photo by Steve DiBartolomeoSaturday, April 21, 7:30 PM • Sunday, April 22, 3:00 PM

The Variety of Three: Violin, Cello, and Piano

2017-2018Santa CruzChamberPlayers

2017-2018 CONCERTS

October 21, 2017 • 7:30pm & October 22, 2017 • 3pm MUSA presents “Smorgasbord Baroque”November 11, 2017 • 7:30pm & November 12, 2017 • 3pm Latin LoversJanuary 13, 2018 • 7:30pm & January 14, 2018 • 3pm Czech, PleaseFebruary 24, 2018 • 7:30pm & February 25, 2018 • 3pm An Arc of RomanticismMarch 10, 2018 • 7:30pm & March 11, 2018 • 3pm OrnithologyApril 21, 2018 • 7:30pm & April 22, 2018 • 3pm The Variety of Three

October 1, 2017 • 4pm Alon Goldstein & Inbal SegevOctober 29, 2017 • 4pm Jerome RoseNovember 16, 2017 • 4pm Haskell SmallJanuary 21, 2018 • 4pm Lucia Luque & Maurio BeroliFebruary 17, 2018 • Master Class 2pmConcert 7:30pm Ching-Yun Hu and Young ProdigiesMarch 18, 2018 • 4pmPaul Roberts

October 6, 2017 • 7:30pm Guitar PoetryFebruary 3, 2018 • 7:30pm Night of the Living ComposersApril 7, 2018 • 7:30pm Because

December 16, 2017 • 8pm & December 17, 2017 • 4pm Christmas with the ChoraleMarch 26, 2018 • 4pm Guest Choir: New Choir “Morning and Evening Songs”April 28, 2018 • 8pm & April 29 • 4pm Bach and Handel

February 10, 2018 • 7:30pm Cupid’s GiftMarch 3, 2018 • 7:30pm Medici Codex 500th Birthday CelebrationApril 8, 2018 • 3pm The Musical OfferingApril 29, 2018 • 3pm Trading Gifts: Iberia & the Arab WorldMay 12, 2018 • 7:30pm Eternal Baroque: new music in old stylesMay 20, 2018 • 4pm Emerging Artist Showcase

The Variety of Three: Violin, Cello, and Piano \

The Santa Cruz Chamber Players 2017-2018 Season

◊ Welcome to our 39th year of presenting inspiring chamber music, engagingly performed by the area’s finest professional musicians. The ensembles are small in size, as is the intimate performing venue, but the talent is impressive, and the composers are among the best from the past to the present day. Thank you for joining us for this very special season of great music!

Music from around the world = Musicians from around the corner

Board of Directors & StaffPhyllis Rosenblum, President = Jinx Deruisa, Vice PresidentJeff Gallagher, Musician Liaison and SecretaryRick Zinman, Treasurer = Ben Dorfan, Social MediaLavinia Livingston= Robert Milby

Julia Apgar, General ManagerCarol Panofsky, Graphic Design and PhotographyBarry Phillips, Recording Engineer

For more information Call (831) 425-3149 or visit our web site: www.scchamberplayers.org

Santa Cruz Chamber Players is a nonprofit organization. Our goals are to provide a local forum for musicians and concertgoers, and to promote live chamber music. Our season is supported by ticket sales and donations from many individuals and businesses. Thank you!

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[ Santa Cruz Chamber Players 2017-20184

[ THANK YOU ! \

Donations and season ticket orders received as of March 30th, 2018For more information call (831) 425-3149 or visit our web site: www.scchamberplayers.org

Anonymous (3)Mary Fran ArcherArts Council Santa Cruz County Rolf AugustineSheila & Murray BaumgartenGary Carleton Mary James & George CookMaribeth CraigRoger Chaffin & Mary CrawfordLeonard DavisJane DawsonJinx DeruisaSherri DeWittHarry & Norma DomashRobert & Esther DonovanBen DorfanDavid & Kendra DorfanJohn & Janet DuncanSandra FergusonJeff Gallagher & Geoff FioritoMartin GaskellPenny HannaRichard & DeAnne Hart Susan HawkinsBrian & Marcia HeathAudie HenryCaryl Lynn HoganJack Jacobson

