Sept12-UWM Peck

Fine Arts Quartet September 9, 2012 at 3pm Helen Bader Concert Hall

50THANNIVERSARY!

2012-2013

Ralph Evans Efim Boico Robert Cohen Nicolò Eugelmi

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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

Guest Artist Sponsors Mrs. Susan Davie

Friends of the Fine Arts Quartet Else Ankel Tessa Blumberg Leon & Carole Burzynski Barbara K. Costanzo Debra Franzke & James Theselius

Lenore Barbara Lee Nancy & Robert Mitchell James Ozzello Otto & Hilde Wiegmann

Media Sponsors

2012/2013 Season Donors as of May 1, 2012 All gifts are added to the UWM Foundation/Fine Arts Quartet Fund Attire for members of the Fine Arts Quartet has been generously provided by Mark Berman & Son 2

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PROGR A M String Quartet in F Major, Op.77, No.2.................................................................Franz Joseph Haydn Allegro moderato (1732-1809) Menuetto: Presto, ma non troppo Andante Finale: Vivace assai String Quartet No.1, Op.49 (1938)....................................................................... Dmitri Shostakovich Moderato (1906-1975) Moderato Allegro molto Allegro --- Intermission --String Quartet in G Minor, Op.10..................................................................................Claude Debussy Animé et très décidé (1862-1918) Assez vif et bien rythmé Andantino, doucement expressif Très Modéré - Très Mouvementé et avec passion PROGR A M NOTES Written by Timothy Noonan, Senior Lecturer - Music History and Literature Haydn, String Quartet in F Major, Op. 77 No. 2 Haydn composed his 68 string quartets over a period of about 45 years, beginning around 1755-60 and ending in 1803. While he did not originate the genre, he did write some of the first examples, and Haydn is the earliest composer whose string quartets we hear frequently today. His quartets are of remarkable craftsmanship and musical value, and we are mistaken if we suggest that their large number suggests any artistic deficiency. As with his symphonies, Haydn’s creativity and originality in the field of the string quartet yielded a remarkable stream of fine works over a long compositional career. In 1799, when he was in his late sixties, Haydn received a commission from Prince Lobkowitz for a set of quartets, and he composed two of them, known as Op. 77, that same year.

Then in 1802-03 he worked on a third quartet for the commission, writing the slow movement and the minuet only, a work he called the “third and last quartet.” This fragmentary quartet is known today as Op. 103. And with it, Haydn’s days of quartet writing were over.

He was now in his early seventies, and no longer had the strength to continue.

Op. 77 No. 2, then, is Haydn’s last completed string quartet. In a clear sonata form, the first movement is replete with lyrical and lively musical invention. Characteristically, Haydn presents us with several distinctive melodic and motivic ideas, and then composes out the movement using and reusing those ideas in a marvelous variety of ways. For example, the second theme, clearly articulated from what came before, takes the rhythm of the movement’s opening idea and places it in the second violin part, rendering the new theme truly new and yet a cousin to the first theme. The development section, too, is a masterful reworking of selected ideas taken from the exposition, and Haydn leaves a full measure of silence before the recapitulation. The movement ends with a brief coda. The second movement is the minuet, and this quartet is a late example of the phenomenon found in some earlier works of Haydn in which the traditional ordering of fast–slow–minuet–fast is altered, inverting the two interior movements. Though it is Fine Arts Quartet

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labeled as a minuet, this is more properly a scherzo, in view of its fast tempo. While it is set in the usual 3/4 meter, Haydn creates a sense of 2/4 at times. The trio is set in the lush and distantly-related key of D-flat major, and as it concludes, a short transition takes us back to the F major of the minuet. The D-major slow movement is set in a rondo-variation form. An initial theme, played by a first violin and cello duet, and then by the whole quartet, is subjected to variations that place a variety of figurations against the theme.

The slow movement is not in the main key (the norm in this repertoire), and thus Haydn needs to restate the main key as he opens his finale, and so he does, with an F-major chord marked with a fermata. The sonata-form movement is playful and quick and, as we heard in the first movement, the substantial development section spotlights Haydn’s mastery of manipulating his ideas in ever new and engaging ways.

