CVCMF 2011 Program by Cedar Valley Chamber Music Festival

Dances

2011 FESTIVAL SEASON PROGRAM

CVCMF 2011

TABLE OF CONTENTS Special Events.................................................. 4 Welcome ........................................................... 5 Educational Outreach Concert........................ 6 Artist Bios..........................................................16 Donors............................................................... 20

Festival Program Benefit Concert................................................. 4 Subscription Concert #1................................... 7 Family Concert.................................................. 10 Subscription Concert #2................................... 11 Subscription Concert #3................................... 13

Advertisements Waterloo Community Playhouse..................... 2 Phelps Youth Pavilion ....................................... 20 CU Restaurant .................................................. 20 West Music........................................................ 20 Iowa Public Radio............................................. 21 LaVelle Design................................................. 22 Humble Travel....................................................22 Rallenhill Photography..................................... 22 Dr. J. Matthew Glascock.................................. 23

CVCMF 2011

Join Artistic Director Hunter Capoccioni for a pre-concert dinner and talk on August 4th, 5:30 p.m. at the Art House Cafe. The menu samples several Hungarian cuisines courtesy of Chef Dan Ankrum and his staff. Cost for the pre-concert dinner is $19.95/person (excludes drinks). RSVP by August 1st by calling 319-291-4490.

Gypsy Noir: A Wine Tasting and Artist Showcase Benefit Concert Hosted by CU and The Cellar in downtown Waterloo Wednesday, August 3rd, 8 p.m. Tickets available at the door $15/person. A portion of the proceeds goes to CVCMF. Hear CVCMF artists perform solo works with virtuosic flair while sampling a variety of Spanish wines from CUâ&#x20AC;&#x2122;s Cellar!

CVCMF 2011

Welcome!

to the 2011 Cedar Valley Chamber Music Festival Season

From the Artistic Director Hunter Capoccioni

heritage, of pastoral longing, or even as statements against bourgeoise tastes. Even if you have never heard of some of the composers listed this season, I am confident you will find this music During the past few seasons colorful, vibrant, and powerful in ways that are quite CVCMF programs have revolved different from the typical Germanic traditions of classical around fanciful themes. “Once music. Upon a Time” (2009): compositions that tell stories and “Earth, Air, Fire, Water” (2010): compositions in which elemental From the Board President images of nature wove each Wes Heitzman program together. This season’s theme reflects an artistic fascination with a particular ethnic group. Compositions this season mainly center on the sounds and images of the Austrian, Hungarian, and Romanian regions of Europe. At various points in history these regions have overlapped and influenced each other’s cultural development. Additionally, they share one I see the Cedar Valley Chamber Music Festival as putting of the world’s largest population of Romani (or Gypsy) an exclamation point – a big ! – on our Community’s music people. year. All of us know of the strength of the music programs For many English speakers the term “Gypsy” evokes in our schools, the high quality of our University of not only a people but a lifestyle. For me, this image is Northern Iowa music faculty, and the wonderful symphony simplicity and earthiness, a passionate connection to the orchestra we have for a community of our size. Hunter has planet in both a mystical and immediate way. collected some the best musicians who have lived in the Unfortunately, our inner image and the outer reality Cedar Valley or nearby communities with fine artists from occupy two different realms. Culturally cherished, Gypsies as far flung as California and Newfoundland. Together, they are also a historically persecuted people. As recently as have spent an intensive week of rehearsal and now present 2010 the French government controversially deported a few us with a week of concerts that puts us “up close and thousand Romani people back to Romania and Bulgaria. personal” with these musicians, their talents, and their Forced migration, assimilation, and even genocide are musical offerings. tragic parts of their past and present. The compression of talent, energy, and music into a single Artistically this translates into emotionally powerful week of concerts is what makes this Festival exciting for me music. At times you will hear music that shouts of joy and and for our Board. I hope you take the time to participate in dances with a zeal for living which is second to none. At as many events as possible during this intense and exciting others, you will hear wails of pain and suffering from the week. And please – we are a new and growing organization hardships of a rural and transitory life. – if you enjoy what you hear, pass on the word to others and Composers such as Bartok, Brahms, Kodaly, De Falla, consider making a contribution to support next year’s and Dohnanyi were not Romani people themselves. They season. utilized the music of these people as a symbol of national

CVCMF 2011

Timbre Tales A CVCMF Concert for Children July 31st 1 p.m. | 3 p.m. Phelps Youth Pavilion Like chameleons that change their color to blend into their surroundings, so too must musicians blend their sounds to make beautiful music. Join CVCMF along with Lily the Chameleon as we explore the connections between visual color and musical timbre. Craft activities led by the Phelps Pavilion staff begin at 1 p.m. and 3 p.m. musical performances by CVCMF artists being at 2 p.m. and 4 p.m. FREE Admission

Generously underwritten by the Friends of the Waterloo Center for the Arts and Dr. Michael and Joni Hollen

Gypsy Airs

CVCMF 2011

July 30, 7 p.m. St. Timothy’s United Methodist Church

Marko Tajčevic (1900 - 1984)