Diane JonesIrwin KaplanLynn KidderEllen Kimmel Linda LarkinEliza Linley & David Richardson Lavinia LivingstonJeannie Logan Scott MacClelland Gerry MandelDamien MarocotteSteven MenzelHila & Jack MichaelsenValerie NelsonAlberta NideverArvila E. NolanFlorence OrensteinIrene OsterbrockCarol PanofskyPatricia PoulosMartha PowellPat & Rowland RebelePhyllis Rosenblum Nick RoyalMichael & Rosemary SarkaPriscilla StrauhalTopsy SmalleyGabrielle Stocker

Stocker Family Fund at Community Foundation, Santa Cruz CountyJudith SwansonLincoln & Lee TaizMichael TierraHarold Widom at Community Foundation, Santa Cruz County Joan WilkinsonStanley WilliamsonGeorgina WongRick Zinman

Steve DiBartolomeo, for publicity photography

NEW: KKUP, 91.5 broadcasts the Santa Cruz Chamber Players concerts.Streaming at KKUP.org

The Santa Cruz Chamber Players season is supported by a grant from Arts Council Santa Cruz County. Thank you for your support.

This concert is sponsored by an anonymous donor.Ivan Rosenblum is sponsored by Georgina Wong

Kristin Garbeff is sponsored by Mary Fran Archer Thank you for your support!

The Variety of Three: Violin, Cello, and Piano \

The Santa Cruz Chamber Players season is supported by a grant from Arts Council Santa Cruz County. Thank you for your support.

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THE VARIETY OF THREE

Ivan Rosenblum, concert director and pianoShannon Delaney D’Antonio, violin

Kristin Garbeff, cello

Milonga del ángel Astor Piazzolla (1921-1992)

Sonata in G Minor (The Devil’s Trill) Giuseppe Tartini (1692-1770) Largo Allegro Grave-Allegro-Grave-Allegro-Grave-Allegro-Adagio

Six Selections from Eight Pieces for Violin and Cello, Op. 39 Reinhold Glière (1875-1956) Prelude Gavotte Berceuse Canzonetta Intermezzo Scherzo

Trio in D Minor Op. 32 Anton Arensky (1861-1906) Allegro moderato

INTERMISSION

Three movements from Sonata in A Major Op. 69 Ludwig van Beethoven (1770-1827) Allegro ma non tanto Adagio cantabile Allegro vivace

Trio in D Minor Op. 32 (continued) Anton Arensky (1861-1906) Elegia: Adagio Finale: Allegro non troppo

Invierno Porteño (Winter) Astor Piazzolla (1921-1992)Primavera Porteña (Spring) arranged by José Bragato Played without a pause tampered with by I.R.

April 21, 7:10 PM and April 22, 3:00 PMChrist Lutheran Church

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[ Santa Cruz Chamber Players 2017-2018

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The Variety of Three: Violin, Cello, and Piano \ 7

[ Notes About The Program \

A brief word about this concert’s approach to programming: yes, it’s a bit unorthodox according to traditional 20th century chamber music standards. With some of our pieces, we play only selected movements from larger works. We divide one piece, part before intermission, and the rest in the second half. Then there’s a bit of re-arranging of an already established arrangement, etc. Before you scream “sacrilege,” know that there is historical precedent for all of this, not to mention the artistic director’s prerogative.

Programming in the 18th and 19th centuries was more varied than 20th century practice. For example, a Mozart concert in Vienna in 1784 offered a symphony followed by an aria and then a piano concerto before Intermission. After the Interval came another symphony, another aria and then a piano quintet. As for interpolating other pieces within a larger work, an 1831 Chopin program began with the first movement of his E Minor Concerto, followed by an opera aria and then the 2nd and 3rd movements of the Concerto. The concert continued with a vocal quartet and finished with Chopin improvising his Fantasy on Polish Airs.

