AMIT EVEN-TOV, CELLO ARIEL QUARTETFRANZ JOSEPH Quartet in F major, Op. 77, no. 2, Hob. III:82 HAYDN...

FRANZ JOSEPH Quartet in F major, Op. 77, no. 2, Hob. III:82HAYDN Allegro moderato(1732-1809) Menuetto: Presto, ma non troppo Andante Finale: Vivace assai BÉL A BARTÓK Quartet No. 6, Sz. 114(1881-1945) Mesto – Vivace Mesto – Marcia Mesto – Burletta: Moderato Mesto – Molto tranquillo

INTERMISSION

ERNST VON Piano Quintet No. 1 in C minor, Op. 1DOHNÁNYI Allegro(1877-1960) Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato

GERSHON GERC HIKOV, VIOLIN

ALEXANDRA KAZOVSKY, VIOLIN

JAN GRÜNING, VIOLA

AMIT EVEN-TOV, CELLO

ARIEL QUARTETAND

ORION WEISS PIANONOVEMBER 9 , 2016

D E N V E R

GERSHON GERCHIKOV violin

ALEXANDRA KAZOVSKY violin

JAN GRÜNING viola

AMIT EVEN-TOV cello

ARIEL QUARTETMaking its FCM debut this evening, the Ariel Quartet has earned its glowing international reputation with virtuosic playing and impassioned interpretations. Formed in Israel nearly twenty years ago when its members were students, the quartet was recently awarded the prestigious Cleveland Quartet Award. The quartet serves as the Faculty Quartet-in-Residence at the University of Cincinnati’s College-Conservatory of Music, where they direct the rigorous chamber music program and perform their own annual series of concerts in addition to their busy touring schedule.

In the 2016-17 season, the Ariel Quartet will perform the complete Beethoven cycle in Berlin, following a performance of the cycle for Napa’s Music in the Vineyards, and will also tour with Alon Goldstein in performances of the Mozart piano concertos arranged for quartet and piano. The Ariel Quartet’s 2015-16 season featured their debut at Carnegie Hall, as well as a major collaborative project with clarinetist David Krakauer. Recent seasons included a groundbreaking Beethoven cycle performed at New York’s SubCulture that featured a midnight performance of the Große Fuge; a performance featuring music by three generations of Israeli composers at the Kennedy Center in Washington, D.C.; and a tour of South America.

The Ariel Quartet performs widely in Israel, Europe, and North America, including two Beethoven cycles performed before all the members of the quartet turned thirty. The quartet has collaborated with violist Roger Tapping, cellist Paul Katz, and the American, Pacifica, and Jerusalem String Quartets. The quartet has toured with cellist Alisa Weilerstein and has performed a number of times with the legendary pianist Menahem Pressler. Additionally, the Ariel was quartet-in-residence for the Steans Music Institute at the Ravinia Festival, the Yellow Barn Music Festival, and for the Perlman Music Program. In addition, the Ariel was the Ernst Stiefel String Quartet-In-Residence at the Caramoor Festival.

ORION WEISS piano

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Formerly the resident ensemble in the New England Conservatory’s Professional String Quartet Training Program, the Ariel has won a number of prestigious international prizes including the Grand Prize at the 2006 Fischoff National Chamber Music Competition, the Székely Prize for their performance of Bartók, and Third Prize at the Banff International String Quartet Competition.

The Ariel Quartet has been mentored extensively by Itzhak Perlman, Paul Katz, Donald Weilerstein, Miriam Fried, Kim Kashkashian, and Martha Strongin Katz. The quartet has received significant scholarship support for the members’ studies in the United States from the America-Israel Cultural Foundation, Dov and Rachel Gottesman, and the Legacy Heritage Fund. Most recently, they were awarded a substantial grant from The A. N. and Pearl G. Barnett Family Foundation.

ORION WEISSOrion Weiss returns to FCM after his first appearance here in 2012 in a two-piano recital with Inon Barnatan. Weiss was a student of Emanuel Ax who personally recommended him to FCM. One of the most sought-after soloists in his generation of young American musicians, Weiss has performed with major American orchestras, including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic. His deeply felt and exceptionally crafted performances go far beyond his technical mastery and have won him worldwide acclaim.