Shostakovich, String Quartet No. 1 in C Major, Op. 49 In Spring 1937 Dmitri Shostakovich was invited to the join the faculty of the Leningrad Conservatory. Coming on the heels of a scathing review in Pravda of his opera Lady Macbeth of the Mtsensk District, and with the responsibilities of a baby daughter, Galina, born a year earlier, he was glad to accept, and began teaching in September. He taught composition as well as instrumentation, and participated in sessions of performance and analysis of important and often non-Russian works. In 1938, before he became a full professor in June 1939, he composed the first of his fifteen string quartets (written over the span 1938-1974), on a commission from the Glazunov Quartet, also affiliated with the Conservatory. He had recently completed his famed Fifth Symphony. Shostakovich reported that he wrote the first portion of the quartet “as a kind of exercise in quartet writing,” and said that he initially planned to call the piece the “Spring” Quartet.

The piece is mild, not passionate, not often loud, evocative of youth: in the words of Ian MacDonald, it is a work of “studied simplicity.” The work’s initial movement was originally planned to be the finale, and the finale was to be first. The first movement begins with a repeated-note idea that proves to figure prominently in later portions of the work. The movement is essentially in sonata form, albeit with just a brief transition in place of a full development section and an abbreviated recapitulation. Its second theme is accompanied by a cello ostinato figure featuring glissandi. The second movement is a theme with three variations, beginning in A minor; the theme is in the manner of a Russian folk tune, presented by the viola. As is often found in Russian variations, the theme is present in each one, while the background changes. The brief scherzo and trio in C-sharp minor is muted throughout and maintains a quiet dynamic level. The contrasting trio section in F-sharp major takes on the style of a waltz. And the structure of the finale resembles sonata form, with a full development section. It ends, uncharacteristically for Shostakovich’s quartets, loudly and firmly in C major.

Debussy, String Quartet in G Minor, Op. 10 While Claude Debussy called this work his “Premier quatuor,” he was to complete just one string quartet (though he worked on a second one in 1894). Written in 1893, it originated in the same period as the Prelude to the Afternoon of a Faun, the opera Pélleas et Melisande, and the three Images for piano. The quartet was evidently the product of considerable labor; writing to the composer Chausson, he said “I have not been able to get it as I want it to be, and I am therefore starting it again for the third time.” Another prominent figure in French music, César Franck, had a role in its genesis. Debussy heard a performance of Franck’s quartet in D major in April 1890, perhaps providing the inspiration to write his own. In addition, Debussy attended Franck’s organ class at the Paris Conservatory, and the quartet shows some influence of Franck’s style. His influence on the work is particularly in its cyclic nature. As Franck incorporated recurrent ideas among the movements of 4

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some of his works, so Debussy crafted his quartet such that the opening idea is transformed into the thematic material of the subsequent movements.

Debussy’s quartet, viewed as his first masterpiece, received its premiere at the Société Nationale de Musique in December 1893, performed by the group to whom Debussy dedicated it, the Ysäye Quartet. Enigmatically, Debussy assigned the piece the opus number 10, yet no other work by Debussy carries an opus number. The first movement opens with a decisive theme, the rhythm of which receives considerable attention during the course of the movement and, again, proves to be the source of the ideas that dominate the movements that follow. The distinctive opening of the second movement scherzo features pizzicato G-major chords played by the first violin and cello, alternating with an arco solo viola idea that is derived from the first movement’s opening theme. The viola’s line is the dominant idea in the scherzo, and then the trio follows a short transitional passage in the low register of the cello. The slow movement, played muted much of the time, begins with brief solo aborted attempts to present the theme, before the whole ensemble presents it in full in D-flat major. It is set in an A–B–A scheme, and the middle section is a bit faster, begun by the solo viola. The movement rises to a passionate climax, calmed by cello solos that lead to a return of the main theme. The finale’s theme, again based upon the opening of the quartet, is subjected to fugal treatment, and later the original theme returns more literally, stretched into longer notes. In the coda Debussy returns to the idea oft-repeated by the viola from the second movement. Debussy’s quartet is a tour de force in the transformation of musical material, yielding a work of power and beauty as well as formal brilliance.

