2019 Cliburn Festival: Iconic Paris Program Book

2 0 1 9 C L I B U R N F E S T I VA L

ICONIC PARIS FEBRUARY 14 –17, 2019

MODERN ART MUSEUM OF FORT WORTH

SPONSORED BY

FESTIVAL NOTES

BY SANDRA DOAN

For Cliburn Festival this year, we invite you to escape to the Golden Age of Paris, home of freewheeling bohemie and intellectual vigor, existing side by side at the turn of the century.

After a tumultuous period of far-reaching social and political upheaval dating from the French Revolution, the establishment of the Third Republic in 1871 ushered in the beginning of modern democratic institutions in France and a long period of optimism, political peace, and economic prosperity. In this climate, Paris became a center of intellectualism, technology, science, and culture. The city’s population exploded from 1.99 million people in 1871 to 2.9 million by the 1900s, making it the most populous urban area in Europe. It hosted four World Fairs and two Olympic Games, built the Eiffel Tower, premiered the first public motion picture, saw the opening of Coco Chanel’s first boutique, advanced aviation and medicine, opened its first culinary schools, and perfected champagne. The open attitude in Paris— where music halls and the Conservatoire, science and religion, and political debate all lived alongside each other—not only inspired the country’s own artists but also acted as a magnet for ambitious, international talents in art, literature, and music.

With such a cosmopolitan viewpoint, it’s no surprise that classical music in France was affected, perhaps more than in any other country, by outside influences (Grieg, Chopin, Liszt, Wagner, and Stravinsky all moved to Paris and made their marks).

This openness, however, also allowed French composers to freely experiment, and they introduced a modern musical language to the world. Though their approaches took different paths, these composers maintained quintessential French qualities: sensuousness, clarity of texture, elegant restraint over emotionalism, uncompromising discipline. With the five concerts offered this weekend, we have tried to capture this spirit of the Golden Age and present some of the finest music being made at the time.

The Festival opens on Valentine’s Day—and what better way to celebrate than with the music of love created in the CITY OF LOVE? We traverse the music of four composers, writing about love and the sweetness, passion, and yes, disappointment and obsession it can bring. Berlioz’s Symphonie fantastique is widely considered to be the first great romantic symphony. He wrote this orchestral masterpiece not only to express his unrequited love for Irish actress Harriet Smithson, but to attract her attention. And it worked! When she saw its second premier in 1832, Harriet agreed to meet the composer, and they eventually married. In the second movement of this symphony, “Un bal”, arranged here for string quartet, we catch a glimpse of Berlioz’s protagonist, the Artist, whose love is unrequited, searching for his Beloved in the midst of a lively ball.

FROM FRANCE TO FORT WORTH. THE 2019 CLIBURN FESTIVAL: ICONIC PARIS SPONSORED BY AMEGY BANK

Hear the famous works of Saint-Saëns, Poulenc, Debussy, Ravel, Fauré, Franck, and more.

The iconic music of 20th Century France finds its way to the Modern Art Museum in Fort Worth—and we don’t want you to miss it! Cultural diversity is a big part of what makes Fort Worth so unique. That’s why we’re proud, once again, to sponsor the Cliburn Festival. We believe in our community, and we want to contribute in every way we can to help make Fort Worth the best place to live, work, and raise a family.

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FESTIVAL NOTES

BY SANDRA DOAN (CONTINUED)

We follow this with one of the most loved works in violin literature: Franck’s Violin Sonata, written as a wedding gift to 31-year-old virtuoso Eugène Ysaÿe and his bride. Presented to the couple the morning of their wedding, the groom premiered the work that evening after a quick rehearsal. In four movements, the sonata is by turns tender and soulful, melancholy and dreamy, passionate and cheerful.

Poulenc’s Fiançailles pour rire (“Betrothal for Laughs”) is a cycle of six charming songs about the hazards of love, set to the poems of Poulenc’s close friend, Louise de Vilmorin. At the time he started the set (during WWII), Louise was marooned with her Hungarian husband behind enemy lines, and there was no way for them to communicate. Missing her, the composer decided to write this cycle so as to have an excuse to think of her. The poetry of these six songs is modest and elegant; the overall emotional atmosphere of the cycle is sensuous, nostalgic, and bittersweet.

In 1877, Fauré finally managed to get Marianne Viardot to say yes to his marriage proposal—an engagement that took him five years to earn, and which was broken off after only four months. It was during the later stages of this relationship that Fauré wrote his First Piano Quartet; however, there is little sense of personal turbulence or tragedy in it. Only in the slow movement are there hints of the profound trauma of his engagement with Ms. Viardot; the work overall is sophisticated and lyrical, with an intensity of feeling tempered by elegance and balance.

On Friday evening, we turn to the composers who reveled in this time of innovation and creativity, ushering classical music into a new age of MODERNISM. Nadia Boulanger is one of the most famous pedagogues in history, teaching many of the 20th century’s greatest composers, soloists, arrangers, and conductors, including Aaron Copland, Elliott Carter, Daniel Barenboim, Philip Glass, and even Quincy Jones. She was at the center of French music—a protégé of Fauré, disciple of Ravel, champion of Stravinsky, and host of innumerable salons that connected her students with acclaimed musicians and friends. Boulanger was, however, also a pianist (Murray Perahia recalled being “awed by the rhythm and character” with which she played Bach), lecturer (she made visits to the BBC, NBC, Harvard, and the Royal Academy of Music, among others), conductor (she was the first woman to conduct the London Philharmonic, Boston Symphony, New York Philharmonic, Philadelphia Orchestra, and National Symphony Orchestra), and composer in her own right. The short set of Boulanger’s Three Pieces for Cello and Sonata were written in 1914.

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FESTIVAL NOTES

BY SANDRA DOAN (CONTINUED)

Poulenc’s Clarinet Sonata was written in the last year of his life; he died of a heart attack before he could hear the premiere with Benny Goodman on clarinet and Leonard Bernstein on piano. As such, it is commonly seen as “a swan song… as delightful as ever” and a summation of his career. Poulenc was not a musical revolutionary in the normal sense of the word, but his originality is clear. Self-taught as a composer, he developed his own uncompromising, distinctive style that is recognizable within a few bars. Within his work is the irreverence of music halls and buffoonery, alongside a deep religious devotion; he sought expressiveness without sentimentality. His music was a clear break from both the Wagnerian line of Romanticism and the impressionist music of Debussy and Ravel.

Paris’ Golden Age coincided with the “Golden Age of Piano,” and Ravel, without being a virtuoso pianist himself, made a significant imprint on the piano literature.

Gaspard de la nuit, written in 1908, pushed the piano and pianist to their limits.

Ravel used every technique—both musical and physical—he could to evoke images of water and sunsets, and feelings of horror and anxiety, prompting pianist Alfred Cortot to declare the set “one of the most astonishing examples of instrumental resourcefulness that I have ever witnessed in the work of composers.” For the three movements of Gaspard, Ravel selected three gothic prose poems by Aloysius Bertrand to set; they are dark and hallucinatory in nature and fantastical in the composition, but within a restrained, Classical sonata form.