The 2016-17 season has Weiss performing in collaborative projects including those with Alessio Bax, the Pacifica Quartet, and with Cho-Liang Lin and the New Orford String Quartet in a performance of the Chausson Concerto for piano, violin, and string quartet. Last year Naxos released Weiss’s recording of Christopher Rouse’s Seeing – a major commission Weiss debuted with the Albany Symphony – and in 2012 he released a recital album of Dvorák, Prokofiev, and Bartók. That same year he also spearheaded a recording project of the complete Gershwin works for piano and orchestra with his longtime

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collaborators the Buffalo Philharmonic and JoAnn Falletta.Known for his affinity and enthusiasm for chamber music, Weiss performs regularly with violinists James Ehnes and Arnaud Sussman, and cellist Julie Albers. Weiss has appeared across the U.S. at venues and festivals including Lincoln Center, the Ravinia Festival, the Seattle Chamber Music Festival, La Jolla Music Society SummerFest, Chamber Music Northwest, the Kennedy Center, Spivey Hall, and in Aspen, where he appeared in 2015 in a two piano recital with FCM alumnus, Shai Wosner. He made his New York recital debut at Alice Tully Hall in 2005 and made his European debut in a recital at the Musée du Louvre in Paris the same year. He was a member of the Chamber Music Society Two program of the Chamber Music Society of Lincoln Center from 2002-2004.

Weiss’s impressive list of awards includes the Gilmore Young Artist Award and an Avery Fisher Career Grant. A native of Lyndhurst, OH, Weiss attended the Cleveland Institute of Music. In 1999, Weiss made his Cleveland Orchestra debut performing Liszt’s Piano Concerto No. 1. Also that year, with less than 24 hours’ notice, Weiss stepped in to replace André Watts in a performance of Shostakovich’s Piano Concerto No. 2 with the Baltimore Symphony Orchestra. He was immediately invited to return to the Orchestra for a performance of the Tchaikovsky Piano Concerto the next season. He graduated from the Juilliard School in 2004.

Weiss is married to the pianist Anna Polonsky, with whom he often performs. (Polonsky will appear at FCM’s next concert with violinist Stefan Jackiw on December 7th.) The couple has a three-year-old daughter. They live in New Jersey. Weiss is an avid outdoorsman and has enjoyed hiking Colorado’s 14ers when he appeared in Aspen and Vail.

LEGACY GIFTSFor those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music is a meaningful way for you to help insure our future artistic excellence and stability while providing enhanced tax benefits to you. Visit our website for more information.


NOTESProgram note from Guide to Chamber Music, by Melvin Berger ©1985 (used with permission).

HAYDN: QUARTET IN F MAJOR, OP. 77, NO. 2

The F major, the last quartet that Haydn completed, was written when he was in his late sixties, in failing health, and deeply involved in composing his great oratorios and masses. Unaware that the F major was to be his last quartet, Haydn did not use it for any great summing up. Instead he composed a meticulous work that has all the characteristic drive and vigor of his more youthful works, yet is imbued with a certain wistful melancholy.

The main theme of the first movement is essentially a melancholy descending F scale, but with many interruptions of its downward motion. To intensify the doleful impression, Haydn starts with a strong phrase, which fades away to a number of soft, weak extensions. Other motifs follow until the first violin introduces the new subsidiary melody while the second violin plays the opening of the principal theme. After a rather lengthy development section, which ends with a measure of silence, Haydn brings both subjects back for a truncated recapitulation.

There can be little doubt that Haydn wrote the humorous Menuetto with tongue in cheek. The first clue is the gay and skittish melody. Then, although the movement is in the traditional triple meter, Haydn goes out of his way to create duple-meter rhythmic patterns that go in and out of phase with the underlying beat. He also writes a cello part that at times makes the instrument sound like timpani. After the high spirits of the Menuetto, the Trio, in a distant key, is quite unexpected. Smooth and sober, almost hymn-like, it is a sharp contrast to the impish playfulness of what came before. But Haydn’s hijinks are not yet over. In the transition back to the Menuetto, he throws in a few “wrong” beat entrances, just for fun.

