2019/2020 30TH SEASON
S A N TA
BARBARA
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VENTURA
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PA S A D E N A
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LOS
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Visit
BEETHOVEN’S VIENNA June 5th — 19th, 2020
Having had to turn people away with our 2019 trip, Camerata Pacifica will return to Beethoven’s homeland in 2020. Our trip will begin with Frederick the Great’s Berlin; enlightened despot, warmonger, founder of the Berlin Opera and flute-player, Frederick favored his summer palace, Sanssouci, which we’ll visit. With our favorite guide, Ronen Altman Kaydar, we’ll also spend time in the city, exploring its origins, its troubled 20 century history and the city today. Beethoven residences will be destinations in Bonn, Heiligenstadt, Mödling, Baden and, of course, Vienna, where we will also visit the Lobokowitz Palace in which was held the debut of the “Eroica” Symphony. Other highlights include: a cruise through the Upper Middle Rhine Valley, an UNESCO World Heritage Site. In Vienna, an introduction to Austrian coffee one morning and an introduction to Austrian wine in the evening. We’ll enjoy local wine, food and music in a typical “Heurigen” where Beethoven resided for a while. We’ll visit Stift Melk and Wachau, (another UNESCO world heritage site), for sightseeing and wine tastings and a cruise on the Danube. It’s too early to yet secure tickets for next year, but this summer we enjoyed superb performances by the Vienna State Opera and the Berlin & Vienna Philharmonic Orchestras, and some chamber music surprises. Our guide for the whole trip is the wonderful Annika Ulla Schmid. Camerata trips, while packed full of activities, also allow plenty of time for rest, sightseeing and simply enjoying the locales. 20 participants maximum, 12 minimum. This is a first-class trip with 5 star accommodation. Cost is $8,500 per person for double occupancy, exclusive of airfare (single occupancy prices t.b.a.). To be notified of developing information email donnajean@cameratapacifica.org. Space is limited. Reservations may be made now, with a non-refundable deposit of $1,000 per person.
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Mission Statement Camerata Pacifica’s mission is to affect positively how people experience live performances of classical music. The organization will engage our audience intellectually and emotionally by presenting the finest performances of familiar and lesser-known masterworks in venues that emphasize intimacy and a personal connection with the music and musicians.
BOARD OF DIRECTORS Sandra Tillisch-Svoboda, President Titus Brenninkmeijer, Finance Chair Susan Keats, Secretary Adrian Spence, Artistic Director Amy Williams, Managing Director Greg Scott Stan Tabler Amalia Taylor Kimberley Valentine Judith Vida-Spence
CAMERATA PACIFICA STAFF Adrian Spence, Artistic Director Amy Williams, Managing Director Donna Jean Liss, Operations Manager Jessica Lohr, Patron Services and Marketing Manager Amie Cota, Production Manager Aki Freshman, Bookkeeper
LIFETIME MEMBERS OF CAMERATA PACIFICA Warren Jones Jordan and Sandra Laby Lillian Lovelace Donald McInnes John Steinmetz William A. Stewart P.O. Box 30116, Santa Barbara, CA 93130 (805) 884-8410 (800) 557-BACH www.cameratapacifica.org
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In anticipation of the 2nd, final, season of Camerata Pacifica’s “Why Beethoven?” project I’m reflecting upon the 1st, in which we enjoyed so much great music, by Beethoven and many others. However, the true revelations for me were discovered in our three Panel Discussions. Last year I wrote, “Beethoven single-handedly changed the direction of this music,” a claim I must now retract, as I’ve learned the Beethoven phenomenon was but one part of a much larger social, philosophical and cultural transformation. With insights shared by Derek Katz, James Donelan, Bill Weber, Daniel Chua, Richard O’Neill, Andrea Moore & Lydia Goehr, it was ‘through the looking glass’ to 19th century Bonn & Vienna where, with Beethoven, we were swept up in and seduced by the emergent, centeredon-self, Romantic movement. Beethoven’s musical genius is uncontested, but it was a combination of that unrivaled talent, his business acumen and an awareness of his ‘brand’ that facilitated his singular response to the zeitgeist, and his coronation as the musical figurehead of the Romantics, reigning still after 200 years. As Lydia Goehr avers, it was during this period pieces of music became elevated to works of art, (the construction of the canon), demanding “Imaginary Museums” for their display, (the concert hall), and for their appreciation, the formation of a concert culture still employed today. It was a dynamic time full of newness and exploration with Beethoven’s voice one amongst many. His music did not enjoy universal approbation; and perhaps one had just reconciled to his middle period style, when along came the Late Quartets. His middle period took musical developments initiated by Mozart & Haydn to their fullest extreme which, confusingly for audiences, could mean reduction to their most basic constituent parts. His late period developments, written in the isolation of deafness, almost completely defied comprehension, indeed were thought quite mad by many. Around this time musical journalism also began and the discussion of change was everywhere; the discourse exciting, heated and divisive. The absence of any definitive conclusions saw the debate continue to the century’s end, exemplified in the contrast between the music of Brahms, and Liszt & Wagner. Somewhere along the line we lost all of that; the thrilling shock of the new. Somehow, by audience and musicians alike, that dynamic discourse was replaced with overwrought reverence. For the latter, fealty to the score became sacrosanct, with PhDs and lives devoted to analysis of single pen strokes to validate one performance edition over another. For the former, the concert hall became static and monochromatic; the stage an altar for worship of now deified composers. Clap in the wrong place and risk excommunication. A cultish temple of secret ritual, repelling the uninitiated. WWBD? What Would Beethoven Do? Can we truly convince ourselves this most passionate of composers would be an advocate for the stultified concert atmosphere cultivated during the latter half of the 20th century? Do you honestly believe the innovative Beethoven would respond positively to endless performances of the same limited repertoire, chosen for your consumption by men in high places? He would not. Categorically I say, he would not. Whilst he would happily enjoy his mailbox teeming with royalty checks, the number of times, and the number of (per)versions, he’d hear of Da Da Da Dummm during his 250th anniversary year would be enough send him to the bottle again! The 20th century is now history, and the start of the 21st is more like the opening of the 19th than perhaps you imagine. As it was then this is a time of major change, in which we’re witnessing the beginning of a globalization of ‘classical’ music and its embrace of other musical genres to inform its own compositions. The culture of concert presentation has been changing too, the pace of which is only increasing. What will be the concert experience 100 years from now? Our final Panel Discussion will be entitled, “Will Beethoven Survive Into the 22nd Century?” Of course he will, but how will that look? The 300th anniversary performance of the Eroica Symphony in 2103; what will be that experience? Do not be confused by your familiarity with that repertoire, for the 19th century was not the golden age for us — today is. Right now we enjoy astonishing, exciting musical creativity of unparalleled breadth and depth, with more music of higher quality being performed than ever before. Any time, live or in the palm of your hand on your phone, you can hear superb performances of any period or style. Listen to it all! Grasp every opportunity to hear as much as you can and don’t get left behind, for you might. The audience seeking solace solely in 18th and 19th century masterpieces is missing out, and that audience is in decline as is, consequently, support for ensembles limited to that repertoire. Well deserving of their place in the pantheon, you will always be able to hear Beethoven, Mozart & Haydn. But what about Connesson, Clyne & Huang Ruo? What about Wilson, Richards & Thorvaldsdottir? You don’t know their music? Exactly! WWBD? Adrian Spence Artistic Director, Camerata Pacifica
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3321 State Street • Loreto Plaza (State and Las Positas) • Santa Barbara Mon-Sat 9 to 9 • Sun 9 to 8 • (805) 682-6787 • chaucersbooks.com 4
PRESENTS
Complementing the musical programs, we will continue to present our successful series of panel discussions in which leading scholars offer in-depth explorations of topics related to our “Why Beethoven?” program. 6 talks will be presented this season: 3 in Santa Barbara and 3 in Pasadena. Participating scholars include Lydia Goehr, author and Professor of Philosophy at Columbia University, Alex Ross, music critic for The New Yorker, Daniel Chua, Professor and Chair of Music at the University of Hong Kong, and Derek Katz, Associate Professor of Musicology at UCSB. Dates to be announced.
The panel discussions in Pasadena are presented in collaboration with Pasadena Conservatory of Music. Tickets will be available from the venue directly. The venue in Santa Barbara is to be announced. Additional support generously provided by:
THE IMAGINARY MUSEUM OF MUSICAL WORKS BEETHOVEN’S PIECES WERE WORKS OF ART. BACH’S WERE NOT.
Lydia Goehr, author of The Imaginary Museum of Musical Works that lends this discussion its title, talks with Alex Ross, music critic for The New Yorker, about concert hall culture and the conditions that impact how music is made, heard, and packaged for a public. Goehr’s opening provocation was that “Bach did not intend to compose musical works,” to show that the idea of musical works fully emerged in the period after Bach: namely, with Beethoven. If, to add to the provocation, concert hall experience today still holds to the Beethoven paradigm, would we say that the concert going public is lagging far behind the times? Or should rather we better rethink the entire thesis?
BEETHOVEN IN AMERICA, BEETHOVEN IN CHINA
Ever since the beginnings of a classical music scene in the New World, Beethoven has been the central figure. The New York Philharmonic performed Beethoven’s 5th symphony at its first concert in 1842, and Boston’s Symphony Hall, which opened in 1900, has a proscenium surrounded by a series of plaques intended to display composers’ names. Beethoven’s is the only name displayed, above the center of the stage. To this day the other plaques remain empty. Today in China, Western art music has the stature it once had in America, and, again, it is Beethoven who is most highly revered. Why is that? Is it a question of specifically Chinese cultural values? Professor Hao Huang suggests Confucian philosophy and classical music both privilege intellectual rigor, personal discipline and regular practice towards self-improvement. Or is it a question of China adopting European values and practices that have been questioned and problematized in America?
WILL BEETHOVEN SURVIVE INTO THE 22ND CENTURY?
Grounded in the objectively classical world of Mozart and Haydn, Beethoven flourished in the era of Goethe and Kant, emerging as the archetypal genius for Romantics, who declared the artist to be a world-shaking demigod and hero. Was this deification the first step in a stultification of the concert experience, resulting in the imperious reverence of the concert hall and the rigid canonization of the 18th and 19th century masters? 250 years after his birth is part of Beethoven’s legacy a constriction of the concert experience that makes it harder for a contemporary audience to enjoy the music of today?
Barry & Amalia Taylor Bob Weinman The Williams-Corbett Foundation
RECOMMENDED READING FOR “WHY BEETHOVEN?”
Please purchase from Chaucer’s Bookstore in Santa Barbara (805) 682-6787 — an independent, arts-supporting bookstore — or through Camerata Pacifica. In both cases, all proceeds will benefit Camerata Pacifica. “Impassioned and informed... Swafford’s exuberance is infectious, prompting the reader to revisit works both famous and obscure.” —The New Yorker
• Winner of the 2007 National Book Critics Circle Award for Criticism • A New York Times Book Review Top Ten Book of the Year • Time Magazine Top Ten Nonfiction Book of 2007
“First rate... [Gaines] writes superbly and makes us feel at home with things that would have sounded arcane otherwise.” —Daily Telegraph
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SEPTEMBER 2019 Sponsored by:
Julienne
Sunday 8, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 10, 7:30 p.m. San Marino Thursday 12, 8:00 p.m. Los Angeles Friday 13, 7:30 p.m. Santa Barbara
Lera Auerbach
24 Preludes for Violin & Piano
(b. 1973)
No. 1 in C Major No. 3 in G Major No. 5 in D Major No. 7 in A Major No. 9 in E Major No. 11 in B Major No. 13 in F-sharp Major No. 15 in C-sharp Major No. 17 in A-flat Major No. 19 in E-flat Major No. 21 in B-flat Major No. 23 in F Major
59’00”
No. 2 in A Minor No. 4 in E Minor No. 6 in B Minor No. 8 in F-sharp Minor No. 10 in C-sharp Minor No. 12 in G-sharp Minor No. 14 in E-flat Minor No. 16 in B-flat Minor No. 18 in F Minor No. 20 in C Minor No. 22 in G Minor No. 24 in D Minor
Paul Huang, The Bob Christensen Chair in Violin; Gilles Vonsattel, piano
INTERMISSION
Ludwig van Beethoven
Piano Trio in B-flat Major, Op. 97, “Archduke”
(1770 – 1827)
I. II. III. IV.
40’00”
Allegro moderato Scherzo. Allegro Andante cantabile ma però con moto Allegro moderato – Presto
Paul Huang; Ani Aznavoorian, cello; Gilles Vonsattel
Programs & Artists subject to change without notice.
The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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OCTOBER 2019 Sponsored by:
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Thursday 3, 8:00 p.m. Los Angeles Compass is a licensed real estate broker (01991628) in the State of 7:30 California and abides by Equal Housing Opportunity laws.Santa All material presented herein is intended for informational purposes only. Friday 4, p.m. Barbara Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdraw without notice. To reach the Compass main office call 805.253.7700 Sunday 6, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 8, 7:30 p.m. San Marino
Ludwig van Beethoven String Quartet in A Minor, Op. 132 (1770 – 1827) I. II. III. IV. V.
45’00”
Assai sostenuto – Allegro Allegro ma non tanto Heiliger Dankgesang eines Genesenen an die Gottheit, in der Lydischen Tonart. Molto adagio – Andante Alla marcia, assai vivace Allegro appassionato – Presto
Joseph Lin, Tricia Park, violins; Melissa Reardon, viola; Andrew Janss, cello
INTERMISSION
Franz Schubert
Piano Sonata in B-flat Major, D. 960
(1797 – 1828)
I. II. III. IV.
40’00”
Molto moderato Andante sostenuto Scherzo. Allegro vivace con delicatezza – Trio Allegro ma non troppo – Presto Gilles Vonsattel
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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Restored Victorian Elegance on Pasadena’s Historic Millionaire’s Row The Bissell House Bed and Breakfast is a uniquely charming, 1887 three story transitional Victorian, with craftsman style influence, elegantly situated in an upscale residential neighborhood located in lovely, historic South Pasadena, California only twelve minutes or six metro stops from downtown Los Angeles. The Rose Bowl, Old Town Pasadena, Norton Simon Museum, Gamble House, Fenyes Mansion, and Huntington Library and Gardens, are all within a short distance walk, bike or ride. 201 Orange Grove Avenue • South Pasadena, California 91030 tel 626 441 3535 • email: bissellhouseinn@gmail.com • www.bissellhouse.com
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OCTOBER 2019 Sponsored by:
The Bissell House
Sunday 20, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 22, 7:30 p.m. San Marino Thursday 24, 8:00 p.m. Los Angeles Friday 25, 7:30 p.m. Santa Barbara
Aaron Copland
Duo for Flute & Piano
(1900 – 1990)
I. Flowing II. Poetic, somewhat mournful III. Lively, with bounce
15’00”
Melanie Lançon, flute; Huw Watkins, piano
John Harbison (b. 1938)
Songs America Loves to Sing 27’00” Amazing Grace Careless Love Will the Circle Be Unbroken Aura Lee What a Friend We Have in Jesus
St. Louis Blues Poor Butterfly We Shall Overcome Ain’t Goin’ to Study War No Mo’ Anniversary Song
Melanie Lançon; Jose Franch-Ballester, clarinet; Kristin Lee, The Bernard Gondos Chair in Violin; Ani Aznavoorian, cello; Huw Watkins
INTERMISSION George Crumb
11 Echoes of Autumn 18’00”
(b. 1929) Eco 1. Fantastico Eco 2. Languidamente, quasi lontano (‘hauntingly’) Eco 3. Prestissimo Eco 4. Con bravura Eco 5. Dark, intense Eco 6. Dark, intense
Eco 7. Dark, intense Eco 8. Feroce, violento Eco 9. Serenamente, quasi lontano (‘hauntingly’) Eco 10. Senza misura (‘gently undulating’) Eco 11. Adagio (‘like a prayer’)
Melanie Lançon; Jose Franch-Ballester; Kristin Lee; Huw Watkins
William Bolcom
2nd Sonata for Violin & Piano
(b. 1938)
I. Summer Dreams II. Brutal, fast III. Adagio IV. In Memory of Joe Venuti
18’00”
Kristin Lee; Huw Watkins Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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Camerata Pacifica’s Commissioning Portfolio Commissioning new music has become an integral part of Camerata Pacifica’s artistic mission. Not because we are a new music group — we are not. But because this is a live, dynamic art form. Even if the music originated in the 18th or 19th century, at that moment of performance, the minute it becomes a reality, it is live and of the moment. No matter when the music was written, it has that in common with every other piece. Hopefully hearing new music also informs our listening to pieces we know very well — there can be a danger that with familiarity we lose awareness of the innovation and novel nature of pieces now acknowledged as masterworks. Commissioning has become a favorite means to support our work. From the beginning of the compositional process, commissioners get to engage with the composer and the musicians as the work is brought to life. Finally the manuscript arrives and the musicians begin preparation. Commissioners attend first rehearsals and after the premiere performances, when corrections are made, the score arrives from the publisher engraved with the commissioners’ names on the title page — forever. Commissioning opportunities begin with an investment of as little as $2,000.
