Chamberfest Cleveland Festival Season 8 by Live Publishing

Under T he Influence FESTIVAL SEASON 8 JUNE 13 - JUNE 29, 2019

What Compe ls A Composer What compels a composer? What inspires or drives one to make music? All manner of influences affect composers at different times in their life, in ways both expected and unforeseen. Love… loss… birth… illness. Nationalism… war… religion… literature. Nostalgia… memory… aging… mortality. Genius… madness… The brilliance of a predecessor… one’s own fierce virtuosity. All may trigger the desire – the need – to make a statement in music. This season of discovery, ChamberFest Cleveland considers various factors that compel composers to create. Despite all these diverse FRANKLIN COHEN AND DIANA COHEN Artistic Directors

reasons, there is still one constant in concert after glorious CFC concert: compelling music making.

UNDER THE INFLUENCE, THURSDAY, JUNE 13

MOZART THE GIANT, THURSDAY, JUNE 20

PRECOCIOUS VIRTUOSITY, FRIDAY, JUNE 28

It all begins with Beethoven! Opening Night party after performance.

Who doesn’t love Mozart and those he influenced?

The best of the best…virtuosos unite!

IN FULL SWING, FRIDAY, JUNE 14

SEI SOLO (YOU ARE ALONE), SATURDAY, JUNE 22

FRENCH CONNECTION, SATURDAY, JUNE 29

Works motivated by movement and dance. Special pre-concert performance by the Deng sisters.

“Under the Influence” of loss, composers bring heartfelt music to life.

Better than croissants! Experience a menu of French composers. Closing night celebration after the performance with Mitchell’s Homemade Ice Cream.

TURNING/TIPPING POINTS, SATURDAY, JUNE 15

FOLKLORICA, SUNDAY, JUNE 23

ARTISTS

Sometimes composers follow a new direction! Prelude by Roman Rabinovich and Adam Golka.

Folk tunes and dances are the inspiration for this lively concert. Mitchell’s Homemade Ice Cream following the concert.

BACH TO THE FUTURE, TUESDAY, JUNE 18

HUNGARY FOR MUSIC, THURSDAY, JUNE 25

DONORS, BOARD & STAFF

Grab a glass of wine at The Wine Spot and journey from Bach to the digital age with violinist, Alexi Kenney.

Beauty as a composer’s muse is translated into rich, romantic works.

THURSDAY JUNE 13 7:30 PM CIM’S MIXON HALL

Under T he Influence It all begins, fittingly enough, with the most fiercely driven of composers, Beethoven. He wrote this joyous, virtuosic clarinet trio as he was beginning to achieve fame, and it reflects the continuing influence of Mozart, whom he revered. Schumann composed his piano quartet while under the influence of his love for – and wariness of being overshadowed by – his wife Clara, as well as his encroaching mental illness. Holliger’s works were a response to the “outrageous” destruction of Schumann’s pieces by Clara, who feared they would ruin her husband’s reputation and reveal his insanity. Penderecki’s energetic string trio recalls the musical language of late Bartók.

PARTY

with ChamberFest at a festive opening night celebration at CIM after the concert!

Franklin Cohen, clarinet

LUDWIG VAN BEETHOVEN: Trio for Piano, Clarinet and Cello in B-flat major, Op. 11

Peter Wiley, cello

Allegro con brio

Evren Ozel, piano

Adagio

Theme and Variations on “Pria ch’io l’impegno”

from Joseph Weigl’s Comic Opera

L’Amor Marinaro Ossia Il Corsaro

Diana Cohen, violin Milena Pajaro-van de Stadt, viola Oliver Herbert, cello

Roman Rabinovich, piano

KRZYSZTOF PENDERECKI: Trio for Violin, Viola and Cello

Allegro molto —

Vivace

HEINZ HOLLIGER: Albumblätter, getuscht for Piano

— INTERMISSION —

Yura Lee, violin

ROBERT SCHUMANN: Q uartet for Piano, Violin, Viola and Cello in E-flat major, Op. 47

Milena Pajaro-van de Stadt, viola Oliver Herbert, cello Adam Golka, piano

Sostenuto assai — Allegro ma non troppo

Scherzo: Molto vivace

Andante cantabile

Finale: Vivace

LUDWIG VAN BEETHOVEN

Clarinet and Cello, Op. 11, composed in 1798.

theme group. The complementary themes are

(1770-1827)

Beethoven’s disciple Carl Czerny simply said,

introduced following two loud chords, a silence, and

Trio for Piano, Clarinet and Cello in

without specification, that the Trio was written for “a

an unexpected harmonic diversion. The movement’s

B-flat major, Op. 11

clarinetist,” the most likely candidate being Joseph

development section is largely concerned with the

Beer, a virtuoso then attached to the musical

striding motive of the main theme. The Adagio is

Composed in 1797-1798.

establishment of the Prussian court chapel at

based on a melody of Mozartian tenderness first

Beethoven first made his reputation as a pianist after

Potsdam. The Clarinet Trio was intended to please

sung by the cello before being shared with the

arriving in Vienna in 1792, a flamboyant young

the drawing-room sensibilities of the Viennese

clarinet. The finale is a straightforward set of nine

musician of untamed spirit particularly noted for the

public, and to help ensure its success Beethoven

variations on Weigl’s melody.

power and invention of his improvisations. It was

based the last movement on a well-known tune

with the premieres of his first two piano concertos

(Pria ch’io l’impegno — “Before beginning this

in 1795 that his fame as a composer began to

awesome task, I need a snack”) from Joseph Weigl’s

flourish. Some of the compositions from the years

popular comic opera L’Amor Marinaro Ossia Il

immediately following show his eagerness to

Corsaro (“The Corsair in Love”), which had been

stretch the boundaries of the conventional forms

unveiled at the Hoftheater in October 1797.

and modes of expression, but most of his music of

The Trio’s opening sonata-form movement begins

the 1790s still pays obeisance to the traditions and

with a bold, striding phrase presented in unison

taste of the time. Such a work is the Trio for Piano,

as the first of several motives comprising the main

KRZYSZTOF PENDERECKI b. 1933 Trio for Violin, Viola and Cello Composed in 1990-1991. Premiered on November 15, 1991 in Metz, France by the Deutsches Streichtrio.

Krzysztof Penderecki (pen-de-RET-skee), the most

the viola emerges with a pensive soliloquy that

Heinz Holliger, born on May 21, 1939 in Langenthal,

significant Polish composer of his generation and

keeps referring to a quick, neighboring-tone

Switzerland, thirty miles northeast of Bern, is among

one of the most inspired and influential musicians to

motive. The hammered chords are repeated twice,

his generation’s most esteemed oboists and most

emerge from Eastern Europe after World War II,

the first prefacing a capricious cello solo, the other,

adventurous composers. He studied oboe (with

enrolled at the University of Cracow when he was

an energetic violin passage. The remainder of the

Émile Cassagnaud) and composition (with Sándor

seventeen with the intention of studying humanities

movement is occupied by alternating fast and slow

Veress) at the conservatories of Bern and Basel from

but a year later transferred to the Cracow Academy of

sections. The first one, a sort of sinister scherzo in

1955 to 1959, and won both the Geneva International

Music as a composition student. Upon graduating

skittering triplet figurations, starts hesitantly, rather

Competition and the principal oboist’s job with the

from the Academy in 1958, he was appointed to the

like some demonic machine warming up, before it

Basel Symphony upon his graduation. After winning

school’s faculty and soon began establishing an

stalls and each instrument takes up motives from

First Prize in the Munich Competition in 1961, he

international reputation for his compositions. In 1966,

its earlier soliloquy, this time played together. The

studied oboe with Pierre Pierlot at the Paris

he went to Münster for the premiere of his St. Luke

machine revs up again and becomes more

Conservatory and attended Pierre Boulez’s master

Passion, and his presence and music made such a

threatening in its intensity until it is abruptly

classes in composition in Basel while establishing an

strong impression in West Germany that he was asked

checked by the resumption of the interwoven solo

international career as a soloist and chamber

to join the faculty of the Folkwang-Hochschule.

lines. Just as the movement ends, the violin quietly

musician; he left the Basle Symphony in 1964 and

Penderecki returned to Cracow in 1972 to become

recalls the skittering triplet figuration, from which is

joined the faculty of the Staatliche Musikhochschule

director of the Academy of Music; while guiding the

generated a long viola theme as the subject for the

in Freiburg the following year. While showing

school during the next fifteen years, he also held

fugue that opens the Vivace, which American

remarkable musicality in the whole range of

an extended residency at Yale University. He has

conductor, cellist and critic Kenneth Woods called

traditional solo and chamber literature for his

also been active as a conductor in Europe and

a Totentanz — a “Dance of Death.” Episodes

instrument, Holliger also developed extraordinary

America since 1972. Among Penderecki’s many

referring to the hammered chords and the

new techniques for the oboe — harmonics, double

distinctions are the prestigious Grawemeyer Award

demonic scherzo from the first movement are

trills, glissandos, multiphonics (multiple tones),

from the University of Louisville, Order of the White

heard before a coda based on the fugue theme

electronically altered sounds — that helped to inspire

Eagle (Poland’s highest honor), five Grammys and

brings the Trio for a ferocious close.

works for him from Carter, Berio, Henze, Krenek,

honorary doctorates from several European and

Martin, Penderecki, Lutoslawski, Jolivet, Pousseur,

American universities.

HEINZ HOLLIGER

Penderecki composed his String Trio in 1990-1991

b. 1939

for the Deutsches Streichtrio on a commission from the Cultural Ministry of the German state of BadenWürttemberg; he arranged the work for string orchestra at the same time as the Sinfonietta per Archi (“Sinfonietta for Strings”). The Trio opens with a series of strident, hammered chords from which

Albumblätter, getuscht for Piano

Stockhausen and others, several written for his frequent joint performances with his wife, harpist Ursula Holliger. Holliger has likewise blazed new frontiers in his original compositions, requiring

Composed in 2018.

unconventional methods of performance from

Premiered on November 17, 2018 at the Liszt

instrumentalists and vocalists alike — Cardiophonie

Academy of Music in Budapest by Dénes Várjon.

for Solo Oboe amplifies the player’s heartbeat, which accelerates as the music accumulates physical stress; 5

the chamber opera Come and Go shatters a text by

41, were completed in a frenzy of creative activity

Wielhorsky place on Schumann’s music that he had

Samuel Beckett into word fragments in several

within just six weeks, after which he never wrote

sponsored a princely soirée several months earlier

languages. Among Holliger’s numerous awards are

another work in the form. Having nearly exhausted

in St. Petersburg during the Schumanns’ tour of

membership in the American Academy of Arts and

himself, he and Clara took a holiday at a Bohemian

Russia for which he hired a full orchestra so that the

Sciences, Siemens Music Prize, Zurich Festival Prize,

spa in August, but he again threw himself into

composer could conduct his own B-flat Symphony

and the 2017 Robert Schumann Prize of the City of

composition soon after his return: the Piano Quintet

(“Spring”). In writing of the first performance of the

Zwickau (Schumann’s birthplace).

(Op. 44) was begun in September and the Piano

Quartet, Schumann noted, “[It] seemed to please

Albumblätter, getuscht, premiered in Budapest on

Quartet (Op. 47) on October 24th; both were

players and listeners alike, in particular Mendelssohn.”

November 17, 2018 by Dénes Várion, was dedicated to the celebrated Austrian pianist Ilse von Alpenheim, who celebrated her 92nd birthday that year.

finished before the Phantasiestücke for Piano, Violin and Cello (Op. 88) was created in December. Schumann, drained by three months of feverish work, then slumped into a state of nervous collapse, and he was unable to compose again until the

ROBERT SCHUMANN

following February, though his achievement of

1810-1856

1842 — the composition of six chamber music

The Piano Quartet’s opening Allegro, a fully realized sonata form, gives the main theme first in a slow, hymnal, introductory configuration before it is presented in a quick-tempo, staccato transformation to launch the main part of the movement. The second theme, announced in imitation between the piano and the strings, begins with an accented

Quartet for Piano, Violin, Viola and Cello in E-flat

masterpieces in five months — stands as one of the

major, Op. 47

greatest bursts of creative inspiration in the history

Composed in 1842.

of the art.

Premiered on December 8, 1844 in Leipzig.

The Quartet for Piano, Violin, Viola and Cello in

for a whirling dervish. To balance this furious

In 1842, Schumann turned from the orchestral

E-flat major, published as Schumann’s Op. 47 in

rhythmic exercise, two contrasting trios are

genres to concentrate with nearly monomaniacal

June 1845, was composed for and dedicated to

interspersed in the movement. The principal theme

zeal on chamber music. Entries in his diary attest to

the Russian Count Matvei Wielhorsky, a notable

of the Andante, a beautiful melody enfolding many

the frantic pace of his inspiration: “June 4th: Started

patron of the arts and an amateur cellist of such

wide leaps, is entrusted to the cello. Following a

the Quartet in A minor. June 6th: Finished the

accomplishment that he was able to hold his own in

central interlude, the viola sings the theme again

Adagio of the Quartet. June 8th: My Quartet almost

the public premiere of the work on December 8,

with detailed embroidery from the violin. The finale

finished. June 11th: A good day, started a Second

1844 in Leipzig with a distinguished ensemble that

is dominated by a plenitude of fugue. The

Quartet. June 18th: The Second Quartet almost

included Ferdinand David (concertmaster of the

movement’s thematic abundance is overshadowed

finished up to the Variazioni. July 5th: Finished my

Gewandhaus orchestra, for whom Mendelssohn

only by its pervasive imitative texture, which

Second Quartet. July 8th: Began the Third Quartet.

wrote his Violin Concerto), Niels Gade (the Danish

Schumann contrived to make sound vivacious

July 10th: Worked with application on the Third

composer and conductor who often deputized for

rather than pedantic.

Quartet.”

quartets,

Mendelssohn at the Gewandhaus concerts and

published together under the single opus number

succeeded him as music director of that organization

Schumann’s

three

string

in 1847) and Clara as pianist. Such value did 6

note followed by a rising scale pattern. The start of the development section is marked by recalling the slow introduction. The Scherzo is a veritable dance

FRIDAY JUNE 14 7:15 PM CIM’S KULAS HALL

In Fu l l Swing The works on this program were motivated by movement and dance. Dvořák’s piano quartet features Slavonic folk-like melodies, especially highlighted in the final movement which evokes both waltz and the furiant, a Czech dance. While Bernstein’s clarinet sonata, redolent of the idyllic setting of Tanglewood, may show influences of Hindemith and Copland, it is unmistakably Bernstein in its jazzy melodies and rhythms. Adams’s composition title references childhood memories of a Shaker colony and “the vision of these otherwise pious and industrious souls caught up in the ecstatic frenzy of a dance that culminated in an epiphany of physical and spiritual transcendence.”

SPECIAL PERFORMANCE

AT 7:15 PM

The Deng sisters - Athena, 16 and Corina, 12 - will perform Dvořák’s Romantic Pieces Nos. 1, 2, 3. Corina Deng, violin Athena Deng, piano

Franklin Cohen, clarinet Evren Ozel, piano

LEONARD BERNSTEIN: Sonata for Clarinet and Piano Grazioso

Andantino — Vivace e leggiero — Lento molto — Vivace e leggiero

David Bowlin, violin 1 Yura Lee, violin 2

JOHN ADAMS: Shaker Loops for Three Violins, Viola, Cello and Double Bass Shaking and Trembling

Diana Cohen, violin 3

Hymning Slews

Tanner Menees, viola

Loops and Verses

Oliver Herbert, cello 1 Peter Wiley cello 2

A Final Shaking

Played without pause

Will Langlie-Miletich, bass

— INTERMISSION —

Diana Cohen, violin Tanner Menees, viola

ANTONÍN DVOŘÁK: Quartet for Violin, Viola, Cello and Piano in D major, Op. 23 Allegro moderato

Peter Wiley, cello

Andantino con variazioni

Evren Ozel, piano

Finale: Allegretto scherzando

LEONARD BERNSTEIN

arranging popular pieces for piano under the

published piece. I remember how proud I was of it

1918-1990

pseudonym Lennie Amber (Bernstein means

and, for that matter, I still am — in spite of a certain

Sonata for Clarinet and Piano

“amber” in German). A year later, he was chosen by

student element in the work.” The Sonata was

Artur Rodzinski as his conducting assistant with

premiered by the composer and clarinetist David

the New York Philharmonic, and on November 14,

Glazer at the Institute of Modern Art in Boston on

1943, took over a concert for the ailing guest

April 21, 1942, but the score was dedicated to

Composed in 1941-1942. Premiered on April 21, 1942 in Boston, by clarinetist David Glazer and the composer.

conductor Bruno Walter at very short notice.

David Oppenheim, a young clarinetist in the

Leonard Bernstein had already accumulated a

The national broadcast of the program went

Tanglewood orchestra who was one of Bernstein’s

formidable curriculum vitae by the time he wrote

ahead as scheduled, and the 25-year-old Bernstein

closest friends at that time.

his Clarinet Sonata at the age of 23. Born in 1918 to

was instantly famous. The rest of his career is

a Russian Jewish family who had settled in

The work is in two concise movements. The first,

now legend.

lyrical rather than virtuosic, is much under the

At the end of the 1941 Tanglewood season,

influence of Hindemith, who was in residence at

Bernstein traveled to Key West, Florida to seek

Tanglewood in 1941 (probably the “student

some relief from persistent autumn attacks of hay

element” to which the composer referred). The

fever, and there began what became his first

second movement, which juxtaposes several

published piece, the Sonata for Clarinet and Piano.

sections in alternating slow and fast tempos,

(A piano trio, a piano sonata, a violin sonata and a

begins with a reflective theme based on a tiny

few songs and piano pieces from his student days

arch-shaped motive. The fast episode in bristling

are still unpublished.) The Sonata was completed

5/8 meter which follows presages some of

in February 1942 in Boston, where Bernstein had

Bernstein’s dance music of later years. The

gone to teach and continue his studies with

reflective music returns in transformation, and

Koussevitzky; the score was published by Harms

passes through a Latin-influenced bridge passage

the following year. The Clarinet Sonata was written

that Bernstein said was a souvenir of his visits to

on Bernstein’s own initiative, without commission,

Key West nightclubs. A final traversal of the nervous

and was probably intended as a modest trial of the

fast music closes this early product of Bernstein’s

acceptance of his concert music. Though he could

incomparable genius.

Massachusetts, he attended the prestigious Boston Latin School as a youth and took piano lessons from Helen Coates (whose influence on his life he recognized by dedicating to her his 1954 book, The Joy of Music) and Heinrich Gebhard (a pupil of Leschetizky). In 1935, Bernstein enrolled at Harvard, where he studied with some of the country’s most distinguished pedagogues: Tillman Merritt (theory), Walter Piston (counterpoint and fugue) and Edward Burlingame Hill (orchestration). After his graduation in 1939, he entered the Curtis Institute of Music in Philadelphia to polish his already impressive piano technique with Isabelle Vengerova, and further his skills in conducting (with Fritz Reiner) and composition (Randall Thompson). He spent the summers of 1940 and 1941 at Tanglewood, where he became a student, protégé and eventually assistant of Sergei Koussevitzky, music director of the Boston Symphony. In the autumn of 1942, Bernstein moved to New York City, working for a short time

for Harms

Publishing

Company

not explain why he chose the clarinet for the first work of his maturity, he did recall buying a clarinet in a pawnshop in 1939, “so I must have been inclined towards the instrument. Anyway, I know I fooled around with it.... I’ve always loved the Clarinet Sonata, particularly because it was my first

JOHN ADAMS

“John Adams: An American Master,” the most

made mainly of trills and tremolos in a crescendo

b. 1947

extensive festival devoted to a living composer

of energy and dynamics. A sudden quiet begins

Shaker Loops for String Septet

ever mounted at Lincoln Center; from 2003 to

the transition into Hymning Slews, a movement

2007, Adams held the Richard and Barbara Debs

as still as Shaking and Trembling was excited (slew

Composer’s Chair at Carnegie Hall; in 2004, he

is another technical term from the electronic

Premiered on December 15, 1978 by the New

was awarded the Centennial Medal of Harvard

musical lexicon). Loops and Verses, beginning

Music Ensemble of the San Francisco

University’s Graduate School of Arts and Sciences

from a slowly unfolding cello solo, is the most

Conservatory, conducted by the composer.

“for contributions to society” and became the first-

lyrical movement, whose ending Adams describes

John Adams is one of today’s most acclaimed

ever recipient of the Nemmers Prize in Music

as ‘a wild push-pull section that is the emotional

composers.

responded

Composition, which included residencies and

high point of the piece.’ From this emerges A Final

enthusiastically to his music, and he enjoys a

teaching at Northwestern University; he was a

Shaking, which moves from a calm beginning

success not seen by an American composer since

2009 recipient of the NEA Opera Award; he has

into a quick and brilliant climax, then subsides

the zenith of Aaron Copland’s career: a recent

been granted honorary doctorates from the Royal

into silence.”

survey of major orchestras conducted by the

Academy of Music (London), Juilliard School and

League of American Orchestras found John Adams

Cambridge, Harvard, Yale and Northwestern

to be the most frequently performed living

universities, honorary membership in Phi Beta

American composer; he received the University of

Kappa, and the California Governor’s Award for

Louisville’s distinguished Grawemeyer Award in

Lifetime Achievement in the Arts.