In the strange, striking opening of the Andante, the violin plays the staid, deliberate theme while the cello moves it forward with a slow, implacable tread. There are three quite freely realized variations on the theme (featuring the second violin, the cello, and the first violin respectively),

Program NotesContinued


which are separated by contrasting episodes between the variations. A tremendous crescendo and climax precede the final variation, which nonetheless starts very quietly, much as the movement began, and ends just as quietly.

The Finale theme captures all the dash and fire of a fast folk dance. A slighty more subdued second theme, characterized by misplaced accents, on the third beat instead of the usual first, follows. With great rhythmic vitality, Haydn then builds the rest of the movement almost exclusively on the first theme, although he brings both ideas back for the recapitulation. A few soft measures in the midst of the bustling coda heighten the impact of the exciting conclusion. Estimated duration: 25 minutes

Bartók’s string quartets were composed over a 30-year period, and they chart the evolution of his style. His youthful First Quartet (1909) shows the influence of late Romanticism and Debussy. The Second Quartet (1917) is firmly grounded in Hungarian folk idiom and the tonal freedom of Viennese modernists. By the time he wrote his Third (1927) and Fourth (1928) Quartets, his distinctive mature style was fully developed—the Western classical tradition blended with Hungarian folk music; short motifs constantly varied and transformed without repetition; ambiguous tonality; strong chromatic and rhythmic inflections; and radical new performing techniques, most famously the snapping “Bartók pizzicato.” The Fifth Quartet (1934) softens some aspects of his style, especially in its use of longer, more melodic musical lines and a less concentrated musical texture. Unlike most of his earlier work, the Fifth Quartet was immediately popular.

String Quartet No. 6 (1939), performed tonight, continues Bartók’s movement toward greater lyricism, but it bears the marks of the difficult circumstances in which it was written. Strongly opposed to the rise of Nazi Germany and the pro-fascist regime in his own country, Bartók was denied commissions and increasingly

BARTÓK: STRING QUARTET NO. 6

Last performed on our series March 19, 2014 (Elias String Quartet)

Program note by Robert Strong © 2012

Last performed on our series September 20, 2006 (Takács Quartet)


DOHNÁNYI:PIANO QUINTET NO. 1 IN C MINOR, OP. 1

isolated. In the gloom of approaching war, he travelled to Switzerland in the summer of 1939 at the invitation of Swiss conductor Paul Sacher. While there he began his Sixth Quartet. When war broke out in September, he hurriedly returned to Budapest, where he completed the quartet. It was to be his last composition in Europe. In 1940 he and his wife sailed for the United States, where he remained until his death in 1945.

The Sixth Quartet has four movements, but Bartók departs from convention by introducing each of the first three movements with the same slow, soulful theme marked Mesto (“sad”). Rather than introduce the fourth movement, Bartók states the Mesto theme and then extends it to form the entire movement.

The first movement, introduced by the viola alone, is lively and agitated. The second movement, introduced by the cello, is a mocking, off-kilter march in the stamping gypsy rhythm of an 18th-century verbunkos, a dance used to attract recruits into the army. The first violin’s introduction of the third movement is accompanied by counter melodies in the second violin and cello. It is a sardonic and darkly humorous Burletta, or burlesque, with grating quartet-tone dissonance and strong rhythms. All four instruments open the fourth movement with the Mesto theme, which then continues in a mood of deep melancholy. Bartók recalls two themes from the first movement’s Vivace section, and the quartet ends quietly as the cello strums the first five notes of the Mesto theme.Estimated duration: 27 minutes

Dohnányi was born in a town 35 miles from Vienna. Nowadays it is called Bratislava and is the capital of Slovakia; but in 1877 it was in Hungary – it was the ancient Hungarian capital, and lay within the Hungarian lands of the Austro-Hungarian Empire. Dohnányi grew up in the shadow of Austro-German musical culture, typified by Brahms, but equally conscious of the nationalist

Program note from Guide to Chamber Music, by Melvin Berger ©1985 (used with permission).


