UWM Peck-FAQ-Summer

Fine Arts Quartet Summer Evenings of Music

Ralph Evans

Efim Boico

Wolfgang Laufer

Nicolò Eugelmi

June 1, 5, 22, 29, 2011, 7:30pm Helen Bader Concert Hall

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P R O G R A M F O R J U N E 1, 2 011 With guest cellist Ronald Thomas, violinist Ilana Setapen and pianist Xiayin Wang.

Italian Serenade in G Major (1887). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugo Wolf (1860-1903) Concerto for Violin, Piano & Quartet in D major, Op.21 (1891) . . . . . . . . . . . . . . . Ernest Chausson Decide - Anime (1855-1899) Sicilienne: Pas vite Grave Tres anime —Intermission— String Quartet in D Minor, “Death and the Maiden” (1824). . . . . . . . . . . . . . . . . . . . Franz Schubert Allegro (1797-1828) Andante con moto Scherzo: Allegro molto Presto

P R O G R A M N O T E S F O R J U N E 1, 2 011 Written by Timothy Noonan, Senior Lecturer – Music History and Literature Wolf, Italian Serenade in G Major During the period around 1884-87, Hugo Wolf’s musical activities were focused mainly on musical criticism, and thus he was not doing any substantial work in composition. And then he moved on: turning in his final piece of criticism in April 1887, he returned to his compositional work, writing, among other works, the present Serenade in just three days, May 2-4, 1887, in Vienna. This new burst of interest in composition was short-lived, however; the death of his father on May 9 was a major blow, and he stopped composing until February of the next year, at which time he returned to composing with renewed vigor.

Wolf was, of course, a master of the German art song, and his output of chamber music is not large. The present work was titled simply Serenade in the autograph materials, though in an 1890 letter Wolf referred to it as the Italian Serenade. And when he created an arrangement of the string quartet original for small orchestra, a version that would be edited for publication by Max Reger, the national title prevailed. In spite of this, critics see no specifically Italian content in the work. The Serenade is seen as a parody or caricature of a traditional serenade, in which the lover woos his lady outside her window. It is structured loosely in the manner of a rondo.

Chausson, Concert for Violin, Piano, and String Quartet in D major, Op. 21 Ernest Chausson studied at the Paris Conservatory, working with Massenet in instrumentation and auditing Franck’s classes in composition. He made a point of traveling to hear Wagner’s operas, and their musical language made a considerable imprint on his subsequent thinking. In fact, when he married in 1883, the couple’s honeymoon was a trip to Bayreuth for a performance of Wagner’s Parsifal. A perfectionist, Chausson was a dedicated worker, taking all aspects of life very seriously. Sadly, when he lost control of his bicycle in 1899, he was killed instantly, at the age of 44.

Chausson called this work a Concert, not a concerto, though we often refer to it by the latter designation today. Scored for violin, piano, and string quartet, the work is in essence a trio for those three entities. The solo piano and violin are advanced, virtuosic parts, playing not in the sense of a double concerto, but rather projected against the lighter quartet writing.

One might view the scoring as simultaneously a sonata for violin and piano and a string quartet. Some have suggested that the scoring is analogous to the Baroque concerto grosso, exemplified by the works of Corelli and Handel. Chausson’s first mature chamber work, the Concert was written between 1889, when he composed the third movement, and July 8, 1891, when he completed the finale. Thus, it was composed in the same period as his Symphony in B-flat (1889-90), and both works exhibit the influence of Franck: UWM Peck School of the Arts 3

P R O G R A M N O T E S F O R J U N E 1, 2 011 ( c o n t .) cyclic forms, wide modulations, and long, lyrical lines. The first movement begins with a slow introduction that is dominated by a three-note figure. The theme that begins the exposition, then, begins with this figure, and the development section opens with it, and in addition, it quietly concludes the coda. The second movement is a sicilienne in A minor, set in ABA form. A powerful slow movement, deep in despair, gives way to an energetic finale.

Carrying elements of both rondo and theme and variations forms, the movement features a cyclic recurrence of a theme from the slow movement. While the movement begins in D minor, it concludes back in the major mode of the first movement.

Schubert, String Quartet in D Minor, D. 810 “Death and the Maiden” In the space of two months, February and March of 1824, Franz Schubert composed three major chamber works: the Octet in F (D. 803), the String Quartet in A minor (D. 804), and the present Quartet in D minor. His motivation for this burst of activity may be the chamber music concerts being given by violinist Ignaz Schuppanzigh, events that could afford Schubert an opportunity for performance of the new works. The D-minor quartet is the second of the three completed late quartets that represent the crowning achievements of his considerable oeuvre in the medium.

The work is cast in a traditional fast-slow-scherzo-fast scheme, though it is unusual in that all four movements are in minor keys, and even the end of the finale remains minor. It is a powerful and turbulent work; by contrast, its immediate predecessor, the quartet in A minor, approaches the minor mode with a calm lyricism. The first movement’s large exposition opens with a loud unison D and a falling triplet figure, though as the triplets fall, the first violin and cello retain the D as a pedal point. After a silence, the figure repeats, now descending the rest of the way down the scale. The triplet idea pervades the first part of the movement, and as the secondary idea is presented, in F major, the triplets remain in the viola’s accompaniment. Late in the exposition, the keys of F and A minor intermingle, and the section ends strongly on A minor. After a development section that focuses on the rhythms of the secondary theme, the forceful recapitulation fills the silence of the opening with dramatic ascending triplets, and the coda again emphasizes the triplet figure with a soft, melancholy close.