COMMISSIONS JAKE HEGGIE | WINTER ROSES (MEZZO SOPRANO & CHAMBER ENSEMBLE) | Premiered October 9, 2004, Santa Barbara Commissioned by Richard & Luci Janssen for Frederica von Stade and Camerata Pacifica IAN WILSON | MESSENGER CONCERTO (VIOLIN & CHAMBER ENSEMBLE) | Premiered May 18, 2007, Santa Barbara Commissioned by Richard & Luci Janssen for Catherine Leonard and Camerata Pacifica Toured Internationally April 22nd – May 3rd, 2008: Cathedral of Our Lady of Angels, Los Angeles; Library of Congress, Washington DC; Morgan Library, New York; The Guidhall, Londonderry; Northern Ireland; National Concert Hall, Dublin, Ireland; Wigmore Hall, London, England; St. Anne’s Cathedral, Belfast, Northern Ireland IAN WILSON | HEFT (FLUTE/ALTO FLUTE & PIANO) | Premiered January 11, 2008, Santa Barbara Commissioned by Jordan & Sandra Laby for Adrian Spence/Camerata Pacifica HUANG RUO | BOOK OF THE FORGOTTEN (OBOE & VIOLA) | Premiered April 17, 2010, Los Angeles Commissioned by a consortium led by Hyon Chough for Richard Yongjae O’Neill and Nicholas Daniel BRIGHT SHENG | HOT PEPPER (VIOLIN & MARIMBA) | Premiered September 10, 2010, Santa Barbara Commissioned by Bob Peirce as a birthday present for his wife Sharon Harroun Peirce for Catherine Leonard and Ji Hye Jung BRIGHT SHENG | MELODIES OF A FLUTE (FLUTE/ALTO FLUTE, VIOLIN, CELLO & MARIMBA) Premiered April 10, 2012, San Marino
Commissioned by Luci Janssen for her husband Richard on the occasion of their 40TH wedding anniversary for Camerata Pacifica 12
JAKE HEGGIE | SOLILOQUY (FLUTE & PIANO) | Premiered May 10, 2012, Los Angeles Commissioned by Adrian Spence in memory of Suzanne Makuch HUANG RUO | IN OTHER WORDS (CONCERTO FOR VOCALIZED VIOLIST & CHAMBER ENSEMBLE) Premiered September 20, 2012, Los Angeles
Commissioned by Frank & Ann Everts in celebration of their 50TH wedding anniversary for Richard Yongjae O’Neill and Camerata Pacifica IAN WILSON | DREAMGARDEN (MEZZO SOPRANO & CHAMBER ENSEMBLE) | U.S. Premiere May 16, 2013, Los Angeles Supported by Robert M. Light and Anne Koepfli in memory of Sandy & Lulu Saunderson for Camerata Pacifica LERA AUERBACH | DREAMMUSIK (CELLO & CHAMBER ENSEMBLE) | Premiered March 6, 2014, Los Angeles Commissioned by Sandy Svoboda in memory of her husband Al for Ani Aznavoorian and Camerata Pacifica JOHN HARBISON | STRING TRIO (VIOLIN, VIOLA, CELLO) | Premiered September 11, 2014, Los Angeles Commissioned by Peter & Linda Beuret; Bob Klein & Lynne Cantlay - in memory of Michael Benjamin Klein; Roger & Nancy Davidson; Stanley & Judith Farrar; Ann Hoagland - in memory of her husband Stephen C. Hoagland; John & Susan Keats; Jordan & Sandra Laby; Alejandro Planchart - in memory of Milton Babbitt Recorded for international release on the Harmonia Mundi label IAN WILSON | THREE SONGS OF HOME (ALTO FLUTE, VIOLA & HARP) | A gift from the composer to celebrate Camerata Pacifica’s 25TH Season
Premiered October 10, 2014, Santa Barbara
IAN WILSON | AT (FLUTE, VIOLA & CELLO) | Premiered October 8, 2015, Los Angeles Commissioned by Jordan Christoff for Adrian Spence, Catherine Leonard & Ani Aznavoorian DAVID BRUCE | THE CONSOLATION OF RAIN (OBOE, HARP, CELLO & PERCUSSION) | Premiered April 10, 2016, Ventura Commissioned by Bob Klein & Lynne Cantlay for Nicholas Daniel, Bridget Kibbey, Ani Aznavoorian and Ji Hye Jung JOHN LUTHER ADAMS | there is no one, not even the wind | Premiered September 2017 Co-commissioned by Camerata Pacifica, The Chamber Music Society of Lincoln Center, Chamber Music Northwest, Emerald City Music, and Redlands Symphony LERA AUERBACH | 24 PRELUDES FOR VIOLA & PIANO | Premiered April 18, 2018, San Marino Commissioned by: Hyon Chough; May Chung; Christina Chung; Sookee Chung; May Kim; Sook Hee Lee & Seong Ae Kim; Chae Ma; Karin Nelson, Maren Henle, & Rick Hibbs; Stuart & Judith Spence; Diane Henderson; Marion Stewart; David Robertson & Nancy Alex; and Arnold & Gretl Mulder for Richard Yongjae O’Neill
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NOVEMBER 2019 Sponsored by:
Steinway & Sons
Sunday 10, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 12, 7:30 p.m. San Marino Thursday 14, 8:00 p.m. Los Angeles Friday 15, 7:30 p.m. Santa Barbara
W.A. Mozart
Duo for Violin & Viola in G Major, K. 423
(1756 – 1791)
I. Allegro II. Adagio III. Rondeau. Allegro
17’00”
Kristin Lee, The Bernard Gondos Chair in Violin; Richard O’Neill, viola
Ludwig van Beethoven
String Quartet in E-flat Major, Op. 74, “Harp”
(1770 – 1827)
I. Poco adagio – Allegro II. Adagio ma non troppo III. Presto IV. Allegretto con Variazioni
30’00”
Kristin Lee, Jason Uyeyama, violins; Richard O’Neill; Ani Aznavoorian, cello
INTERMISSION Louis Vierne
Piano Quintet in C Minor, Op. 42
(b. 1870 – 1937)
I. Poco lento – Moderato II. Larghetto sostenuto III. Maestoso – Allegro risoluto
33’00”
Kristin Lee, Jason Uyeyama; Richard O’Neill; Ani Aznavoorian; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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Estate Director 310.890.6860 greg.scott@compass.com DRE 01254539
Greg Scott Real Estate
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805.689.2305 Stan@StanTabler.com
—John D.
CalBRE# 00774377 | SINCE 1980
DECEMBER 2019 Sponsored by:
Greg Scott compass.com
805.253.7700
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compass
Sunday 1, 3:00 p.m. Ventura Compass is a licensed real estate broker (01991628) in the State of California and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. The Jordan and Sandra Laby Series Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdraw without notice. To reach the Compass main office call 805.253.7700 Tuesday 3, 7:30 p.m. San Marino Thursday 5, 8:00 p.m. Los Angeles Friday 6, 7:30 p.m. Santa Barbara J.S. Bach
A Musical Offering, BWV 1079
(1685 – 1750)
Thema Regium Ricercar a 3 Canon perpetuus super Thema Regium Canon No. 2: a 2 Violini in unisono Canon No. 1: a 2, cancrizans Canon No. 3: a 2 per motum contrarium Ricercar a 6 Canon No. 4: a 2 per augmentationem, contrario motu Trio (Sonata sopr’il Soggetto Reale) Canon a 2 “Quaerendo invenietis” Canon No. 5: a 2 per Tonos Canon a 2 “Quaerendo invenietis” Fuga canonica in Epidiapente Canon No. 4: a 2 per augmentationem, contrario motu Canon perpetuus, contrario motu [per giusti intervalli] Canon a 4 “Quaerendo invenietis” Ricercar a 6
45’00”
Demarre McGill, flute; Joseph Lin, Tricia Park, violins; Ani Aznavoorian, cello; Paolo Bordignon, harpsichord
INTERMISSION Ludwig van Beethoven
String Quartet in C-sharp Minor, Op. 131
(1770 – 1827)
I. Adagio ma non troppo e molto espressivo II. Allegro molto vivace III. Allegro moderato IV. Andante ma non troppo e molto cantabile V. Presto VI. Adagio quasi un poco andante VII. Allegro
40’00”
Joseph Lin, Tricia Park; Richard O’Neill, viola; Ani Aznavoorian
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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www.stratzfinancial.com
JANUARY 2020 Sponsored by:
Stratz & Company
Sunday 12, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 14, 7:30 p.m. San Marino Thursday 16, 8:00 p.m. Los Angeles Friday 17, 7:30 p.m. Santa Barbara
Ludwig van Beethoven
Octet for Winds in E-flat Major, Op. 103
(1770 – 1827)
I. Allegro II. Andante III. Menuetto IV. Finale. Presto
22’00”
Nicholas Daniel, Claire Brazeau, oboes; Jose Franch-Ballester, Pascal Archer, clarinets; Judith Farmer, William Short, bassoons; Martin Owen, Steven Becknell, horns
Carl Nielsen
Wind Quintet, Op. 43
(1865 – 1931)
I. Allegro ben moderato II. Menuet III. Praeludium. Adagio – Tema con variazioni. Un poco andantino
25’00”
Jasmine Choi, flute; Nicholas Daniel; Jose Franch-Ballester; William Short; Martin Owen
INTERMISSION Ludwig van Beethoven
Quintet for Oboe, Three Horns & Bassoon, Hess 19
(1770 – 1827)
I. Allegro II. Adagio maestoso III. Minuetto. Allegro
12’00”
Nicholas Daniel; William Short; Martin Owen, Steven Becknell, Amy Sanchez, horns
Antonin Dvořák
Serenade for Winds in D Minor, Op. 44
(1841 – 1904)
I. II. III. IV.
25’00”
Moderato quasi marcia Menuetto. Tempo di minuetto Andante con moto Finale. Allegro molto
Nicholas Daniel, Claire Brazeau; Jose Franch-Ballester, Pascal Archer; Judith Farmer, William Short; William Wood, contrabassoon; Martin Owen, Steven Becknell, Amy Sanchez; Ani Aznavoorian, cello; Timothy Eckert, double bass
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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FEBRUARY 2020 Sponsored by:
Fresco Cafe
Sunday 2, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 4, 7:30 p.m. San Marino Thursday 6, 8:00 p.m. Los Angeles Friday 7, 7:30 p.m. Santa Barbara
W.A. Mozart
Duo for Violin & Viola in B-flat, K. 424
(1756 – 1791)
I. Adagio - Allegro II. Andante cantabile III. Tema con variazioni. Andante grazioso - Allegretto - Allegro
20’00”
Paul Huang, the Bob Christensen Chair in Violin; Richard O’Neill, viola
Ludwig van Beethoven
Sonata in C Major for Piano & Cello, Op. 102, No. 1
(1770 – 1827)
I. Andante - Allegro vivace II. Adagio - Allegro vivace
15’00”
Ani Aznavoorian, cello; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano
INTERMISSION Ludwig van Beethoven
String Trio in C Minor, Op. 9, No. 3
(1770 – 1827)
I. II. III. IV.
25’00”
Allegro con spirito Adagio con espressione Scherzo. Allegro molto e vivace Finale. Presto
Paul Huang; Richard O’Neill; Ani Aznavoorian
Johannes Brahms
Sonata in G Major for Violin & Piano, Op. 78
(1833 – 1897)
I. Vivace ma non troppo II. Adagio III. Allegro molto moderato
27’00”
Paul Huang; Warren Jones
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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MARCH 2020 Sponsored by:
Michael’s Catering
Thursday 19, 8:00 p.m. Los Angeles Friday 20, 7:30 p.m. Santa Barbara Sunday 22, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 24, 7:30 p.m. San Marino
Lera Auerbach
Dreammusik 25’00”
(b. 1973) Benjamin Smolen, flute; Nicholas Daniel, oboe; Pascal Archer, clarinet; Kristin Lee, The Bernard Gondos Chair in Violin; Melissa Reardon, viola; Ani Aznavoorian, Jennifer Kloetzel, cellos; Timothy Eckert, double bass; Ji Hye Jung, percussion; Robert Koenig, piano
Guillaume Connesson
Sextet
13’00”
(b. 1970)
I. Dynamique II. Nocturne III. Festif
Nicholas Daniel; Jose Franch-Ballester, clarinet; Kristin Lee; Melissa Reardon; Timothy Eckert; Robert Koenig
INTERMISSION
Anna Clyne
A Wonderful Day 5’00”
(b. 1980) Pascal Archer; Jennifer Kloetzel; Timothy Eckert; Brian Head, guitar; Ji Hye Jung; Robert Koenig
John Adams
Gnarly Buttons 26’00”
(b. 1947)
I. The Perilous Shore II. Hoe-down (Mad Cow) III. Put Your Loving Arms Around Me Jose Franch-Ballester; Judith Farmer, bassoon; Martin Owen, horn; Angel Subero, trombone; Kristin Lee, Jason Uyeyama, violins; Melissa Reardon; Jennifer Kloetzel; Timothy Eckert; Brian Head, guitar, banjo & mandolin; Bridget Hough, Robert Koenig, keyboards
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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APRIL 2020 Sponsored by:
Lumen Wines
Thursday 16, 8:00 p.m. Los Angeles Friday 17, 7:30 p.m. Santa Barbara Sunday 19, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 21, 7:30 p.m. San Marino
J.S. Bach (1685 – 1750)
“Sende, Herr, den Segen ein”, from Cantata BWV 193 “Kreuz und Krone sind verbunden”, from Cantata BWV 12 “Gott ist unsre Sonn und Schild!”, from Cantata BWV 79
16’00”
Nicholas Daniel, oboe; Sarah Nelson Craft, mezzo-soprano; Paolo Bordignon, harpsichord
Edmund Rubbra
Sonata in C Major for Oboe & Piano, Op. 100
(1901 – 1986)
I. Con moto II. Elegy, lento, liberamente III. Presto
13’00”
Nicholas Daniel; Tom Poster, piano
Hamilton Harty
Three Miniatures for Oboe & Piano
(1879 – 1941)
1. Orientale 2. Chansonette 3. A La Campagne
14’00”
Nicholas Daniel; Tom Poster
INTERMISSION Emma-Ruth Richards
Dark Radiance for Solo Cello
(b. 1985)
6’00”
Ani Aznavoorian, cello
John Harbison
Mirabai Songs
(b. 1938)
1. 2. 3. 4. 5. 6.
17’00”
It’s True, I Went to the Market All I was Doing was Breathing Why Mira Can’t Go Back to Her Old House Where Did You Go? The Clouds Don’t Go, Don’t Go Sarah Nelson Craft; Tom Poster
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
25
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MAY 2020 Sponsored by:
Santa Barbara Hotel Group
Thursday 7, 8:00 p.m. Los Angeles Friday 8, 7:30 p.m. Santa Barbara Sunday 10, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 12, 7:30 p.m. San Marino
Richard Strauss
Metamorphosen 25’00”
(1864 – 1949) arr. Rudolf Leopold Kristin Lee, The Bernard Gondos Chair in Violin, Joseph Lin, violins; Richard O’Neill, Robert Brophy, violas; Ani Aznavoorian, Jennifer Kloetzel, cellos; Timothy Eckert, double bass
INTERMISSION
Ludwig van Beethoven (1770 – 1827)
String Quartet in B-flat Major, Op. 130 Grosse Fuge, Op. 133
I. Adagio ma non troppo – Allegro II. Presto III. Andante con moto ma non troppo IV. Alla danza tedesca. Allegro assai V. Cavatina. Adagio molto espressivo VI. Grosse Fuge, Op. 133
45’00”
Joseph Lin, Kristin Lee; Richard O’Neill; Ani Aznavoorian
Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.
