Academy of St Martin in the Fields - Joshua Bell, Director/Soloist Tuesday, March 8, 2022 at 5:00 p.m - Palm Springs Friends of ...
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PROUDLY PRESENT
Academy of St Martin in the Fields
Joshua Bell, Director/Soloist
Sponsored by Phyllis & Gary Schahet,
Helene Galen & Jamie Kabler
Tuesday, March 8, 2022 at 5:00 p.m.
McCallum Theatre for the Performing ArtsAcademy of St Martin in the Fields
Joshua Bell, Director/Soloist
Sponsored by
Phyllis & Gary Schahet
Helene Galen & Jamie Kabler
PROGRAM
JOHANN SEBASTIAN BACH Violin Concerto No. 1 in A minor,
(1685-1750) BWV 1041 (15 minutes)
(Allegro)
Andante
Allegro assai
Joshua Bell, Violin
SAMUEL BARBER Violin Concerto, Op. 14 (22 minutes)
(1910-1981) Allegro
Andante
Presto in moto perpetuo
Joshua Bell, Violin
— INTERMISSION —
LUDWIG VAN BEETHOVEN Symphony No. 3 in E-flat Major,
(1770-1827) Op. 55 “Eroica” (53 minutes)
Allegro con brio
Marcia funebre: Adagio assai
Scherzo: Allegro vivace
Finale: Allegro molto; Poco andante
PROGRAMS AND ARTISTS SUBJECT TO CHANGE
AS A COURTESY TO THE CONDUCTOR AND ORCHESTRA ...
Please remain seated until the performers leave the stage at intermission and at the end of the program. Also, please
do not applaud between movements of any musical composition. Friends of Philharmonic audiences are known for the
warm and courteous welcome extended to visiting performers. Please help maintain this fine reputation. THANK YOU.
Photography and recording of any kind is strictly prohibited. Please remember to silence your cell phone.Program Notes
Violin Concerto No. 1 in A minor, BWV 1041 Bach aims for brilliance in the final movement: his
JOHANN SEBASTIAN BACH marking is Allego assai – “Very fast” – and its 9/8
Born March 21, 1685, Eisenach meter and dancing energy give it some resemblance
Died July 28, 1750, Leipzig to the gigue. After a spirited orchestral introduction,
the solo violin comes sailing into the orchestral
Bach spent the years 1717 to 1723 as kapellmeister texture. Bach’s evolution of the opening material is
in the service of Prince Leopold of Anhalt-Cöthen. remarkable: as the orchestra hurtles brusquely along
The Cöthen court, located about thirty miles north of far below it, the violin seems to fly high, transforming
Leipzig, was strictly Calvinist and would not tolerate this simple material into music of grace and beauty
in its church services the organ music and cantatas before rejoining the orchestra.
Bach had written for the more liberal Weimar,
where he had spent the previous nine years. But
Prince Leopold himself was extremely enthusiastic Violin Concerto, Op. 14
about music – he played clavier, violin, and viola SAMUEL BARBER
da gamba, and he was delighted to have Bach in Born March 9, 1910, West Chester, Pennsylvania
his employment. So enthusiastic about music was Died January 23, 1981, Mt. Kisco, New York
Prince Leopold that he maintained a seventeen-
piece orchestra, which he was happy to put at the Samuel Barber began composing his Violin Concerto
composer’s disposal. Bach – who once said that during the summer of 1939 while living in a small
music exists for two purposes: the glorification of village in Switzerland. He moved to Paris later that
God and the refreshment of the soul – spent six summer and then – as war broke out – returned to the
years refreshing his soul at Cöthen. From these United States, where he completed the concerto. That
years came the great part of his secular instrumental completion, however, brought problems. The concerto
music, including the Brandenburg Concertos, had been commissioned by the wealthy American
the violin concertos, the sonatas and partitas for businessman Samuel Fels (of Fels Naphtha fame),
unaccompanied violin, several of the orchestral who intended it for the use of a young violinist he was
suites, and Book I of The Well-Tempered Clavier. promoting. That violinist, however, was dissatisfied
with the last movement and asked for changes.
The Concerto in A Minor, one of Bach’s three Barber refused and soloist and composer found
surviving violin concertos, was probably composed themselves at an impasse. This awkward situation
about 1720. The opening movement is animated was resolved when the young violinist renounced his
(though the movement lacks a tempo marking, it is right to the first performance, and Barber was free to
clearly some form of Allegro): the upward leap of a find a new soloist. Albert Spalding gave the premiere
fourth at the beginning recurs throughout, giving the on February 7, 1941, with the Philadelphia Orchestra
movement its rhythmic energy and forward impulse. conducted by Eugene Ormandy.
Against vigorous orchestral accompaniment, the
solo violin enters in a more lyrical voice on material Eighty years after its composition, Barber’s Violin
derived directly from the orchestral exposition, and Concerto has become the most popular violin
throughout the movement soloist and orchestra concerto by an American composer – numerous
exchange and mutually extend this material. performances are available on compact disc,
many of them recorded in Europe. The source of
The Andante belongs almost entirely to the solo this popularity is no mystery: the concerto shows
violin: here the orchestra is limited to a bare ostinato off Barber’s considerable melodic gift, particularly
accompaniment. But if the accompaniment is simple, over the first two movements, while the finale is
the violin’s arching cantilena is ornate, unfolding a breathless virtuoso piece. The concerto has
in long, lyric lines high above the orchestra. This some unusual features, particularly in its scoring.
movement is the expressive center of the concerto, Barber writes for Mozart’s orchestra (pairs of winds,
and – despite the C-major tonality – its tone is dark plus timpani and strings) as well as two unusual
and intense. instruments: a “military” drum, used only in the finale,and a piano, used here as a chordal instrument. he had just come through a devastating experience –
The choice of piano can seem a curious one, and the realization that he was going deaf had driven him
Barber’s decision to arpeggiate its chords gives the to the verge of suicide – but now he resumed work,
instrument a continuo-like plangency, an unusual and life. To his friend Wenzel Krumpholz, Beethoven
sound in the concerto’s generally romantic sonority. confided: “I am only a little satisfied with my previous
works. From today on I will take a new path.” At
While the opening movement is marked Allegro, its Oberdöbling over the next six months, Beethoven
actual pace feels somewhat restrained, so that this sketched a massive new symphony, his third.