The slow movement is a theme and variations in which the theme is an adaptation of the piano accompaniment of one of Schubert’s own songs: Der Tod und das Mädchen (“Death and the Maiden,” D. 531), which had been composed in February 1817. This is analogous to Schubert’s strategy in another of his most celebrated chamber works, the “Trout” Quintet, which features variations on his song by that title. The third-movement scherzo features a syncopated theme paired with a trio section in D major that offers a hint of sunshine in this minor-dominated work. And the Presto finale begins with a unison theme in D minor that modulates first to F major and then to B-flat. Mixing elements of rondo and sonata forms, the movement ends even more quickly, Prestissimo, with large, orchestral sonorities.

Save the dates!

Fine Arts Quartet 2011-12 Season September 25, 2011 November 6, 2011 4 UWM Peck School of the Arts

January 29, 2012 March 25, 2012

P R O G R A M F O R J U N E 5 , 2 011 With guest cellist Eric Kim and pianist Xiayin Wang String Quartet in G major, Op.77, No.1, Hob.III:81. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Joseph Haydn Allegro moderato (1732-1809) Adagio Menuetto: Presto Finale: Presto Selections from “Las Musas de Andalucia”, Op.93 (1942). . . . . . . . . . . . . . . . . . . . . . . Joaquin Turina Euterpe: Tiempo alegre de Sevillanas (1882-1949) Urania: Allegro moderato quasi allegretto Clio: Andante Terpsicore: Allegretto Talia: Allegretto Caliope: Andante —Intermission— String Quartet in A Minor, Op. 41, No.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann Introduzione: Andante espressivo Allegro (1810-1856) Scherzo: Presto Intermezzo-Presto Adagio Presto

P R O G R A M N O T E S F O R J U N E 5 , 2 011 Written by Timothy Noonan, Senior Lecturer – Music History and Literature Haydn, String Quartet in G major, Op. 77 No.1 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. The craftsmanship and musical value of his quartets is remarkable, and we are mistaken if we suggest that their large number means that they were written carelessly. As with his symphonies, Haydn’s creativity and originality yielded a stream of fine works over the many years of his 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, which we call Op. 77, that same year. Then in 1802-03 he began work 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, and largely of composing in general, were over. He was now in his early seventies, and no longer had the strength to continue.

The first quartet of Op. 77 is among his finest achievements. Set in a traditional four movement scheme, this work, like so many by Haydn, presents us with a variety of distinctive procedures, compositional techniques that play with the conventions of his day. In the sonataform first movement, Haydn presents an initial theme replete with dotted rhythms, and the reuses this same idea at the beginning of the movement’s secondary key area, rather than offering a new theme, as is more common at this point in the form. The slow movement is also in sonata form, and Haydn beautifully reharmonizes the theme at the recapitulation.

The movement is in E-flat major, and this is noteworthy, since earlier in the classical period, it was commonplace to set the movement that is not in the main key—usually the slow movement—in a closely related key. But, beginning around 1790, Haydn became interested in selecting keys that were more distantly related, pairs like G and E-flat, thereby widening the tonal spectrum of the work in a way that would seem to anticipate the attitudes of the Romantic era. The third movement is a scherzo, marked Presto, and is thus an example of the trend in the years around 1800 of replacing the traditional minuet with the faster scherzo.

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P R O G R A M N O T E S F O R J U N E 5 , 2 011 ( c o n t .)

Both the minuet and the scherzo are structured with repeated sections that derive from the binary dances of the Baroque era. Haydn, characteristically, steps outside this convention, writing out varied repeats, and eliding the end of the scherzo into the beginning of the trio.

The trio section is in E-flat major, the same remote key in which Haydn set the slow movement.

A sonata-form finale in a rousing Hungarian style closes this gem of the string quartet repertoire.

Turina, Selections from Las Musas de Andalucia, Op. 93 Joaquín Turina displayed early talent for composition and piano, and while he began to study medicine in deference to his family’s wishes, he soon abandoned all non-musical endeavors. He left his home town of Seville, traveling first to Madrid, and a lifelong friendship with Falla ensued. Meeting with little success in the composition of zarzuelas, he moved on to Paris and studied there with d’Indy. By the time he returned to Spain in 1914 he was seen as one of the most prominent of Spanish composers, receiving an appointment as Professor of Composition at the Madrid Conservatory in 1930. In the realm of chamber music, Turina is considered to be the preeminent Spanish composer of any period. His Las Musas de Andalucia is a cycle of nine pieces for various combinations of strings, piano, and voice, from which we hear six instrumental portions today. Composed between April and October of 1942, the full cycle received its premiere in Argentina two years later.

Schumann, String Quartet in A Minor, Op. 41 No. 1 Robert Schumann and Clara Wieck were married on September 12, 1840, and during that year Robert’s compositional activity focused particularly on the Lied, in many cases setting love texts for his new bride. He wrote more than 120 songs that year, including the celebrated cycles Frauenliebe und –leben and Dichterliebe. Then, in 1841, he turned his attention toward orchestral music, composing the symphonies we call nos. 1 (“Spring”) and 4 as well as the Overture, Scherzo, and Finale, Op. 52. 1842 was the year in which he concentrated on chamber music. That year brought forth from his pen many of his most celebrated chamber works, including the Piano Quintet, Op. 44, the Piano Quartet, Op. 47, as well as the only three string quartets he would ever write, grouped together as Op. 41.

The first of these quartets is in A minor, yet the first movement proper is in F major; only the slow introduction—albeit a substantial one, comprising 33 measures—is in the main key of A minor. This introduction begins with quasi-canonic entries descending through the ensemble and ends with a brief accelerating passage that prepares for the start of the Allegro in F. This is highly expressive music, full of dynamic markings and off-beat accents that were notated by the composer. Set in a full, traditional sonata form, the movement is melodically rich, with occasional touches of fugue. The second movement, marked Scherzo: Presto, is cast in the shape of a rondo, in which the refrain and first episode are each written in a quick 6/8, filled with vigorous accents. The second episode is a legato, more lyrical idea in C major. The slow movement returns to the key of F and begins with a short three-measure introduction. Its melody, sung initially by the first violin, begins with a resemblance to the slow movement of Beethoven’s Ninth Symphony, and it seems clear that Schumann’s love and respect for the earlier master’s work has an impact upon a number of passages in this quartet (e.g., in the middle section of this movement where a new idea begins with two forceful chords). The Presto finale returns to the home key of A minor. Its sonata form is interrupted as the recapitulation turns to A major with new material (again, reminiscent of some passages in Beethoven’s late quartets), and remaining in the major, this highly appealing movement comes to a brilliant close.