Seven Balkan Dances

Con moto Rustico Vivo Sostenuto e cantabile Allegro ritmico Allegretto Allegro quasi pesante Jennifer Stevenson, clarinet Nathan Cook, cello Lee Schmitz, piano

Antonin Dvorak (1841-1904)

Zigeunermelodien (Gypsy Songs) op. 55

Mein Lied ertönt Ei! Ei, wie mein Triangel wunderherrlick läutet Rings ist der Wald so stumm und still Als die alte Mutter Reingestimmt die Saiten In dem weiten, breiten luft’gen Leinenkleide Darf es Falken Schwinge Tatrahöh’n umrauschen Karen Holvik, soprano Korey Barrett, piano

Intermission Johannes Brahms (1833 - 1897)

Piano Quartet in g minor op. 25

Allegro Intermezzo. Allegro ma non troppo—Trio. Animato Andante con moto Rondo all Zingarese. Presto Timothy Peters, violin Julia Bullard, viola Nathan Cook, cello Korey Barrett, piano

CVCMF 2011

Program Notes : Gypsy Airs Seven Balkan Dances (1926)

Marko Tajčevic (1900-1984) was born in the town of Osijek in Croatia. He acquired much of his fame as a composer because of the popularity of the Dances heard this evening. Originally composed for solo piano, these dances were a favorite work among many 20th century solo pianists, including the notable Arthur Rubenstein. The popularity of this work never translated into fame and fortune for Tajčevic, but it did for his publishers. During his lifetime, this piece has been arranged for violin and piano, orchestra, wind quintet, and the clarinet trio heard this evening. Maximizing the profit of a work through arrangement is not uncommon and will be seen in other works on this season’s program. The set opens with the clarinet imitating a popular Serbian folk-instrument called the frula; a cylindrical shepherd’s flute played while herding flocks. The next two works are contrasting dances; the first is a vigorous, quite heavy peasant dance from the Slavic region, while the second is lighter in character with two short melodies that alternate several times in a quasi-rondo structure. These are followed by two metrically uneven dances, typical of the Balkan region. The centerpiece fourth dance utilizes an asymmetrical 7/8 time-signature throughout while the fifth dance constantly changes its meter between 4/8, 5/8, 3/8, 7/8, and 3/4 - making for an unsettling rhythmic experience. This feeling of irregularity is maintained through the sixth dance by means of shifting accents, while the time signature (2/4) remains constant. The entire movement is delicate in character, its dynamic markings ranging only from ppp to mf. The final seventh movement concludes the set in a grandiose manner. This work quotes a well-known Serbian folksong called the ‘Bulgarian hora,’ a type of peasant round dance.

Seven Gypsy Melodies op. 55 (1880) The words and spirit of this song cycle came from a collection of poems entitled Gypsy Melodies that the poet, Adolf Heyduk (1835-1923), published in 1859. These poems were inspired by the traditional verses of the Gypsies of Slovakia, a mountainous land then considered by the more westernized Bohemians to be wilder and more exotic than their own. The themes that run through theses texts would be attractive to any composer; many of them revolve around singing and dancing. The fourth number of the set, widely known as Songs My Mother Taught Me, became one of Dvorak’s best-loved melodies and has been transcribed for violin, cello, and various other instruments. Along with the fiery sentiments commonly associated with the Gypsies, these songs portray tenderness, melancholy, love, and an unquenchable thirst for freedom and independence.

Piano Quartet in g minor op. 25 (1857- 1861) Composing ensemble music was a labor of love for Brahms. Unlike many other composers, however, he labored intensely—often for months and even years—through multiple revisions. The Piano Quartet, Op. 25 is no exception, work on it began while the 24-year-old Brahms was living in his hometown of Hamburg, Germany, and ended after he moved to the small town of Hamm, an idyllic setting in which he could compose in relative isolation. Shortly afterwards (1862), Brahms moved to make his mark in Vienna, and this work proved seminal in spreading news of his arrival. Even in this youthful work, one can hear many of the hallmarks of Brahms’ style. The opening motive of the first movement—a four-note idea in the piano immediately inverted and spread throughout the string ensemble—provides a good example. But what really made this piece popular in Vienna is the finale a rondo alla Zingarese. The use of Hungarian dances and Gypsy melodies—begun by Haydn and carried forward by Schubert, Liszt, and others—would become a hallmark of Brahms’ output. The allure of this “provincial” music might have been expected of a society so attracted to the developing melodic and harmonic traditions of 19th Century Romanticism.