A very long concert to be sure, but I suspect that the variety in instrumentation and genres kept audi-ence attention high. This mixing of genres within a single program, I am happy to report, is beginning to return in 21st century programming. Increasing numbers of symphony programs now include opera arias and/or chamber music works. This variety is appreciated by symphony audience members because it now allows them to be exposed to classical music genres (opera, chamber music, etc.) other than just “symphony.”

So our approach to programing looks back at older ways of structuring a program, while reflectingyears of concert-giving feedback which indicated that audiences rate variety in programming extremely high. Now concert programmers need not feel guilty about cutting out a movement due to either a time consideration or possibly because a particular movement is considered “not quite as interesting” as another. Perhaps that’s Chutzpah (Yiddish for Nervy). I prefer to view it as directorial-artistic license which views the program as a whole and legitimizes, if necessary, a different approach to how that work has been traditionally performed. In this context, what the composer may or may not have intended is just not that relevant. The program at hand is now the important artistic entity to be molded. We hope you find our particular program-shaping both interesting and enjoyable!

[ The Variety of Three \There’s magic and history in the number 3: from the perfection of the triangle, to the benefits of a three-wheeler and certainly to the Holy Trinity. At the risk of being sacrilegious, (why not! I’ve already admitted to Chutzpah in the previous paragraph) may I suggest that an instrumental trio is a kind of Musical Trinity. The whole is more powerful than the sum of its parts; individual players meld together to make a unified ensemble whose cumulative power envelops the audience. This melding is the essence of chamber music as well as the theme for our concert.

Tartini’s Devil’s Trill Sonata has an interesting story attached to its composition. According to the handed-down account, the devil appeared to Tartini in a dream and offered to be his servant and apprentice. Tartini handed the Devil his violin to see if he could play, and was treated to a virtuosic display that woke him and inspired him to write his most famous and virtuosic sonata.

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The Variety of Three: Violin, Cello, and Piano \ 9

A fanciful story to be sure but who can ever say what actually inspires composers. Perhaps a more con-ventional explanation might imagine Tartini, before bedtime, looking at one of those medieval prints that picture the devil with fiddle in hand. The image then might have crept into his dream. Whatever the inspiration, it cannot be denied that Tartini’s Devil’s Trill Sonata is very different from all of his other two hundred violin sonatas. Maybe it was a dream, but maybe it was just a composer wanting to do something different, something “devilishly” difficult that would challenge any violinist who tackles the piece. Beethoven was accused of writing “devilishly difficult,” if not impossible-to-play music, particularly in his later works, but as far as I know, Ludwig received no nocturnal visits from underworld creatures. In fact, the Beethoven cello sonatas come from a relatively calm period in Ludwig’s life and are consid-ered some of the most brilliant and beloved pieces ever written for cello and piano. They were written at a time when cello writing was evolving from its earlier 18th century basso continuo function into a more developed expressive solo capability. Particularly in the Third Sonata that we are performing, Beethoven shows off the cello’s sweeping range and capacity for long melodic lines. Nor is the piano neglected, but treated as an equal partner with the cello, not only in the A Major Sonata, but in all five Sonatas. Striking musical material is thrown back and forth between the two instruments with vigor and ingenuity resulting in gracious writing for both instruments.

The Third Sonata was completed in 1808, when a thirty-eight year old Beethoven had just finished writing his Fifth Symphony. A year after completion, Beethoven complained that the sonata “had not yet been well performed in public.” If alive today, Beethoven would have no complaints regarding lack of performances since this work has become the most popular of his five cello sonatas. When you hear the noble expressivity of the opening cello melody, you’ll understand why.

Although the name of Anton Arensky does not immediately come to mind when 19th century Roman-tic Russian music is mentioned, perhaps it should. Even a casual acquaintance with his output reveals first rate composing worthy of greater recognition. His compositions span all musical genres—from opera, ballet, orchestral, piano, and choral, to solo vocal; however it is his chamber music that is consid-ered most distinguished.

