July 17, 2:00pm: Finding America’s Sound @VGM Learning Center
July 20, 10:00am: Piano Masterclass for high school students @ Hearst Center for the Arts
Thank You to the following foundations for their support of our 2022 season
July 18, 10:30am: Arianna Quartet @ Diamond Event Center
July 24, 2:00pm: American Woman @ UNI Gallery of Art
July 20, 7:00pm: Born in the U.S.A @ GBPAC
Looking forward to exploring this music alongside you, Hunter Capoccioni
As Cedar Valley Chamber Music was going through the process of becoming a nonprofit organization in 2008, I was faced with devising a mission statement. Professionals will often tell you that mission statements should be short and simple, easy to relay. Ultimately, the board and I formulated “Enriching ‘community’ through chamber music performances and outreach’. The word community has only been in quotes in my mind as I see it as an integral part of CVCM. ‘Community’ is something that is created, it is fluid, and requires participation. In order to foster this, the thematic programming for each season attempts to elicit your imagination and tell a story. This season, the story is complicated yet beautiful. It is a story about immigrants to our country and the music they brought that eventually shaped the “American” sound. It also challenges preconceived notions of what “American” means in regards to the classical music canon. The text books have long championed the names Gershwin, Copland, Barber, and Bernstein as the pantheon of American music in the 20th Century. There can be no doubt each man was a musical genius whose popularity shaped our modern discourse. However, we are now at a junction in society where we are being asked to re-evaluate the past, particularly to look at segments of our community that have been left out of the story. This summer’s programming is designed to engage a broader discussion of American music. It features not only the traditional pantheon ranging from DvorakCopland but also includes names like Frederick Tills, Florence Price, Valerie Coleman, Jennifer Higdon and others. It also includes our first world-premiere by a composer I think is well on his way of making a major mark on music history in America.
SEASON AT-A-GLANCE
WELCOME
July 23, 10:30am: Meet the Woodwind Family @ Waterloo Public Library
July 19, 7:00pm: Peter Miyamoto Piano Recital @ First Congregational Church
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July 16, 10:30am: For the Birds: A musical story time @ CF Public Library
The FamilyGallagherFoundation
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III. Molto vivace
IV. Allegro giusto
Program Notes: Concert 1
Frederick Tillis (1930-2020)
I. Allegro non tanto
The inclusion by the Arianna Quartet of Frederick Tillis with Dvorak is fitting for this discussion of American Sound. Tillis was equally adept at combining music from his heritage with the musics he was exposed to throughout his training. Born in Galveston, Texas in 1930, Tillis grew up performing music in the local bugle corps and found his first work in a local jazz band at the age of 12. Since all things come back to Iowa, it should be noted that Tillis also spent time in our state, graduating from the University of Iowa with a PhD in music in 1963.
Concert 1: Finding America’s Sound
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The Arianna Quartet with guest Julia Bullard, viola
String Quintet in E-flat Major, Op. 97 (1893) “American”
I. Nobody knows the trouble I see
III. Crucifixion (he never said a mumblin’ word)
Spiritual Fantasy No. 12 (1988)
String Quartet in F Major, Op. 96 “American” (1893)
Thank you to our concert sponsor
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III. Larghetto
I. Allegro ma non troppo
II. Lento
II. Wade in the Water
IV. Vivace ma non troppo
II. Allegro vivo
The Arianna String Quartet
Antonín Dvořák (1841-1904)
Antonín Dvořák (1841-1904)
While Tillis was exposed to the more abstract academic styles like atonalities, electronic music, and chance music of the mid-20th century, Tillis chose to develop his own tonal style that, as he said, “was to be rooted in the thematic and harmonic materials of the spiritual.” Tillis composed a number of Spiritual Fantasies like the one on today’s program. Tillis is quoted as saying that this suite for string quartet, “pays tribute to the essence of the musical expressions of pathos and triumph over worldly obstacles encountered by a people who found hope and strength through faith in God.”