9 Zigeunermelodien

1. Mein Lied ertönt, ein Liebespsalm, beginnt der Tag zu sinken, und wenn das Moos, der welke Halm Tauperlen heimlich trinken. Mein Lied ertönt voll Wanderlust, wenn wir die Welt durchwallen, nur auf der Puszta weitem Plan kann froh mein Sang erschallen. Mein Lied ertönt voll Liebe auch, wenn Heidestürme toben; wenn sich befreit zum letzten Hauch des Bruders Brust gehoben! 2. Ei! Ei, wie mein Triangel wunderherrlich läutet! Wie Zigeunerlieder, wenn zum Tod man schreitet! Wenn Triangelklänge mich zum Tod begleiten, ist's mit Tanz und Liedern aus für alle Zeiten! Lieder, Reigen, Liebe aus für alle Zeiten. 3. Rings ist der Wald so stumm und still, das Herz schlägt mir so bange; der schwarze Rauch sinkt tiefer stets, die Träne trocknend meiner Wange. Doch meine Träne trockne nicht, sollst anders wohin wehen! Wer auch im Schmerz noch singen kann, der lebt, nicht wird sein Lied vergehen! 4. Als die alte Mutter mich noch lehrte singen, sonderbar, daß Tränen ihr am Auge hingen. Jetzt die braunen Wangen netzen mir die Zähren, wenn ich will die Kinder Sang und Spielen lehren! 5. Reingestimmt die Saiten! Bursche tanz' im Kreise! Heute froh, überfroh noch heute, morgen trüb' nach alter Weise! Nächsten Tag am Nilstrand, der den Vätern heilig, reingestimmt, reingestimmt die Saiten, in den Tanz, in den Tanz spring eilig! 6. In dem weiten, breiten, luft'gen Leinenkleide freier der Zigeuner als in Gold un Seide! Jaj! der gold'ne Dolman schnürt die Brust zu enge, hemmt des freien Liedes wanderfrohe Klänge. Wer beim Schwung der Lieder wahre Lust empfindet, wünscht, daß alles Gold jetzt aus der Welt verschwindet! 7. Darf des Falken Schwinge Tatrahoh'n umrauschen, wird das Felsennest nicht er mit dem Käfig tauschen. Kann das wilde Fohlen jagen durch die Heide, wird's an Zaum und Zügel finden keine Freude. Hat Natur Zigeuner etwas dir gegeben, ja zur Freiheit schuf sie mir das ganze Leben.

Gypsy Melodies 1. My song sounds of love when the old day is dying; it is sowing its shadows and reaping a collections of pearls. My song resonates with longing while my feet roam distant lands. My homeland is in the distant wilderness my song stirs with nationalism. My song loudly resounds of love while unplanned storms hasten. I'm glad for the freedom that I no longer have a portion in the dying of a brother. 2. Ah! Why is my three-cornered bell ringing so passionately? As a gypsy song when death is imminent the death of a gypsy brings an end to song, dance, love and all concerns! To song, dance, love and all concerns! 3. The forest is quiet all around; only the heart is disturbing the peace. As if black smoke is flowing, tears flow down my cheeks and so they dry. They need not dry let other cheeks feel them. The one who can in sorrow sing will not die but lives and lives on. 4. When my old mother taught me to sing, Strange that she often had tears in her eyes. And now I also weep, when I teach gipsy children to play and sing! 5. The string is taut - young man turn, spin, twirl! Today reach the heights, tomorrow down again and after tomorrow, at the holy table of the Nile. The taut string is stretched - turn young man - turn and twirl! 6. Wide sleeves and wide trousers have more freedom than a robe of gold. The robe of gold constricts the chest and the song within the body dies. He who is happy - his song blooms with wishes that the whole world would lose its taste for gold. 7. Given a cage to live in made of pure gold, the Gypsy would exchange it for the freedom of a nest of thorns. Just as a wild horse rushes to the wasteland, seldom bridled and reined in, so too the gypsy nature has been given eternal freedom.

The Hungarian Cimbalom Sponsored by the Waterloo Center for the Arts

August 2, 6 p.m. Waterloo Center for the Arts- Town Hall Matthew Coley, cimbalom, dulcimer, and darabukka Korey Barrett, piano Hunter Capoccioni, bass Nathan Cook, cello Timothy Peters, violin Jennifer Stevenson, clarinet

Sergiu Creţu

Brîu

arranged for cimbalom and piano Valeriu Luţă

Johannes Brahms

Ungarische Tänze (Hungarian Dances)

arr. Alfred Piátti/ensemble arr. Matthew Coley No. 1 No. 2 No. 3 No. 5

Allegro molto Allegro non assai Allegretto Allegro

Sergiu Creţu

Doina de Jale for cimbalom solo

Gypsy traditional

7/8 Romanian Doda

transcribed and adapted Mary Ann Harbar/en. arr. M. Coley

Bjorn Berkhout Forward Intermission Gypsy traditional Song tran. and ed. Mary Ann Harbar/en. arr. M. Coley

Moldavian Hora, Clarinet Csárdás, and Romanian Train Song Gypsies Around Europe

Spanish - Soleares Irish – She Moved Through the Fair Hungarian – Anyám Szive Rumanian – Din Plaiurile Romanei Russian – Beryuzoviye Kalyechke Gypsy traditional/arr. and ad. Theodore Bikel/en. arr. M. Coley

Sergiu Creţu arr. for cimbalom and piano by Valeriu Luţă

Fantezie

The Cedar Valley Chamber Music Festival would like to thank Cammie Scully, Johanna Weston Kramer and all the WCA staff for sponsoring CVCMF’s four-day residency.