He wrote two string quartets, two piano trios, and a piano quintet. As you will soon hear, Arensky’s music owes much to Tchaikovsky’s, but it would be unfair to label it as “merely derivative” or lacking in any distinctive character. Rimsky-Korsakov’s “put-down” is, in my opinion, undeserved and might be the source of Arensky’s subsequent neglect: “In his youth, Arensky did not escape some influence from me; later the influence came from Tchaikovsky. He will quickly be forgotten.” Clearly not a fan of Arensky’s, Korsakov later speculates that drinking and gambling undermined Anton’s health and hastened his death at forty-four from tuberculosis.

The inspiration for the Op. 32 Trio was the death of Arensky’s friend Karl Davidoff, a virtuoso cellist who also was a friend of Tchaikovsky’s. Arensky’s grief is most audibly expressed in the third move-ment, “Elegia” where a sad-sounding D minor melody played by the cello combines with muted violin and cello writing to create a dirge-like mood. In fact, one could say that much of the Trio features the cello, which is entirely appropriate for an homage to a deceased cellist. No wonder our cellist, Kristin suggested the piece. I am grateful for that recommendation. It has introduced me to a trio of which I

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The Variety of Three: Violin, Cello, and Piano \ 11

was unaware, one that I now love despite its pianistic challenges. The piano part is relentless in its fast-moving breathless arpeggios and scales that have to be very lightly executed so as not to cover the more melodic violin and cello parts; however it is these very same arpeggios which give the first and fourth movements its drive and passion.

José Bragato, the arranger of our two Piazzolla trios has this to say about the composer: “Astor Piazolla is the most well-known tango composer in the world. He was born in 1921 in Mar del Plata, Argentina. In 1925 his family left Argentina for New York where Piazolla grew up, a fact which was to influence his later musical career. The spirit of crossing borders followed him throughout his whole life, and he was always searching for new ways of fusing the most varied musical styles which had fascinated him since childhood. In his music he created a synthesis between the traditional danced tango and influ-ences from classical music and jazz. This so-called Tango Nuevo made it possible to reach a new audi-ence, which now discovered tango as concert music.”

Bragato’s piano trio arrangements, with their classical concert-hall instrumentation, in no way dampen the “danciness” of these tangoes. No matter what instruments are used in the many versions of Piazzolla’s music that have emerged over the past 20 years, the passionate, improvisatory feel of the danced tango always shines through. That is Piazzolla’s brilliance and the power of tango!

Notes by I.R.

[ • \

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[ The Artists \

• \ Ivan Rosenblum, artistic director and piano, taught education and music at U.C.S.C. from 1970-80. He has a B.A. from Queens College, N.Y.C., and a Masters and Doctorate from Harvard University. He studied piano and chamber music with Robert Hagopian and Menahem Pressler, and composition with Hugo Weisgall and Vittorio Rieti. Mr. Rosenblum’s compositions have been performed at the Univer-sity of California, Santa Cruz, the Oakland Museum of Art, the Berkeley Repertory Theater, New Music Works S.C.; and on radio stations KPFA, KKHI, KALW, KQED and KUSP. Ivan is well known to Santa Cruz audiences through his many appearances with the Santa Cruz Chamber Players, Cabrillo’s Distin-guished Artist Series, and New Music Works.

He is an active Santa Cruz piano teacher and chamber music coach, and previously organized and directed the Chamber Players’ Celebrating Youth Chamber Music Program. Information regarding The Wolford-Rosenblum Sax-Piano Duo can be found at wrduo.com.

• \ Shannon Delaney D’Antonio, violin and viola, grew up in Northern Virginia, beginning as a Suzuki student and later studying with members of the National Symphony Orchestra. She holds a B.A. degree in Violin Performance from Stanford University. Shannon performs regularly with several local ensembles including Espressivo, Ensemble Monterey Chamber Orchestra, Santa Cruz Chamber Players, Santa Cruz New Music Works, Monterey Pops, and Cabrillo Stage.

In addition, She holds a M.A. degree in Education from the University of California, Santa Cruz. She is

The Variety of Three: Violin, Cello, and Piano \ 13

currently working to provide academic intervention in reading and math to students in K-5 at Westlake Elementary School in Santa Cruz, where she has been a faculty since 2005. Shannon lives in Santa Cruz with her husband and two children, where she enjoys walking, reading, and enjoying the view.