concerto seems to open with two slow movements,
followed by a fast finale. The opening movement is Everyone knows the story of how Beethoven had
notable for its continuous lyricism. Solo violin has intended to dedicate the symphony to Napoleon,
the long opening melody, and the triplet that recurs whose reforms in France had seemed to signal a
during this theme will figure importantly throughout new age of egalitarian justice. But when the news
the development. Solo clarinet has the perky reached Beethoven in May 1804 that Napoleon had
second idea, full of rhythmic snap, and the violin proclaimed himself emperor, the composer ripped
has a dancing subordinate figure, marked grazioso the title page off the score of the symphony and
e scherzando. There is no cadenza as such, but blotted out Napoleon’s name, angrily crying: “Is he
in the first two movements Barber gives the solo then, too, nothing more than an ordinary human
violin extended cadenza-like passages over deep being? Now he, too, will trample on all the rights
orchestral pedals. The coda of the first movement of man and indulge only his ambition. He will exalt
recalls its two main themes, and the movement himself above all others, become a tyrant!” (This
concludes quietly on the triplet rhythms that have sounds like one of those stories too good to be true,
shaped so much of it. but it is quite true: that title page – with Napoleon’s
name obliterated – has survived.) Countless
The Andante is very much in the manner of the historians have used this episode to demonstrate
opening movement. Over muted strings, solo oboe Beethoven’s democratic sympathies, though there
sings the long main theme; the violin’s entrance is is evidence that just a few months later Beethoven
delayed, and Barber marks its appearance senza intended to restore the symphony’s dedication to
affretare: “without hurrying.” The music rises to an Napoleon, and late in life he spoke of Napoleon
expansive, soaring climax before the quiet close. with grudging admiration. When the symphony was
published in 1806, though, the title page bore only
The finale – Presto in moto perpetuo – brings a the cryptic inscription: “Sinfonia eroica – dedicated
sharp change of character. Gone is the lyricism of to the memory of a great man.”
the first two movements, and in its place comes a
gritty, acerbic quality. Except for two brief interludes, The new symphony was given several private
the soloist is playing constantly, and the part is full performances before the public premiere on April 7,
of blistering triplets, awkward string-crossings, and 1805. Early audiences were dumbfounded. Wrote
endless accidentals – the effect is of a hard-driving one reviewer: “This long composition, extremely
perpetual motion. In the coda, the pulse of triplets difficult of performance, is a tremendously expanded,
suddenly gives way to racing sixteenths, and Barber’s daring and wild fantasia. It lacks nothing in the way
Violin Concerto concludes as the soloist rips upward of startling and beautiful passages, in which the
to the very top of the violin’s range. energetic and talented composer must be recognized;
but often it loses itself in lawlessness ... The reviewer
belongs to Herr Beethoven’s sincerest admirers, but
Symphony No. 3 in E-flat Major, in this composition, he must confess that he finds
Op. 55 “Eroica” too much that is glaring and bizarre, which hinders
LUDWIG VAN BEETHOVEN greatly one’s grasp of the whole, and a sense of unity
Born December 16, 1770, Bonn is almost completely lost.” Legend has it that at the
Died March 26, 1827, Vienna end of the first movement, one outraged member of
the audience screamed out: “I’ll give another kreutzer
In May 1803 Beethoven moved to the village of
[a small coin] if the thing will but stop!” It is easy
Oberdöbling, a few miles north of Vienna. At age 32,
now to smile at such reactions, but those honestsentiments reflect the confusion of listeners in the Out of this silence, the propulsive scherzo springs to
presence of a genuinely revolutionary work of art. life, then explodes. For all its revolutionary features,
the Eroica employs what was essentially the Mozart-
There had never been a symphony like this, and Haydn orchestra: pairs of winds, plus timpani and
Beethoven’s “new directions” are evident from the strings. Beethoven makes only one change – he adds
first instant. The music explodes to life with two a third horn, which is now featured prominently in the
whipcracks in E-flat major, followed immediately trio section’s hunting-horn calls. But that one change,
by the main ideas in the cellos. This slightly-swung seemingly small by itself, is yet another signal of
theme is simply built on the notes of an E-flat major the originality of this symphony: the virtuosity of the
chord, but the theme settles on a “wrong” note – C# writing for horns, the sweep of their brassy sonority –
– and the resulting harmonic complications will be all these are new in music.
resolved only after much violence. Another striking
feature of this movement is Beethoven’s choice The finale is a theme-and-variation movement, a
of 3/4 instead of the duple meter customary in form originally intended to show off the imagination
symphonic first movements; 3/4, the minuet meter, of the composer and the skill of the performer. Here
had been thought essentially lightweight, unworthy Beethoven transforms this old form into a grand
of serious music. Beethoven destroys that notion conclusion worthy of a heroic symphony. After an
instantly – this is not simply serious music; it is opening flourish, he presents not the theme but the
music of the greatest violence and uncertainty. In bass line of that theme, played by pizzicato strings,
it, what Beethoven’s biographer Maynard Solomon and offers several variations on this line before the
has called “hostile energy,” is admitted for the first melodic theme itself is heard in the woodwinds, now
time into what had been the polite world of the accompanied by the same pizzicato line. This tune
classical symphony. This huge movement (longer had special appeal for Beethoven and he had already
by itself than some complete Haydn and Mozart used it in three other works including his ballet
symphonies) introduces a variety of themes and Prometheus. Was Beethoven thinking of Prometheus
develops them with a furious energy. It is no accident – stealer of fire and champion of mankind – when he
that the development is the longest section of this used this theme for the climactic movement of this
movement. The energy pent up in those themes is utterly original symphony? He puts the theme through
unleashed here, and the development – much of it a series of dazzling variations, including complex
fugal in structure – is full of grand gestures, stinging fugal treatment, before reaching a moment of poise
dissonances, and tremendous forward thrust. The on a stately slow variation for woodwinds. The music
lengthy recapitulation (in which the music continues pauses expectantly, and then a powerful Presto coda
to develop) drives to a powerful coda: the main hurls the Eroica to its close.