Hungarian Rhapsody August 4, 7 p.m. Waterloo Center for the Arts- Schoitz Room

Sponsored by the Waterloo Center for the Arts

Zoltán Kodály (1882- 1967)

Duo for Violin and Cello op. 7

Allegro serioso non troppo Adagio Maestoso e largamente, ma non troppo lento Timothy Peters, violin Nathan Cook, cello

Bela Bartok (arr. Zoltan Szekely) (1881 - 1945)

6 Romanian Folk Dances for violin and piano

Stick Dance Brăul Dance of Bachum Romanian Polka Fast Dance In one spot Emily Osinski, violin Lee Schmitz, piano

Bela Bartok (1881 - 1945)

Contrasts for clarinet, violin, and piano Recruiting Dance (Verbunkos): Moderato, ben ritmato Brăul Relaxing (Pihenö): Lento Sebes: Allegro vivace Jennifer Stevenson, clarinet Emily Osinski, violin Lee Schmitz, piano

Ernst von Dohnányi (1877 - 1960)

Sextet for Piano, Clarinet, Horn, and String Trio, op. 37

Allegro appassionato Intermezzo: Adagio Allegro con sentimento Finale: Allegro vivace, giocoso Tina Su, horn Jennifer Stevenson, clarinet Timothy Peters, violin Julia Bullard, viola Nathan Cook, cello Korey Barrett, piano

Program Notes : Hungarian Rhapsody Duo for Violin and Cello op. 7 (1914)

Though composed in 1914, Kodály’s Duo for violin and cello did not receive its premiere until a decade had passed, due to the intrusion of World War I. Along with the duo of Maurice Ravel (1920) this work has quickly become a cornerstone of a small, yet interesting, repertoire for these two instruments. The Duo, which plays off the technical capabilities of its participants with supreme flair, grows from thematic ideas that are related to the metric style of old Hungarian folk music mixed with a kind of rhythmic flexibility, a “give and take” of the tempo that is called rubato. The melodic content unfolds by means of rich decoration in a passionate display of temperament that during the nineteenth century had been considered typical of "gypsy music." Prepare yourself for a work that sets the Hungarian tone for the evening through an outpouring of passionate and virtuosic gestures, sweeping melodic ideas, and vibrant colors.

Rumanian Dances for Violin and Piano (1915) This set of dances is based on folk music collected by Bartok from peasants and Gypsies in the Romanian countryside. Since all of the movements are based on dances, each one is necessarily short—some less than two minutes in length. Bartok’s genius for harmonic and timbral color is evident here, where short, simple melodic ideas invite decoration. Each dance is derived from sounds either heard in a particular region or associated with a particular dance style—for example the “Stick dance” from the Maros-Torda region, or the “Dance of the Buscum people.” Originally composed for solo piano, the popularity of the Dances has led to numerous transcriptions, including tonight’s re-arrangement for violin and piano.

Contrasts for Clarinet, Violin, and Piano (1938) This work, Bartok’s only trio, was written at the request of two famous musicians: the Hungarian violinist, Joseph Szigeti, and none other than the American-born Benny Goodman. Not many people think of Goodman as anything more than a talented band leader, yet he wrote several important works for the clarinet during his lifetime, and many more were inspired by his considerable virtuosity. Originally entitled Rhapsody, the work received the first of its two Carnegie Hall premieres in January of 1939. Only two movements were performed at that time (there is some debate as to whether or not the second movement was omitted, or did not yet exist at this time). In any case, slightly more than a year later a re-named work, “Contrasts” (containing an atmospheric middle movement—Pihenö), was presented by Szigeti and Goodman, and subsequently recorded for Columbia records. The work was a big success—due, in part, to Goodman’s association with it—and helped to solidify Bartok’s reputation in America. The first movement, Verbunkos, is patterned after a recruiting, or enlistment dance in which an officer in full regalia would dance around to spirited music—ostensibly to entice young men to enlist (a substantial amount of alcohol was usually involved). The second movement, Pihenö (relaxation), is a nocturne with sounds taken from the evening countryside: frogs, birds, insects, and the “sound” of the darkness that hides them from view. Sebes (fast dance) the third and concluding movement, is marked by the necessity for the violinist to use two instruments--one with a scordatura tuning (literally mistuning, in Italian) for some portions of the movement. Complementing the unusual harmonic sections are the mixed meters of Bulgarian folk dancing, a sort of off-kilter switching pulse pattern of 3 + 2 + 3 | 2 + 3. Sextet in C major op. 37 (1935) Ernst von Dohnányi is better known today as a great pianist of the 20th century or through his grandson, the famous orchestral conductor Christoph von Dohnányi. The Sextet is quasi-orchestral in sound and texture, having a wind section (clarinet and horn), a string section (violin, viola, cello) and a virtuoso piano part to fill out the texture. The aptly titled Allegro appassionato opens with that orchestral sound: the horn sounds a commanding theme over heavy piano chords and busy cello arpeggios; a theme that will recur throughout the Sextet. The mood changes completely in the Intermezzo, which is nocturne-like in its subdued atmosphere, gliding along in a 12/8 meter. Dohnányi interrupts this reverie with a malevolent march that breaks in upon the peace of the opening and these two quite different kinds of music alternate across the movement. The following Allegro con sentimento is episodic: the opening gives way to a presto in 6/8, followed in turn by a suave interlude for the strings, while along the way, alert listeners will hear reminiscences of the opening horn call. The music accelerates and then rushes without pause into the fast finale, which Dohnányi specifies should be giocoso (happy). This movement has been called a “jazz parody,” and certainly its main idea has a perkiness that might recall jazz. A second theme dances jauntily and these high spirits prevail until the horn call from the opening movement returns to drive the Sextet to a most emphatic conclusion.

