Cuarteto Latinoamericano Program 10.15.22

ONE COMPOSER, ONE COMMUNITY

First launched in 2021, One Composer, One Community (OCOC) focuses on the life and work of a single, often underrepresented BIPOC composer over the course of an academic year. This composer’s work is featured on the Nichols Concert Hall series as well as in other special events, including gatherings to discuss aspects of the composer’s life and music through autobiographical, biographical, or critical writing, as well as though active music listening.

HEITOR VILLA-LOBOS (1887-1959)

This year we celebrate the life and work of Brazilian composer Heitor Villa-Lobos. Considered the single most significant creative figure in 20th century Brazilian art music, Villa-Lobos synthesized contemporary European techniques with elements of national music to create his unique compositional style. A prolific composer, Villa-Lobos penned more than 2,000 orchestral, chamber, instrumental, and vocal works.

DEAR FRIENDS,

Welcome! The 2022-23 season is one of spectacular diversity including chamber music, a Gospel tribute, romantic era piano repertoire, a family concert, MLK celebration, elegant jazz, and dynamic alumni performers – truly something for everyone.

There is no better place to hear a concert than Nichols Concert Hall. The pristine acoustics, Greek revival architecture, and welcoming hospitality, create an intimate and thoroughly satisfying listening experience.

I encourage you to share your Nichols Concert Hall experience with friends and colleagues. The Music Institute of Chicago regularly presents world-class musicians in a beautiful and conveniently located performance space, for a fraction of the cost of events in downtown Chicago. Nichols Concert Hall is a tremendous value.

The concert series is only one part of our mission, which is to lead people toward a lifelong engagement with music. The Music Institute of Chicago is a top-tier community music school, offering lessons and classes to thousands of students of all ages and levels. The Music Institute is also deeply committed to making music and music education accessible to people and communities who might not otherwise have access.

You can learn more about MIC’s many activities, register for lessons, and purchase tickets by visiting www.musicinst.org. I look forward to seeing you and your friends throughout the year at Nichols Concert Hall!

Mark George President and CEO Music Institute of Chicago

CUARTETO

LATINOAMERICANO

Individually, we are Saúl, Arón and Álvaro Bitrán, and Javier Montiel. Together, we are known as the Cuarteto Latinoamericano. Our audiences have lots of questions about us. For example, whether that big case that we carry with us is a guitarrón.

No, it’s a cello. And we are not a mariachi band; we don’t play with ponchos or guitars, despite what many people ask. We know that our name may be a bit misleading, but there are reasons for it: not only do we hail from Latin America, but mainly, we have made an almost forty-year-long career by mostly playing concert music by composers from countries South of the Rio Bravo. This music—the music of our continent—is as varied as its culture, its geography, its food and history. Some of these composers undoubtedly draw from Latin America’s rich popular music tradition, while others write music that sounds universal, and could have been written anywhere in the world. Having said that, it does seem that a lot of the Latin American repertoire prominently features rhythm (or so we are told). But in any case, our only criterion for selecting our Latin American repertoire is its artistic quality.

Of course, like any budding string quartet, in the distant year of 1982 in Mexico City, we started with Mozart, Beethoven, Brahms, Borodin, Ravel, etc. But soon thereafter we began to discover the wonderful repertoire awaiting us in our own neck of the woods and, in parallel, we found out that it was very much appreciated in different parts of the world. This is how this music, which we have recorded on over 80 CDs, has gotten us many awards—such as two Latin Grammys, multiple Grammy nominations, and the coveted Diapason d’Or in France, among others— and has brought us to renowned halls such as the Teatro alla Scala in Milan, Carnegie Hall, the Concertgebouw and other marvelous concert venues in Israel, China, Japan, New Zealand, and practically all of Europe and the Americas.