Program NotesContinued

Hungarian traditions cultivated by Liszt. The most striking new composer to emerge from Hungary in the 1890s, he was destined to become one of the pivotal figures in his country’s musical life, especially when Hungary gained its independence after the fall of the Hapsburg Empire in 1918. Not only a gifted composer but an internationally-renowned virtuoso pianist, he became director of Hungarian Radio and President of the Budapest Academy, where he taught piano and composition. He was the friend, patron and champion of the slightly younger Bartók and Kodály, who found inspiration in Hungarian folk music for a more radical shift in musical language. Dohnányi was not unwilling to learn from them as he showed in such later works as his suite Ruralia Hungarica, but his personal idiom remained more of a Romantic blend than theirs. After the Second World War he found it impossible to work with the new Communist regime in Hungary and became an exile at the age of 72, spending his last decade teaching and performing in the United States.

The first of Dohnányi’s two Piano Quintets is the work that launched his career. When he composed it at the age of 17 he was still a student at the Budapest Academy, and had also taken some private lessons from the pianist-composer Eugen d’Albert, one of Liszt’s most notable pupils. In the summer of 1895 Dohnányi went to the popular resort of Ischi to visit Brahms, who was holidaying there, in order to play for him and show him his compositions. Brahms was so impressed by the First Quintet that he personally arranged for the première to be given in Vienna, with Dohnányi at the piano – an event that presaged the young Hungarian’s winning of several prestigious awards and many appearances on the concert platform in the next few years.

Brahms was often caustic about the work of younger composers, but in the last years of his life he seems to have softened towards the best of them. Moreover, he loved the Hungarian national idioms, which he had worked into several of his own chamber compositions, and he probably greeted Dohnányi’s Quintet so warmly because it was such a fine example of the kind of thing he enjoyed writing himself. In fact for a while the work – which is very ‘Brahmsian’ in its firm structure and craftsmanly


Tonight marks the first performance of this work on our series

working-out of ideas, but pervasively ‘Hungarian’ in accent – was jocularly referred to as ‘Brahms’s Second Piano Quintet.’ Indeed there is little doubt that Brahms’s own Piano Quintet, as well as his G minor and A minor Piano Quartets with their rich seam of ‘Hungarian’ invention, must have been among Dohnányi’s immediate models.

C minor has been considered, since Beethoven, the key of ‘Fate,’ and Dohnányi’s Quintet begins with a broad theme (with a pronounced rhythmic kick in the first bar) expressive, it would seem, of determined striving. An equally expansive theme, more lyrical in appeal and with a Romantic dying fall, constitutes the second subject; both subjects encompass several subsidiary ideas and motifs, and Dohnányi makes resourceful use of these in the ensuing development. In the coda, however, the music moves hopefully into a triumphant C major.

The scherzo, in A minor, is a fleet-footed, rather tense movement comparable to many of Brahms’s chamber-music scherzos with a warmly melodic, even hymn-like central trio in A major. Ardent melody is even more characteristic of the slow movement that follows, begun by a yearning theme on the solo viola, soon taken up by the rest of the strings. There is a contrasting, opulently Brahmsian subject, and the two of them are worked together in a broad A-B-A song-form whose passionate climax is almost prophetic of Hollywood film music of forty years later. The assertive dotted rhythms of the finale’s opening theme are perhaps more reminiscent of a polonaise than of a specifically Hungarian model, though Dohnányi may have intended it to suggest a czárdás. This element is contrasted against a lyrical cello theme which sounds as if it may owe as much to Tchaikovsky as to Brahms. But the quietly purposeful fugato that starts up in F minor shows Dohnányi determined to display his credentials as a post-Brahmsian contrapuntist. After a return of the dotted-rhythm theme and another more lyric episode, he also pays his respects to Liszt by bringing back the opening theme of the first movement in an apotheosis designed to bind the whole work together, before the polonaise-like rhythm takes over the final bars.Estimated duration: 26 minutes


PIAN O SALON

WITH HSIN G- AY HSU

The second Piano Salon of the fall continues with Steinway Artist Hsing-ay Hsu, focused on the music of Brahms. TUESDAY, DECEMBER 6, 2016 7:30 - 9 :00 PM

Savor the melancholy and idealism of Germanic Romanticism. Discuss your reactions with your fellow FCM subscribers in the intimacy of a private residence, and then enjoy the performance of the Brahms Violin Sonatas Nos. 1 & 3 on December 7 (with violinist Stefan Jackiw and pianist Anna Polonsky).