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CAMERATA PACIFICA Principal Artists Ani Aznavoorian, PRINCIPAL CELLO The Strad magazine describes cellist Ani Aznavoorian as having “Scorchingly committed performances that wring every last drop of emotion out of the music. Her technique is well-nigh immaculate, she has a natural sense of theater, and her tone is astonishingly responsive.” Ms. Aznavoorian is in demand as a soloist and chamber musician with some of the most recognized ensembles, and she has appeared with many of the world’s leading orchestras including the Chicago Symphony Orchestra, the Boston Pops, the Tokyo Philharmonic, the Helsinki Philharmonic, the Finnish Radio Symphony, the International Sejong Soloists, the Belgrade Philharmonic, the Juilliard Orchestra, and the Edmonton Symphony. This season marks Ms. Aznavoorian’s fourteenth year as Principal Cellist with Camerata Pacifica. Ms. Aznavoorian received the prestigious Bunkamura Orchard Hall Award for her outstanding cello playing and artistry. Some of her other awards include first prizes in the Illinois Young Performers Competition (televised live on PBS with the Chicago Symphony), the Chicago Cello Society National Competition, the Julius Stulberg Competition, and the American String Teachers Association Competition. She was a top prizewinner in the 1996 International Paulo Competition, held in Helsinki, Finland. As a recipient of the Level I Award in the National Foundation for the Arts Recognition and Talent Search, Ms. Aznavoorian was named a Presidential Scholar in the Arts and performed as soloist at the Kennedy Center in Washington, D.C. where she met former U.S. President Bill Clinton. As a first-year student at The Juilliard School, Ms. Aznavoorian won first prize in the institution’s concerto competition—the youngest cellist in the history of the school’s cello competitions to do so. As a result, she performed with the Juilliard Orchestra in a concert with conductor Gerard Schwarz at Avery Fisher Hall. With only 12 hours notice, Ms. Aznavoorian stepped in to replace Natalia Gutman in three performances of the Shostakovich Cello Concerto No. 1 with the San Jose Symphony—concerts that were hailed by the San Jose Press. Other notable appearances include concerts at Weill Hall and Zankel Hall at Carnegie Hall, Alice Tully Hall, Ravinia’s Bennett Hall, Aspen’s Harris Hall, the Dame Myra Hess Memorial Concert Series, WFMT Live from Studio 1, and NPR’s Performance Today. She has been a member of the renowned string ensemble the International Sejong Soloists, and also performs frequently on the Jupiter Chamber Music series in New York. Ms. Aznavoorian received both her Bachelor and Master of Music degrees from The Juilliard School where she studied with Aldo Parisot. In addition to performing, teaching plays an important part in Ms. Aznavoorian’s career. She has been a member of the distinguished music faculty at the University of Illinois in Champaign/Urbana, and in the summers has served on the faculty of the Great Mountains Music Festival in South Korea. Ms. Aznavoorian enjoys performing new music and has made the world premiers of many important pieces in the cello repertoire. Some of these include Ezra Laderman’s Concerto No. 2 with the Colorado Springs Philharmonic under the baton of Lawrence Leighton Smith, Lera Auerbach’s 24 Preludes for Cello and Piano on stage at the Hamburg Staatsoper with the Hamburg
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State Ballet—choreographed by John Neumeier, and Lera Auerbach’s Dreammusik for Cello and Chamber Orchestra, which was written for her and commissioned by Camerata Pacifica and Sandra Svoboda. In addition to return engagements at chamber music festivals around the globe, the 2017-18 season included a debut concert tour of Armenia, the country of her ancestors. Ms. Aznavoorian records for Cedille Records, and she proudly performs on a cello made by her father Peter Aznavoorian in Chicago.
Nicholas Daniel, PRINCIPAL OBOE Nicholas Daniel has long been acknowledged as one of the world’s great oboe players, and is one of Britain’s best known musicians. In a distinguished career that began more than four decades ago he has become an important ambassador in many different musical fields, most recently the “Every Child a Musician” Campaign, and has significantly enlarged the repertoire for his instrument with the commissioning of hundreds of new works. Nicholas dedicates his life to music in many varied ways. He records and broadcasts widely, and he boasts a huge following internationally on social media particularly on YouTube with over 1,000,000 views. He has directed several music festivals and concert series, most notably in Germany and Dartington, and has been Music Director of the highly successful Leicester International Music Festival and lunchtime series for many years. He is much in demand as a teacher and is Professor at the Trossingen Musikhochschule in Germany and at the Guildhall School of Music and Drama in London. In recognition of his achievements he was honoured in 2012 by Her Majesty Queen Elizabeth II with the prestigious Queen’s Medal for Music, and cited as having made “an outstanding contribution to the musical life of the nation”. Having sung in the choir of Salisbury Cathedral as a boy, Nicholas was put directly into the spotlight at the age of 18 when he won the BBC Young Musician of the Year competition. After a short period of study at London’s Royal Academy of Music he quickly established his career with early debuts at the BBC Proms and on disc. He has been a concerto soloist with many of the world’s leading orchestras and conductors, performing a huge range of repertoire from Bach to Xenakis and beyond, premiering works written for him by composers including Harrison Birtwistle, Henri Dutilleux, James MacMillan, Thea Musgrave, John Tavener and Michael Tippett, as well as encouraging many younger composers to write for the oboe. His recording of concertos by Vaughan Williams and MacMillan was awarded the BBC Music Magazine Premiere Award in 2016. As a chamber musician, as well as being a Camerata Pacifica Principal Artist, Nicholas is a founder member of the award-winning Britten Sinfonia, the Haffner Wind Ensemble and the Britten Oboe Quartet, and is a popular guest at music festivals all over the world. Nicholas Daniel is proud to play Marigaux Oboes, including the world’s first “fairtrade” Mozambique Mpingo wood Oboe, certified by the Forest Stewardship Council and made especially for him in Paris.
Timothy Eckert, PRINCIPAL DOUBLE BASS Described by Placido Domingo as “an artist of musicality and dedication” (Los Angeles Times), Timothy Eckert enjoys a dynamic career in Los Angeles as a double bassist and
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composer. He performs as Principal Bass of the Camerata Pacifica and as a member of the Los Angeles Opera Orchestra. Additionally, he has appeared across Southern California with ensembles including the Los Angeles Philharmonic, Los Angeles Chamber Orchestra, LA Master Chorale, and the Santa Barbara and Pasadena Symphonies. An avid chamber musician, Timothy has performed at the Idyllwild Chamber Music Festival and on Santa Monica’s Jacaranda series. Past orchestral positions include the Long Beach Symphony and assistant principal bass with the Kalamazoo Symphony. Timothy is active in the recording industry, having performed live or in studio with a diverse array of artists including Eric Clapton, Madonna, Bjork, Alanis Morrisette, Bon Jovi, Disturbed, and the Dave Matthews Band. Composers whose scores he has played on include Thomas Newman, Joseph Trapanese, John Debney, Hans Zimmer, Alan Silvestri, James Horner and Jerry Goldsmith, among others. Writing in a broad range of styles, his compositions are heard worldwide in hundreds of television series on networks such as CBS, ABC, Bravo, E!, History, MTV, Discovery and National Geographic. From Nova to the Kardashians, Hunting Hitler to Jesus Conspiracies, and RuPaul’s Drag Race to Toddlers & Tiaras, Timothy has about covered it all. He has performed extensively at the Aspen Music Festival, where he was twice awarded fellowships, and at the Spoleto Festival in Italy, where he served as principal bass of the Spoleto Opera. Timothy holds a Master of Music degree from Indiana University, studying with Bruce Bransby, where he was awarded the prestigious Performer’s Certificate. Working with Paul Ellison he completed the Advanced Studies Program at USC. He has also participated in renowned bassist Franco Petracchi’s master class at the Accademia Chigiana in Siena, where he was awarded the Diploma di Merito, and at the Sermoneta Corsi di Perfezionamento. Additionally, he is an alumnus of the Music Academy of the West, studying with Nico Abondolo, and the Aspen Music Festival as a student of Paul Ellison, Bruce Bransby and Eugene Levinson.
Jose Franch-Ballester, PRINCIPAL CLARINET The multi-award-winning Spanish clarinetist Jose Franch-Ballester is considered one of the finest classical soloists and chamber music artists of his generation. He has been hailed for his “technical wizardry and tireless enthusiasm” (The New York Times), and his “subtle and consummate artistry” (Santa Barbara Independent). The recipient of a prestigious Avery Fisher Career Grant in 2008, and winner of both the Young Concert Artists and Astral Artists auditions, he is a solo artist and chamber musician in great demand. Mr. Franch-Ballester is a recently-appointed Assistant Professor of Clarinet and Chamber Music at the University of British Columbia in Vancouver, Canada. Mr. FranchBallester regularly performs as the Principal Clarinetist at Camerata Pacifica in Santa Barbara, California and appears with The Chamber Music Society of Lincoln Center in New York. As a concerto soloist, he has performed with orchestras such us the BBC Concert Orchestra, Louisville Orchestra, Santa Barbara Chamber Orchestra, Malaysian Philharmonic Orchestra, Orquesta Sinfonica Nacional of Mexico, I Musici Montreal, and Orquesta of the Radio Television in Spain, among others. He collaborates regularly with chamber music festivals around the globe such as Music@Menlo, Mainly Mozart,
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Chamber Music Northwest, Nexus Festival Tokyo, Westport Festival Ireland, Kon-Tiki Festival Norway and the Dresden Music Festival. Born in Moncofa into a family of musicians, Mr. Franch-Ballester graduated from the Joaquin Rodrigo Music Conservatory in Valencia, continuing his studies at the Curtis Institute of Music in Philadelphia, where he studied with Donald Montanaro and Ricardo Morales. As a recording artist, he has appeared on labels such as Deutsche Gramophon, Harmonie Mundi and Warner Music.
Paul Huang, PRINCIPAL VIOLIN The Bob Christensen Chair in Violin Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is celebrated for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as “an artist with the goods for a significant career” following his recital debut at the Kennedy Center. His recent and forthcoming engagements include his recital debut at the Lucerne Festival in Switzerland as well as appearances with the Mariinsky Orchestra with Valery Gergiev (St. Petersburg’s White Nights Festival), Berliner Symphoniker with Lior Shambadal (Philharmonie Berlin debut), Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Orchestra of St. Luke’s with Carlos Miguel Prieto, Seoul Philharmonic, Baltimore Symphony and Grant Park Festival Orchestra with Markus Stenz, North Carolina Symphony and Charlotte Symphony with Gemma New, Buffalo Philharmonic with JoAnn Falletta, Pacific Symphony with Carl St. Clair, National Symphony Orchestra of Taiwan with ShaoChia Lu and the Taipei Symphony with Jahja Ling (both in Taipei and on an United States tour). The 2019-20 season will also see Mr. Huang giving the German premiere of Tan Dun’s Violin Concerto “Fire Ritual” with the Nuremberg Symphony with Kahchun Wong and appearances in the United States with the Tucson Symphony, New Mexico Philharmonic, Long Beach Symphony, Brevard Symphony, and Mobile Symphony. Recital and chamber music performances this season will include Mr. Huang’s recital debut for People’s Symphony Concerts in New York, a recital tour across North America and Taiwan with pianist Helen Huang, as well as his debut at the Wolf Trap in Washington D.C. He will also return to Camerata Pacifica in Santa Barbara and the Chamber Music Society of Lincoln Center for three separate tours in the United States, Europe, and the Far East. Mr. Huang’s recent recital engagements included Lincoln Center’s “Great Performers” series and a return engagement at the Kennedy Center where he premiered Conrad Tao’s “Threads of Contact” for Violin and Piano during his recital evening with pianist Orion Weiss. He also stepped in for Midori with Leonard Slatkin and the Detroit Symphony to critical acclaim. Mr. Huang has also made debuts at the Wigmore Hall, Seoul Arts Center, and the Louvre in Paris. His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces released on the CHIMEI label. In association with Camerata Pacifica, he recorded “Four Songs of Solitude” for solo violin on their album of John Harbison works. The album was released on the Harmonia Mundi label in fall 2014. A frequent guest artist at music festivals worldwide, he has performed at the Seattle,
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Music@Menlo, Caramoor, Bridgehampton, La Jolla, Moritzburg, Kissinger Sommer, Sion, Orford Musique, and the Great Mountains Music Festival in Korea. His collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Lawrence Power, Maxim Rysanov, Mischa Maisky, Jian Wang, Frans Helmerson, Lynn Harrell, Yefim Bronfman, and MarcAndre Hamelin. Winner of the 2011 Young Concert Artists International Auditions, Mr. Huang made critically acclaimed recital debuts in New York and in Washington, D.C. at the Kennedy Center. Other honors include First Prize at the 2009 International Violin Competition Sion-Valais (Tibor Varga) in Switzerland, the 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists, the 2013 Salon de Virtuosi Career Grant, and the 2014 Classical Recording Foundation Young Artist Award. Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his bachelor’s and master’s degrees under Hyo Kang and I-Hao Lee. He plays on the 1742 ex-Wieniawski Guarneri del Gesù on loan through the generous efforts of the Stradivari Society of Chicago. His website is www.paulhuangviolin.com.
Warren Jones, PRINCIPAL PIANO The Robert & Mercedes Eichholz Chair in Piano Warren Jones enjoys a notably eclectic career that has taken him to virtually every corner of the musical world. He performs with some of today’s best-known artists such as Stephanie Blythe and Anthony Dean Griffey, and in the past has partnered such great singers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Samuel Ramey, Christine Brewer, Barbara Bonney, Carol Vaness, Judith Blegen, Salvatore Licitra, Tatiana Troyanos, Thomas Hampson, James Morris, and Martti Talvela—and appeared in concerts with the Juilliard, Borromeo, and Euclid string quartets. A longtime faculty member at the Manhattan School of Music, Mr. Jones recently finished an appointment as Artist in Residence in Music at Rutgers University. Highlights of his upcoming itinerary include recitals with the new Metropolitan Opera star mezzosoprano Jamie Barton, and continued collaborations with Camerata Pacifica favorite baritone Andrew Garland. His 2019 schedule included a residency at the University of Colorado in Boulder during which he appeared in concert with members of the Takacs Quartet, and an appearance at the Toronto Summer Music art song festival as teacher and performer. In 2018, Mr. Jones was Artist in Residence in Opera at both the New England Conservatory of Music and the University of North Carolina School of the Arts; and that summer he began an innovative training program for young singers and pianists at the Manchester Music Festival in Vermont and taught at the Miami Music Festival. Mr. Jones received the Achievement Award from the Music Teachers National Association of America (their highest honor) and was selected as Collaborative Pianist of the Year by the publication Musical America. He has been an invited guest at the White House to perform at state dinners in honor of the leaders of Canada, Russia, and Italy; and three times a guest of the Justices of the United States Supreme Court for musical afternoons in the East Conference Room at the Court. As a musical jurist, he has wide experience: the First China International Music Competition (Piano), the Van Cliburn International Piano Competition, the Montreal
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International Vocal Competition, the Metropolitan Opera National Council Auditions, and the Naumberg Awards. Currently he serves as a Faculty Member of the Board of Trustees at the Manhattan School of Music. His discography contains more than thirty recordings on every major label in a wide range of classical, romantic, and contemporary repertory. As an opera conductor in recent years, his work is similarly varied: he has led sold-out critically-acclaimed performances of Mascagni’s L’amico Fritz, Rossini’s Il Barbiere di Siviglia, Mozart’s Die Zauberfloete, Donizetti’s Don Pasquale, and Bernstein’s Trouble in Tahiti, and in 2014 he conducted the world premiere of a new operatic version of A Christmas Carol at the Houston Grand Opera.