1995 for his Violin Concerto; in 1997, he was the

In his notes for the recording of Shaker Loops on

focus of the New York Philharmonic’s Composer

Philips, Michael Steinberg, a close associate of

Week, elected to the American Academy of Arts

the composer for the premiere of the string

Premiered on December 16, 1880 in Prague by

and Letters, and named “Composer of the Year” by

orchestra version of the work by the San Francisco

violinist Václav Kopta, violist Petr Mares, cellist

Musical America Magazine; he has been made a

Symphony in 1983, wrote, “The punning title of

Alois Neruda and pianist Karl Slavovsky.

Chevalier dans l’Ordre des Arts et des Lettres by the

the work, written as a string septet in 1977-1978

French Ministry of Culture; in 1999, Nonesuch

In the summer of 1874, less than a year after his

and adapted for string orchestra in 1982-1983,

released The John Adams Earbox, a critically

marriage and just as the newlyweds were expecting

refers to the members of the Millennial Church,

acclaimed ten-CD collection of his work; in 2003,

their first child, the young Bohemian composer

called the Shakers, whose worship led them to

he received the Pulitzer Prize for On the

Antonín Dvořák applied for a prize from the

ecstatic shaking and trembling; to ‘shake’ in the

Transmigration of Souls, written for the New York

Austrian government to supplement his meager

sense of trill; and to tape loops and thus the

Philharmonic in commemoration of the first

income as organist at Prague’s St. Adalbert Church.

constant repetitions of musical units, their ends

anniversary of the World Trade Center attacks, and

The members of the grants committee were a

attached

and

was also recognized by New York’s Lincoln Center

most distinguished lot: Johann Herbeck, Director

Trembling, the first of four joined movements, is

of the Court Opera, the renowned critic Eduard

Composed in 1977-1978.

Audiences

have

with a two-month retrospective of his work titled

their beginnings.

Shaking

ANTONÍN DVOŘÁK 1841-1904 Quartet for Violin, Viola, Cello and Piano in D major, Op. 23 Composed in 1875.

Hanslick, and the titan of Viennese music himself,

among the participants as such a work can be. The

Johannes Brahms. They deemed Dvořák’s work

closing movement is a daring piece of musical

worthy of encouragement and awarded the young

architecture that seeks to encompass both scherzo

musician

stipend

and finale. Dvořák here juxtaposed, twice, two

bestowed under the program. It represented his

400

gulden,

the

starkly contrasted musics — A) a lilting waltz-like

first recognition outside his homeland, and his

theme (a tribute to the Gemütlichkeit of Brahms’

initial contact with Brahms and Hanslick, who

Vienna) and B) a broad melody of heroic aspirations:

would prove to be powerful influences on his

A–B–A–B — without achieving either reconciliation

career through their example, artistic guidance and

or synthesis. A lively coda based on the B theme

professional help. Included in the excited burst of

closes the Quartet.

compositional

activity that

highest

followed

Dvořák

learning of his award was the D major Quartet for Violin, Viola, Cello and Piano, which he began on May 24, 1875 and finished on June 10th. As the main theme of the Quartet’s opening movement, the cello offers a short-breathed melody of folkish cast wrapped around the intervals of the tonic chord. This theme is discussed and varied at some length before the music quiets for the songful second subject, again first entrusted to the cello. A short, leaping, sharply rhythmic motive is introduced before the end of the exposition, and combined with the movement’s other thematic material in the development section. A full recapitulation, somewhat elaborated from the exposition, rounds out the movement. The Andantino is a set of variations on a melancholy strain initiated by the violin. Though Dvořák did not unlock

the

possibilities

this

theme

convincingly as he was to do with the Symphonic Variations two years later, this music is finely crafted, nicely varied and about as democratic

SATURDAY JUNE 15 7:30 PM CIM’S MIXON HALL

Turning | Tipping Pomts Brahms, at 60, intended his youthfully energetic second quintet to be his valedictory statement. Shortly thereafter he heard clarinetist Richard Mühlfeld, his “dear nightingale,” and threw himself back into composing. Tipping points in virtuoso Louise Farrenc’s life include moving away from composing entirely for piano in favor of chamber and orchestral compositions, and, most notably, a performance of her nonet featuring famed violinist Joseph Joachim, after which she was finally able to command the same pay as male contemporaries. Talk about turning points: Hindemith earned the exalted position of Concertmaster of the Frankfurt Opera Orchestra when he was just twenty years old, but within three years, following service in the First World War, he was drawn to the viola and started composing for the larger instrument.

PRELUDE AT 6:45 PM Adam Golka and Roman Rabinovich will perform Golka’s new arrangement for two pianos of Debussy’s La Mer.

Franklin Cohen, clarinet Oliver Herbert, cello Adam Golka, piano

LOUISE FARRENC: Clarinet Trio in E-flat Major, Op. 44 (1861)

Andante — Allegro moderato

Adagio Minuetto: Allegro Finale: Allegro

Milena Pajaro-van de Stadt, viola Adam Golka, piano

PAUL HINDEMITH: Viola Sonata, Op. 11, No. 4 Fantasie Thema mit Variationen Finale (mit Variationen)

— INTERMISSION —

Yura Lee, violin 1 Diana Cohen, violin 2 Milena Pajaro-van de Stadt, viola 1 Tanner Menees, viola 2 Peter Wiley, cello

JOHANNES BRAHMS: String Quintet No. 2 in G Major, Op. 111

Allegro non troppo, ma con brio

Adagio Un poco Allegretto

Vivace ma non troppo presto

LOUISE FARRENC

Farrenc began composing seriously during those

[treasure]

1804-1875

years, not just character pieces, variations and

anthology of harpsichord

Trio for Clarinet, Cello and Piano in E-flat major,

études for her own instrument but also large-scale

encompassing 300 years. When Louise Farrenc

chamber and orchestral works — two piano

died in Paris on September 15, 1875 she was

quintets, two piano trios, a nonet and sextet for

regarded as one of the foremost female musicians

mixed ensembles, and sonatas for cello and violin,

of her time.

Premiered in March 1857 at the Salle Érard in Paris

as well as two overtures and three symphonies,

by clarinetist Adolphe Leroy, pianist Sophie Pierson

Farrenc composed her Trio for Clarinet, Cello and

which received notable performances. After the

and an unrecorded cellist.

Piano in 1856 for Adolphe Leroy, a faculty colleague

premiere of her Symphony No. 3 in April 1849, the

at the Paris Conservatoire and one of France’s most

There are few better examples in the history of

male-centric Gazette Musicale allowed that “she

distinguished clarinetists. The work was premiered

music of innate genius, rigorous training, steadfast

revealed, alone among her sex in musical Europe,

at the Salle Érard in March 1857 by Leroy, Farrenc’s

ambition

overcoming

genuine learning united with grace and taste.” She

piano student Sophie Pierson, and a cellist not

seemingly insurmountable obstacles than Louise

was honored in 1861 and 1869 by the Institut de

remembered by history; the score was published by

Farrenc. She was born Louise Dumont in Paris on

France with the Chartier Prize for her “contributions

Éditions Farrenc in 1861. The Trio opens with a

May 31, 1804 (five months after Berlioz arrived in the

to chamber music.” Farrenc’s achievement in the

tranquil

world) into a distinguished artistic family — her

challenging abstract classical genres was even

provide the motivic kernel for the gentle, almost

father and brother were both Prix de Rome-winning

more remarkable because hardly any other

bucolic main theme, whose character is perfectly

sculptors — and started studying piano and music

significant French composer was then writing such

matched to the warm timbres of clarinet and cello;

theory at age six. She so impressed Moscheles and

pieces, concentrating instead on band music, trifles

the second subject, introduced by clarinet, is lilting

Hummel with her playing when they performed in

for home entertainment or, principally, works for

and more animated. The development section is

Paris that they gave her lessons, and at fifteen she

the state-subsidized Opéra and Opéra-Comique.

largely spun from the second theme. A full

broke a significant gender barrier by being accepted

(Berlioz did write four iconoclastic symphonies, but

recapitulation of the earlier material brings the

into the previously all-male composition class of

they were all formed around an external program

movement to its satisfying close. The Adagio has a

Anton Reicha at the Paris Conservatoire. Two years

and remained problematic for him to perform in

grace and fluid lyricism that recall some of

later she married Aristide Farrenc, a flutist at the

Paris throughout his life.) In 1842, Farrenc was

Mendelssohn’s finest Songs Without Words. The

Théâtre Italien, a respected teacher and the recent

appointed piano professor at the Paris Conservatoire

Minuetto is really more in the manner and gait of a

founder of a music publishing firm. During the

and she distinguished herself in that capacity for the

19th-century scherzo than of the dance of Mozart’s

1830s, Louise Farrenc established an impressive

next three decades as the only woman to hold such

time, though it still retains some of the elegance of

career in Paris as a pianist, composer and teacher,

a prominent permanent position at the school

its courtly namesake. The sonata-form finale takes a

and undertook several concert tours around the

during the entire 19th century. She also became

flowing clarinet melody as its main theme and two

country with her husband, which often included

known as a historical musicologist, collaborating

strains as its second subjects, one a gently arched

pieces of hers he had published.

with her husband in researching, editing and

piano phrase, the other, for clarinet, a small-interval

Op. 44 Composed in 1856.

and

sheer hard work

publishing two dozen volumes of Le trésor 16

des

pianistes,

introduction

comprehensive

and

whose

piano

rising

music

arpeggios

idea that begins with repeated notes. The repeated-

sentry in the trenches and escaping injury only by

Hindemith’s

note figure is prominent in the development

what he confided to his diary was simple good luck.

distinguished firm. This work, a composition of

section. This excellent example of refined 19thcentury French Romanticism closes with the recapitulation of the exposition’s themes and a spirited coda.

Before Hindemith was released from the army early in 1919, he had composed a sonatina for violin and piano. He projected the piece as the first of a series of six violin and piano works to comprise his Op. 11, but as the set was composed during the next year, it

PAUL HINDEMITH

came to include a variety of string chamber pieces:

1895-1963

another sonata for violin and piano (Op. 11, No. 2),

Sonata for Viola and Piano, Op. 11, No. 4

one each for unaccompanied viola (No. 5) and violin (No. 6), and accompanied sonatas for cello

Composed in 1919. Premiered in Frankfurt on June 2, 1919 by the composer and pianist Emma Lübbecke-Job.

(No. 3) and viola (No. 4). These works not only provided the precedent for Hindemith’s continuing devotion to the writing of sonatas for various

On June 24, 1915, while he was still a student at

instruments, but were also among the earliest

the Hoch Conservatorium, Paul Hindemith became

distinctive examples of his unique genius.

concertmaster of the Frankfurt Opera; he was twenty. Despite some managerial trepidation because of his draft status, Hindemith was renewed in his post in June 1917, and he was, indeed, called up for military service only a few weeks later. He was stationed in Frankfurt for several months, living in a local army barracks and receiving special permission to continue playing at the Opera, but at the beginning of 1918, he was transferred to France, where he was assigned to the regimental band. “I play the big drum,” he wrote to a friend, “and I am told that never before has this instrument been handled here with such rhythmic precision.” He also played in a string quartet that had the regiment’s commanding

officer as

its

principal

patron.

Hindemith was posted to Flanders that summer, and spent the last months of the war serving as a

The Sonata for Viola and Piano, Op. 11, No. 4 was premiered in Frankfurt by the composer and pianist Emma Lübbecke-Job on June 2, 1919, as part of the first public concert devoted entirely to his music. (Hindemith drifted away from the violin after World

lifelong

association

with

considerable charm and lyricism, is nominally in three movements played without pause, though their cumulative effect is that of an introduction in rhapsodic style (Fantasie) followed by a pair of movements that share thematic material. The second movement is a Theme and Variations based on a subject in gently mixed meters that Hindemith noted was “like a folk tune.” Four contrasting variations occupy the remainder of the movement. The Finale (with Variations) is an inventive hybrid form: an overall sonata structure (with a vigorous scalar main theme and an arching lyrical second theme) uses two further variations of the second movement’s subject in place of the development section; a final variation in driving rhythms serves as the coda.

JOHANNES BRAHMS 1833-1897

War I, but made himself into one of the outstanding

Quintet for Two Violins, Two Violas and Cello in

violists of his generation, possessed of sufficient

G major, Op. 111

virtuosity to give the premiere of William Walton’s

Composed in 1890.

Viola

Concerto

1929.)

“The

composer’s

remarkable melodic ingenuity, his surprisingly assured mastery of form and the powerful impetus of his works entitle us to speak of a creative talent far beyond the average,” assessed the critic Karl Holl in the Frankfurter Zeitung following the performance. The Sonata was accepted for publication by Schott in Mainz, the first score to be issued during

that

Premiered on November 11, 1890 in Vienna by the Rosé Quartet (Arnold Rosé and August Siebert, violins; Sigismund Bachrich, viola; Reinhold Hummer, cello) and violist Franz Jelinek. For many years, Brahms followed the sensible Viennese custom of taking to the countryside when the summer heat made life in the city unpleasant. In 17

1880, he first visited the resort of Bad Ischl in the

figurations of the movement’s opening. The earlier

lovely Salzkammergut region east of Salzburg, an

themes are recapitulated in heightened settings to

area of mountains and lakes widely famed for its

round out the movement. When Max Kalbeck, the

enchanting scenery (and in more recent years the

composer’s friend and eventual biographer, said

site of the filming of The Sound of Music). There he

that this music reminded him of the Prater, Vienna’s

composed the Academic Festival and Tragic

amusement park, Brahms replied, “You’ve guessed

Overtures and the Piano Trio, Op. 87, cantankerously

it! And the delightful girls there.”

telling his friends that he was encouraged to such productivity

because

the

miserable

weather

confined him constantly to his villa. Two years later, however, he again chanced Ischl, again found the weather poor, and again composed; the String Quintet, Op. 88 dates from the summer of 1882. Brahms then stayed away from Bad Ischl until 1889, but thereafter it became his annual country retreat until his last summer seven years later. It was at Ischl during the summer of 1890 that Brahms composed what his biographer Walter Niemann called “the most passionate, the freshest, and the most deeply

The Adagio is a set of three free variations based on a touching theme whose most characteristic gesture is the ornamental turn in its opening phrase. The following Allegretto serves as the Quintet’s scherzo, though in spirit it is indebted to the popular waltzes of his adopted Vienna that Brahms so loved. The finale combines elements of sonata and rondo, a formal procedure, perhaps borrowed from Haydn, that Brahms employed in several other of his important works. ©2019 Dr. Richard E. Rodda

inspired by nature” of all his works — the String Quintet in G major, Op. 111. The Quintet’s opening Allegro is one of Brahms’ typically masterful sonata forms, broad in scale and gesture yet enormously subtle and integrated in detail. The cello is entrusted with announcing the main theme through a dense but glowing curtain of accompanimental rustlings from the upper strings. The complementary melody, almost Schubertian in its warm lyricism, is presented in duet by the violas. The development incorporates much of the thematic material from the exposition, but keeps returning, almost like a refrain, to the rustling

TUESDAY JUNE 18 9:00 PM THE WINE SPOT

B ach to the Future, with Alexi Kenney Audience favorite Alexi Kenney has been praised by The New York Times for “a tone that ranges from the achingly fragile to full-bodied robustness.” He loves to curate fascinating concerts, and this one, with cutting-edge electronic music, takes place in Cleveland’s most distinctive wine and beer shop, the funky Wine Spot, where you’re welcome to sample the full-bodied robustness of certain grapes as you sip while you listen. The program features music of Bach combined with works written centuries after him, and reminds us that music can express the human experience – the cycle of life – in mere minutes. Despite their centuries-wide age gap, the musical pairings talk to each other, taking on their own lives and stories. At the same time, the 21st Century electronic works by Salonen, Reich and others underscore Bach’s modernity – making the Baroque master seem a contemporary of ours.

Alexi Kenney, violin

JOHANN SEBASTIAN BACH: Adagio from Sonata No. 1 for Violin in G minor, BWV 1001 GYÖRGY KURTÁG: “Ruhelos” from Kafka Fragments for Violin, Op. 24 LUCIANO BERIO: Thema (Omaggio a Joyce) for Pre-Recorded Voice and Tape PATRICK CASTILLO: Cirque (“Circle”) for Solo Violin JOHANN SEBASTIAN BACH: Selections from Partita No. 1 for Violin in B minor, BWV 1002 STEVE REICH: Violin Phase for Violin and Tape ESA-PEKKA SALONEN: Lachen Verlernt (“Laughing Unlearned”) for Solo Violin JOHANN SEBASTIAN BACH: Largo from Sonata No. 3 for Violin in C major, BWV 1005 THURÍDUR JÓNSDÓTTIR: INNI – Musica da camera (“INSIDE — Chamber Music”) for Violin and Electronics JOHANN SEBASTIAN BACH: Chaconne from the Partita No. 2 for Violin in D minor, BWV 1004

JOHANN SEBASTIAN BACH

the Dresden court orchestra; and Joseph Spiess,

for unaccompanied violin far surpass any others in

1685-1750

concertmaster of the Cöthen orchestra, have been

technique and musical quality.

Selections from the Sonata No. 1 (BWV 1001),

advanced

Sonata No. 2 (BWV 1004), Sonata No. 3 (BWV 1002) and Partita No. 1 (BWV 1002) for Violin Composed before 1720.

possible

candidates.

After

the

introduction of the basso continuo early in the 17th century, it had been the seldom-broken custom to supply a work for solo instrument with keyboard accompaniment, so the tradition behind Bach’s solo

Bach composed the set of three sonatas and three

violin sonatas and partitas is slight. Johann Paul von

partitas for unaccompanied violin before 1720, the

Westhoff, a violinist at Weimar when Bach played in

date on the manuscript, while he was director of

the orchestra there in 1703, published a set of six

music at the court of Anhalt-Cöthen, north of Leipzig.

unaccompanied partitas in 1696, and Heinrich Biber,

Though there is not a letter, preface, contemporary

Johann Jakob Walther and Pisendel all composed

account or shred of any other documentary evidence

similar works. All of those composers were active in

extant to shed light on the genesis and purpose of

and around Dresden. Bach visited Dresden shortly

these pieces, the technical demands they impose

before assuming his post at Cöthen, and he may well

upon the player indicate that they were intended for

have become familiar at that time with most of this

a virtuoso performer: Johann Georg Pisendel, a

music. Though Bach may have found models and

student of Vivaldi; Jean Baptiste Volumier, leader of

inspiration in the music of his predecessors, his works

Though the three violin partitas, examples of the sonata da camera (“chamber sonata”) or suite of dances, vary in style and structure, the three solo sonatas uniformly adopt the precedent of the more serious “church sonata,” the sonata da chiesa, deriving their mood and makeup from the works of the influential Roman master Arcangelo Corelli. The sonatas

the

standard

four-movement

disposition of the sonata da chiesa — slow–fast– slow–fast — though Bach replaced the first quick movements with elaborate fugues and suggested a certain dance-like buoyancy in the finales. The Sonata No. 1 in G minor opens with a deeply expressive Adagio whose mood of stern solemnity is heightened by considerable chromaticism and harmonic piquancy.

The touching Largo from the Sonata No. 3 is modest

sometimes a whole band of violins seems to be

recognized with the Erkel Prize, Kossuth Prize,

in its expression and dimensions.

playing. This Chaconne is a triumph of spirit over

Order of the Star with the Golden Wreath from

The Partita No. 2 includes an Allemande, a

matter such as even Bach never repeated in a more

the Hungarian Government, Monaco’s Prix de

brilliant manner.”

Composition Musicale, Austria’s State Award for

moderately

paced

dance

that

originated

European Composers, Munich’s Siemens Music

Germany in the 16th century. The Sarabande

Award, and membership in the Bavarian Academy of

emigrated to Spain from its birthplace in Mexico in

GYÖRGY KURTÁG

the 16th century, it was so wild in its motions and so

b. 1926

Fine Arts and West Berlin’s Academy of Art.

“Ruhelos” (“Restless”) from the Kafka Fragments for

Kurtág harbored a deep interest in the writings of

lascivious in its implications that Cervantes ridiculed it and Philip II suppressed it. The dance became considerably more tame when it was taken over into French and English music during the following century, and it had achieved the dignified manner in which it was known to Bach by 1700. The wondrous Chaconne that closes the Partita No. 2 in D minor is one of the most sublime pieces Bach ever created. The chaconne is an ancient variations form in which a short, repeated chord pattern is decorated

with

changing

figurations

and

elaborations. Bach subjected his eight-measure theme to 64 continuous variations, beginning and ending in D minor but modulating in the center section to the luminous key of D major. Of the Chaconne, the 19th-century German Bach authority Philipp Spitta wrote, “From the grave majesty of the beginning to the 32nd notes which rush up and down like the very demons; from the tremulous arpeggios that hang almost motionless, like veiling clouds above a dark ravine ... to the devotional beauty of the D major section, where the evening sun sets in a peaceful valley: the spirit of the master urges the instrument to incredible utterances. At the end of the D major section it sounds like an organ, and

Violin, Op. 24 Composed in 1985-1986. Premiered on April 25, 1987 at Witten, Germany by soprano Adrienne Csengery and violinist András Keller.