This is how, until this very day we continue to travel the world with our beloved scores by Villa-Lobos, Revueltas, Ginastera, Piazzolla and many other great Latin American masters in our briefcases. Sometimes we wonder ourselves how it is even possible to have lasted for so many years together. We think we owe this to several factors, not least among them good luck. A musician’s career is fragile by nature, as it is totally dependent on the performer’s good health. When multiplied by four, this situation turns even more delicate. Thus, fate has been generous with us, not to mention other very relevant issues: the love for what we do, having incredibly supportive families, the affection amongst us four and, last but not least, the sense of humor with which we approach our career and especially our travels, which delight us with plenty of hilarious and absurd situations.

Equally important for our long career has been the support we have received from many institutions which we cannot thank enough. In particular, we are indebted to Mexico’s National Fund for Culture and Art (FONCA), which has supported us uninterruptedly since 2004 through its México en Escena grant. We are also thrilled with our teaching activities at the multiple music schools, universities and conservatories with which we collaborate regularly, as well as the numerous international festivals in which we participate year after year. And, undoubtedly, we have been inspired by our collaborations with brilliant artists, such as Janos Starker, Eduardo Mata, Rudolf Buchbinder, Manuel Barrueco, Itamar Golan and many others.

As our fortieth anniversary approaches, we keep traveling around the world. Our hair has become grayer and scarcer, and our instruments seem to weigh a bit more each day. But our desire to keep performing the marvelous Latin American and mainstream string quartet repertoire, and of course the mutual rapport among ourselves, keep us together, full of energy and forever thinking about our next concert. All this seems like a miracle to us, and we feel incredibly lucky and grateful to have made an entire life out of our Cuarteto Latinoamericano.

Saúl Bitrán, first violinist of the awardwinning Cuarteto Latinoamericano, is an Associate Professor of Violin at the Boston Conservatory at Berklee. Saul has received some of Mexico and Chile’s highest artistic awards, namely the Bellas Artes Medal and the Order of Merit Pablo Neruda.

A devoted teacher and chamber music coach, his former students now populate many of the finest orchestras in the world. Bitrán was on the faculty of Carnegie Mellon University in Pittsburgh, Pennsylvania from 1987 to 2008, and he was also involved with Venezuela’s Sistema for over twenty years. There, together with the Cuarteto Latinoamericano, he created the Latin American Academy for String Quartets, which operated in Caracas from 2008 until 2013. He has also taught at numerous music festivals including the Dartington International Summer School, Centre d'Arts Orford, Apple Hill Center for Chamber Music, Grenoble Festival, San Miguel de Allende Chamber Music Festival, and many others.

Bitrán is concertmaster of Unitas Ensemble, a Boston-based orchestra committed to introduce Latin American repertoire to US audiences. As a soloist with that orchestra, he made the premiere recording of Paul Desenne’s violin concerto (The Two Seasons of the Caribbean Tropics).

As a recitalist with his frequent piano partner, Sally Pinkas, Bitrán has been recently presenting a series of recitals exploring the connections between French and Latin American music.

Bitrán’s noted solo appearances have included the Dallas Symphony Orchestra, the Los Angeles Philharmonic, the Seattle Symphony, San Antonio Symphony, and National Arts Center Orchestra in Ottawa, as well as with prominent conductors Esa-Pekka Salonen, Gerard Schwarz, Eduardo Mata, and Keith Lockhart, among others.

Bitrán is a cum laude graduate of the Samuel Rubin Academy of Music in Tel Aviv, Israel, where he studied with Professor Yair Kless. During his six years in Israel, Bitrán was a substitute member of the Israel Philharmonic Orchestra, as well as concertmaster of the Herzliya Chamber Orchestra.

ARÓN BITRÁN

Born in Chile and a mexican citizen by adoption, violinist Arón Bitrán studied at the National Conservatory in México under Luz Vernova and at Indiana University (USA) under Yuval Yaron and Joseph Gimgold.

Arón Bitrán has been a soloist with the main orchestras in Latin America, such as the Sinfónica Nacional de Argentina, Orquesta del SODRE in Uruguay, Orquesta Simón Bolívar in Venezuela, Sinfónica del El Salvador, Oruqesta de Cámara de Chile, Orquesta Sinfónica de Costa Rica and all the orchestras in México, as well as the Dallas, San Antonio, Los Angeles and Seattle orchestras in the USA and the National Arts Center Orchestra in Ottawa, Canada. Bitrán gave the mexican premier of Chain 2 by Witlod Lutoslawsky with the National University Philharmonic (OFUNAM) in México.