In a concert about modernism, we can’t forget Stravinsky, who spent some of his most productive years in Paris. This set of Five Easy Pieces for Piano Duo, composed for his children, reflects his unique voice. Debussy is the first major composer to radically break from the Romantic continuum of Beethoven to Wagner, seeking instead a distinctively French style that valued pleasure and mood over form. The String Quartet is his first important work and a pivot point for modern music. Though written in a traditional string quartet form with four movements, his experimentation with texture, tonal effects, exotic scales, unconventional harmonies, rhythmic vitality, and sensuous spontaneity made this work completely new. Its premiere was met with a mixture of praise and bewilderment; today it is regarded as one of the great string quartets in history.

Saturday afternoon, we open the doors to a WORLD FAIR; Paris welcomed international musicians to their opera houses and concert halls, and composers imitated foreign music in their own works. Grieg is one of Norway’s most famous sons—a composer and pianist whose use of Norwegian folk music, chromatic harmonies, and transparent textures influenced the French as they were finding their own voice.

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PROGRAM FESTIVAL NOTES NOTES

BY

BY SANDRA SANDRA DOAN DOAN (CONTINUED)

His own string quartet influenced Debussy’s (heard in last night’s concert), and Ravel considered him the greatest influence on his own music, saying: “I am fairly certain that Edvard Grieg’s influence was much more significant in non-Nordic countries than here in the north. The generation of three French composers, which I am part of, was strongly attracted by Grieg’s music. Next to Debussy there’s no other composer, whom I feel more related to, than Grieg.” We will hear five short works from his collection of Lyric Pieces. Belgian violinist and composer Henri Vieuxtemps, introduced to Parisian audiences at the age of 9, is universally considered to be one of the founders of the French school of violin playing. His Viola Sonata, heard rarely in Fort Worth, is presented tonight.

Imperialism opened the door to other cultures from around the globe, and Paris’ World Fairs introduced the music of other nations; France’s composers soaked it all in. Debussy’s Estampes takes us on a journey first to East Asia (listen to the sound of Javanese gamelan music, as Debussy would have heard in the 1889 and 1900 World Fairs, and pentatonic scale common to Eastern music), then to Grenada, Spain (here, listen to the habañera rhythm and sound of the guitar), and finally home again, to a garden in Normandy during a storm. Ravel too, evokes the music of other cultures in his Piano Trio. Spain was in his blood (his father met his Basque mother in Madrid, and he grew up 11 miles from the Spanish border), and his fascination with it shows up in Boléro, Tzigane for violin, and the Spanish Rhapsody; it makes an appearance in the first movement of this trio with Basque folk melodies. The Pantoum takes its name from a Malaysian verse form, which instructs the form of the movement, if not the melodies. It closes with a passacaglia and an exuberant finale.

CAFÉ PARISIEN on saturday evening brings to you the signature French wit and enjoyment of life. Satie and Poulenc were members of the avant-garde “Les Six,” loosely aligned as an answer to Jean Cocteau’s call for a new perspective that embraced simplicity, directness, and pleasure. We open with one of Poulenc’s most popular works; the Sextet for Winds and Piano is deceptively simple, full of playfulness, virtuosity, and rhythmic vitality. Satie, who made his living playing piano in the cabaret, introduced the Gnossiennes—a form and word he made up to match these simple, unique pieces. On Saturday, two of them are paired beautifully with Chopin’s Berceuse, a lullaby of childlike simplicity and playful innocence.

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FESTIVAL NOTES

BY SANDRA DOAN (CONTINUED)

We will also hear Debussy’s L’isle joyeuse, one of his most exuberant works, detailing the rapturous love revelry of a party of aristocrats on an island sacred to Venus, goddess of love. Saint-Saëns wrote Carnival of the Animals as a bit of fun for private performances; he refused publication during his lifetime so as to not detract from his image as a “serious” composer. And Ravel’s brilliant violin sonata was inspired by American jazz and blues.

An evening in a café would be incomplete without songs. Faurés charming, frothy “Notre amour” is paired with work by some of France’s finest cabaret musicians: Edith Piaf and Kurt Weill.

The Festival closes with ICONS, beloved works by Chopin (a seminal figure in Paris), Ravel, and Franck. Chopin arrived in Paris in 1831, at the age of 21, received his French citizenship in 1835, and lived to the end of his life there. His influence on the French is clear: Debussy declared him “the greatest of all… with the piano he discovered everything.” His clean treatment of harmony, melody, and texture paved the way for French music. Chopin’s preludes, the last half of which are presented on Sunday afternoon, are brief masterpieces of feeling, technique, and form.

Ravel completed his only string quartet in 1903, at the age of 28. Modelled after Debussy’s groundbreaking quartet, his String Quartet is the work of an already-mature composer. Within the strict confines of a traditional quartet with four movements, the Quartet embodies both a broad palette of colors achieved through Ravel’s treatment of harmony, melody, and sound along with the intense craftsmanship that prompted Stravinsky one day to call him “the Swiss watchmaker.”

The Quartet appears alongside his “Mother Goose” suite, for four hands. In contrast to the coolness of his String Quartet, Ravel had a warm affection for children and wrote this set of five innocent miniatures for piano students, each based on fairy tales. We close the Festival with a Van Cliburn International Piano Competition Favorite: Franck’s Piano Quintet. Full of impassioned drama and emotional power, the winners of the Steven De Groote Memorial Award for the Best Performance of Chamber Music from the last three Competitions (2009, 2013, 2017) all played the Franck.

CLIBURN FESTIVAL: ICONIC PARIS Modern Art Museum of Fort Worth Thursday, February 14, 2019 I 7:30 pm

CITY OF LOVE Hector Berlioz Arr. Carlo Martelli

“Un bal” from Symphonie fantastique Rolston String Quartet

César Franck

Sonata for Violin and Piano in A Major Allegretto ben moderato Allegro Ben moderato: Recitativo-Fantasia Allegretto poco mosso Michael Shih, violin Dasol Kim, piano

Intermission

Francis Poulenc

Fiançailles pour rire La dame d’André Dans l’herbe Il vole Mon cadavre est doux comme un gant Violon Fleurs Twyla Robinson, soprano Dasol Kim, piano

Gabriel Fauré

Piano Quartet No. 1 in C Minor, op. 15 Allegro molto moderato Scherzo. Allegro vivace Adagio Allegro molto Luri Lee, violin Hezekiah Leung, viola Jonathan Lo, cello Dasol Kim, piano

Steinway & Sons is the official piano of the Cliburn. This concert is being recorded.

Please silence all electronic devices.

TEXTS & TRANSLATIONS Fiançailles pour rire (“Betrothal for Laughs”) Music by Francis Poulenc Original text by Louis de Vilmorin Translations by Christopher Goldsack

La dame d’André

André’s lady

André ne connais pas la dame Qu’il prend aujourd’hui par la main.

A-t-elle un cœur à lendemains, Et pour le soir a-t-elle une âme?

André doesn’t know the lady he is taking today by the hand.

Has she a heart for tomorrows, and, for the evening, has she a soul?

Au retour d’un bal campagnard S’en allait-elle en robe vague Chercher dans les meules la bague Des fiançailles du hasard?

Returning from a country ball was she leaving in a flowing dress to search in the haystacks for the ring of the betrothal of chance?

