FAQ:Chamber MusicMarch12-UWM Peck

Fine Arts Quartet R A L P H E VA N S

EFIM BOICO

NICOLÒ EUGELMI ROBERT COHEN

with CRISTINA ORTIZ, GUEST PIANIST

March 2 5 , 2 01 2 3 p m Helen Bader Concert Hall

Fine Arts Quartet 1

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The UW-Milwaukee Peck School of the Arts The Fine Arts Quartet season is supported in part by: Co-Presenting Sponsors Sheldon & Marianne Lubar Fund of the Lubar Family Foundation Katharine & Sandy Mallin

Co-Sponsor Dr. Lucile Cohn

Media Co-Sponsor

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Guest Artist Sponsors Susan DeWitt Davie Dr. Josette B. Grossberg & Dr. Sidney E. Grossberg

Carol & Leonard Lewensohn Kathleen E. Peebles William Schwartz Jane Abelson Zeft

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Earl M. Lemon Howard & Elaine Myers Robert J. & Nancy Mitchell Patricia Parsons David A. Rasmussen Joyce & Arthur Rumpf Estelle & Mort Swerdlow Carol Tishler George W. & Patricia Torphy Prof. Pierre L. Ulllman Jim & Kathie Vint Jim & Linda Wachholz Barbara & Dr. Stanley Weiss Marie E. Weiss Otto & Hilde A. Wiegmann Mark Williamsen Eight Anonymous Donors

Gifts in memory of Wolfgang Laufer Dr. Sheldon Burchman & Ms. Delores Cohen Dr. Lucile M. Cohn Dr. Edith A. Moravcsik

Cassandra A. Plott Barbara & Dr. Stanley Weiss Jane Ableson Zeft Kathleen E. Peebles

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PROGR A M Barcarolle for Piano Quartet, Op. 108 (1898/1909).......................... Camille Saint-Saëns (1835-1921) Piano Quartet in B-flat Major, Op. 41 (1875)...................................... Camille Saint-Saëns Allegretto Andante maestoso ma con moto Poco allegro più tosto moderato Allegro –Intermission– Piano Quintet in A Minor, Op. 14 (1855)............................................. Camille Saint-Saëns Allegro moderato e maestoso Andante sostenuto Presto Allegro assai, ma tranquillo PROGR A M NOTES Written by Timothy Noonan, Senior Lecturer – Music History and Literature Saint-Saëns, Barcarolle for Piano Quartet, Op. 108 Camille Saint-Saëns was a well-traveled composer. In 1873 he made his first visit to Algeria, which came to be a favorite destination. In 1890 he undertook a large-scale concert tour, visiting East Asia, various parts of Europe, and even the Canary Islands. During a stay in St. Petersburg, where he gave seven concerts sponsored by the Red Cross, he met Tchaikovsky. In 1902 he wrote a march for the coronation of Edward VII of England, and was made a Commander of the Victorian Order. And in his 1906 visit to this country, he performed in Philadelphia, Chicago, and Washington. Saint-Saëns was truly a man of the world.

A Barcarolle opens our program. In its original sense, a barcarolle is a folk song sung on the gondolas of Venice. It is most familiar to us in the example in Offenbach’s opera The Tales of Hoffmann and in the piano Barcarolle of Chopin, Op. 60. The present one, in its original form, was composed in March 1898, scored for violin, cello, harmonium (a kind of reed organ), and piano. Saint-Saëns was apparently quite fond of the work, and he played the harmonium part at the premiere at La Trompette, a chamber music society. But harmoniums can be hard to find, and the composer realized that performances will be rare in the original scoring, so around 1909 he re-scored the work for a traditional piano quartet (i.e., he replaced the harmonium with a viola part), and it is this version we hear today.

Saint-Saëns, Piano Quartet in B-flat Major, Op. 41 The Piano Quartet was composed in 1875, just as Saint Saëns was mourning the death of his friend Georges Bizet. 1875 was also the year of the composer’s marriage to Marie-Laure Truffot, who was some twenty years his junior. They had two sons, and it was initially a happy time for Saint-Saëns, with a young wife and his beloved boys, but sadly both children died young (one having fallen out a fourth-floor window) and the marriage turned unhappy and ended in separation; remarkably, Marie-Laure lived until 1950, passing at the age of 95. The composer’s musical work in this period centered around the Société Nationale de Musique, an organization that supported and championed music by living French composers, which he had cofounded in 1871. The Society regularly presented recitals, and still does in modern times. While some French composers, like Bizet Fine Arts Quartet 3

P R O G R A M N O T E S ( c o n t .) and Massenet, sought to mount performances of their operas, Saint-Saëns and others, like Chausson and d’Indy, strove to build a great repertory of French instrumental music. Saint-Saëns was a champion of chamber music, and he rued the small number of chamber works that were being submitted to the Society for its concerts. Wishing to set a good example in this area was one aspect of the genesis of the present Piano Quartet, which was premiered with Pablo Sarasate playing the violin part. The first movement is a largely calm and peaceful utterance. The driving second movement combines oft-repeated rhythmic ideas with long, chorale-like melody. The third movement, in the manner of a scherzo though not so labeled, is also dominated by the reuse of distinctive rhythmic ideas, contrasted with a trio section that provides relief from the energetic opening section. The return of the main section is rewritten to include passages that suggest recitative and cadenza styles. And the finale introduces the cyclic elements so basic to 19th-century music, referring back to two of the themes from the first movement and to the chorale-style theme of the second movement.