theme repeats four times, growing more powerful
on each appearance and finally it is shouted out in The Eroica may have stunned its first audiences,
triumph. This truly is a “heroic” movement – it raises but audiences today run the greater risk of forgetting
serious issues and in music of unparalleled drama how revolutionary this music is. What seemed
and scope it resolves them. “lawlessness” to early audiences must now be
seen as an extraordinary leap to an entirely new
The second movement brings another surprise – it conception of what music might be. Freed from the
is a funeral march, something else entirely new restraint of courtly good manners, Beethoven found in
in symphonic music. Beethoven moves to dark C the symphony the means to express the most serious
minor as violins announce the grieving main idea and important of human emotions. It is no surprise
over growling basses, and the movement makes the composers over the next century would make
its somber way on the tread of this dark theme. full use of this freedom. Nor is it a surprise to learn
The C-major central interlude sounds almost bright that late in life – at a time when he had written eight
by comparison – the hero’s memory is ennobled symphonies – Beethoven named the Eroica as his
here – but when the opening material and tonality own favorite among his symphonies.
return Beethoven ratchets up tensions by treating
his material fugally. At the end, the march theme Program notes by Eric Bromberger
disintegrates in front of us and the movement ends on
muttering fragments of that theme.Joshua Bell
Director/Soloist
With a career spanning almost four decades,
GRAMMY® Award-winning violinist Joshua
Bell is one of the most celebrated artists of
his era. Having performed with virtually every
major orchestra in the world, Bell continues
to maintain engagements as soloist, recitalist,
chamber musician, conductor, and Music
Director of the Academy of St Martin in the
Fields.
Bell’s highlights in the 2021-22 season include
leading the Academy of St Martin in the Fields
at the 2021 BBC Proms and the U.S. on tour;
returning with the Philadelphia Orchestra for
a play/conduct program, and appearances
with the Minnesota Orchestra, the New
York Philharmonic, and Boston Symphony
Orchestra. Highlights in Europe include a
tour with pianist Shai Wosner, performances
with the Tonhalle Orchestra Zurich, Russian
National Orchestra, Swedish Radio Symphony
Orchestra and Orchestre de Paris, as well as
touring as soloist with the Israel Philharmonic
and NDR Elbphilharmonie Orchestra.
Credit by Shervin Lainez
In summer 2020, PBS presented Joshua Bell:
At Home With Music, a nationwide broadcast directed Bell has been active in commissioning new works
by Tony and Emmy award winner, Dori Berinstein, from living composers and has premiered concertos
produced entirely in lockdown. The program included of John Corigliano, (double concerto) Edgar Meyer,
core classical repertoire as well as new arrangements Behzad Ranjbaran and the Nicholas Maw’s Violin
of beloved works, including a West Side Story Concerto, for which his recording received a
medley. The special featured guest artists: Larisa GRAMMY® award.
Martínez, Jeremy Denk, Peter Dugan, and Kamal
Bell has also collaborated with artists across a
Khan. In August 2020, Sony Classical released the
multitude of genres. He has partnered with peers
companion album to the special, “Joshua Bell: At
including Renée Fleming, Chick Corea, Regina
Home With Music.”
Spektor, Wynton Marsalis, Chris Botti, Anoushka
In 2011, Bell was named Music Director of the Shankar, Frankie Moreno, Josh Groban, and Sting,
Academy of St Martin in the Fields, succeeding among others. In Spring 2019, Bell joined his
Sir Neville Marriner, who formed the orchestra in longtime friends and musical partners, cellist Steven
1959. Bell’s history with the Academy dates to 1986 Isserlis and pianist Jeremy Denk, for a ten-city
when he first recorded the Bruch and Mendelssohn American trio tour; the trio recorded Mendelssohn’s
concertos with Mariner and the orchestra. Bell has piano trios at Capitol Studios in Hollywood, slated
since directed the orchestra on several albums for release next season. Following Bell’s second
including Vivaldi’s Four Seasons, Voice of the Violin, collaboration with the Singapore Chinese Orchestra
For the Love of Brahms, and most recently, Bruch: and Maestro Tsung Yeh in 2018, an upcoming
Scottish Fantasy, which was nominated for a 2019 album release features Bell as soloist alongside
GRAMMY® Award. traditional Chinese instruments performing Western
repertoire and the Butterfly Lovers’ Violin Concerto,one of the most renowned violin works in Chinese Violin, illustrated by Dušan Petričić, offers a glimpse
cultural heritage. into one of Bell’s competition experiences at age
12. Bell debuted The Man With The Violin festival at
In 1998 Bell partnered with composer John the Kennedy Center in 2017, and, in March 2019,
Corigliano and recorded the soundtrack for the film presented a Man With The Violin family concert with
The Red Violin, which helped Joshua Bell become a the Seattle Symphony.
household name and garnered an Academy award
for the composer. Since then, he has appeared In August 2021, Bell announced his new partnership
on several other film contracts including Ladies in with Trala, the tech-powered violin learning app,
Lavender (2004) to Defiance (2008). which Bell will work with to develop a unique
music education curriculum. Bell maintains active
Bell has also appeared three times as a guest star involvement with Education Through Music and
on The Tonight Show with Johnny Carson and made Turnaround Arts, which provide instruments and
numerous appearances on the Amazon series arts education to children who may not otherwise
Mozart in the Jungle. Bell is featured on six Live experience classical music firsthand. In 2014,
From Lincoln Center specials, as well as a PBS Great Bell mentored and performed alongside National
Performances episode, “Joshua Bell: West Side Story YoungArts Foundation string musicians in an
in Central Park.” In 2018-19, Bell commemorated the HBO Family Documentary special, “Joshua Bell:
20th anniversary of The Red Violin (1998), bringing A YoungArts Masterclass.” Bell received the 2019
the film with live orchestra to various festivals and the Glashütte Original Music Festival Award, presented
New York Philharmonic. in conjunction with the Dresden Music Festival, for his
Bell’s interest in technology led him to partner with commitment to arts education.