Arón Bitrán has been a full time professor at the National Conservatory and the Nacional University in México City. He has taught master classes in many universities in the USA and Latin America and several of his former students are principal players in México´s main orchestras and chamber music groups. Bitrán has edited two books for the learning of the violin, based on Mexican traditional music, published by the National Center for Music Research in México City (CENIDIM).

Arón Bitrán is a founding member of Cuarteto Latinoamericano. Along with his brother Saúl and Álvaro and Javier Montiel, they have become international ambassador, touring extensively in Europe, North, Central and South America, as well as New Zealand and Israel.

Read the Music Institute of Chicago's interview with Cuarteto Latinoamericano

JAVIER MONTIEL

Javier Montiel was born in Mexico City in 1954. His musical career started at age 19 when he joined the Orquesta Sinfonica Nacional in 1974. He graduated with honors from the Conservatorio Nacional de Música in 1978.

He is a founding member of the Cuarteto Latinoamericano and tours the world with the ensemble teaching, playing concerts, and recording works of the main composers of Mexico and Latinoamerica.

Montiel teaches violin, viola and chamber music at Universidad Autonoma de Puebla and the School “Vida y Movimiento” in Mexico City.

He has been soloist of several of the main Mexican orchestras. Other activities include composing and arranging. His 1982 composition "Variations on Paganini´s 24 Caprice" was the first work dedicated to Cuarteto Latinoamericanoand is still a favorite encore. It has been recorded several times for CD and been featured in radio in the United States and Europe and in a video clip included in the DVD “Visiones” by Cuarteto Latinoamericano. Montiel has also composed several works for viola and piano, cello and piano, a piece for saxophone quartet, works for chamber ensemble, and a Concerto for Viola and strings. He regularly gives a seminar based on the best songs of the Beatles, 1962 to 1970.

In 2000 he was honored with "Mozart" Medal and in 2007 the Silver Medal from "Instituto Nacional de Bellas Artes" for the 25th anniversary of Cuarteto Latinoamericano.

ÁLVARO BITRÁN

Álvaro Bitrán was born in Chile of a family of distinguished musicians. He started playing the cello at the age of seven and concluded his formal studies at Indiana University under the guidance of world renowned cellist Janos Starker.

In 1982 he founded the Cuarteto Latinoamericano, a string quartet that now enjoys world-wide recognition. In addition to frequent tours of both North and South America, the quartet also tours Europe, Israel, Japan, China and New Zealand.

Recent performances have included New York’s Carnegie Hall, Washington’s Kennedy Center and Milan’s Teatro Alla Scala.

His recordings (more than 60 in all) have appeared in various labels such as Dorian,New Albion and Urtext and have received several prizes, including Grammy Nominations as Best Chamber Music Performance and Best Classical CD at the Latin Grammys.

Bitrán is regularly invited to play as soloist with some of the major orchestras in our continent: Mexico, Uruguay, Argentina and Venezuela symphony orchestras, Dallas Symphony, Los Angeles Philharmonic, Seattle and San Antonio Symphony in the U.S. and Ottawa’s National Arts Center Orchestra in Canada, among others.

Bitrán is firmly committed to the creation of new music for his instrument and has premiered and recorded many new works dedicated to him. He has released three solo CD’s featuring new music by Latin American composers, as well as traditional repertoire.

He has devoted much of his energy to teaching and is responsible for the development of an entire generation of cellists in Mexico. Currently he is a faculty member at the National Conservatory in Mexico City, ENM de la UNAM, and Ollin Yolitzli. Additionally he offers seminars and master classes in many universities in the US and México and plays in a cello built by Martin Stoss, in 1817, in Vienna.