Cirque de Musique

August 7, 3 p.m. Bethlehem Lutheran Church

Ron Ford

Circus Mini’s

b. 1959 circus 1 circus 2 circus 3 circus 4 circus 5 Heather Armstrong, oboe Jennifer Stevenson, clarinet Timothy Peters, violin Julia Bullard, viola Hunter Capoccioni, double bass

Sergey Prokofiev (1891 - 1953)

Quintet for oboe, clarinet, violin, viola, and double bass op. 39 Theme and Varations Andante energetico Allegro sostenuto, ma con brio Adagio pesante Allegro precipitato, ma non troppo presto Andantino Heather Armstrong, oboe Jennifer Stevenson, clarinet Timothy Peters, violin Julia Bullard, viola Hunter Capoccioni, double bass

Intermission

George Enescu (1881 - 1955)

Romanian Rhapsody no. 1 op. 11 arr. for string quintet and piano

Frederick Halgedahl, violin Emily Osinski, violin, Kathleen Sihler, viola Nathan Cook, cello Hunter Capoccioni, double bass Lee Schmitz, piano

Manuel de Falla (1876 - 1946)

Pantomime and Ritual Fire Dance from “El Amor Brujo”

Frederick Halgedahl, violin Emily Osinski, violin, Kathleen Sihler, viola Nathan Cook, cello Hunter Capoccioni, double bass Lee Schmitz, piano

Program Notes: Cirque de Musique

Circus Mini’s (2010) Dr. Ron Ford makes his living as a composer and music critic working in The Hague, though his roots are actually Midwestern. Born in Kansas City, Missouri, he completed his undergraduate education at Duke University. After moving to the Netherlands in 1983, he studied at conservatories in Sweelinck and The Hague. Of tonight’s offering, the composer shares the following: “Circus Mini’s was originally written for Ensemble Caméléon that made a concert program around the composition Trapeze, by Prokofiev. I made five short and contrasting movements for this unusual ensemble setting, all based on the same musical material, and tried in each movement to put one of the five instruments in the spotlight.”

Quintet op. 39 (1924) By 1924 Serge Prokofiev had settled in Paris after a brief stint in the U.S. His career was inviting comparisons with Stravinsky’s and Rachmaninov’s, and his ballet The Love for Three Oranges was well received on both sides of the Atlantic. Despite this level of success, in July of that year he found himself in need of money and accepted a commission to compose a ballet for a small touring Russian Dance troupe that wished to present a program of several short pieces accompanied by five instruments. Prokofiev proposed a quintet consisting of oboe, clarinet, violin, viola, and double bass for the program’s simple plot based on circus life. The ballet was entitled Trapeze and, for the most part, the work was not received well—either by the ballet or the public. Part of this was due to a more experimental period in Prokofiev’s compositional thinking, but it was mainly due to the difficulty of score for both the choreographer and the five Parisian musicians who were unable to perform the technical challenges of the music with any confidence. Later, Prokofiev reworked the unpublished score into this six-movement suite. In 2002, the original music to the ballet suite was discovered and since then has been revived by a number of prominent ballet companies.

Rumanian Rhapsody no. 1 (1901) Rhapsodies are works in one movement with multiple contrasting sections that are freely linked together. One might make an analogy to a group of short stories that are linked together as a literary collection presented in one book. Enescu wrote two Romanian (Rumanian) Rhapsodies for orchestra in 1901 and 1902, respectively. Similar to Ravel’s feelings toward Bolero, Enescu had a love/hate relationship with these works as their popularity largely overshadowed his substantial, more mature compositional output. The composer even slighted the first Rhapsody by saying that the work was essentially “just a few tunes thrown together without thinking about it” but sketches of the work show evidence that he continually re-worked the score and was indeed sensitive to its structure. Additionally, Enescu programmed and conducted the work on the New York Philharmonic’s 1953 season, his farewell concert as an orchestral conductor before his death two years later. There are many tunes in this work that unfold right from the start. The opening quotes the folksong Am un leu si vreau sa-l beau, which roughly translates, “I have a coin, and I want to drink.” From there other sections of lively folk melodies and dances are linked together, building into one large crescendo, starting simply and spaciously, and slowly building up to the concluding whirlwind of a folk dance.

