Untitled - Tertulia

WHAT IS TERTULIA
Tertulia is a chamber music series that is designed to attract audiences committed to concert-going
and revelry. The idea is simple: we bring live chamber music to different restaurants around the city,
and musicians and audiences share an evening of music, food, drink and conversation.
HOW IT WORKS
Tertulia strives to bring balance to the concert experience. In doing so, we embrace two constants
above all else: respect the musicians during performance, and allow time for audiences to enjoy
dinner, drink and conversation. There are three performances separated by two extended intermissions. The format and program is designed to enhance the social and culinary experience, but at all
Tertulias, the music is paramount.
a few etiquette basics
> Music will always start a
few minutes into an event, so
it is important the audience
arrives on time.
> Please respect the performance the same way you
would in a concert hall. Your
silence and attention during
music is expected.
> Please keep in mind that
the visual aspect of performance is important. Try not
to move around during the
music or request the waiter’s
attention; it can be distracting for the musicians.
why tertulia is important
At Tertulia we believe that anyone, young or old, can fall in love with
classical music. Musicians’ passion for their art is contagious, which is
why removing the distance between artist and audience is so critical.
While beautiful concert halls will never be obsolete, there are limiting
factors that make it challenging to engage new, younger listeners. It
is Tertulia’s mission to bring classical music to broader audiences by
diversifying the concert experience through creative presentations using
non-traditional venues.
> We do not have rules about
clapping at Tertulia. If after a
movement you are inspired
to clap, please do so. We
encourage you to celebrate
this music!
> Mingle! Meeting the musicians! The beauty of Tertulias
is that there is no backstage;
we’re all appreciating the
music and experience
together.
> Don’t forget to silence your
cell phone.
TERTULIANYC.ORG
American Influences: an evening of American
inspired food, music, and libations
May 19, 2013 | 8:00 PM
Harding’s
32 East 21st Street | NYC
Julia Villagra, Founder & Artistic Director
Tertulia Chamber Music presents
Daryl Freedman, mezzo-soprano
Benjamin Hochman, piano
Michelle Ross, violin
Jennifer Curtis, violin
Michael Haas, cello
Lily Francis, violin & viola
Mario Gotoh, viola
itinerary
Cocktails
Charles Ives (1874-1954)
Trio for piano, violin and cello
III. Moderato con moto
~14 minutes
Dinner
Alan Louis Smith (born 1955)
Vignettes - Covered Wagon Woman
The Allure of the West (Instrumental)
Prologue to the Journal
The Face of the Earth
Buffalo Chase
The Sioux Tribe and the “White Squaw”
The Mountain
Here We Are
Epilogue to the Journal
~26 minutes
Dessert
Antonín Dvořák (1841-1904)
String Quintet in E-flat major, Op. 97
III. Larghetto, in double variation form
IV. Finale. Allegro giusto
Mingle & Meet Musicians
Thank you for coming.
~18 minutes
Charles Ives (1874 – 1954)
Trio for piano, violin and cello (1904, completed in 1911)
Captain of the varsity baseball team at Hopkins School, Yale footballer, successful insurance man,
and one of the most important American composers to ever have lived, Charles Ives’ impressive
story begins in Danbury, Connecticut, with his father. The town band director, George Ives was a
major force in his son’s musical development. Always progressive, George encouraged Charles to
explore the possibility of sound. He would have Charles sing in one key while he accompanied in
another, thus laying the foundation for what would later become a distinctive and definitive part of
Ives’ compositional style.