Space is limited to a maximum of 16 participants with registrations accepted on a first come, first served basis.

L O C AT I O N

The home of FCM President, Alix Corboy

T I C K E T S

$30

O R D E R BY P H O N E

303-388-9839

O R D E R BY M A I L

Send a check to: FCM, 191 University Blvd #974, Denver, CO 80206. Include name of each participant and email address for class confirmation.

Note: Concert tickets are not included in the price of the salon. To purchase tickets, visit friendsofchambermusic.com.

“MUSIC IN THE GALLERIES” AT THE CLYFFORD STILL MUSEUMOn November 18-20, the Clyfford Still Museum celebrates its fifth anniversary with a weekend of free activities for the whole family, including guided tours, art-making, and music. On Sunday, November 20, two ensembles will play in a musical double bill presented by Friends of Chamber Music and Swallow Hill Music.

TRIO THESSALIA (11:00 AM)CSO musicians Karen Kinzie (violin), Leah Kovach (viola), and Susan Cahill (bass) will perform works by Mark O’Connor, Susan Cahill, and Beethoven.

THE DUSTIN ADAMS TRIO (2:00 PM) The Trio will present its take on jazz from the 30’s and 40’s, exploring Still’s collection of Pintop Smith, Montana Taylor, and Meade Lux Lewis, among others.

Enjoy the eclectic range of music Still appreciated and join our friends at the Clyfford Still Museum in celebrating its special milestone.

Watch our website for additional “Music in the Galleries” performances, including a December 11 performance by the Altius Quartet.


SAVE THE DATEColorado Gives Day is right around the corner! On Tuesday, December 6, thousands of Coloradans will support their favorite Colorado charities and nonprofits.

If you would like to preschedule a donation to Friends of Chamber Music, visit www.ColoradoGives.org/FCM. As always, we thank you for your support, helping to keep chamber music alive in our community!

“GOOD VIBRATIONS” FILLED THE HALL AT FCM’S THIRD ANNUAL FREE FAMILY CONCERT

On October 9 the Altius Quartet, Fellowship Quartet-in-Residence at the University of Colorado-Boulder, presented an interactive “shuffle” concert where audience members selected pieces for the quartet to play. In this unconventional program, young participants had the opportunity to spin a drum full of numbered balls corresponding to the numbers on a “music menu” of pieces, from Beethoven to the Beatles. Guiding listeners through many musical periods and genres, the quartet played numerous excerpts, including the “creepy and scary” music of Ligeti’s “Metamorphoses Nocturnes,” the familiar Mozart theme for “Twinkle, Twinkle Little Star,” and jazz solos from the Michael Jackson/Dave Brubeck “Take It” mashup. Closing the concert with Taylor Swift’s “Shake It Off,” the quartet had kids and adults dancing in their seats.

We would like to thank Denver School of the Arts for hosting this fun-filled afternoon of music. FCM is also grateful to the SCFD and the Bonfils-Stanton Foundation for providing generous funding for our outreach programming.


JOYCE YANGWED, MAR 15, 2017 | 7:30 PMGramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

PROGRAM:

Schumann: Three Romances, Op. 94Vine: The Anne Landa PreludesGranados: Goyescas, Nos. 1 and 4Schumann: Symphonic Etudes, Op. 13

MURRAY PERAHIAWED, MAY 3, 2017 | 7:30 PM“Perahia’s extraordinary pianism is a sacrament of purification and a kind of return to an age of pianistic innocence.” – LOS ANGELES T IMES

PROGRAM: TBA

Single tickets $35 each ($60 for Murray Perahia)$10 Students (25 years or younger)Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-872-7720 | www.newmantix.com

TO ORDER P IANO SER I ES T ICKETS :

PIANO SERIES2016 -2017

40 UNDER 40Thank you to the following Friends who have sponsored “40 Under 40” guests for our 2016-17 Piano Series. FCM

Patsy & Jim AronsteinLisa and Steve BainKate BerminghamDavid CohenDonna & Ted ConnollyAlix Corboy

Paula & Stan GudderRichard HealyBill JuraschekDesiree Parrott-AlcornTodd & Carolyn PicktonPriscilla Press

Myra and Robert RichLee & Jill RichmanGregory RobbinsLaura RogersGreta & Randy Wilkening


HARLEM QUARTETTHURSDAY, JAN 12, 2017 | 7:30 PMFriends of Chamber Music is pleased to present the Harlem Quartet in a special event performance on Thursday night, January 12, at 7:30 pm.