A-t-elle eu peur, la nuit venue, Guettée par les ombres d’hier, Dans son jardin, lorsque l’hiver Entrait par la grande avenue?

Had she been frightened, when, night having come, watched by yesterday’s shadows, in her garden, as winter was entering by the wide avenue?

Il l’a aimée pour sa couleur, Pour sa bonne humeur de Dimanche.

Pâlira-t-elle aux feuilles blanches De son album des temps meilleurs?

He had loved her for her colour, for her good Sunday disposition.

Will she fade upon the white pages of his album of better days?

Dans l’herbe

In the grass

Je ne peut plus rien dire Ni rien faire pour lui.

Il est mort de sa belle Il est mort de sa mort belle Dehors Sous l’arbre de la Loi En plein silence En plein paysage Dans l’herbe.

I can say no more nor do anything for him.

He died of his beautiful one he died of her beautiful death outside beneath the tree of Law in complete silence in the wide countryside in the grass.

TEXTS & TRANSLATIONS

Il est mort inaperçu En criant son passage En appelant En m’appelant.

Mais comme j’étais loin de lui Et que sa voix ne portait plus Il est mort seul dans les bois Sous son arbre d’enfance.

Et je ne peux plus rien dire Ni rien faire pour lui.

He died unnoticed shouting out his passage calling out calling out for me.

But as I was far from him and that his voice would carry no more he died alone in the woods beneath the tree of his childhood.

And I can say no more nor do anything for him.

Il vole

He flies (He thieves)

En allant se coucher le soleil Se reflète au vernis de ma table: C’est le fromage rond de la fable Au bec de mes ciseaux de vermeil.

While setting off to set, the sun reflects in the varnish of my table: it is the circular cheese of the fable in the beak of my silver scissors.

Mais ou est le corbeau? Il vole.

But where is the crow? It flies.

Je voudrais coudre mais un aimant Attire à lui toutes mes aiguilles.

Sur la place les joueurs de quilles De belle en belle passent le temps.

I should like to sew but a magnet draws all my needles to it.

On the square the skittle players pass the time from one beauty to the next.

Mais où est mon amant? Il vole.

But where is my lover? He flies.

C’est un voleur que j’ai pour amant, Le corbeau vole et mon amant vole, Voleur de cœur manque sa parole Et le voleur de fromage est absent.

I have a thief for a lover, the crow flies and my lover thieves, thief of hearts breaks his word and the thief of cheese is missing.

Mais où est le bonheur? Il vole.

But where is happiness? It flies.

TEXTS & TRANSLATIONS

Trouvez la rime à ma déraison Et par les routes du paysage Ramenez-moi mon amant volage Qui prend les cœurs et perd ma raison.

Find the rhyme to my loss of reason and along the pathways of the landscape bring me back my flighty lover who takes hearts and loses my reason.

Je veux que mon voleur me vole.

I want my thief to steal me.

Mon cadavre est doux comme un gant

My corpse is as soft as a glove

Mon cadavre est doux comme un gant Doux comme un gant de peau glaçée Et mes prunelles effacées Font de mes yeux des cailloux blancs.

My corpse is as soft as a glove soft as a glove of glacé kid and my hidden pupils make white pebbles of my eyes.

Deux cailloux blancs dans mon visage, Dans le silence deux muets Ombrés encore d’un secret Et lourds du poids mort des images.

Two white pebbles in my face, in the silence two mutes still shaded by a secret and burdened by dead weight of images.

Mes doigts tant de fois égarés Sont joints en attitude saint Appuyées au creux de mes plaintes Au nœud de mon cœur arrêté.

My fingers, so often gone astray, are joined in a devout posture leaning on the hollow of my laments on the tangle of my still heart.

Et mes deux pieds sont les montagnes, Les deux derniers monts que j’ai vus A la minute où j’ai perdu La course que les années gagnent.

And my two feet are the mountains, the two last hills that I saw at the moment when I lost the race that the years win.

Mon souvenir est ressemblant, Enfants emportez-le bien vite, Allez, allez ma vie est dite.

Mon cadavre est doux comme un gant.

My memory resembles this, children, bear it quickly away, go, go, my life is done.

My corpse is as soft as a glove.

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TEXTS & TRANSLATIONS

(CONTINUED)

Violon

Violin

Couple amoureux aux accents méconnus Le violon et son joueur me plaisent.

Ah! j’aime ces gémissements tendus Sur la corde des malaises.

Aux accords sur les cordes des pendus A l’heure où les Lois se taise.

Le cœur, en forme de fraise, S’offre à l’amour comme un fruit inconnu.

Loving couple with unrecognized accents the violin and its player please me.

Ah! I like these wailings drawn out upon the cord of discomforts.

To the chords on the ropes of the hanged at the hour when Laws fall silent.

The heart, in the form of a strawberry, offers itself to love like an unknown fruit.

Fleurs

Flowers

Fleurs promises, fleurs tenues dans tes bras, Fleurs sorties des parenthèses d’un pas, Qui t’apportait ces fleurs l’hiver Saupourdées du sable des mers?

Sable de tes baisers, fleurs des amours fanées.

Les beaux yeux sont de cendre et dans la cheminée Un cœur enrubanné de plaintes Brûle avec ses images saintes.

Promised flowers, flowers held in your arms, flowers sprouting from the parentheses of a step, who brought you these flowers in winter dusted with the sand of the seas?

Sand of your kisses, flowers of withered loves.

The beautiful eyes are of cinder and in the chimney a heart wrapped in the ribbons of laments burns with its holy images.

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CLIBURN FESTIVAL: ICONIC PARIS Modern Art Museum of Fort Worth Friday, February 15, 2019 I 7:30 pm

MODERNISM Nadia Boulanger

Three Pieces for Cello and Piano Modéré Sans vitesse à l’aise Vite et nerveusement rythmé Jonathan Lo, cello Dasol Kim, piano

Francis Poulenc

Sonata for Clarinet and Piano, FP 184 Allegro tristamente Romanza Allegro con fuoco Michael Shih, violin Dasol Kim, piano

Maurice Ravel

Gaspard de la nuit Ondine Le Gibet Scarbo Dasol Kim, piano

Intermission

Igor Stravinsky

Five Easy Pieces for Piano Duet Andante Española Balalaika Napolitana Galop Dasol Kim and Louis Schwizgebel, piano

Claude Debussy

String Quartet in G Minor, L 85, op. 10 Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré – En animant peu à peu –Très mouvementé et avec passion Rolston String Quartet

Steinway & Sons is the official piano of the Cliburn. This concert is being recorded.

Please silence all electronic devices.

CLIBURN FESTIVAL: ICONIC PARIS Modern Art Museum of Fort Worth Saturday, February 16, 2019 I 2:00 pm

WORLD FAIR Claude Debussy

Estampes Pagodes La soirée dans Grenade Jardins sous la pluie Joyce Yang, piano

Henri Vieuxtemps

Viola Sonata in B-flat Major, op. 36 Maestoso - Allegro Barcarolla: Andante con moto Finale Scherzando: Allegretto Hezekiah Leung, viola Dasol Kim, piano

Intermission

Edvard Grieg

Selected Lyric Pieces Arietta Notturno Once Upon A Time Scherzo Puck Joyce Yang, piano

Maurice Ravel

Piano Trio in A Minor Modéré Pantoum (Assez vif) Passacaille (Très large) Final (Animé) Emily Kruspe, violin Jonathan Lo, cello Louis Schwizgebel, piano PA G E

Steinway & Sons is the official piano of the Cliburn. This concert is being recorded.