Growing up, Charles was surrounded by a variety of musical genres, from the hymns of the church
to the battle songs of the Civil War. The influence this music had on Ives is evident in his extensive
use of musical “quotation.” The second movement of the Trio for Piano, Violin and Cello, entitled
“TSIAJ” (for “this scherzo is a joke”), is a classic example of Ives’ use of quotation and polytonality. The movement is a string of Yale frat songs and American folk songs superimposed over thick,
bitonal polyphony in the supporting voices. The third movement, in stark contrast to the frantic
previous movement, is lyric and sensitive. The mood feels sincere and, in spite of the chaos we just
heard, everything is going to be alright. But, even in the moments of sweeping lyricism, Ives never
completely abandons his dissonances, leaving us satisfied but with a hint of melancholy. Above all
else, Ives’ composition feels wholeheartedly American.
Alan Louis Smith (born October 21, 1955)
Vignettes – Covered Wagon Woman (from the daily journal of Margaret A.
Frink, 1850) for mezzo-soprano, piano, violin, and cello (2007)
Alan Louis Smith is one of the country’s most highly regarded collaborative pianists and teachers
and a composer of growing reputation. Smith earned his bachelor’s and master’s degrees in piano
performance at Baylor University and his doctorate in piano chamber music and vocal accompanying at the University of Michigan, where his principal mentor was the renowned accompanist Martin
Katz. Smith has held faculty appointments at Howard Payne University, the University of Michigan,
Baylor University, and, since 1989, the Thornton School of Music at the University of Southern
California, where he was named Chair of Keyboard Studies in 2003. He has also served for 20 years
as a member of the vocal coaching faculty of the Tanglewood Music Center and is now Coordinator
of the Piano Program, for which he holds the Marian Douglas Martin Master Teacher Chair. Smith’s
expertise and experience in song literature, chamber music, and opera make him much sought after
as an accompanist, coach, faculty colleague, teacher of master classes, and adjudicator of area and
international competitions, including regular engagements as a judge for the Metropolitan Opera
National Council Auditions. Mr. Smith has graciously provided the following information on his
Vignettes ­— Covered Wagon Woman:
“When Margaret Frink crossed the American continent in a covered wagon with her husband in 1850
it had only been 46 years since Lewis and Clark had begun their famous journey into the uncharted
West with their Corps of Discovery and less than a year since the beginning of the California Gold
Rush. Mrs. Frink and her husband, Ledyard, set out upon their journey from Indiana to Sacramento,
California, along with a young boy named Robert, who was 11 years old at the time of the crossing,
and a young man named Aaron Rose, who was not yet 21 and who for three years had been a clerk
in the mercantile store owned by Mr. Frink and Mrs. Frink’s brother, A. B. Alsip, in
Martinsville, Indiana.
“Mrs. Frink’s remarkable diary reveals her adventurous spirit, her deep love for those in her care,
as well as her perspicacious and resourceful ability to provide for herself and her family through a
TERTULIANYC.ORG
combination of shrewd bargaining and alliances with those with whom she came in contact on their
journey westward. She was generous and big-hearted toward people in need and in distress along
the trail, sometimes giving the last of whatever she possessed in order to help someone.
“My single goal in setting these marvelous texts to music was to be honest to the words, to the
inherent emotions; to illuminate where appropriate and to stay out of the way when that was what
was called for....
“Of the two string parts the cello has the larger role. There is a reason for this—in many cases the
cello part represents Mr. Frink. Though we do not hear from him directly in words via the diary, the
cello as employed in the song cycle often is a representation of his inner thoughts and feelings. The
violin part most often represents the inner thoughts and feelings of Mrs. Frink. Since her words are
heard much of the time, the commentary of the violin part on her inner thoughts is not copious.
From time to time the strings represent pictorial ideas such as running buffalo, the braying of
mules, or the back-and-forth motion of rocking chairs; at those times their musical illustration is
absolutely equal in importance.
“The pitch ‘A’ provides an important musical reference point for the songs. The cycle begins on
that note in both the piano and cello parts and it appears at other prominent moments in the group
of songs....