Saint-Saëns, Piano Quintet in A Minor, Op. 14 In 1848, at age thirteen, Saint-Saëns entered the Paris Conservatory, studying organ and composition. Twice, he tried unsuccessfully to win the coveted Prix de Rome composition prize. At this time he became acquainted with Gounod, Rossini, and Berlioz; of Saint-Saëns, Berlioz said “He knows everything but lacks inexperience.” His only Piano Quintet was composed in 1855 (or perhaps 1854) and published a decade later. He dedicated it to Mme Charlotte Masson, the aunt of his mother who, with his mother, cared for him in his youth, his father having died soon after his birth. Mme Masson proved to be instrumental in the composer’s early musical education, a gesture he clearly held dear as he wrote this major chamber work at about the age of twenty. Like Schumann’s celebrated Piano Quintet, Op. 44, which influenced Saint-Saëns, the Quintet introduces cyclic elements. After a grand first movement in sonata form, the second movement is hymn-like, and the strings are muted throughout. The third movement Presto is in the manner of a Mendelssohn scherzo. And the finale, which begins in fugal texture sans piano, includes cyclic references to the first movement.

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F I N E A R T S Q UA R T E T The Fine Arts Quartet, now celebrating its 66th anniversary, is one of the most distinguished ensembles in chamber music today, with an illustrious history of performing success and an extensive recording legacy. Founded in Chicago in 1946, and based at the University of Wisconsin-Milwaukee since 1963, the Quartet is one of the elite few to have recorded and toured internationally for over half a century. Violinists Ralph Evans and Efim Boico, who have performed together in the Quartet for nearly 30 years, were joined by violist Nicolò Eugelmi in 2009 and cellist Robert Cohen in 2012. Each season, the Fine Arts Quartet tours worldwide, with concerts in such musical centers as New York, London, Paris, Berlin, Rome, Madrid, Moscow, Tokyo, Beijing, Istanbul, Jerusalem, Mexico City, and Toronto.

The Quartet has recorded more than 200 works, over 80 of them with Evans, Boico, and the late Wolfgang Laufer. Their latest releases on Naxos include: the world premiere recording of Efrem Zimbalist’s Quartet in its 1959 revised edition, the world premiere digital recording of Eugène Ysaÿe’s long-lost masterpiece for quartet and string orchestra, “Harmonies du Soir”; Fritz Kreisler’s String Quartet, the two Saint-Saëns String Quartets, three Beethoven String Quintets; the Franck String Quartet and Piano Quintet; Fauré Piano Quintets; complete Bruckner chamber music; complete Mendelssohn String Quintets; “Four American Quartets” by Antheil, Herrmann, Glass, Evans; complete Schumann Quartets; and the Glazunov String Quintet and Novelettes. Aulos Musikado released their complete Dohnányi String Quartets and Piano Quintets, and Lyrinx released both their complete early Beethoven Quartets and complete Mozart String Quintets in SACD format.

Releases planned for 2012 on Naxos include three of Robert Schumann’s greatest chamber works: the Piano Quintet, Piano Quartet, and Märchenerzählungen.

The Quartet’s recent recordings have received many distinctions. Their Fauré Quintets CD on Naxos with pianist Cristina Ortiz was singled out by the 2011 Gramophone Classical Music Guide as a “Gramophone award-winner and recording of legendary status”, and was among the recordings for which musical producer Steven Epstein won a 2009 Grammy® Award (“Producer of the Year, Classical”). The Quartet’s Franck CD was named “Editor’s Choice” by Gramophone Magazine in February, 2010, and their Glazunov, Mendelssohn, and Fauré CD’s were each named a “Recording of the Year” by Musicweb International (2007-2009). In addition, their “Four American Quartets” album was designated a “BBC Music Magazine Choice” in 2008, their Schumann CD was named “one of the very finest chamber music recordings of the year” by the American Record Guide in 2007, and their Mozart Quintets SACD box set was named a “Critic’s Choice 2003” by the American Record Guide. Nearly all of the Quartet’s Naxos CDs were selected for Grammy® Awards entry lists in the “Best Classical Album” and/or “Best Chamber Music Performance” categories. Special recognition was given for the Quartet’s commitment to contemporary music: a 2003-2004 national CMA/ASCAP Award for Adventurous Programming, given jointly by Chamber Music America and the American Society of Composers, Authors, and Publishers.

The Quartet members have helped form and nurture many of today’s top international young ensembles. They have been guest professors at the national music conservatories of Paris and Lyon, as well as at the summer music schools of Yale University and Indiana University. They also appear regularly as jury members of major competitions such as Evian, Shostakovich, and Bordeaux. Documentaries on the Fine Arts Quartet have appeared on both French and American Public Television. For more information on the Quartet, please visit: www.fineartsquartet.org

Fine Arts Quartet 5

BIOGR APHIES RALPH EVANS, violinist, prizewinner in the 1982 International Tchaikovsky Competition in Moscow, concertized as soloist throughout Europe and North America before succeeding Leonard Sorkin as first violinist of the Fine Arts Quartet.