Please silence all electronic devices.

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CLIBURN FESTIVAL: ICONIC PARIS Modern Art Museum of Fort Worth Saturday, February 16, 2019 I 7:30 pm

CAFE´ PARISIEN Francis Poulenc

Sextet for Wind Quintet and Piano Allegro vivace Divertissement: Andantino Finale: Prestissimo Jake Fridkis, flute Jennifer Corning Lucio, oboe Ivan Petruzziello, clarinet Kevin Hall, bassoon Molly Norcross, horn Joyce Yang, piano

Claude Debussy

L’isle joyeuse Louis Schwizgebel, piano

Gabriel Fauré Edith Piaf & Louis Guglielmi

Notre Amour La vie en rose Corrie Donovan, soprano Louis Schwizgebel, piano

Erik Satie

Gnossienne No. 4 No. 3 Berceuse Joyce Yang, piano

Frederic Chopin Kurt Weill

Je ne t’aime pas Corrie Donovan, soprano Louis Schwizgebel, piano

Marice Ravel

Sonata No. 2 for Violin and Piano in G Major Allegretto Blues Perpetuum mobile Luri Lee, violin Dasol Kim, piano

continued on next page Steinway & Sons is the official piano of the Cliburn. This concert is being recorded.

Please silence all electronic devices.

CLIBURN FESTIVAL: ICONIC PARIS continued from previous page

Camille Saint-Saëns

Selections from Le carnaval des animaux Introduction et marche royale du lion Hémiones Kangourous Le Coucou au fond des bois Pianistes Final Joyce Yang and Louis Schwizgebel, piano

TEXTS & TRANSLATIONS Notre amour

Our love

Music by Gabriel Fauré Text by Armand Silvestre Translations by Emily Ezust Notre amour est chose légère Comme les parfums que le vent Prend aux cimes de la fougère Pour qu’on les respire en rêvant.

- Notre amour est chose légère!

Our love is something light like the perfumes which the breeze brings from the tips of ferns for us to inhale as we dream.

Our love is something light.

Notre amour est chose charmante, Comme les chansons du matin Où nul regret ne se lamente, Où vibre un espoir incertain.

- Notre amour est chose charmante!

Our love is something enchanting like the morning’s songs in which regrets are not heard but uncertain hopes vibrate.

Our love is something charming.

Notre amour est chose sacrée Comme les mystères des bois Où tressaille une âme ignorée, Où les silences ont des voix.

- Notre amour est chose sacrée!

Our love is something sacred like the forests’ mysteries in which an unknown soul quivers and silences have voices.

Our love is something sacred!

TEXTS & TRANSLATIONS Notre amour est chose infinie, Comme les chemins des couchants Où la mer, aux cieux réunie, S’endort sous les soleils penchants.

Our love is something infinite like the paths of the evening, where the ocean, joined with the sky, falls asleep under slanting suns.

Notre amour est chose éternelle Comme tout ce qu’un dieu vainqueur A touché du feu de son aile, Comme tout ce qui vient du coeur, - Notre amour est chose éternelle!

Our love is something eternal like all that has been touched by the fiery wing of a victorious god, like all that comes from the heart.

Our love is something eternal!

La vie en rose

The rosy life

Lyrics by Edith Gassion Music by Louis Guglielmi Des yeux qui font baisser les miens Un rire qui se perd sur sa bouche Voilà le portrait sans retouche De l’homme auquel j’appartiens

A look in his eyes I can’t meet with mine A laugh that gets lost on his lips That’s the unaltered picture Of the man I belong to

Quand il me prend dans ses bras Qu’il me parle de tout bas Je vois la vie en rose Il me dit des mots d’amour Des mots de tous les jours Et ça m’fait quelque chose

When he takes me in his arms He speaks to me so softly Life looks rosy to me He whispers sweet nothings Everyday words And it does something to me

Il est entré dans mon cœur Une part de bonheur Dont je connais la cause C’est lui pour moi Moi pour lui Dans la vie Il me l’a dit L’a juré, pour la vie

There’s a little bit of happiness in my heart And I know the cause of it It’s you for me, me for you, forever He told me, swore it forever

Et dès que je l’aperçois Alors je sens en moi Mon cœur qui bat

And as soon as I see you I feel within me My beating heart

Des nuits d’amour à plus finir Un grand bonheur, qui prend sa place Des ennuis des chagrins s’effacent Heureux, heureux, à en mourir

Nights of neverending love Bring great happiness to me Troubles and regrets are erased Happy, I’m so happy I could die

TEXTS & TRANSLATIONS Quand il me prend dans ses bras Qu’il me parle de tout bas Je vois la vie en rose Il me dit des mots d’amour Des mots de tous les jours Et ça m’fait quelque chose

When he takes me in his arms He speaks to me so softly Life looks rosy to me He whispers sweet nothings Everyday words And it does something to me

Il est entré dans mon cœur Une part de bonheur Dont je connais la cause C’est toi pour moi Moi pour toi Dans la vie Il me l’a dit M’a juré pour la vie

There’s a little bit of happiness in my heart And I know the cause of it It’s you for me, me for you, forever He told me, swore it forever

Et, dès que je t’aperçois Alors je sens en moi Mon cœur qui bat

And as soon as I see you I feel within me My beating heart

Je ne t’aime pas

I don’t love you

Music by Kurt Weill Text by Maurice Magre Translations by Emily Ezust Retire ta main, je ne t’aime pas Car tu l’as voulu, tu n’es qu’un ami.

Pour d’autres sont faits le creux de tes bras Et ton cher baiser, ta tête endormie.

Take away your hand — for I don’t love you; Because you have wished it, you are only a friend.

Your embrace is for other people, Your dear kiss, your slumbering head.

Ne me parle pas, lorsque c’est le soir Trop intimement, à voix basse même Ne me donne pas surtout ton mouchoir : Il renferme trop le parfum que j’aime.

Don’t talk to me when it is evening In that very low voice, for it is too intimate; And especially don’t give me your handkerchief: It holds too much of the scent I love.

Dis-moi tes amours, je ne t’aime pas Quelle heure te fut la plus enivrante ?

Et si elle t’aimait bien, et si elle fut ingrate En me le disant, ne sois pas charmant.

Tell me of your loves — for I don’t love you, Tell me of your most intoxicating moment.

And if she loved you well, or if she was ungrateful, In telling me, don’t be charming

TEXTS & TRANSLATIONS

Je n’ai pas pleuré, je n’ai pas souffert Ce n’était qu’un rêve et qu’une folie.

Il me suffira que tes yeux soient clairs Sans regret du soir, ni mélancolie.

I haven’t cried, I haven’t suffered, It was only a dream— a kind of madness.

It is enough to see your clear eyes, With neither the regret of evening nor melancholy.

Il me suffira de voir ton bonheur Il me suffira de voir ton sourire.

Conte-moi comment elle a pris ton cœur Et même dis-moi ce qu’on ne peut dire.