Prague-born Franz Kafka throughout his creative life, and he collected random fragments from the writer’s notebooks, diaries and letters that particularly struck him, some of which are proverbs (From a certain point on, there is no going back. That is the point to reach), some suggestions of a mood (Restless), some

György Kurtág, born on February 19, 1926 in Lugoj, a

of an image (The onlookers freeze as the train goes

town whose territory had been ceded to Romania by

past), some of a scene (Slept, woke, slept, woke,

Hungary following World War I, took piano and

miserable life), some of a compressed story (the

composition lessons in Timișoara before entering

movement titled Scene on a tram). In 1985 Kurtág

the Budapest Academy of Music in 1946; he became

began setting some of the fragments to music with

a Hungarian citizen in 1948. In 1957-1958, Kurtág

no clear idea how they would be shaped into a

went to Paris to study with Messiaen and Milhaud,

finished work, but he found the process intriguing

and composed his Op. 1, the String Quartet No. 1,

(“like a little boy nibbling at forbidden sweets,” he

upon his return to Hungary. From 1958 to 1963, he

admitted) and completed the Kafka Fragments for

worked as a coach and tutor at the Bartók Secondary

Soprano and Violin in late 1986. The work was

School of Music in Budapest, and occupied a similar

premiered on April 25, 1987 in Witten, Germany by

position with the National Philharmonic from 1960

soprano Adrienne Csengery and violinist András

to 1968. In 1967, he was appointed to the faculty of

Keller. The score was published in 1992 with a

the Budapest Academy of Music, where he taught

dedication to Marianne Stein.

piano and chamber music until his retirement in 1986; in 1993 he moved to southwestern France to be near his son’s family. Kurtág has served as Composer-in-Residence with the Berlin Philharmonic and Vienna Konzerthaus, and been

The forty musical aphorisms comprising the Kafka Fragments — the shortest is fifteen seconds, the longest seven minutes, with half lasting less than a minute — were not intended to form a continuous narrative but were rather a series of distinct insights 23

into the deep places in the human soul that Kafka so

new music journal Incontri Musicali (“Musical

laughter and other non-verbal sounds as well as

cogently expressed and Kurtág so piercingly echoed

Encounters”) and running a concert series with

conventional lyrical singing, a development that

in his music. The tiny Ruhelos (“Restless”), the first

Bruno Maderna. Berio lived in the United States from

culminated with the remarkable Sequenza III for

purely instrument in the movement, begins the

1963 to 1971, holding teaching positions at Mills

unaccompanied voice of 1966. Berio was deeply

process of profound internalization that characterizes

College, Harvard and Juilliard while producing many

affected by Berberian’s death, in Rome in March

the Kafka Fragments.

original compositions, including the eclectic and

1983, and the following year he composed in her

widely praised Sinfonia in 1968. He returned to

memory the poignant Requies for chamber orchestra

Europe in 1971 to join his musical ally Pierre Boulez in

— “May you rest.”

LUCIANO BERIO

the new Institut de Recherche et de Coordination

1925-2003

Acoustique/Musique (IRCAM) in Paris, a daring

Thema (Omaggio a Joyce) for Pre-Recorded

venture to study acoustical, scientific and computer

Voice and Tape

technology as related to music. After providing an

Berio created Thema (Omaggio [homage] a Joyce) with Berberian in 1958-1959 by recording her interpretative reading of the poem Sirens from chapter 11 of James Joyce’s novel Ulysses and

Composed in 1958-1959.

artistic direction for the program at IRCAM, Berio saw

Luciano Berio, composer, conductor, editor, linguist,

his job there as completed, and he returned to Italy in

author and champion of modern music, was one of

1977, devoting his creative energies thereafter

the outstanding creative figures of the late 20th

principally to large-scale concert and music-theatre

century and perhaps the best-known and most

works. He died in Rome in May 2003.

frequently performed Italian composer after Puccini.

One of the most fruitfully symbiotic creative

Berio was born into a family of church musicians in a

relationships between composer and performer was

small town on the Italian Riviera not far from Monaco.

that forged by Berio with the Armenian-American

Composed in 2006.

After high school, he briefly studied law in Milan but

mezzo-soprano

Premiered on May 7, 2007 at the University of

found his true vocation as a composer when the

Berberian first met early in 1950, when they were

Wisconsin at Eau Claire by Piotr Szewczyk.

post-war musical revival allowed him to hear the

students at the Milan Conservatory — Berio

works of Bartók, Stravinsky, Webern and other

I composed Cirque in 2006 for violinist Piotr

accompanied her on a tape she was making to

modernists.

Szewczyk as part of a project involving new works, all

support a Fulbright Scholarship application so that

composition and Carlo Maria Giulini in conducting at

quite short, for solo violin, from various composers,

she could continue her studies in Milan with Giorgina

the Milan Conservatory followed; he spent the

including Mason Bates, Lawrence Dillon, Syd

del Vigo. She won the scholarship and they were

summer of 1952 at the Tanglewood Music Festival as

Hodkinson and Suzanne Sorkin. It’s called Cirque

married a few months later. During their marriage

a student of Luigi Dallapiccola on a Koussevitzky

because of its circular form (probably the most

(which ended in 1968, though she remained devoted

Foundation Fellowship. In 1955, Berio established the

apparent feature in this regard is the final gesture,

to his music until her death), they evolved an

Studio di Fonologia in Milan, an electronic music

which could restart the opening theme), and

unprecedented style of extended vocal performance

laboratory founded under the auspices of the Italian

because, as in a circus, it compresses a lot of different

that embraced such innovations as fragmented

Radio, where his duties included editing the

characters into an enclosed space.

words, elongated syllables, aspirations, clicking,

Study

with

Giorgio

Ghedini

Cathy

Berberian.

Berio

and

elaborating it into a parallel sound world through technological means.

PATRICK CASTILLO b. 1979 Cirque (“Circle”) for Solo Violin

— P.C.

STEVE REICH

and each of his works creates a distinctive sound

more in my music than what I put there, I primarily

b. 1936

world, subtle, hypnotic and luminous through his

mean these resulting patterns.

Violin Phase for Violin and Tape

remarkable ingenuity in finding new rhythmic, harmonic and timbral constructions. His many

Composed in 1967.

honors include election to the American Academy of

Steve Reich, one of America’s most influential

Arts and Letters, Commandeur de l’ordre des Arts et

composers, was born in New York in 1936 and

Lettres from the French government, honorary

earned a philosophy degree from Cornell before

doctorates from the California Institute of the Arts

undertaking study in music at Juilliard with Persichetti

and New England Conservatory, and recognition as

and Bergsma and at Mills College in Oakland with

“2009 Composer of the Year” by Musical America

Milhaud and Berio. After finishing his master’s degree

magazine; he received the 2009 Pulitzer Prize in

at Mills in 1963, Reich stayed in San Francisco (he

Music for his Double Sextet.

supported himself by driving a cab), and began developing a musical language based on slowly changing consonant harmonies sounded in steady, pulsing rhythms, a style that soon came to be known as “Minimalism” (though Reich and other Minimalists — Glass, Adams, Riley — dislike the term; Debussy likewise insisted that he was not an “Impressionist”). Reich also incorporated “phase-shifting” in several important works, a technique in which two or more identical musical streams moving at slightly different speeds begin in unison, gradually get farther and farther out of sync, and eventually end up together again. Back in New York in 1967, Reich founded an ensemble to perform his music, and he created for the group a repertory that came to include a variety of works embodying not only Minimalism and phase-shifting, but also the influences of jazz, African drumming (which he studied in Ghana in 1970), Balinese

gamelan,

Renaissance

music,

European and

Medieval

traditional

and

Hebrew

cantillation. Reich’s style has continued to evolve,

“Some of these resulting patterns are more noticeable than others, or become noticeable once they are pointed out. This pointing-out process is accomplished musically by doubling one of these preexistent patterns with the same instrument. The pattern is played very softly, and then gradually the volume is increased so that is slowly rises to the surface of the music and then, by lowering the volume, gradually sinks back into the overall texture while remaining audible. The listener thus becomes

“Late in 1967,” Reich wrote of Violin Phase,

aware of one pattern in the music that may open

composed in that year, “ I became clearly aware of

his ear to another, and another, all sounding

the many melodic patterns resulting from the

simultaneously in the ongoing overall texture.”

combination of two or more identical instruments playing the same repeating pattern one or more beats out of phase with each other. “As one listens to the repetition of the several [taped or live] violins in Violin Phase, one may hear first the lower tones forming one or several patterns, then the higher notes are noticed forming another, then the notes in the middle may attach themselves to the lower tones to form still another. All these patterns

ESA-PEKKA SALONEN b. 1958 Lachen Verlernt (“Laughing Unlearned”) for Solo Violin Composed in 2002. Premiered on August 10, 2002 in La Jolla, California by Cho-Liang Lin.

are really there; they are created by the interlocking

Esa-Pekka Salonen, born in Helsinki in 1958, majored

of two, three or four violins all playing the same

in horn at the Sibelius Conservatory and studied

repeating pattern out of phase with each other. Since

composition privately with Einojuhani Rautavaara,

it is the attention of the listener that will largely

Niccolò Castiglioni and Franco Donatoni and

determine which particular resulting pattern he or

conducting with Jorma Panula. In 1979, Salonen

she will hear at any one moment, these patterns can

made his professional conducting debut with the

be understood as psychoacoustic by-products of

Finnish Radio Symphony, and he was soon engaged

the repetition and phase-shifting. When I say there is

as a guest conductor across Scandinavia and as 25

music director of the Swedish Radio Symphony

‘Horse-doctor to the soul,’ to give it back to her. I felt

years, when she undertook advanced study with

Orchestra (1985-1995). He was also principal guest

that this is a beautiful metaphor for this solo piece,

Franco Donatoni at the Accademia Chigiana in Siena

conductor of the Oslo Philharmonic (1984-1989)

which is really a work in the great virtuoso tradition

and Alessandro Solbiati at the Accademia di Novara.

and London Philharmonia (1985-1994). He made his

and yet basically a serious composition, almost dark

Jónsdóttir has since performed as a flutist in Iceland

American debut with the Los Angeles Philharmonic

in its expression.

and Germany while composing works for orchestra,

“Lachen Verlernt is essentially a chaconne, which in

chamber ensembles and solo instruments, some

in 1984, and served as that orchestra’s music director from 1992 until 2009; he was named the ensemble’s Conductor Laureate in April 2009. Since 2008, he has been Principal Conductor and Artistic Advisor of London’s Philharmonia Orchestra. He also continues to guest conduct concerts and opera throughout the world and to serve as artistic director of the Baltic Sea Festival, which he co-founded in 2003. As a composer, Salonen was the first-ever Creative Chair of the Tonhalle Orchester Zurich (2014-2015), after which he was appointed as the Kravis Composer-inResidence with the New York Philharmonic for a four-year term. Salonen is the recipient of several major awards, including the Grawemeyer Award (for the 2009 Violin Concerto, written for Leila Josefowicz), Nemmers Prize, Siena Prize, Royal

this case means that there is a harmonic progression that repeats itself several times. The harmony remains the same throughout; only the surface, the top layer of the music, changes. Lachen Verlernt starts with a lyrical, expressive melody. (The same melody has an important role in my orchestral work Insomnia, which I was writing at the same time, in the summer of 2002.) Gradually the music becomes faster and

accompanied

electronic

sounds

audience or some theatrical interaction. Her works have been performed internationally, including pieces

commissioned

the

Los

Angeles

Philharmonic, Elbharmonie in Hamburg, Radio France and Deutsche Radio. Ms. Jónsdóttir was nominated for the Nordic Council Music Prize in

more frenzied until it develops an almost frantic

2006, 2010 and 2012.

character, as if the imaginary narrator had reached a

Thurídur Jónsdóttir wrote that INNI – Musica da

state of utter despair. A very short coda closes this

camera (“Inside – chamber music”), composed in

mini-drama peacefully.”

2012 for premiere by Halla Steinunn Stefánsdóttir at the mid-winter Dark Music Days Festival in Reykjavik,

THURÍDUR JÓNSDÓTTIR

“…weaves the subtle and fragile harmonics of the violin

b. 1967

with a soundscape made of an infant’s murmur.”

Award, and Helsinki Medal. In 1998, he was named

INNI – Musica da camera (“INSIDE — Chamber

Officier de l’Ordre des Arts et des Lettres by the

Music”) for Violin and Electronics

French government. Musical America chose him as

Composed in 2012.

its “2006 Musician of the Year.” He becomes Music

Premiered in 2012 at the Dark Days Music Festival in

Director of the San Francisco Symphony in 2020.

Reykjavik by Halla Steinunn Stefánsdóttir.

The composer wrote, “The title Lachen Verlernt

Icelandic native Thurídur Jónsdóttir studied flute and

(‘Laughing Unlearned’) is a quotation from Gebet an

composition at the Reykjavik College of Music and

Pierrot (‘Prayer to Pierrot’) from Schoenberg’s Pierrot

the Conservatory of Music in Bologna, Italy, where

Lunaire. The narrator declares that she has unlearned

she received her diploma in flute, composition and

the skill of laughing, and begs Pierrot, the

electronic music. She remained in Italy for several

Philharmonic Society’s Opera Award and Conductor

field

recordings and some with the participation the

THURSDAY JUNE 20 7:30 PM CIM’S MIXON HALL

Mozart The G iant Diminutive Wolfgang (5’4”) was a giant whose influence continues to be felt more than two centuries after his death. His own influences included Papa Haydn, who once performed the viola part in a reading of this gorgeous quintet. Beethoven’s quintet was inspired by a Mozart work from a decade earlier that was written for the same group of instruments. “I prefer Mozart to all other composers,” said Poulenc, whose trio combines Mozartean themes with his own deft style, which ranged from the lighthearted to the profound.

PRELUDE AT 6:45 PM Patrick Castillo, Festival Speaker

Concert Sponsor:

Liam Boisset, oboe Franklin Cohen, clarinet

LUDWIG VAN BEETHOVEN: Quintet for Piano, Oboe, Clarinet, Bassoon and Horn in E-flat major, Op. 16

Grave — Allegro ma non troppo

Matthew McDonald, bassoon

Andante cantabile

William Caballero, French horn

Rondo: Allegro, ma non troppo

Roman Rabinovich, piano

Liam Boisset, oboe

FRANCIS POULENC: Trio for Piano, Oboe and Bassoon

Fernando Traba, bassoon

Presto

Evren Ozel, piano

Andante

Rondo

— INTERMISSION —

Alexi Kenney, violin 1 Diana Cohen, violin 2

WOLFGANG AMADEUS MOZART: Quintet for Two Violins, Two Violas and Cello in D major, K. 593

Larghetto — Allegro

Hsin-Yun Huang, viola 1

Adagio

Tanner Menees, viola 2

Menuetto: Allegretto

Nicholas Canellakis, cello

Finale: Allegro 29

LUDWIG VAN BEETHOVEN

elegant city palaces. In catering to the aristocratic

Prince Joseph Johann von Schwarzenberg, which

1770-1827

audience, Beethoven took on the air of a dandy for

was also to be the site of the premiere of Haydn’s

Quintet for Piano, Oboe, Clarinet, Bassoon and

a while, dressing in smart clothes, learning to

The Creation the following year and The Seasons

dance (badly), buying a horse, and even sporting a

in 1801.

Horn in E-flat major, Op. 16

powdered wig. This phase of his life did not outlast

Composed in 1797.

the 1790s, but in his biography of the composer,

During his first years in Vienna after arriving from

Peter Latham described Beethoven at the time as

his native Bonn in 1792, Beethoven was busy on

“a young giant exulting in his strength and his

several fronts. Initial encouragement for the

success, and youthful confidence gave him a

Viennese junket came from the venerable Joseph

buoyancy that was both attractive and infectious.”

Haydn, who had heard one of Beethoven’s cantatas on a visit to Bonn earlier in the year and promised to take the young composer as a student if he came to see him. Beethoven, therefore, became a counterpoint pupil of Haydn immediately after his arrival, but the two had difficulty getting along — Haydn was too busy, Beethoven was too bullish — and their association soon broke off. Several other teachers followed in short order — Schenk, Albrechtsberger, Förster, Salieri. While Beethoven practiced fugal exercises and setting Italian texts for his tutors, he continued to compose, producing

works

for

solo

piano,

chamber

ensembles and wind groups. It was as a pianist, however,

that

gained

his

first

fame

among the Viennese. The untamed, passionate, unconventional quality of his playing and his personality first intrigued and then captivated those who heard him. When he bested in competition Daniel Steibelt and Joseph Wölffl, two of the town’s noted keyboard luminaries, he became all the rage among the gentry, who exhibited him in performance at the soirées in their 30

The Quintet opens with a slow introduction whose stately tread and pompous rhythms recall the old Baroque form of the French overture. With its sweeping figurations and full scoring, the piano announces its intention to be primus inter pares in the music to follow, and, indeed, appropriates for

Among the works with which Beethoven sought

itself the principal theme of the main body of the

to establish his reputation as a composer during

movement, a sleek, triple-meter melody made

his early years in Vienna was a series of pieces for

from a quick upward leap and a gently descending

wind instruments — the Trio for Two Oboes and

phrase. The winds are allowed to dabble in this

English Horn (Op. 87), Trio for Piano, Clarinet and

melodic material before more bold piano scales

Cello (Op. 11), Sonata for Horn and Piano (Op. 17),

and arpeggios lead to the subsidiary subject, a

Septet (Op. 20, his most popular composition

lovely, flowing strain in even note values. The

during his lifetime) and Quintet for Piano and

development section busies itself with some piano

Winds (Op. 16) — which enabled him to

figurations before settling down to a discussion of

demonstrate his skill in the traditional modes of

the main theme. A long scale in the piano reaches

chamber music without broaching the genre of

its apex at the recapitulation, which returns the

the string quartet, then still indisputably dominated

earlier thematic materials to lend this handsome

by Joseph Haydn. The Op. 16 Quintet drew its

movement balance and formal closure. The

inspiration and model from Mozart’s exquisite

Andante is a richly decorated slow rondo (A–B–A–

Quintet for Piano and Winds of 1784 (K. 452),

C–A)

which Beethoven heard performed in Prague in

proto-Romantic sentiments as it unfolds. The

spring 1796 during a concert tour that also took

finale is a dashing rondo based on a galloping

him to Dresden and Berlin. He apparently began

theme of opera buffa jocularity.

the Quintet in Berlin and completed the score later that year in Vienna. The piece was first given at a concert

organized

the

violinist

Ignaz

Schuppanzigh on April 6, 1797 at the palace of

that

touches

upon

some

poignant

FRANCIS POULENC

influence of that Classical master must have been

the time with symptoms of the kidney failure that

1899-1963

more in terms of general structure and idiom than

would end his life in December 1791; Constanze’s

Trio for Piano, Oboe and Bassoon

in details of the form. The Trio opens, as do many

health was in serious decline from the burden of

Haydn symphonies, with a slow introduction that

almost constant pregnancy and from grief over the

is serious (or, in Poulenc’s case, perhaps mock-

death of the fifth of the six children the couple

serious) in mood. Without pause, there follows a

produced during their nine-year marriage, a

Of Francis Poulenc’s thirteen chamber works for

splendid Presto whose wealth of melodic materials

daughter named Anna Maria, who survived only a

various instrumental combinations, only three are

(Keith W. Daniels counted “nine distinct tunes or

few hours before dying in November 1789; Mozart

exclusively for strings. Though it was preceded by

motives”) was inspired by Poulenc’s beloved

had nudged open the door to the imperial court

the Sonatas for Two Clarinets, for Clarinet and

“Parisian folklore.” This abundance of lyrical

with his appointment as Court Chamber Musician

Bassoon, and for Horn, Trumpet and Trombone,

inspiration is disposed so as to outline a traditional

in December 1787 (for which his only duty was to

the Trio for Piano, Oboe and Bassoon is generally

sonata exposition, but the middle of the movement

compose trifling dances for the royal balls), but

regarded as the earliest of Poulenc’s chamber

is occupied not with a Haydnesque thematic

continued to be frustrated in gaining the more

works to reflect the full flowering of his particular

working-out but with a tender melody of elegant

lucrative and honored appointment that would

genius. The composer’s friend and biographer

shape and sentimental mood. A condensed

allow him to compose the Emperor’s operas; there

Henri Hell wrote that the Trio “is indeed music in

traversal of the earlier themes rounds out the

was no longer sufficient demand in Vienna for him

which the claims of the mind and the heart are

delightful first movement. Poulenc’s superb lyrical

to sponsor his own concerts; and he was sliding

adjusted with surprising skill.... The very heart of

gifts are abundantly evident in the Andante, which

into worrisomely increasing debt. After putting the

Poulenc is in this adroit little work.” The piece was

exhibits an almost Mozartian clarity and restraint

finishing touches on Così fan tutte in early January

composed while Poulenc was wintering at Cannes

while being distinctly modern in its richly expressive

1790, Mozart’s catalog for the next ten months

on the French Riviera between February and April

harmonic palette. The closing rondo borrows both

shows only the two quartets dedicated to the King

1926, and first heard at a recital in the Salle des

its elfin rhythmic élan and its general formal shape

of Prussia (K. 589, 590), and orchestrations of

Agriculteurs in Paris on May 2nd.

from Saint-Saëns’ Second Concerto, though its

Handel’s Alexander’s Feast (K. 591) and Ode for St.

Poulenc spoke of the Neo-Classical roots of his

realization is unmistakably that of Poulenc.

Cecilia’s Day (K. 592), undertaken for performances

Composed in 1926. Premiered on May 2, 1926 in Paris.

by Baron van Swieten’s Society of Noblemen to

Trio for Piano, Oboe and Bassoon: “The first movement is based on the structure of a Haydn

WOLFGANG AMADEUS MOZART

raise some quick cash.

allegro, and the rondo finale derives from the

1756-1791

In November 1790, Mozart received an offer from

Quintet for Two Violins, Two Violas and Cello in D

one Robert May O’Reilly, an impresario of Italian

major, K. 593

opera in London, inviting him to spend six months

scherzo movement of Saint-Saëns’ Second Piano Concerto. Ravel [with whom Poulenc had been studying at the time] always counseled me to use this method, which he often followed himself.”