Embertone, the leading virtual instrument sampling Born in Bloomington, Indiana, Bell began the violin
company, on the Joshua Bell Virtual Violin, a sampler at age four and at age twelve began studies with
created for producers, engineers, artists, and his mentor, Josef Gingold. At age 14, Bell debuted
composers. Bell also collaborated with Sony on the with Riccardo Muti and the Philadelphia Orchestra,
Joshua Bell VR experience. Featuring Bell performing and made his Carnegie Hall debut at age 17 with
with pianist Sam Haywood in full 360-degrees VR, the the St. Louis Symphony. At age 18, Bell signed with
software is available on Sony PlayStation 4 VR. his first label, London Decca, and received the
As an exclusive Sony Classical artist, Bell Avery Fisher Career Grant. In the years following,
has recorded more than 40 albums garnering Bell has been named 2010 “Instrumentalist of the
GRAMMY®, Mercury®, Gramophone and OPUS Year” by Musical America, a 2007 “Young Global
KLASSIK awards. Bell’s Fall 2019 Amazon Music Leader” by the World Economic Forum, nominated
Originals new Chopin Nocturne arrangement was for six GRAMMY® awards, and received the 2007
the first classical release of its kind on the platform. Avery Fisher Prize. He has also received the 2003
Bell’s 2016 release, For the Love of Brahms, includes Indiana Governor’s Arts Award and a Distinguished
19th-century repertoire with the Academy, Steven Alumni Service Award in 1991 from the Jacobs
Isserlis, and Jeremy Denk. Bell’s 2013 album with School of Music. In 2000, he was named an
the Academy of St Martin in the Fields, featuring “Indiana Living Legend.”
Bell directing Beethoven’s Fourth and Seventh Bell has performed for three American presidents
symphonies, debuted at No. 1 on the Billboard charts. and justices of the Supreme Court. He participated
In 2007, a Pulitzer Prize-winning Washington in former president Barack Obama’s Committee
Post story, centered on Bell performing incognito on the Arts and Humanities’ first cultural mission to
in a Washington, D.C. metro station, sparked an Cuba, joining Cuban and American musicians on a
ongoing conversation regarding artistic reception 2017 Live from Lincoln Center Emmy nominated PBS
and context. The feature inspired Kathy Stinson’s special, Joshua Bell: Seasons of Cuba, celebrating
2013 children’s book, The Man With The Violin, and renewed cultural diplomacy between Cuba and the
a newly commissioned animated film, with music by United States.
Academy Award-winning composer Anne Dudley. Bell performs on the 1713 Huberman Stradivarius
Stinson’s subsequent 2017 book, Dance With The violin.Credit by Benjamin Ealovega
Academy of St Martin in the Fields
The Academy of St Martin in the Fields is one of Academy hallmark. Under Bell’s direction and with
the world’s finest chamber orchestras, renowned the support of Leader/Director Tomo Keller and
for fresh, brilliant interpretations of the world’s Principal Guest Conductor Murray Perahia, the
greatest orchestral music. Academy continues to push the boundaries of
player-directed performance to new heights,
Formed by Sir Neville Marriner in 1958 from a presenting symphonic repertoire and chamber
group of leading London musicians, the Academy music on a grand scale at prestigious venues
gave its first performance in its namesake around the globe.
church in November 1959. Through unrivalled
live performances and a vast recording output – When COVID-19 sparked lockdowns across the
highlights of which include the 1969 best-seller globe, the Academy responded by establishing
Vivaldi’s Four Seasons and the soundtrack to a digital campaign to fund the production of new
the Oscar-winning film Amadeus – the Academy performance videos as well as launching a new
gained an enviable international reputation for its concert series at its spiritual home of St Martin-
distinctive, polished, and refined sound. With over in-the-Fields in London’s Trafalgar Square. The
500 releases in a much-vaunted discography and series – the first of its kind in the orchestra’s home
a comprehensive international touring programme, city for many years – saw the Academy collaborate
the name and sound of the Academy is known and with internationally artists on concert programmes
loved by classical audiences throughout the world. devised by members of the orchestra.
Today the Academy is led by Music Director To find out more about the Academy of St Martin
and virtuoso violinist Joshua Bell, retaining the in the Fields please visit www.asmf.org, or connect
collegiate spirit and flexibility of the original small, with the orchestra on Instagram, Facebook, and
conductor-less ensemble which has become an Twitter.Academy of St Martin in the Fields
Joshua Bell, Music Director
VIOLIN OBOE PRINCIPAL GUEST CONDUCTOR
Harvey de Souza * John Roberts Murray Perahia KBE
Martin Burgess * Rachel Ingleton *** LEADER/DIRECTOR
Mark Butler CLARINET Tomo Keller
Sijie Chen James Burke * INTERIM CHIEF EXECUTIVE &
Ruth Funnell Thomas Lessels *** DIRECTOR OF CONCERTS
Jennifer Godson ** Alison Tedbury
BASSOON
Clare Hayes
Julie Price * CONCERTS AND TOURS
Antonia Kesel MANAGER
Graham Hobbs ***
Miranda Playfair Hannah Bache
Rebecca Scott HORN
ORCHESTRA PERSONNEL
Alicja Smietana Stephen Stirling * MANAGER
Amanda Smith Joanna Hensel *** Lesley Wynne
Matthew Ward Peter Francomb
CONCERTS & PARTICIPATION
VIOLA
Jamie Shield ASSISTANT
Robert Smissen * TRUMPET Aimee Walton
Ian Rathbone Mark David * LIBRARIAN
Nicholas Barr William O’Sullivan *** Hal Hutchinson
Alexandros Koustas TIMPANI HEAD OF LEARNING AND
PARTICIPATION
CELLO Tom Lee
Caroline Dale Charlotte O’Dair
PIANO/HARPSICHORD
Will Schofield ** John Constable * ACADEMY OF ST MARTIN IN
THE FIELDS IS REPRESENTED
Juliet Welchman BY OPUS 3 ARTISTS
Judith Herbert * Academy Principal Robert Berretta, Managing
BASS ** Academy Associate Principal Director
Lynda Houghton * *** Academy Sub-Principal Benjamin Maimin, Chief Operating
Officer
Benjamin Russell FOUNDING PRESIDENT
Grace Hertz, Associate Manager
Doug Basye* Sir Neville Marriner CH, CBE Jemma Lehner, Managerial
FLUTE Assistant
Adam Walker Tim Grassel, Company Manager
Sarah Newbold ***The Huberman Violin
By Joshua Bell
My violin is over 300 years old. the lovely Cantilena, Brahms replied, ‘You should
not have played the cadenza so beautifully.’”