“One other important aural landmark that recurs frequently throughout the set of songs is heard
in the very opening in the piano part. It is a shimmering chord in close harmony with added chord
tones at the intervals of a ninth and an eleventh. The chord vibrates with harmonic possibility, just
as the Frinks’ hearts and minds must have vibrated with the possibilities for what was ahead of
them in their journey. The chord is arpeggiated in the very opening, but even when it is played as a
block chord, as it is at many places in the cycle, it is luminescent like the shimmering allure of gold.
“Listeners may find it interesting to know that the opening tune in the seventh song, The Sioux
Tribe and the ‘White Squaw,’ is a traditional Sioux melody that I found in a book of melodies for the
native wooden flute. It is played by the cello in harmonics in order to impart the flavor of the native
instrument.
“The overall shape of the song cycle is such that the longest song, No. 10, The Mountain, arrives at
the point of the Golden Mean and builds in intensity in the same way that Mrs. Frink describes the
fierce exertion of humans and animals in reaching the top of the mountain. The song occupies a
special place in the scope of the set of songs, just as the experience depicted by Mrs. Frink occupies
a remarkable moment in the span of their journey. Margaret’s Dream, the piece that follows The
Mountain, stems from my own imagination, not from the diary, and portrays both the bliss and
anxiety of following her and her husband’s dream to emigrate to the West.”
For a more thorough understanding of Margaret A. Frink’s journey, a copy of the complete texts for
Vignettes ­— Covered Wagon Woman will be available after tonight’s performance.
Antonín DvoRák (1841 – 1904)
String Quintet in E-flat major (1893, Spillville, IA)
The joy of getting out of Manhattan for the summer is nothing new to a room of New Yorkers. It was
no different for Antonín Dvořák in the summer of 1893 when he left the noisy and crowded streets of
New York for the remote town of Spillville, Iowa. It was here, in this small town of Czech immigrants,
that Dvořák composed a string quartet and just a few months later finished a string quintet, both
referred to as “American.” The String Quintet in E-flat major is a work that highlights the composer’s
deep relationship with the indigenous sounds of his homeland, but also his fascination with American
folk, popular and Native American music. The third movement is a pair of themes and variations (one
minor, one major), the second theme using Dvořák’s own interpretation of “My Country ‘Tis of Thee.”
It is clear from the music that Dvořák felt immensely drawn to Spillville, and was deeply grateful for
his time spent there. There is a peaceful quality to the music that calls to mind the pastoral setting
in which the work was composed. The final movement is buoyant and light, is laced with dance-like
dotted rhythms that conjure up images that one might imagine in Dvořák’s home away from home.
The line between what is American folk and the peasant music of Dvořák’s homeland seem blurred
in the Quintet, which leads us to believe that Dvořák may have felt very much at home in Spillville.
DARYL FREEDMAN, MEZZO-SOPRANO
Praised by Opera News for her “striking dark timbre” and “expansive,
sumptuous” performances, mezzo-soprano Daryl Freedman is gaining notice in repertoire ranging from Monteverdi to Philip Glass. Ms Freedman’s
2012/13 season includes Zotico in Cavalli’s Eliogabalo with the Gotham
Chamber Opera, Mozart’s Requiem with the Florida Orchestra, Marcellina
in Le nozze di Figaro with the Merola Opera Program, and covering the
title role in The Rape of Lucretia.
Ms. Freedman’s 2011/12 season included her New York City Opera debut
singing Ascalax in Telemann’s Orpheus, and her Verdi debut as Federica in Luisa Miller as well as
Third Lady in The Magic Flute with Chautauqua Opera. Additional engagements included Alisa in
Lucia di Lammermoor with the Sarasota Opera, and covering Ruth in the world premiere production
of Nico Muhly’s Dark Sisters at both the Gotham Chamber Opera and the Opera Company of Philadelphia. She also performed Alan Smith’s Vignettes: Covered Wagon Woman and covered Baba the Turk
in The Rake’s Progress with Music Academy of the West.