Composed in 1790.

Though Poulenc invoked Haydn as the formal

The year 1790, his last save one, was the least

progenitor

productive of Mozart’s maturity: he was ill much of

of the

opening

movement,

the

in England to compose and produce two operas for the fee of £300, at least double what he could expect to earn for the same work in Vienna, where, 31

in any case, he had no such immediate prospects.

instruments. These thematic characters play out

Without explanation, Mozart refused the offer, and,

the remainder of this sonata-form drama, nostalgic

remarkably, began to compose again. The first fruit

and bittersweet, as the movement unfolds. The

of his rejuvenated creativity was the String Quintet

energetic Menuetto is rhythmically intricate and

in D major (K. 593), completed in December 1790.

contrapuntally ingenious; by way of contrast, the

The D major Quintet opens with a slow introduction

central trio, with its attenuated texture and little

initiated with a tiny proposal from the cello, a curt rising arpeggio, to which the upper strings reply with a unified, silken response. The main business of the movement is launched by a silence, a new

ripostes between first violin and colleagues, seems almost to stand still in time. The chromatically inflected main theme of the finale is posited immediately by the first violin is the kernel from

tempo and the announcement of the main theme

which the movement grows.

group â&#x20AC;&#x201D; a stair-step motive followed by a teasing

ÂŠ2019 Dr. Richard E. Rodda

loud-soft dynamic contrast, some rushing scales and a dotted-note fragment. This little clutch of motives serves as the basis for comment and dialogue among the participants, who enjoy the exercise so thoroughly that they eschew a formal second theme and continue discussing the same ideas right through the entire exposition section, and, indeed, the rest of the movement until they are interrupted in the closing pages by the extraordinary device of repeating the somber strains of the introduction. After this unexpected disturbance

upon

their

conversation,

the

participants nod curtly to each other, and desist. The main theme of the Adagio is, for no reason penetrable by mere technical analysis, both bright and elegiac at the same time. A tiny, inchoate grouping of dotted rhythms and delicate grace notes serves as the transition to the second theme, a descending phrase intoned by the violin over the throbbing accompaniment of the lower 33

SATURDAY JUNE 22 7:30 PM CIM’S MIXON HALL

"Sei So lo (Y ou Are Alone ) These works all had their genesis in the loss or death of someone the composer dearly loved. Bach completed the masterful violin solos after returning home from travels and following the death of his wife; the title phrase translates not only as Six Solos but also “You Are Alone.” The untimely, crushing death of his beloved sister Fanny propelled Mendelssohn to compose a final, stormy quartet. “Perhaps she is lucky,” he observed, “not to have experienced the pain of old age, of life gradually ebbing….” Prophetic words; five desolate months later he was dead at 38. The death of Brahms’s mother prompted such masterpieces as his German Requiem and this noble, elegiac horn trio. Cage’s separation from his wife was imminent when he composed The Perilous Night, which, through prepared piano, explores the loneliness and terror that follows the death of love.

PRELUDE AT 6:45 PM Patrick Castillo, Festival Speaker

Alexi Kenney, violin

JOHANN SEBASTIAN BACH: Adagio from the Sonata No. 1 in G minor for Violin, BWV 1001 (Sei Solo)

Roman Rabinovich, piano

JOHN CAGE: The Perilous Night for Prepared Piano I. II. III. IV. V. VI.

Alexi Kenney, violin 1 Nathan Meltzer, violin 2 Hsin-Yun Huang, viola Nicholas Canellakis, cello

FELIX MENDELSSOHN: String Quartet in F minor, Op. 80 Allegro vivace assai Allegro assai Adagio Finale: Allegro molto

— INTERMISSION —

Diana Cohen, violin William Caballero, French horn Roman Rabinovich, piano

JOHANNES BRAHMS: Trio for Violin, Horn and Piano in E-flat major, Op. 40 Andante Scherzo: Allegro Adagio mesto

Finale: Allegro con brio

JOHANN SEBASTIAN BACH

Cöthen, and he may well have become familiar at

write the music for a piece titled Bacchanale by

1685-1750

that time with most of this music. Though Bach

Syvilla Fort, a pioneer in incorporating African and

Adagio from the Sonata No. 1 in G minor for

may have found models and inspiration in the

Caribbean influences into American modern

music

for

dance. Cage, recalling the advice of the anything-

unaccompanied violin far surpass any others in

goes modernist Henry Cowell (“composers who

technique and musical quality.

work with dancers come to know percussion

Though the three violin partitas, examples of the

instruments and their possibilities; daily association

Violin, BWV 1001 Composed before 1720. Bach composed the set of three sonatas and three partitas for unaccompanied violin before 1720, the date on the manuscript, while he was director of music at the court of Anhalt-Cöthen, north of Leipzig. Though there is not a letter, preface, contemporary account or shred of any other documentary evidence extant to shed light on the genesis and purpose of these pieces, the technical demands that they impose upon the player indicate that they were intended for a virtuoso performer: Johann Georg Pisendel, a student of Vivaldi; Jean Baptiste Volumier, leader of the Dresden court orchestra; and Joseph Spiess, concertmaster of the Cöthen orchestra, have been advanced as possible candidates. After the introduction of the

his

predecessors,

his

works

sonata da camera (“chamber sonata”) or suite of dances, vary in style and structure, the three solo sonatas uniformly adopt the precedent of the more serious “church sonata,” the sonata da chiesa, deriving their mood and makeup from the works of the influential Roman master Arcangelo Corelli. The sonatas

follow the

standard

four-movement

disposition of the sonata da chiesa — slow-fastslow-fast — though Bach replaced the first quick movements with elaborate fugues and suggested a certain dance-like buoyancy in the finales.

JOHN CAGE

with

the

problem

rhythm

forms

their

background”), first thought he would write something for percussion, but then realized that “the space was small, and there was no room for percussion, only room enough for a grand piano…. I recalled how the piano sounded when Cowell strummed the strings or plucked them, ran darning needles over them, and so forth. I went to the kitchen and got a pie plate and put it and a book on the strings and saw that I was going in the right direction. The only trouble with the pie plate was that it bounced. So then I got a nail, put it in, and the trouble was it slipped. So it dawned on me to put a wood screw between the strings, and

basso continuo early in the 17th century, it had

1912-1992

been the seldom-broken custom to supply a work

The Perilous Night for Prepared Piano

so on. Little nuts around the screws, all sorts of

Composed in 1944.

things.” Bacchanale was Cage’s first music for

Premiered on April 5, 1944 at the Studio Theater

“prepared piano.”

in New York City, performed by the composer.

In Seattle, Cage met Merce Cunningham, a brilliant

In 1938, after wandering to France and New York

young dancer then studying at the Cornish School

and returning home to Los Angeles to study with

who was on his way to becoming a soloist in

Schoenberg at USC and UCLA, John Cage settled

Martha Graham’s famed New York company the

in Seattle as composer and accompanist for

following year. Cage and Cunningham became life

Bonnie Bird’s modern dance group at the Cornish

companions and went on to form one of the 20th-

School of the Arts. His first project in Seattle was to

century’s most dynamic artistic collaborations. In

for solo instrument with keyboard accompaniment, so the tradition behind Bach’s solo violin sonatas and partitas is slight. Johann Paul von Westhoff, a violinist at Weimar when Bach played in the orchestra there in 1703, published a set of six unaccompanied partitas in 1696, and Heinrich Biber, Johann Jakob Walther and Pisendel all composed similar works. All of these composers were active in and around Dresden. Bach visited Dresden shortly before assuming his post at 36

that was just right. Then weather-stripping and

early 1943, soon after they had both moved to

cling to the railing to avoid fainting, but quickly

recovering somewhat by the beginning of October,

New York, Cage organized a percussion concert at

recovered, and carried on with the exhausting

when he went to Berlin to discuss business matters

the Museum of Modern Art to which he contributed

schedule of concerts, receptions, and dinners that

with his brother, Paul. The sight of Fanny’s rooms,

three pieces, including Amores, which comprises

had been arranged for him. He met three times

left exactly as they had been on the day she was

two movements for solo prepared piano and two

with Queen Victoria and the Prince Consort,

stricken, was, however, more than Mendelssohn

for percussion.

entertaining them with hours of conversation and

could bear. He collapsed again and reverted to his

That event drew so much attention that Cage and

piano playing, directed four performances of

state of the previous months. He made it back to

Elijah, conducted several other programs of his

Leipzig but suffered three strokes between October

music, appeared as soloist in Beethoven’s G major

7th and November 3rd. On November 4th, four

Concerto at a Philharmonic Society concert,

months shy of his 39th birthday, Mendelssohn died.

lunched at the Prussian Embassy, and toured art

The F minor Quartet was his last important work.

Cunningham arranged a performance exclusively of their own works for April 5, 1944 at the Studio Theater in New York. Cunningham created six dances to Cage’s music for the concert and Cage made up his set from Amores and the existing songs She Is Asleep and The Wonderful Widow of 18 Springs, and composed The Perilous Night for prepared piano, whose title and mood he took from an Irish legend collected by the noted mythologist Joseph Campbell. Cage wrote that

galleries. He made at least one formal public appearance every day of the week before he departed on May 8th. “Another week like this, and I’m a dead man,” he confided to his old friend Karl Klingemann, secretary of the Hanover Legation in London. He arrived home to his wife, Cécile, and

The Quartet opens in an unsettled, almost tempestuous mood; the second theme is quieter and more lyrical. The development concerns itself exclusively with the passionate main theme. The second movement is not one of those scherzos of elfin

grace that

had vivified

Mendelssohn’s

The Perilous Night, in six brief untitled movements,

his family in Leipzig nearly exhausted.

expresses “the loneliness and terror that comes to

Two days later, Mendelssohn learned that his

sardonic and macabre. A barren trio stands at the

one when love becomes unhappy.” The event

beloved sister Fanny had died suddenly in Berlin

movement’s center. The Adagio, the expressive

became a milestone in 20th-century music and

from a stroke on May 14th at the age of 41. He

heart of Mendelssohn’s memorial to his sister,

dance, about which Cunningham said, “I date my

collapsed upon receiving the stunning news, and

herself a composer and pianist of excellent talent,

beginning from this concert.”

he was too ill even to attend the funeral. He

is based on a little song he had sent to her in June

canceled his upcoming performances and largely

1830. The finale is at times almost a-thematic,

withdrew into his own thoughts. Cécile took him

consisting wholly of bare figurations and skeletal

first to the spa at Baden-Baden and then to

arpeggios. The sense of grief remains unassuaged

Interlaken in Switzerland, but those beneficent

through the work’s anxious closing measures.

FELIX MENDELSSOHN 1809-1847 String Quartet in F minor, Op. 80

compositions since his teenage years, but is rather

locales did little to heal his mind or body. Many

Composed in 1847.

commissions awaited his attention but the only

On April 13, 1847, during his ninth visit to London,

work he was able to complete that summer was

Mendelssohn suffered an attack of dizziness while

the String Quartet in F minor, into which he poured

standing on a bridge across the Thames. He had to

his grief over Fanny’s death. He seemed to be

JOHANNES BRAHMS

this amiable music. The energetic Scherzo is

1833-1897

countered by the lyrical melody of the central trio

Trio for Violin, Horn and Piano in E-flat major,

section. Adagio mesto — “mournfully” — Brahms

Op. 40 Composed in 1865. Premiered on November 28, 1865 in Zurich by the composer as pianist and violinist Friedrich Hegar and a horn player remembered to history only as Gläss. For many years, Brahms followed the sensible practice of the Viennese gentry by abandoning the city when the weather got hot. The periods away

marked the following movement. Woven almost imperceptibly into the horn and violin lines soon after the return of its opening strain is the echo of a folk song that Brahms sang as a child, In der Weiden steht ein Haus (“In the meadow stands a house”), which, transformed, becomes the principal theme of the finale, a joyous and life-affirming answer to the sad plaint of the preceding music. ©2019 Dr. Richard E. Rodda

from Vienna were not merely times of relaxation for him, however, but were actually working holidays, and some of his greatest scores were largely realized during his various summer junkets. Late in the spring of 1865, Brahms took comfortable rooms in Baden, which, he wrote to a friend, “look out on three sides at the dark, wooded mountains, the roads winding up and down them, and the pleasant houses.” It was while walking upon the sylvan hillsides above the town that the idea for the Horn Trio occurred to Brahms. He began the work that summer and continued it after his return to Vienna in the fall, finishing the score in November. The Trio’s opening movement, written in a leisurely Andante tempo (the speed of Brahms’ walk upon the Baden hills), is disposed in an unusual form; rather than the traditional sonata-allegro, it employs two alternating strains (A–B–A–B–A) whose relaxed structure is the perfect vessel for

SUNDAY JUNE 23 2:30 PM CWRU’S HARKNESS CHAPEL

Fol klorica Dvořák wrote this spirited serenade while immersed in Slavonic dances and folk tunes; his music breathes the air of Moravia and Bohemia. Bruch, who often incorporated folk music into his pieces, wrote this mellow work for his clarinetist son, and was pleased to hear him compared to Brahms’s clarinet-playing muse, Mühlfeld. Bartók notated Slovak, Romanian, Bulgarian and Algerian folk music as well as that of his native Hungary. Both of his rhapsodies from 1928 derive their style from the Hungarian dance, the czardas. American Haiku explores the background of the Japanese violist who commissioned the work as well as the composer’s own Japanese-American heritage, in the funky style of contemporary Brooklyn composers.

PRELUDE AT 1:45 PM Rising Stars Nathan Meltzer and Evren Ozel perform César Franck’s Violin Sonata in A, and Ponce’s Mexican Serenade, Estrellita (My Little Star).

Ice Cream provided by Mitchell’s Ice Cream 40

Hsin-Yun Huang, viola Nicholas Canellakis, cello

Nathan Meltzer, violin

PAUL WIANCKO: American Haiku for Viola and Cello

BÉLA BARTÓK: R hapsody No. 1 for Violin and Piano, “Folk Dances”

Roman Rabinovich, piano

Lassú: Moderato Friss: Allegro moderato

Hsin-Yun Huang, viola

MAX BRUCH: Selections from Eight Pieces for Clarinet, Viola and Piano, Op. 83

Franklin Cohen, clarinet Evren Ozel, piano

II. Allegro con moto (B minor)

III. Andante con moto (C-sharp minor)

V. Rumanian Melody: Andante (F minor)

VII. Allegro vivace, ma non troppo (B major)

— INTERMISSION —

Liam Boisset, oboe 1

ANTONÍN DVOŘÁK: S erenade for Two Oboes, Two Clarinets, Two Bassoons,

Scott Bell, oboe 2 William Caballero, French horn 1 Meghan Guegold, French horn 2 Dave Brockett, French horn 3 Franklin Cohen, clarinet 1 Benjamin Chen, clarinet 2

Three Horns, Cello and Bass in D minor, Op. 44

Moderato quasi Marcia

Menuetto: Tempo di Menuetto

Andante con moto

Finale: Allegro molto

Fernando Traba, bassoon 1 Matthew McDonald, bassoon 2 Nicholas Canellakis, cello Will Langlie-Miletich, bass 41

PAUL WIANCKO

BÉLA BARTÓK

on numerous occasions (including a memorable

b. 1982

1881-1945

recital at the Library of Congress in 1940,

American Haiku for Viola and Cello

Rhapsody No. 1 for Violin and Piano,

Bartók’s first appearance after emigrating to this

Composed in 2014.

“Folk Dances”

Premiered on October 24, 2014 at the S&R

Composed in 1928.

Foundation in Washington, D.C. by violist

Premiered on November 22, 1929 in Budapest by

Ayane Kozasa and the composer as cellist.

violinist Joseph Szigeti and the composer.

Paul Wiancko has been cellist with the Harlem

Among Bartók’s music most overtly redolent of

folk idioms) and the 1943 commission from the

Quartet, collaborated with artists ranging from

folk influences are his two Rhapsodies for Violin,

Koussevitzky Foundation that allowed Bartók to

Chick Corea and Jóhann Jóhannsson to Yo-Yo Ma

into which he incorporated melodies from

compose the Concerto for Orchestra. The Second

and the Guarneri Quartet, composed genre-

Rumania, Hungary and (in No. 2) Ruthenia, then

Rhapsody was dedicated to Zoltán Székely,

bending works for such artists as Met Opera

the eastern region of Czechoslovakia, bordering

who concertized frequently with Bartók in the

soprano Susanna Phillips, violinist Alexi Kenney,

Ukraine. Each of these works consists of a pair of

1920s and 1930s, and whose Hungarian Quartet

the Aizuri, Parker, St. Lawrence, Kronos and Attacca

movements whose style and character derive

championed

quartets, Banff Centre, Bargemusic and Raleigh

from the Hungarian national dance, the Czardas,

chamber works; the Violin Concerto No. 2 of

Civic Symphony. Wiancko has won the S&R

which alternates (at a sign from the dancer to the

1938 was commissioned and premiered by and

Foundation’s Washington Award for Composition,

orchestra) a slow section — Lassú — and a fast one

dedicated to Székely. In addition to their original

held residencies at the Caramoor, Spoleto,

— Friss. Bartók settled on the generic title Rhapsody

piano-accompanied versions, Bartók also created

Twickenham, Newburyport, Portland and Methow

for these pieces, a term Franz Liszt had originally

simultaneously orchestral arrangements of both

Valley festivals, and received a Grammy nomination

borrowed from literature for his series of works

Rhapsodies; the First also exists in a transcription

and recognition as one of NPR’s “Top 10 Classical

spawned by the czardas to describe their free

for cello and piano.

Albums of 2018” for his work Lift, featured on the

structure and quick contrasts. Bartók dedicated

Aizuri Quartet’s CD Blueprinting.

each of the Rhapsodies, composed quickly soon

Wiancko wrote that American Haiku, composed in

after he had returned from his first American tour

2014 for his duo Ayane & Paul, with violist Ayane Kozasa, is “a richly textured piece that incorporates Appalachian fiddling, percussive patterns, and Japanese folk-inspired melodies.”

early in 1928, to a noted violinist friend. The Rhapsody No. 1 was inscribed to the Hungarian virtuoso Joseph Szigeti, who had transcribed some of Bartók’s pieces For Children for violin in 1926 so satisfactorily that the composer agreed to give a joint recital with him in Budapest the following year. Bartók and Szigeti remained steadfast musical allies — they performed together

country, whose recording remains an important document of 20th-century music), and the violinist was instrumental in arranging both the 1938 commission from clarinetist Benny Goodman that resulted in Contrasts (also inspired by Hungarian

and

recorded

the

composer’s

The scalar tune given above a drone-like accompaniment that serves as the main theme of the first movement (Lassú) of the Rhapsody No. 1 exhibits a certain Gypsy influence in its sharply dotted rhythms and exotic melodic leadings. Thematic contrast is provided by the mournful strain, marked by snapping short–long figurations, that comprises the central section. The scalar tune returns to round out the movement. The second movement (Friss) is a brilliant procession of vibrant

dance melodies, often requiring considerable feats

Bruch composed his Eight Pieces for Clarinet, Viola

ANTONÍN DVOŘÁK

of virtuosity from the violinist. The Rhapsody ends

and Piano, Op. 83 in 1909, in his seventieth year, for

1841-1904

with the return of the scalar melody that opened

his son Max Felix, a talented clarinetist who also

the work.

inspired a Double Concerto (Op. 88) for his instrument and viola from his father two years later.

Serenade for Winds, Cello and Bass in D minor, Op. 44

When the younger Bruch played the works in

Composed in January 1878.

Cologne and Hamburg, Fritz Steinbach reported

Premiered on November 17, 1878 in Prague,

favorably on the event to the composer, comparing

conducted by the composer.

Max Felix’s ability with that of Richard Mühlfeld,

In his biography of Dvořák, John Clapham titled

the clarinetist who had inspired two sonatas, a

the chapter concerning 1878, the time of the D

Composed in 1909.

quintet and a trio from Johannes Brahms two

minor Serenade, “A Genius Emerges.” Only four

Max Bruch, widely known and respected in his day

decades before.

years

as a composer, conductor and teacher, received his

Clarinet and viola are here evenly matched, singing

compositions and as organist at St. Adalbert’s

earliest music instruction from his mother, a noted

together in duet or conversing in dialogue, while

Church in Prague had been so meager that the city

singer and pianist. He began composing at eleven,

the piano serves as an accompanimental partner.

officials certified his poverty, thus making him

and by fourteen had produced a symphony and a

Bruch intended that the Eight Pieces be regarded

eligible to submit his work for consideration to a

string quartet, the latter garnering a prize that

as a set of independent miniatures of various styles

committee in Vienna awarding grants to struggling

allowed him to study with Reinecke and Hiller in

rather than as an integrated cycle, and advised

artists. The members of the selection committee

Cologne. Bruch held various posts as a choral and

against playing all of them together in concert. The

were a distinguished lot — Johann Herbeck,

orchestral

Coblenz,

Pieces (they range from three to six minutes in

Director of the Court Opera, the renowned critic

Sondershausen, Berlin, Liverpool and Breslau, and

length) are straightforward in structure — binary

Eduard Hanslick and that titan of Viennese music

in 1883, he visited America to conduct concerts of

(A-B) or ternary (A-B-A) for the first six, compact

himself, Johannes Brahms. They deemed his work

his own compositions. From 1890 to 1910, he

sonata form for the last two — and are, with one

worthy

taught composition at the Berlin Academy and

exception (No. 7), all in thoughtful minor keys.

recommendation, the Minister of Culture, Karl

received numerous awards for his work, including

Though Bruch was fond of incorporating folk

Stremayer, awarded the young musician 400

an honorary doctorate from Cambridge University.

music into his concert works, only the Romanian

gulden, the highest stipend bestowed under the

Though Bruch is known mainly for three famous

Melody (No. 5, suggested to him, he said, by “the

program. It represented Dvořák’s first recognition

compositions for string soloist and orchestra (the G

delightful young princess zu Wied” at one of

outside his homeland and his initial contact with

minor Concerto and the Scottish Fantasy for violin,

his Sunday open-houses; he dedicated the

Brahms and Hanslick, who both proved to be

and the Kol Nidrei for cello), he also composed two

work to her) shows such an influence; the only

powerful influences on his career through their

other violin concertos, three symphonies, a

other movement with a title is the Nachtgesang

example, artistic guidance and professional help.

concerto for two pianos, various chamber pieces,

(No. 6, “Nocturne”).