Known as the Gibson ex Huberman, the revered
instrument came into my life one fateful day during Huberman became one of the most celebrated
the summer of 2001, I was in London, getting ready musicians of his time, but it was in 1929 that
to play a ‘Proms’ concert at the Royal Albert Hall his contribution to humanity took on an added
and decided to stop by the famous violin shop J & dimension. During that year he visited Palestine
A Beare to pick up some strings. As I entered the and came up with the idea to establish a classical
shop, Charles Beare was just coming out of the music presence there. During Hitler’s rise to
back room with a stunning violin in hand. He told power, Huberman had the foresight to realize he
me that it was the famous Huberman Strad, and of could save many Jewish artists while fulfilling his
course I was instantly intrigued. desire to start a Palestinian Orchestra. Huberman
auditioned musicians from all over Europe. Those
I soon learned all of the known details of the selected for the orchestra would receive contracts
violin’s remarkable history, which is complete and, most importantly, otherwise impossible-to-
with twists and turns to rival the film that I had get exit visas from their homeland to Palestine.
only recently finished working on -The Red Violin. Huberman raised the money for the musicians
Believed to be one of only five or six instruments and then their families, even partnering with Albert
made in 1713 by Antonio Stradivari in Cremona, Einstein to set up an exhaustive U.S. fundraising
Italy, the violin has belonged to many, including trip in 1936. By the end of that tour, the money
the English violinist George Alfred Gibson. But it for the orchestra was secured and sixty top-rate
was its connection to Bronislaw Huberman that players had been chosen from Germany and
I found particularly fascinating and somewhat Central Europe. All in all, it was a fantastically
personal. successful tour, barring one particular performance
Huberman was a Jewish Polish violinist who lived at Carnegie Hall on February 28th. That night
from 1882-1947. He was a child prodigy who was Huberman chose to play the second half of his
revered for his remarkable virtuosity and daring concert on his ‘other violin’, a Guarneri del Gesu.
interpretations. Huberman studied under Joseph During the applause following his performance
Joachim in Berlin, and by the age of 11 he was of the Franck Sonata, Huberman’s valet walked
already touring Europe as a virtuoso. It was during on stage to inform him that his Stradivarius had
one of those early tours that he met the pianist been stolen from his dressing room. The police
Arthur Rubinstein, who was only six at the time, were called while Huberman tried not to panic,
and had not yet achieved the legendary status continuing optimistically with his encores. The
that he came to hold. The two musicians remained instrument had previously been stolen in 1919
lifelong friends. from a hotel room in Vienna but was recovered
days later when the thief tried to sell it. This time,
At 13 Huberman had the honor of performing Huberman was not so lucky.
the violin concerto of Johannes Brahms in the
presence of the composer himself, who was There are several versions as to exactly how and
stunned by his interpretation. According to why the violin was stolen, but what we know for
biographer Max Kalbeck, “As soon as Brahms sure is that the instrument ended up in the hands
heard the sound of the violin, he pricked up his of a young freelance violinist by the name of Julian
ears, during the Andante he wiped his eyes, and Altman. Some say Altman’s mother convinced him
after the Finale he went into the green room, to steal it; others report that Altman bought if off the
embraced the young fellow, and stroked his actual thief for $100. Regardless, Altman took great
cheeks. When Huberman complained that the pains to conceal the violin’s true identity, covering
public applauded after the cadenza, breaking into its lovely varnish with shoe polish and performing
on it throughout the rest of his career, whichincluded a stint as first chair with the National And so here I was in 2001, buying some strings
Symphony Orchestra during World War II. at the violin shop and I was introduced to the
1713 Stradivarius again. As it was handed to me,
Heartbroken, Huberman never saw his Stradivarius I was told it was being sold to a wealthy German
again. However, his great dream was fulfilled when industrialist for his private collection. However,
the new Palestine Orchestra made its debut in after playing only a few notes on it I vowed that this
December of 1936 with the great Toscanini on the would not happen. This was an instrument meant
podium. I like to imagine that my own relatives to be played, not just admired. I fell in love with the
might have been in the audience on that opening instrument right away, and even performed that
night, as my grandfather was born there, and my very night on it at the Royal Albert Hall. I simply did
great grandfather was part of the first “Aliyah” of not want it to leave my hands.
Russian Jewish immigrants to Palestine in 1882.