Selections from El Amor Brujo (1914-15) The season concludes with two selections that are most often heard in their symphonic context. Like Prokofiev’s Quintet, the music at one point was meant to accompany a ballet but is more often heard in the concert hall. This is particularly true of the “Ritual Fire Dance,” made so popular by the Cincinnati and Boston Pops after World War II. The ballet roughly translates as “Love, the Magician” and centers around a young gypsy girl named Candela who is widowed and subsequently falls in love with the equally young Carmelo. The dead husband of Candela returns to haunt the lovers, and it takes the entire gypsy community to perform a fire ritual that will vanquish the ghost from the mortal world. The ending of the fire dance builds in a fashion similar to the Romanian Rhapsody, with a whirlwind dance between Candela and the ghost of her husband moving faster and faster closer to the fire until the magic of the ritual forces the ghost into the fire never to return. The two excerpts you hear tonight are not transcriptions (as is the case with the Rhapsody) but are selections from the original 1914-15 version work for mezzo-soprano, actors, and chamber ensemble. That format premiered unsuccessfully, but De Falla re-orchestrated the work, turning it into the ballet that is more often performed today.

Thank you! CVCMF could not sustain its mission without support from the following donors. We would like to thank the following organizations and individuals for their continued support, and invite you to join them for the coming year.

Prestissimo $1,500+

John Mardis

Community Foundation of Northeast Iowa

Marleta Matheson

Presto $1,000-$1,499

Augusta Schurrer

Waterloo Convention and Tourism Bureau

Willa R. Smith

Cedar Falls Tourism and Visitors Bureau

Robert D. and Alice M. Talbot Michael and Laura Walter

VIVACE $500-$999

Waterloo B Natural Music

Dave and Ruth Buck

CU Restaurant and The Cellar

Stephen and Nancy Gaies Howard Vallance Jones, Jr.

ANDANTE $50-$99

Robert and Helen Hill

Janet Drake

Dr. Kent and Barbara Opheim

Charlene Eblen Elner Edsill

ALLEGRO $250-$499

Judith Harrington

Jo Capoccioni

Humble Travel

Angeleita Floyd

Rodney and Sara Lair

Dr. Matthew Glascock

Nancy Lemons

Wesley and Barbara Heitzman

Diane Phelps

Steve and Janice Moore

Thomas Schilke

Thomas and Charlotte Strub

William Teaford

Joni and Michael Hollen

West Music

MODERATO $100-$249

ADAGIO $20-$49

Dalila and Edward Amend

Harold and Barbara Corson

Greg and Barbara Brandt

George and Sandy Glenn Joel and Linda Haack

Hunter Capoccioni Shirley Cropper Henry Edsill Shela Fretwell

Jean Hall Carolyn Haurum Wanda Reece Michael and Linda Rickert

John and Dorothy Glascock

Jan VanMetre

Dr. Vaughn and Judy Griffith

Gary and Linda Waldon

Jacqueline and Scott Halbloom

Thomas Fereday

Lucinda and Roger Lear

Hugh C. Pettersen

**As of July 19th. 2011

2011 Season Festival Artists Heather Armstrong is Assistant Professor of Oboe and Music Theory at Luther College. She plays principal oboe with the Waterloo-Cedar Falls Symphony and has been a regular player with CVCMF the past three seasons . Dr. Armstrong received her MM and DMA degrees from the Eastman School of Music where she studied with Richard Kilmer. Before teaching at Luther College she held teaching positions at Houghton College, Hochstein School of Music and Dance, Roberts Wesleyan College, Eastman Community Music School, and Csehy Summer School of Music. Armstrong is dedicated to supporting and performing new music, and has received grants from the Hanson Institute of American Music and Luther College’s Ylvisaker Endowment for Faculty Growth to support the commissioning and performing of new pieces. Korey Barrett is vocal coach at the University of Northern Iowa. His background includes training as a vocal coach, accompanist, pedagogue and singer. He is an active recitalist and masterclass clinician. Most recently he served as coach and pianist for four seasons at Des Moines Metro Opera, served on faculty at the University of Oklahoma, was resident artist coach and accompanist at the Minnesota Opera, and worked at Opera North, The Ohio Light Opera, the Columbus Academy of Vocal Arts, as well as on projects with the Saint Paul Chamber Orchestra, Minnesota Orchestra, and Eastman School of Music Summer Institute. Barrett received his Doctoral degree in piano accompanying and chamber music from the Eastman School of Music in Rochester, NY.