T H E 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 2012-13 on Naxos include chamber masterpieces by Schumann and Saint-Saëns.

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The Quartet’s recent recordings have received many distinctions. Their Fauré Quintets CD on Naxos with pianist Cristina Ortiz was singled out by the 2012 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. Please visit: www.fineartsquartet.org 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 6

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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

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Erich Leinsdorf, and performances with Daniel Barenboim, Radu Lupu and Pinchas 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 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 masterclasses 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.

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PROGR A M Two Sacred Songs (1989) Oseh Shalom Shiru Ladonai Valerie Errante, soprano, Jennifer Clippert, flute Stefan Kartman, cello, Rene Izquierdo, guitar Songs of Transcendence (1999) three songs for solo guitar Rene Izquierdo, guitar Why (?) Jacob (2007) Elena Abend, piano Breath In A Ram’s Horn (2003) What Do We Know?

Old Medals Prayer Shawls Job Longed For The Grave Rosh Hashana/ Yom Kippur My Father’s Name Robert Swensen, tenor, Jennifer Clippert, flute, Trevor O’Riordan, clarinetBernard Zinck, violin, Stefan Kartman, cello, Jeffry Peterson, piano Chamber Music Milwaukee

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Co-sponsored by Congregation Anshai Lebowitz, Congregation Beth Israel, Congregation Emanu-El B’ne Jeshurun, Congregation Emanu-El of Waukesha, Congregation Shalom, Congregation Sinai, Congregation Shir Hadash, Lake Park Synagogue, BBYO, Milaukee Jewish Federation, The Coalition for Jewish Learning, Hillel Milwaukee, Jewish Museum Milwaukee, and the Nathan & Esther Pelz Holocaust Education Resource Center.

BIOGR APHIES Daniel Asia, Composer Daniel Asia (b. 1953, Seattle, WA) is one of a small number of composers who have traversed both the realms of professional performance and academia with equal skill. As testament to this he is a 2010 recipient of a major American Academy of Arts and Letters award.

Elliott Hurwitt writes in a Schwann Opus review of the composer’s music,“Daniel Asia is a genuine creative spirit, an excellent composer...

He is a welcome addition to the roster of our strongest group of living composers.”

His orchestral works have been commissioned or performed by the symphony orchestras of Cincinnati, Seattle, Milwaukee, New Jersey, Phoenix, American Composers Orchestra, Columbus (OH), Grand Rapids, Jacksonville, Chattanooga, Memphis, Tucson, Knoxville, Greensboro, Seattle Youth, and the Brooklyn, Colorado and Pilsen (Czech Republic) philharmonics. Asia’s works have been performed by renowned conductors including Zdenek Macal, Jesus Lopez-Cobos, Eiji Oue, Lawrence Leighton Smith, Hermann Michael, Carl St. Clair, James Sedares, Stuart Malina, Robert Bernhardt, George Hanson, Jonathan Shames, Odaline de la Martinez, and Christopher Kendall.

He has been the recipient of the most important grants and fellowships in music including a Meet The Composer/ Reader’s Digest Consortium Commission, United Kingdom Fulbright Arts Award Fellowship, a Guggenheim Fellowship, four NEA Composers Grants, a M. B. Rockefeller Grant, an Aaron Copland Fund for Music Grant, MacDowell Colony and Tanglewood Fellowships, ASCAP and BMI composition prizes, and a DAAD Fellowship for study in the Federal Republic of Germany.

From 1991-1994, Mr. Asia was the Meet the Composer/ Composer In Residence with the Phoenix Symphony.