The Harlem Quartet is “bringing a new attitude to classical music, one that is fresh, bracing and intelligent,” says the Cincinnati Enquirer. The quartet’s mission is to advance diversity in classical music, engaging young and new audiences through the discovery and presentation of varied repertoire that includes works by minority composers.PROGRAM:

Mozart: Quartet No.17 in B-flat major, K.458, “The Hunt”Gillespie (arr. Dave Glenn): "A Night in Tunisia"Jobim (arr. Dave Glenn): "The Girl from Ipanema"Hernandez (arr. Guido Gavilan): "El Cumbanchero"Brahms: Sextet No. 1 in B-flat major, Op. 18 Joining the quartet for the Sextet will be Lamont faculty

members Basil Vendryes, viola, and Matt Zalkind, cello.

L O C AT I O N Hamilton Hall, Newman Center for the Performing ArtsTIC KETS $25 each/$10 students 25 and youngerwww.newmantix.com

This concert is part of a week-long residency which will include two master classes with area music students and three additional community events. Visit www.friendsofchambermusic.com for more information on these activities. We are delighted to collaborate with this young and exciting quartet of outstanding musicians.

These activities are supported, in part, by Imagine 2020: Denver’s Cultural Plan, as well as with funds provided by the Western States Arts Federation (WESTAF), Colorado Creative Industries, and the National Endowment for the Arts.

SPEC IA L EVENT

EVENTS OPEN TO THE PUBLIC INCLUDE:

“Different Voices” Curious Theater, 1080 Acoma Street, DenverSUN, JAN 8, 2017 | 6:00 PMWatch our website for information on tickets

Free Community ConcertDenver Public Library, downtown branchMovie and Music RoomWED, JAN 11, 2017 | 10:30 – 11:30 AM

RESIDENCY ACTIVITIES:

Residency activities include school performances at Florence Crittenton High School and Garden Place Academy, in partnership with El Sistema Colorado, as well as Master Classes at Denver School of the Arts and the Lamont School of Music.

THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

$25,000 +Bonfils-Stanton FoundationScientific and Cultural Facilities District, Tier III

$5,000 +The Denver Foundation

$2,500 +Alix & John Corboy Imagine 2020: Denver's Cultural PlanCynthia & John KendrickRichard Replin & Elissa Stein

$1,000 +AnonymousPatsy & James Aronstein *Lisa & Steve BainBob & Cynthia BensonHoward & Kathleen BrandBucy Family FundC. Stuart Dennison Jr.Ellen & Anthony EliasFackler Legacy GiftJoyce FrakesRobert S. GrahamMax Grassfield, in memory of Pat GrassfieldCeleste & Jack GrynbergMichael Huotari & Jill StewartMargie Lee Johnson McGinty Co.Kim MillettFrank & Pat MoritzRobert & Judi NewmanMary Park & Douglas HsiaoMyra & Robert RichJeremy & Susan Shamos Marlis & Shirley SmithTourWest, a program of WESTAF (Western States Arts Federation), supported by

a grant from the National Endowment for the Arts.

$500 +Jules & Marilyn AmerGeorgia ArribauLinda & Dick BatemanDavid S. CohenSusan & Tim Damour *Max & Carol Ehrlich

Kathe & Michael GendelStephen & Margaret HagoodRogers & Ruth HauckJohn Lebsack & Holly BennettTheodor LichtmannRex & Nina McGeheeKathy Newman & Rudi HartmannFred & Ayliffe RisRay SatterHenry R. SchmollBobbi & Gary SiegelEdie SonnChet & Ann SternWalter & Kathleen Torres