An excited burst of compositional activity followed

MAX BRUCH 1838-1920 Selections from Eight Pieces for Clarinet, Viola and Piano, Op. 83

conductor

Cologne,

before,

Dvořák’s

income

encouragement,

and,

from

his

their

songs, three operas and much choral music. 43

during the months after Dvořák learned of his

clarinets, two bassoons, (optional) contrabassoon,

theme, the march that opened the work is brought

award, in February 1875: the G major String

three horns, cello and bass, which he composed

back. A rousing coda is spun from the principal

Quintet, the Moravian Duets for Soprano and

quickly between January 4th and 18th. The

motives of the closing movement.

Tenor, the B-flat Piano Trio, the D major Piano

Serenade is evidence of a revival of interest during

Quartet, the Fifth Symphony and the Serenade for

the late 19th century in the traditional forms and

Strings all appeared with inspired speed.

instrumental genres of the Classical era. Brahms

After returning from a walking tour of central and

wrote two such works between 1857 and 1860,

southern Bohemia with the 23-year-old composer Leoš Janáček in the summer of 1877, Dvořák wrote the excellent Symphonic Variations, though his satisfaction with the new piece was diminished by the death of his two young children within a space of three weeks in August and September. He sought solace by completing a Stabat Mater left unfinished the year before. His mood was brightened enormously when he received a letter in early December announcing that he had not only been granted a stipend renewal of 600 gulden by the Viennese Minister of Culture but that Hanslick and Brahms also wished to help make his music known outside his native Bohemia. Both men were particularly impressed with his Moravian Duets, and Brahms recommended that his publisher, Fritz Simrock of Berlin, start to issue Dvořák’s works. Dvořák immediately sent his enthusiastic thanks and asked if he could dedicate the recent D minor String Quartet to Brahms in appreciation. Brahms responded that he would consider himself honored. Dvořák’s first composition of the new year of 1878 was the delightful Serenade for two oboes, two

Tchaikovsky completed his Serenade for Strings in 1880, and Dvořák himself composed a String Serenade in 1875. Dvořák also resurrected another Classical tradition in the D minor Serenade by having it begin and end with a march. The custom in Mozart’s time, when serenades were often played outdoors on a summer’s evening, was that the players processed to and from the performance site accompanying themselves with a march. (Mozart’s father, Leopold, lamented that he had to give up performing serenades in his old age because he could no longer memorize these marches.) The first movement of the Serenade, then, is an invigorating march with trio, which, despite its nominal minor key, seems more merry than morose. Otakar Šourek, in his study of Dvořák’s

music,

noted

that

the

following

movement, though labeled a Menuetto, is actually in the style of the Czech folk dance called the sousedská, while the trio resembles a furiant. The beautiful Andante con moto contains the deepest emotions of the Serenade. The closing movement is an ingenious formal hybrid that follows the progress of a sonata form until the recapitulation, where, instead of the recall of the finale’s main

TUESDAY JUNE 25 7:30 PM CIM’S MIXON HALL

Hungary for Music Liszt’s symphonic poem Orpheus was inspired by an Etruscan vase that depicted the hero as a civilizing symbol of beauty in a brutal world. “I fell in love with his first symphonic poems,” wrote Saint-Saëns about Liszt in 1869, “which pointed out to me the path in which I was to find later my Danse Macabre… and other works.” He went on to arrange Orpheus for piano trio. Brahms fell in love with the music of Hungary as a teenaged pianist, and later wrote Gypsy-flavored dances to entertain friends. Dohnányi’s powerful and symphonic final chamber work is reminiscent of Brahms, with its rich romantic textures. The timpani “plays well with others” – but Péter Eötvös gives the lion of the orchestra a star turn in a bombastic, visceral work that’s sound is worlds apart from the other works on the program.

PRELUDE AT 6:45 PM Patrick Castillo, Festival Speaker

Nathan Meltzer, violin

FRANZ LISZT: Orpheus for Piano, Violin and Cello arr. Saint-Saëns

Nicholas Canellakis, cello Roman Rabinovich, piano Alexander Cohen, timpani

Juho Pohjonen, piano 1 Roman Rabinovich, piano 2

PETER EÖTVÖS: Thunder for Timpani

JOHANNES BRAHMS: Selected Hungarian Dances for Two Pianos

No. 10 in E major

No. 2 in D minor

No. 3 in F major

No. 4 in F minor

No. 7 in A major

No. 9 in E minor

No. 6 in D-flat major

— INTERMISSION —

Nathan Meltzer, violin

ERNST VON DOHNÁNYI: Sextet for Piano, Violin, Viola, Cello, Clarinet and Horn in C major, Op. 37

Jessica Bodner, viola Nicholas Canellakis, cello

Allegro appassionato

Franklin Cohen, clarinet

Intermezzo: Adagio

William Caballero, French horn

Allegro con sentimento —

Roman Rabinovich, piano

Finale: Allegro vivace, giocoso

FRANZ LISZT

16, 1854 honoring the birthday of the Grand

Beethoven, he arranged several orchestral works

1811-1886

Duchess Marie Pavlovna, wife of the Grand Duke

for chamber ensembles, including Liszt’s Orpheus

Orpheus for Piano, Violin and Cello

Carl Friedrich of Saxe-Weimar-Eisenach, Liszt

for piano, violin and cello. Liszt returned the favor

prefaced the opera with a symphonic movement

by turning Saint-Saëns’ tone poem Danse macabre

of his own creation. This prologue, reworked

into a piano showpiece and producing the premiere

during the following months, became the basis for

of Samson et Dalila in 1877 in Weimar, when he was

his

music director of the court theater there.

Arranged for Piano Trio by Camille Saint-Saëns (1835-1921) Composed 1854. Premiered on February 16, 1854 in Weimar, conducted by the composer.

symphonic

poem

Orpheus,

which

conducted at the Weimar Town Hall on November 10, 1854. (Orpheus was the last in an astonishing

PETER EÖTVÖS

In 1848, when Liszt had made his fortune and

series of Liszt orchestral premieres that year,

secured his fame as a virtuoso pianist, he decided

which also included Les Préludes [February 23],

to give up concertizing altogether, appearing in

Mazeppa [April 16], Tasso [April 19] and Festklänge

public during the last four decades of his life only

[November 9]). Liszt wrote in a flowery preface to

Composed in 1993.

for an occasional benefit concert. From among the

the score of the music’s inspiration and purpose:

Premiered on September 17, 1994 in

variegated patchwork of duchies, kingdoms and

“I saw in my mind’s eye an Etruscan vase in the

Kyoto, Japan by Isao Nakamura.

city-states that constituted pre-Bismarck Germany,

Louvre, representing the first poet-musician.

he chose to settle in the small but sophisticated

Peter Eötvös is one of Europe’s leading composers,

I thought to see round about him wild beasts

town of Weimar, where Johann Sebastian Bach

teachers and interpreters of modern music. He

listening in ravishment: man’s brutal instincts

had held a job early in his career. Once installed at

was born on January 2, 1944 in Székelyudvarhely,

quelled to silence.... Humanity today, as formerly

Weimar, Liszt took over the musical establishment

Transylvania (now Odorheiv Secviesc, Romania),

and always, preserves in its breast instincts of

at the court there, and elevated it into one of the

learned piano, violin, percussion and flute as a

ferocity, brutality and sensuality, which it is the

most important centers of European opera and

child, began composing at age eleven, and was

mission of art to soften, sweeten and ennoble.”

instrumental music. He stirred up interest in such

accepted into the Academy of Music in Budapest

Liszt limned his vision of the healing and uplifting

neglected composers as Schubert and encouraged

at fourteen. After graduating in 1965, Eötvös (UT-

power of music, as represented by Orpheus, in a

such younger ones as Saint-Saëns, Wagner and

vush) won a scholarship to study conducting (with

monolithic work of solemn and deep feeling

Grieg by performing their works. He also gave

Wolfgang von der Nahmer) and composition (with

that eschews strong dramatic contrasts and

much

Bernd

extroverted flamboyance.

Hochschule für Musik, and during his two years at

Camille Saint-Saëns was not only a prolific

the school worked as a coach at the Cologne

composer but also a dedicated arranger and

Opera and also became closely associated with

transcriber of earlier music. In addition to

Karlheinz Stockhausen, first as a copyist and then

paraphrases for piano on themes from well-known

as a keyboardist and conductor with his performing

operas and cadenzas for concertos by Mozart and

ensemble. From 1971 to 1979, Eötvös worked at

his

energy to

his

own

original

compositions, creating many of the pieces for which he is known today, including the dozen symphonic poems that count among the seminal works of late-19th-century Romanticism. For the performance of Gluck’s Orfeo on February

b. 1944 Thunder for Timpani

Alois

Zimmermann)

the

Cologne

the electronic music studio of the Westdeutscher

Lettres and Commandeur l’Ordre des Arts et des

Brahms had stolen the tunes from him, and when

Rundfunk in Cologne. In 1978, Pierre Boulez

Lettres, as well as the Royal Philharmonic Society

that tale was easily exploded, Reményi issued a list

invited him to conduct the inaugural concert of

Music Award, European Prize for Composition,

of the composers of the melodies in an interview

IRCAM in Paris, and he was subsequently named

Béla Bartók Memorial Prize, Kossuth Prize and

printed in 1879 by the New York Herald, forcing

musical

Hungarian Arts Prize.

Brahms’ publisher,

Eötvös composed Thunder, a virtuoso piece for

pamphlet defending Brahms on the basis of the

one large timpani, in 1993, during the time he was

Dances being arrangements for piano, four hands,

exploring the solo and ensemble potential of the

that were never intended to be passed off as

percussion instruments.

original work — Brahms did not even give them an

director

the

Ensemble

InterContemporain at IRCAM, a post he held until 1991. He has since guest conducted major orchestras across Europe, England, Japan and the United States, and worked at such leading opera houses as La Scala, Covent Garden, La Monnaie, Glyndebourne and Théâtre du Chatelet. As an educator, Eötvös has taught at the Hochschule für Musik in Karlsruhe and Cologne’s Hochschule für

Simrock,

distribute

opus number. (When Brahms sent the score to JOHANNES BRAHMS 1833-1897

Simrock, he wrote, “I offer them as genuine Gypsy children which I did not beget, but merely brought up with bread and milk.”) Despite this petite scandale,

Musik; in 1991, founded the International Eötvös

Selected Hungarian Dances for Two Pianos

the Hungarian Dances proved to be among the

Institute in Budapest “to provide an opportunity for

Composed in 1869 and 1880.

most enduringly popular of Brahms’ works.

The special affection Brahms retained throughout

The Dances No. 10 (E major) and No. 3 (F major)

his life for Gypsy fiddlers and their music blossomed

have been traced to the Tolnai Lakadalmas

in such Gypsy-inspired compositions as the finale

(“Wedding Dance”) by J. Rizner. Dance No. 2 (D

of the Violin Concerto, the closing movement of

minor) derived from the Emma Czàrdas by Moritz

the G minor Piano Quartet (Op. 25), the

Windt. Dance No. 4 (F minor) takes as its source N.

young conductors and composers to achieve an understanding how to build a relationship with contemporary music, musicians, composers and audiences,” and supplemented that work with the establishment of the Eötvös Contemporary Music Foundation in Budapest in 2004.

Zigeunerlieder (“Gypsy Songs”), and, especially,

Mérty’s Kalocsay-Emlek. The source of the Dance

traditional

the Hungarian Dances. The themes of most of

No. 7 (A major), labeled simply Volksthümlich (“in

acoustic instruments sometimes augmented with

these Dances were not original with Brahms. He

folk style”), is unknown. The Dance No. 9 in E

electronics, often include theatrical, spatial or

collected them, thinking — as did almost everyone

minor is based on the Makóc Czàrdas by J. Travnik.

referential elements; among his recent works is

else at that time — that the melodies were folk

Dance No. 6 (D-flat major) is modeled on A.

the 2015 opera Senza sangue (“Without Blood”),

tunes, and he clearly stated that they were

Nittinger’s Rózsa Bokor.

commissioned by the New York Philharmonic and

arrangements. Such a precaution, however, did

Cologne Philharmonic. His many distinctions

not exempt Brahms, one of the most honest and

include membership in the Akademie der Künste

forthright of all the great composers, from being

(Berlin), Szechenyi Academy of Art (Budapest),

accused of plagiarism by the Hungarian violinist

Sächsische Akademie der Künste (Dresden) and

Ede Reményi, with whom he had toured early in

election as Officier de l’Ordre des l’Arts et des

his career. Reményi disingenuously claimed that

Eötvös’

compositions,

largely

for

ERNST VON DOHNÁNYI

addition to his work as a performer and composer,

continual motivic development from Liszt. The

1877-1960

Dohnányi’s contributions to the musical life of his

opening movement is based on two themes: the

Sextet for Piano, Violin, Viola, Cello, Clarinet and

homeland included inspiring and performing the

first is a broadly arched melody presented by the

works of younger composers (notably Bartók and

horn; the other is a more tender strain initiated by

Kodály), reforming the Budapest Academy’s music

the viola. The second movement (Intermezzo)

curriculum, guiding the development of such

begins and ends with soft, chorale passages, but

talented pupils as Georg Solti, Géza Anda and

uses as its extended central section music of a

Ernst von Dohnányi was among the 20th-century’s

Annie Fischer, expanding the repertory of the

more dramatic character, marked in the score “in

foremost composers, pianists, teachers and music

nation’s performing groups, and serving as a

the manner of a march.” The following movement

administrators. Born on July 27, 1877 in Pozsony,

model in musical matters through the strength of

is a series of free variations on the folk-inflected

Hungary (now Bratislava, Slovakia), he inherited his

his personality and the quality of his musicianship.

melody first given by the clarinet. A transition based

In 1944, Dohnányi left Hungary, a victim of the

on the first movement’s arching main theme acts

Horn in C major, Op. 37 Composed in 1935. Premiered in Budapest in 1935.

musical interests from his father, a talented amateur cellist, who gave him his first lessons in piano and theory. At seventeen, he entered the newly established Franz Liszt Academy in Budapest, the first Hungarian of significant talent to do so. The young composer was honored with the Hungarian Millennium Prize for his Symphony No. 1 in 1895, and two years later he received the Bösendorfer Prize for his First Piano Concerto. He graduated from the Academy in 1897, and toured extensively for the next several years, appearing throughout Europe, Russia, the United States and South America. From 1905 to 1915, Dohnányi taught at the Berlin Hochschule für Musik, a position he assumed at the invitation of a friend, the eminent violinist Joseph Joachim. He returned to Budapest in 1915, becoming director of the Academy in 1919 and musical director of Hungarian Radio in 1931. He served as conductor of the Budapest Philharmonic for the 25 years after 1919 while continuing to concertize at home and abroad and remaining active as a composer. In

raging political and militaristic tides that swept the

as a bridge to the spirited finale.

country during World War II. He moved first to

Austria, then to Argentina, and finally settled in Tallahassee in 1949 as pianist and composer-inresidence at Florida State University, where his students included Pulitzer Prize-winner American composer Ellen Taaffe Zwilich and his grandson, conductor Christoph von Dohnányi, former Music Director of the Cleveland Orchestra. Though Dohnányi was in his seventies, his abilities remained unimpaired, and he continued an active musical life. He appeared regularly on campus and in guest engagements; his last public performance was as conductor of the FSU Symphony just three weeks before his death. He died in New York on February 9, 1960 during a recording session. The Sextet for Piano, Violin, Viola, Cello, Clarinet and Horn is a work of intense lyricism in Dohnányi’s heightened Romantic style that draws its structural strength from the music of Brahms and its sense of 51

FRIDAY JUNE 28 7:30 PM CMA’S GARTNER AUDITORIUM

Precocious Virtuosity Precocity is its own stimulant. In need of cash, Mozart asked for an advance on royalties from his new piano quartet. Ironically, this first major work of its kind was considered too difficult for amateurs to perform, and he was released from completing the proposed set. One of the greatest works by any youthful artist is Mendelssohn’s effervescent octet – an entirely new medium – written at the tender age of 16 and inspired in part by Goethe’s Faust. Paderewski once said: “After Chopin, Moszkowski best understands how to write for the piano,” and he was immensely popular as the 19th Century drew to a close. After the monster pianist lost his money and his health, admirers gave a Carnegie Hall concert on his behalf with 15 grand pianos; tragically, Moszkowski was dead within a year of that concert.

PRELUDE AT 6:45 PM Conversation with ChamberFest artists.

Amy Schwartz Moretti, violin

WOLFGANG AMADEUS MOZART: Q uartet for Piano, Violin, Viola and Cello in G minor, K. 478

Jessica Bodner, viola Dane Johansen, cello

Allegro

Juho Pohjonen, piano

Andante

Rondo: Allegro

Itamar Zorman, violin 1

MORITZ MOSZKOWSKI: Suite for Two Violins and Piano in G minor, Op. 71

Diana Cohen, violin 2

Allegro energico

Juho Pohjonen, piano

Allegro moderato

Lento assai

Molto vivace

— INTERMISSION —

Itamar Zorman, violin 1 Amy Schwartz Moretti, violin 2 Nathan Meltzer, violin 3

FELIX MENDELSSOHN: O ctet for Four Violins, Two Violas and Two Cellos in E-flat major, Op. 20

Allegro moderato, ma con fuoco

Diana Cohen, violin 4

Andante

Jessica Bodner, viola 1

Scherzo: Allegro leggierissimo

Presto

Matthew Cohen, viola 2 Julie Albers, cello 1 Dane Johansen, cello 2

WOLFGANG AMADEUS MOZART

contemporary documents that it enjoyed a

Moritz Moszkowski was among Europe’s leading

1756-1791

number of performances in Vienna.

musicians during the late 19th century, a respected

Quartet for Piano, Violin, Viola and Cello in G

Alfred Einstein, in his classic 1945 study of Mozart,

teacher, a noted piano virtuoso, a skilled conductor,

minor, K. 478

called the G minor tonality in which the K. 478

Composed in 1785.

Quartet is cast the composer’s “key of fate.... The

As Mozart reached his full maturity in the years after arriving in Vienna in 1781, his most expressive manner of writing, whose chief evidences are the use of minor modes, chromaticism, rich counterpoint and thorough thematic development, appeared in his compositions with increasing frequency. Among the most important harbingers of the shift in Mozart’s musical language was the G minor Quartet for Piano, Violin, Viola and Cello (K. 478), which he completed on October 16, 1785 in response to a commission for three (some sources say six) such works from the publisher Franz Anton Hoffmeister. Hoffmeister had only entered the business a year earlier, and Mozart’s extraordinary and disturbing score, for which the publisher saw little market, threw a fright into him. “Write more popularly, or else I can neither print nor pay for anything of yours!” he admonished. Mozart cast some quaint expletives upon the publisher’s head, and said it was fine with him if the contract were canceled. It was. (Composer and publisher remained friends and associates, however. The following year, Hoffmeister brought out the Quartet in D major, K. 499, which still bears his

wild command that opens the first movement, unisono, and stamps the whole movement with its character, remaining threateningly in the background, and bringing the movement to its inexorable close, might be called the ‘fate’ motive with exactly as much justice as the four-note motive of Beethoven’s Fifth Symphony.” Contrast to the movement’s pervasive agitation is provided by a lyrical melody initiated by the strings without piano. The Andante, in sonatina form (sonata without a development section), is probing, emotionally unsettled music, written in Mozart’s most expressive, adventurous harmonic style. Of the thematically rich closing rondo, English musicologist Eric Blom noted, “[It] confronts the listener with the fascinatingly insoluble problem of telling which of its melodies ... is the most delicious.” So profligate is Mozart’s melodic invention in this movement that he borrowed one of its themes, which he did not even bother to repeat here, for the principal subject of a piano rondo (K. 485) he composed three months later.

MORITZ MOSZKOWSKI 1854-1925

bold than Hoffmeister, acquired the piece and

Suite for Two Violins and Piano in G minor, Op. 71

Moszkowski was born in Breslau of Polish-Jewish descent on August 23, 1854 and trained in Dresden and Berlin. He made his debut in Berlin at age nineteen, and quickly became one of Germany’s leading pianists while establishing parallel careers as a teacher (at the Kullak Academy in Berlin) and a composer (of a ballet, the Spanish-themed opera Boabdil, the Last of the Moorish Kings, and agreeable works for piano, orchestra, voice, and chamber ensembles, of which the Spanish Dances won the greatest popularity). He toured extensively throughout Germany, England and France, and in 1897 settled in Paris, where his pupils included Wanda Landowska and Joaquín Turina. World War I ruined his investments in German and Austrian securities, and he fell into dire financial straits and poor health. In 1921, his friends in America — Harold Bauer, Ossip Gabrilowitsch, Percy Grainger Josef Lhevinne, and ten other celebrated pianists — gave a benefit concert at Carnegie Hall in New York, and the $10,000 they raised did much to ease the last years of Moszkowski’s life before his death in Paris on March 4, 1925. An energetic main theme whose motives are

name as sobriquet.) Artaria & Co., proving more published it a year later; there are hints in

and a composer of talent and accomplishment.