The composer’s major orchestral works include five symphonies, piano and cello 10

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concerti, two song cycles, and several single movement works. His output for chamber ensembles and solo performers is also extensive and includes works written for or commissioned by Koussevitsky Music Foundation, Fromm Music Foundation, D’Addario Foundation for the Performing Arts/Domus, The Czech Nonet/Barlow Endowment/Arizona Friends of Chamber Music, Oberlin Woodwind Quintet, Dorian Wind Quintet, American Brass Quintet, Meadowmount Trio, Andre-Michel Schub (piano), Carter Brey (cello), Alex Klein (oboe), Benjamin Verdery (guitar), John Shirley-Quirk and Sara Watkins (baritone and oboe), Jonathan Shames (piano), violinists Curtis Macomber, Gregory Fulkerson, Mark Rush and Zina Schiff, and Robert Dick (flute).

Other performers of his smaller scale works include Cleveland Chamber Orchestra, Pittsburgh New Music Ensemble, San Francisco Contemporary Chamber Players, Contemporary Chamber Players/Chicago, Scott Chamber Players/Indianapolis, The Bridge Ensemble, Aspen Festival Chamber Orchestra, Northwest Chamber Orchestra, Endymion Ensemble, Lontano and the BBC Singers.

His music has been played throughout the United States, and in the major venues of New York, including Carnegie Hall and Recital Hall, 92nd Street Y, Merkin Hall, the Great Hall at Cooper Union, those of London including Queen Elizabeth Hall (South Bank), St. John’s Smith Square, Wigmore Hall, and throughout Europe and Asia.

Asia’s recorded works may be heard on the Summit, New World, Albany, Babel, Innova, and Mushkatweek labels featuring artists as diverse as New Zealand Symphony, Pilsen Philharmonic (release pending), American Brass Quintet, Dorian Wind Quintet, and Cypress String Quartet, to name but a few.

After receiving his BA degree from Hampshire College, Mr. Asia received his MM from the

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Yale School of Music. After serving as Assistant Professor of Contemporary Music and Wind Ensemble at the Oberlin Conservatory from 1981-86, Mr. Asia resided in London from 198688 working under the auspices of a UK Fulbright Arts Award and a Guggenheim Fellowship. He is presently Professor of Composition, and head of the Composition Department, at The University of Arizona, Tucson. Mr. Asia’s music is published by Theodore Presser Co. He is represented as composer and conductor by Stanton Consulting & Management of Astoria, New York. Married to Carolee Asia, Mr. Asia and his wife are the parents of three children.

Elena Abend, piano Born in Caracas, Venezuela, pianist Elena Abend is well known as a soloist and chamber musician. She has performed with all the major orchestras of her country and has recorded with the National Philharmonic Orchestra of Venezuela. As the recipient of a scholarship from the Venezuelan Council for the Arts, Ms Abend studied at the Juilliard School, where she received her Bachelor and Master degrees. She was awarded the William Schuman Prize for outstanding achievement given to a single graduate student of her class. She has performed at the Purcell Room in London’s Royal Festival Hall, Avery Fisher Hall in New York’s Lincoln Center, Weill Recital Hall at Carnegie Hall and the Academy of Music with the Philadelphia Orchestra. Other engagements have included the Wigmore Hall in London, the Toulouse Conservatoire and the Theatre Luxembourg in France, the Corcoran Gallery in Washington D.C., the United Nations, Merkin Concert Hall in New York, Chicago Cultural Center, Pabst Theater in Milwaukee, Atlanta Historical Society, and the Teresa Carreno Cultural Center in Caracas. Other chamber music collaborations include, performances at the Ravinia and Marlboro Music Festivals, as well as live broadcasts on Philadelphia’s WFLN, The Dame Myra Hess Concert Series on Chicago’s WFMT and Wisconsin Public Radio at the Elvehjem Museum in Madison. Ms Abend has been on the Faculty of the Wisconsin Conservatory of Music, Indiana University’s String Academy summer program and the Milwaukee Chamber Music Festival. An active performer in the

Milwaukee area, Ms Abend has performed on the Milwaukee Chamber Orchestra Series at Schwan Concert Hall, Piano Chamber, New Generations, Music from almost Yesterday, and the Yolanda Marculescu Vocal Art Series at the UWM. She has performed with “Present Music Now” and the “Frankly Music” Series, as well as being an invited guest on several occasions to perform with the Fine Arts Quartet.

