Jennifer Koh | Violin Timo Andres | Piano Jay Campbell | CelloSaturday, July 24, 2021 | 7:30PM

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JENNIFER KOH | Violin

TIMO ANDRES | Piano

JAY CAMPBELL | Cello

Saturday, July 24, 2021 | 7:30pmHerbst Theatre

ANDRES Winding Stair Jennifer Koh, violin

ANDRES Small Wonder Jay Campbell, cello

JANÁČEK Pohádka (A Tale) Con moto Con moto Allegro Jay Campbell, cello & Timo Andres, piano

JANÁČEK Sonata for Violin and Piano Con moto Ballada Allegretto Adagio Jennifer Koh, violin & Timo Andres, piano

ANDRES Piano Trio

This program is made possible by the generous support of Fred M. Levin, The Shenson Foundation

This program is made possible in part by the generous support of Frank S. Bayley

Jennifer Koh is represented by Opus 3 Artists348 West 57th Street, Suite 282, New York, NY 10019 opus3artists.com

Timo Andres is represented by OtherARTS otherarts.net

Jay Campbell is represented by Schmidt Artists International, Inc.59 East 54th Street, Suite 83, New York, NY 10022 schmidtart.com

Bösendorfer 280VC concert grand piano provided by Yamaha Artist Ser-vices New York, in association with Music Exchange San Francisco

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ARTIST PROFILE

San Francisco Performances presents Jennifer Koh for the tenth time; she has also appeared on the Family Matinee Series.

Timo Andres on the mainstage for the fifth time. He made his first appearance on the Salon Series in March 2013. Most recently, he performed two online concerts as part of the Front Row Premi-um Series.

SF Performances presents Jay Campbell for the second time; he first appeared in recital with violinist Patricia Kopatchinskaja in January 2020.

Violinist Jennifer Koh is recognized for her intense, com-manding performances, delivered with dazzling virtuosity and technical assurance. A forward-thinking artist, she is dedicat-ed to exploring a broad and eclectic repertoire, while promot-ing equity and inclusivity in classical music. She has expand-ed the contemporary violin repertoire through a wide range of commissioning projects and has premiered more than 100 works written especially for her. Her quest for the new and un-usual, sense of endless curiosity, and ability to lead and inspire a host of multidisciplinary collaborators, truly set her apart.

Ms. Koh’s series include Alone Together, an online com-missioning project and performances series in support of composers during the coronavirus crisis; The New American Concerto, which invites a diverse collective of composers to examine socio-cultural topics relevant to American life to-day through the form of the violin concerto; Limitless which explores the relationship between composer and perform-er through duo works played by Ms. Koh and the composers themselves; Bach and Beyond, which traces the history of the solo violin repertoire from Bach’s sonatas and partitas to piec-es by 20th- and 21st-century composers; and Shared Madness, comprising short solo works that explore virtuosity in the 21st century, commissioned from over 30 composers.

Ms. Koh has appeared with orchestras worldwide, among them the New York, Los Angeles, and Helsinki Philharmon-

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ics; Cleveland, Mariinsky, Minnesota, Philadelphia, and Phil-harmonia (London) Orchestras; and Atlanta, Baltimore, BBC, Chicago, Cincinnati, National, New World, NHK, RAI (Torino), and Singapore Symphonies. Named Musical America’s 2016 Instrumentalist of the Year, she has won the International Tchaikovsky Competition in Moscow, Concert Artists Guild Competition, and an Avery Fisher Career Grant. She has a BA in English literature from Oberlin College and studied at the Curtis Institute, where she worked extensively with Jaime Laredo and Felix Galimir. She is an active lecturer, teacher, and recording artist for Cedille Records; and is the Artistic Director and Founder of the non-profit arco collaborative.

Timo Andres (b. 1985, Palo Alto, CA) is a composer and pianist who grew up in rural Connecticut and lives in Brooklyn, NY.

Notable works include Everything Happens So Much for the Boston Symphony; Strong Language for the Takács Quartet, commissioned by Carnegie Hall and the Shriver Hall Concert Series; Steady Hand, a two-piano concerto commissioned by the Britten Sinfonia premiered at the Barbican by Andres and David Kaplan; and The Blind Banister, a concerto for Jonathan Biss, which was a 2016 Pulitzer Prize Finalist.

As a pianist, Timo Andres has appeared with the LA Phil, North Carolina Symphony, the Albany Symphony, New World Symphony, and in many collaborations with Andrew Cyr and Metropolis Ensemble. He has performed solo recitals for Lin-coln Center, Wigmore Hall, the Phillips Collection, and (Le) Poisson Rouge. Collaborators include Becca Stevens, Jeffrey Kahane, Gabriel Kahane, Brad Mehldau, Nadia Sirota, the Kronos Quartet, John Adams, and Philip Glass, with whom he has performed the complete Glass Etudes, and who select-ed Andres as the recipient of the City of Toronto Glenn Gould Protégé Prize. Andres also frequently works with Sufjan Ste-vens; his arrangements of Stevens’s ballet, Principia, were pre-sented by the New York City Ballet, and their 2019 record, The Decalogue, has received widespread acclaim.