When Dvorak spent two summers in Spillville he found himself surrounded both by friends of Czech origin and by African-Americans and Native Americans playing and singing music. Where his genius lies is in how he synthesized the musical material he heard so quickly and so completely. It is hard to point at any melody or rhythmic gesture in the works from this period and say definitively that “this is that,” but the frequent use of pentatonic scales, the borrowing of folk material (more in shape than in literal quotation), the rhythmic elements of the faster sections, or the emotional heart of the slower movements are all incorporated into the pieces you will hear on today’s program.
IV. I’m a rollin’
We start our exploration of American music with an immigrant composer named Antonín Leopold Dvořák. As a country of immigrants it seems an apt place to start even through Dvořák only resided in American for a short period. However, during his stay in America from 1892-1895 Dvorak did more for American music than any composer before him. Whether it was the urban sounds of New York or the rural countryside of Spillville, Dvořák absorbed everything he heard and allowed those melodies and rhythms to infuse themselves in an organic way that was the hallmark of his genius.
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CONCERT 11: BORN IN THE U.S.A
I. Andante semplice
Unlike Gershwin or Copland, Barber never went to Hollywood or wrote for film. His livelihood was found in concert halls for traditional ensembles and genres. Barber wrote one string quartet and one wind quintet during his life and both have become staples of the chamber music repertoire. Summer Music is characteristic of Barber’s style of this period, building off the tonal, neo-romantic works (Adagio for Strings, Essays for Orchestra) of his earlier years but adding a few more experimental techniques and well-placed dissonance we find in Barber in the second-half of the 20th century.
III. Allegretto giusto
Summer Music (1956) Samuel Barber (1910-1981)
Hannah Porter-Occeña, Daniel Friberg, Katy Ambrose, Benjamin Coelho, Erik Rohde, Hannah Howland, Julia Bullard, Alan Henson, Hunter Capoccioni
By 1943 Copland had really assimilated his musical style that strived to simplify his musical language as much as possible and secondly to "make contact" with as wide an audience as possible. About the Violin Sonata Copland recalled, “Certain qualities of the American folk tune had become part of my natural style of composing, and they are echoed in the Sonata. It is composed in the usual three movements, with the last two to be played without pause.” The composer and critic Virgil Thompson said of the work, “one of its author's most satisfying pieces. It has a quality at once of calm elevation and of buoyancy that is characteristic of Copland and irresistibly touching.”
Sonata for Violin and Piano (1943) Aaron Copland (1900-1990)
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PROGRAM NOTES
Most of the composers on this evening’s program are well known to anyone who has taken a music appreciation course. It may seem like we are in a completely different world from that of the first concert of the season, but the gap between is just a generation. Gershwin, Copland and Barber are the giants in the catalogue of American music. They are also human beings, born in America to diverse family backgrounds. The parents of Gershwin and Copland came from immigrant families (Gershowitz and Kaplan) who, like many immigrants, were fleeing persecution or military service in their home countries. Conversely, Samuel Barber was born in West Chester, Pennsylvania from ancestors that date back to the Revolutionary War. They played in dance bands (Copland, Gershwin), recorded piano rolls under pseudonyms (Gershwin), borrowed money from their parents while composing (Copland), let their parents down by not playing football (Barber), and enrolled in the military during WWII (Barber). The music on today’s program ties into their history and gives insights into their lives and aesthetics.
The one programmatic piece of today’s program is a chamber version of Gershwin’s “An American in Paris” (1928). It is a musical depiction of an American tourist enraptured with the sights and sounds of Paris while also longing for his return home. Though music critics struggled to place Gershwin’s music, Gershwin was fine with more flippant labels. “It’s not a Beethoven symphony, you know,” commented Gershwin, perhaps in reaction to elitist reservations about the work’s overriding joie de vivre. “If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds.”