Evans has recorded over 85 solo and chamber works to date. These include the two Bartók Sonatas for violin and piano, whose performance the New York Times enthusiastically recommended for its “searching insight and idiomatic flair,” and three virtuoso violin pieces by Lukas Foss with the composer at the piano. Evans graduated cum laude from Yale University, where he also received a doctorate.

While a Fulbright scholar in London, he studied with Szymon Goldberg and Nathan Milstein, and soon won the top prize in a number of major American competitions, including the Concert Artists Guild Competition in New York, and the National Federation of Music Clubs National Young Artist Competition. Evans has also received recognition for his work as a composer. His award winning composition “Nocturne” has been performed on American Public Television and his String Quartet No.1, recently released on the Naxos label, has been warmly greeted in the press (“rich and inventive” - Toronto Star; “whimsical and clever, engaging and amusing” - All Music Guide; “vigorous and tuneful” - Montreal Gazette; “seductive, modern sonorities” - France Ouest; “a small masterpiece” Gli Amici della Musica).

EFIM BOICO, violinist, enjoys an international career that has included solo appearances under conductors Zubin Mehta, Carlo Maria Guilini, Claudio Abbado and Erich Leinsdorf, and performances with Daniel Barenboim, Radu Lupu and Pinchas 6 UWM Peck School of the Arts

Zuckerman. After receiving his musical training in his native Russia, he emigrated in 1967 to Israel, where he was appointed Principal Second Violin of the Israel Philharmonic - a position he held for eleven years. In 1971, he joined the Tel Aviv Quartet as second violinist, touring the world with guest artists such as André Previn and Vladimir Ashkenazy. In 1979, Boico was appointed concertmaster and soloist of the Orchestre de Paris under Daniel Barenboim, positions he held until 1983, when he joined the Fine Arts Quartet. Boico has been guest professor at the Paris and Lyons Conservatories in France, and the Yehudi Menuhin School in Switzerland. He is also a frequent juror representing the United States in the prestigious London, Evian, and Shostakovich Quartet Competitions. As music professor at the University of Wisconsin-Milwaukee, he has received numerous awards, including the Wisconsin Public Education Professional Service Award for distinguished music teaching, and the Arts Recognition and Talent Search Award from the National Foundation for Advancement in the Arts.

NICOLÒ EUGELMI, violist, joined the Fine Arts Quartet in July, 2009. He is described by The Strad magazine as “a player of rare perception, with a keen ear for timbres and a vivid imagination.” As soloist, recitalist, and member of chamber ensembles, he has performed around the world, collaborating most notably with conductors Mario Bernardi, Jean-Claude Casadesus, and Charles Dutoit. Eugelmi completed his musical training at the University of British Columbia and the Juilliard School.

In 1999, he was appointed Associate Principal Violist of the Orchestre Symphonique de Montréal, and in 2005, he became Principal Violist of the Canadian Opera Company. Eugelmi’s recording, Brahms: Sonatas and Songs, was named a “Strad Selection” by The Strad, and his recording, Brahms Lieder, a

B I O G R A P H I E S ( c o n t .) collaboration with Marie-Nicole Lemieux, was named “Editor’s Choice” by Gramophone. He has recorded regularly for the CBC and Radio-Canada. His mentor, Gerald Stanick, was a member of the Fine Arts Quartet from 1963 to 1968.

ROBERT COHEN, cellist, made his concerto debut at the age of twelve at the Royal Festival Hall London and throughout his distinguished international career, he has been hailed as one of the foremost cellists of our time.“It is easy to hear what the fuss is about, he plays like a God” (New York Stereo Review).“Cohen can hold an audience in the palm of his hand” (The Guardian). Invited to perform concertos world-wide by conductors Claudio Abbado, Kurt Masur, Riccardo Muti, and Sir Simon Rattle, Cohen has also collaborated in chamber music with many eminent artists such as Yehudi Menuhin and the Amadeus String Quartet, with whom he recorded the Schubert Cello Quintet on Deutsche Grammophon. At age nineteen, Cohen recorded the Elgar Concerto with the London Philharmonic Orchestra for the EMI label, and since then, he has recorded much of the cello repertoire for Sony, Decca, DGG, EMI, and BIS. Cohen, who studied with the legendary artists William Pleeth, Jacqueline du Pré, and Mstislav Rostropovich, is an inspirational teacher who has given master classes all over the world. He is a Professor at the Royal Academy of Music in London and at the Conservatorio della Svizzera Italiana in Lugano, and is director of the Charleston Manor Festival in the south of England. He joined the Fine Arts Quartet in January, 2012.

Cristina Ortiz, piano Even though Cristina Ortiz has been resident in Europe for many years, it is the passion, spontaneity

and allure so characteristic to her Brazilian cultural heritage, which is central to her music making. Dominating a broad range of solo and concerto repertoire, she now adds the role of chamber musician ever more important in her make-up as a truly complete artist.