Ms. Freedman was a member of the Studio Artist Program at Portland Opera from 2009/11, singing
Concepción (L’heure espagnol), Dinah (Trouble in Tahiti), Venere (Monteverdi’s Il ballo delle ingrate),
Sandman (Hansel and Gretel), Maman (L’enfant et les sortilèges), and Aglaonice in Philip Glass’
Orphée, the last of which was recorded and released on Orange Mountain Music Records. She also
covered roles in Così fan tutte and Il Barbiere di Siviglia.
Ms. Freedman’s previous performances include Beauty in Hannah Lash’s Blood Rose with the New
York City Opera VOX Series; Spirit in Dido and Aeneas with Central City Opera; and Zinnia in L’étoile
with Wolf Trap Opera. She received her Master’s degree from Manhattan School of Music, where she
was seen as Juno in Semele, Olga Olsen in Street Scene, and Thelma Yablonski in the New York premiere of John Musto’s Later the Same Evening. She also sang Nicklausse (Les contes d’Hoffmann) and
Soeur Cadette (Les Malheurs d’Orphée) with Temple University, Seconda Conversa (Suor Angelica)
with Opera Theater of Lucca, and concert performances with the Caramoor Music Festival.
A 2010 winner of the Metropolitan Opera National Council Auditions Oregon District, Daryl also won
first place in the 2011 Kennett Symphony Voice Competition, and has received career grants from
the Lieber Awards and the Society of Singers Herb Alpert Foundation.
Ms. Freedman is a native of Philadelphia, Pennsylvania.
BENJAMIN HOCHMAN, PIANO
Winner of 2011’s prestigious Avery Fisher Career Grant, pianist Benjamin Hochman has been described by the New York Times as a “gifted,
fast-rising artist.” His eloquent and virtuosic performances have earned
him critical acclaim and his rare combination of bravura and poetry
has excited audiences and critics alike. His engagements have brought
him to major cities as orchestral soloist, recitalist, and chamber music
collaborator with celebrated conductors and colleagues. A passionate interpreter of diverse composers from Bach and Mozart to Berg and Kurtag
with a penchant for juxtaposing familiar works with the unfamiliar, Mr.
Hochman has proven to be adept in expressing the essential heart of each composer. Demonstrating
a strong musical presence in New York City, Mr. Hochman has appeared with the New York Philharmonic, The Israel Philharmonic in Carnegie Hall, the American Symphony, and the New York String
Orchestra as well as numerous guest engagements at 92nd Street Y. His Bach series at the Miller
Theater was a resounding critical and audience success. He has appeared with the orchestras of San
Francisco, Cincinnati, Houston, Seattle, Vancouver and National Arts Centre and engaged in multiple
projects with the Chicago and Pittsburgh symphonies. He has worked with eminent conductors
including Akiyama, Kabaretti, Laredo, Markl, Pinnock, Robertson, Tovey, Weilerstein, and Zukerman. An avid chamber musician, he has been a regular guest at international music festivals such as
Marlboro, Ravinia, Gilmore, Lucerne, Prussia Cover, and Klavier-Festival Ruhr. He has participated in
three prestigious residencies: Chamber Music Society Two at Lincoln Center, Isaac Stern’s International chamber Music Encounters in Israel, and Carnegie Hall’s Professional Training Workshops.
Highlights of Mr. Hochman’s 2012-2013 season include solo recitals in Boston and Tel Aviv and a
tour of Mexico. He returns for his third subscription-series engagement with the Pittsburgh Symphony, performs Saint Saëns’s Carnival of the Animals in his debut with the Los Angeles Philharmonic at the Hollywood Bowl, and appears with the Vancouver and Phoenix Symphonies. He takes
part in two chamber performances of Stravinsky, Beethoven and Fauré at New York’s 92 Street Y
with Jaime Laredo, Steven Tenenbom and Sharon Robinson and collaborates with the Escher String
Quartet in Buffalo and Bethlehem, Efe Baltacigil at the Philadelphia Chamber Music Society, the
Orchestra of St. Luke’s in Brooklyn and Manhattan and at the Schubert Club’s “Accordo” series with
members of the St. Paul Chamber Orchestra. His third disc, Homage to Schubert, will be released by
Avie records in 2013.