It is enough to see your joy, It is enough to see your smile.

Tell me how she stole your heart, And tell me especially what shouldn’t be told

Non, tais-toi plutôt... Je suis à genoux Le feu s’est éteint, la porte est fermée Ne demande rien, je pleure... C’est tout.

Je ne t’aime pas, ô mon bien-aimé.

No, rather be silent... I am on my knees.

The fire has gone out, the door is closed.

Don’t ask me anything, I’m crying... that’s all.

I don’t love you, oh my beloved!

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CLIBURN FESTIVAL: ICONIC PARIS Modern Art Museum of Fort Worth Sunday, February 17, 2019 I 2:00 pm

ICONS Maurice Ravel

Ma mère l’Oye for piano four hands Pavane de la Belle au bois dormant Petit Poucet Laideronnette, impératrice des pagodes Les entretiens de la belle et de la bête Le jardin féerique Louis Schwizgebel and Joyce Yang, piano

Maurice Ravel

String Quartet in F Major Allegro moderato – très doux Assez vif – très rythmé Très lent Vif et agité Rolston String Quartet

Intermission

Frédéric Chopin

Preludes, op. 28, nos. 17–24 Louis Schwizgebel, piano

César Franck

Piano Quintet in F Minor Molto moderato quasi lento Lento con molto sentimento Allegro non topo ma con fuoco Rolston String Quartet Dasol Kim, piano

Steinway & Sons is the official piano of the Cliburn. This concert is being recorded.

Please silence all electronic devices.

ARTIST BIOGRAPHIES DASOL KIM

ARTISTS-IN-RESIDENCE

piano

2017 cliburn jury discretionary award winner

Dasol Kim is a sought-after soloist who has appeared with the New York Philharmonic in Seoul, the Tonhalle Orchestra Zurich, the Berlin Konzerthaus Orchestra, the Bavarian Radio Symphony Orchestra, the Orchestre de la Suisse Romande, the Berlin Chamber Orchestra, the MDR Leipzig Radio Symphony, Concerto Budapest, and the Belgium National Orchestra among others. He was first introduced to Fort Worth audiences as winner of the 2017 John Giordano Jury Chairman Discretionary Award.

Among his many noteworthy engagements, Mr. Kim is currently performing the complete cycle of the 32 Beethoven Piano Sonatas in Switzerland and Korea over a four-year period. In the United States, under the auspices of the Young Concert Artist Series (YCA) he made is debuts in The Peter Jay Sharp Concert at New York’s Merkin Concert Hall and in Washington, D.C. at the Kennedy Center as recipient of the Korean Concert Prize, and was featured in the PyeongChang Festival Chamber Music concerts in New York’s Alice Tully Hall and at the Kennedy Center, and returns for an encore recital at New York’s Morgan Library and Museum. Additional recent recital dates throughout the United States include appearances at the Salk Institute in La Jolla, CA, the Jewish Community Alliance in Jacksonville, FL, and Mary Baldwin University in Staunton, VA. Mr. Kim performed the Mozart Piano Concerto No. 25 at the 2018 Brevard Music Festival in North Carolina, and appeared at the Usedom Music Festival in Germany. He has also performed at the Kuhmo Music Festival in Finland, La Roque d’Anthéron in France, Kissinger Sommer in Germany, and PyeongChang Music Festival (formerly the Great Mountain Music Festival) in Korea.

Dasol Kim won First Prizes in the 2015 Young Concert Artists International Auditions in New York, 2011 Epinal International Piano Competition in France, and 2010 YCA International Auditions in Leipzig. He also won Second Prize in the 2012 Géza Anda Competition in Zurich and Third Prize at the 2011 ARD International Music Competition in Munich. Mr. Kim graduated from the Hannover Music School in Germany, where he studied with Arie Vardi and Gerald Fauth. The Universal Music Korea label issued his debut CD, Dasol Kim Plays Schumann in 2015.

LOUIS SCHWIZGEBEL

piano

2012 leeds & 2005 geneva second prize winner

Born in Geneva in 1987, Swiss-Chinese pianist Louis Schwizgebel has been described as an “insightful musician” by The New York Times and “already one of the great masters of the piano” by Res Musica.

At the age of 17, he won the Geneva International Music Competition and, two years later, the Young Concert Artists International Auditions in New York. In 2012, he won second prize at the Leeds International Piano Competition, and in 2013 he was invited to become a BBC New Generation Artist.

Mr. Schwizgebel has performed with many orchestras across the globe including the London Philharmonic, BBC Symphony, City of Birmingham Symphony, Orchestre National de France, Danish National Symphony Orchestra, Wiener Symphoniker, Orchestre National de Lyon, Orchestre de la Suisse Romande, Zurich Tonhalle, Nagoya and Shanghai Philharmonic Orchestras, Utah Symphony, and the Orchestra of St. Luke’s. He has worked with conductors such as Edward Gardner, Mirga Gražynite-Tyla, Thierry Fischer, Joshua Weilerstein, Leonard Slatkin, Louis Langrée, James Gaffigan, Santtu-Matias Rouvali, and Fabien Gabel, amongst others.

Mr. Schwizgebel performs regularly in his native Switzerland, both in recital and with the symphony and chamber orchestras; he has played in the major festivals including Progetto Martha Argerich, Menuhin Festival Gstaad, and Verbier Festival, and in 2016 made his debut at the Lucerne Festival. In 2014, he made his BBC Proms debut with an electrifying televised performance of Prokofiev’s First Concerto, and recent recital highlights include performances at London’s Wigmore Hall, Festival de Radio France, Klavierfest Ruhr, Rheingau Festival, Fribourg International Piano Series, Munich’s Herkulesaal, and on tour across Hong Kong and China including in Beijing and Shanghai.

Highlights of Mr. Schwizgebel’s 2018–2019 season include debuts with the Philharmonia Orchestra, Orchestre National du Capitole de Toulouse, Ulster Orchestra, and RTÉ National Symphony Orchestra, and returns to the Orchestre de la Suisse Romande, City of Birmingham Symphony Orchestra, and Musikkollegium Winterthur. Chamber music highlights include his debut at the International Music Festival Koblenz and returns to the Concertgebouw Amsterdam and Wigmore Hall, where he appears in three concerts across the season, both in recital and in trio with Benjamin Beilman and Narek Hakhnazaryan.

Louis Schwizgebel studied with Brigitte Meyer in Lausanne and Pascal Devoyon in Berlin, and then later at The Juilliard School with Emanuel Ax and Robert McDonald, and at London’s Royal Academy of Music with Pascal Nemirovski.

Mr. Schwizgebel is grateful for the support he has received from the Migros Culture Percentage, Hans Wilsdorf Foundation, Mozart Gesellschaft Dortmund, and Animato Foundation.

ARTIST BIOGRAPHIES JOYCE YANG

ARTISTS-IN-RESIDENCE

piano

2005 cliburn silver medalist

Joyce Yang first came to international attention in 2005 when she won the silver medal at the Twelfth Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: Best Performance of Chamber Music, and Best Performance of a New Work. In 2006, Ms. Yang made her New York Philharmonic debut alongside Lorin Maazel at Avery Fisher Hall along with the orchestra’s tour of Asia. Her subsequent appearances with the New York Philharmonic included opening night of the 2008 Leonard Bernstein Festival—an appearance made at the request of Maazel in his final season as music director.