She recorded a CD with clarinetist Todd Levy performing music of Brahms and Schumann for the Avie Label, as well as numerous CD projects for the Hal Leonard Corporation. She is currently on the Faculty at the University of Wisconsin-Milwaukee where she teaches piano and chamber music.

Jennifer Clippert, flute Flutist Jennifer Clippert’s performance career clearly reflects her passionate knowledge of music from Baroque to present day. Equally comfortable as a soloist, chamber musician and orchestral player, she has performed throughout Chicago with groups such as the Chicago Symphony Orchestra, Grant Park Orchestra, Music of the Baroque, Chicago Opera Theater and the Chicago Symphony’s MUSICNOW series among others. Through these performances she’s had the opportunity to work with today’s prominent conductors including Daniel Barenboim, Pierre Boulez, Cliff Colnot, Sir Andrew Davis, William Eddins, Christoph Eschenbach, Carlos Kalmar, Oliver Knussen, Lorin Maazel, Zubin Mehta, Kent Nagano, David Robertson, Esa-Pekka Salonen, Leonard Slatkin, Georg Solti, Robert Spano, Michael Tilson-Thomas, Christopher Wilkins, John Williams and Pinchas Zukerman.

Jennifer Clippert is a member of Quintet Attacca, the second woodwind quintet to have won the Grand Prize in the thirty-nine year history of the Fischoff National Chamber Music Competition. Since winning both the Senior Wind Division and the Grand Prize at the 2002 Fischoff National Chamber Music Festival, the group has maintained an active performance schedule including tours of both Italy and the United States. Quintet Attacca is known for its versatile and unique performances, creating diverse programs comprised of music both traditional and cutting-edge.

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Ms. Clippert is especially interested in exploring and promoting the music of today.

Through her performances with the Chicago Symphony’s MUSICNOW series, she has had the privilege of premiering works by some of today’s leading composers including Oliver Knussen, Shulamit Ran and Augusta Read Thomas. She has also been fortunate to work closely with many composers on performances of their works.

She is the winner of several competitions including the Musicians Club of Women Farwell Award and the Flute Talk Competition. Ms. Clippert has been a finalist and prize winner in several competitions including the National Flute Association Young Artist, Piccolo Masterclass and Performers Masterclass Competitions.

An avid pedagogue, Ms. Clippert began her teaching career as an undergraduate student and has always maintained an active studio.

She served on the National Flute Association’s Pedagogy committee from 2005-2008, and has presented at several conventions. She is also a frequent guest artist, clinician and adjudicator for various flute festivals. Ms. Clippert was on faculty at DePaul University from 2006-2012.

Ms. Clippert began her studies at an early age in Wisconsin, studying first the piccolo and later the flute. She attended the University of Wisconsin-Milwaukee where she received her BFA while studying with Robert Goodberg. While playing two seasons in the Civic Orchestra of Chicago, she had the privilege of studying with Donald Peck. Ms. Clippert is

also a graduate of Northwestern University, where she received both her MM and DM under Walfrid Kujala.

Valerie Errante, soprano Valerie Errante has served on the faculties of the University of Iowa, Eastman School of Music, and Folkwang Hochschule for Music in Essen, Germany. Her singing career has taken her to three continents: after her operatic debut with Michigan Opera Theater, she was selected for the opera studio of the Bavarian State Theater of Munich. She sang over 30 roles in six seasons as leading coloratura soprano with the opera of the city of Kiel, and has sung guest appearances in opera and concerts in Italy, Israel and Estonia. She has performed in the United States at the Kennedy Center, with the Rochester Oratorio Society, the Cedar Rapids Symphony Orchestra, and the Milwaukee Symphony Orchestra. She has recorded with the Bavarian State Radio Orchestra on Ariola/Eurodisc. Her solo recording of the songs of Alec Wilder is available from Albany Records. (TROY 404).