$250 +Jan BaucumPam BeardsleyKate BerminghamBarbara BohlmanTheodore BrinAndrew & Laurie BrockPeter Buttrick & Anne Wattenberg David & Joan ClarkGeri CohenFran CorselloGeorge & Sissy GibsonPaula & Stan GudderDavid & Lynn HurstAnn & Douglas JonesHannah Kahn & Arthur BestGeorge KrugerCarol & Lester LehmanJohn & Terry LeopoldMark & Lois LevinsonAnn LevyNina & Alan LipnerDavid & Lyn Loewi, in memory of Ruth & Roger LoewiJeri LoserPhilippa MarrackRobert MeadeKirsten & Dave MorganMarilyn Munsterman & Charles BerberichRosemarie & Bill MuraneJohn & Mary Ann ParfreyCarolyn & Garry PattersonDavid S. PearlmanJane & Bill RussellCharley Samson

Richard & Jo SandersAlan & Gail SeaySan Mao ShawDavid & Patty SheltonRic Silverberg & Judith CottSteven SnyderDavid Spira & Shirleyan PriceClaire StilwellAnn Richardson & Bill StolfusMargaret StookesberryDick & Kathy SwansonBerkley & Annemarie TagueEli & Ashley WaldNorman Wikner & Lela LeeJoseph & Barbara WilcoxAndrew Yarosh *

$100 +Barton & Joan AlexanderJim & Ginny AllenAnonymousShannon ArmstrongCarolyn & Ron BaerDell & Jan BernsteinSandra BoltonCarolyn & Joe BorusMichael & Elizabeth BrittanDarrell Brown & Suzanne McNittPeter & Cathy BuirskiSusan Lee CableBonnie CampNancy Kiernan CaseCecile CohenDana Klapper CohenAnne CulverCatherine C. DeckerVivian & Joe DoddsKevin & Becky DurhamBarbara EllmanDavid & Debra FlitterJudy FredricksRobert C. FullertonHerbert & Lydia GarmaierDonna & Harry GordonKazoo & Drusilla GotowJohn S. GravesGary & Jacqueline GreerGina GuyPam & Norman HaglundJeff & Carmen HallRichard & Leslie HandlerDorothy Hargrove


Larry HarveyJune HaunRichard W. HealyEugene Heller & Lily ApplemanDavid & Ana HillJoseph & Renate HullFrank & Myra IsenhartStanley JonesSuzanne KallerMichael & Karen KaplanEdward Karg & Richard KressRobert KeatingeBruce KindelRoberta & Mel KleinEllen Krasnow & John BlegenElizabeth KreiderDoug & Hannah KreningJack Henry KuninRichard LeamanSeth LedererIgor & Jessica LeventalPhilip Levy Penny LewisJudy & Dan LichtinArthur LiebCharles & Gretchen LobitzJohn & Merry LowElspeth MacHattie & Gerald ChapmanEvi & Evan MakovskyRoger MartinAlex & Kathy MartinezBill and Lisa MauryMyron McClellan & Lawrence PhillipsBert & Rosemary MelcherDave & Jean MilofskyPaul & Barb MoeDouglas & Laura MoranBetty Naster *Robert & Ilse NordenholzRobert N. O’NeillTina & Tom ObermeierDee & Jim OhiJohn PascalDon & Becky PerkinsCarl PletschCarol PrescottRalph & Ingeborg RatcliffReid ReynoldsGene & Nancy RichardsMarv & Mary RobbinsHerb Rothenberg, in memory of Doris RothenbergLorenz RychnerDonald Schiff, in memory of Rosalie SchiffJohn & Patricia Schmitter

Kathryn SpuhlerMorris & Ellen SusmanDecker SwannCle SymonsMalcolm & Hermine TarkanianMargot K. ThomsonTom Vincent Sr. & Tom Vincent Jr.Jeff & Martha WelbornGreta & Randy Wilkening *Philip Wolf Robert & Jerry WolfeRuth WolffKaren Yablonski-TollJeff Zax & Judith GrahamR. Dale ZellersCarl & Sara Zimet