Born in Jerusalem, Hochman is a graduate of the Curtis Institute of Music and the Mannes College of
Music, where his principal teachers were Claude Frank and Richard Goode. His studies were supported by the America-Israel Cultural Foundation. He is currently on the piano faculty of the Longy
School of Music of Bard College. Benjamin Hochman is a Steinway Artist.
MICHELLE ROSS, VIOLIN
Violinist Michelle Ross enjoys a career as a soloist, chamber musician,
and composer. She has been featured as a soloist with the Westchester
Philharmonic, Juilliard Pre-College Orchestra, and Yonkers Philharmonic
Orchestra. Michelle has also given recitals and lectures at the Neue
Galerie, Old Westbury Gardens, Grand Central Academy of Art, and WMP
Concert Hall. Festival appearances include performances at the Marlboro,
Music@Menlo, Perlman Music Program, and Kneisel Hall chamber music
festivals. She will be touring with Musicians from Marlboro in their
upcoming seasons.
As a composer, Michelle’s works have been premiered in Lincoln Center’s Beyond the Machine festival
and at the Baryshnikov Arts Center, and her music recently went on tour with the Aspen Santa Fe
Ballet. Michelle frequently collaborates with an array of exciting choreographers, visual artists, and
actors. Having trained with Itzhak Perlman since age 12, Michelle went on to pursue a master’s degree
from The Juilliard School and a bachelor’s degree in English and Comparative Literature from Columbia University. She has also studied with Dorothy DeLay, Catherine Cho, and Ronald Copes. As part of
her Academy program, Michelle teaches in Brooklyn at the Brooklyn High School of the Arts.
JENNIFER CURTIS, VIOLIN
Violinist Jennifer Curtis navigates with personality and truth every piece
she performs. Her second solo concert in Carnegie Hall was described
by the New York Times as “one of the gutsiest and most individual
recital programs,” and celebrated her as “an artist of keen intelligence
and taste, well worth watching out for.” As a violinist, Jennifer is driven
by passion and curiosity, eliminating boundaries of musical genres and
traversing the globe with musical diplomacy. Winner of Astral Artists
Milka/Astral grand prize for violin and Artists International presentations, Jennifer is also an improviser, composer, multi-instrumentalist,
member of the International Contemporary Ensemble (ICE), and educator.
Recent activities include solo performances with the Simon Bolivar Orchestra in Venezuela, The
Knights Chamber Orchestra, featured artist at the Brasov International Festival in Romania in honor
of George Enescu, featured violinist/composer and percussionist for El Festival de las Artes Esénias
de Lima, Peru, appearances at the Mostly Mozart Festival, International Brahms Festival, Ecstatic
Festival, Festival musique de chambre Giverny, Darmstadt Festival, Iceland Airwaves Festival, Wein
Modern Festival for Contemporary music and many more. A lover of Latin American music, Jennifer
has had many musical expeditions in six countries south of Mexico. She founded the group Tres
Americas Ensemble, toured with her orignal works and concerti of Mozart, collaborated and studied
with Musical Shaman of the Amazon and the Andes, improvised for live radio from the interior of
the jungle, taught in conservatories and public schools, and performed as violinist, mandolinist,
vocalist and percussionist at many clubs and world music festivals.
Upcoming and recent projects include solo and chamber music performances with John Adams at
the library of congress, Carnegie Hall performance of La Pasión según San Marcos by Osvaldo Golijov, a Cornell University sponsored commission for a new composition, concertmaster of East Coast
Chamber Orchestra (ECCO) United States tour, solo improvisation at the Metropolitan Museum of
Art and a solo CD featuring original compositions inspired by deserts around the world.