Ji Hye Jung, PRINCIPAL PERCUSSION Praised as “spectacular” by the Los Angeles Times and “extraordinary” by the Ventura County Star, the Times describes percussionist Ji Hye Jung as “a centered player who can give the impression of being very still yet at all places at once.” Ms. Jung began concertizing in her native South Korea at the age of nine where she performed more than 100 concerts including solo appearances with every major orchestra in Korea. Soon after coming to the United States in 2004, Ms. Jung garnered consecutive first prizes at the 2006 Linz International Marimba Competition and the 2007 Yale Gordon Concerto Competition. With percussion repertoire still in its formative stages, Ms. Jung feels strongly about collaborating with composers to further the creation of a new voice for the art form. She has commissioned and premiered works by several important composers including, Kevin Puts, Alejandro Viñao, Paul Lansky, John Serry, Lukas Ligeti, and Jason Treuting. In 2013 she made the premier recording of Michael Torke’s marimba concerto Mojave and in 2014 recorded Phillip Glass’ Concerto Fantasy for Two Timpanists and Orchestra for the Naxos label. Ms. Jung frequently performs with many of today’s most important conductors and instrumentalists. For six years she has served as principal percussionist with the west coast-based chamber music ensemble Camerata Pacifica, with whom she has premiered works by Bright Sheng and Huang Ruo. She has also recorded Stravinsky’s Les Noces with JoAnn Falletta at the Virginia Arts Festival, performed as soloist with David Robertson conducting an all Messiaen program at Carnegie Hall, and made her concerto debut with the Houston Symphony under the baton of Hans Graf in 2005. Other performance credits include appearances at Portugal’s Tomarimbando Festival, the West Cork Chamber Music Festival in Ireland, The Intimacy of Creativity in Hong Kong, the Grand Teton Music Festival, Germany’s Schleswig-Holstein Festival, and the Grachtenfestival in Holland. In 2015 Ji Hye was named Associate Professor of Percussion at Vanderbilt University’s Blair School of Music. She previously served as Associate Professor of Percussion at the University of Kansas for six years. An active educator and clinician, Jung has presented masterclasses at the Curtis Institute, the Peabody Conservatory, Rice University, Beijing’s Central Conservatory, and the Karol Szymanowski Academy of Music in Katowice, Poland. Ji Hye Jung completed a Master of Music degree at the Yale School of Music and a Bachelor of Music degree at the Peabody Institute of Johns Hopkins University, both
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under the tutelage of Robert van Sice. As an artist endorser, she proudly represents Pearl/ Adams instruments, Vic Firth sticks and mallets, and Zildjian cymbals.
Kristin Lee, PRINCIPAL VIOLIN The Bernard Gondos Chair in Violin A recipient of the 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and the Astral Artists’ 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. “Her technique is flawless, and she has a sense of melodic shaping that reflects an artistic maturity,” writes The St. Louis Post-Dispatch, and The Strad reports, “She seems entirely comfortable with stylistic diversity, which is one criterion that separates the run-of-the-mill instrumentalists from true artists.” Kristin Lee has appeared as soloist with The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, Rochester Philharmonic, New Mexico Symphony, West Virginia Symphony, the Ural Philharmonic of Russia, the Korean Broadcasting Symphony, the Milwaukee Symphony, the Guiyang Symphony Orchestra of China, the St. Paul Chamber Orchestra, and many others. She has performed at Carnegie Hall, Avery Fisher Hall, Merkin Concert Hall, the Kennedy Center, Philadelphia’s Kimmel Center, the Metropolitan Museum of Art, Steinway Hall’s Salon de Virtuosi, the Louvre Museum in Paris, Washington, D.C.’s Phillips Collection, and Korea’s Kumho Art Gallery. She has been featured on the Ravinia Festival’s Rising Stars Series and has toured throughout northern Italy. She has curated programs that premiered at Philadelphia’s World Cafe Live and New York’s (le) Poisson Rouge in which she commissioned five new works for the violin and various instruments. An accomplished chamber musician, Lee is a member of the Chamber Music Society of Lincoln Center following her completion of a three-year residency as a CMS Two artist. Lee is a principal artist with Camerata Pacifica, sitting as The Bernard Gondos Chair. She is also the concertmaster of the Metropolis Ensemble, with whom she premiered Vivian Fung’s Violin Concerto, written for her, which appears on Fung’s CD Dreamscapes (Naxos) and won the 2013 Juno Award. Lee’s many honors include awards from the 2015 Trondheim Chamber Music Competition, 2011 Trio di Trieste Premio International Competition, the SYLFF Fellowship, Dorothy DeLay Scholarship, the Aspen Music Festival’s Violin Competition, the New Jersey Young Artists’ Competition, and the Salon de Virtuosi Scholarship Foundation. She is also the unprecedented First Prize winner of three concerto competitions at The Juilliard School—in the Pre-College Division in 1997 and 1999, and in the College Division in 2007. Born in Seoul, Lee began studying the violin at age five and within one year won First Prize at the Korea Times Violin Competition. In 1995, she moved to the United States to continue her studies under Sonja Foster and in 1997 entered The Juilliard School’s Pre-College Division to study with Catherine Cho and Dorothy DeLay. In 2000, Lee was chosen to study with Itzhak Perlman after he heard her perform Mendelssohn’s Violin Concerto with Juilliard’s Pre-College Symphony Orchestra. Lee holds a master’s degree from The Juilliard School, where she also served as Perlman’s assistant teacher as a Starling Fellow. She is a member of the faculty of the Aaron Copland School of Music
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at Queens College and the co-founder and Artistic Director of Emerald City Music, a chamber music series in Seattle. She has also served on the faculties of the LG Chamber Music School in Seoul, Korea, El Sistema’s chamber music festival in Caracas, Venezuela, and the Music@Menlo Chamber Music Festival. For more information, visit www.violinistkristinlee.com.
Richard O’Neill, PRINCIPAL VIOLA Praised by The London Times as “ravishing,” The New York Times for his “elegant, velvety tone,” The Los Angeles Times as “energetic and sassy…exceptional” and The Seattle Times as “sublime,” violist Richard Yongjae O’Neill has distinguished himself as one of the great instrumentalists of his generation. An Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient, he has achieved recognition and critical acclaim not only as a champion of his instrument but as a social and musical ambassador as well. He has appeared as soloist with the London, Los Angeles, Seoul, and Euro-Asian Philharmonics; the BBC, KBS, and Korean Symphonies; the Moscow, Vienna, and Württemburg Chamber Orchestras; and Alte Musik Köln with conductors Andrew Davis, Miguel Harth Bedoya, Vladimir Jurowski, Vassily Sinaisky, Leonard Slatkin and Yannick Nezet-Sequin. As recitalist he has performed in many of the greatest halls of the world including Carnegie, Alice Tully, Avery Fisher, Kennedy Center, Wigmore Hall, Salle Cortot, the Louvre, Madrid’s National Concert Hall, Buenos Aires’s Teatro Colon, Tokyo’s International Forum and Opera City, Osaka Symphony Hall and Seoul Arts Center. An Artist of the Chamber Music Society of Lincoln Center as well as Principal Violist of Camerata Pacifica he frequently collaborates with the world’s greatest musicians including Emanuel Ax, Jeremy Denk, Leon Fleisher, Warren Jones, Garrick Ohlsson, Menahem Pressler, Daniil Trifonov, James Ehnes, Steven Isserlis, Edgar Meyer and The Emerson Quartet, among many others. Festival appearances include Marlboro, Aspen, Bridgehampton, Casals, Chamber Music Northwest, Dresden, Great Mountains, La Folle Journée, La Jolla, Mecklenburg, Menlo, Mostly Mozart, Prussia Cove, Saint Barthélemy, Saratoga, Seattle and Tongyeong. A Universal/DG recording artist, he has made eight solo albums that have sold more than 150,000 copies and has remained for over a decade one of the best-selling South Korean recording artists with multiple platinum disc awards. Dedicated to the music of our time, he has worked with Mario Davidovsky, Jo Kondo, Chris Paul Harman, Matthias Pintscher, George Tsontakis, Melinda Wagner, John Zorn, and has premiered works composed for him by Elliott Carter, John Harbison, Huang Ruo, and Paul Chihara. In his ninth season as Artistic Director of DITTO he has introduced tens of thousands to chamber music in South Korea and Japan: on its first international tour DITTO sold out Tokyo’s International Forum and Osaka Symphony Hall. The first violist to receive the Artist Diploma from Juilliard, he holds a Bachelors of Music from The USC Thornton School of Music magna cum laude and a masters from The Juilliard School. In 2007 he was honored with a Proclamation from the New York City Council for his achievement and contribution to the arts. He serves as Goodwill Ambassador for the Korean Red Cross, The Special Olympics, and UNICEF, runs marathons for charity and serves on the faculty of The Herb Alpert School of Music at UCLA and The Music Academy of the West.
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Martin Owen, PRINCIPAL HORN Martin Owen is regarded as one of Europe’s leading horn players, appearing as soloist and chamber musician all around the world. Martin currently holds the position of Principal Horn at the BBC Symphony Orchestra, having served as Principal Horn of the Royal Philharmonic Orchestra for ten years, and from 2012-13 was contracted as Principal Horn of the Berliner Philharmoniker. He is also Principal Horn in California-based chamber music ensemble Camerata Pacifica and the UK’s Britten Sinfonia and Haffner Ensemble. Performances include concertos by Mozart, Richard Strauss, Schumann, Messiaen, Britten, Elliott Carter, Oliver Knussen and Thea Musgrave with orchestras including the BBCSO, Royal Philharmonic, BBC Philharmonic, Orquesta Nacional de España, The Hallé, New World Symphony, Staatsphilharmonie Nurnberg, Bucharest Philharmonic, Ensemble Modern, Aalborg Symfoniorkester and Baltic Philharmonic, and recitals with Camerata Pacifica. Martin gave the world premiere of Malcolm Arnold’s Burlesque with the Royal Philharmonic and in 2007, made his solo debut at the BBC Proms performing Schumann’s Konzertstück with the BBC Philharmonic. Martin has since returned to the Proms as soloist in Oliver Knussen’s Horn Concerto with the BBCSO conducted by the composer, broadcast live on BBC television and radio. In 2008, he made his Barbican debut in the London premiere of Elliott Carter’s Horn Concerto with the BBCSO/Knussen (a performance released by Bridge Records) and later performed the Knussen and Elliott Carter horn concertos with the Orquesta Nacional de España in Madrid. Other recordings include Mozart’s horn concertos with the Royal Philharmonic (RPO classics), Britten’s Serenade with Toby Spence and the Scottish Ensemble (Linn), Schubert’s Octet with Michael Collins (Wigmore Hall Live), Schumann’s Konzertstuck with the BBC Philharmonic Orchestra/Mackerras (BBC Music Magazine), Danzi’s Sinfonia Concertante with the Orquestra de Cadaques/Marriner (Trito), Roderick Elms’ Four Seasonal Nocturnes with the Royal Philharmonic Orchestra/Cleobury (Dutton) and Benjamin Britten’s Canticles with tenor Ben Johnson (Signum Classics). Additionally, Owen has performed on over 300 movie soundtracks to date including James Bond, Star Wars, Harry Potter, Gladiator and Pirates of the Caribbean films. Recent solo performances include the Vivaldi Concerto for 2 Horns and Strings, and Stravinsky’s Four Russian Peasant Songs with the Berlin Philharmonic, Schumann’s Konzertstück and Musgrave’s Horn Concerto with the BBCSO/Sakari Oramo, Strauss and Mozart concerti with Bucharest Philharmonic and Strauss’ Concerto No. 2 with the Baltic Philharmonic. Martin joined Mark Padmore and the Bergen Philharmonic/Edward Gardner for Britten’s Serenade, performed Strauss 2 with Barcelona Opera Orchestra/ Josep Pons and Strauss 1 with Staatsphilharmonie Nürnberg/Sir Roger Norrington. He also performed Britten’s Serenade in Shanghai, Norwich and Cambridge with Britten Sinfonia/Ian Bostridge. 2017-18 included chamber and solo work in the United Kingdom, Italy, France, Poland, Austria, Finland, Romania, China, Australia and the United States, and Guest Principal Horn with the Cleveland Orchestra. This year sees Martin return to the Proms performing Messiaen’s Des Canyons Aux Etoiles, Britten’s Serenade in the Barbican, concerti with Trondheim and Ostrobothnian Chamber orchestras and chamber concerts in Italy with violinist Francesca Dego. Martin Owen is a Fellow of the Royal Academy of Music, where he is Professor of Horn, and is a visiting teacher at institutions including the Hans Eisler Berlin, Maurice André Academy Valencia, Conservatorio de Santiago de Compostela, USC and UCLA in Los Angeles, as well as coach to the horn section of the European Union Youth Orchestra.
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Adrian Spence, ARTISTIC DIRECTOR Under the leadership of Adrian Spence, Camerata Pacifica has become one of the most notable chamber music organizations in the country, distinctive not only for its exceptional artistic quality, but also for its dynamic sense of community. Spence carefully selected the group’s exceptional international artists over the course of many seasons, giving them the rehearsal and performance environment necessary to form an ensemble unique in style and sensibility. The bond between the artists is clear, as is theirs with the audience. The Los Angeles Times recently highlighted the emphasis of Spence’s work: “What was out of the ordinary was the wildly enthusiastic response that each work received. Whatever it’s doing, Camerata Pacifica seems to be cultivating a passionate audience—and that’s good news.” Spence’s conviction of this music’s viability and of the intellectual curiosity of the Camerata Pacifica audience is evident at every performance, where a broad range of programming is presented in a manner both welcoming and provocative. Over the course of 29 seasons, Camerata Pacifica has developed a loyal following and now presents resident series in Santa Barbara, Ventura, San Marino and Los Angeles. As an administrator, Spence created a business model that permits the presentation of world class artists in small, intimate venues, thereby preserving the essence of “chamber music.” Spence views classical music as an inviolable record of human emotional history, with distinctions such as period and style less critical to a vital performance than the communication of the expressive intent of the composer. The entire canon is part of that record and the creation of music of our time is essential. Camerata’s commissioning began prominently with Winter Roses, a song cycle by Jake Heggie and premiered with Frederica von Stade. In 2006, Spence announced a major commissioning initiative, commissioning seven works from three composers: Ian Wilson, Huang Ruo and Lera Auerbach. The first commission, Wilson’s Messenger Concerto for Violin and Chamber Ensemble, received its premiere with five southern Californian performances in May 2007 and a subsequent tour to the Library of Congress in Washington DC, New York’s Morgan Library & Museum, Dublin’s National Concert Hall, London’s Wigmore Hall and venues in Northern Ireland. The Irish Times referred to the Camerata as a “miracle of modern artistic organisation” and London’s Daily Telegraph referred to the ensemble as, “a very serious group of fine artists, both innovative and intrepid.” Spence comes from Newtownards in County Down, Northern Ireland. He has three children, Erin, Keiran and Kaeli, is a master-rated skydiver with over 1,500 skydives, and most recently obtained his Advanced Scuba Certification.
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Guest Artists Pascal Archer, CLARINET Hailed by the New York Times as “outstanding clarinetist” Pascal Archer leads an active career as performer and teacher. Since 2011 he is the Artistic Director and founder of the Exponential Ensemble. He is the Principal Clarinetist of the Glimmerglass Opera Orchestra, the NEPA Philharmonic and performs regularly in Broadway show orchestras such as Mary Poppins, South Pacific, Fiddler on the Roof and more recently My Fair Lady at Lincoln Center. He is also a former member of the New World Symphony. In recent years Pascal has collaborated with the Jack and St. Lawrence String Quartets, Camerata Pacifica, and toured with Musicians from Marlboro. He has performed at renowned festivals such as Marlboro, Mostly Mozart, Monadnock, UBS Verbier, Spoleto USA, and the Sun Valley Summer Symphony. Mr. Archer is on faculty at the Manhattan School of Music Precollege Division, the Chamber Music Center of New York, and Fordham University. Originally from Québec, Canada, he is a graduate of the Conservatoire de Musique de Montréal, Université de Montréal, Indiana University, and the Manhattan School of Music.
Steven Becknell, PRINCIPAL HORN EMERITUS The son of professional musicians, Steven began playing piano at the age of five, later picking up the horn by age twelve. After winning several horn competitions and a full university scholarship, Steven turned his full attention to the horn. At age 22, Steven moved to Southern California to study with Hollywood studio legend Vince DeRosa at the University of Southern California, and began working professionally while still in school. He has played in orchestras throughout Southern California including the Los Angeles Philharmonic, the San Diego Symphony, the Pacific Symphony, and was a member of the Los Angeles Chamber Orchestra for eight years. But the bulk of Steven’s time was spent recording in the Hollywood studios. To date, he has played on over 1,000 different motion pictures (including the three most recent Star Wars films), numerous television series, video games, and even the recorded music for theme parks such as Disneyland. Steven has played live for the Academy Awards and has had the honor of recording with such legendary artists as Frank Sinatra, Barbra Streisand, Barry Manilow and Rosemary Clooney. Steven has been playing Principal Horn with the Los Angeles Opera for over 25 years. In 2010 he performed all the offstage and pit solos of Wagner’s complete Ring Cycle, the first time it had ever been produced in Southern California. To date, Steven has played over 1,500 performances with the Los Angeles Opera. Steven has also performed chamber music extensively in the Los Angeles area, and has participated in the Santa Fe Chamber Music Festival and the Mostly Mozart Festival in San Diego. He is currently on the faculty at the University of Southern California, and recently published the groundbreaking book for horn, Etudes from the Repertoire, already being used by universities and conservatories world-wide.