Errante frequently presents lecture-recitals on German Art Song of turn-of- the-century Munich composers at national and international conventions. This is part of an on-going research, performance and recording project.

Rene Izquierdo, guitar Izquierdo is currently a professor of classical guitar at the University of Wisconsin in Milwaukee. As a concert artist, Rene has performed throughout North America, Cuba, Puerto Rico and Europe as solo recitalist, chamber musician and soloist with orchestra. He has received

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wide critical acclaim for his performances, and is recognized as one of America’s classical guitar virtuosos. A native from Cuba, Rene graduated from the Guillermo Tomas, Amadeo Roldan Conservatory and Superior Institute of Art in Havana. In the United States, he earned a Master of Music and Artist Diploma degrees from the Yale University School of Music.

As one of the world’s leading classical guitarists Mr. Izquierdo is a recipient of numerous awards. He is a winner of JoAnn Falletta International Guitar Competition in 2004, Extremadura International Guitar Competition, Schadt String competition, Stotsenberg International Guitar Competition among others.

Stefan Kartman, cello Kartman is currently Associate Professor of Cello and Chamber Music at the University of Wisconsin - Milwaukee. In addition to solo performance, he has performed to critical acclaim as cellist of the Kneisel Trio and the Florestan Duo. He has given performances and masterclasses in conservatories and schools of music worldwide including the Cleveland Institute of Music (USA), the Xiamen Conservatory of Music (China), and the D’Albaco Conservatory of Music (Italy), among many others.

An avid chamber music enthusiast, Dr. Kartman has served on the faculties of the Alfred University Summer Chamber Music Institute, the MidAmerica Chamber Music Festival, the Troy Youth Chamber Music Institute, the Green Mountain Chamber Music Festival, and was artistic director of the Milwaukee Chamber Music Festival. His early training in chamber music was with his father, Myron Kartman, of the Antioch String Quartet and during his formal training as a chamber musician, he studied with members of the Guarneri and Juilliard String Quartets and the Beaux Arts Trio.

Stefan Kartman received degrees from Northwestern University, The Juilliard School of Music, and his doctorate from Rutgers University. He has been teaching assistant to Harvey Shapiro and Zara Nelsova of the Juilliard School and proudly acknowledges the pedagogical heritage of his teachers Shapiro, Nelsova, Bernard Greenhouse, Alan Harris, and Anthony Cooke.

Trevor O’Riordan, clarinet Trevor O’Riordan received Master’s and Bachelor’s degrees in clarinet performance from the Eastman School of Music, of the University of Rochester. He was also awarded the Performer’s Certificate and was a candidate for the Artist’s Diploma. He studied clarinet with Jon Manasse, Kenneth Grant, Raphael Sanders, and Patti Carlson. He received Eastman’s “John Celentano Award for Excellence in Chamber Music” and in 2003 performed Nielsen’s Clarinet Concerto with the Eastman Orchestra. During his time at Eastman, Mr. O’Riordan performed in Germany, Japan, and Taiwan.

Receiving numerous awards, Trevor was third place in the International Clarinet Associations’ High School Performer’s Competition, and the winning artist in the ICA’s 2001 Orchestra Audition Competition, adjudicated by Greg Smith of the Chicago Symphony and Frank Cohen of the Cleveland Orchestra. He also participated in summer music programs at both Brevard and Interlochen academies.

Coming to the Chicago area in 2003, Mr. O’Riordan has been a member of the Chicago Civic Orchestra, performing under the legendary conductors, Daniel Barenboim and Pierre Boulez. He was appointed principal clarinet of the South Bend Symphony Orchestra, and in 2006 performed Weber’s Clarinet Concerto No. 1 in F Minor . He will return to solo with the South Bend Symphony in 2013 with Copland’s Clarinet Concerto . In addition he has performed with the Milwaukee Symphony, the Illinois Philharmonic, the Green Bay Symphony, and the New Philharmonic.