The Music Institute of Chicago Academy provides a comprehensive music education for students who aspire to be professional musicians. Located on the beautiful grounds of Lake Forest College, the Academy is a musical community of faculty, staff, and students who come together each Saturday, September through May, for an intensive 30-week program. The curriculum focuses on providing a comprehensive musical education that includes private lessons with Academy artist faculty, a rigorous chamber music component, a stimulating chamber orchestra experience, and accelerated music theory classes. Pianists additionally study keyboard history and literature, improvisation, and keyboard skills in an intimate group setting. A hallmark of the Academy is the regular master class when the student body gathers to work with and observe acclaimed musicians and educators, who share their knowledge, creating an unparalleled educational experience. Academy students are national and international medal winners who matriculate to the nation's top conservatories and universities.

musicinst.org/academy

String Quartet No. 5

MASTER CLASS

October 15 at 4

PROGRAM

Heitor Villa-Lobos

I. Poco andantino (1887-1959)

CALCIFER QUARTET

Kana Aihara, violin, Zak Chen, violin Leo Zupko, viola, and Jan Nedvetsky, cello

This Academy chamber group is coached by Jasmine Lin

String Quartet No. 6 "Brazilian"

Heitor Villa-Lobos

III. Andante, quasi adagio (1887-1959)

THE PELIOS QUARTET

Ellen Zhou, violin, Clark Snavely, violin Tristan Zhu, viola, and Amelia Zitoun, cello

This Academy chamber group is coached by Rodolfo Vieira

Today’s master class participants are members of the Music Institute of Chicago Academy, a nationally recognized training center for highly gifted pre-college pianists and string players.

FRIENDS OF THE MUSIC INSTITUTE OF CHICAGO

The Music Institute grateful for every gift. The following friends made contributions of $5,000 or more between September 1, 2021 and August 31, 2022.

$100,000 or more

The Negaunee Foundation

Alexandra C.* and John D. Nichols

$50,000 to $99,999

John and Pauline Fife

ITW

Barbara A. Speer

$25,000 to $49,999

The Grainger Foundation Lori Julian for the Julian Family Foundation Susan Kiphart Patrick G. and Shirley W. Ryan Scott and Nancy Santi Catherine M. and Frederick H. Waddell

The Wallace Foundation

$10,000 to $24,999

Anonymous Abbott

Abbvie

Dr. Prema Abraham and Dr. Jim Buchanan Paul M. Angell Family Foundation

BMO

Rita and John Canning, The Canning Foundation

The Crown Family Edwardson Family Foundation Linda and Bill Gantz Hans* and Denitta Germann Mona Golub Karen Z. Gray-Krehbiel and John H. Krehbiel Jr. Dan* and Yoo Mi Hahn

Harris Family Foundation

J. Thomas Hurvis and Ann Andersen

Illinois Arts Council Agency Hans and Angela Jostlein

Ethelle Katz

Susan R. Kiphart

Mrs. Paul Klimstra Tom* and Joyce Leddy Jim and Kay Mabie Family*

Make It Better Foundation Robert R. McCormick Foundation Brenna and John D. Nichols III Northern Trust Corporation Cathy and Bill Osborn Renée Parquette*

Timothy Patenode* and Judy Royal Michael and Cari Sacks Barbara* and Peter Sereda Sidley Austin LLP Liz Stiffel Jim Stone*

Pam and Russ Strobel

The John Taylor Family Underwriters Laboratories

Zalman* and Karen Usiskin Scott* and Areta Verschoor

$5,000- $9,999

Anonymous (2) Mr. and Mrs. Norman Bobins, The Robert Thomas Bobins Foundation Beth and Chuck Boehrer Michael and Laura Boutross Dr. Tanya L. Carey Lawrence Corry

Paul Galvin Memorial Foundation

Thomas L. and Patricia S. Gahlon

Mr. and Mrs. Dietrich M. Gross

John R. Halligan Charitable Fund

Lauren and Blake Harper

Courtney Holohan* and Wesley Mueller

Erin and Wellington Hsu

Jane Irwin

Karen and Mark Koulogeorge

KPMG

Sylvia M. Neil and Dan Fischel

Nancy and Marc Poggioli

Sargent Family Foundation

Dr. Scholl Foundation

Jennifer Steans and Jim Kastenholz

Lee Anne* and Rich Stoddart

Bob and Gael Strong

Audrey Weaver

David* and Eileen Zampa

Helen Zell

* Trustee

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NICHOLS CONCERT HALL

1. If you arrive after the performance has begun, please wait in the lobby. Latecomers will be seated at the discretion of the house manager. If you must leave early, please do so between pieces out of consideration for the artists and other audience members.