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Paolo Bordignon, HARPSICHORD Paolo Bordignon is harpsichordist of the New York Philharmonic and performs in 2019-20 with Camerata Pacifica, the Chamber Music Society of Lincoln Center, Santa Fe Chamber Music Festival, Boston Symphony Chamber Players, Baltimore Symphony, New Jersey Symphony Orchestra, East Coast Chamber Orchestra, and the Florida Orchestra. He has appeared with Orpheus Chamber Orchestra, St. Paul Chamber Orchestra, English Chamber Orchestra, American Symphony Orchestra, Lincoln Center’s Mostly Mozart Festival Orchestra, the Knights, and with the Sejong Soloists on a Trans-Siberian Arts Festival tour. He has collaborated with Sir James Galway, Itzhak Perlman, Reinhard Goebel, Paul Hillier, Bobby McFerrin, Midori, Renée Fleming, and Wynton Marsalis. Festival appearances include Aspen, Bard, Bay Chamber, Bridgehampton, Jackson Hole, Palm Beach, and Vail. He has appeared on NBC, CBS, PBS, CNN, NPR, the CBC, and on Korean and Japanese national television. Paolo has worked with composers such as Elliott Carter (performing Double Concerto for Harpsichord and Piano for the composer’s 90th birthday celebration), David Conte, Jean Guillou, Stephen Hartke, Christopher Theophanides, and Melinda Wagner. For the opening of Carnegie Hall’s Zankel Hall, he gave the east coast première of Philip Glass’s Concerto for Harpsichord and Orchestra. With the Clarion Music Society, he gave the world premiere of several newly-rediscovered chamber works of Felix Mendelssohn. Paolo has performed organ recitals at venues such as St. Thomas Church Fifth Avenue in New York and St. Eustache in Paris, and he has been a regular organ recitalist at the Metropolitan Museum of Art, including a 10-recital residency in 2010-11. As interim organist and Choirmaster at St. Bartholomew’s Church in New York, he helps oversee one of the nation’s pre-eminent church music programs. Born in Toronto of Italian heritage, Paolo received his early musical training at St. Michael’s Cathedral Choir School before attending the Curtis Institute of Music in Philadelphia. He earned master’s and doctoral degrees from The Juilliard School.
Claire Brazeau, OBOE Claire Brazeau is the Principal Oboist of the Los Angeles Chamber Orchestra. She is recognized as one of the leading American oboists of her generation. As an emerging soloist, this season she performs concertos by Martinu, Strauss, Mozart, and Bach in the United States and Europe. Claire was an awarded finalist in the International Gillet-Fox Oboe Competition. She is an active studio musician and has recorded for several major motion picture and television soundtracks. Claire is part of the woodwind faculty of the Bob Cole Conservatory at California State University Long Beach where she maintains an active oboe studio. Deeply committed to music education, Claire frequently serves as guest clinician at numerous youth orchestra programs in Southern California. She is also a faculty member at the YOLA National Festival, a full-scholarship youth orchestra intensive spearheaded by the Los Angeles Philharmonic and Gustavo Dudamel and comprised of nationally selected students from El Sistema-inspired programs. Under the tutelage of the Los Angeles Chamber Orchestra’s former principal oboist Allan Vogel, Claire received an Artist Diploma from The Colburn School. At Bard College
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and Conservatory, she earned a triple major with a Bachelor of Arts in East-Asian studies and piano performance, and a Bachelor of Music in oboe performance. Her principal teachers at Bard were Laura Ahlbeck and Elaine Douvas; she studied piano with Blair McMillen.
Robert Brophy, VIOLA Robert Brophy, violist of the New Hollywood String Quartet, is also a member of the Los Angeles Chamber Orchestra. He can also be seen and heard playing with the Los Angeles Philharmonic, LA Opera and many West Coast chamber music series. He is actively involved in the Motion Picture Recording Industry in Los Angeles performing in many movie soundtracks, video games and records. He was featured with Nigel Kennedy in a quartet on Kennedy’s release Greatest Hits on the EMI label and has performed alongside Martha Argerich, Mischa Maisky, Michel Dalberto and Dmitri Sitkovetsky. He won the viola audition with the Los Angeles Chamber Orchestra in December 2011. Robert has been a member of the New Hollywood String Quartet for thirteen years. For a number of years, the quartet has enjoyed being quartet-in-residence at South Pasadena Library’s Restoration Concert Series. He is the former violist of the Enso Quartet. Robert holds degrees from the Royal Northern College of Music in Manchester, England where he studied with Alan George, founder member of the Fitzwilliam Quartet, and Rice University in Houston where he studied with James Dunham, formerly of the Cleveland Quartet. Robert is married to violinist Tereza Stanislav and they have twin daughters. When not making music, he enjoys running and also driving his 1965 Corvette.
Jasmine Choi, FLUTE “The goddess of flute” - Korea Times “Jasmine Choi is a revisionist” - Philadelphia Inquirer “Anyone who hears Jasmine Choi’s performance will encounter a totally new level of flute playing” - Nikkei Daily Newspaper, Japan “One of 10 best flutists in the history of music” - Sinfini Magazine, UK Superstar flutist Jasmine Choi has performed across the globe in a variety of genres from classical solo, chamber, and orchestral to experimental, jazz, and pop. Her infinite curiosity has led her to create her own arrangements of major works, including the Mendelssohn and Tchaikovsky violin concertos. She has performed world premieres of works composed by Daniel Dorff, Detlev Glanert, Texu Kim, Mark Laycock, Gary Schocker and Uriel Vanchestein. Selected as one of the ten best flutists in the history of music by Sinfini Magazine UK in 2015, along with Marcel Moyse, Jean-Pierre Rampal, Julius Baker, James Galway and Emmanuel Pahud, Ms. Choi is a full-time soloist giving almost 100 concerts each season. Before her full-time career as a soloist began, Ms. Choi was the first Korean musician to hold a post in the Vienna Symphony Orchestra when she joined as Principal Flute under Fabio Luisi, and was the first Korean woodwind musician in the United States when she joined the Cincinnati Symphony under Paavo Jarvi.
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She was the 2018 Artist-In-Residence at Sejong Arts Center in Seoul, the oldest classical concert hall in South Korea, giving four different recital programs throughout the year. In addition, the New York Classical Players announced Ms. Choi as their ArtistIn-Residence for three seasons (2018-2021) and is commissioning three flute concertos for her followed by world-premiere performances. Ms. Choi has performed as a soloist with the Berlin Symphony at the Philharmonie’s New Year’s Eve concert, and with Vienna Symphony, Philadelphia Orchestra, Cincinnati Symphony, Salzburg Mozarteum, St.Petersburg Philharmonic, Czech Philharmonic, Salzburg Mozart Players, Würzburg Philharmonic, Mostly Mozart Festival Orchestra, New York Classical Players, Sarasota Orchestra, Turku Philharmonic in Finland, Seoul Philharmonic and KBS Symphony in Korea, Osaka Symphony and Orchestra Ensemble Kanazawa in Japan, as well as at recitals in Paris, Vienna, London, Munich, New York, Tokyo, Seoul, and Hong Kong. Ms. Choi’s performance was featured during the 2018 Winter Olympics celebrations in PyeongChang, Korea. As the last pupil of the late Julius Baker, former principal of the New York Philharmonic, and student of Jeffrey Khaner, principal of the Philadelphia Orchestra, Ms. Choi has studied at the Curtis Institute of Music and at Juilliard. Her further studies include working privately with Thomas Robertello and Robert Stallman. She has recorded several solo CDs under the Sony Classical label, including Mozart Flute Concertos, Fantasy (Virtuoso Flute Works), Claude Bolling Jazz Suite, and Mozart Flute Quartets. Other recordings include Telemann Fantasies, Love in Paris (from a live recital), and Trio Joy (free improvisation). Thanks to her charismatic performance style, she has been invited to perform at many special occasions. She played at the UN Secretary-General Ban Ki-Moon’s inauguration reception in New York, and she was a soloist with Vienna Symphony for the opening concert of the Bregenz Festival. Her performances can be found on her YouTube channel which has reached more than 5 million views. In 2016, she was named Cultural Ambassador of her hometown Daejeon, Korea.
Judith Farmer, BASSOON 2016 Grammy nominee Judith Farmer is former Principal Bassoonist of the Austrian Radio Symphony Orchestra and the Camerata Academica Salzburg under Sandor Vegh. Critics have described her playing as “impeccable” (American Record Guide), “masterly” (Fanfare) and “brilliant” (Kronen Zeitung, Austria). She has appeared as a soloist at the Salzburg Festival and has participated in chamber music festivals in Prussia Cove (UK), Martha’s Vineyard, and La Jolla. Since moving to Los Angeles Ms. Farmer has performed with the Los Angeles Philharmonic, also as Guest Associate Principal. She has played on more than 200 motion picture scores and has recorded with artists such as Daft Punk, Josh Groban, Billy Childs, Barbra Streisand and Neil Young. Judith is currently a member of the Los Angeles Opera and the Pasadena Symphony Orchestras. She teaches bassoon and chamber music at the University of Southern California.
Brian Head, GUITAR Brian Head enjoys a multi-faceted career as a guitarist, composer and teacher, performing and recording with numerous chamber and symphonic groups including the Los Angeles Philharmonic, the San Francisco Symphony, and Los Angeles Opera, and
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new music series such as Green Umbrella, Jacaranda, MicroFest, and Hear Now. He has appeared as soloist on the stages of Disney Hall, Dorothy Chandler Pavilion, and the Hollywood Bowl. Brian has worked with a number of eminent conductors including Esa Pekka Salonen, Michael Tilson Thomas, James Conlon, Matthias Pintscher, Heiichiro Ohyama, James Conlon and Gustavo Dudamel. His recordings include The Falcon’s Eye (solo), En la Tierra (concertos) both on Doberman-Yppan Records, Jeffrey Holmes: May the Bridges I Burn Light My Way on Microfest Records, and a number of new music collaborations for composers William Kraft (Albany), Stephen Hartke (New World), Frank Zappa (Zappa Records) and Louis Andriessen (Deutsche Grammophon). His own compositions are published by Doberman-Yppan, Guitar Solo Publications and Alfred Music, have been recorded on many labels including Telarc, Delos, Denon, and GSP by artists such as William Kanengiser, Scott Tennant, and Shinichi Fukuda, and have been performed on six continents and throughout the United States in venues including Carnegie Hall, the Ambassador Auditorium in Los Angeles and the Phillips Collection in Washington, DC. His homage to John McLaughlin called We Know You Know, was part of the Grammy Award-winning Guitar Heroes album by the Los Angeles Guitar Quartet. Born in Washington D.C., Brian received degrees in music and mathematics at the University of Maryland and a Master of Music degree in classical guitar and composition at USC where he was chosen as the Outstanding Thornton School Graduate. He has subsequently received several honors as a teacher including the Thornton School’s highest faculty honor, the Simon Ramo Faculty Award. He is currently professor of classical guitar and composition at the USC Thornton School of Music where he also serves as Associate Dean for Academic Affairs. He is a frequent adjudicator and masterclass teacher having given recent concerts, classes and presentations in Zagreb, Croatia, Ljubljana, Slovenia, Guimaraes, Portugal, Veracruz, Mexico, Vancouver, Canada, and throughout the United States. Brian previously directed the classical guitar program at the University of California Santa Barbara, and since 2004 he has been President and now Artistic Director of the Guitar Foundation of America.
Bridget Hough, PIANO A native of the Central California Coast, Bridget Hough is a versatile pianist known for her dynamic artistry and lyrical approach to the keyboard. Equally at home in solo, chamber and duo repertoire, she has played for music festivals in the United States and abroad, and is engaged regularly for recording projects, competitions, and performances. In demand as a sensitive collaborator, Bridget has played for master classes conducted by Stephanie Blythe, Alan Smith, Graham Johnson, Martin Katz, Margo Garrett, Leonidas Kavakos, Roberto Diaz, and the St. Lawrence and Emerson String Quartets. She has been an invited pianist for several summer festivals, including SongFest at The Colburn School in Los Angeles, the Schubert-Institut in Austria where she worked with renowned pianists Helmut Deutsch, Julius Drake and Roger Vignoles, and the prestigious Fall Island Vocal Arts Seminar led by Stephanie Blythe and Alan Smith, where she was a fellow for two seasons. Most recently she has been concertizing regularly throughout Southern California with violinist Paul Stein, a 30-year member of the Los Angeles Philharmonic. Committed to new music, Bridget has performed and premiered works by many contemporary composers including Juliana Hall, Tom Cipullo, Jake Heggie, Libby Larsen, John Musto and Thea Musgrave, among others.
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Bridget has a deep appreciation for academic institutions, especially the University of California System, having received her Bachelor of Arts, summa cum laude, from the University of California Santa Barbara, where she also completed her master’s and doctorate degrees in collaborative piano under the tutelage of Robert Koenig and Paul Berkowitz.
Andrew Janss, CELLO Hailed by the New York Times for his “muscularity and shimmering lyricism”, “insightful musicianship”, and “sumptuous elegance”, cellist Andrew Janss’ performances have been enjoyed across five continents in venues including Carnegie Hall, the Kennedy Center, the Sydney Opera House, and the Louvre Museum. Mr. Janss has collaborated in concert with a long list of iconic classical artists, including Itzhak Perlman, Pinchas Zukerman, Lynn Harrell, Leon Fleisher, Richard Goode, and members of the American, Emerson, Guarneri, Juilliard, and Takacs String Quartets. As a member of the Solera Quartet, Mr. Janss was a winner of the 2017 Pro Musicis International award. The Solera’s 2018 debut album Every Moment Present was described as “intoxicating” by the New York Times. Previously, Mr. Janss was the founding cellist of the Escher Quartet while they were in residence at the Chamber Music Society of Lincoln Center as part of Chamber Music Society Two. Mr. Janss is also a sought-after arranger and performer in pop and rock genres. He has performed alongside chart-topping performers such as Bruce Springsteen, Lana Del Rey, Mary J. Blige, Florence + the Machine, Erykah Badu, Kurt Elling, and The Roots. The premiere of his arrangement of Pink Floyd’s iconic album Dark Side of the Moon (for singer, string quartet, and drummer) at Levitt-MacArthur Park in Los Angeles was attended by over 5,000 people and has subsequently been performed across the United States. Andrew tours and records for the groundbreaking band Break of Reality both in the United States and as cultural ambassadors for the US Department of State’s American Music Abroad program. Recent tours have taken the band to Brazil, Haiti, Montenegro, as well as tours across Central and East Asia, collaborating with local musicians and composers in each of the countries they visit. Janss has served as Guest Principal Cellist of the St. Paul Chamber Orchestra, and tours extensively as a chamber musician with the Mark Morris Dance Group, with highlight performances of new choreography in Boston, Chicago, New York, Seattle, Miami, New Orleans, and internationally in China, Italy, and Australia. Respected nationally as a teacher and coach, Mr. Janss was Visiting Lecturer in Residence at the State University of New York at Stony Brook during the 2007-08 school year, working closely with the resident Emerson String Quartet. He has given masterclasses at Notre Dame University, Dartmouth College, Tulane University, Virginia Commonweath University, and the University of Idaho. Mr. Janss is the Co-Director of Project: Music Heals Us, a Connecticut-based nonprofit organization that brings healing and inspiration to people who don’t have easy access to the arts. In its first five years, PMHU has given over 200 free concerts and workshops in hospitals, hospices, food pantries, prisons, and refugee camps.