Sang Koh, Peter Miyamoto
Hannah Porter-Occeña, Courtney Miller, Daniel Friberg, Katy Ambrose, Benjamin Coelho, Erik Rohde, Hannah Howland, Julia Bullard, Gabriel Forero, Alan Henson, Hunter Capoccioni
Michael Gilbertson grew up in Dubuque, Iowa before attending Juilliard and Yale for his graduate work. Currently living in San Francisco where he teaches at the San Francisco Conservatory, he continues his connection to Iowa through his own festival in Dubuque and a series commissions that now include Cedar Valley Chamber Music. (Continued on page 15)
Hannah Porter-Occeña, Courtney Miller, Daniel Friberg, Katy Ambrose, Benjamin Coelho
An American in Paris (1928)
George Gershwin (1898-1938)
Gather (2022) Michael Gilbertson (1987)
II. Lento
III. Quarter note = 120
Three Spirituals
I. Allegro non troppo
CONCERT I11: AMERICAN WOMAN
II. Steal Away
II. Fantasy: Die launische Forelle [The Moody Trout]
The Three Spirituals of Valerie Coleman are part of a larger calling Coleman has as an African-American woman performer, composer, and arts advocate. Coleman is the founder of the Imani Winds, a quintet that has been to the GBPAC on several occasions. The original intent was to have a black classical virtuoso ensemble that would serve as rollmodels, and not just for America’s youth. They have released a number of studio albums, one of which was nominated for Grammy Award for Best Classical Crossover Album in 2005.[2] Coleman is a prolific composer who draws heavily from black American culture. Coleman's work, Umoja, Anthem for Unity, was recently listed as one of the top 101 Great American works by Chamber Music America.
I.(1970)Little
(1953)Hannah
Piano Quintet (2010)
Libby Larsen has spent almost her entire life in Minneapolis. She received a PhD in theory and composition in 1978 and is the first woman to serve as a resident composer with a major orchestra (Minnesota Orchestra, 1983) and won a GRAMMY in 1993. When asked about her influences, Larsen responded, " The…way I really learn is by reading scores voraciously, from Chuck Berry to Witold Lutosławski." Her 1983 work, Four on the Floor definitely falls into the Chuck Berry area of the spectrum. Of this work Larsen states, Four on the Floor is inspired by boogie-woogie. It is a celebration of American music and American musicians. The metronome indication for Four on the Floor is 138-144 to the quarter note, a speed verging on breakneck, and breakneck is the theme of the piece an America that is speeding up faster and faster, jazzing into eternity.
Libby Larsen (1950)
Erik Rohde, Kasy Clopton, Hunter Capoccioni, Peter Miyamoto
III. Juba: Allegro
David Play on Your Harp!
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note = 60
II. Andante con moto
When Jennifer Higdon started her collegiate education at Bowling Green University, she didn't know any Basic Theory, how to spell a chord, or what intervals were. With hard work and support from those who saw her raw talents as a composer she won the 2010 Pulitzer Prize for Music and three GRAMMY Awards. Higdon was elected a Member of American Philosophical Society in 2019, she was a professor of composition at the Curtis Institute of Music from 1994 to 2021.
Jennifer Higdon
Ellen Taaffe Zwilich
IV. Scherzo: SangAllegroKoh,
Porter-Occeña, Courtney Miller, Daniel Friberg, Katy Ambrose, Benjamin Coelho
If there is a word that unifies the composers on this program it is “accomplished” often in the face of significant adversity.
I.(1939)Quarter
Hannah Porter-Occeña, Courtney Miller, Daniel Friberg, Katy Ambrose, Benjamin Coelho
PROGRAM NOTES
(Continued)9
Valerie Coleman
Autumn Music (1995)
Piano Quintet in A Minor (1936) Florence Price (1887-1953)
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Ten years ago, relatively few, if any, would have performed or heard of Florence Price. During her lifetime she attended the New England Conservatory where she received a degree in composition and piano teaching. She is the first black woman composer to have a work premiered by a major American Symphony (First Symphony, 1933) and later in that same season the Illinois Host House of the World's Fair devoted an entire program to Price and her music. In November 2018, the New York-based firm of G. Schirmer announced that it had acquired the exclusive worldwide rights to Florence Price's complete catalog and in 2022 the Catalyst Quartet performed her entire chamber music catalog totaling some two-hours of music. Her Piano Quintet on today’s program is considered her most substantial chamber work and is rapidly being performed around the country.