Jennifer holds degrees from Mills College and The Juilliard School, where she studied with Robert
Mann and performed L’arbre des songes, Dutilleux’s concerto for violin and orchestra and Lou Harrison’s Concerto in Slendro. Jennifer is on faculty at the University of North Carolina at Chapel Hill
and plays on a 1777 Vincenzo Panormo violin.
Michael Haas, cello
Michael Haas has established himself as an accomplished and exciting
young cellist, performing in New York and around the world. In a recent
performance his playing was noted as “refined and attractive” by the
New York Times. Michael has recently appeared performing chamber
music at Alice Tully Hall, the Kennedy Center, and as a guest at the Philadelphia Chamber Music Society collaborating with esteemed artists such
as Claude Frank, Ida Kavafian, Steven Tenenbom, and Lowell Liebermann.
Michael holds degrees from the Curtis Institute of Music and the Juilliard
School studying with David Soyer, Peter Wiley, Joel Krosnick, and Darrett
Adkins. He has recently performed at the Yellow Barn, Tanglewood, and Taos Music Festivals.
LILY FRANCIS, VIOLIN/VIOLA
Lily Francis is quickly establishing herself as one of the leading violinist/
violists today. Recently one of the top prizewinners at the 2009 ARD
Music Competition (violin) in Munich, she has performed with several of
the leading orchestras in Germany, including the Bavarian Radio Symphony Orchestra, the Munich Chamber Orchestra and the Munich Radio
Orchestra. She made her Weill Recital Hall debut in New York in May
2008 on the Distinctive Debuts series, and plays both violin and viola
regularly in the United States, and throughout Europe. A consummate
chamber musician, Ms. Francis was a member of the Chamber Music
Society of Lincoln Center CMS Two program from 2006-09, which presented her in concerts in Alice
Tully Hall and other notable NY venues. She has toured the United States with the Chamber Society,
as well as several Musicians from Marlboro programs. As the newest member of the critically-acclaimed Aronowitz Ensemble, she performs throughout the United Kingdom, including appearances
at Wigmore Hall and Aldeburgh.
This season sees her performing as a returning artist with the Chamber Music Society of Lincoln
Center, as a concertmaster of the Vienna Chamber Orchestra in Austria, teaching students at Mit
Musik Miteinander in Kronberg, Germany, and guest-leading the Camerata Salzburg. Recent festival
appearances have included the Lockenhaus Festival, Ittinger Pfingstkonzerte, Marlboro Music, Santa
Fe Chamber Music Festival, Kronberg, Seattle Chamber Music Society, and International Musicians
Seminar at Prussia Cove. Ms. Francis has collaborated with many of the leading musicians of our
time, including Mitsuko Uchida, Andras Schiff, Gidon Kremer, Arnold Steinhardt, Kim Kashkashian,
and Peter Wiley, as well as several artists of other disciplines. As the violist of the Vertigo String
Quartet, she recorded the score to Michael Hollinger’s award-winning play “Opus,” which premiered
in Philadelphia, played in New York, and is currently touring the United States. Ms. Francis’ violinplaying hands were featured in Doug Aitken’s video art project Sleepwalkers, which was projected
onto an outer wall of MoMA in New York City. She has also collaborated with the Boston Ballet
School and the Rock School of Dance on choreographed pieces about Bach.
A graduate of the Curtis Institute (B.M.’06) and New England Conservatory (M.M.’08), Ms. Francis
studied with Joseph Silverstein and Miriam Fried. Other teachers have included Philip Setzer, Brian
Lewis, and Teri Einfeldt, Steve Tenenbom, and Gerhard Schulz. She plays an 1846 Pierre Silvestre
violin and a 2004 Marco Coppiardi viola.
MARIO GOTOH, VIOLA
Mario Gotoh has distinguished herself in dual roles as a violinist and
a violist with an active and remarkably versatile performance style.