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Jennifer Kloetzel, CELLO A graduate of The Juilliard School and a Fulbright Scholar, cellist Jennifer Kloetzel has concertized throughout the United States, Europe and Asia as a soloist and chamber musician. A founding member of the San Francisco-based Cypress String Quartet (19962016), Ms. Kloetzel has toured the globe and performed at such renowned venues as Lincoln Center, the Kennedy Center for the Performing Arts, the Chautauqua Institute and the Ravinia Festival, the Lobkowicz Palaces in both Vienna and Prague, as well as prominent colleges and conservatories worldwide. Ms. Kloetzel is noted for her elegant playing and her vibrant tone. She is a soughtafter recitalist, performing recent concerts for San Francisco Performances and on WQXR in New York. A fervent champion of new music, she has received the Copland Award for her work with living American composers and has commissioned and premiered over fifty works, including five concertos written specifically for her. In the past few seasons, premieres included a Cello Suite by Daniel Asia, a Cello Concerto, Cloud Atlas and unaccompanied cello work Lift, which were both written for her by MIT composer Elena Ruehr and a Cello Sonata dedicated to her by Joseph Landers. Ms. Kloetzel has recorded the Ruehr Cello Concerto with the Boston Modern Orchestra Project, which was released to critical acclaim in October 2014. Lift is the title track of an all-Ruehr disc, released on the Avie label, and was included on Keith Powers’ 13 Best Classical Music Recordings of 2016. Ms. Kloetzel is the featured cellist on a 2019 Albany Records release of music by Richard Aldag, and recently premiered Lee Actor’s Cello Concerto, written for her in 2017. In the 2019-20 season, she will give world premieres of sonatas written for her by Richard Aldag and Elena Ruehr and Inferno: Double Concerto for Viola, Cello and Chamber Orchestra by Joel Friedman. Ms. Kloetzel is winner of The Juilliard School’s top award, the Peter Mennin Prize for Outstanding Leadership and Achievement in Music, and a Presser Music Award, as well as a Fulbright Grant to England. In 2004 she was honored with the McGraw-Hill Companies’ Robert Sherman Award for Music Education and Community Outreach in recognition of years of outreach work in schools and community centers. After performing with pianist Andre Previn at the La Jolla Chamber Music Festival, Ms. Kloetzel was invited to appear as one of his select “Rising Stars” for two seasons at the Caramoor Festival in New York. Ms. Kloetzel has been featured regularly on National Public Radio’s “Performance Today” and her performances have been broadcast on radio stations from coast to coast. A passionate recording artist with 36 CD releases to date, recent recordings include the entire cycle of Beethoven Quartets and Brahms Sextets on the Avie label. In addition, she is a frequent soloist with orchestras throughout the United States, performing works by Beethoven, Brahms, Dvořák, Elgar, Glazunov, Fauré, Ibert, Haydn, Hindemith, Lalo, SaintSaëns, Shostakovich, Strauss, and Walton. In 2016, Ms. Kloetzel was invited to join the faculty at University of California Santa Barbara, where in 2018 she was named Assistant Professor of Cello and Head of Strings.
Robert Koenig, PIANO Pianist Robert Koenig has established a reputation as a much sought-after collaborative pianist and chamber musician. He performs regularly in major centers throughout the world with many of this generation’s most renowned musicians. Recent engagements have included performances at Carnegie Hall in New York, The Kennedy Center in
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Washington, DC, Suntory Hall in Tokyo, the Concertgebouw in Amsterdam, the Louvre Museum in Paris, and Royal Festival Hall in London. He has performed with many of today’s leading artists including Sarah Chang, Hilary Hahn, Pamela Frank, Augustin Hadelich, Zuill Bailey, Sara Sant’Ambrogio, Roberto Diaz, Elmar Oliveira, Aaron Rosand, the Miro String Quartet, and the St. Lawrence String Quartet. Mr. Koenig has appeared at many festivals including Aspen, Ravinia, Banff, Saratoga, Caramoor, the Seattle Chamber Music Festival, the El Paso Pro Musica, Chamber Music Northwest, West Branch International Festival and Academy, the Campos do Jordao Festival in Brazil, and the Mostly Mozart Festival in New York. He is frequently heard on radio and television including ABC’s “Good Morning America” and “CBS This Morning.” Mr. Koenig was staff pianist at both The Juilliard School and the Curtis Institute of Music, and from 2000-07 he served as Professor of Piano and Piano Chamber Music at the University of Kansas in Lawrence. With the assistance of the University of Kansas Center for Research, Mr. Koenig commissioned renowned American composer Lowell Liebermann to write a new trio for flute, cello and piano. In the fall of 2007, he assumed the position as Professor and Head of the Collaborative Piano Program at the University of California Santa Barbara. Mr. Koenig has recorded for Artek, Ambassador, Biddulph, Cedille, CRI, Decca, Eroica, and Naxos. His CD of transcriptions for viola and piano by William Primrose on Naxos with violist Roberto Diaz was nominated for “Best Instrumental Soloist Performance (without orchestra)” at the 49th Annual Grammy Awards. Born in Saskatchewan, Robert Koenig began his formal training at the Vancouver Academy of Music with Lee Kum-Sing and Gwen Thompson and later studied at the Banff School of Fine Arts and the Academie Musicale di Chigiana in Siena, Italy. During this time, he received several awards from the Canadian Government including a Canada Council Project Grant. He completed both his bachelor’s and master’s degrees in Accompanying at the Curtis Institute of Music in Philadelphia where he studied with Dr. Vladimir Sokoloff and chamber music with Felix Galimir and Karen Tuttle.
Melanie Lançon, FLUTE Melanie Lançon is the newly appointed Principal Flute of Auckland Philharmonia Orchestra in New Zealand. Praised for her passionate and captivating interpretations of the orchestral repertoire, she is also in demand as a recitalist, soloist, chamber musician, and teacher in Australasia and North America. She was recently featured as soloist with the Auckland Chamber Orchestra and will be a Juror for the prestigious Gisborne International Music Competition later this year. In 2020 she will take center stage with her orchestra, performing as soloist with the Auckland Philharmonia under the baton of Robert Spano. In the United States, Ms. Lançon has performed as Guest Principal Flutist with the orchestras of Seattle, San Diego, Fort Worth, Louisiana, and Pacific Symphony. During her year as Guest Principal with Seattle Symphony, Ms. Lançon recorded Dutilleux’s Symphony No. 2 “Le Double” with the orchestra on their Grammy Award-winning album Dutilleux 2, and was lauded in Memeteria for her “beautiful playing of the arresting improvisatory flute passage” in the North American premiere of Pascal Dusapin’s Violin Concerto with Renaud Capuçon as soloist. From 2013 to 2016, Ms. Lançon held the position of Principal Flute with Central City Opera in Colorado, and served as Acting Second Flute in Utah Symphony and Utah Opera
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for their 2014-15 season. She was previously a Fellow with the New World Symphony in Miami Beach, Florida, where she worked closely with Founder and Artistic Director Michael Tilson Thomas. He described her as a “beguiling player…full of spontaneity”, and she was acclaimed for her “dazzling performances, infused with depth of both technique and interpretation” by South Florida Classical Review. Other appearances include the Baton Rouge Symphony, American Ballet Theatre, Houston Grand Opera and Ballet Orchestras, and Civic Orchestra of Chicago. During the summer months, she has participated in the National Repertory Orchestra, National Orchestral Institute, Music Academy of the West, and Pageant of the Masters in Laguna Beach. Ms. Lançon has collaborated with a myriad of distinguished conductors and celebrated artists, most notably Pierre Boulez, Daniel Barenboim, Esa-Pekka Salonen, Pinchas Zukerman, Kiri Te Kanawa, Renee Fleming, Anna Netrebko, Yo-Yo Ma, Yuja Wang, and Itzhak Perlman. In addition, she has worked with renowned composers John Adams and John Williams. A key performer on numerous broadcasts and recordings, Ms. Lançon is featured in Peter Shickele’s video production P.D.Q. Bach in Houston: We Have a Problem! and as solo flutist in the film Domus, which accompanies designer John Saladino’s book, Villa. She was highlighted on CBS Miami in 2012, Minnesota Public Radio in 2015, and has recorded with Seattle, Utah, and Fort Worth Symphony Orchestras. In addition to her performance experience, Ms. Lançon is recognized as a dedicated music educator. She has given lectures to the flute studio at Louisiana State University, and has served as Adjunct Professor of Flute at New World School of the Arts at Miami-Dade College. During her fellowship with the Civic Orchestra of Chicago, Ms. Lançon was an active member of MusiCorps—a community engagement group which involved teaching music classes in the Chicago City Colleges and elementary schools. Additionally, she created and organized educational programs for young audiences as coordinator of the JUMP! outreach program at Rice University. Most recently, she joined WindSync on their Midwest Tour and Schubert Club residency in St. Paul, Minnesota, where they presented programs to more than 10,000 students over the course of two weeks. A native of Baton Rouge, Louisiana, Ms. Lançon received her master’s degree from Rice University and earned her bachelor’s degree with honors from Northwestern University, where she won the school’s 2003 Concerto Competition. Her primary teachers include Walfrid Kujala, Leone Buyse, and Timothy Day.
Joseph Lin, VIOLIN Sought after as a performer and teacher, Joseph Lin appears regularly at the finest halls, festivals, and conservatories throughout the United States, Asia, and Europe. His probing artistry, versatility, and leadership have long been recognized by audiences and colleagues alike. At the same time, Joseph has continued to embrace new areas of exploration, allowing his voice to evolve with depth and humanity. Joseph Lin was first violinist of the Juilliard String Quartet from 2011 to 2018, before stepping down to devote more time to his four young children. He continues to teach violin and chamber music at The Juilliard School, leading several artistic initiatives and enjoying collaborations with both students and colleagues. Joseph’s 2019 projects include a collaboration with Robert Levin presenting Beethoven and Schubert on
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period instruments, a Musicians from Marlboro tour on violin and viola, collaborations with Juilliard students during Chamberfest, and performances of Bartók’s Second Violin Concerto. Celebrating Beethoven year 2020, Joseph will lead a series of performances of Beethoven’s late String Quartets for Camerata Pacifica, and continue explorations of the Beethoven Sonatas on period instruments. From 2007 to 2011, Joseph Lin was an Assistant Professor at Cornell University. There, he organized the inaugural Chinese Musicians Residency in 2009. The following year, he led a project with Cornell composers to study the violin Sonatas and Partitas of Bach, and to create new music inspired by Bach. This culminated in a series of concerts premiering the new works alongside Bach’s Sonatas and Partitas. In 2018 Joseph returned to Bach with a performance of the complete Sonatas and Partitas at Sumida Triphony Hall in Tokyo. Joseph Lin’s exploration of Bach continues in 2020, celebrating the 300th year of the Sonatas and Partitas with complete cycles in Boston and Philadelphia. Joseph Lin was a founding member of the Formosa Quartet, winner of the 2006 London International String Quartet Competition. In 1996, Joseph was awarded First Prize at the Concert Artists Guild International Competition, and was named a Presidential Scholar in the Arts the same year. In 1999, he was selected for the Pro Musicis International Award, and in 2001, he won First Prize at the inaugural Michael Hill International Violin Competition in New Zealand. Joseph Lin’s recordings include the music of Korngold and Busoni with pianist Benjamin Loeb, an album of Debussy, Franck, and Milhaud with pianist Orion Weiss, and the complete unaccompanied works of Bach and Ysaÿe. His recording of Mozart’s A major Violin Concerto with original cadenzas was released in 2017. With the Juilliard String Quartet (JSQ), Mr. Lin recorded Schubert’s Death and the Maiden, Elliot Carter’s Fifth Quartet, as well as the JSQ’s most recent album of Beethoven, Davidovsky, and Bartók. During the summer season, Joseph Lin is a regular artist at the Tanglewood and Marlboro festivals. Joseph Lin’s violin teachers have included Mary Canberg, Shirley Givens and Lynn Chang. Mr. Lin graduated magna cum laude from Harvard in 2000. In 2002, he began an extended exploration of China, spending 2004 studying Chinese music in Beijing as a Fulbright Scholar.
Demarre McGill, FLUTE Winner of the prestigious Avery Fisher Career Grant, and the Sphinx Medal of Excellence, flutist Demarre McGill is a leading soloist, recitalist, chamber and orchestral musician, and educator. Among the orchestras with which he has appeared as soloist are the Philadelphia Orchestra, Pittsburgh Symphony, Dallas Symphony, San Diego Symphony, Baltimore Symphony and, at age 15, the Chicago Symphony. In September 2017, Demarre McGill returned as Principal Flute of the Seattle Symphony, having previously served as Principal Flute of the Dallas Symphony, San Diego Symphony, Florida Orchestra, and Santa Fe Opera Orchestra. He recently served as Acting Principal Flute of the Metropolitan Opera Orchestra and earlier with the Pittsburgh Symphony Orchestra. As a chamber musician, he is a founding member of The Myriad Trio, a former member of Chamber Music Society Two of Lincoln Center, and has participated in the Santa Fe Chamber Music Festival, Music@Menlo, Marlboro Music, La Jolla Music Festival,
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Seattle Chamber Music Festival, and Stellenbosch Chamber Music Festival in South Africa, to name a few. He is also the co-founder and Artistic Director of the chamber music organization Art of Élan and, in 2014 with clarinetist Anthony McGill and pianist Michael McHale, founded the McGill/McHale Trio whose first CD was released by Cedille Records in August 2017. A graduate of the Curtis Institute of Music and The Juilliard School, Demarre McGill is currently Associate Professor of Flute at the prestigious University of Cincinnati CollegeConservatory of Music (CCM), and an artist-faculty member of the Aspen Music Festival and School.
Sarah Nelson Craft, MEZZO-SOPRANO Mezzo-soprano Sarah Nelson Craft has received wide acclaim for her solo and operatic performances. In response to her 2016 Spotlight Recital at Carnegie Hall with pianist Warren Jones, Opera News called her “exquisite… glowing… genuine,” while Voce di Meche hailed her as a “born storyteller.” Carnegie Hall invited her back for another solo recital in 2018 for their Neighborhood Concerts Series, and in 2019 she continued to bring her passion for art song to the stage, performing in a concert of Hugo Wolf’s Mörike-Lieder with pianist Martin Katz at the Five Boroughs Music Festival in collaboration with Brooklyn Art Song Society. Last season also saw a number of concert debuts including Joseph Canteloube’s Chants d’Auvergne with the Brooklyn Symphony Orchestra, Brahms’ Alto Rhapsody and Beethoven’s Symphony No. 9 with Princeton Pro Musica, and a New England recital tour with pianist Deidre Brenner, culminating in a performance and residency at Dartmouth College. Other notable concert work has included her Lincoln Center debut in 2012 in Bach’s Mass in B Minor with the National Chorale at Avery Fisher Hall, Mozart’s Coronation Mass with the American Classical Orchestra at Alice Tully Hall, Vivaldi’s Gloria with the Masterworks Festival Chorus at Carnegie Hall, and Mahler’s Symphony No. 2 with the New Jersey Festival Orchestra. On the opera stage she most recently brought her “pleasing, well-formed mezzo” (Opera UK) to the challenging role of Piramo in Johann Adolph Hasse’s Piramo e Tisbe with The Little Opera Theatre of NY. Her performance as Dorabella in Loft Opera’s Così fan tutte, drew universal acclaim as well; Opera News noted that her “warm, rich voice brought out the magic” while Parterre Box called her performance “excellent… pliant and luminous.” Other favorite operatic roles have included Cenerentola, Cherubino, Dido, Rosina, Hansel, Hermia, Nancy in Albert Herring, and the title role in Cendrillon, working with companies such as the Caramoor International Music Fesitval, Opera North, Fargo-Moorhead Opera, and the Macau International Music Festival. A native of Brooklyn, New York, Ms. Craft holds a bachelor’s degree (cum laude) in Italian and music from Dartmouth College and a master’s degree in vocal performance from the University of North Texas College of Music. She trained as a Young Artist with Bel Canto at Caramoor, Opera North, and the Music Academy of the West where she worked with Marilyn Horne who continues to be a mentor. She has been a First Prize and Audience Choice award winner at the district level of the Metropolitan Opera National Council Auditions and won third place in The American Prize in Art Song and Oratorio 2016.