Sang Koh, Julia Bullard, Kacy Clopton, Hunter Capoccioni, Peter Miyamoto
III. Ev'ry Time I Feel the Spirit
Four on the Floor (1983)
Erik Rohde, Julia Bullard, Kacy Clopton, Peter Miyamoto
Clarinetist Daniel Friberg has been a featured artist on the JOYA! chamber music series, the Cedar Valley Chamber Music Festival, and with the Hill House Chamber Players. As a member of the East Coast Woodwind Quintet, he toured the United States and Russia, and was a finalist at the Coleman Chamber Music Competition in Pasadena, California. He participated in the Hot Springs Music Festival, Bowdoin Summer Music Festival, Music Academy of the West, Madeline Island Music Camp, American-Russian Young Artists Orchestra, and Attergau International Orchestral Institute (Austria). He is co-manager of the combined printed music departments of Groth Music Co. and Eble Music Co. in Bloomington, MN.
2022 SEASON ARTISTS
Her work, Autumn Music, was composed as an homage to Summer Music and its composer, Samuel Barber, who shared with Higdon a lineage of teaching composition at the Curtis Institute. Of this work Higdon says, “Autumn comes to us in many guises: incredible explosions of color; air that suddenly snaps with crispness and clarity; a tinge of melancholy on the eve of change in all of our lives. This piece is a musical portrait of the essence and images of Autumn.”
Violist Julia Bullard is an active solo, chamber and orchestral performer both in the US and abroad. As a chamber musician, she has performed as a guest with ensembles including the Aspen String Trio, the Maia Quartet, and the Arianna Quartet. She performs regularly as violist of Trio 826, whose first CD entitled Mosaic was released on the Blue Griffin label in 2016. The trio has toured across the US, as well as in South America and Europe. In addition to her work as a musician, Dr. Bullard is also a long-time student of the Alexander Technique, and in August will complete her 1600-hour teacher certification through the Minnesota Center for the Alexander Technique. Beginning in August 2022, Dr. Bullard will join the faculty of Kennesaw State University, just north of Atlanta, GA, as Professor and Assistant Director of the Bailey School of Music.
A native of Waterloo, Iowa, Hunter Capoccioni currently lives in Houston, Texas where he works as an Administrator for Rice University's Neuroengineering Initiative. He founded Cedar Valley Chamber Music in 2006 to bring more chamber music performance to the Cedar Valley and to use the portable nature of chamber music to bring music off the traditional concert stage and access different areas of the CV community. Hunter continues to be an active chamber musician in Houston as a performer and administrator. Recent activities include work with the Midbass Trio, The Van Haydn Ensemble, and as his work as Executive Director of the Houston-based Axiom String Quartet.
2022 SEASON ARTISTS
Katy Ambrose is the Visiting Assistant Professor of Horn at the University of Iowa. A passionate chamber musician, Katy currently plays with the University of Iowa faculty brass quintet, the Lanta Horn Duo, and Conica, a transcontinental natural horn quartet. She was a co-founder of Seraph Brass and Izula Horns, and has performed extended guest artist stints with District 5 wind quintet as a Featured Artist for the Virginia Arts Festival, and with Rêlache New Music Ensemble as a Resident Artist at the Philadelphia Museum of Art. As a soloist and chamber musician she has been involved in commissions and world premieres of works by Alyssa Weinberg, Catherine Likhuta, Shawn Okpebholo, Rene Orth, Sarah DuBois, Rachel Devorah Wood Trapp, Lucy Pankhurst, and Katherine McMichael. Outside of the classical setting, Ambrose has played for Adele, Cee Lo Green, Andrea Bocelli, and as a recording artist for NFL Studios.