She performs a wide spectrum of musical styles: early music on period
instruments, contemporary classical music, and works in close collaboration with composers. In addition to her performances in the world’s
most renowned concert halls, she performs with popular bands at
venues such as Webster Hall’s Grand Ballroom, Madison Square Garden,
Barbès, and Rockwood Music Hall on amplified instruments. She has
appeared as soloist and chamber musician across North America, the
United Kingdom, Europe, and Asia and her performances have been broadcast worldwide by NPR,
CBC, PBS, and TF1 (French television). Mario has participated in major arts festivals across Europe
and North America, including the Festival Consonances (France), International Masterclasses
Apeldoorn (Netherlands), Banff Centre (Canada), Aspen Music Festival, Boston Early Music Festival,
Music@Menlo, Music Academy of the West, Institute and Festival for Contemporary Performance,
International Computer Music Festival, and National Foundation for Advancement in the Arts
National ARTS Week.
Comfortable in many different musical roles, Mario has appeared numerous times as a soloist with
orchestras featuring works by Bach, Barber, Dvořák, Glazunov, Mendelssohn, Arvo Pärt, Sarasate,
Sibelius, Vivaldi, and Walton. She has performed chamber music with many prominent musicians
and ensembles, including the Emerson String Quartet, Nobuko Imai, Frans Helmerson, Anton Kuerti, Philippe Graffin, early musicians Paul O’Dette, Kristian Bezuidenhout, and bandoneón player
Marcelo Nisinman. Additionally, Mario has served as concertmaster, principal violin, and principal
viola in orchestras at the Aspen Music Festival, Banff Centre for the Arts, Music Academy of the
West, SUNY Stony Brook and the Eastman School of Music. She performs regularly with several
ensembles in New York City, including the Knights, Orchestra of St. Luke’s and Ballet Next.
Mario is a passionate teacher and has served in this capacity at a number of New York area institutions. She is a viola instructor at SUNY Suffolk, violin and chamber music teacher at the Manhattan School of Music Precollege Camp MSM, and is violin instructor at the Bloomingdale School of
Music. She has taught a studio of undergraduate violinists at Stony Brook University 2009-2012,
where she also taught undergraduate chamber ensembles, and chamber music at the Stony Brook
Pre-College and Adult Music Programs.
Mario holds a Doctor of Musical Arts dual-degree for violin and viola performance from Stony
Brook University. She began playing viola in 2009 alongside her violin career, and also holds
degrees from the Eastman School of Music (B.M. and Performance Certificate) and Stony Brook
University (M.M.).
Mario Gotoh was born in Japan and is based in New York City. Along with music, Mario is inspired
by the visual arts, non-classical music, cooking, swimming, and exploring cuisines, cultures and
new places.
Future Tertulias
For concert announcements and updates,
please email julia@tertulianyc.org to be
added to our mailing list.
Tertulia PATRONS and Sponsors
The individuals listed below contributed substantially to this evening’s Tertulia by purchasing Patron
or Sponsor level tickets. We thank you for your generous support! For information on donating to
Tertulia, please see Julia Villagra.
Tertulia Patrons
Dmitry & Irina Sagalovskiy
William Vanderson
Ben & Tia Link
Matthew Schucker
Anonymous (2)
Tertulia sponsors
Guillaume Morin
Ravi Patel
Eugenia & Victor Villagra
Jack & Gail Haas
Laura Harris
David & Shirley Ann Spira
Judith Fifield & Jim Lyons
Laura Schubert & Dan Litchfield
Ben Morcos
Jeffrey Duban
Herve Bronnimann
Robert Day
Tertulia Inc. is a tax-exempt 501(c)(3). It is our mission to bring classical music to broader audiences
by diversifying the concert experience through creative presentations using non-traditional venues.
A special thanks to graphic designer Vanessa Shyu for donating her time and talent to Tertulia.
TERTULIANYC.ORG