckJennalyn Tellman Sheila TobiasKarla Van Drunen Littooy Dimitri Voulgaropoulos Ann WardPatricia Waterfall Patricia WendelDaryl WillmarthSheila Wilson & Hal BarbarPeggy Wolf

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.

22

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

Chartres BY E D I T H W H A RTO N

I.

Immense, august, like some Titanic bloom, The mighty choir unfolds its lithic core, Petalled with panes of azure, gules and or, Splendidly lambent in the Gothic gloom, And stamened with keen flamelets that illume The pale high-altar. On the prayer-worn floor, By worshippers innumerous thronged of yore, A few brown crones, familiars of the tomb, The stranded driftwood of Faith’s ebbing sea— For these alone the finials fret the skies, The topmost bosses shake their blossoms free, While from the triple portals, with grave eyes, Tranquil, and fixed upon eternity, The cloud of witnesses still testifies.

From Artemis to Actaeon and Other Verse, 1909. 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

When an older adult in your life needs help, choose a higher class of home care.

• Expert Oversight by Professional Care Managers

• High Expectations for All Care Employees

• Holistic, Active Caregiving throughOur Balanced Care Method™

• Specializing in hourly or 24/7 Live in Care

520-276-6555HomeCareAssistanceTucson.com

Keep the Music Playing

Changing the Way the World Ages

27

The Confident Retirement® approach is not a guarantee of future financial results.

Investment advisory products and services are made available through Ameriprise Financial Services, Inc., a registered investment adviser.

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

PHILIP P. PAPPAS IIPh.D., CFP®, CRPC®, ADPA®Financial Advisor

520.514.10275151 E Broadway Blvd, Ste 1530 Tucson, AZ 85711philip.p.pappas@ampf.comameripriseadvisors.com/philip.p.pappas CA Insurance #0D29731

You’ve worked hard for your money. You want your money to work hard for you. Using our Confident Retirement® approach, I’ll work with you to develop a customized plan that can help you realize your financial goals – today and well into the future.

When you have the right financial advisor, life can be brilliant.

Indoor and outdoor pools • State-of-the-art wellness Pavilion Preferred access to a continuum of support • Financial peace of mind with our exclusive LifeLease commitment • Superb dining, from elegant to casual • Over 100 acres of beautifully

maintained grounds • Independent living in a variety of home options: from spacious apartments to

award-winning houses

La Posada is an award-winning, nationally accredited not-for-profit continuing care community.

350 E. Morningside Rd., Green Valley PosadaLife.org

Explore the La Posada Lifestyle