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P R O G R A M F O R J U N E 2 2 , 2 011 With guest cellist Ronald Thomas and bassist Andrew Raciti Quartettsatz in C Minor, D.703. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz Schubert Allegro assai (1797-1828) String Quartet No.5, Op.54 (“Pieces of Mosaic”) (1983). . . . . . . . . . . . . . . . . . . . . . . . . Aulis Sallinen in 16 movements (pieces) (1935- ) —Intermission— String Quintet in G Major, Op.77 (1875) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Antonín Dvořák Allegro con fuoco (1841-1904) Intermezzo (Notturno): Andante religioso Scherzo: Allegro Vivace Poco Andante Finale: Allegro assai

P R O G R A M N O T E S F O R J U N E 2 2 , 2 011 Written by Timothy Noonan, Senior Lecturer – Music History and Literature Schubert, Quartettsatz in C Minor, D. 704 Schubert composed the Quartettsatz (“Quartet movement”) in December of 1820. We have every reason to believe that he intended it as the first movement of a traditional four-movement work, and he did compose an Andante fragment in A-flat major of some 40 measures that was conceived as the slow movement. (One is reminded of the famous “Unfinished” Symphony, a case in which Schubert completed two movements and began a third. In fact, the soft string accompaniment beneath the oboe theme at the beginning of the symphony bears some resemblance to the light opening of the quartet.) The movement is a masterful work, deserving of performance in spite of its belonging to an incomplete quartet. Writing sweet, singing melodies seems to have come so naturally to Schubert, and in this piece we are treated to several, including a particularly touching one late in the exposition in which the first-violin melody meanders chromatically; when it is repeated an octave higher, the cello, in a brilliant stroke of sonority, accompanies pizzicato. At the recapitulation, the material that began the movement is absent, and Schubert remedies this as he returns to it in the brief coda.

Sallinen, String Quartet No. 5, Op. 54 (“Pieces of Mosaic”) Aulis Sallinen is a contemporary Finnish composer, now in his mid-seventies. In 1955-60, he studied at the Sibelius Academy of Music in Helsinki, and while still in his twenties he became a member of its Board of Directors. He then taught composition there, beginning in 1965. The Finnish government named him Professor of Arts for Life in 1981, granting him the financial independence that permitted him to concentrate on composing. He has written six operas, eight symphonies, and concertos for several instruments, as well as about a dozen chamber music works, including five string quartets.

Sallinen’s early works are modernist, serial, but beginning in the early 1970s he turned, as did others in the same period, to a more tonal, accessible style, with prominent use of repetition. Then in the 1980s, his forms expanded in structure as well as expressivity. The Fifth Quartet, his most recent, was composed in 1983, and is reflective of this growth: it is made up of 16 movements, called Mosaikin paloja or “Pieces of Mosaic.”

Dvořák, String Quintet in G Major, Op. 77, B. 49 Antonín Dvořák wrote three string quintets, two of which are scored, like Mozart’s, for a string quartet with an additional viola: Op. 1 (1861) and Op. 97 (1893). The present work, scored for the more unusual combination of string quartet plus double bass, was written between January and March of 1875. (Originally assigned the opus number 18, the work was republished in 1888, and this accounts for its relatively late number, 77. This was evidently a tactic on the part of the publisher, Simrock, to make the work appear newer than it really was.) He composed the quintet in period when he was in the midst of many musical projects. The preceding December, he UWM Peck School of the Arts 7

P R O G R A M N O T E S F O R J U N E 2 2 , 2 011 ( c o n t .) completed his opera Tvrdé palice (“The Stubborn Lovers”), Op. 17, and in 1875, he was working as organist at the church of St Vojtěch in Prague. Dvořák had recently applied for the Austrian government’s State Stipendium, intended to fund worthy artists, and was granted 400 gulden by a jury that included the music critic Eduard Hanslick.

The first movement of the G-major Quintet is cast in a clear sonata form. It begins with a soft, brief slow introduction, which gives way to a main theme of Slavic character. The movement presents a particularly powerful development section. The second movement, not included in the quintet when it was initially published, is an Intermezzo that Dvořák adopted from an earlier string quartet (B. 19) for inclusion here and additionally arranged as the Nocturne in B for string orchestra, Op. 40. The Scherzo follows, in a characteristically folklike style, contrasted with a lighter trio section, and the conventional da capo of the scherzo closes the movement. The slow movement is placed after the scherzo, inverting the more conventional order, and features long, lyrical melodic ideas cast in an ABA form. Here, the bass, which had doubled the cello in some earlier passages, plays an independent pizzicato line. The character of the melodic rondo finale again reflects Dvořák’s nationalism in its Slavonic qualities and big, full textures.