She has performed with Antonio Meneses, Boris Belkin, Kurt Nikkanen, Uto Ughi, Dimitri Ashkenazy as well as the Prague Wind Quintet; and besides collaborating with string quartets such as the Chilingirian, the Grainger or the Endellion, Cristina has just recorded the piano quintets of Fauré and Franck with the Fine Arts Quartet for Naxos.

There is no doubting her dedication to divulging Brazilian music, well evidenced in the American premiere of Guarnieri’s “Choro” at Carnegie Hall under Dennis Russell-Davies, or the Decca recording of Villa-Lobos’ five Piano Concertos, a recording which definitely confirmed her as the main interpreter of his music.

Cristina Ortiz’ interpretation of a wealth of the most significant piano literature from Beethoven to Bernstein and beyond, has sustained critical acclaim as well as bringing to her public’s attention a number of lesser known works.

Cristina Ortiz believes teaching is an invaluable source for self-analysis.

Using her experience, she inspires young pianists to develop a feeling for colours and to broaden their range of emotions. In giving private tuition or conducting master-classes while on concert-trips throughout the world whenever possible, she dedicates special attention to the use of Pedal: that all-important yet nearly untaught art.

Since the days when invited by her mentor, Rudolf Serkin, she participated in his famous “Music from Marlboro” or when appearing at the “Festival of the Two Worlds” in Spoletto Italy, Cristina knows that an artist can but grow from sharing music with peers. She has recently organized chamber music concerts as well as several workshops Fine Arts Quartet 7

B I O G R A P H I E S ( c o n t .) for young pianists, with the intention of bringing music to her local friends in the south of France. In 2006, her first “C* O* & Friends Festival’’ there was music for wind instruments and piano, whereas in 2008, her second, that for strings and piano. To the delight of her audiences, an informal jazz-session ended both programs, in lighter fashion.

Ms Ortiz has worked with conductors such as André Previn, Kyril Kondrashin, Zubin Mehta, Neeme Järvi, Vladimir Ashkenazy, Maris Jansons, David Zinman and Dennis Russell-Davies among many more and played with orchestras such as the Berlin and Vienna Philharmonic, Cleveland or Philadelphia Orchestras, Chicago Symphony, Czech Philharmonic, RPO and Philharmonia to cite but a few.

On the other hand, she especially enjoys directing from the keyboard, be it as in concert with the Prague Chamber Orchestra (at the Rudolfinum

or the Musikverein, Vienna); with the Swedish Chamber Orchestra, in Ørebro, Sweden; or in the recording studios with the Consort of London, for Collins Classics. Recently the 1st time in Brazil, she delighted the São Paulo public and orchestral partners alike with her relaxed yet visceral approach to music, directing and performing Beethoven s Concerto # 3 from the keyboard. In her opinion this format of music making is the most complete and satisfying for a soloist, due to total commitment by all musicians on stage.

Cristina Ortiz as a true Ambassador, has started to perform classical music in the various Embassies of Brazil around the world, closely relating to the exclusive audiences by informally announcing what she chooses to play: be it Chopin or Lorenzo Fernandez; Schubert or Fructuoso Vianna; Brahms or Nepomuceno; Debussy or Villa-Lobos: all chosen composers, equally treasured by her.

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Chamber Music Milwaukee Presenting

THE AMERICAN BRASS QUINTET Raymond Mase trumpet Kevin Cobb trumpet David Wakefield horn Michael Powell trombone John D. Rojak bass trombone

March 2 9 , 2 01 2 8 p m Helen Bader Concert Hall

PROGR A M Canzoni (1618)............................................................................... Erasmus Widmann (1572- 1634) Canzon X (edited by Raymond Mase) Canzon I Canzon XIII Fantasia and Rondó........................................................................... Osvaldo Lacerda (1927-2011) Chesapeake...................................................................................................David Sampson (b. 1951) 1. Morning in Annapolis/Setting Sail 2. Full and By 3. Bloody Point 4. St. Michaels/Crab Claw –INTERMISSION– Five Pieces................................................................................................Ludwig Maurer (1789-1878) Maestoso alla Marcia Lied: allegro giocoso Andante espressivo Scherzo: vivace Allegro grazioso

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P R O G R A M ( c o n t .)

Chansons.............................................................................................................des Prés (c.1440-1521) En l’ombre d’ung buissonet (edited by Raymond Mase) El grillo Plaine de dueil De tous biens playne Kanon; N’esse pas ung grant deplaisir Copperwave...........................................................................................................Joan Tower (b. 1938) This performance is made possible in part by the National Endowment for the Arts and the American Brass Chamber Music Association, Inc. The American Brass Quintet appears by arrangement with Stanton Management, New York. www.AmericanBrassQuintet.org www.StantonMgt.com Chamber Music Milwaukee is supported in part by the William F. Vilas Trust.