She received the 2010 Avery Fisher Career Grant and earned her first Grammy® nomination for her recording with violinist Augustin Hadelich in 2018. She has made frequent appearances on the programs of the Aspen Summer Music Festival, La Jolla SummerFest, and the Seattle Chamber Music Society.

Other notable orchestral engagements have included the Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Deutsches SymphonieOrchester Berlin, and the BBC Philharmonic, as well as the Toronto, Vancouver, Sydney, Melbourne, and New Zealand Symphony Orchestras. She was also featured in a five-year Rachmaninov concerto cycle with Edo de Waart and the Milwaukee Symphony.

She has performed at New York City’s Lincoln Center and Metropolitan Museum, the Kennedy Center in Washington, D.C., Chicago’s Symphony Hall, and Zurich’s Tonhalle. In 2018, Musica Viva presented Ms. Yang in an extensive recital tour throughout Australia.

As an avid chamber musician, Ms. Yang has collaborated with the Takács Quartet (Lincoln Center’s Great Performers), and the Emerson String Quartet (Mostly Mozart Festival). She has fostered an enduring partnership with the Alexander String Quartet, which continues in the 2018–2019 season with performances across the United States. Following their debut disc of Brahms and Schumann Quintets, their recording of Mozart’s Piano Quartets was released in July 2018 (FoghornClassics).

Ms. Yang’s discography includes the world premiere recording of Michael Torke’s Piano Concerto, created for her and commissioned by the Albany Symphony. She has also released Wild Dreams (Avie Records), on which she plays Schumann, Bartók, Hindemith, Rachmaninov, and arrangements by Earl Wild. She recorded Tchaikovsky’s Piano Concerto No. 1 with Denmark’s Odense Symphony. Her 2011 debut album for Avie Records, Collage, features works by Scarlatti, Liebermann, Debussy, Currier, and Schumann.

In 2018–2019, Ms. Yang has focused on promoting creative ways to introduce classical music to new audiences. She serves as the guest artistic director for the Laguna Beach Music Festival in California, curating concerts that explore the “art-inspires-art” concept—highlighting the relationship between music and dance while also curating outreach activities to students. She continues her unique collaboration with the Aspen Santa Fe Ballet with performances of Half/Cut/Split, a “witty, brilliant exploration of Robert Schumann’s Carnaval” (The Santa Fe New Mexican ), choreographed by Jorma Elo. Also in 2018–2019, Ms. Yang will perform solo recitals and perform 12 different piano concertos throughout North America. She will reunite with the New Zealand Symphony Orchestra and Edo De Waart for five concerts in New Zealand, following up a successful 2017 collaboration in which she displayed “fabulous lyricism” and “assured technique” (Otago Daily Times).

Born in 1986 in Seoul, Ms. Yang moved to the United States to begin studies at the precollege division of The Juilliard School with Dr. Yoheved Kaplinsky, where she graduated with special honors as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 won its 30th Annual William A. Petschek Piano Recital Award.

ARTIST BIOGRAPHIES

ARTISTS-IN-RESIDENCE

ROLSTON STRING QUARTET LURI LEE violin EMILY KRUPSE violin HEZEKIAH LEUNG viola JONATHAN LO cello

The 2018 recipient and first international ensemble chosen for the prestigious Cleveland Quartet Award from Chamber Music America, Canada’s Rolston String Quartet continues to receive acclamation and recognition for its musical excellence. In 2016, a monumental year, it earned top prizes at the 12th Banff International String Quartet Competition, Astral’s National Auditions, and 31st Chamber Music Yellow Springs Competition. Also a prizewinner at the 2016 Bordeaux International String Quartet Competition and the inaugural M-Prize Competition, there is no wonder the Quartet members were named among CBC Radio’s “30 Hot Canadian Classical Musicians Under 30” in 2016.

On the heels of its Banff win, the Rolston String Quartet immediately embarked upon the BISQC Winner’s Tour, taking it to Germany, Italy, Austria, Canada, and United States. As Ludwig van Toronto states, “they performed with a maturity and cohesion rivaling the best string quartets in the world.” In the 2017–2018 season, it tipped the 100-concert milestone with performances throughout Canada, United States, Germany, Brussels, Italy, and Israel. Highlights included the Smithsonian, Kennedy Center for the Performing Arts, Koerner Hall, and Esterhazy Palace. Highlights for the 2018–2019 season include debut performances at Carnegie Hall, Freer Gallery, Wigmore Hall, and Chamber Music Houston; two major tours in Canada; and three European tours with dates in Leipzig, Berlin, Lucerne, Heidelberg, Barcelona, Graz, and other centers.

Rolston String Quartet began its two-year term as the Yale School of Music’s fellowship quartet-in-residence in the fall of 2017. It has also served as the graduate quartetin-residence at Rice University’s Shepherd School of Music and has participated in residencies and fellowships at the Académie musicale de Villecroze, Aspen Music Festival, Banff Centre, McGill International String Quartet Academy, Norfolk Chamber Music Festival, Robert Mann String Quartet Institute, St. Lawrence String Quartet Seminar, and the Yehudi Menuhin Chamber Music Festival.

The Rolston String Quartet—Luri Lee (violin), Hezekiah Leung (viola), Jonathan Lo (cello), and new member as of spring 2018 Emily Kruspe (violin)—was formed in the summer of 2013 at the Banff Centre for Arts and Creativity’s Chamber Music Residency. The Quartet takes its name from Canadian violinist Thomas Rolston, founder and long-time director of the Music and Sound Programs at the Banff Centre.

ARTIST BIOGRAPHIES Luri Lee plays a Carlo Tononi violin, generously on loan from Shauna Rolston Shaw.

Emily Kruspe plays a 1900 Stefano Scarampella violin, generously on loan from the Canada Council for the Arts Musical Instrument Bank. The Rolston String Quartet is endorsed by Jargar Strings of Denmark.

STANISLAV CHERNYSHEV

clarinet

Stanislav (Stas) Chernyshev, a native of St. Petersburg, Russia, was recently appointed principal clarinetist of the Fort Worth Symphony Orchestra. Described as a “silken-sounding clarinetist with impressive technique and amazing musicianship to go with it,” he is quickly establishing himself as a solo, chamber, and orchestral musician.

Prize winner of many international competitions, he has appeared at Carnegie Hall in New York, Kimmel Center in Philadelphia, Kennedy Center in Washington, D.C., as well as in Switzerland, Spain, Germany, Russia, South Korea, and Japan. As an orchestra musician he has worked with such conductors as Miguel Harth-Bedoya, Robert Spano, Yannik Nézet-Séguin, and Sir Simon Rattle. A devoted chamber musician, Mr. Chernyshev has collaborated with Grammy®-winning ensembles Eighth Blackbird and Orpheus Chamber Orchestra, as well as with violist Roberto Diaz, violinists Pamela Frank and Ida Kavafian, cellist Peter Wiley, and pianist Jeremy Denk. An advocate of new music, Mr. Chernyshev has worked with young composers and established names including Meredith Monk, Steve Mackey, David Lang, and Jennifer Higdon. He has been featured on WQXR New York and WHYY’s On Stage at Curtis.