Program Notes Continued
Cellist Kacy Clopton has inspired audiences across Europe and North America as a creative and multi-faceted performer. Dr. Clopton was a founding cellist of the awardwinning Excelsa Quartet who were recipients of several prestigious international awards including the First Prize & Grand Prize at the 2011 Charles Hennen Competition in the Netherlands as well as Prix du Public at the 2010 Illzach Competition in France. In 2012, the quartet was appointed as the Graduate Fellowship String Quartet at the University of Maryland. Excelsa Quartet was one of the only all-female string quartets whose members were each awarded doctorates. Dr. Clopton currently serves as Visiting Assistant Professor of Music (Cello) at Luther College, where she also performs with the Luther College Piano Quartet.
The last work of the 2022 is from the pen of Ellen Taaffe Zwilch. Zwilch is the first woman to receive a doctorate in composition from Juilliard (1975) and her First Symphony (1982) won the 1983 Pulitzer Prize in Music. Zwilich has four Grammy nominations, has been elected to the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and in 1999, she was designated Musical America's Composer of the Year. This Piano Quintet was a commission by a large consortium of chamber music festivals. Since is utilizes the “other “ piano quintet ensemble of violin, viola, cello, bass, and piano, Zwilich naturally turned towards Schubert’s Trout Quintet for inspiration infusing general ideas from the piece alongside ideas of the blues and other 21st century ideas.
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Benjamin Coelho, Professor of Bassoon, has been at The University of Iowa since 1998. An avid chamber musician, he has performed with the Gramado Woodwind Quintet (Brazil), the Alaria Chamber Ensemble (New York) and the Contemporary Music Group of Minas Gerais (Brazil). As a founding member of the Manhattan Wind Quintet, Mr. Coelho performed numerous recitals and concert tours throughout the United States. The group won various chamber music competitions including Artists International, Coleman, and Monterey Peninsula Chamber Music Competition. In January of 1987 the quintet played a sold-out concert at Carnegie Recital Hall in New York. As a member of the group Wizards! A Double Reed Consort, Coelho has recorded two CDs released by Crystal and Boston Records in 2000 and 2003 respectively.
Engineering.13
Alan Henson is the cello instructor at Grinnell College and has an active private studio in Ames. He is Principal Cellist of the Central Iowa Symphony, and plays double bass for touring Broadway shows at Des Moines Civic Center. He is former Principal Bassist of the Des Moines, Dubuque, and Waterloo/Cedar Falls Symphony Orchestras, and was the double bass instructor at University of Northern Iowa and cello instructor at Wartburg College in the 1990’s. He has performed with Cedar Rapids, West Virginia, Milwaukee, Green Bay, and Shreveport symphonies, as cellist of the Blue Sage Piano Trio, and as guest artist with the Montclaire and Pioneer string quartets.
Hailed by the New York Times as possessing “rich tone and deft technique,” Hannah Porter Occeña is Assistant Professor of Flute at the University of Northern Iowa. As a chamber musician and collaborator, Occeña has worked to bring works by living composers to life. She is a commissioning member of the Flute New Music Consortium and has co-premiered works by Zhou Long, Carter Pann, Valerie Coleman, and Samuel Zyman. She has also privately commissioned and premiered several new works, including the whirring dusk for flute and piano by Lisa Bost-Sandburg and Shenandoah Variations for flute and orchestra by Joseph Kern.