As for his violin, it was played by its suspected This violin is special in so many ways. It is
thief for over fifty years, and in 1985, Julian Altman overwhelming to think of how many amazing
made a deathbed confession to his wife, Marcelle people have held it and heard it. When I perform
Hall, about the true identity of the instrument. She in Israel with the Israel Philharmonic, I am always
eventually returned the violin to Lloyd’s of London touched to think how many of the orchestra and
and received a finder’s fee; and the instrument audience members are direct descendants of the
underwent a nine-month restoration by J & A Beare musicians Huberman saved from the Holocaust
Ltd which noted it was like “taking dirt off the ceiling – with funds raised by concerts performed on the
of the Sistine Chapel.” very same instrument I play every day. Who knows
what other adventures will come to my precious
The instrument was then sold to the late British violin in the years to come? While it certainly
violinist Norbert Brainin of the Amadeus String will be enjoyed and admired long after I am not
Quartet. Previous to my fortuitous encounter with around anymore, for the time being I count myself
the violin at J & A Beare, Brainin had once let me incredibly lucky to be its caretaker on its 300th
play it after a rehearsal of the Mozart g minor string birthday.
quintet which I had the pleasure of playing with him
one evening in the 1990s. “One day you might be
lucky enough to have such a violin,” he had said
prophetically.PALM SPRINGS FRIENDS OF PHILHARMONIC
FO U NDE D 1973
Dr. Mimi Rudolph, Founder – Mrs. Nancy Adler Thornton, Founding Benefactor
O F F I C E RS
Kenneth A. Turner, President
Lucinda Schissler, Vice-President – Artist Selection
Joseph H. Stein, Vice-President – Subscriptions
Anne Holland, Recording Secretary
Gary Schahet, Immediate Past President – Parliamentarian
D I RE CTO RS
Lois Nehring Darr Roberta Holland Gloria Scoby
John Fox Dean Kauffman Joseph H. Stein
Barbara Fremont Dr. David B. Ko Douglas G. Stewart
Norman Gorin Carol S. Lewis Paul M. Symons
Bernice Greene Larry Pitts Kenneth A. Turner
Anne Holland Gary Schahet JoAnn Wellner
Lucinda Schissler
Marnie Duke Mitze, Executive Director
Michael Flannigan, Ticketing and Administrative Coordinator
D IR E CTO RS E ME RI T U S
Henry Freund, Jeanne Hilb, Robert Rose, Eleanor Sidenfaden, Lynn Zimmer
IN ME MO R I A M
The Board of Directors pays tribute to the following board directors who
have recently passed, but whose wisdom, passion and commitment to classical music
will continue to inspire and guide us in the decades to come.
Robert Armstrong, Marshall Gelfand, Barbara Pitts, Gloria Rosen, John ShevlinTHE BOARD OF DIRECTORS OF
THE PALM SPRINGS FRIENDS OF PHILHARMONIC
wishes to express its gratitude to the following annual donors:
DISTINGUISHED Jeanne S. Levitt John & Nicki Conti Roberta Holland
MAESTRO
Carol S. Lewis Susan E. Cooper Boyd & Dody Hopkins
$10,000 and above
Phillip Mathewson & Peggy Cravens Frances Horwich
Barbara Fremont Robert Griffith Jeaninne Daniel Loreen Jacobson &
Mr. & Mrs. Henry L. Mattlin Foundation Bertel Lewis
Freund Lois Nehring Darr
Joseph Noren & Marnie Gennaro DeVito Michael Jaworski
Gother Family Trust Miller
Isabelle Diamond Mrs. George E. Jones
Dr. & Mrs. David Leshner Larry & Cathy Pitts
The Allen & Marilyn Professor & Mrs. Ken
Corinne & Victoria Judy & Jerry Potthoff Jowitt
Nevinny in Honor of Eager Charitable Fund
Dagmar Nevinny William Rutherford & Arturo Fernandez & Dean Kauffman & Carlos
Joan Lamb Derek Gordon Andrés Mosquera
Charles & Yvonne Pigott
Phyllis & Gary Schahet Joann & John H. Firmage Nora Kaufman
MAESTRO Michael & Pat Shirley Fitterman Ruth & Malvin Kaufman
$5000 – $9999 Schumaecker John Knoebel & Ira Helf
Dr. Robert J. & Janice
Laura & Wayne Bellows Gloria & Michael Scoby Flamer Dr. David Ko & Dr. Sara
Lynda & Charles Biggs Douglas G. Stewart Mr. & Mrs. Robert J. Azar
Sallie & Allan Bulley Sheila & Ira Stone Fraiman Robert Kohl & Clark
Kyle Thorpe Natalie Freeman Pellett
Dean L. & Rosemarie
Buntrock Foundation Ken Turner & Mark Barbara & Bernie Fromm Bud Krause
John & Katherine Fox Albertson Jeannette & Raymond Linda Lechlitner
Hirschmann Family Jane Witter & Fred Galante Norman J. Lewis & Myra
Foundation Delanoy Mrs. Karlene Garber L. Gordon
Nancy & George Maas Carl Geist Helen Louden
BENEFACTOR
Dr. Myron & Joanne Mintz Diane & Harold Jeffrey Louis
$1500 – $2999
Peggy & Peter Preuss Gershowitz Susan & Rodney D.
Barbara & Alan Abrams Lubeznik
Mr. & Mrs. Joseph Stein Cora Ginsberg
Don Alexander John Marksbury & Chuck
Buzz & Peg Gitelson
Richard Alther Steinman
DISTINGUISHED Muriel & Ron Goldberg
BENEFACTOR Dr. Judith Bensinger Mrs. Ogniana Masser
Joseph D. Gole
$3000 – $4999 Claudia Bjeere & Andrea Eunice & Jerry Meister
E. Senich Bernice E. Greene
*Betty & Jerry Abeles William & Jane Melzer
John & Christine Blair Carol & Carl Gregory
Yvonne & Derek Bell Tom & Marnie Mitze
Linda Blank & Mark Rosalind & Stanley F.
Ellie Bennett Audrey & Courtney Moe
Jacobs Hack, Esq.
Norman Gorin Andre & Julie Molnar
Nancy Breighner Toni Hafey
Rich & Judy Guggenhime John P. Monahan
The Robyn & Norman Richard Halton & Jean-
Elissa Hepner Brooks Charitable Marc Frailong Constance & John Nyhan
Patti & Brian Herman Foundation David & Carole Hatcher Cydney Osterman
Anne Holland Dr. & Mrs. Austin G. Mary Sue & Bob Hawk Jacqueline & Barry
Buffum Panter, M.D.