Julia Bullard is Associate Professor of Viola at the University of Northern Iowa. She holds degrees from Temple University (B.M., M.M.) and the University of Georgia (D.M.A.), and studied with notable violists Joseph dePasquale (former principal violist, Philadelphia Orchestra) and Emanuel Vardi, among others. She is also on the faculty of the Madeline Island Music Festival in Wisconsin. Dr. Bullard has performed across the US and in Europe, Central and South America. She recently performed on the deBlasiis Chamber Music Series in Glens Falls, NY, and gave master classes and performed in chamber recitals at the University of Iowa, Drake University in Des Moines, and the University of Illinois, Champaign-Urbana. In 2011, she was named Studio Teacher of the Year by the Iowa String Teachers Association

Hunter Capoccioni has been Instructor of Double Bass at the University of Northern Iowa since 2007. Before that appointment he served as Principal Double Bass of the Norske Opera in Oslo, Norway (2006) and as Associate Principal Bass of the Norrlands Opera Orchestra in Umeå, Sweden (2003-05). Mr. Capoccioni received his M.M. and B.M. from Rice University where he studied with Paul Ellison and is currently finishing his Doctorate of Music Performance degree at the University of Illinois Urbana Champaign where he studies with Michael Cameron. He is the founder and Artistic Director of the Cedar Valley Chamber Music Festival and loves to hear your feedback after every concert.

2011 Season Festival Artists Matthew Coley is a marimba, percussion, and cimbalom/dulcimer artist specializing in contemporary solo and chamber music. He performs regularly as a soloist throughout the US and Europe, and has been to Germany, Denmark, Sweden, Finland, Moldova and universities in over 13 states to perform concerts, concerto premieres, and master classes. He has performed as soloist with such ensembles as the San Francisco Sinfonietta, Chicago Metropolitan Orchestra, Moldavian Philharmonic and Tele-Radio Orchestras, and Kurpfalzisches Kammerorchester Mannheim. Coley has also been featured three times on Chicago’s Classical Radio Station and in a feature article in Time Out Chicago Magazine. Additionally, he has worked with over 10 composers for new percussion or dulcimer works. In 2010, he released his album, “Circularity”, and will release another album in 2011. www.hearmatthewcoley.com Cellist Nathan Cook holds master's and doctoral degrees from the Shepherd School of Music at Rice University in Houston, Texas where he studied with Norman Fischer. Critically recognized for his "authoritative yet relaxed" playing and his "sweet and pliant" sound (Houston Chronicle), his solo and chamber performances have been heard on regional NPR stations in Buffalo, Houston, and across Iowa, as well as on regional and National CBC Radio (Canada) broadcasts. Nathan is a founding member of the St. John's-based Hot Earth Ensemble with flutist Michelle Cheramy and harpsichordist Mary O'Keeffe, and he and Michelle also perform together as the Exorior Duo. Nathan is the coordinator of the chamber music program for the School of Music at Memorial University of Newfoundland. Violinist Frederick Halgedahl has taught at the University of Northern Iowa since 1986, and maintains a full studio of undergraduate and graduate students. After a successful early career in symphony orchestras (the National Symphony, the Stattsorchester Hamburg and the North German Radio Symphony) he entered academia with faculty positions at Western Washington University and the University of Oklahoma. Though Halgedahl’s varied interests have led to published research with physics professor Roger Hanson, and to seminars on British and American poetry, both at UNI and at the Russian State Pedagogical Institute, in St. Petersburg, he remains an active performer, heard most recently in recital at UNI in April, and featured in May on the Gallagher Bluedorn’s Crème de la Crème 11 with frequent collaborator Sean Botkin.

Soprano Karen Holvik brings a wealth of experience in many styles of music to her performances. She began her singing life in the world of popular music and jazz, but set her sights on a career in classical music while earning a Master’s Degree and Performer’s Certificate in opera at the Eastman School of Music. After touring with San Francisco Opera's Western Opera Theater, Ms. Holvik settled in New York City where she pursued an eclectic musical path, building a large repertoire of concert music, oratorio and operatic roles. Ms. Holvik taught at the University of Missouri-Columbia, Vassar College, New York University, and the Eastman School of Music before joining the faculty at the New England Conservatory, where she was recently appointed Chair of the Voice Department.

2011 Season Festival Artists Timothy Peters, received his Bachelor of Music degree from the Cleveland Institute of Music and his Master of Music degree from Rice University. An avid chamber musician, Peters has been a member of both the Degas Quartet and the Brutini String Quartet, Mr. Peters was also a prizewinner at the 1998 Fischoff National Chamber Music Competition Peters has performed with the Houston, San Diego, and San Antonio Symphonies, as well as the Houston and Sarasota Opera. He has made many festival appearances including Concertmaster of the Spoleto and National Orchestral Institute. His teachers have included William Preucil, David Updegraff, Kenneth Goldsmith, and James Buswell. Mr. Peters currently resides in Houston, Texas.

Emily Osinski graduated from the Eastman School of Music in 2006 (B.M. Violin Performance) as a student of Mikhail Kopelman. She performs regularly as Concertmaster of the Roberts Wesleyan College Community Orchestra, Assistant Concertmaster of the Orchestra of the Southern Finger Lakes, Osinski is also a member of the Marini String Ensemble and was the solo violinist with Geva Theatre's 30th anniversary production of Sweeney Todd. She is a regular substitute with the Syracuse Symphony (now Symphony Syracuse) and Binghamton Philharmonic. She teaches privately at home and is a chamber music coach at the Hochstein School of Music and Dance. Osinski resides in Rochester, NY with her husband and new baby boy.