P R O G R A M F O R J U N E 2 9, 2 011 With guest cellist Ronald Thomas and violist Anthea Kreston String Quintet (Notturno) in C major, Op.88 (1773) . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Haydn Allegro (1737-1806) Adagio cantabile Menuetto: Allegretto Rondo: Allegro molto String Quartet in E minor (1873). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Giuseppe Verdi Allegro 1813-1901) Andantino Prestissimo Allegro assai mosso —Intermission— String Quintet in G Minor, KV 516. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wolfgang Amadeus Mozart Allegro (1756-1791) Menuetto: Allegretto Adagio, ma non troppo Adagio — Allegro

P R O G R A M N O T E S F O R J U N E 2 9, 2 011 Written by Timothy Noonan, Senior Lecturer – Music History and Literature Michael Haydn, Notturno in C major for String Quintet, MH 187 Five years younger than his illustrious brother Joseph, Michael Haydn worked as an organist in his youth and began writing sacred music, an area in which he would come to specialize. In 1763 he took up a position in Salzburg as Konzertmeister, playing the organ and violin. He met the Mozarts in 1767 while visiting Vienna, and remained in Salzburg until he took up a position in Munich in 1808. In addition to his sacred music, Haydn is best known today for his symphonies, which have become available in modern editions and recordings.

Haydn’s Notturno in C for String Quintet, listed as no. 187 in the latest catalogue of his works, and as no. 108 in the older Perger listing, was published by André in Offenbach in 1798 as Op. 88, and by Sieber in Paris in 1798-99 as Op. 73. (It was not an uncommon practice in the 18th century that publishers assigned opus numbers, though such numbers are not very reliable for matters of chronology.) In spite of its late publication, Haydn dated the quintet February 8 UWM Peck School of the Arts

P R O G R A M N O T E S F O R J U N E 2 9, 2 011 ( c o n t .)

17, 1773, placing it quite early in the history of the string quintet. Indeed, it is viewed has having influenced Mozart’s first essay for the medium, his Quintet in B-flat, K. 174, composed the following December. In addition, as Marius Flothuis has noted, a passage of the slow movement is echoed in the first movement of Mozart’s Wind Serenade in E-flat, K. 375.

Verdi, String Quartet in E minor Hailed as among the greatest operatic composers in history, Giuseppe Verdi had already composed all but two of his operas when he wrote his only string quartet. He had recently completed Aida (1871) and announced that he would now retire from composition. But he did not, though it would be sixteen years until he wrote another opera; Otello followed in 1887, and his final opera, Falstaff, dates from 1893, premiered at La Scala when he was 79 years old. During this long interim, he composed both the quartet and the great Requiem (1874). He wrote the quartet in March 1873 while he was in Naples to supervise performances of Aida. Initially, Verdi planned the work as a private one, and it was first performed for friends in April, but he decided to publish it in 1876. Though the opening theme of the first movement is derived from a motive from Aida, the quartet is not operatic, but rather shows Verdi as a composer quite capable of inventing instrumentally-based themes and developing them in the manner of the quartet composers who came before him. In the second movement, constructed in an ABA shape with a coda, the opening theme is in a style reminiscent of a mazurka. The Prestissimo third movement, essentially a scherzo, features a folk-like trio section opened delicately by the cello. And the finale is marked “Scherzo-Fuga,” treating a subject made almost entirely of staccato eighth notes with such traditional fugal techniques as stretto, canon, and inversion.

Mozart, String Quintet in G Minor, K. 516 Critics and audiences have long hailed Mozart’s six string quintets as high points in the composer’s output. Mozart enjoyed playing the viola part in chamber music, and thus these works, essentially string quartets with a second viola, were ideal for home music-making.

Mozart’s friend Abbé Stadler reported in 1829 to the publisher Novello that “Mozart and Haydn frequently played together with Stadler in Mozart’s Quintettos.” Two of them, the third and fourth, were composed consecutively in the spring of 1787: K. 515 in C and K. 516 in G minor (compare the final two symphonies, K. 550 in G minor and K. 551 in C). The second of these, which Daniel Heartz calls “the dark twin of K. 515,” was completed on May 16, less than two weeks prior to the death of his father, Leopold.

To quote Heartz again, the G-minor quintet “is as full of pathos as anything Mozart composed.”

The work begins with a trio texture, the second viola and cello initially silent. The initial gesture is a triadic ascent, but this immediately gives way to a chromatic descent, establishing the work’s darkness from the outset. This initial trio gives way to a second one, this time played by the two violas and the cello, who repeat and expand this theme. A new theme in the first violin follows, still in G minor, that features a poignant leap of a minor ninth. A fragment of this theme is used extensively at the end of the development section. The movement concludes with a developmental coda.

The minuet is placed second. This remarkable movement features startling off-beat chords and considerable chromaticism, prompting Charles Rosen’s comment that “it is difficult to go further than the opening of the minuet without destroying the contemporary musical language.” The trio section, in contrast, turns to the major mode, with perhaps the brightest music in the work thus far. The slow movement, too, is in a major key, and is organized as a sonata form without development. Throughout, Mozart directs that the instruments be muted. And when it ends, we are surprised as the finale begins at a slow tempo. Slow introductions were not uncommon in first movements in Mozart’s time, but examples of finale introductions are scarce. Here, the first violin carries the melodic line while the cello provides harmonies, largely in pizzicato, as the three middle voices fill out the texture with a steady eighth-note accompaniment. The ensuing Allegro turns to G major, with a cheerful rondo theme—which is quite a surprise after the darkness of much of the music that came before. Perhaps the finale’s introduction served to blow away the clouds, since the finale’s optimism carries through the sectional nature of the form to a rousing conclusion.

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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 65th 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. Three of the Quartet’s current artists, violinists Ralph Evans, Efim Boico, and cellist Wolfgang Laufer, have now been performing together for nearly 30 years. Violist Nicolò Eugelmi joined the Quartet in 2009. 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 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”

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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.

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 received four degrees including a doctorate from Yale University, where he graduated cum laude with a specialization in music, mathematics, and premed. 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. 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 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.

B I O G R A P H I E S ( c o n t .)

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.