Passionate about community engagement and education, he is the founder and artistic director of Fort Worth Performances for Autism, and a co-director of Opus Nova Chamber Music Series. Mr. Chernyshev holds a bachelor’s degree from the Curtis Institute of Music, and a master’s degree from St. Petersburg Conservatory, Russia. He is an alumnus of Ensemble Connect—a program of Carnegie Hall, The Juilliard School and the Weill Music Institute — and ArtistYear, a program of the Curtis Institute of Music.

ARTIST BIOGRAPHIES JENNIFER CORNING LUCIO

oboe

As principal oboist with the Fort Worth Symphony Orchestra, Jennifer Corning Lucio has also performed as a concerto soloist, including for the Strauss Oboe Concerto and the Mozart Oboe Concerto with her own cadenzas. She has been praised for playing with “passion and finesse” (Dallas Morning News), and infuses her performances with “silken phrasing, lovely tone, and particular élan” (Fort Worth Star-Telegram). She has served as guest principal oboist of the Baltimore, Milwaukee, Seattle, and Jacksonville Symphonies, and has performed with the Cleveland Orchestra, Utah Symphony, and Saint Paul Chamber Orchestra, among others. She has been the principal oboist of the Crested Butte Music Festival in Colorado and for PBS Live from Lincoln Center program.

An active chamber musician, Ms. Corning Lucio has been featured with the Mimir Festival, Voices of Change, Chamber Music Society of Fort Worth, Hall Ensemble, Cliburn, and Spectrum concert series. A first prize winner of the Schubert Club Young Artist Competition of Minneapolis, she also won the Young Artist Competition of the Minnesota Orchestra and was invited as guest soloist to the Tokyo National Theater. Believing in the healing power of music, she has performed over 60 recitals in senior communities through Texas Winds Musical Outreach. A dedicated educator, she has taught on the faculties of the University of Tulsa and the Oklahoma Arts Institute and maintains a highly successful private studio.

Ms. Corning Lucio received her master’s degree from The Juilliard School and bachelor’s degree from the Cleveland Institute of Music. While in Cleveland, she received academic honors from Case Western Reserve University and the Karl Lemmerman Prize in Writing.

CORRIE DONOVAN

soprano

Soprano Corrie Donovan has been praised for her “soul stripping, lyrical” interpretations (TheaterJones ) and her “polished and distinctively powerful” performances (Fort Worth Weekly ). A genreadventurous musician and performer, she explores a wide range of styles, languages, and performance formats. From premieres with Fort Worth Opera’s Modern Opera Showcases, to participating in Cirque Du Soleil’s vocal workshops in Mexico, Ms. Donovan is committed to the full range of vocal expression.

Ms. Donovan debuted in Philip Glass’s chamber opera, Hydrogen Jukebox, a production dubbed by D Magazine as “surely the year’s most significant operatic event.” An intrepid musical explorer, Mrs. Donovan has sung complex and experimental repertoire with Fort Worth Opera’s Frontiers Showcases, and starred in the world premiere of Crozier’s With Blood, With Ink as well as in performances of Adamo’s Lysistrata, and Jake Heggie’s Three Decembers in Virginia. As soloist, Ms. Donovan is a frequent guest of orchestras, and at the invitation of the former president of Mexico, Vicente Fox, performed with the Centro Fox Youth Orchestra in Mexico. Her recitals often serve as repertoire mash-ups, offering audiences arias along with musical theater, jazz, traditional celtic, and art song. She has also been featured in performance with Cliburn at the Modern, American Music Festival, New York Baroque Festival, and on Ensemble 75’s recording, Harmonic Allusions.

Beyond performing, Ms. Donovan is an active musical arranger, with a focus on reimagining classical repertoire, and is involved in projects that create intimate concert experiences to help audiences make meaningful personal connections with the music.

ARTIST BIOGRAPHIES JAKE FRIDKIS

flute

Hailed by the Dallas Morning News for his “radiant tone and generous expressivity,” and the Fort Worth Star-Telegram for his “musicianship, clear sound, precise intonation, and empathic dynamic levels,” Jake Fridkis has quickly established himself as one of the leading flutists of his generation and “a modern day Rampal” (Cvnc.org ).

Before graduating from the Yale School of Music, he won the principal flute position in the South Dakota Symphony. After two months in South Dakota, he won the same position with the Fort Worth Symphony Orchestra, where he currently serves. He has performed with the Cleveland Orchestra, Philadelphia Orchestra, Pittsburgh Symphony, and St. Louis Symphony, and played guest principal with the Dallas Symphony Orchestra, and Symphony SONG in Korea.

He was invited as a guest solo flute with the Norwegian Radio Orchestra, including for its 2017 spring tour.

Mr. Fridkis earned his master’s degree and artist diploma while studying with Ransom Wilson at the Yale School of Music, receiving the coveted Thomas Nyfenger memorial prize for highest achievements. His other studies have been at the Cleveland Institute with Josh Smith and at Aspen with Mark Sparks.

He is currently on the faculty of the Eastern Music Festival during the summer in Greensboro, North Carolina and is a Wm. S. Haynes flutes performing artist.

KEVIN HALL

bassoon

Kevin Hall was awarded the position of principal bassoonist for the Fort Worth Symphony Orchestra in 1978. In addition to performing with the FWSO, Kevin also performs, both as orchestra member and soloist, with several Texas Baroque ensembles including Houston Bach Society, Mercury Baroque, and Ars Lyrica Houston. Early Music America named him as one of the top Baroque bassoonists in the country, and he has taught Baroque bassoon at the University of North Texas.

Before joining the FWSO, Mr. Hall was a member of the Springfield Symphony Orchestra and Champaign-Urbana Symphony Orchestra, as well as principal bassoonist with the Illinois Opera Theatre, Danville Symphony Orchestra, Decatur Symphony Orchestra, and Fort Worth Chamber Orchestra. He received his Bachelor and Master of Music Performance degrees from the University of Illinois, under the guidance of E. Sanford Berry. He has also studied with Chicago Symphony Orchestra members Wilbur Simpson and Burl Lane, Los Angeles Philharmonic associate principal Alan Goodman, and Dallas Symphony principal Wilfred Roberts, as well as Baroque bassoon with Michael McCraw.

As a woodworking enthusiast, he is currently working toward producing his own copies of historical bassoons. In 2008, Mr. Hall published the book Bach Cantatas for Bassoon, the most complete collection of cantata movements for bassoon published to date; it is now on its second printing. He is married to Karen Hall, a cellist with the FWSO.

ARTIST BIOGRAPHIES MOLLY NORCROSS

horn

Hailed by Alan Kozinn in The New York Times as giving “a magnificent performance: precise, passionate, and supple,” horn player Molly Norcross joined the Fort Worth Symphony Orchestra as principal horn in the fall of 2015. Previously she held the position of third/associate principal horn in the San Antonio Symphony for three seasons. Additionally, Ms. Norcross is the principal horn of the New Hampshire Music Festival Orchestra. She has performed as guest principal horn with the New York Philharmonic, St. Paul Chamber Orchestra, and Naples Philharmonic, and enjoys frequent substitute appearances with her “hometown” Philadelphia Orchestra. Ms. Norcross has also played as a substitute musician with the Boston, Dallas, and Cincinnati Symphony Orchestras.