PROGR A M NOTES Canzoni (1618), Erasmus Widmann (1572-1634) Originally adaptations of French and Flemish chansons, the canzon is a type of instrumental music that was popularized in the 16th and 17th centuries. Most often characterized with the opening dactylic rhythm (long, short, short), the canzon da sonar (chanson to be `played) became independent of earlier vocal models in the 1570s, and by 1600 had become the most important form of instrumental music in Italy. Ensemble canzoni were composed by all sorts of musicians—from the master composer/organist Giovanni Gabrieli with his multi-choired works for the ceremonies at San Marco in Venice, to lesser-known Northern European composers like Erasmus Widmann, who spent most of his career working as court musician in the region of Germany near Nuremburg.

Widmann’s canzoni, included in his Gantz NeueCantzon, Intraden, Ballettten und Couranten (Nuremburg, 1618) were considered his finest instrumental works.

Strikingly similar to the Venetian canzoni of earlier decades, these canzoni were described by composer Michael Praetorius—the greatest musical academic of the day—as “fresh, joyful, and fast.” While most of the Venetian canzoni of the period are written in four parts, Widmann composed his instrumental music in five parts much like the music of his contemporaries Brade and Simpson. This scoring, with two equal soprano parts, makes Widmann’s canzoni particularly well suited to adaptation by the modern brass quintet.

Note by Raymond Mase Fantasia e Rondó (1977), Osvaldo Lacerda (1927-2011) Osvaldo Lacerda graduated from the Carlos Gomez Conservatory of Music in 1960 with studies in piano, harmony and composition with Camargo Guarnieri. In 1986, he received a Guggenheim Foundation grand to study in the U.S. for a year, where he studied composition with Vittorio Giannini and Aaron Copland. He was founder and Artistic Director of three musical societies in Sao Paulo, and has won many national composition prizes. Mr. Lacerda acknowledges the influence of the work of Brazilian musicologist Mario de Andrade. In addition, he shares a basic philosophy with Ralph Vaughan Williams; their music is written in a national idiom intended to be universally understood.

Lacerda’s music attempts to capture the essence of Brazil’s musical soul through the incorporation of its folk and popular music into his own. The composer has provided the following note: “Since there are few brass ensembles in Brazil, there are very few original works of Brazilian composers for brass. This made me write the Fantasia e Rondo for brass quintet in 1977. It is scored for two trumpets, horn, tenor trombone and tuba (or bass trombone). “The Fantasia, as its name implies, has a very free form. There is a small first part, followed by a short fugato, begun by the bass trombone. There follows a sort of humorous central section, and the movement closes with a varied reexposition Chamber Music Milwaukee 11

P R O G R A M N O T E S ( c o n t .) of the first part. The Rondo has five parts, following the scheme ABACA. It consists of a lively and continuous dialogue between all the instruments. In some parts of both movements, one can hear some of the ecclesiastical modes, in the way they appear in the Brazilian folk music.

Note by Michael Powell Chesapeake for Brass Quintet, David Sampson (b. 1951) My father loved to sail. Whenever possible, my family would head to the nearest body of water, rent a boat and catch the wind. When we moved to Virginia from South Carolina in 1964, the Chesapeake Bay was that body of water. Years later, when a group of guys from my church in Brookside, NJ decided to organize a sailing trip, I signed up immediately excited about returning to my childhood haunts. Chesapeake is a mosaic of the subsequent three sailing trips from Annapolis to St. Michaels, Maryland sprinkled with a healthy dose of nostalgia. It is strongly programmatic with Movement 1 depicting waking up in Annapolis, preparing the boat, motoring out into the Bay and setting sail. Movement 2, Full and By, uses a nautical term which in essence means that the sailing was as good as possible with a strong wind and high visibility. Movement 3, Bloody Point, imagines a long forgotten conflict which occurred on a passing shoreline now occupied by a lighthouse.

Movement 4, Crab Claw is an eating establishment in St. Michaels where after a long day of sun and wind, we went to recover with soft shell crabs and a bit too much to drink.

Chesapeake was written in 2010 for the American Brass Quintet and is dedicated to my father, Herman Sampson, whose passions were generously shared. Note by David Sampson.

David Sampson (b. 1951, Charlottesville, Virginia) has emerged as one of the truly unique voices of his generation. He was Composer-in-Residence with the Colonial Symphony Orchestra from 1998 through 2007.

His major works include The War Prayer for soloists, chorus and orchestra commissioned by the National Endowment for the Arts and premiered by Princeton Pro Musica; Hommage JFK commissioned by the National Symphony Orchestra; Monument commissioned by the Barlow Foundation for the Akron and Memphis symphony orchestras; Turns for Cello and Orchestra commissioned by the Bergen Foundation and cellist Paul Tobias and premiered with the New Jersey Symphony Orchestra; Triptych for trumpet and orchestra commissioned by the International Trumpet Guild and premiered by Raymond Mase at the Aspen Music Festival and with the American Composers Orchestra at Carnegie Hall; Dectet commissioned by the Chicago Chamber Musicians; Elements commissioned by the Elements Quartet; Strata commissioned by the NEA and the American Brass Quintet; Jersey Rain commissioned by the NEA and the Geraldine R. Dodge Foundation and premiered by Harmonium and Masterworks Choruses and the Colonial Symphony.