WOLFGANG LAUFER, cellist, is an acclaimed soloist throughout Europe and the Americas. He has appeared as guest artist with the Israel Philharmonic Orchestra, Israel Broadcasting Orchestra, Israel Sinfonietta, Hanover Symphony Orchestra, Radio Orchestra of Hamburg, and Freiburg Philharmonic Orchestra, and has toured Europe with the Wührer Chamber Orchestra and the United States with the Israel Chamber Orchestra. As a solo recitalist, Laufer has performed throughout Europe, North America, and South America. He emigrated from his native Romania to Israel in 1961, and completed his musical studies at the TelAviv Academy, subsequently serving as principal cellist and soloist with the Israel Chamber Orchestra, Malmo Symphony Orchestra of Sweden, Hamburg Philharmonic, and State Opera of Germany. Since 1979, Laufer has been a member of the Fine Arts Quartet and Professor of Cello at the University of Wisconsin - Milwaukee.

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ERIC KIM, cellist Having made his solo debut at age fifteen with the Chicago Symphony Orchestra, Kim was a featured soloist with the Juilliard Orchestra on its critically acclaimed tour of the Far East, and has appeared as soloist with the symphony orchestras of Cincinnati, Denver, and San Diego. He served as Principal Cello of the Cincinnati Symphony from 1989-2009, and has also held Principal Cello positions with the San Diego and Denver symphonies.

Active as a chamber musician, Kim has performed with such artists as Emmanuel Ax, Joshua Bell, Yefim Bronfman, Susan Graham, Lynn Harrell, Stephen Hough, Jaime Laredo and Menachem Pressler, as well as collaborating with members of the Emerson, Guarneri and Orion string quartets. At the invitation of violinist Pinchas Zukerman, he performed with Mr. Zukerman at the festivals of Athens (Greece), Mostly Mozart (NY), Schleswig-Holstein (Germany), and Verbier (Switzerland). He has also participated in several tours with Mr. Zukerman to South America and Israel as a member of the Pinchas Zukerman and Friends chamber ensemble. Kim has also made several recordings for the RCA, EMI, Telarc, and Koch labels.

Kim joined the Indiana University Jacobs School of Music faculty at the beginning the 2009-2010 academic year. He received his Bachelor and Master of Music degrees from the Juilliard School where he studied with Leonard Rose, Lynn Harrell, and Channing Robbins. Upon graduation, Mr. Kim received the first William Schuman Prize, awarded for outstanding leadership and achievement in music.

ANTHEA KRESTON, violist Kreston has received numerous awards for her chamber collaborations including honors at the Melbourne and Banff International Competitions, the Grand Prize at the Concert Artists Guild Competition, and Top Prize in the Munich ARD International Chamber Music Competition. She made her solo debut at the Kennedy Center in Washington, D.C., and tours actively with her piano trio, The Amelia

B I O G R A P H I E S ( c o n t .)

Piano Trio. Anthea has won awards from Chamber Music America for her groundbreaking work with abused children and AIDS patients in Hartford, CT. One of the brightest young groups in America, the Trio was honored as a recipient of the ASCAP Award for Adventurous Programming. Ms. Kreston has also enjoyed touring as part of YoYo Ma’s Silk Road Project, which brought her from Las Vegas to Kazakhstan.

Anthea holds a B.A. in Women’s Studies from Cleveland State University and a performance degree from the Curtis Institute of Music. She is a professor of violin and viola at the Hartt School of Music. Anthea is actively involved with alternative music; she played in the Cleveland based rock band Daria for several years, and frequently performs with her violin and percussion duo, Sweet Thunder. Anthea can be heard on the labels New Tangent, Naxos, Cedille Records, Channel Classics, and Traditional Crossroads.

ANDREW RACITI, bassist Raciti is currently Assistant Principal bass for the Milwaukee Symphony Orchestra. Before joining the MSO in September of 2006, he was in the Sydney Symphony Orchestra for 4 and 1/2 years, where he was Assistant Principal for the last 2 and 1/2 years. While living in Australia he also subbed with the Melbourne Symphony Orchestra.

ILANA SETAPEN, violinist Since her solo orchestral debut at age 15 with the Amarillo Symphony, Ilana Setapen has been flourishing as a violinist with a powerful and original voice. She is the newly appointed Associate Concertmaster of the Milwaukee Symphony Orchestra and the Assistant Concertmaster of the Grant Park Festival Orchestra in Chicago.

Setapen has won top prizes in many competitions, such as the Irving M. Klein International String Competition, the Pasadena Showcase Competition, and the Kingsville International Competition. At 21, she became concertmaster of the Riverside County Philharmonic in Los Angeles. She has also been concertmaster of the Juilliard Orchestra, the Colburn Orchestra, the American Youth Symphony, the National Repertory Orchestra, and the USC Thornton Symphony.

Solo appearances have been with the Milwaukee Symphony, the Riverside Philharmonic, the Pasadena Pops, and the American Youth Symphony, among others. Also an avid chamber musician, she was for two years the first violinist of the award-winning Calla Quartet in New York. Solo and chamber music performances have brought her abroad to France, Brazil, Holland, England, Monaco, and Italy. She has also performed in Carnegie Hall, Wigmore Hall, and Disney Hall.

He has performed at various summer music festivals, including 2 summers with the National Repertory Orchestra, the Sarasota Chamber Music Festival, the Colorado Chamber Music Festival, and the Madeline Island Music Festival.

She studied with Robert Lipsett at the University of Southern California and at the Colburn Conservatory and received her Master of Music Degree from the Juilliard School as a student of Donald Weilerstein and Ronald Copes.

His principal teachers include Paul Ellison at Rice University, Richard Davis at UW-Madison, and Laura Snyder of the Milwaukee Symphony.

RONALD THOMAS, cellist Thomas first drew recognition when he won the Young Concert Artists International Auditions in 1974 at the age of nineteen. Since then he has appeared as a soloist with major orchestras both in the United States and internationally.

A native of Milwaukee, he is a proud alumni of the Milwaukee Youth Symphony Orchestra and a public school string program.

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B I O G R A P H I E S ( c o n t .)