Composed in 1903.

carved principally from falling scale steps opens Moszkowski’s Suite for Two Violins and Piano in G minor. The formal second subject is marked by a series of quick, staccato chords from the piano,

which the violins counter with fragments of the

on January 3, 1820, three weeks before his

Dream, that the stature of Mendelssohn’s genius

descending main theme. Further developmental

eleventh birthday, though that work was almost

was first fully revealed. He wrote the work as a

discussion of these motives fills the center of the

certainly preceded by others whose exact dates

birthday offering for his violin and viola teacher,

movement, and leads directly to the recapitulation

are not recorded. To display the boy’s blossoming

Eduard Rietz, and premiered it during one of the

of the second theme, here extended. The main

musical abilities, the Mendelssohn mansion was

household musicales in October of that year; Rietz

theme, elaborately decorated by the violins, returns

turned into a twice-monthly concert hall featuring

participated in the performance and young Felix is

as a brilliant coda. The second movement is gracious

the precocious youngster’s achievements. A large

thought to have played one of the viola parts. (Rietz

and lightly swaying, rather like a minuet. The Lento is

summer house was fitted as an auditorium seating

and his family remained close to Mendelssohn.

lyrical and gently wistful. The virtuosic finale recalls

several hundred people, and every other Sunday

Eduard’s brother, Julius, succeeded Mendelssohn

the frenetic tarantella, the traditional Italian dance

morning the city’s finest musicians were brought

as director of the Leipzig Gewandhaus concerts

whose exertions were said to rid the body of the

in to perform both repertory works and the latest

upon the composer’s death in 1847, and edited his

poison of the tarantula spider’s deadly bite.

flowers

These

complete works for publication in the 1870s.) The

elegant

scoring of the Octet calls for a double string

luncheon — began in 1822, when Mendelssohn

quartet, though, unlike the work written in 1823 for

was thirteen. He selected the programs, led the

the same instrumentation by Louis Spohr (another

rehearsals, appeared as piano soloist, played violin

friend of the Mendelssohns and a regular visitor to

in the chamber pieces, and even conducted,

their family programs), which divides the eight

Composed in 1825.

though in those early years he was still too short to

players into two antiphonal groups, Mendelssohn

Premiered in October 1825 in Berlin.

be seen by the players in the back rows unless he

treated his forces as a single integrated ensemble,

In addition to being born with the proverbial silver

stood on a stool. With sister Fanny participating as

a virtual miniature orchestra of strings. On the

spoon, Felix Mendelssohn was virtually bestowed a

pianist, sister Rebecca as singer and brother Paul as

manuscript, he specifically pointed out that “this

golden baton as a natal gift. His parents’ household

cellist, it is little wonder that invitations to these

Octet must be played by all instruments in

was among the most cultured and affluent in all of

happy gatherings were among the most eagerly

symphonic orchestral fashion. Pianos and fortes

Berlin, but his family saw to it that his privilege was

sought and highly prized of any in Berlin society.

must be strictly observed and more strongly

well balanced by discipline and responsibility.

By 1825, Mendelssohn had written over eighty

emphasized than is usual in pieces of this character.”

Young Felix arose at 5:00 every morning (6:00 on

works for these concerts, including operas and

Even allowing that Mendelssohn, by age sixteen,

Sunday), and spent several hours in private tutoring

operettas, string quartets and other chamber

was already a veteran musician with a decade of

with the best available teachers. When his musical

pieces, concertos, motets, and a series of thirteen

experience and a sizeable catalog of music to his

talents became obvious in his early years, he was

symphonies for strings.

credit, the brilliance and originality of the Octet’s

first given instruction in piano, and soon thereafter

It was with the Octet for Strings, composed in 1825

scoring,

in theory and composition by the distinguished

at the tender age of sixteen, a full year before the

compositional virtuosity of its elfin Scherzo, are

pedagogue Carl Friedrich Zelter. Mendelssohn’s

Overture to Shakespeare’s A Midsummer Night’s

phenomenal. “Eight string players might easily

matinees FELIX MENDELSSOHN 1809-1847 Octet for Strings in E-flat major, Op. 20

earliest dated composition is a cantata completed

of —

Mendelssohn’s complemented

creativity. by

most

notably

the

unprecedented

practice it for a lifetime without coming to the end 55

of their delight in producing its marvels of tone-

particular formal model, but as an ever-unfolding

color,” wrote the not-easily-impressed Sir Donald

realization of its own unique melodic materials

Tovey. The Octet was one of Mendelssohn’s most

and world of sonorities. The movement is tinged

famous creations during his lifetime, enjoying

with the delicious, bittersweet melancholy that

innumerable performances throughout Europe

represents the expressive extreme of the musical

and England. Mendelssohn himself retained a

language of Mendelssohn.

special fondness for the piece — he eagerly participated in several performances as violist in Leipzig and elsewhere; he arranged the music for piano duet; he made an orchestral transcription of the Scherzo for a London Philharmonic concert of 1829 (George Grove, founder of the music dictionary that still bears his name, reported that “it rarely escapes an encore”); and he declared in later years that it was “my favorite of all

The composer’s sister Fanny noted that the featherstitched Scherzo was inspired by gossamer verses from Goethe’s Faust, to which Mendelssohn’s fey music is the perfect complement: Floating cloud and trailing mist, O’er us brightening hover: The rushes shake, winds stir the brake: Soon all their pomp is over.

my compositions. I had the most wonderful time

The closing movement, a dazzling moto perpetuo

writing

with fugal episodes, recalls Mozart’s “Jupiter”

Max Bruch “a miracle,” is the greatest piece of

Symphony (No. 41, C major, K. 551) in its rhythmic

music ever composed by one so young, including

vitality and contrapuntal display, simultaneously

Mozart and Schubert.

whipping together as many as three themes from

it.”

Mendelssohn’s

Octet,

called

The Octet is splendidly launched by a wideranging main theme that takes the first violin

the finale and a motive from the Scherzo during one climatic episode in the closing pages.

quickly through its entire compass; the lyrical

Referring to this Octet and the Midsummer Night’s

second theme is given in sweet, close harmonies.

Dream Overture, Wilfrid Blunt noted, “Had Mozart

The development section, largely concerned with

and Mendelssohn both died at the age of seventeen,

the subsidiary subject, is relatively brief, and

the former would have been remembered today

culminates in a swirling unison passage that serves

only as a prodigy performer on the piano, the latter

as the bridge to the recapitulation of the earlier

as the composer of two masterpieces.”

melodic materials.

The following Andante, like many slow movements in

Mozart’s

instrumental

compositions,

was

created not so much as the fulfillment of some 56

SATURDAY JUNE 29 7:30 PM CIM’S MIXON HALL

French Connection Aaron Copland described Fauré’s lush and romantic second piano quartet as “a long sigh of infinite tenderness, a long moment of quiet melancholy and nostalgic charm.” In one movement of the piano quartet, Fauré recalls the bells of the village in which he grew up. Françaix’s trio is so cool, so quirky, so charmant – so French – you can almost envision the beret! In Pesson’s oeuvre it’s rare to hear instruments used in a traditional way. Basing his work on a Brahms Ballade, Pesson used the metaphor “of an object that had fallen into the sea and which, oxidized and covered with coral, is both emphasized by the additive wear and concealed from one’s gaze.” Stravinsky wrote these pieces shortly after Le Sacre du Printemps and just before moving to France; they are as far from the other works on the program as possible while still having a French connection. Written in memory of his “Les Six” colleague Arthur Honegger, Poulenc’s sonata quotes from his own famed mass, Gloria. The work’s premiere was given by Leonard Bernstein and commissioner Benny Goodman at Carnegie Hall two months after Poulenc’s death.

CLOSING NIGHT CELEBRATION Join ChamberFest after the concert for a Closing Night celebration complete with Mitchell’s Ice Cream!

Franklin Cohen, violin Roman Rabinovich, piano

FRANCIS POULENC: Sonata for Clarinet and Piano

Allegro Tristamente: Allegretto — Très calme — Tempo allegretto

Romanza: Très calme

Amy Schwartz Moretti, violin 1

Allegro con fuoco: Très animé

IGOR STRAVINSKY: Three Pieces for String Quartet

Nathan Meltzer, violin 2

Dance: Quarter note = 126

Jessica Bodner, viola

Eccentric: Quarter note = 76

Dane Johansen, cello

Canticle: Half note = 40

Amy Schwartz Moretti, violin 1

GÉRARD PESSON: N ebenstück for Clarinet, Two Violins, Viola and Cello, after Brahms’ Ballade in B major, Op. 10, No. 4

Nathan Meltzer, violin 2 Jessica Bodner, viola Dane Johansen, cello Franklin Cohen, clarinet

Diana Cohen, violin Jessica Bodner, viola Julie Albers, cello

JEAN FRANÇAIX: Trio for Violin, Viola and Cello Allegretto vivo Scherzo: Vivo Andante Rondo: Vivo

— INTERMISSION —

Itamar Zorman, violin

GABRIEL FAURÉ: Quartet No. 2 for Piano, Violin, Viola and Cello in G minor, Op. 45

Matthew Cohen, viola

Allegro molto moderato

Julie Albers, cello Juho Pohjonen, piano

Allegro molto Adagio non troppo Allegro molto 59

FRANCIS POULENC

first movement of such works, the Clarinet Sonata

taking such a piece on the Quartet’s American tour

1899-1963

opens with a three-part form in which a central

the following year. The composer’s friend and

Sonata for Clarinet and Piano

section, at once benedictory and slightly exotic, is

champion the conductor Ernest Ansermet was

surrounded by a beginning and ending paragraph in

assigned the task of negotiating the commission

quicker tempo. The second movement, marked

with the Flonzaley (the score was dedicated to him

“very sweetly and with melancholy,” is almost

in appreciation), and Stravinsky added two more

Composed in 1962. Premiered on April 10, 1963 in New York, by Benny Goodman and Leonard Bernstein.

hymnal in its lyricism and quiet intensity. The finale

short movements in July to round out this set of

Of Poulenc’s thirteen chamber works for various

is based on the progeny of a French music hall tune

Three Pieces for String Quartet. The Flonzaley

instrumental

combinations,

only

three

are

that is treated, as Stravinsky did with the themes he

played the premiere in Chicago on November 8,

exclusively for strings. “I have always adored wind

stole

for

1915. Stravinsky originally issued the Three Pieces as

instruments,” he explained, “preferring them to

Pulcinella, with good humor and sympathy rather

pure, abstract music, giving them no titles or even

strings, and this love developed independent of the

than with parody.

tempo markings, but when he arranged them as the

(Stravinsky’s

word)

from

Pergolesi

tendencies of the era. Of course, L’Histoire du Soldat and Stravinsky’s solo clarinet pieces stimulated my

first three of the Four Studies for Orchestra in 1914IGOR STRAVINSKY

1918, he called them Dance, Eccentric and Canticle.

1882-1971

The small scale of the Three Pieces belies the

work except for the Sonata for Oboe and Piano, was

Three Pieces for String Quartet

crucial juncture they occupy in Stravinsky’s stylistic

composed in the summer of 1962 for Benny

Composed in 1914.

Goodman and dedicated to the memory of Arthur

Premiered on November 8, 1915 in Chicago by the

Honegger; Goodman and Leonard Bernstein gave

Flonzaley Quartet.

taste for winds, but I had already developed the taste as a child.” The Clarinet Sonata, Poulenc’s last

the premiere in New York on April 10, 1963, ten weeks after the composer’s death from a heart attack in Paris on January 30th. Keith W. Daniel noted that this composition and the sonatas for flute (1957) and oboe (1962) “may be compared with Debussy’s late sonatas in their mastery of form and medium, their reticence, and their easy flow of melody. Indeed, the three wind sonatas rank among Poulenc’s most profound, accomplished works: they retain the early tunefulness, but the impertinent edge is replaced by serenity and self-confidence, deepened by the addition of a religious undertone.” Rather than the sonata structure often heard in the 60

evolution, since they were his first works to move away from the opulence and enormous performing forces of the early ballets toward the economical, emotionally detached “Neo-Classical” language of

In April 1914, to recover from the rigors of supervising

his later works. This forward-looking quality is most

the premiere in Paris of his opera Le Rossignol (“The

evident in the second movement, which is in a

Nightingale”), Stravinsky sketched a tiny piece for

brittle, modern, pointillistic idiom usually associated

string quartet, his first composition for chamber

with

ensemble, in the style of a Russian folk dance. Ever

Stravinsky claimed that he knew none of that

since he had taken the musical world by storm with

composer’s music at the time. He later explained

his Rite of Spring the year before, his creative work

the movement’s inspiration in an interview with

had been closely monitored, and even this little

Robert Craft: “I had been fascinated by the

morceau for quartet did not escape notice. Alfred

movements of Little Tich, whom I had seen in

Pochon, second violinist of the Flonzaley Quartet,

London in 1914, and the jerky, spastic movement,

wrote to the composer asking about the veracity of

the ups and downs, the rhythm — even the mood

the Parisian rumor that he had just written a

or joke of the music — which I later called Eccentric,

“Scherzo” for quartet, and expressed an interest in

was suggested by the art of this great clown.” In

Anton

Webern’s

compositions,

though

1930, Stravinsky transformed a phrase from this Piece into the subject for the instrumental fugue in the Symphony of Psalms. The opening Dance, while more conventional in its folk-based idiom, was also prophetic of several important Russiainspired works of the following years, notably The Soldier’s Tale and Les Noces. The third Piece (later titled Canticle) is a solemn processional evocative of ancient Church rites whose almost static harmonic

motion

Stravinsky

used

Mass,

Symphonies of Wind Instruments, Symphony of Psalms and other compositions to create a sense of suspended time and rapt ecstasy.

Competition and Prince Pierre de Monaco Prize.

JEAN FRANÇAIX

Pesson wrote of his 1998 Nebenstück (a difficult

1912-1997

German word to translate; “collateral,” from the

Trio for Violin, Viola and Cello

Latin for “together with” [col] and “side” [latus], somewhat captures its intent; Stück is “piece.”), “In transcribing the B minor Ballade of Johannes

Jean Françaix, the French composer, pianist and

Brahms [Op. 10, No. 4, 1854], I have tried to fix

advocate of Debussy’s artistic philosophy of “faire

objectively the strange contamination that exists

plaisir” (“giving pleasure”), was born into a musical

between musical invention and memory. The works

family in Le Mans in May 1912. His father was a

that haunt us often crop up when we think we have

pianist and composer and director of the Le Mans

plucked an idea from nowhere, and as they spring

Conservatory; his mother taught voice and founded

back, they color our obsessions, for, in art, research

a local chorus. Jean received his earliest training

is a concomitant of unceasing archaeology.

from his parents, but showed such precocious

“This Ballade from Opus 10 literally haunted me for

GÉRARD PESSON

years, with its strange form, the absence of any high

b. 1958

notes, the beauty of the opening barcarolle

Nebenstück for Clarinet, Two Violins, Viola

movement, and the central cantando [‘singing’],

and Cello, after Brahms’ Ballade in B major,

where the melody is drowned by a shimmering

Op. 10, No. 4

texture interrupted by a sort of chorale. If it stayed

Composed in 1998.

with me for so long, it is because I never heard it

Gérard Pesson, born in 1958 in Torteron in central France, studied at the Sorbonne, where he earned his doctorate in composition with a thesis on The Aesthetics of Aleatoric Music. In 1986, Pesson founded a contemporary music publication titled Entretemps (“Meanwhile”) and became a music producer at Radio France. From 1990 to 1992, he held a French Academy residency at the Villa Medici in Rome. His works, for stage, orchestra, chamber ensembles, and voice, have been performed across France and internationally, and earned him the Toulouse

Studium

Prize,

Opéra

Autrement

Composed in 1933.

other than in my memory, where it gradually rusted, like something fallen into the sea. Trying to transcribe it was like trying to fish it out again. Discovering it was suitable and indeed contained what my own musical work had added, going so far perhaps as to conceal the Ballade when in fact it took on a precise shape, like coral growing on any matter close to hand, exaggerating the form it encloses. My memory had always multiplied those few bars where Brahms makes a chord turn in on itself, and in order to remain faithful to this false impression, I wrote them out as such.”

talent that he was regularly commuting to Paris for private lessons at the Conservatoire by the time he was nine. He was much upset by news of the death of Camille Saint-Saëns in that year (1921), and vowed to his father that he would “take his place” as a musicien français; Françaix’s earliest published work, a suite for piano, appeared the next year. He settled in Paris a few years later for regular study at the Conservatoire and won first prize in piano when he was just eighteen; two years later he gained recognition as a composer with a symphony that was premiered in Paris by Pierre Monteux in November 1932. He played the first performance of his own Concertino for Piano and Orchestra with much success in 1934, and came to international prominence when he presented the work at a festival of contemporary music in Baden-Baden two years later. He subsequently made numerous tours throughout Europe and the United States as composer and pianist. The 1933 ballet Scuola di 61

ballo, choreographed by Léonide Massine for the

Quartet is that of its premiere — January 22, 1887 at

Berlioz’s Faust, and Franck’s Accursed Huntsman.”

Ballets Russes de Monte Carlo, marked Françaix’s

the Société Nationale by violinist Guillaume Rémy,

The movement, possessed of a kind of demonic

entry into the genres of musical theater, for which

violist Louis van Waefelghem, and cellist Jules

force rare in Fauré’s writing, is formed around the

he produced five operas and a total of sixteen

Delsart, with the composer himself as pianist. The

alternation of two contrasting themes: the first is an

ballets, as well as many film scores before his death

score of the G minor Quartet was published later

agitated, rhythmically unsettled piano melody of

in Paris on September 25, 1997.

that year with a dedication to the eminent German

scale steps given against a background of plucked

pianist and conductor Hans von Bülow, who had

strings; the other is a smooth string motive derived

said some nice things about Fauré’s music in a

from the opening movement’s second theme.

Françaix’s Trio for Strings, from 1933, opens with an agile movement based on a brittle theme that returns frequently enough to suggest the form of a rondo. The sparkling Scherzo is witty and insouciant;

recent open letter to the Parisian conductor, violinist and impresario Édouard Colonne.

Fauré gave the following explanation of the twilight mood and meditative serenity of the Adagio: “In the

the central trio is delightfully oafish with its missed

The Piano Quartet No. 2 opens with a sweeping

slow movement of my Second Quartet, I recalled a

entrances and dropped beats. The slow, plaintive

unison string theme of almost symphonic breadth

peal of bells we used to hear of an evening drifting

song of the third movement serves as an expressive

whose initial gesture — a heroic octave leap — is

over to Montgauzy [near Foix, in southwest France,

foil for the energy of the surrounding music. A zesty

followed by a series of short, tightly compressed

where he lived as a boy] from a village called Cadirac

rondo built on a fanfare motive closes the Trio.

motivic cells. The piano’s repetition of the main

whenever the wind blew from the west.”

theme leads to the introduction of the quiet, lyrical GABRIEL FAURÉ 1845-1924

second subject by the viola. A brief reference to the main theme serves as the transition to the exposition’s third melody, a smoothly arching strain

Quartet No. 2 for Piano, Violin, Viola and Cello in

presented by cello and viola in octaves. The

G minor, Op. 45

development section concerns itself first with

Composed 1885-1886.

permutations of the main theme and then with the

Premiered on January 22, 1887 in Paris.

arching theme before a sonorous unison return of

It was in 1883 while Fauré was revising the score of the C minor Piano Quartet, composed in 1876 for the fledgling Société Nationale de Musique, that he seems to have become interested in providing it with a sequel. No documentary evidence exists

the principal subject marks the beginning of the recapitulation. The viola again gets to sing its lyrical subsidiary theme, but the arching melody is omitted in favor of the anxious coda based on the main theme that brings the movement to a dying close.

The finale, thematically rich and somewhat prolix, resumes the impassioned energy of the opening movement. A main theme of aggressive triplet rhythms is announced by the strings above a restless piano accompaniment. Other complementary thematic ideas follow: a lyrical but syncopated strain in the piano; a piano subject in hammered chords (the formal second theme); and a smooth, expressive melody in long notes in the viola and cello. The development section is based largely on the opening triplet motive. The exposition’s four themes are heard again in the recapitulation before a brilliant coda in the sun-

concerning the gestation of the Piano Quartet No. 2

The Scherzo, according to Jean-Michel Nectoux in

bright key of G major brings the Quartet to its

in G minor, though the work was apparently Fauré’s

his study of Fauré, “casts a spell in its headlong

victorious conclusion.

principal creative occupation during 1885 and 1886.

career through a night illuminated by mysterious

The first definitive date that can be attached to the

flashes: we are reminded of Schubert’s Erl King,

ARTISTS 201 9 Garrick Ohlsson and Jonathan Biss. A graduate of

international recognition and acclaim as the first

the Cleveland Institute of Music, she was a recipient

clarinetist awarded First Prize at the 1968 (ARD)

of the Jerome Gross Prize and winner of the

Munich International Music Competition. Since then,

Milhaud competition. Her major studies were with

Mr. Cohen has enjoyed an illustrious career as soloist,

Donald Weilerstein.

recitalist, recording and chamber artist, pedagogue

Highlights of this season included performances

and celebrated orchestral principal.

of Saint-Saens Concerto #3 as well as John

Appointed in 1976 with the Cleveland Orchestra,

Adams’ “Dharma at Big Sur,” for electric violin and

Franklin Cohen is the longest serving principal

orchestra. Next season includes solo and chamber

clarinetist and most frequent soloist in the Cleveland

performances with in cities including Budapest,

Orchestra’s history. Mr. Cohen has been the featured

New York, Boston, Washington D.C., Richmond,

soloist in over 200 performances throughout the

and Calgary.