Lee Schmitz began his study of music in Anchorage, Alaska at the age of five and later moved to Cedar Falls, Iowa where he studied piano with Joan Smalley and John Halstad. He has performed across the United States, as well as in Saint Petersburg, Russia and in different cities in France. He can also be heard on his father’s commercially distributed CD, 90’s Time Flow. He recently received his Masters Degree of Music in Collaborative Piano at the Cleveland Institute of Music where he studied with Anita Pontremoli and Elizabeth DeMio. In May of 2007, he was offered a job as staff accompanist at the Cleveland Institute of Music and currently resides in Cleveland Heights, Ohio.

Kathleen Sihler, principal violist of the WCFSO, received performance degrees from Oberlin Conservatory of Music and SUNY at Stony Brook. Summer performing appearances have included the New Hampshire Music Festival, the Kinhaven Music School, the Oregon Bach Festival and the Tanglewood Music Center. Locally, she has also been Associate Principal Viola with the Cedar Rapids Symphony, guest chamber musician with UNI School of Music faculty and other area artists, and a teacher with the UNI Suzuki School. In addition to performing, Ms. Sihler is the Operations/Education Manager and Music Librarian for the WCFSO.

2011 Season Festival Artists Dr. Jennifer Stevenson, an Iowa native, received her DMA from USC, her MM from Rice University and her BM from DePaul University. Currently a free-lance musician in Los Angeles, she performs with the chamber music ensembles the Definiens Project and the Vientos Trio. Jennifer's compositions have been premiered at multiple festivals, including the International Clarinet Association's Clarinetfest, the Fresno New Music Festival, and the Cedar Valley Chamber Music Festival. A multiple recipient of the Meet the Composer's Creative Connections grant and an American Composer's Forum SUBITO Grant, a CD of her musical stories for children was recently released through Tessella Music. At USC, Jennifer teaches piano and composition lessons, a course in counseling, and a course in American culture for international students.

Dr. Yu-Ting (Tina) Su was appointed Assistant Professor of Horn at the University of Northern Iowa in 2006. From 2000 to 2006, Dr. Su was a member of the Taipei Symphony Orchestra, and has toured with the group to Spain and Austria. As a soloist, Dr. Su was chosen to give recitals for the "1999 Rising Stars" and the "2003 National Concert Hall Soloists" Series in Taiwan. Dr. Su was featured as soloist with the Pro Arte Orchestra, Taipei Symphony Orchestra and Taipei Philharmonic Orchestra. Besides orchestral performances and solo recitals, Dr. Su is also an active chamber musician. She founded the horn quartet, Wonder Horns, with colleagues from the Taipei Symphony Orchestra. Dr. Su is also the founding member of Ars Nova woodwind quintet, which won the NTSO Chamber Music Competition in 2005.

CVCMF 2011 Board of Directors Wes Heitzman Stephen Gaies Robert Hill Jo Capoccioni

President

CVCMF 2009 CD/DVDs on Sale Before and After Each Concert

Secretary Treasurer Past-President

Lucinda Lear Dave Buck Hunter Capoccioni CVCMF is currently looking for patrons interested in serving on our board. Please see a current board member for more information.

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Sunday, October 30, 2011 3 p.m. Adult: $38, $33, $18 Youth: $38, $27, $15 Within just a few short years, the Hugo Wolf Quartet has developed from a chamber music lover’s insider tip to one of the most sought-after string quartets of its generation.

Hugo

t e t r a u Q f l o W Selections to include: Mozart E-flat Major KV 428 Webern 1905 Schubert G Major D 887

The International Hugo Wolf Society of Vienna allowed this ensemble, founded in 1993 at the Vienna University for Music, to use the composer’s name. Shortly thereafter, the quartet won the Fifth International String Quartet Competition in Cremona, took first prize at the 45th International G.B. Viotti Chamber Music Competition, the European Chamber Music Prize and Special Prize of the Vienna Philharmonic Orchestra.

*Program subject to change

www.gbpac.org

Morgenstern Trio Thursday, April 26, 2012 , 7:30 p.m. Adult: $38, $33, $18 Youth: $38, $27, $15 To name a piano trio after the popular 19th century German poet Christian Morgenstern was the inspiration of Catherine Klipfel, piano, Stefan Hempel, violin, and Emanuel Wehse, cellist, who met during their studies at the Folkwang Conservatory in Essen, Germany. After only two short years of working together, the Morgenstern Trio emerged on the German music scene by continuously being awarded top prizes and awards. In January 2010, the Kalichstein–Laredo-Robinson Trio Award elected the Morgenstern Trio for the most prestigious piano trio prize in the U.S. Sponsored by UNI College of Humanities, Arts and Sciences

Selections to include: Schubert Quartet Movement C-Minor Schumann String Quartet No. 2 Hugo Wolf String Quartet D-Minor *Program subject to change