2022 SEASON ARTISTS
2022 SEASON ARTISTS
Dr. Erik Rohde maintains a diverse career as a conductor, violinist, and educator, and has performed in recitals and festivals across the United States and in Europe and Asia. He is the newly appointed Director of Orchestral Activities at the University of Northern Iowa, the Music Director of the Winona Symphony Orchestra (MN), and the founding artistic director of the Salomon Chamber Orchestra. A committed advocate for contemporary music, he has premiered and commissioned many new works by both established and young composers, and is constantly seeking to discover new compositional voices. He is the violinist of the new music duo sonic apricity, which is dedicated to uncovering and commissioning new works by living composers for violin and viola.He also holds degrees in Violin Performance and Biomedical
Dr. Steve Sang Kyun Koh was appointed to the position of Assistant Professor of Violin at University of Northern Iowa in fall 2019. An avid chamber and orchestral musician, Dr. Koh is co-founder of the Interro String Quartet, which explores diverse programming and eccentric venues as means to remove chamber music from concert halls and connect with the wider public. With the Interro Quartet, he has been a co-author and recipient of several grants from the Ontario Arts Council and the Canada Council for the Arts and has annually commissioned quartet pieces featuring emerging composers in Ontario, Canada. In further support of new music, he is a member of the Toronto Messiaen Ensemble and has collaborated with emerging North American and internationally-renowned composers, such as Gideon Gee-Bum Kim, Salvatore Sciarrino, and Ofer Ben-Amots, to name a few.
Dr. Courtney Miller is the oboe professor at University of Iowa where she teaches oboe, chamber music, and reed classes. Dr. Miller is a core member of the internationally established chamber ensemble, Virtuoso Soloists and is a founding member of the Voxman Reed Trio with University of Iowa colleagues Benjamin Coelho and Jorge Montilla. Her 2019 album Portuguese Perspectives introduces a collection of world-premiere recordings for the oboe by Portuguese composers and includes several new commissions by Miller. This album and her 2015 release Modern Fairy Tales are readily available on iTunes, Amazon, and Spotify. Courtney Miller is a Lorée Artist.
Gabriel Forero Originally from Bogotá, Colombia, Gabriel is an active solo, chamber, orchestral and baroque performer. He has presented concerts and recitals in the US, Colombia, Peru, Brazil and Spain, and actively performs with various orchestras, including the Omaha Symphony, Lincoln Symphony and Waterloo-Cedar Falls Symphony. He received his M.M. (performance) degree from the University of Northern Iowa and his B.M. (performance) degree from the Colombian National University. His principal teachers have included Anibal Dos Santos, Julia Bullard and Clark Potter. Right now he is completing his D.M.A degree at the University of Lincoln - Nebraska.
Hannah Howland is a violinist and teacher based in the Iowa City area. She holds faculty positions at the UNI Suzuki School in Cedar Falls and the Preucil School in Iowa City where she teaches violin and viola, leads group classes, and coaches chamber ensembles. She maintains an active schedule performing with the Waterloo-Cedar Falls Symphony, the Southeast Iowa Symphony, and freelancing throughout eastern Iowa with various other ensembles and theatre productions. In 2020, Hannah co-created and performed in an educational concert series called "The Music Lab,” aimed at presenting musical topics to young audiences that inspire creativity and experimentation. In addition to teaching and performing, Hannah serves as music librarian for the Waterloo-Cedar Falls Symphony and works part time as string specialist at West Music in Coralville.
Peter Miyamoto is currently Catherine Paine Middlebush Chair of Piano at the University of Missouri. From 2003-2015 he served as head of the piano faculty at the New York Summer Music Festival and more recently served on the piano faculty of the Curtis Institute of Music’s Young Artist Summer Program and the Curtis Mentor Network Program in Philadelphia.Miyamoto’s six solo CDs, available on the Blue-Griffin label, have received excellent reviews in periodicals such as Gramophone, International Record Review, Fanfare, and American Record Guide and were recognized by the American Prize. A CD of six commissioned duos for violin and piano produced by GRAMMY winner Judith Sherman was released by Albany records.
Moderato $100-249 (continued)
Dan and Chris Lorenz Ruth **MichaelRatliffand Linda Rickert
**Cathy**LouisGallagherHellwigHowland
**James**DianneNeuhausPhelpsandDelia Ralston
JaneAnnaJoan**RobertAnnLianeCarolJoyceKatinkaFolkersKeithKohnMorganCNicholsOsborneRobinsonRozendaalSchuesslerandBillTeaford
Andante $25-99
Russell Campbell
Michael Gilbertson “Gather” continued
Mary Schlicher
**Larry and Jackie Betts
**Shela Fretwell
**William Witt and Karen Franczyk
Allegro $250-499
**Stephen and Geraldine Chamberlin
About Our 2023 Resident Ensemble
**Greg and Anne Hoekstra
E.J.