$50 +Lorraine & Jim AdamsVernon BeebeThomas ButlerBarbara CaleyHilary Carlson & Janet EllisMarlene Chambers Jane CooperStephen & Dee DanielsNancy & Mike FarleyJanet & Arthur FineJohn & Debora FreedMartha FulfordBarbara Gilette & Kay KotzelnickBarbara GoldblattHenry & Carol GoldsteinSandra GoodmanSanders GrahamThomas & Gretchen GuitonLeonard & Abbey KapelovitzDaniel & Hsing-ay Hsu KelloggDoris Lackner, in memory of Edwin KornfeldDella LevyJames Mann & Phyllis LoscalzoEstelle Meskin, for Darlene Harmon, piano teacher

extraordinaireRhea MillerJoanna MoldowBetty MurphyMary MurphyKathy Newman & Rudi Hartmann, in honor of Mollie

Jankovsky's birthday. Mari NewmanLarry O’DonnellMartha OhrtSarah Przekwas

Robert RasmussenMichael ReddyMargaret RobertsSuzanne Ryan Cheryl SaborskyMichael & Carol SarcheJo ShannonArtis SlivermanLois SollenbergerPaul SteinSteve SusmanBarbara Walton

* Gift made to FCM Endowment

MEMORIAL GIFTS In memory of Allan RosenbaumLeslie Clark BakerRobert Charles BakerKate BerminghamCarnes Wealth Management (John Carnes) & Pam OliverMary and Michael DavisDavid & Laura DirksDr. & Mrs. Paul FishmanJim & Donna FlemmingLarry HarveySuzanne KallerAlfred KelleyFred & Debra KrebsMarjorie MaltinJay and Lois MillerRosemarie and Bill MuraneKathy Newman & Rudi HartmannDesiree Parrott-AlcornGarry & Carolyn PattersonMichael ReddyRobert & Myra RichStanley & Karen Saliman

In memory of Henry ClamanDr. & Mrs. James AdamsDavid & Geraldine BrickleyShirley EpsteinMax & Carol EhrlichDr. & Mrs. Paul FishmanJohn & Debra FreedJim, Marty, & Megan HartmannHanna & Mark LevineDr. and Mrs. Fred MimmackPaul & Barbara MoeRobert & Myra RichJoan F. Skiffington Kathy & Bernie Steinberg


UPCOMING CONCERTS

SPECIAL THANKS

Gates Concert Hall • Newman Center for the Performing Arts • University of Denverfriendsofchambermusic.com

C HAMBER SERIES

Stefan Jackiw, violin Anna Polonsky, pianoWednesday, December 7, 7:30 PMDanish String Quartet Monday, February 13, 7:30 PMVenice Baroque Orchestra Nicola Benedetti, violinWednesday, February 22, 7:30 PMSteven Isserlis, cello Connie Shih, pianoTuesday, April 25, 7:30 PM

ADVANCE SINGLE TICKETS ARE AVAILABLE FOR ALL CONCERTS.

Visi t our website:www.friendsofchambermusic.comor contact the Newman Center Box Office, 303-871-7720; www.newmantix.com

PIANO SERIES

Joyce YangWednesday, March 15, 7:30 PMMurray PerahiaWednesday, May 3, 7:30 PMSPECIAL EVENTS

Master Class with the Ariel QuartetNovember 10, 10:00 AMDenver School of the Arts7111 Montview Blvd."Music in the Galleries" November 20, 11:00 AM Clyfford Still MuseumPiano Salon December 6, 7:30 - 9:00 PM Private ResidenceHarlem QuartetJanuary 12, 7:30 PM Hamilton Hall, Newman Center for the Performing Arts See Page 11 for complete list of residency activities

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)for supporting FCM’s outreach efforts through school residencies and master classes

COLORADO PUBLIC RADIO (KVOD 88.1 FM)for broadcasting FCM concerts on its “Colorado Spotlight” programs

BONFILS-STANTON FOUNDATIONfor sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story

ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHELfor providing lead gifts to the FCM Endowment Fund

AMIT EVEN-TOV, CELLO ARIEL QUARTETFRANZ JOSEPH Quartet in F major, Op. 77, no. 2, Hob. III:82 HAYDN...

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Transcript of AMIT EVEN-TOV, CELLO ARIEL QUARTETFRANZ JOSEPH Quartet in F major, Op. 77, no. 2, Hob. III:82 HAYDN...