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Tricia Park, VIOLIN Praised by critics for her “astounding virtuosic gifts” (Boston Herald) and “achingly pure sound” (The Toronto Star), concert violinist Tricia Park enjoys a diverse and eclectic career as soloist, fiddler, chamber musician, educator, festival curator, and writer. Tricia is a recipient of the prestigious Avery Fisher Career Grant and was selected as one of “Korea’s World Leaders of Tomorrow” by the Korean Daily Central newspaper. Since appearing in her first orchestral engagement at age 13 with the Baltimore Symphony Orchestra, she has performed with the English Chamber Orchestra, St. Paul Chamber Orchestra, Frankfurt Radio Symphony Orchestra, and National Symphony Orchestra of South Africa; the Montreal, Dallas, Cincinnati, Seattle, Honolulu, Nevada, and Lincoln Symphonies; and the Calgary, Buffalo, Westchester and Naples Philharmonics. She has given recitals throughout the United States and abroad, including a highly acclaimed performance at the Ravinia Rising Stars series. Tricia also performs as half of the violinfiddle duo, Tricia & Taylor, with fiddler-violinist, Taylor Morris. Tricia is the founder of the Solera Quartet, the winner of the 2017 Pro Musicis International Award and the first and only American chamber ensemble chosen for this distinction. Acclaimed as “top-notch, intense, stylish, and with an abundance of flare and talent,” the Solera Quartet performed their debut recital at Carnegie Hall’s Weill Hall to celebrate their addition to Pro Musicis’ roster. The Soleras recently released their debut album, Every Moment Present, featuring music by Janacek, Mendelssohn, and Caroline Shaw, which the New York Times hailed as “intoxicating….The quartet’s playing on the recording is sensitive and finely articulated throughout and the sound bright and vivid.” Other career highlights include Tricia’s recital debut at the Kennedy Center, appearances at the Lincoln Center Festival in Bright Sheng’s The Silver River, her Korean debut performance with the Korean Broadcasting System (KBS) Orchestra and collaborations with composer Tan Dun. As first violinist of the Maia Quartet from 2005 to 2011, she performed at Lincoln Center and the 92nd Street Y in New York and Beijing’s Forbidden City Hall. She was also on faculty at the University of Iowa. Passionate about arts education and community development, Tricia is the co-founder and artistic director of MusicIC, a summer chamber music festival that takes place in downtown Iowa City. MusicIC presents free concerts and events focused on music for small ensembles inspired by works of literature, both prose and poetry. She is also a published author and her writing has appeared in Cleaver, Alyss and F News Magazines. In 2019, Tricia received an MFA from the Writing Program at the School of the Art Institute of Chicago, where she was a recipient of the New Artist Society Scholarship and was awarded a Writing Fellow Prize. Tricia received her Bachelor and Master of Music degrees from The Juilliard School where she studied with Dorothy DeLay. She was a recipient of the Starling-DeLay Teaching Fellowship at The Juilliard School. She has studied and performed chamber music with Felix Galimir, Pinchas Zukerman, Cho-Liang Lin, Michael Tree, Gary Hoffman, Paul Neubauer, Robert McDonald, and members of the American, Guarneri, Juilliard, and Orion String Quartets as well as the new music group, Eighth Blackbird. Other former teachers include Cho-Liang Lin, Donald Weilerstein, Hyo Kang and Piotr Milewski.
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Tom Poster, PIANO Tom Poster has performed concertos from Bach to Ligeti with the Aurora Orchestra, BBC Philharmonic, BBC Scottish Symphony, China National Symphony, Hallé, Philharmonia, Royal Philharmonic and Scottish Chamber orchestras, under conductors including Vladimir Ashkenazy, Nicholas Collon, Robin Ticciati and Yan Pascal Tortelier. He features regularly on BBC Radio 3 as soloist and chamber musician, has appeared several times at the BBC Proms, and is in great demand at festivals from Cheltenham to São Paulo. His chamber music colleagues include Alison Balsom, Ian Bostridge, Steven Isserlis, Guy Johnston, Matthew Rose and Elena Urioste. Tom is founder and Artistic Director of Kaleidoscope Chamber Collective, and pianist of the Aronowitz Ensemble (former BBC New Generation Artists) and Aronowitz Piano Trio. Tom has recorded for BIS, Chandos, Decca, EMI and Warner Classics. He studied with Joan Havill at the Guildhall School of Music and Drama, and at King’s College, Cambridge. As a composer, recent commissions include two works for Alison Balsom and a chamber opera for puppets, The Depraved Appetite of Tarrare the Freak, which received an acclaimed three-week run at Wilton’s Music Hall.
Melissa Reardon, VIOLA Grammy-nominated violist Melissa Reardon is an internationally renowned performer who’s solo and chamber playing spans all musical genres. Melissa is the new Artistic Director of the Portland Chamber Music Festival in Portland, Maine and a founding member and the Executive Director of the East Coast Chamber Orchestra (ECCO). As – String Quartet from 2006 until its final season in 2018, Melissa a member of the Enso toured both nationally and internationally, with highlight performances at Lincoln Center, Carnegie Hall, and the Kennedy Center. Lauded by Classical Voice for her “elegant” and “virtuosic” performances, the Massachusetts-born musician won first prize at the Washington International Competition, and is the only violist to win top prizes in consecutive HAMS International viola competitions. A sought-after collaborative musician, Melissa has appeared in numerous festivals across the United States and around the world, and has toured with Yo-Yo Ma’s Silk Road Ensemble, and with Musicians from Marlboro. She holds degrees from the Curtis Institute of Music and the New England Conservatory. Melissa is married to the cellist Raman Ramakrishnan and they live in New York City with their seven-year-old son, Linus.
Amy Sanchez, HORN Amy Sanchez maintains a diverse career in Los Angeles as a freelance horn player and educator. Her multifaceted experience shapes the guidance she offers as the Horn Professor at UCLA, a position she acquired in 2014. In addition to frequent work with the Pacific Symphony and performances with the San Francisco Symphony, Los Angeles Philharmonic, San Diego Symphony, Los Angeles Opera, and Los Angeles Chamber Orchestra, Amy has performed with most of the major regional orchestras throughout California and is Principal Horn with the International Chamber Orchestra of Puerto Rico, and second horn with the Fresno Philharmonic and Riverside Philharmonic. She has performed internationally throughout Europe, and in Japan, India, Israel, and South Africa. An active studio musician, Amy often records music for film and television, including prominent films such as Frozen 2, Incredibles 2, Coco, Star Wars: Rogue One, Moana, Star
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Trek Beyond, and Jurassic World, as well as the Netflix original series Agents of Shield and Luke Cage. Amy has recorded for albums as diverse as Dave Matthews Band’s Come Tomorrow, Kendrick Lamar’s historic To Pimp a Butterfly, Florence + The Machine’s High as Hope, Kamasi Washington’s Heaven and Earth, and Michael Buble’s To Be Loved. She also plays with a variety of chamber and jazz ensembles, performing at the 2018 Cape Town Jazz Festival in South Africa for Miguel-Atwood Ferguson’s Suite for Ma Dukes, at the Coachella Music Festival with Hans Zimmer in 2017, and with Kamasi Washington in 2018, with Brazilian guitarist Marcel Camargo’s Brazil You Never Heard, and jazz pianist Vardan Ovsepian’s Chamber Ensemble (VOCE). Amy is also an avid supporter of wildlife conservation efforts. Her brass ensemble, Horns for Rhinos, helps to raise awareness and funding for conservation through music, partnering with the South African non-profit Nkombe Rhino. Amy also arranges conservation safaris through Nkombe and Ugebezi Explorer Camp, which bring guests to Africa to help establish a deep personal connection to wildlife and be part of handson conservation work.
William Short, BASSOON William Short was appointed Principal Bassoon of the Metropolitan Opera Orchestra in 2012. He previously served in the same capacity with the Delaware Symphony Orchestra and has also performed with the Houston Symphony and the Philadelphia Orchestra. William has toured the United States with Curtis on Tour and has performed and taught in Belize, Cuba, Guatemala, and Nicaragua with the Philadelphia-based wind quintet Liberty Winds. His performances have been featured on American Public Media’s Performance Today and on WHYY’s Onstage at Curtis. An occasional composer, his works have been published by TrevCo-Varner Music. A dedicated teacher, William serves on the faculties of The Juilliard School, Manhattan School of Music, and Temple University. He has presented classes at colleges and conservatories around the country and at the 2014 International Double Reed Society Conference. William has performed and taught at the Lake Champlain, Lake Tahoe, Mostly Mozart, Stellenbosch, Strings, Twickenham, and Verbier Festivals. In 2015 he made his solo debut with the Vermont Symphony Orchestra, performing David Ludwig’s Pictures from the Floating World. Committed to forging connections between audiences and performers, William’s articles on the subject can be found on the MET Orchestra Musicians’ website, which has been lauded not only by The Wall Street Journal and The New York Times, but also by noted arts consultant Drew McManus and prolific cultural commentator Norman Lebrecht. William received his Bachelor of Music from the Curtis Institute of Music, where he studied with Daniel Matsukawa and Bernard Garfield, and his Master of Music at Rice University’s Shepherd School of Music, where he studied with Benjamin Kamins. He attended festivals including the Music Academy of the West, Pacific Music Festival, Spoleto Festival USA, and the Verbier Festival. Additional major teachers have included Jeanine Attaway, Kristin Wolfe Jensen, and William Lewis.
Benjamin Smolen, FLUTE Benjamin Smolen is Principal Flute of the Pacific Symphony Orchestra and has performed as soloist and chamber musician around the world. He has performed as Guest Principal with the Los Angeles Philharmonic, Los Angeles Opera, Houston Grand
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Opera, and San Diego Symphony and can be heard on the soundtracks to Star Wars: The Force Awakens and The Last Jedi, X-Men: Apocalypse, and Ghostbusters, among others. Benjamin has been a prize winner at many competitions, including First Prize at the Haynes International and Pappoutsakis Memorial Flute Competitions. He is on the faculty of the Idyllwild Arts Academy summer program and has been a guest artist at universities across the United States, the National Flute Association annual convention, and the Japan Flute Festival. Benjamin holds degrees from Princeton University and the New England Conservatory and studied with Paula Robison, Michael Parloff, Amy Porter, and Elizabeth Rowe. He is a William S. Haynes Artist and performs on a handmade, custom-crafted Haynes 14-karat gold flute.
Angel Subero, TROMBONE Venezuelan trombonist Angel Subero started his musical studies at the age of 13. He attended the Conservatorio Itinerante in Venezuela where he studied with the legendary Michel Becquet; In the United States he studied with Lawrence Isaacson, John Rojak, Douglas Yeo and studied jazz with Claudio Roditi and Jeff Galindo. In 2005 Angel was a finalist for the prestigious Zellmer-Minnesotta Orchestra International Trombone Competition and the Donald Yaxley Trombone Competition. He attended the Boston Conservatory and the New England Conservatory of Music where he received the NEC Merit Award graduating with distinction in performance. Angel has performed with the Boston Symphony Orchestra, Boston Pops, Boston Modern Orchestra Project, Iceland Symphony Orchestra, Boston Ballet Orchestra, Starwars in Concert Symphony Orchestra, National Lyric Opera, the Philharmonia Orchestra, Venezuela Symphony Orchestra, Caracas Philharmonic, Gran Mariscal de Ayacucho Symphony, Simon Bolivar Symphony Orchestra, Orquesta Sinfonica de las Juventudes Andinas, and the Venezuelan Youth Orchestra, among others. As a chamber musician he has appeared with the Burning River Brass, Camerata Pacifica, Atlantic Brass Quintet, Boston Symphony Brass Ensemble, Triton Brass Quintet, Frequency Band Trombone Choir, Boston Invitational Trombone Ensemble, Venezuelan Brass Ensemble and the Venezuelan Trombone Ensemble. Mr. Subero has worked with such conductors as James Levine, Seiji Ozawa, John Williams, Kurt Masur, Keith Lockhart, Robert Spano, Sir Colin Davis, James Conlon, Rafael Fruhbeck de Burgos, David Robertson and Christoph von Dohnanyi, Charles Dutoit, Ingo Metzmacher, Lorin Maazel, James Depreist, among others. He has also appeared with multiple artists in the realm of jazz, Latin and commercial music. Most recently Mr. Subero was a guest soloist with the Boston Modern Orchestra Project which commissioned the Trombone Concerto From the Institutes of Groove that was written for him by Grammy-nominated composer, Michael Gandolfi. Mr. Subero recorded From the Institutes of Groove with the Boston Modern Orchestra Project, to be released under the BMOP/Sound record label. Mr. Subero plays S.E. Shires Custom Trombones exclusively. He has given master classes and recitals in the United States, Europe, Japan, Mexico and Venezuela among other countries. He has been a regular guest professor at the State Foundation for the National System of Youth and Children’s Orchestras of Venezuela “EL SISTEMA” and has given clinics to the “Academia Latino-Americana de Trombones” in Venezuela. Mr. Subero is on the faculty at the Boston Conservatory of Music.
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Jason Uyeyama, VIOLIN Jason Uyeyama is Founder and Director of the Orange County String Studio. He is also Associate Professor of Music and Director of String Studies at La Sierra University, where he teaches violin and chamber music. He holds a master’s degree from The Juilliard School where he studied with Masao Kawasaki. Previous teachers include Itzhak Perlman, Dorothy DeLay, and Yao-Ji Lin. Mr. Uyeyama continues to lead an active career as recitalist, chamber musician, and orchestral musician. He has performed and toured regularly with the Los Angeles Philharmonic since 2005, and has performed with the St. Paul Chamber Orchestra and the Los Angeles Chamber Orchestra. Festival appearances include Festival Mozaic in San Luis Obispo and Festicamara in Medellin, Colombia. Students of Mr. Uyeyama have been accepted to The Juilliard School, New England Conservatory, Cleveland Institute of Music, Jacobs School of Music at Indiana University, The Colburn School of Performing Arts, University of Southern California Thornton School of Music, Manhattan School of Music, and the Mannes School of Music. His students have also been accepted to numerous summer festivals including Aspen, Music Academy of the West, Boston University Tanglewood Institute, and the Montecito International Summer Music Festival.
Gilles Vonsattel, PIANO A “wanderer between worlds” (Lucerne Festival), Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. Comfortable with and seeking out an enormous range of repertoire, Vonsattel displays a musical curiosity and sense of adventure that has gained him many admirers. Recipient of an Avery Fisher Career Grant and winner of the Naumburg and Geneva competitions as well as the 2016 Andrew Wolf Chamber Music Award, he has in recent years made his Boston Symphony, Tanglewood, and San Francisco Symphony debuts, while performing recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo! Vail, Music@ Menlo, the Gilmore Festival, the Lucerne Festival, and the Munich Gasteig. His most recent 2014 New York solo recital was hailed as “tightly conceived and passionately performed…a study in intensity” by The New York Times. Reengaged by the San Francisco Symphony, he has also appeared with the Warsaw Philharmonic, Calgary Philharmonic, Edmonton Symphony, l’Orchestre Symphonique du Québec, Boston Pops, Nashville Symphony, Musikkollegium Winterthur, Staatskapelle Halle, and L’Orchestre de Chambre de Genève. Chamber partners include musicians such as James Ehnes, Frank Huang, Ilya Gringolts, Nicolas Altstaedt, David Shifrin, David Finckel, Stefan Jackiw, Jörg Widmann, Gary Hoffman, Carter Brey, Anthony Marwood, Paul Neubauer, Paul Watkins, Philip Setzer, Emmanuel Pahud, Karen Gomyo, David Jolley, Ida Kavafian, and the Swiss Chamber Soloists. He has appeared in concert with the Pacifica, Orion, Ebène, Danish, Daedalus, Escher, and Borromeo Quartets. Deeply committed to the performance of contemporary works, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Jörg Widmann, Heinz Holliger, and George Benjamin. His 2011 recording for the Honens/Naxos label of music by Debussy, Honegger, Holliger, and Ravel was named one of Time Out New York’s classical albums of the year, while a 2014 release on GENUIN/ Artist Consort received a 5/5 from FonoForum and international critical praise. His latest solo release (2015) for Honens of Scarlatti, Webern, Messiaen, Debussy, and George
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Benjamin’s Shadowlines received rave reviews in Gramophone, The New York Times, and the American Record Guide. Recent projects include Berg’s Kammerkonzert with the Orchestra della Svizzera Italiana, a tour with Jörg Widmann and the Irish Chamber Orchestra, Mozart concerti with the Vancouver Symphony and Florida Orchestra, performances at Seoul’s LG Arts Centre and at the Beijing Modern Music Festival, collaborations with Kent Nagano with L’Orchestre Symphonique de Montréal and the Munich Philharmonic (Bernstein’s Symphony No. 2, The Age of Anxiety) as well as numerous appearances internationally and throughout the United States with the Chamber Music Society of Lincoln Center. Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School, where he studied with Jerome Lowenthal. He is on the faculty of the University of Massachusetts at Amherst and makes his home in New York City. Gilles Vonsattel is a Steinway Artist.