Trevor has always maintained earnest efforts in area educational programs where he has lived and studied: as teaching assistant at Eastman, in the outreach program Music For All of the Rochester area, the Symphony to Go programs of the South Bend Symphony, and Arts at Large, an organization with performance opportunity focus for young musicians in downtown Chicago.

Trevor is currently a member of the College of DuPage music faculty and maintains a busy teaching schedule in the western suburbs.

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BIOGR APHIES

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Jeffry Peterson, piano Jeffry Peterson is best known for his work in the field of collaborative piano and has performed throughout the United States with such celebrated singers as Yolanda Marculescu, Erie Mills, Evelyn Lear and Kurt Ollmann. Peterson performs regularly on UWM’s Chamber Music Milwaukee series; other notable performances include a recital with soprano Mary Elizabeth Williams at the Mateus Festival in Portugal and performances with Erie Mills, soprano, and James Tocco, pianist, at the John Downey Festival in London. Recording credits include collaborations with Yolanda Marculescu-Stern, an album of American flute music with Robert Goodberg, and the Something to Sing About choral anthology for G. Schirmer.

His CD with the renowned soprano Erie Mills, Always It’s Spring (VAI audio), includes three songs by John Downey. Songs of Love and Longing, with soprano Valerie Errante, was released on Albany Classics in 2008, and Skyborn Music, with the Milwaukee Choral Artists, will be released on the Gothic label in fall 2009.

Peterson is professor of piano at UWM and often performs with the UWM voice faculty. He founded UWM’s Vocal Arts Series. He chairs the graduate program in vocal accompanying and recently introduced a new Bachelor’s degree in Collaborative Piano at UWM. Robert Swenson, tenor The American tenor, Robert Swensen, received his undergraduate education (B.M.) at the University of Arizona, a Professional Studies Diploma at the Juilliard School and his graduate education at the University of Southern California (M.M.). He was also mentored and closely associated with tenors Nicolai Gedda and Luciano Pavarotti.

A noted Mozart and bel-canto specialist, Robert Swensen has appeared as guest artist with major opera companies including those of Stuttgart, Teatro La Fenice in Venice, Bayreuth, the Bavarian State Opera-Munich, the Berlin State Opera, the Opera Comique Paris, the Grande Theatre Geneva and the Vienna State Opera. His recent engagements include appearances as Ferrando in Cosi fan Tutte at Opera Pacific in Southern California, the same role in a critically acclaimed produc14

UWM Peck School of the Arts

tion of Cosi fan Tutte at the Santa Fe Opera’s 1997 Summer Season, Nemorino in Madison Opera’s 1997 production of L’Elisir D’amore, Luzio in Wagner’s Das Liebesverbot with the Wexford Opera Festival in Ireland, the title roles in Mozart’s Mitridate at the Teatro Regio in Turin, Mozart’s Il Sogno di Scipione with the Bavarian State Opera and Mozart’s Idomeneo at the Flemish Opera in Antwerp. He has also appeared in concert at Lincoln Center’ s Mostly Mozart Festival, Hermann Prey’s Schubertiade in New York and in Vienna, with the Bavarian State Radio Orchestra, the Concertgebouw in Amsterdam, and made his Carnegie Hall debut in the protagonist role of George Brown in Boildieu’s La Dame Blanche with the Opera Orchestra of New York.

A very successful recording artist, Robert Swensen’s extensive discography includes Samson et Dalilah and Oedipus Rex for Phillips, and Oedipus Rex for Great Performances on PBS, Schumann’s Das Paradies und die Peri for Deutsche Grammophon, the title role in Haydn’s Orfeo for L’orfeo records, St. Phar in Adam’s Le Postillon de Longemeau and Graf Hugo in Spohr’s Faust for Capriccio records, Orff’s Trionfo d’Afrodite and Menelssohn’s Elijah for EMI records and the tenor arias for the Bach Christmas Oratorio (BWV 248) for Teldec and the Bach St. John Passion (BWV 245) for RCA. A passionate champion of song literature, Robert Swensen has recorded an album of songs by Sergei Rachmaninov, Sibelius, Grieg and Hugo Alfven and a CD of Lieder by Schumann partnered by pianist Paula Fan. Robert Swensen is also an active adjudicator both locally and nationally having judged the Metropolitan Opera National Council Auditions and the Concert Artists Guild International Competition held in New York City.