Thomas is currently the Principal Cellist of the St. Paul Chamber orchestra, a position he has held since 2005. He is the former cofounder and artistic director of the Boston Chamber Music Society, where he spent 26 years performing and directing until 2009. He has also appeared with the Seattle Chamber Music Society and the Chamber Music Society of Lincoln Center both at Alice Tully Hall and on tour.

Thomas is the artistic director of Chestnut Hill Concerts of Madison, Connecticut and was an original member of the Players in Residence committee and the Board of Overseers at Bargemusic in New York City. Thomas is also a former member of Boston Musica Viva and the Aeolian Chamber Players. While a member of these two groups, Thomas premiered countless new works, including those by Gunther Schuller, Michael Colgrass, Ellen Taaffe Zwilich, Donald Erb, William Bolcom, and William Thomas McKinley.

XIAYIN WANG, pianist Steinway Artist Xiayin Wang has won the hearts of audiences wherever she has appeared, thanks to a winning combination of

superb musicianship, personal verve, and riveting technical brilliance. She began taking piano lessons at the age of five, and completed her studies at the Shanghai Conservatory and Manhattan School of Music, winning numerous prizes. As a recitalist, chamber musician, and orchestral soloist she has already achieved a high level of recognition for her commanding performances.

Concert and recital commitments have taken her throughout the United States to such venues and locations as the Weill Recital Hall in Carnegie Hall, Alice Tully Hall at Lincoln Center, Jordan Hall in Boston, Tanglewood, University of Miami, Philharmonic Center for the Arts in Naples, Florida, Caramoor Festival, Saratoga Arts Festival, Coastal Carolina Arts Festival, and the Meyer Concert Series at The Smithsonian in Washington, DC, among others. She has performed at the Festival Cervantino in Guanajuato, Mexico, and has also been heard live on radio stations WFMT in Chicago and WNYC, in the program Soundcheck with John Schaefer, among others. She has recorded works by Bach, Mozart, Brahms, Scriabin, Ravel, Franck and Gershwin.

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14 UWM Peck School of the Arts

Summerdances:

Essential/Essensual

A l wi n N i k o l a i s ’ Wa t e r S t u d i e s

Mark Morris’ Canonic 3/4 Studies

June 2-4, 2011 Mainstage Theatre

A R T I S T I C D I R E C TO R S TAT E M E N T Good evening and welcome to Summerdances: Essential/Essensual.

We are very glad you are here tonight to celebrate the works and legacies of two important figures in the world of dance and how they impacted what you see on the stage tonight. Both conquered the hearts of audiences around the globe, not only by their sophisticated physical intelligence and creative minds, but also by their unconditional love to the art of dance. Both have stirred choreographers, dancers, musicians, visual artists, actors, filmmakers, and poets. Their reputation as educators and mentors is seen through the countless successes of their students.

They are both legends.

For some inexplicable reason, both, at some point in their busy career path, found their way to the Midwestern city of Milwaukee, where they devoted themselves to creating an unprecedented amount of uncensored, daring, provocative and complex works of rare beauty.

With this concert, and with the collaboration with my other two fellow artists, Gerald Casel and Leonard Cruz, the UWM Department of Dance will be honoring the contributions of Ed Burgess and Janet Lilly, two people with whom I have the honor to have shared a joint life of academics, scholarship and creativity in dance.

Ed Burgess passed away on May 11, leaving behind him a brilliant dance and academic career that transcends any words I might offer. Janet Lilly leaves us in August to be the Head of Dance at the University of North Carolina at Greensboro after imprinting her charismatic and eclectic voice on every single one of us. Both leave UWM Peck School of the Arts 15

A R T I S T I C D I R E C TO R S TAT E M E N T ( c o n t .) us with bittersweet tears of joy and sadness. Both departures represent a taste of loss and a renewal. No words will ever replace their absences. They will be missed.

Tonight you will be able to experience four radically different ways we experience essentiality. Janet Lilly comments on the ever-contested glass ceiling that women around the globe experience on a daily basis. Leonard Cruz explores the powerful life of gay activist Harvey Milk. Gerald Casel asks questions about our connection between the place and societal group we live with, and with the impact of our journey. Finally, I try to dig into how we, as human beings, are influenced by our heritage and why we react and move as we do.

Both Ed Burgess and Janet Lilly influenced all of us, directly or indirectly. Tonight you will witness some of their influence in the work, skill and commitment of all of us. With this show, we celebrate their contributions in the UWM Department of Dance, with tears of happiness and gratitude for everything they did for us.

Happy journey, Ed. Happy journey, Janet.

Thank you all for supporting what we do… In a real sense, we are here because of you… Enjoy the show….

Simone Ferro

In Memory Of

Professor Ed Burgess 1952-2011

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S U M M E R DA N C E S : E S S E N T I A L / E S S E N S UA L A note to the audience: The piece You’ve Got to Give ‘em Hope contains adult themes and language The line starts here Choreography: Janet Lilly Performance: Michelle Anton, Chloe Gray, Kendra Kramas, Norielle Tach’e Johnson, Emilie Rabbitt, Kristin Reidelberger, Ashley Santiago, Libby Faye Schmitz, Kao Zhong Xiong Music: Portishead, Paul Lansky Set Design: Iain Court Special thanks-Simone Ferro, UWM Theatre Department Prop Shop Choreographer Note: The line starts here is a whimsical look at women, bureaucracy, piles of paper and the ever-elusive glass ceiling. Please note-all paper in this production has been recycled!

Pause You’ve Got to Give ’em Hope!