Tom and Charlotte Strub
Hailed for their outstanding musicianship, The Arianna String Quartet has firmly established itself as one of America's finest chamber ensembles. Formed in 1992, the ASQ garnered national attention by winning the Grand Prize in the Fischoff Chamber Music Competition, First Prize in both the Coleman and Carmel Chamber Music Competitions, and were Laureates in the Bordeaux International String Quartet Competition.
Presto $1000 - 2499
Prestissimo $2500+
Nowperformers.beginning
Barbara Henry**CharleneCorsonEblenandNorma Edsill
2022 SEASON DONORS
Vivace $500-999
**Martha Kroese John and Barbara Mardis
Steve and Jan Moore
Donor list reflects some donations from 2021 as well that are being acknowledged due to the pandemic. This list is current as of 7/11/2022
Jo Capoccioni, president EJ Gallagher, secretary Rich Revert, treasurer Andrea Alert Naomi Feldman-Kraus Martha Kroese Austin Jacobs Jan RyanMooreOcceña
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In addition to being a finalist for the 2018 Pulitzer Prize in Music for his Quartet, he was recently honored by the American Academy of Arts and Letters with a Goddard Lieberson Fellowship in Music, an award given to mid-career composers of exceptional gifts. Gilbertson has the following to say about this evening’s premiere work, “Gather”:
Diane
Cathy Craig Janet Drake Craig and Carmen Driver Louis Fettkether
Kim
Mary Ann Burk
Since 2000, the members of the Arianna String Quartet have been the full-time string faculty at the University of Missouri-St. Louis, where they teach applied violin, viola, and cello, and coach student chamber music ensembles. On the UMSL campus, the Arianna Quartet enriches the academic experience of students outside of the Music Department by visiting classes in physics, business, history, philosophy, art, and language to actively demonstrate the interdisciplinary connections between music and these seemingly disparate disciplines. In the community, the ASQ are ambassadors for UMSL, teaching an average of 40 instructional clinics each year at high schools throughout Missouri and surrounding states, presenting a performance and lecture series at KWMU radio called “First Mondays with the ASQ”, and maintaining a national and international presence as educators and
Ken **KentDavid**JoMargaretBaughmanBradfordCapoccioniandMaryKabelandBarbOpheim
Cedar Valley Chamber Music Board of Directors 2021-2022
**Robert and Anna Schnucker
their 30th season, highlights for 2020-21 have included teaching and concerts on Zoom for the FestiQ-Artetos, Bogata Columbia, the UR Music and Art Performance, Vienna, Austria, a Video Concert Series for HEC TV in St. Louis, and their “At Home with the ASQ” Online Concert Series. The ASQ has also recently returned to the 2021 Madeline Island Chamber Music Festival and the Credo Music Festival, and held their two summer festivals (online) in St. Louis, the UMSL String Orchestra Camp and the Arianna Chamber Music Festival.
**Kevin and Janet Sanders **Mary Schlicher Mike and Rita Waggoner\ Pat Wehr
**Thomas Schilke
Lawrence and Jackie Betts
“Gather was completed in the late spring of 2022. For several years (predating the pandemic) I had the idea of composing a work for musicians spread around a hall, encircling the audience. This seemed like a perfect opportunity to put that idea to use. During the opening section of the work, the musicians slowly gather on stage, as a simple melody gets passed between them.”
Moderato $100-249
**The Gallagher Family Foundation Community Foundation of Northeast IA
Cedar Valley Chamber Music would like to thank the following individuals, businesses, and foundations for their support of our current season.
Dianne Phelps
Dr. Angelita Floyd