Formerly an Assistant Professor at the University of Wisconsin - Madison School of Music, Robert Swensen recently accepted the Artist / Associate Professor of Voice position at his undergraduate Alma Mater, the University of Arizona School of Music and Dance.

BIOGR APHIES

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Bernard Zinck, violin Bernard Zinck, concert violinist and recording artist, was violin professor at the University of New Mexico before coming to UWM. His career has become increasingly international in scope since 1992 when he won the prestigious Yehudi Menuhin Trust Award in Paris. He has performed in Japan, France, Holland and throughout the U.S. with recent recitals at the National Gallery and the Phillips Collection in Washinghton D.C., the Chicago Cultural Center, the Ethical Society in Philadelphia, the Lizst Academy in Budapest and the Le Châtelet Théâtre, the Athénée Theater in Paris and the Théâtre Imperial in Compiègne. Zinck’s commitment to chamber

music has led to engagements at numerous festivals including: Santa Fe Concert Association, Taos, sBowdoin, Milwaukee, NYC Music in Chelsea, Zakopane, Poland, Brighton, UK, Schloßkonzerte, Salzburg, Montepulciano and New Opera Di Roma, Italy and Auvers, Reims, Courchevel-Music in the Alps, Grange de Meslay and Paris-Montmartre in France.

Also an active pedagoguxe, Zinck serves on the faculty of the Cologne Summer Institute in Montepulciano, Italy, and the Milwaukee Chamber Music Festival. He regularly conducts master classes in universities and conservatories throughout the United States, Brazil, Mexico and Europe.

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, Band Scott Corley, Bands Margery Deutsch, Community Orchestra Curt Hanrahan, Jazz Band Gloria Hansen, Choirs Sharon Hansen, Choirs Jun Kim, Orchestras 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 Randall Ruback

Music Education Jill Kuespert Anderson Wolfgang Calnin 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 Stephen Schlei Amanda Schoofs Jon Welstead*

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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 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

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Voice Kerry Bieneman Valerie Errante Jenny Gettel Tanya Kruse Ruck Kurt Ollmann Winds, Brass and Percussion Dave Bayles, Percussion Dean Borghesani, Percussion+ Margaret Butler, Oboe+ Jennifer Clippert, Flute Gregory Flint, Horn Matthew Gaunt, Tuba/Euphonium Beth Giacobassi, Bassoon+ Curt Hanrahan, Saxophone Kevin Hartman, Trumpet Mark Hoelscher, Trombone Todd Levy, Clarinet+ Ted Soluri, Bassoon+ Carl Storniolo, Percussion Thomas Wetzel, Percussion+ *Department Chair +Milwaukee Symphony Orchestra ^String Academy of Wisconsin

PECK SCHOOL OF THE ARTS Scott Emmons...........................................................................................................................Interim Dean Kim Cosier.............................................................................................................. Interim Associate Dean ADMINISTRATIVE STAFF Mary McCoy............................................................................................................... Assistant to the Dean Sue Thomas..............................................................................................................Administrative Officer Randall Holper.................................................................................................................Facilities Manager MARKETING AND DEVELOPMENT STAFF Ellen Friebert Schupper....................................... Director, Marketing and Community Relations Diane Grace.............................................................................................................Development Director Nicole Schanen.......................................................................................................... Marketing Specialist Chelsey Lewis................................................................................................. Communications Assistant Justin Kunesh and Andrew McConville.................................................................Graphic Designers

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BOX OFFICE Tianna Conway............................................................................................................ Box Office Manager Christine Barclay, Aryel Beck, .......................................................................................... Box Office Staff Maria Corpus, Mike Gold, Tom Gray, Brianna Husman, Garrett Nei, Nick Ouchie, Anna Pfefferkorn, Chelsey Porth, Bob Schaab UWM Peck School of the Arts