United States, Asia and Europe, appearing with Lorin

since 2012 and founding member of Trio Terzetto,

Ms. Cohen is from a musical family. Her father is

Maazel,

Ms. Cohen has previously served as concertmaster

lauded clarinetist and ChamberFest co-founder

and appeared as soloist with the symphonies of

Franklin Cohen, her brother Alexander is principal

Richmond, Charleston, and Kalamazoo, the National

timpanist of the Calgary Philharmonic and her

Repertory Orchestra, Iris Orchestra and Red {an

husband Roman Rabinovich is a concert pianist,

orchestra}. As soloist, Ms. Cohen has also appeared

composer and artist. Her late mother, Lynette Diers

with numerous orchestras including the Holland

Cohen was an esteemed bassoonist.

DIANA COHEN Founder and Co-Artistic Director of ChamberFest Cleveland, violinist Diana Cohen has a multifaceted career as a concertmaster, chamber musician and soloist. Concertmaster of the Calgary Philharmonic

Symphony, Rochester Symphony, Lansing and

von

Dohnanyi,

Vladimir

2015 Cohen was named Principal Clarinet Emeritus, an honor that was the first of its kind since the orchestra’s

founding.

Mr.

Cohen’s

Deutsche

Grammophon recording of Debussy’s First clarinet Rhapsody conducted by Pierre Boulez won two Grammy Awards in 1996. His artistry has been a distinguished voice in the Cleveland Orchestra’s

Grand Rapids. She regularly performs with the

recorded legacy. Cohen has collaborated with many

Grammy-winning Orpheus Chamber Orchestra and

of the world’s leading artists including Vladimir

East Coast Chamber Orchestra and has appeared

Ashkenazy, Emanuel Ax, Mitsuko Uchida, Richard

with the Sejong Soloists, The Knights, and with the

Goode, Menahem Pressler and Andras Schiff. He has

the Cleveland Orchestra and New York Philharmonic.

also performed with the Guarneri, Takacs, Tokyo and

As a chamber musician, Ms. Cohen has performed

Emerson string quartets.

at the Marlboro Music Festival, The Ravinia Festival, Aspen, Chamber Music Festival of Giverny, Great

FRANKLIN COHEN

Lakes Festival and Banff, among many others. She

Franklin Cohen has distinguished himself as one of

has collaborated with members of the Guarneri,

the most outstanding clarinetist’s of his generation.

Juilliard, Miró, Cleveland and Parker Quartets, and

His playing has been described as “hypnotic,

with renowned artists including Mitsuko Uchida,

impeccable, brilliant… with a vocal quality that would be the envy of any singer.” Cohen first gained

Christoph

Ashkenazy, Kirill Petrenko and countless others. In

In 2012 Franklin Cohen and his daughter Diana co-founded Cleveland’s first international summer chamber music festival, the critically acclaimed ChamberFest Cleveland. Many of Mr. Cohen’s former students occupy prominent positions with leading orchestras and ensembles throughout the world.

Charles Yates Cello Chair at the McDuffie Center for

Over the past several summers, Mr. Bell has

Strings at Mercer University in Macon, Georgia. Julie

played with the Santa Fe Opera, Glimmerglass

has recorded a solo album with pianist, Orion Weiss

Opera and the Waterloo Music Festival. In 1982

and a trio album with the Albers Trio.

Mr. Bell became the first oboist to win first prize in the Fernand Gillet Double Reed competition. In October 1996, Mr. Bell performed as guest soloist with the Southeast Iowa Symphony. Mr. Bell is on the faculty at Carnegie Mellon University,

JULIE ALBERS

Duquesne University, and also teaches privately.

American cellist Julie Albers is recognized for her superlative artistry, her charismatic and radiant performing style and her intense musicianship. She was born into a musical family in Longmont, CO and began violin studies at the age of two, switching to

SCOTT BELL

cello at four. She moved to Cleveland during her

Scott Bell joined the Pittsburgh Symphony as

junior year of high school to pursue studies through

substitute second oboe in September of 1992 and

the Young Artist Program at the Cleveland Institute

became a permanent member in September 1993.

of Music where she studied with Richard Aaron. At

Prior to moving to Pittsburgh, Mr. Bell was a member

the age of 17 she made her major orchestral debut

of the Hartford Symphony, the New Orleans

JESSICA BODNER

with the Cleveland Orchestra and thereafter has

Symphony and the Orquesta Sinfónica de Veracruz (México). He has also made appearances with the

Jessica Bodner, described by the New York Times

performed in recital and as soloist with orchestras throughout North America, Europe, Korea, Taiwan,

Atlanta, Milwaukee and Savannah symphonies.

New Zealand and Australia. Julie has received

Mr. Bell finished his last two years of high school as a

recently appeared at venues such as Carnegie Hall,

various awards including the Grand Prize in South

scholarship student at the Interlochen Arts Academy.

92nd Street Y, Library of Congress, Concertgebouw

Korea’s

Music

He attended the Cleveland Institute of Music where

(Amsterdam), Wigmore Hall (London), Musikverein

Munich’s

he was a student of John Mack. While a student at

(Vienna), Philadelphia Chamber Music Society, and

Internationaler Musikwettbewerbes der ARD.. In

the Cleveland Insitute, Mr. Bell played with the Akron

Seoul Arts Center, and has appeared at festivals

addition to solo performances, Julie participated in a

Symphony and substituted with the Cleveland

including Yellow Barn, Perigord Noir in France, Spring

three-year residency with the Chamber Music

Orchestra under then Music Director Lorin Maazel.

Arts

Society of Lincoln Center Two, and regularly appears

Mr. Bell was a concerto competition winner both at

Allende (Mexico), Cemal Recit Rey (Istanbul),

at chamber music festivals around the world. In 2015

the Cleveland Institute of Music and the Music

and Mecklenburg-Vorpommern, Hitzacker, and

Julie was appointed the new principal cello of the

Academy of the West in Santa Barbara, California. He

Heidelberg String Quartet Festival (Germany). As a

Saint Paul Chamber Orchestra. In addition she is

also has performed with the Hartford and New

member of the Parker Quartet, she has recorded for

Assistant Professor and holds the Mary Jean and

Orleans symphony orchestras.

ECM, Zig-Zag Territoires, Nimbus, and Naxos.

Gyeongnam

Competition

and

International

Second

Prize

as a “soulful soloist”, is the violist of the Grammy award-winning Parker Quartet. Ms. Bodner has

Festival

(Monte

Carlo),

San

Miguel

Recent collaborators include clarinetists Charles

with the New York Philharmonic, the Philadelphia

Balter’s Violin Concerto for the Mostly Mozart Festival

Neidich and Jörg Widmann, pianists Menahem

Orchestra, and the San Francisco Symphony. In the

at Lincoln Center. Bowlin is a founding member of

Pressler, Shai Wosner, and Orion Weiss, violinists

past, Mr. Boisset has appeared as a concerto soloist

the International Contemporary Ensemble, Musical

Nadja Salerno-Sonnenberg and Donald Weilerstein,

with the Las Vegas Philharmonic and the San

America’s 2014 Ensemble of the Year, a current

violists Kim Kashkashian and Roger Tapping, cellists

Francisco Symphony Youth Orchestra. This summer,

member of the Oberlin Trio, and a former member of

Paul Katz and Natasha Brofsky, and percussionist

he will join the Los Angeles Philharmonic as Principal

the Naumburg Award-winning Da Capo Chamber

Ian Rosenbaum.

Oboe for performances at the Hollywood Bowl and

Players. He has made several tours with Musicians

the Edinburgh Festival under Gustavo Dudamel.

from Marlboro and performed as guest concertmaster

Jessica is a faculty member of Harvard University’s

with the Toronto Symphony Orchestra and the IRIS

Department of Music in conjunction with the

Mr. Boisset began his formal studies in San

Parker Quartet’s appointment as Blodgett Quartet-

Francisco with William Bennett, and continued

in-Residence. She has held visiting faculty positions

with Elaine Douvas at the Juilliard School, and

at the New England Conservatory and Longy School

Eugene Izotov at the San Francisco Conservatory

of Music.

of Music. These performances mark his debut with

Bowlin teaches on the faculty of the Oberlin

ChamberFest Cleveland.

Conservatory of Music, and has taught at many

Outside of music, Jessica enjoys cooking, practicing

Chamber Orchestra. His solo and chamber music recordings can be found on a number of labels, including Bridge, Naxos, Arsis, and Oberlin Music.

summer festivals including the Kneisel Hall Chamber

yoga, biking, and hiking with her husband, violinist

Music Festival, the Green Mountain Chamber Music

Daniel Chong, their son, Cole Franklin, and their

Festival, and the Mannes Beethoven Institute.

vizsla, Bodie.

DAVID BOWLIN Violinist David Bowlin’s solo and chamber music performances of a wide-ranging repertoire have LIAM BOISSET

won him significant critical acclaim and taken him

DAVID BROCKETT

A native of San Francisco, twenty-four year old oboist

throughout North and South America, Europe, and

David Brockett has played as an acting member of

Asia. He has given dozens of premieres, including

The Cleveland Orchestra, The Cincinnati Symphony,

the world premiere at Carnegie Hall’s Weill Hall

and the Utah Symphony. In addition to his orchestral

of Mahagoni, a violin concerto written for him

playing, he has performed as a member of Burning

by Austrian composer Alexandra Karastoyanova-

River Brass, the Cleveland Jazz Orchestra, and the

Hermentin, and the 2016 world premiere of Marcos

Jack Schantz Jazz Unit. He has recorded for radio,

Liam Boisset has already performed in many of the world’s great concert halls. This past season he served as guest Principal Oboe for the Metropolitan Opera, the Saint Paul Chamber Orchestra, and the Calgary Philharmonic, as well as in supporting roles 66

television, and movies, and is a faculty member at

has also performed chamber music with Gil Shaham,

Symphony Orchestra in Isaac Stern Auditorium. He is

the Baldwin Wallace Conservatory and Cleveland

Orli Shaham, Sir Andre Previn, Christoph Eshenbach,

an artist of The Chamber Music Society of Lincoln

State University.

Andre Watt, and the Tokyo String Quartet.

Center, with which he performs regularly in Alice

Charlotte Symphony, New World Symphony, New

He is presently the Associate Teaching Professor of

Tully Hall and on tour. He is also a regular guest artist

York String Orchestra, and the American Academy

Horn at Carnegie Mellon University, Pittsburgh, PA.

of Conducting at Aspen.

Other teaching positions have included Adjunct Teacher of Horn at Rice University, Duquesne

at many of the world’s leading music festivals, including Santa Fe, La Jolla, Music@Menlo, Ravinia, Bridgehampton, Mecklenburg, Hong Kong, Moab,

University, and Indiana University Bloomington.

and Saratoga Springs.

Recent master classes and teaching have included

Recent

Northwestern

appearances with the Albany Symphony, New Haven

University,

Indiana

University

season

highlights

include

concerto

(Bloomington), Maryland University, New England

Symphony,

Conservatory,

Beijing

Philharmonic, and a recital tour of American cello/

Conservatory, Shanghai Conservatory, and the

piano works with pianist Michael Brown, culminating

Pacific Music Festival.

in a performance in New York City presented by The

Colburn

Conservatory,

Greenwich

Symphony,

and

Erie

Chamber Music Society of Lincoln Center.

WILLIAM CABALLERO

Filmmaking and acting are special interests of

William Caballero has been Principal Horn of the

Mr. Canellakis. He has produced, directed, and

Pittsburgh Symphony since 1989. Formerly he was

starred in several short films and music videos,

Principal and Co-Principal Horn of the Houston

many of which can be found on his website at

Symphony, Houston Grand Opera (1985-1989),

www.nicholascanellakis.com.

Third Horn of the Montreal Symphony, Montreal Opera (1984-1985), Acting Third Horn of the Boston Symphony Orchestra and Boston Pops (1982-1984), and Principal Horn of the Hartford Symphony (1982).

NICHOLAS CANELLAKIS

Other guest Principal horn opportunities have

Hailed by the The New Yorker as a “superb young

included

Orchestra,

soloist,” Nicholas Canellakis has become one of

Cleveland Orchestra, Philadelphia Orchestra, Los

the

Chicago

Symphony

the most sought-after and innovative cellists of

Angeles Philharmonic, Dallas Symphony Orchestra,

his generation. In The New York Times his playing

and the Saint Louis Symphony Orchestra. Festivals

was praised as “impassioned” and “soulful,” with

have included the Grand Teton Music Festival, Aspen

“the audience seduced by Mr. Canellakis’s rich,

Music Festival, Bay Chamber (Maine) Concert Series,

alluring tone.”

and the Pacific Music Festival in Sapporo, Japan. He

PATRICK CASTILLO Patrick Castillo leads a multifaceted career as a

Mr. Canellakis recently made his Carnegie Hall

composer, performer, writer, and educator. His

concerto debut, performing with the American

music has been described as “restrained and 67

reflective but brimming with a variety of texture and

for middle and high school students; and authored,

Abigail Fischer, has been praised as “affecting and

sound that draws you into its world” (I Care If You

narrated, and produced the widely acclaimed

sensitively orchestrated… [a] gorgeous, masterfully

Listen) and has been presented at festivals and

AudioNotes series of listener’s guides to the

crafted canvas” (Cleveland Classical), and is available

venues

on Innova Recordings.

and

chamber music literature. Patrick Castillo has been

internationally, including Spoleto Festival USA, June

a guest lecturer at the Chamber Music Society of

in Buffalo, the Santa Fe New Music Festival, the

Lincoln Center, for whose Late Night Rose series he

Queens New Music Festival, Interlochen Center for

serves as host; Fordham University; the University

the Arts, Berklee College of Music, Tenri Cultural

of Georgia; the Milwaukee Symphony Orchestra;

Institute, Bavarian Academy of Music (Munich), the

the Chamber Music Festival of the Bluegrass

Nuremberg Museum of Contemporary Art, and the

(Kentucky);

Havana Contemporary Music Festival.

(Chattanooga, TN); and ChamberFest Cleveland.

throughout

the

United

States

Recent season highlights include the world premieres of Dreamers often lie for violin and spoken word, Music for the Third Place for violin and electronics, The Conversation of Prayers for soprano and ensemble, and Oxford Alley for chamber orchestra;

String

Theory

the

Hunter

From 2010 to 2013, he served as Senior Director of Artistic Planning of the Saint Paul Chamber Orchestra. He is founding composer and managing director of Third Sound; in 2016, he was appointed Executive Director of Hotel Elefant.

the German premiere of Cirque for solo violin; and

Patrick Castillo holds degrees in music composition

the third New York performance of This is the hour of

and sociology from Vassar College, where his

lead, a chamber cantata for mezzo-soprano and

teachers included Lois V Vierk, Annea Lockwood,

ensemble; as well as premiere performances of

and Richard Wilson. He has also participated in

Patrick Castillo’s chamber works by Anti-Social

master classes with John Harbison, Alvin Lucier,

Music, Ensemble 61, Forecast Music, the Interlochen

Roger Reynolds, and Charles Wuorinen. While at

Chamber Players, the Society for New Music, the

Vassar, Patrick Castillo served as composer-in-

Pharos Music Project, and others.

residence for the Mahagonny Ensemble, a collective

Patrick Castillo is variously active as an explicator of music to a wide range of listeners. He has provided program and liner notes for numerous concert series and recording companies: most prolifically for Music@Menlo, a chamber music festival and institute in Silicon Valley for which he served as Artistic Administrator for more than ten years. In this latter

of performers specializing in twentieth-century music. His Requiem aeternam for mixed chorus and chamber ensemble, composed for the Mahagonny, was awarded the 2001 Jean Slater Edson Prize. He has also been the recipient of the Brian M. Israel Prize, awarded by the Society for New Music for his chamber work Lola.

BENJAMIN CHEN Ben Chen joined the Washington National Opera and Kennedy Center Opera House Orchestra as assistant principal and E-flat clarinetist in 2018. He previously enjoyed an active freelance career based in the greater Cleveland area, holding simultaneous orchestral positions with the Erie Philharmonic Orchestra, the Cleveland Pops Orchestra, and as principal clarinetist of the Youngstown Symphony. Ben has also performed with The Cleveland Orchestra, Detroit Symphony, and as guest principal clarinetist with the Saint Paul Chamber Orchestra. Equally dedicated to chamber music, Ben was a member of the Pierrot new music ensemble, Ars Futura, and the award-winning North Coast Winds quintet. He currently presents recitals nationwide with pianist Dean Zhang as the Edgewater Duo. Festival appearances include the Pacific Music Festival, National Repertory Orchestra, Breckenridge

capacity, he has led a variety of pre-concert

The Quality of Mercy, an album of Patrick Castillo’s

Music Festival, and the Sarasota Music Festival. As an

discussion events; designed outreach presentations

vocal chamber music featuring mezzo-soprano

educator, Ben served as an interim faculty member

at Kent State University and has given master classes

Hall, and in his studies with Mr. Yancich, that a passion

American violist Matthew Cohen is a dynamic and

throughout the United States and China. He earned

for timpani playing developed.

versatile artist whose captivating performances have

degrees from the Cleveland Institute of Music, where

Upon graduation from CIM, Alex became principal

made him one of the most sought-after violists of his

he studied with Franklin Cohen, and an Artist Diploma from the Oberlin Conservatory with Richard Hawkins.

timpanist with the West Virginia Symphony Orchestra, as well as acting principal timpanist with the San Diego Symphony, under Jahja Ling. In 2011, Alex accepted the position of principal timpanist with the Calgary Philharmonic, where he has been able to realize his dream of living near the Rocky Mountains and pursuing his interests of hiking, backcountry skiing, and mountaineering. He occasionally pulls his sister Diana on a sled during

ALEXANDER COHEN Present at rehearsals and concerts from the time of conception, Timpanist/Percussionist Alexander Cohen has had a meandering but passionate relationship with music. From a young age Alex was a student of the piano, which he enjoyed immensely but practiced only occasionally. After several years of frustration, Franklin and Lynette thought another instrument might offer a platform for increased diligence. It was at this time that he took up the cello under the direction of Richard Aaron. Again enjoying the instrument but finding himself bored in the

ski expeditions. The Cohen siblings have the great joy of sharing the stage together every week as members of the Calgary Philharmonic. Alex continues to study, with occasional guidance from David Herbert. In addition to being a founding member of CFC, he has also played as timpanist with the Marlboro Festival Orchestra, St. Louis Symphony, Malaysian Philharmonic, Mainly Mozart Festival Orchestra, Charlotte Symphony, New World Symphony, New York String Orchestra, and the American Academy of Conducting at Aspen.

prizes, he has been awarded the 2018 Center for Musical

Excellence

International

Performing

Arts Grant, top prizes at the 2018 Art of Duo: Boulder International Chamber Music Competition, the 2016 “Citta di Cremona” International Viola Competition in Cremona, Italy, the 2016 Juilliard Concerto Competition and 2015 Vivo International Music Competition and the “Best Performance of Commissioned Work” prize at the 2014 Primrose International Viola Competition. He has concertized as a soloist and chamber musician throughout North America and Europe in venues such as Lincoln Center’s Alice Tully Hall, the Ford Amphitheater and Broad Stage in California, the Arlene Schnitzer Concert Hall in Oregon, Gstaad Menuhin Festival in Switzerland and the Casa della Musica in Cosenza, Italy. His first performance in Carnegie Hall’s Stern Auditorium was at the age of 15 as a soloist in the New York premiere of Tomas Svoboda’s Sonata No. 2 for orchestra and solo

string

quartet,

a work

performed

and

commissioned by the Portland Youth Philharmonic.

practice room, Alex became intrigued with the

He returned to Carnegie Hall in January, 2016 to

more vibrant world of rock ‘n roll. Mr. Aaron agreed

perform York Bowen’s Phantasy for viola and piano

that it was best for Alex to give up music and take

in Weill Recital Hall. Recent solo engagements

up the drums.

include his European debut performing Hummel’s

Several years of study with Feza Zweifel, Paul Cox,

Potpourri with the Gstaad Festival Orchestra and

and Tom Freer landed Alex at the Cleveland Institute

Bartok’s Viola Concerto with the I Virtuosi Italiani

of Music where he studied with Richard Weiner and Paul Yancich. It was in the audience at Severance

generation. A recipient of numerous accolades and

orchestra in Cremona, and presenting the world MATTHEW COHEN

premiere of internationally recognized video game

score composer Garry Schyman’s viola concerto

Matthew is a recent graduate of the Juilliard School’s

Since then, she has performed with the Richmond

“Zingaro” with the Los Angeles Jewish Symphony

Master of Music program where he was the proud

Orchestra, the VMO at the Chan Centre for the

conducted by Dr. Noreen Green. Past appearances

recipient of a Kovner Fellowship; he earned his

Performing Arts in Vancouver, Canada, the Virginia

include concerti with ensembles such as the North

Bachelor of Music degree from Cleveland Institute of

Waring Festival Orchestra in Palm Desert, California

Shore Symphony Orchestra, Juilliard Orchestra,

Music and received an Artist Diploma from Colburn

and the Italy Perugia Music Festival Resident

Colburn Orchestra, Oregon Sinfonietta, and Oregon

Conservatory where he studied with Misha Amory,

Orchestra. In May of 2016, Athena was the featured

Symphony/Oregon Ballet Theater.