Choreography: Leonard Cruz Performance: Hilary Anderson, Megan Burki, Ryan Cappelman, Katrina Clark, Jacob Condon, Christina Gaspar, Annette Grefig, Tasha Holifield, Steven Michael LaFond, Nikka Pamenter, Nicole Pankratz-Solis, Madeleine Makaroff, Emily Spadafora, Nadia Marie Whitley Rehearsal Assistant: Tasha Holifield Music: Seth Warren-Crow Text: Harvey Milk Costumes: Louella Powell Vocal Coach: Michelle Lopez-Rios Choreographer Note: In 1977, Harvey Milk became the first openly gay man to be elected to public office in California. Both he and San Francisco Mayor George Moscone were assassinated less than a year later. Despite his short political life, Milk has become an icon in San Francisco and the Lesbian, Gay, Bisexual, Transgender (LGBT) community. His example is proof that when we stand together, we can do anything. This dance theater piece was inspired by the words and legacy of Harvey Milk. The UWM dancers in this piece stand proud and together as a community moving forward in standing up for equality and the rights of all human beings. This piece is dedicated to Ed Burgess as he was an active and valued participant in the LGBT community and in diversity initiatives across the UWM campus. His legacy will continue through the people he has touched in his lifetime.

Intermission Type: B-negative Choreography: Simone Ferro in collaboration with the performers Performance: Katharina Abderholden, Danielle Allen, Dane Bauman, Frieda Carlsen, Gina Laurenzi, José Angel Luis, Brenna Marlin, Carrie Martin, Samantha Patrick, Alexandra Rick, Joshua Douglas Robinson, Melissa Stern, Sarah Taylor, Bridgett Tegen, Chelsey Walker, Bonnie Miranda Watson, Janel Weeks, Steven James Zarzecki Rehearsal Assistant: Sarah Taylor Music: Johann Sebastian Bach Suite for Solo Cello #1 in G Major (Prelude) and Suite for Solo Cello #2 in D Minor (Menuett I &II) played by Edgar Meyer; Nação Zumbi; soundtrack from the motion picture RIZE Live Projection: Kellie Bronikowski, Iain Court, David Overbeck Choreographer Note: As humans differ by race, gender, sexual orientation, political inclinations, religious beliefs, and many other factors, I ask the question, “What makes athletes, musicians and dancers so different? Is their DNA simply different than others?

How much does their individual heritage transpire into their way of being and in their dancing?” I found a partial answer in my dancer’s movement history. Each one of them when they move, are the living display of their genetic heritage, enhanced by their religious, ethnic, racial, and political backgrounds and sexual preferences. Their movement pallet/definition/DNA is the fingerprint of their uniqueness, and therefore one of a kind. This dance celebrates that uniqueness.

Pause

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S U M M E R DA N C E S : E S S E N T I A L / E S S E N S UA L ( c o n t .)

Mt. Hope (New Work Award winner for 2011) Choreography: Gerald Casel, in collaboration with the dancers Performance: Megan Burki, Jacob Condon, Rachel Susan Elliott, Benjamin Follensbee, Annette Grefig, Steven Micheal LaFond, José Angel Luis, Brenna Marlin, Joshua Douglas Robinson, Emily Spadafora, Bridgett Tegen, Nadia Marie Whitley, Andrew Zanoni, Steven James Zarzecki Rehearsal Director: Ed Burgess Original Music: Seth Warren-Crow Additional Music: James Blake and Smog Costumes: Karmen Seib Choreographer Note: Named after a hill in Antarctica, Mt. Hope is the third of a triptych of dances inspired by current events in America. Using the metaphor of an icy place very few have ever seen and the unimaginably treacherous journey to reach it, the dance draws a connection between a place and the journey to the way we see ourselves as a society and the actions we take therein. Reflections on the way we treat each other are central to the themes developed in this dance. Relationships are formed by bodies in space describing our societal points of view and the telling of stories without using a narrative arc. Working on Mt. Hope, the dancers and I were given access to thoughts we’ve held locked inside. According to one dancer,“I never discuss politics or religion in public...it’s just too much.” The dance asks,“Why not?” By exploring this far off place, perhaps we can feel more connected to our home.

BIOGR APHIES Ed Burgess (Rehearsal Director, Mt. Hope) Ed served as Chair for the Department of Dance.

He choreographed or performed with Milwaukee Shakespeare, Wild Space Dance Company, Theatre Gigante, Milwaukee Ballet, Renaissance Theaterworks, and Milwaukee Rep. Apart from a grand season with the UWM Department of Dance, other projects this season included working on Laurel and Hardy, Bombshells, A Christmas Carol, and Speaking in Tongues for Milwaukee Rep; VAUDEVILLE for Danceworks; and Isadora and Nijinsky for Theatre Gigante. He was a member of the Society of Stage Directors and Choreographers, and served on the national board of directors for the American College Dance Festival Association.

Gerald Casel is from the Philippines and was raised in California. He received a BFA in Dance from the Juilliard School and an MFA from the University of WisconsinMilwaukee assisted by a fellowship from the Advanced Opportunity Program. He has danced in the companies of Michael Clark, Stanley Love, Zvi Gotheiner, Lar Lubovitch and Stephen Petronio (1991-1998 and 2001-2005). He 18 UWM Peck School of the Arts

served as Petronio’s Assistant Director and Director of Education. In 1997 he was honored to receive a New York Dance and Performance Award Bessie for sustained achievement. Casel has been commissioned

by Barnard College, NYU and X Factor Dance Company of Scotland. His company, GERALDCASELDANCE has been presented at Danspace Project, DTW, Joyce SoHo, The Yard, Jacob’s Pillow, Danceworks (Milwaukee), Conduit (Portland) and ODC Theater (San Francisco). Casel has been on the faculty at Sarah Lawrence College, Marymount Manhattan College, Barnard College, UW-Milwaukee and most recently at NYU Tisch School of the Arts where he received the David Payne-Carter Award for Teaching Excellence. Currently he is a Professor of Contemporary Dance at Palucca Hochschule für Tanz Dresden.