Recordings include Monument, Triptych, Hommage JFK, Three Portraits, Simple Lives (Czech Philharmonic Chamber Orchestra; Alan Balter, conductor; Raymond Mase, trumpet; Scott Mendoker, tuba; (Summit Records DCD237); Short Stories (Dorian Wind Quintet,

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P R O G R A M N O T E S ( c o n t .)

Summit Records); Morning Music and Distant Voices (American Brass Quintet, Summit Records); Reflections on a Dance (Summit Brass, Summit Records); The Mysteries Remain and Solo (Raymond Mase, Summit Records); and Chants and Flourishes (American Brass Quintet). Moving Parts for wind ensemble was recorded by both the North Texas Wind Ensemble, Eugene Corporan, conductor and the Rutgers Wind Ensemble, William Berz, conductor. His Serenade for flugelhorn and string orchestra was recorded by the Czech Philharmonic Chamber Orchestra with Raymond Mase as soloist and Paul Polivnick conducting; and his Dectet was recorded by the Wihan Quartet, Afflatus Wind Quintet and pianist Richard Ormrod with Paul Polivnick conducting. The album Dectet (Troy 780) was released on Albany Records. An upcoming album titled Chesapeake will include works written for the American Brass Quintet as a group and as members of various chamber ensembles. It will be released on Summit Records in 2012. David Sampson has received major grants from the NEA, American Academy of Arts and Letters, Barlow Endowment, New Jersey State Council on the Arts, Jerome Foundation, Cary Trust, and the Dodge Foundation, among others. He holds degrees from the Curtis Institute of Music, Hunter College, Manhattan School of Music, and the Ecoles d’Art Americaines, where his teachers included Karel Husa, Henri Dutilleux and John Corigliano in composition; and Gerard Schwarz, Gilbert Johnson, Robert Nagel, and Raymond Mase in trumpet. His music is published by Editions BIM, Cantate Press and Redrunner Music. He has served on the Board of the Composers Guild of New Jersey and the Advisory Board of the Bergen Foundation.

Currently he is currently Director of Music at the Brookside Community Church in Brookside, New Jersey and a member of the music department at Randolph Middle and High Schools, Randolph, New Jersey.

Five Pieces, Ludwig Maurer (1789-1878) Splitting his career between his native Germany and St. Petersburg, Ludwig Maurer was well-known as both a violinist and composer. His technique must have been extraordinary, as his pre-Paganini compositions demand spiccato, multiple stopping, and complex bowing. His Symphony op. 67 and Sinfonia Concertante op. 55 for four violins were both performed often in his lifetime. Maurer devoted his later years to directing opera in St. Petersburg. In 1871, as a member of the opera committee at the famed Marynsky Theater, he joined in a veto of Boris Godunov, bitterly disappointing Mussorgsky. They objected not to the bold modern sounds that Rimsky-Korsakov would later feel compelled to “correct,” but to the lack of a prominent female role and to certain “ungodly” demands inflicted upon the double basses! Maurer’s sons became prominent Russian musicians, and his oldest, Vsevolod, eventually assumed directorship of the Italian Opera in St. Petersburg.

The five pieces presented here are taken from a set of twelve, originally scored for two B-flat trumpets, two E-flat horns, and trombone. As the earliest brass chamber works of significance heard in St. Petersburg, their brevity and simple structure recall older ceremonial traditions in brass ensemble performance, as in the Leipzig tower music of Johann Pezel (1639-1694), but the required delicacy and nuance encourage a more intimate setting.

Note by Chris Gekker.

Chansons, Josquin des Prés (c.1440-1521) (edited by Raymond Mase) Few musicians have enjoyed more stature in their lifetimes or had a more lasting influence on those who followed than Josquin des Prés, who is often regarded as the most important composer of the High Renaissance. He was hailed by contemporaries as “the best of the composers of our time” and by Luther with “He is master of the notes; others are mastered by them.” Josquin’s chansons are masterful in counterpoint and variety of spirit--from the light-hearted El grillo (The Cricket), to Plaine de dueil (filled with grief) and stand as some of the earliest music the American Brass Quintet has adapted for modern performance.

Interestingly, Josquin’s output of twenty masses, one hundred motets, and seventy-five secular pieces was long forgotten until he was rediscovered by the music historian Burney in the late 18th century. Josquin’s Chansons are recorded by the American Brass Quintet on their fortieth anniversary compact disc American Brass Quintessence (Summit DCD 263).

Note by Raymond Mase.

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P R O G R A M N O T E S ( c o n t .)

Copperwave (2006), Joan Tower (b. 1938) Known and admired for her bold and energetic music, Joan Tower is one of America’s most successful and best-known composers of concert music. Her first orchestral work, Sequoia, has remained in the repertoire, with performances by the orchestras of Saint Louis, New York, San Francisco, Minnesota, Tokyo NHK, and Toronto, as well as the National Symphony and London’s Philharmonia. Tower’s tremendously popular five Fanfares for the Uncommon Woman have been played by more than 400 different ensembles. Since 1972 Tower has taught at Bard College, where she is Asher Edelman Professor of Music. She is composer-in-residence with the Orchestra of St. Luke’s, a title she also held for eight years at the Yale/Norfolk Chamber Music Festival. The first woman ever to receive the prestigious Grawemeyer Award in Composition (1990), she was inducted in 1998 into the prestigious American Academy of Arts and Letters and in 2004 into the Academy of Arts and Sciences at Harvard University.