• \ Kristin Garbeff, cello, is a versatile chamber, solo, and orchestral musician. She has performed with many groups in the San Francisco and Monterey Bay areas including the Monterey Symphony, Santa Cruz Symphony, West Bay Opera, New Music Works, and Hidden Valley String Orchestra. Kristin is a member of the Bridge Piano Quartet, a chamber ensemble committed to performing and commis-sioning new music. She is also active in the popular music scene. She has collaborated with various groups in the San Francisco Bay Area including indie band Blue Rabbit, the White Album Ensemble, Kenny Shick, and Jenn Grinels.

Kristin received her Master of Music degree at the Longy School of Music. She studied chamber music with Terry King, Kathleen Lenski, Victor Rosenbaum, and Roger Tapping, and jazz improvisation with pianist Peter Cassino. In addition to performing, Kristin maintains a teaching studio at her home in Scotts Valley, CA.

THANK-YOU!Georgina Wong, Mary Fran Archer and Anonymous for their financial support of this program.

Carol Panofsky for her graphics and Steve Di Bartolomeo for his brochure photos and John Bauer for his care and expertise in tuning and maintaining our piano.

[ • \

[ Santa Cruz Chamber Players 2017-2018

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The Variety of Three: Violin, Cello, and Piano \

Santa Cruz Chamber Players2017-2018 • 39th Season

= MUSA presents “Smorgasbord Baroque”Saturday, October 21, 7:30 p.m. and Sunday, October 22, 3:00 p.m.Music by Antonio de Salazar, Teodorico Pedrini, Georg Philipp Telemann, and more Derek Tam, concert director and harpsichord Cynthia Black and Addi Liu, Baroque violins; Gretchen Claassen, Baroque ’cello

= Latin LoversSaturday, November 11, 7:30 p.m. and Sunday, November 12, 3:00 p.m.Music by Vivaldi, Ravel, Villa- Lobos, Bizet, and more Solmaaz Adeli, concert director and mezzo- soprano; Lars Johannesson, flute; Kristin Garbeff, cello; VladaVolkova-Moran, piano and harpsichord; Jennifer Cass, harp

= Czech, PleaseSaturday, January 13, 7:30 p.m. and Sunday, January 14, 3:00 p.m.Music by Smetana, Dvorak, and Suk Roy Malan, concert director and violin; Susan Freier Harrison, violin; Polly Malan, viola Stephen Harrison, cello; Robin Sutherland, piano

= An Arc of RomanticismSaturday, February 24, 7:30 p.m. and Sunday, February 25, 3:00 p.m.Music by Beethoven, Schumann, and Brahms Brian Johnston, concert director and violin; Be’eri Moalem, violin; Shannon Delaney D’Antonio, viola; Aude Castagna, cello; Ben Dorfan, piano

= OrnithologySaturday, March 10, 7:30 p.m. and Sunday, March 11, 3:00 p.m.An aviary featuring Vaughn Williams, Lou Harrison, Chris Pratorius- Gómez, and other birds Chris Pratorius- Gómez, concert director, piano, and mallet percussion; Roy Malan, violin; Polly Malan, viola; Lars Johannesson, flutes; Leslie Tagorda, clarinets; Keisuke Nakogoshi, piano Special guests: Ariose Singers, conducted by Camille Couture

= The Variety of Three: Violin, Cello, and PianoSaturday, April 21, 7:30 p.m. and Sunday, April 22, 3:00 p.m.Music by Tartini, Beethoven, Arensky, Piazolla, and Gliere Ivan Rosenblum, oncert director and piano; Shannon D’Antonio, violin; Kristin Garbeff, cello

All Santa Cruz Chamber Players concerts take place at Christ Lutheran Church, 10707 Soquel Drive, Aptos

SCCP concerts will be re-broadcast on KKUP 91.5.KKUP: 91.5 streaming at KKUP.org

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KEEPING FINE MUSICFINELY PLAYED

IN OUR FINE COMMUNITY

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