2. The box office will be open one hour prior to the performance. All patrons must have a ticket in order to be admitted into the concert.

3. Photography and audio/video recordings of performances is strictly prohibited without prior written consent from the Director of Operations.

4. Smoking is strictly prohibited by law in Nichols Concert Hall or within 20 feet of the building.

5. Restrooms are located on the lower level and may be accessed by using the stairs or the elevator. All facilities are disability accessible.

6. The presenter reserves the right to ask anyone disrupting the event in any way to leave the hall.

7. In the event of an emergency, please notify the house manager or nearest usher.

Nichols Concert Hall, opened in May, 2003, quickly established itself as one of Chicago’s premier venues for chamber music performances. Originally designed as a First Church of Christ, Scientist in 1912 by renowned Chicago architect Solon S. Beman, the building was sensitively restored as a state-of-the-art, 550 seat concert hall and music education center. The converted building received the Richard H. Driehaus Award for best adaptive use by the Landmarks Preservation Council of Illinois. Music Critics, audiences and performers have hailed the excellent acoustics and elegant vaulted beauty of Nichols Concert Hall.

Nichols Concert Hall is located in the heart of downtown Evanston on the northeast corner of Chicago Avenue and Grove Street. Metered and non-metered parking is available and several public garages are within a two-block radius. Numerous restaurants are within easy walking distance. Conveniently located near the Davis Street CTA and Metra stations, Nichols Concert Hall is disability accessible.

For rental and booking information, please contact us: 847.448.8329 or visit: nicholsconcerthall.org

BOARD OF TRUSTEES

TRUSTEES

Scott Verschoor, Chair

Alexandra C. Nichols, Chair Emerita

Tom Leddy, Treasurer

Barbara Sereda, Secretary

Lee Anne Stoddart, Vice Chair

Carlos R. Cárdenas, CPA

Hans Germann

Daniel Hahn

Courtney Holohan

Kay Mabie

Yana Nedvetsky

Renée Parquette

Timothy Patenode

James H. Stone

Ross Updegraff

Zalman Usiskin

Audra Wilson

David Zampa

Florian Zettelmeyer

LIFE TRUSTEES

John J. Berwanger

Gilbert W. Bowen

Mitzi Freidheim

Brooks Morgan

Rachel Barton Pine

Betsey L. Puth

Priscilla F. Richman

William N. Topaz

EX-OFFICIO TRUSTEES

Jennifer Koh

Nina Kraus

Christopher Rintz

Deborah F. Rutter

THE MUSIC INSTITUTE OF CHICAGO

leads people toward a lifelong engagement with music through unparalleled teaching, exceptional performances, and valuable service initiatives that educate, inspire, and build strong, healthy communities.

Since its founding in 1931, the Music Institute’s commitment to innovation, access, and excellence has served as an important community resource and helps to ensure music is available to everyone. Each year, the Music Institute provides personalized music instruction to more than 1,500 students, regardless of age, level of experience, or financial means, across eight Community Music School locations in Chicago, Downers Grove, Evanston, Lake Forest, Lincolnshire, and Winnetka, as well as online.

In addition, the Music Institute brings music education, arts curriculum integration, professional development, and music performance and engagement opportunities to thousands in the Chicago area; offers scholarship opportunities to students in its Community School and its Academy, a nationally recognized training center for highly gifted pre-college pianists and string players; and welcomes thousands of visitors annually for performances, master classes, and special events at Nichols Concert Hall.

NEXT

MATTHEW HAGLE: BRAHMS AND HIS CONTEMPORARIES

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DR. MARTIN LUTHER KING, JR. CELEBRATION

REVERÓN PIANO TRIO

MARCUS ROBERTS TRIO: RHYTHM ‘N’ BLUE