Note by the composer: The title of the piece is COPPERWAVE. What is means is that copper (in brass) creates a weighty (and heavy) motion and feeling that travels in waves (and circles) throughout the piece. Another more “background” story is that my father was a mining engineer and dealt with copper in some of his jobs in Latin America where the family lived for nine years-hence the “conga” rhythm.

Copperwave was commissioned for the American Brass Quintet by The Juilliard School for its Centennial Celebration. This commission was supported by the Trust of Francis Goelet.

The American Brass Quintet Now in its 51st season, the American Brass Quintet has been internationally recognized as one of the premier chamber music ensembles of our time and an icon in the brass world. The ABQ’s rich history includes performances in Europe, Central and South America, the Middle East, Asia, Australia and all fifty of the United States; a discography of over fifty recordings; the premieres of over one-hundred contemporary brass works, and in the last decade, mini-residencies that have brought the ABQ’s chamber music expertise to countless young musicians and institutions worldwide. ABQ commissions by Samuel Adler, Bruce Adolphe, Daniel Asia, Jan Bach, Robert Beaser, William Bolcom, Elliott Carter, Jacob Druckman, Eric Ewazen, Anthony Plog, Huang Ruo, Steven Sacco, David Sampson, Gunther Schuller, William Schuman, Joan Tower, Melinda Wagner, and Charles Whittenberg, are considered among the most significant contributions to the modern brass quintet repertoire. Premieres in the last three seasons include works by Gordon Beeferman, Nolan Gasser, Trevor Gureckis, Justin Dello Joio, Shafer Mahoney, Anthony Plog and David Sampson. In commemoration of the ABQ’s 50th anniversary last year, the ABQ released its ninth recording on the Summit label—a double CD of new works written for the ABQ in the last decade called State of the Art—the ABQ at 50.

Equally committed to the promotion of brass chamber music through education, the American Brass Quintet has been in residence at The Juilliard School since 1987 and at the Aspen Music Festival since1970. Since 2001 the ABQ has offered its expertise in chamber music performance and training with a program of mini-residencies as part of its regular touring season. Designed to offer young groups and individuals an intense chamber music experience over several days, ABQ mini-residencies have been embraced by schools and communities throughout the United States and internationally.

Through its acclaimed performances, diverse programming, commissioning, extensive discography and educational mission, the ABQ has created a legacy unparalleled in the brass field. Hailed as “the high priests of brass” by Newsweek, “positively breathtaking” by the New York Times, and “of all the brass quintets, the most distinguished” by the American Record Guide, the American Brass Quintet has clearly defined itself among the elite chamber music ensembles of our time.

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BIOGR APHIES Raymond Mase, trumpet Trumpeter Raymond Mase has been a member of the American Brass Quintet since 1973 and is responsible for many of the ABQ’s performance editions and recordings of 16th-, 17th-, and 19th-century brass music. He is also a founding member of the Summit Brass and principal trumpeter of the New York City Ballet Orchestra. Mr. Mase can be heard on well over one hundred recordings, including as soloist on the Albany, Deutsche Grammophon, Summit, Koch, Cambria, Troy, MHS, and Furious Artisans labels. In addition to his performing and teaching, Mr. Mase is Chair of the Brass Department at The Juilliard School, a member of the Aspen Music School faculty,and has served on the Board of Directors of Chamber Music America.

Kevin Cobb, trumpet Trumpeter Kevin Cobb became a member of the American Brass Quintet in the fall of 1998. Prior to his joining the ABQ, he had been a member of the Manhattan Brass Quintet and Meridian Arts Ensemble. Currently Mr. Cobb serves on the faculties of The Juilliard School, Mason Gross School of the Arts at Rutgers University, SUNY Stony Brook, the Hartt School, and the Aspen Music School. He performs regularly with such organizations as the Metropolitan Opera Orchestra, New York Philharmonic, New York City Ballet Orchestra, Speculum Musicae, and is co-principal trumpeter of the Aspen Festival Orchestra.

His first solo CD entitled One features an all-American program of unaccompanied trumpet solos on the Summit Label.

David Wakefield, horn Wakefield joined the American Brass Quintet in 1976 while he was a doctoral student at The Juilliard School. A member of the Aspen Music School faculty since 1976 and the Juilliard School faculty since 1987, and the Hartt School since 2011, he also served as Associate Dean for Performance Activities at The Juilliard School.

Principal horn of the Little Orchestra Society, Mr. Wakefield has performed with the New York, Vienna, and Brooklyn Philhar-

monics, Houston Symphony, and regularly with the Orchestra of St. Luke’s, the New York City Opera, and the Metropolitan Opera Orchestra. He has premiered over 250 new works and worked closely with such composers as Milton Babbitt, Luciano Berio, Elliott Carter, John Corigliano, Jacob Druckman, Eric Ewazen, George Tsontakis, and Charles Wuorinen.