She has performed solo concertos with the Fort Worth Symphony Orchestra, Music Academy of the West Festival Orchestra, Juilliard Orchestra, New Juilliard Ensemble, and New Hampshire Music Orchestra. Ms. Norcross has given numerous solo recitals in New York City, Boston, and Taipei, often incorporating works for the lesser known Wagner tuba and natural horn. An avid chamber musician, she has recently appeared in the Basically Beethoven Festival, Spectrum Chamber Music Society, and Wedgewood Chamber Music Series in the Dallas/Fort Worth area, and the Music in the Mountains series in the New Hampshire lakes region.

Ms. Norcross received her Bachelor and Master of Music degrees from The Juilliard School, and pursued additional professional studies at the New England Conservatory. She has been a participant in numerous summer festivals including the Tanglewood Music Center, Music Academy of the West, Lucerne Festival Academy in Lucerne, Switzerland, and the Norfolk and Sarasota Chamber Music Festivals.

IVAN PETRUZZIELLO

clarinet

Italian clarinetist Ivan Petruzziello currently serves as assistant principal clarinet/E-flat clarinet of the Fort Worth Symphony Orchestra and principal clarinet of the Corpus Christi Symphony Orchestra. Previously, he served as principal clarinet of the Cali Philharmonic Orchestra and assistant principal clarinet of the Valle Symphony Orchestra in Colombia.

As a guest clarinetist, Mr. Petruzziello has performed with orchestras around the world, including the Orchestra Internazionale d’Italia, Latina Philharmonia, National Cuban Philharmonia, and Bogotá Philharmonic. In North America he has performed with the Irving, Plano, Las Colinas, San Angelo, San Antonio, Corpus Christi, and Victoria Symphony Orchestras. Additional appearances include those with the Tiroler Festspiele in Austria, Sabaudia Music Festival, Concerti al Chiostro and Euromediterraneo Festivals in Italy, Ojca in Panama, Cliburn at the Modern, Corpus Christi Chamber Music Society, and Lux Musicae.

Mr. Petruzziello has served on faculty in several institutions in Colombia, including the Central, Valle, and EAFIT Universities, as well as the Antonio María Valencia Conservatory. He has held master classes in Colombia, Cuba, Italy, Panama, Perú, and the United States.

Mr. Petruzziello earned a Bachelor of Music in clarinet performance at the Ottorino Respighi Conservatory of Latina (Italy), a Master of Music in chamber music from the Licino Refuse Conservatory of Frosinone (Italy), and an artist diploma certificate from the TCU School of Music. He resides in Fort Worth with his wife, cellist Laura Ospina and their children Tomas and Olivia.

Ivan is a Yamaha artist and plays on the CSGIII models.

ARTIST BIOGRAPHIES TWYLA ROBINSON

soprano

Twyla Robinson, soprano, serves at TCU as an assistant professor of professional practice.

She combines her teaching with an ongoing performing career and serves as the coordinator of the Repertoire Development for Teaching Professionals wing of Fall Island Vocal Arts Seminar with Stephanie Blythe. In the current season she will perform Britten’s War Requiem with Fort Wayne Philharmonic, Gorecki’s Symphony No. 3 with the Chicago Sinfonietta, a lecture recital on Early American Popular Song with Chamber Music Amarillo, and the title role in R. Strauss’ Ariadne auf Naxos with Cincinnati Opera.

Last season, Ms. Robinson performed as soloist in Brahms’ Ein deutsches Requiem with the Portland Symphony Orchestra, Sieglinde in Act I of Die Walküre with the Atlanta Symphony Orchestra, Mahler’s Symphony No. 4 with the Orchestra Sinfonica di Milano Giuseppe Verdi, Claude Vivier’s Lonely Child with the Orchestre Philharmonique de Radio France, and Shostakovich’s Symphony No. 14 with I Musici de Montreal Chamber Orchestra. She also created the role of Becky Felderman in the world premiere of Ricky Ian Gordon’s Morning Star with the Cincinnati Opera.

Recent orchestral highlights include Dvorak’s Te Deum with the Dallas Symphony Orchestra and performances of Mahler’s Symphony No. 8 “Symphony of a Thousand ” at the opening night of the BBC Proms and with the Houston Symphony, Toronto Symphony, Münchner Philharmoniker, Orchestre Philharmonique de Radio France, and Essen Philharmonie. She also recorded the Mahler with the Berlin Staatskapelle for Deutsche Grammophon, Pierre Boulez conducting. Other recordings include Beethoven’s Ninth Symphony with the London Symphony Orchestra on the LSO Live label, Brahms’s Ein deutsches Requiem with the Atlanta Symphony Orchestra with Telarc, Schubert’s Fierrabras with Franz Welser-Möst on DVD from Opernhaus Zürich with EMI, and Strauss’ Elektra and Daphne with Semyon Bychkov and Westdeutscher Rundfunk Köln on the Decca label.

She is a frequent recitalist, has served on the recitalist roster of the Marilyn Horne Foundation, and been heard in recital at both Carnegie Hall and Wigmore Hall.

MICHAEL SHIH

violin

Michael Shih, concertmaster of the Fort Worth Symphony Orchestra and distinguished guest professor of violin at TCU, has performed extensively worldwide. A United States Presidential Scholar in the Arts, he was a winner in the Naumburg Violin Competition and Artists International’s Auditions, which led to his New York recital debut at Carnegie’s Weill Hall in 1992.

He has appeared as a soloist with the Los Angeles Philharmonic, the Little Orchestra Society at Avery Fisher Hall, the Dallas, Fort Worth, and Hartford Symphonies, the San Pedro Sula Symphony in Honduras, and the Taipei Symphony at Taiwan’s National Concert Hall. In 2007, he gave the world premiere of Kevin Puts’ Violin Concerto with the Fort Worth Symphony; this critically acclaimed performance was released by FWSO Live. An avid performer of chamber music, he has collaborated with such artists as Leon Fleisher, Jaime Laredo, Cho-Liang Lin, and Yo-Yo Ma. From 1992 to 2002, he was first violinist of the Whitman Quartet, winner of the Naumburg Chamber Music and Shouse Debut Artists awards. Music festival appearances include Aspen, Bard, Chamber Music Northwest, Chautauqua, Kansai Science City (Japan), La Jolla, Lincoln Center, Ravinia, Spoleto USA, Stuttgart (Germany), and Mostly Mozart. He has also appeared at the Chiehshou Hall Concert at the Office of the President of Taiwan, at the Chamber Music Society of Lincoln Center, Chamber Music International in Dallas, and Cliburn Concerts.

Media credits include NPR’s Performance Today, NBC’s Today Show, Japan’s NHK Television, and Taiwan’s Public Television. He holds bachelor’s and master’s degrees from The Julliard School. In 2013, he was a visiting professor of music at the East China Normal University. He was also on the faculty of National Taiwan Symphony Orchestra’s 2015 International Youth Orchestra Camp.

Mr. Shih plays a 1710 Antonio Stradivari violin, generously on loan to the Fort Worth Symphony Orchestra by Mr. and Mrs. William S. Davis of Fort Worth.