Dr. Robert & Sharon Judy & Mel Hecktman
Lesnik Dr. Robert & Sandra Georganne Papac
Mr. & Mrs. Rodney Hill
Carroll
*In MemoriamBeth & Larry Peerce Roger G. Bensinger & Mrs. Deane T. Garrison Bill Mainzer & Ruth
Nora Rado Robin Groth Betty Davis Gates Gelbart
Vicki M. Rauscher Barbara & Sandy Berliner Linda Gazecki Marliyn Malkin
Gail Richards Marlene & Bert Bilsky Joe Giarrusso & Charlie Jerome Marshak
Robert Richards Richard & MaryJeanne Paglia Judith & Jonathan
Burke Mike Gibson & Beata Marshall
Rella & Monty Rifkin
Anne Camil Pater Nicky & Lester Mayber
Theodore & Carol
Robinson Elizabeth M. Campbell Tom & Alix Goodman Pamela & Eugene
Joe Cantrell Joyce Gorney McGuire
Frank M. Ryan, M.D.
Janice & Clayton Helen & Alan Greene Allan McMurray & Judy
Elise Sacks Kaffka
Carmean Diane & Cynthia Gunn
Sherry & Howard Schor Jim & Marianne Millican
Dr. David B. Carroll Ann Hart
Jane & Larry Sherman Les Modie
Bruce Cervone & Rod & Diane Hassett
Mrs. John C. Shevlin Kathleen Delaney Marvin Morgenstein &
Evelyn & David Simon Robert & Peggy Henley Ann Van Balen
Paul R. Christen
Sheila Sloan MaryEllen Herman Colonel & Mrs. Dave
Joanne & Bill Chunowitz
Michael & Nancy Herman Mueh
Robert & Shelia Snukal Johnathan & Doria Cobb
Michael & Joan Hirsch Frances Muir
Donald Stein J. Patrick Cooney & Karl
Buchberg Harvey Hoeppner Judy & Mike Musiker
Robert & Carlyn Stonehill
Joel T. Cutler Burton & Libby Hoffman Jane Ullman Nadler
Kory & Betty Teoman
Perry Datwyler Robert & Lorna Houck Dr. Marsha & William
Rosemarie Vacano Pachter
Helen Varon Christopher Davidson John Hoyda
in memory of James Susan & Jim Palm
Jean Baur Viereck Kathy Intihar & Fran
Watterson Campbell Dean & Marilyn Park
David Weigel & Mark Mrs. Dorothy Deming Laurie & Mark Parkin
Yacko Bill Jaffe
Svanhild Dolin Carl Johnson & Lawrence James Parry
Jesse & Alice Weinger
Joan & Hillary Don Seeger John & Gayle Perl
JoAnn G. Wellner
Melinda Douglas Dr. & Mrs. Ernest Johnson Norman Perlmutter
Dr. Jane Woolley
Bob Drake & Gary Al Jones Norma Person
Wentworth Dick Kahn & Sue Rita & Robert Philip
PATRON
$500 – $1499 Martha Drake Freeman
Jo R. Pond
Sheila Dulin James Kampas
Dinesh & Raj Agrawal Nancy Rapoport & Mal
Joy Dunlevie & Ted Sherwin Kaplan and Rudner
Debbie Allen
Humphrey Patricia Sullivan
William & Patricia Anton Susan & Arthur Rebell
Janice Dunn Harriet R. Karmin
Judith L. Appelbaum Gisela & Nelson Reid
Andy Duvall Carolyn Kiser
Jane T. Arthur Molly Ross
James Eisenberg & Jane Arline & Seymour
Miles Auslander & Karen Kreshek Susan & John Rothschild
Woldenberg
Dennis Marcella Ruble
Phyllis Mintz Eisenberg Robert Lehman &
Noyes & Elizbeth Avery Christopher Mathews Judith Schurr
Larry Fechter & Tom
Janet Ball Stansbury Mr. & Mrs. James Levitas Anneruth Serman
Nora & Guy Barron Mrs. Ruth E. Fiden Lisa & Erik Lindauer Richard & Nurit Sheehan
Cash & Betty Baxter Arthur & Carol Freeman Harriet Litt Sue & Marty Sherman
Diane & Mike Beemer Ariela Gallen & Stephen Dick Luechtefeld Mike & Lynn Shields
Tahal Donna J. MacMillan Nancy & Stan Sibell
*In MemoriamJ. Robert Sillonis & Jill & Robert DeMaster, Dr. Robert B. & Suzanne Jane Townsend & *Alan
Michael D. Welter Ph. D. J. Martin Gross
Mr. & Mrs. David Smerling Sally Cherry Dempsey Joe & Shirley McEvoy Joseph A. Trunk
Danforth M. Smith David Dotlich & Doug Mr. Thomas Miller Leslie & Dr. Barry Usow
Nora & Jay S. Spak Elwood Jeanie Mills André van Niekerk &
Sally Sproat & Roger John & Barbara Earle Martha & Mark Moench Steven Rogers
Scullion Selma Edelstone & *Ron David Norgard & Joseph Judy Wallis
Elaine & Claude Kramer Oppold Marvin & Robbie Winick
Steinberger James & Louise Evidon Gary L. Nudell & Craig David Winton & Brian
Anne Swindells Jeffrey & Suzanne Feder Heywood Yaklich
Dr. & Mrs. Gerald Trostler Jack & Linda Finkelstein Rob & Jason Ollander-
Krane CONTRIBUTOR
Bonny R. Tucker & Robert Ann Fishman
Keigher Jack & Sharin Orr $100 – $249
Larry Fox & Gail Baum
Vicki & Michael Turoff Harold & Miriam Paley Janet Abrams
Patti Freed & Elaine
Marsha & David Veit Patton Elizabeth Parese Carole & Robert Adelstein
Craig & Junior Vickers Barbara Gleissner W. Stuver Parry Irwin Alexander
Robert Walker & Ken Philip & Carol Goldsmith David Peck & Dennis Helen Astleford