Michael Powell, trombone Michael Powell has been tenor trombonist of the American Brass Quintet since 1983.

He also performs and records regularly with the Orchestra of St. Luke’s, Orpheus Chamber Orchestra, Little Orchestra Society, Zankel Band, Twentieth Century Classics Ensemble, and Aspen Festival Orchestra. Mr. Powell has performed as soloist with the Orchestra of St. Luke’s, Kansas City Philharmonic, and at the Aspen and New Hampshire Music Festivals. He has taught master classes in trombone and chamber music worldwide. Mr. Powell commissioned, premiered and recorded the Sonata for Trombone and Piano by Eric Ewazen, with the composer as pianist. He is on the faculties of The Juilliard School, SUNY Stony Brook, Mason Gross School of the Arts at Rutgers University, and the Aspen Music School.

John D. Rojak, bass trombone American Brass Quintet member since 1991, John Rojak is also bass trombonist with the Orchestra of St. Luke’s and New York Pops, and has performed and recorded with the New York Philharmonic and Orpheus. He served as bass trombonist for the sixteen-year run of Les Miserables on Broadway and was the first bass trombonist to be artist-in-residence at Quad City Arts (Iowa). Recent solo recordings include The Romantic Bass Trombone on MMC Records, Eric Ewazen’s Rhapsody for Bass Trombone and Strings for Albany Records, and Walter Ross’ Trombone Concerto No. 2 with the New York Chamber Symphony. He is on the faculties of The Juilliard School, Mason Gross School of the Arts at Rutgers University, Bard College Conservatory of Music, and the Aspen Music School.

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D E PA R TM E N T O F M U S I C FAC U LT Y A N D T E AC H I N G S TA F F Ensembles John Climer, Bands Scott Corley, Bands Margery Deutsch, Orchestras Curt Hanrahan, Jazz Band Gloria Hansen, Choirs Sharon Hansen, Choirs David Nunley, Choirs Paul Thompson, Choirs Guitar Peter Baime Beverly Belfer Pete Billmann Elina Chekan René Izquierdo Don Linke John Stropes Harp Ann Lobotzke+ Jazz Studies Curt Hanrahan, Jazz Ensemble/Jazz Arranging Steve Nelson-Raney, Jazz Theory and History Music Education Jill Anderson Scott Emmons Sheila Feay-Shaw Jeffrey Garthee Catherine Robertson Beth Sacharski Bonnie Scholz

Musicology and Ethnomusicology Mitchell Brauner Judith Kuhn Timothy Noonan Gillian Rodger Martin Jack Rosenblum Music Theory, Composition and Technology James Burmeister Christopher Burns Lou Cucunato William Heinrichs Jonathan Monhardt Steve Nelson-Raney Kevin Schlei Amanda Schoofs Jon Welstead* Piano Elena Abend Judit Jaimes Leslie Krueger Peggy Otwell Jeffry Peterson María Valentina Schlei Strings Scott Cook, String Pedagogy^ Darcy Drexler, String Pedagogy^ Stefan Kartman, Cello Thomas McGirr, Jazz Bass Lewis Rosove, Viola Laura Snyder, String Bass+ Bernard Zinck, Violin

Fine Arts Quartet Ralph Evans, Violin Efim Boico, Violin Nicolò Eugelmi, Viola Robert Cohen, Cello Voice Kerry Bieneman Valerie Errante Jenny Gettel Constance Haas Tanya Kruse Ruck Kurt Ollmann Winds, Brass and Percussion Stephen Ahearn, Clarinet Dave Bayles, Percussion Dean Borghesani, Percussion+ Margaret Butler, Oboe+ Marty Erickson, Tuba & Euphonium Gregory Flint, Horn Beth Giacobassi, Bassoon+ Curt Hanrahan, Saxophone Kevin Hartman, Trumpet Mark Hoelscher, Trombone Todd Levy, Clarinet+ Ted Soluri, Bassoon+ Carl Storniolo, Percussion Caen Thomason-Redus, Flute Thomas Wetzel, Percussion+ *Department Chair +Milwaukee Symphony Orchestra ^String Academy of Wisconsin

P E C K S C H O O L O F T H E A R T S A D M I N I S T R AT I O N Wade Hobgood...................................................................................................................................Dean Scott Emmons.................................................................................................................Associate Dean Mary McCoy..........................................................................................................Assistant to the Dean Sue Thomas........................................................................................................ Administrative Officer Diane Grace....................................................................................................... Development Director Ellen Friebert Schupper............................. Director of Marketing and Community Relations Nicole Schanen.....................................................................................................Marketing Specialist Randall Trumbull-Holper....................................................................................... Facilities Manager Tianna Conway.......................................................................................................Box Office Manager Ken Otte................................................................Creative Specialist and Web Content Manager Maria Corpus, Tom Gray, Mike Gold..........................................................................Box Office Staff Brianna Husman, Lauren Messner, Nick Ouchie Clair Paul, Chelsey Porth, Bob Schaab 16 UWM Peck School of the Arts