Huw Watkins, PIANO Huw Watkins was born in Wales in 1976. He studied piano with Peter Lawson at Chetham’s School of Music and composition with Robin Holloway, Alexander Goehr and Julian Anderson at Cambridge and the Royal College of Music. In 2001 he was awarded the Constant and Kit Lambert Junior Fellowship at the Royal College of Music; he now teaches composition at the Royal Academy of Music. Huw is one of the UK’s foremost composer-pianists, in great demand with orchestras and festivals including the London Sinfonietta, Britten Sinfonia, the BBC orchestras, and Aldeburgh and Cheltenham Festivals. Strongly committed to the performance of new music, Huw has recently had piano concertos written for him by Philip Cashian, Helen Grime and Tansy Davies. A favorite partner for chamber collaborations, Huw Watkins performs regularly with his brother Paul Watkins, as well as Tamsin Waley-Cohen and Mark Padmore. Recent appearances include Wigmore Hall, Birmingham Town Hall, Kettle’s Yard Cambridge, Saffron Walden and West Cork Chamber Music Festival. Further afield Huw has toured extensively all over Europe, and performed in Canada, Mexico and the United States. He has also been featured as both Composer in Residence and pianist at festivals including, Presteigne Festival and Lars Vogt’s ‘Spannungen’ Festival in Heimbach, Germany. He is currently composer-in-association with BBC NOW and won the Chamber Music Society of Lincoln Center 2016 Elise L. Stoeger Prize in recognition of significant contributions to the field of chamber music composition.
William Wood, BASSOON William Wood has been working in the Southern California freelance world since 1984. He is currently a member of the Los Angeles Opera Orchestra (solo contrabassoon), the New West Symphony, the Riverside Philharmonic, and the Los Angeles Master Chorale Sinfonia Orchestra. He is an avid chamber music performer, producing concerts for private occasions as well as many public chamber music events. Mr. Wood is on the faculty of California State Northridge and maintains a large studio of middle school and high school students in the Ventura School District. A native Minnesotan, he is a graduate of St. Olaf College (Bachelor of Arts in music, private studies with Benjamin Kamins and Charles Ullery) and the University of Southern California (1987, private studies with Michael O’Donovan and weekly master classes with Norman Herzberg).
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Fine draperies, shutters and shades since 1965
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Santa Barbara Screen & Shade • 2930 De La Vina Street • (805) 687-8613
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Camerata Pacifica invites you to meet your personal financial goals while making a lasting impact on our future. Through the generous gift of a bequest or by utilizing your IRA Charitable Gift Rollover, you can make a legacy gift that helps ensure the future of Camerata Pacifica. Our musicians, Board of Directors, and staff will be honored to celebrate your generosity today as we secure the music of tomorrow. For more information please visit our website: cameratapacificalegacy.org or call the office: 805 884 8410.
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Camerata Pacifica’s Endowment Fund is professionally managed by the advisors of Stratz & Company Financial Services.* *Registered Representative, securities offered through Cambridge Investment Research, Inc., a Broker/Dealer, member FINRA/SIPC. Advisory Services offered through Cambridge Investment Research Advisors, Inc., a Registered Investment Advisor. Stratz & Company Financial Services and Cambridge are not affiliated. Cambridge and Camerata Pacifica are not affiliated. California Insurance License #0D73411 Stratz & Company Financial Services, 180 South Lake Avenue, Suite 400, Pasadena, CA 91101 • www.stratzfinancial.com
ENDOWED CHAIRS ENDOWED CHAIRS
The Bob Christensen TheChair Bob in Christensen Violin, Chair in Violin, occupied by Paul Huang
occupied by Paul Huang
The Robert & Mercedes
The RobertChair and in Mercedes Eichholz Piano, Eichholz Chair in occupied by WarrenPiano, Jones occupied by Warren Jones
The Bernard Gondos
TheChair Bernard Gondos in Violin, Chair in Violin, occupied by Kristin Lee occupied by Kristin Lee
CHARTER MEMBERS Charter Members are an essential part of Camerata Pacifica’s history. Listed in perpetuity, Charter Members’ contributions at critical times in the organization’s growth helped Camerata Pacifica realize its vision of becoming one of the most acclaimed chamber music ensembles in the country, with an international profile and deep roots in California.
Baroness Léni Fé Bland
Mr. & Mrs. Jon Lovelace
Mr. & Mrs. Stephen Hahn
Mr. & Mrs. Eli Luria
Mrs. Richard H. Hellman
Ms. Deanna McHugh
Dr. & Mrs. Jack Sheen
Mr. Brenton Horner
Mr. Stephen McHugh
Mrs. Jeanne Thayer
Mr. Spencer Nilson & Ms. Margaret Moore
Mr. Michael Towbes
Mssrs. Ralph Quackenbush & Robert Winkler
Anonymous
Mr. & Mrs. Richard Janssen Mr. & Mrs. Donald Kosterka Mr. & Mrs. Jordan Laby Miss Dora Anne Little
The Viscount & Lady Ridley-Tree
Graphic Traffic
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Camerata Pacifica’s Premiere Circle
Camerata Pacifica’s Premiere Circle is the social association for our donors. Throughout the season members gather for private concerts, dinners, receptions and special events with our musicians. Join us with a minimum donation of $2,500 (which may be given monthly or quarterly), to begin receiving your exclusive invitations to these special occasions. We look forward to hearing from you soon.
donnajean@cameratapacifica.org 805 884 8410
Counter-clockwise from top left: Eric Fischer & Judith Farrar, Lawrence Wallin, Susan Northrop & Sandra Tillisch-Svoboda, Greg Scott & Julien Labro, Miguel, Elise & Paula Levy
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PREMIERE CIRCLE MEMBERS Camerata Pacifica continues to thrive thanks to the support of its patrons. Members of the Premiere Circle are not only supporters, but friends to Camerata Pacifica, meeting several times a year for house concerts, pre-concert parties and other events. For information on becoming a Premiere Circle member, call Camerata Pacifica at 805-884-8410.
Olin & Ann Barrett Marianne Battistone & Philip W. Norwood Peter & Linda Beuret Diane Boss Titus Brenninkmeijer Jeannie Christensen Jordan Christoff Edith Clark NancyBell Coe & Bill Burke Bruce & Marty Coffey Benjamin J. Cohen & Jane S. De Hart Marilyn & Don Conlan Mr. & Mrs. Michael J. Connell Mary Jane & Andy Cooper Lisa & Albert Cosand Joan Davidson & John Schnittker Karen Davidson Roger & Nancy Davidson Edward S. DeLoreto David & Leslie Dodson Mary T. Dorra Frank & Ann Everts Stanley & Judith Farrar Eric Fischer & Richard West Sarah Fox & Denny Klos Marie-Paule Hajdu Diane Henderson Edward Henderson & Carolyn Kincaid Maren Henle Carol & Warner Henry Daniel & Donna Hone Brent Horner Bridget Hough France Hughes Meindl Mr. Palmer G. Jackson Rich & Luci Janssen Susan Keats
Richard & Connie Kennelly Mahri Kerley Robert Klein & Lynne Cantlay Jordan Laby Elinor & James Langer John & Barbara Larson Miguel & Paula Levy Sarah Jane Lind Samuel Losh & Judith Lovely Mrs. Lillian Lovelace Lee Luria Joe & Kim Miller Helmut & Vera M. Muensch Dr. & Mrs. Arnold Mulder Karin Nelson & Rick Hibbs Susan & Terry Northrop Alejandro Planchart David Robertson & Nancy Alex Regina & Rick Roney Robert & Ann Ronus Elizabeth Loucks Samson & Jack Stumpf Katherine Schwarzenbach Jasminka & Richard Shaikewitz Jack & Anitra Sheen Dr. & Mrs. Stephen Sherman Maurice Singer & Hyon Chough Stuart Spence & Judy Vida-Spence Marion Stewart Tim & Charlotte Stratz Stan Tabler & Teresa Eggemeyer Barry & Amalia Taylor Mr. & Mrs. Lloyd Sherman Telleen Sandra Tillisch-Svoboda Anne Smith Towbes Kimberley Valentine Lawrence Wallin & Kathy Scroggs Robert Weinman
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DONORS Our sincerest gratitude to the following individuals, corporations and foundations for their dedication to supporting Camerata Pacifica’s continued success. The following list reflects donations recorded between July 1, 2018 and June 30, 2019. $10,000 +
Titus Brenninkmeijer Chaucer’s Bookstore Anonymous Michael J. Connell Foundation The SahanDaywi Foundation The Robert and Mercedes Eichholz Foundation Stanley & Judith Farrar The Henry Family Fund Brenton Horner France Hughes Meindl Hutton Parker Foundation The Ann Jackson Family Foundation Susan Keats $5,000 - $9,999 Peter & Linda Beuret Colburn Foundation Ann and Gordon Getty Foundation Diane Henderson, MD Lee Luria Anonymous Santa Barbara Screen & Shade Stratz Financial Sandra Tillisch-Svoboda Robert W. Weinman Williams-Corbett Foundation
Richard & Connie Kennelly Elinor & James Langer Larson Family Trust Miguel & Paula Levy Samuel Losh & Judith Lovely Dr. & Mrs. Arnold Mulder Alejandro Planchart Regina & Rick Roney Elizabeth Loucks Samson & Jack Stumpf Katherine Schwarzenbach Marion Stewart Telleen Family Charitable Fund
$2,500 - $4,999 Olin & Ann Barrett Edith Clark NancyBell Coe & William Burke The Marty & Bruce Coffey Family Foundation Mary Jane & Andy Cooper Lisa & Albert Cosand Roger & Nancy Davidson Edward DeLoreto Mary T Dorra Eric Fischer & Richard West Mrs. Marie-Paule Hajdu Bridget Hough
$1,000 - $2,499 Marianne Battistone & Philip W. Norwood Jeannie Christensen Benjamin J. Cohen & Jane S. De Hart Karen Davidson Dr. David & Leslie Dodson Jane Dyruff Sarah Fox & Denny Klos Drs. Janice & David Frank David & Susan Grether Edward Henderson & Carolyn Kincaid Ken & Sandy Homb
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Robert Klein & Lynne Cantlay Laby Family Foundation Sarah Jane Lind Mrs. Lillian Lovelace Susan & Terry Northrop David Robertson & Nancy Alex Santa Barbara County Arts Commission Jack & Anitra Sheen Stuart Spence & Judy Vida-Spence Stan Tabler & Teresa Eggemeyer Barry & Amalia Taylor The Towbes Fund for the Performing Arts, a field of interest fund at the Santa Barbara Foundation Daniel & Donna Hone Elizabeth L. Kilb Drs. Helmut & Vera Muensch Edward Hederson & Carolyn Kincaid Karin Nelson & Eugene Hibbs, Jr. Robert N. & Sharon Harroun Peirce Lyndon Robert Shaftoe Jasminka & Richard Shaikewitz Dr. Stephen & Mrs. Janet Sherman Maurice Singer & Hyon Chough George & Gretel Stephens The Thornton Foundation Anne Smith Towbes Kimberley Valentine Lawrence Wallin & Kathy Scroggs Sanford R. & Riko Weimer $500 - $999 Catherine Albanese Robert C. Anderson Mr. Edward Bigger Barbara Bates Bonadeo Patricia Burke
Tom & Barbara Chargaff Betsy Chess Wayne & Madelyn Cole Caroline Coward Martin & Ann Gelfand in honor of Richard O’Neill Lorna S. Hedges Maren Henle Barbara Hirsch Carol Howe & Lucien Lacour Mrs. Mary L. Jannotta Sheila Lodge Heather Mobarak Drs. H & M Pompe van Meerdervoordt Perry & Jody Shapiro Joan Tapper & Steven Siegel Delia Smith $250 - $499 Julie Antelman Michael Beckage & Bridget Spanier Patricia Carver Steve & Ceinwyn Clark David & Ann M. Dwelley Alec & Kellee Everts Mrs. Elaine Gaynor Martha Groszewski
Dr. & Mrs. Fred Heidner Susan Jamgochian Mrs. June Kambach Eunice M. Koch Pasadena Arts Society Dr. Steven & Charlene Pearlman Prof. Gaines Post Jennifer & Richard Quint Steven Sharpe Karen Spechler Tony & Anne Thacher Brenn von Bibra Mary H. Walsh Candace White Anonymous $100 - $249 Dr. John Crowder & Danielle AubertinCrowder Frank & Cecilia Bellinghiere Ann & Robert Benham Richard & Frances Bohn Jorgia Bordofsky Virginia Bottorff Max Brennan & Sigrid Burton Scott Brinkerhoff Margaret Bruell Mark & Carol Burrill Michael & Susan Connell
Freddie & Al Contarino in honor of the 80th birthdays of Jessica & Harvey Harris Mike Crawford & Pat Wiese Doug Crowley Joan Davidson Bess B. DeWitt Sylvia Drake Richard & Barbara Durand Meg & Jim Easton Janis Frame & Sanford Zisman Jim & Peggy Galbraith Inge Gatz & Steven Gilbar in honor of Richard O’Neil Claire C. Greenberg Mary & Ed Heron Mrs. Mary Hintz Stephen C. Iglehart Mary Ince Willoughby Johnson & Victoria Matthews Ruth O. Johnson Edward & Andrea Kish Steve & Karen Kohn Ernest & Mary Lou Kopka David & Eleanor Larson Jacqueline Lunianski Barbara Madden Anonymous Margaret M. Morez
Maureen O’Rourke & Tom Whittemore Dr. Ann Picker Bill & Dolores Pollock Esther Prince Prof. Andrews Reath & Mrs. Blandine Saint-Oyant The Reiche Charitable Fund Prof. Mark Rose Naomi Schmidt Les & Maureen Shapiro Thomas Siebert Martin & Elizabeth Stevenson Michael Talvola Mrs. Norma Van Riper Mort & Judy Weisman Suzanne Weiss David & Debbie Whittaker Teri Wilde James & Gloria Witherell Walt Wood $0 - $99 Thomas Abraham Ted Anagnoson Eleanor Brown Bruce & Karen Brunschwig Consuelo Campos Carolyn F. Chase Elizabeth Confesor
Mr. & Mrs. John De Haven, Jr. Joyce Faber Craig Fineshriber Frances Gagola Willard & Ronda Hobbs Joan Hotop Gretchen & Stuart Jacobson Janel Jones Peter & Barbara Kuhn Carol Marsh Barbara Maxwell Angelica Maycot William Mitchell Lyn A. Munro & Robert Barber Barbara J. Parkhurst Judith A. Pochini Mehrdad Razmara Hope M. Rosenfeld Patricia Savoie Barbara Sax, M.D. Greg Scott Edda Spielmann Julie & Richard Steckel Anonymous
VOLUNTEERS Volunteers are an indispensible part of our organization. We have had a variety of services and talents given to us during the past year, from ushering to editing, proofreading and translation, consultation, mailings, poster distribution, audience development, piano page turning, general office assistance, photography and more! We remain extremely grateful for the following volunteers and their ongoing contributions: Barbara Alderson Nicholas & Bonnie Ash Marie Battle Doris W. Blethrow Kathleen Boehm Diane Boss Evelyn Burge Donna Burger Jeannie Christensen Cindy Garcia Debbie Gross & Sam Levy Janice Hamilton
Allan & Lorraine Hoff Lois Klein & Ronald Doctors Ann Kramer & Erik Siering Maura Ludy & Edward Cooper Michelle Mackel Pat Malone Dick Malott Jesse McClintock Nancy McCurley Dennis & Carolyn Naiman Kathy & Chris Neely
Stephanie Pawlowicz Barbara Rosen William Schrack Erika Smith Pat Spence Sandra Tillisch-Svoboda Marcella E. Tuttle Nga Vuong Lawrence Wallin & Kathy Scroggs Ditte Wolff & Robert Yaris Mary Wolthausen
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With so many things to do, we suggest getting an early start on your want-to-do list. There’s a lot to do at Maravilla Senior Living — clubs, events, socializing, and more. So, go ahead and make your want-to-do list. But please don’t include a bunch of chores. We’ll take care of most of those for you. We invite you to see all that Maravilla has to offer (including assisted living services if needed) at a complimentary lunch & tour.
To schedule a Lunch & Tour, please call 805.308.9531 It’s a great way to get to know us!
I n de p e n de n t & A s s i s t e d L i v i ng M e mor y C a r e 5486 Calle Real • Santa Barbara, CA
805.308.9531
MaravillaSeniorLiving.com RCFE# 425801937
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