Leonard Cruz was born in Pampanga, Philippines and grew up in San Antonio, Texas. He started dancing at the age of four learning Filipino and Hawaiian folk dances, as well as ballet. In 1983 he was a finalist in the Arts Recognition Talent Search sponsored by the NFAA in Miami, Florida and was later named Presidential Scholar in the Arts. He received his Bachelor of Arts and Master’s of Arts Degree in Dance from U.C.L.A. He has performed with Robert Wilson, Kei Takei’s Moving Earth, Shapiro and Smith Dance,

B I O G R A P H I E S ( c o n t .)

Sally Silvers, and for five years with Bill T. Jones/Arnie Zane and Co. In 1993 he moved to Germany and was a guest with Pina Bausch in Wuppertal and a member of the Folkwang Tanz Studio in Essen-Werden.

From 1994-2001 he danced in the Bremer Stadttheater under the Directorship of Susanne Linke and Urs Dietrich. Leonard is currently a PhD candidate in Urban Education at the University of WisconsinMilwaukee where he also received his MFA degree in Choreography in 2009. He has been a Guest Assistant Professor in Dance at Duke University from 2008-2009 and recently at the Massachusetts Institute of Technology from 2009-2010. He is currently guest faculty at UW-Milwaukee.

A native of São Paulo, Brazil, Simone Ferro joined UWM in 2001, and is an Associate Professor in the Department of Dance at the Peck School of the Arts. After a professional career as a soloist with dance companies in São Paulo, Rio de Janeiro and Geneva, Switzerland, she completed graduate work in dance at the University of Iowa. Simone has collaborated extensively with local dance, theater and opera companies (including the Milwaukee Ballet, the Milwaukee Repertory Theater and the Florentine Opera), and she has worked with many visual artists, musicians, filmmakers and writers to explore a wide variety of social themes and topics. She is recipient of several awards, including a UWM Graduate School Research Grant, an Outstanding Undergraduate Teaching Award, a Research Growth Initiative (RGI) grant, and a Choreographic Fellowship from the Wisconsin Arts Board. Simone is a fellow of

the UWM Center for Latin American and Caribbean Studies and the Cultures and Communities Program. Her recent work, Boi Redux, is part of her research on Brazilian folk festivals and dramatic dances. With her husband and research partner Meredith W. Watts she travels to Brazil every year to document and research the Bumba-meuboi folk festivities in the Northeastern state of Maranhão.

Janet Lilly, Professor, UW-Milwaukee Peck School of the Arts Department of Dance.

Ms. Lilly joined the Department of Dance at UWM in 1995. From 1983-1991, she was a principal dancer with internationally renowned Bill T. Jones/Arnie Zane Dance Company, also serving as the company’s rehearsal director, master teacher and repertory reconstructor. As a Jacob Javits fellow, Janet received an MFA in Dance with highest honors from the University of Michigan in 1992. Janet has received numerous choreographic research grants including grants from: the Arts Foundation of Michigan, Graduate School Research Award Committee of the University of Wisconsin-Milwaukee, National Performance Network, Joyce Mertz-Gilmore Foundation, National Endowment for the Arts, a 2007 Choreography Fellowship from the Wisconsin Arts Board and most recently a 2008-2009 Fulbright Award. Janet will be leaving UWM in August 2011 to take a position as Head of Dance at the University of North Carolina at Greensboro. She would like to express her gratitude and admiration for her wonderful colleagues and students in the Peck School of the Arts and the Department of Dance.

PRODUCTION TEA M Iain Court. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Production Manager, Lighting Designer Andrew Nielsen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Manager Seth Warren-Crow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Music Director Korporate Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Videographer Colin Gawronski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Stage Manager Dustin Donohoe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Technical Director/Master Electrician Emily Peplinski, Karmen Seib . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wardrobe Kat Danielsen, Jess Jante, Justin Peters,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Crew Amanda Paretti, Meredith Roat, Katie Whittaker, Dance Production Practicum Students

UWM Peck School of the Arts 19

SPECIAL THANKS Production thanks to Nicolet High School, Cardinal Stritch University, Aaron Dyszelski, Proline Entertainment, University Surplus and Tim Laughner. Thanks to Louella Powell for her overall contributions to department costuming, Kayla Premeau, the Dance Faculty, and a continued thank you to the anonymous donor making the New Work Award possible. Finally, thank you to all the dancers for their full-hearted dedication to the Summerdances production process in this challenging time for us all.

D E PA R TM E N T O F DA N C E Luc Vanier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Associate Professor, Chair (June 2011) Ed Burgess. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Professor, Chair (January 2009-May 2011) Ferne Caulker-Bronson, Janet Lilly, Marcia Ruth Parsons. . . . . . . . . . . . . . . . Professors Simone Ferro, Darci Brown Wutz . . . . . . . . . . . . . . . . . . . . . . . . . . . . Associate Professors Gloria Gustafson, Mary D. Hibbard. . . . . . . . . . . . . . . . . . . . Associate Professor Emeriti Elizabeth Johnson, Dani Kuepper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Senior Lecturers Iain Court. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Production Manager Kayla Premeau. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program/Office Manager Seth Warren-Crow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Music Director PECK SCHOOL OF THE ARTS Wade Hobgood......................................................................................................................... Dean Scott Emmons.......................................................................................................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 Craig Kroeger.....................................................................................................Graphic Designer Regan Jacobson..........................................................................Web Applications Developer BOX OFFICE Jan Brooks...................................................................................................... Box Office Manager Charles Hoehnen...................................................................... Assistant Box Office Manager Katherine Feekin, Sarah Hernandez, ............................................................. Box Office Staff Natalie Kubicek, Stephanie Ninnemann, Chris Ouchie, April Paul, Samantha Roeming

Help Send these 12 Dance Students to New York City for the Performance of a Lifetime!

20 UWM Peck School of the Arts