In November 2019, Andres curated (and performed in) “American Perspective,” a concert with the Cincinnati Sym-phony, André de Ridder, Dance Heginbotham, and Inbal Se-

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gev, playing his cello concerto, Upstate Obscura. Since the Covid-cancellation of his solo recital debut at Carnegie Hall in April 2020 and subsequent “playlist” performance on You-Tube, his performance films have received widespread critical and popular acclaim. He is a featured artist at Ojai 2021, and will have new works premiered in 21/22 by Johannes Moser, Lara Downes, concert:nova, the Myriad Trio, and others.

A Nonesuch Records artist, Timo Andres is featured as com-poser and pianist on the May 2020 release I Still Play, an al-bum comprising a set of piano pieces written by himself and fellow Nonesuch artists for Chairman Emeritus Bob Hurwitz. A Yale School of Music graduate and a Yamaha/Bösendorfer Artist, he is on the composition faculty at the Mannes School of Music at the New School.

Praised by The New York Times for his “electrifying perfor-mances” cellist Jay Campbell is currently the only artist to have received two Avery Fisher Career Grants: as a cello soloist and as a member of the JACK Quartet. Armed with a diverse spectrum of repertoire and eclectic musical interests, he has been recognized for approaching both old and new works with the same probing virtuosity and emotional commitment.

Among upcoming highlights are his world premiere per-formances of Andreia Pinto Correia’s new cello concerto with both the Gulbenkian Orchestra in Lisbon and the São Paulo State Symphony Orchestra in Brazil. He will return to San Francisco Performances and the Los Angeles Philharmonic’s Green Umbrella series, where he previously served as co-cura-tor with composer, John Adams.

Mr. Campbell recently concluded (to rave reviews) a U.S. tour with Swiss violinist, Patricia Kopatchinskaja, with per-formances at major venues such as the Kennedy Center, Bos-ton Celebrity Series, and San Francisco Performances; the Italian premiere of Luca Francesconi’s concerto Das Ding singt with Musica Milano; and a performance of the Brahms’ Dou-ble Concerto with the Seattle Symphony and violinist, Pablo Rus Broseta.

Recipient of awards from the BMI and ASCAP foundations, Jay Campbell was also First Prize winner of the 2012 Concert

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Artists Guild auditions, and Second Prize winner of the 2015 Walter W. Naumburg International Cello Competition, com-peting against more than 100 cellists worldwide. He holds an Artist Diploma, as well as bachelor’s and master’s degrees from The Juilliard School, where he was a student of Fred Sherry.

Jay Campbell plays a cello crafted in the 1750s by Italian lu-thier, Paolo Antonio Testore of Milan.

PROGRAM NOTES

I’ve heard it posited that most people form their core musi-cal taste by age 20. I think this is false, and more likely the re-sult of lazy marketing and general incuriousness, and there-fore try hard to disprove it in my own life. This is actually pretty easy to do if you maintain an open mind and make a habit of questioning your own judgement (were those Shosta-kovich symphonies I pored over in high school really as great as I thought?). The result is that there are several composers whose music has had a profound influence on me just in the last decade or so—Sibelius, Ligeti, and particularly Janáček.

In fact, it was in 2013 at San Francisco Performances where my work was first programmed alongside Janáček’s (thanks to the pianist Jonathan Biss). The stylistic oddities of his music had then intrigued me for years, but I hadn’t fully grasped the meaning underneath the strangeness. Those quirky, stum-bling rhythms and unpredictably-sized phrases are in fact integral building blocks of the music itself. I had to immerse myself in that language, which is, like a real language, able to express seemingly infinite gradations of emotion. It often has the quality of a person repeatedly trying to express a dif-ficult thought, in increasingly urgent, fragmentary outbursts, until a finally complete, climactic statement breaks through. In both the Violin Sonata and Pohádka (“A Tale”) these apostro-phizing episodes take the place of traditional sonata-form de-velopment. In fact, we often hear themes first as motto-like in-terjections and listen to them expand into full melodies as the piece progresses. This has the effect of abridging the typical sonata movement, concentrating and intensifying it.

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Building a piece from small thematic fragments is not an idea unique to Janáček; most Western classical music that in-volves some degree of development works this way. My own Piano Trio is no different. Each of its three movements is es-sentially monothematic, the music entirely built by rearrang-ing, stacking, and transforming little bits of those themes. As in Janáček, that process lends itself to intensification, just as the stretto passages in a Bach fugue urge the music for-ward—it’s like putting the music in a pressure cooker.

Of course, my music ends up sounding very different from Janáček’s. It’s difficult to be objective about one’s own work, but I’d like to think mine sounds as unmistakably Ameri-can as his sounds Czech. My intention behind programming them alongside each other is to show something of the way composers think about music while we’re actually writing it—and that underneath wildly different styles and surfaces, we’re using many of the same techniques, assembling our lit-tle emotional worlds one fragment at a time.

Timo Andres

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