Beville Judy & Phil Goldstein Duca Rhona Bader
James & Lucy Wang Donald C. Graham Dan & Trudy Pekarsky Dr. Danuta Batorska
Mitzi Webber Dr. Robert & Maxine Lynn & Jim Philpot Dr. John Benfield
David & Marlyne Weiner Greenstein Diane Rader Zeev & Shoshanna
Douglas & Hilda Young Dr. & Mrs. Donald Hall Melinda Raphael Berger
Eileen & Lawrence Zoll Larry D. Harper Goodman Melinda & Harvey
Genia & Warren Richard Bernstein
George & Libby Henrich
SUPPORTER Michael Romberg & Meir Nadine C. Bicher
Deon Hilger & Jerry
$250 – $499 Delaney Klapper Shelley Ann Birenbaum
Michael & Lee Bard Murray & Barbara Hirsch Rabbi Yaacov & Mrs. Nina Eleanor & Bruce Blank
Rone
Dr. & Mrs. Michael Baskin Bruce M. Jewett Al Bloch & Fefe Passer
Ellen & William Sachs
Darryl K. Beach Saune Jonsson Andy Brancuccio & Ken
John Sanders & Lin Sandacata
Donald Beck Sherry Kaplan Richard
Nicolas & Joan Behrmann Dr. Janet Hartzler Braslow
Susan Karsen Robert G. Sanderson
Harriet K. Bernstein Ann Broadwell
Fran Kaufman Sanford Seplow & Susan
Jim & Martha Blackburn Walpert Richard E. Brown
Retha Keenan
Steven & Carol Bloch Warren D. Shifferd, Jr. Mary Carlson
Sheila W. Keeshin
Barbara & Ronald Borden Dr. Paul & Sybil Richard & Renee Carman
Sheldon & Barbara Kent
Dr. Sigrun Braverman Silverstein Bonnie Carmell
Maxine & Joe
Mr. & Mrs. Alfred Bryman Kirshenbaum Kevin L. Smith & Beverly Penny Carpenter
J. Zimmer
Dr. Rich Cansdale G.P. Paul Kowal Gregory Casserly
Barbara Spencer
Dr. & Mrs. Robert Corne Marty & Judy Krasnov Joseph Cifarelli
Marie Staudhammer
Marion & Eric Cowle Richard & Dena Krown Corinne & Roger Coplan
Diane D. Stauffer
Phillip Cram Mr. & Mrs. Julian Levy Dr. Gerald & Marianne
Eileen & Marv Stern Corey
Michael Danoff Tom & Judy Lewis
Dr. Tom & Sherry Stevens Frances & Gregg Corwin
John Martin Deely Rick & Roseve Mainzer
Rev. Donald R. Craig
*In MemoriamLarry Da Silva Carol Goldwasser Bonny & Drew Link Louise E. Schulz
James V. Daber & Robin Dr. & Mrs. Edward E. Madeleine Maniar Steven Shaer
L. Goode Gordon Dr. & Mrs. Robert Marcus Ronald & Kim Marie
Keith & Donna Jean Roanne L. Gotthelf Mark McGowan & Didona Singer
Darby Robert & Bambi Marcinkevicius Peter Steele & Daniel
Anneke Delen Granovsky Dr. Raymond M. Mnich Wirth
Jesse Dorsey Bridget Gray Michael H. Motherway Linda Stewart
Sarah & Mark Douglas Arline Greenblatt Susan & Doug Myrland Ron & Natalie Tambor
Jane Effress & Harvey Richard & Ilene Harris Andrew Nelson Barbara W. Thormann,
Lambert Doris Burke Heckerman Ph. D.
Mr. & Mrs. Frederick
Robert Elmore & Paul Zak Gwen Herron Olsen James & Linda Tjaden
Karen Engman Mr. & Mrs. Roy E. Hofer Raymond Price & Esmé Pauline Trimarco
Louise Escoe John F. & Judith C. Hon Ryan Julie Tybout
Robert Feferman & Maralyn Howard Bob & Susan Pristave Charmaine Urban
Steven Bing Richard Proctor & Ronald Tate Varela & Paul Shaw
Penny Hudnut & Stephen
William Fisher Ph. D. Schoenfeld Childers Paula & Daniel Voorhees
Robert Fitzgerald & Jorge Mike Hussey Marsha Reed Nall Arlene & Bill Wadsworth
Herrero Paul Reid & Tom Hartnett
Bob & Tonia Hutton Susan & John Walker
Frances & John Klaus & Coleen
Fleckenstein Jim Karpiak Steven L. Washington
Roggenkamp
Sally Frank Jack Keller Stuart & Marysia Weiss
Dr. Joan Rubane
Sidney & Jacqueline Karen Klein Sandra Wetrich & Max
Pamela Ruehrdanz Davis
Freedman Dr. & Mrs. George H.
Koenig Dario Sacramone & John John Whitfield
Jacob Frick & William Pariseau
Pape Allison Kozak Charlene Williamson
Vince Samons
Patricia Gershick Mr. & Mrs. Walter Krengel Mary Wilson
Dr. & Mrs. Andrew
Sally Gessford Sharon Lazier Sanderson Ellen Yuracko
Evelyn Gilligan Dr. & Mrs. Robert Levine Mariana Scarcella & Judith B. Zacher, M.D.
Ken & Marilyn Glassman Richard & Merle Lewis James Slagter Maxine Ziebarth
Thorey & Barry Goldstein Sandy Lewis Dennis Schroeder
*In Memoriam
Special thanks to this season’s
concert sponsors for their additional support:
Lois Nehring Darr Gail Richards
Eisenhower Health Foundation Rella & Monty Rifkin
Barbara Fremont Phyllis & Gary Schahet
Helene Galen & Jamie Kabler Gloria & Michael Scoby
Norman Gorin Jane & Larry Sherman
Bernice E. Greene JoAnn G. Wellner
Roberta HollandYou can also read