Heidi Castleman, Paul Coletti, Jeffrey Irvine, and

piano soloist of the Vancouver Metropolitan

Cynthia Phelps. He has served as a member of the

Orchestra and played the Beethoven Piano Concerto

chamber music faculty at the HeifetzPEG Institute

No. 4 in G major in the season finale concert.

and is the co-founder and Artistic Director of The

Ms. Deng has received many important prizes and

Last Soiréee, a traveling multi-genre performing arts

has extensive training in chamber music as well,

series, and Fishin’ in C Chamber Music Series, a

regularly playing violin-piano duos with her younger

concert series based in Fishtown, Philadelphia that

sister, Corina, and participating in the Pre-College

launched in Fall 2018. His recording of York Bowen’s

Chamber Music program under the direction of

Phantasy for viola and piano with acclaimed pianist

Caroline Gadiel Warner. The sisters have shared their

Vivian Fan is available on the Soundset label.

music in many societies and benefit concerts.

A passionate chamber musician, he has performed alongside many distinguished artists including members of the Borromeo, Guarneri, Orion, Tokyo, and Vermeer string quartets and the Beaux Arts and Tempest piano trios, and has been featured by numerous concert series and chamber music societies including Camerata Pacifica, the Colburn Chamber Music Series, Heifetz Celebrity Series, Jupiter

Symphony

Chamber

Players,

Olmos

Ensemble, and Red Barn Chamber Music. Summer festival engagements include appearances at the

CORINA DENG

Gstaad Menuhin Festival and Academy, Heifetz

Ms. Deng began playing the violin at the age of three

International Music Institute, the Meadowmount

and currently studies with Jaime Laredo and Jan

School for Strings, Music Academy of the West. the

Sloman at The Cleveland Institute of Music. Her

Perlman Music Program, Ravinia’s Steans Music

previous teachers include Nicholas Wright and

Institute, Sarasota Music Festival, and the Young

Andrew Dawes. Corina won first prize in the Canada

Artists Program of Ottawa’s National Arts Center.

National Music Competition at age seven and

In high demand as an orchestral musician, Matthew

DENG SISTERS GUEST YOUNG ARTISTS

made her orchestral debut at age eight with

has served as principal viola with the Chamber

ATHENA DENG

the Vancouver Academy of Music Symphony

Orchestra of Philadelphia, Symphony in C, American Youth Symphony, the Young Musician’s Foundation Debut Orchestra, the Colburn Orchestra, and the Juilliard Orchestra. Additional orchestral activities include performances as guest principal with the Orpheus Chamber, Las Vegas Philharmonic, and Lexington Bach Festival Orchestras and over fifty concerts with the New York Philharmonic.

Athena Deng commenced her piano studies at age four and is honored to be a part of The Cleveland institute of Music Junior Young Artists Program since fall of 2017, where she currently studies with Daniel Shapiro. She made her orchestral debut at age 11, playing Prokofiev Piano Concerto No. 3 in C major with the Vancouver Metropolitan Orchestra.

Orchestra in Vancouver Orpheum Theatre. She has received many important prizes. Corina is grateful to be playing on a violin generously loaned by Kenneth Warren and Son Ltd. of Chicago. In her spare time, Corina enjoys reading, ballet and playing duos with her older sister Athena Deng. The two girls have shared their music in many societies and benefit concerts.

Adam Golka acts as Artist-in-Residence at the College

festivals of Music Academy of the West, National

of the Holy Cross in Worcester, Massachusetts.

Repertory Orchestra, Tanglewood Music Center, and Artosphere. She was a recipient of a Presser Foundation Scholarship at Akron, a winner in two Tuesday Musical Association competitions, and has been a featured soloist with the Akron and Canton Symphony Orchestras.

ADAM GOLKA Polish-American pianist Adam Golka was selected by Sir András Schiff to perform recitals at the KlavierFestival Ruhr in Germany, Tonhalle Zürich, as well as

MEGHAN GUEGOLD

in Berlin and New York. Adam has been regularly on

Meghan Guegold is Principal Horn of both the Akron

the concert stage since the age of sixteen, when he

and Canton Symphony Orchestras. She frequently

won first prize at the 2nd China Shanghai

performs as an extra and substitute horn with The

International Piano Competition. He has also

Cleveland Orchestra, and has also performed with

received the Gilmore Young Artist Award and the

the Minnesota and Florida Orchestras, the Orpheus

OLIVER HERBERT

Max I. Allen Classical Fellowship Award from the

Chamber Orchestra, and the ProMusica Chamber

Cellist Oliver Herbert, from San Francisco, is quickly

American Pianists Association.

Orchestra of Columbus.

building a reputation as an artist with a distinct voice

Adam Golka has appeared as a soloist with

Ms. Guegold is on faculty at the Cleveland Institute of

and individual style—“From his opening notes it was

dozens of orchestras, including the San Francisco,

Music for the Preparatory and Continuing Education

Dallas, Houston, Seattle, San Diego, Indianapolis,

division and the Joint Music Program with Case

Milwaukee, and New Jersey Symphonies. As a

Western Reserve University. She coaches both

recitalist, he has performed at excellent venues

conservatory and preparatory brass ensembles and

such as Lincoln Center’s Alice Tully Hall in New York,

coordinates the chamber music program for

Concertgebouw’s Kleine Zaal, and Musashino Civic

conservatory woodwind and brass students.

Cultural Hall in Tokyo, and at festivals such as Mostly

A northeastern Ohio native, Ms. Guegold has a

Mozart, the Gilmore Keyboard Festival, the Ravinia

master’s degree in performance from CIM, where

Festival, the Newport Music Festival and the Duszniki

she studied with Richard King, and a bachelor’s

Chopin festival. Adam studied with the late Brazilian

degree in performance with honors from the

pianist José Feghali as well as with Leon Fleisher,

University of Akron, where she studied with William

and has worked privately in recent years with Alfred

Hoyt. Additionally, she studied with Rick Solis, Eli

Brendel, András Schiff, Murray Perahia, Richard

Epstein, and David Jolley, and attended the summer

immediately apparent that Herbert has a very vocal approach to his playing and regardless of the technical demands he makes his cello sing”. Performing a wide range of repertoire, Oliver’s recent solo and recital appearances include debuts with the San Francisco Symphony, Chicago Symphony Orchestra, Warsaw Philharmonic, Dame Myra Hess Concert Series, Union College Concert Series, and the San Francisco Symphony Soundbox, among others. He frequently collaborates with pianist Xiaohui Yang, and together they have played recital tours in both the United States and Greece.

Goode, and Ferenc Rados. 71

Oliver has worked with renowned conductors such

She has commissioned compositions from Steven

as Michael Tilson Thomas, Juanjo Mena, and Yannick

Mackey (Groundswell, which premiered at the

Nézet-Séguin. As a chamber musician, Oliver has

Aspen Festival), Shih-Hui Chen (Shu Shon Key) and

performed with some of the leading musicians of

Poul Ruders (Romances). Her 2012 recording,

our time including Shmuel Ashkenasi, Franklin

titledViola Viola, for Bridge Records won accolades

Cohen, Pamela Frank, Miriam Fried, Nobuko Imai,

from Gramophone and BBC Music Magazine. New

and Meng-Chieh Liu.

recording project of the complete solo Bach violin

Oliver is frequently invited to participate in music festivals including the Caramoor Festival,

Sonatas and Partitas is expected to be released in

HSIN-YUN HUANG

2017. Ms. Huang first came to international attention

Violist Hsin-Yun Huang has forged a career

as the gold medalist in the 1988 Lionel Tertis

performing

stages,

International Viola Competition. In 1993 she was

commissioning and recording new works, and

the top prize winner in the ARD International

nurturing young musicians. She has been soloist

Competition in Munich, and was awarded the highly

with the Berlin Radio Orchestra, the Tokyo

prestigious Bunkamura Orchard Hall Award. A native

Philharmonic, the Taiwan Philharmonic, the Russian

of Taiwan, she received degrees from the Yehudi

State

International

Menuhin School, the Curtis Institute of Music and

Contemporary Ensemble, the London Sinfonia, the

the Juilliard School. She was inspired to played the

NCPA Orchestra in Beijing among many others. She

viola when she fell in love with Haydn Quartets. She

performs regularly at festivals including Marlboro,

Oliver’s competition awards include a top prize and

now serves on the faculties of Juilliard and Curtis,

Santa Fe, Rome Chamber Music Festival, and Spoleto

special prize in the XI Witold Lutoslawski International

lives in New York City with her husband Misha

USA. She tours extensively with the Brentano String

Cello Competition in 2018, first prize and Pablo

Amory of the Brentano String Quartet and their two

Quartet, most notably including performances of the

Casals prize in the 2015 Irving M. Klein International

children Lucas and Leah.

complete Mozart string quintets at Carnegie Hall.

ChamberFest Cleveland, Krzyżowa Music, Music in the Vineyards, Open Chamber Music at IMS Prussia Cove, the Ravinia Festival Steans Music Institute, and the Verbier Festival Academy. In addition to being a fellow at the Ravinia Festival, Oliver was also invited to perform on a tour with renowned violinist Miriam Fried, the festival’s director. At the 2017 Verbier Festival, Oliver was awarded the Prix Jean-Nicolas Firmenich.

String Competition, and a top prize in the 2015 Stulberg International String Competition.

international

Symphony,

Zagreb

concert

Soloist

Highlights of the 2017-18 season include concerto performances

under

the

batons

David

Oliver is a graduate of the Curtis Institute of Music

Robertoson, Osmo Vänskä and Josef Cabelle in

where he studied with Carter Brey and Peter Wiley.

Beijing, Taipei and Bogota, she was the first solo

Before starting his studies at Curtis, Oliver was a

violist to be presented in the National Performance

student of Clive Greensmith at the Colburn School.

Center of the Arts in Beijing, collaborating with Xian

He currently plays on a 1769 Guadagnini cello that

Zhang. Appearances at the Seoul Spring Chamber

belonged to the great Italian cellist Antonio Janigro,

Music Festival, the Moritzburg Festival in Dresden

on generous loan from the Janigro family.

and collaborations with the Brentano String Quartet presented by Carnegie Hall among many others.

DANE JOHANSEN

American

cellist

Dane

Johansen

performs

throughout the world as a chamber musician and soloist. Praised for his “brave virtuosity” and “staggering aplomb” (The New York Times, New York Magazine), Dane made his debut under James Levine performing Elliott Carter’s Cello Concerto at Lincoln Center’s celebration of the composer’s centennial. Dane has performed extensively as an

ALEXI KENNEY

WILL LANGLIE-MILETICH RISING STAR

Center and has appeared in recital at Carnegie Hall as

The recipient of a 2016 Avery Fisher Career Grant,

A dynamic performer of multiple genres, Will Langlie-

the first winner of the Leo Ruiz Memorial Award.

violinist Alexi Kenney has been named “a talent to

Miletich got his start in music at the age of 8 playing

More recent engagements include performances of

watch” by the New York Times, which also noted his

the riffs of Jimi Hendrix and Led Zeppelin on the

Walton’s

London

“architect’s eye for structure and space and a tone

guitar. After picking up the double bass at age 11, Will

Philharmonic Orchestra and performances with the

that ranges from the achingly fragile to full-bodied

has had an extensive performance career in classical,

Jerusalem Symphony and Houston Symphony. In

robustness.” Alexi has performed as soloist with the

jazz and many popular genres of music.

2014, Dane walked 600 miles of the famed Camino

Detroit, Indianapolis, Columbus, Santa Fe, Portland, and California symphonies, and has appeared in

In 2016, Will was the first bassist ever selected for

de Santiago with his cello on his back, performing Bach’s Cello Suites in thirty six concerts along the

recital on Carnegie Hall’s ‘Distinctive Debuts’ series

route. His experience is the subject of the

and at Lincoln Center’s Mostly Mozart Festival,

documentary film, Strangers on the Earth, and his

among others. An incoming member of the Chamber

recording of Bach’s Cello Suites will be available in

Music Society of Lincoln Center’s CMS 2 program

the fall of 2019. Prior to joining The Cleveland

beginning in the 2018-19 season, he has written for

Orchestra, Dane was a member of the Escher String

The Strad and has been profiled by Strings Magazine,

Quartet, a recipient of the Avery Fischer Career Grant,

the New York Times, and Musical America.

and a BBC Radio 3 New Generation Artist. He studied

Born in Palo Alto, California in 1994, Alexi is a graduate

at the Cleveland Institute of Music, the Conservatoire

of the New England Conservatory in Boston, where

National Superieur de Paris and the Juilliard School

he studied with Donald Weilerstein and Miriam Fried.

where he received the Artist Diploma.

He plays on a violin made in London by Stefan-Peter

Artist of The Chamber Music Society of Lincoln

Cello

Concerto

with

the

Greiner in 2009. Outside of music, Alexi enjoys hojicha, plush hygge interiors, baking for friends, and walking for miles on end in whichever city he finds himself, listening to podcasts and Bach on repeat.

the top prize in the Klein International Strings Competition. In that competition, Will was also awarded the Pablo Casals prize for the best performance of solo Bach work. As a Klein Laureate, Will has performed with the Peninsula Symphony Orchestra, Santa Cruz Symphony and at Music in the Vineyards in the Napa Valley. In 2018, Will was the sole bassist selected for the prestigious Marlboro Music Festival. Will has been a fellow at the Aspen Music Festival and School, and has attended Boston University’s Tanglewood Institute, and the Domaine Forget International Music Academy in Quebec, Canada. Admitted to the Curtis Institute of Music at age 16, where he is the Milton Levy Fellow, Mr. LanglieMiletich is in his final year of instruction with Harold Robinson and Edgar Meyer. 73

YURA LEE Violinist/violist Yura Lee is one of the most versatile and compelling artists of today. She is one of the very few in the world that has mastery of both violin and viola,

and

she

actively performs

both

instruments equally. Her career spans through various musical mediums: both as a soloist and as a chamber musician, captivating audiences with music from baroque to modern, and enjoying a career that spans more than two decades that takes her all over the world. Yura Lee was the only first prize winner awarded across four categories at the 2013 ARD Competition in Germany. She has won top prizes for both violin and viola in numerous other competitions, including first prize and audience prize at the 2006 Leopold Mozart Competition (Germany), first prize at the 2010 UNISA International Competition (South Africa), first prize at the 2013 Yuri Bashmet International Competition (Russia), and top prizes in Indianapolis

by National Public Radio. She is also the recipient of

many artists including Gidon Kremer, Andras Schiff,

the prestigious Avery Fisher Career Grant given by

Leonidas Kavakos, Mitsuko Uchida, Miklós Perényi,

Lincoln Center in New York City. Yura Lee’s

Yuri

CD with Reinhard Goebel and the Bayerische

Helmerson. Yura Lee is currently a member of the

Kammerphilharmonie,

Chamber Music Society of Lincoln Center (New York

titled

‘Mozart

Paris’

Bashmet,

Menahem

Pressler,

and

Frans

(Oehms Classics) received the prestigious Diapason

City), and Boston Chamber Music Society.

d’Or Award in France.

Yura Lee studied at the Juilliard School (New York

Yura Lee was nominated and represented by

City), New England Conservatory (Boston), Salzburg

Carnegie Hall for its ECHO (European Concert Hall

Mozarteum

Organization) series. For this series, she gave recitals

(Germany). Her main teachers were Namyun Kim,

at Carnegie’s Weill Recital Hall and at nine celebrated

Dorothy DeLay, Hyo Kang, Miriam Fried, Paul Biss,

concert halls in Europe: Wigmore Hall in London,

Thomas Riebl, Ana Chumachenko, and Nobuko

Symphony Hall in Birmingham, Musikverein in

Imai. She teaches both violin and viola at the Mason

Vienna, the Mozarteum in Salzburg, Palais des Beaux-

Gross School of the Arts at Rutgers University.

Arts in Brussels, Concertgebouw in Amsterdam,

Yura Lee lives in Portland, Oregon.

(Austria),

and

Kronberg

Academy

Stockholm Konserthus, Athens Concert Hall, and Cologne Philharmonie. As a soloist, Yura Lee has appeared with many major orchestras, including New York Philharmonic, Chicago Symphony, Baltimore Symphony, Cleveland Orchestra,

Detroit

Symphony,

San

Francisco

Symphony, Los Angeles Philharmonic, Monte Carlo Philharmonic, Hong Kong Philharmonic, Tokyo Philharmonic, to name a few. She has performed with conductors Christophe Eschenbach, Lorin Maazel, Leonard Slatkin, Myung-Whun Chung, Mikhail Pletnev, among many others.

MATTHEW MCDONALD Matthew McDonald is Principal Bassoon of the Rochester Philharmonic Orchestra.

Before his

appointment there, he was Principal Bassoon of the

(USA), Hannover (Germany), Kreisler (Austria), and

As a chamber musician, Yura Lee regularly takes part

Louisiana Philharmonic Orchestra and Co-Principal

Paganini (Italy) Competitions.

in the Marlboro Festival, Salzburg Festival, Verbier

Bassoon of the ProMusica Chamber Orchestra in

Festival, La Jolla SummerFest, Seattle Chamber

Columbus, Ohio. Mr. McDonald has performed as

Music Festival, ChamberFest Cleveland, Caramoor

soloist with the Rochester Philharmonic Orchestra,

Festival, Kronberg Festival, Aspen Music Festival,

Louisiana

At age 12, Yura Lee became the youngest artist ever to receive the Debut Artist of the Year prize at the “Performance Today” awards given 74

among many others. She has collaborated with

Philharmonic

Orchestra,

Huntsville

Symphony

Austria, Brazil, Canada, Chile, Colombia, France,

summers have taken him to Ravinia’s Steans Music

Orchestra, Shepherd School Chamber Orchestra,

Germany, Israel, Italy, the UK, and across the US.

Institute, Menuhin Festival String Academy, Norfolk

and the Cleveland Orchestra. He has appeared with

Nathan has performed at Alice Tully Hall, the Waterloo

Chamber Music Festival, Juilliard String Quartet

festival orchestras such as the Schleswig-Holstein

Chamber at Windsor Castle, the Philharmonie de

Seminar, and McGill International String Quartet

Festival Orchestra and the Tanglewood Music Center.

Paris, the Berliner Philharmonie, four times on

Academy. Mr. Menees also performed on Ravinia’s

National Public Radio, and five times at Carnegie

annual tour in 2017, and he will be performing as a

Hall. In addition to ChamberFest Cleveland, Nathan

part of the Marlboro Music Festival this summer. He is

participates this season in the Heidelberger Frühling

also a part of the Los Angeles Ensemble, a piano

and the Moritzburg Festival and gives recitals in New

quartet based in LA.

York, London, and Santiago. A graduate of the

Tanner Menees has served as principal viola for the

Symphony

Orchestra,

the

Curtis

Born in Huntsville, Alabama, Matthew began studying with Hunter Thomas, and later with Benjamin Kamins. A graduate of the Curtis Institute of Music, his other teachers include Barrick Stees, Bernard Garfield, and Daniel Matsukawa. Along with soprano Susanna Phillips, Matthew cofounded Twickenham Fest, a chamber music festival in Huntsville, Alabama.

Perlman Music Program, Nathan plays chamber music with Omega Ensemble and studies with Itzhak Perlman and Li Lin at Juilliard. He is under worldwide general management with Hazard Chase.

Colburn Orchestra under the batons of Yehuda Gilad, Sir Neville Marriner, Robert Spano, and Edo de Waart. He has also performed as a soloist with the Colburn Orchestra under maestro Thierry Fischer. Mr. Menees

Nathan performs on the “Ames, Totenberg” Antonio

received his Bachelor of Music degree and Artist

Stradivari violin, Cremona 1734, which is on loan

Diploma studying with Paul Coletti at the Colburn

from Rare Violins In Consortium, Artists and

School. He will commence studies with Kim

Benefactors Collaborative.

Kashkashian at the New England Conservatory in the fall as a Master of Music candidate.

NATHAN MELTZER RISING STAR Youngest

ever to

win

the

Windsor

Festival

International String Competition, violinist Nathan Meltzer (nathanMeltzer.com) has been a soloist with the Philharmonia Orchestra, the Orchestre national d’Île-de-France,

the

Orquesta

Filarmónica

Medellín, the Orquesta Sinfónica de Concepción, the Berliner Symphoniker, the Pittsburgh Symphony, the Indianapolis Symphony, and the Adelphi, Bloomington, Charlotte Civic, Evansville, and Muncie orchestras, among others, performing in Argentina,

TANNER MENEES RISING STAR Tanner Menees plays the viola largely in a chamber

AMY SCHWARTZ MORETTI

music setting. Mr. Menees has collaborated in

Violinist Amy Schwartz Moretti has a musical career

chamber music performances with notable artists

of broad versatility that spans nearly two decades.

such as Martin Beaver, Denis Bouriakov, Miriam Fried,

Recent projects include performing Beethoven’s

Clive Greensmith, Richie Hawley, Lynn Harrell, Frans

complete string quartets in Korea; recording Schubert

Helmerson, Gary Hoffman, and Ronald Leonard. His

and Sibelius quartets in England; leading McDuffie 75

Center String Ensemble’s Carnegie Hall debut; and

American pianist Evren Ozel began his musical

performing the international premiere in Japan, of

education at age 3, taking lessons at MacPhail Center

“Three Shades of Blue,” GRAMMY® winner Matt

for Music in his hometown of Minneapolis, MN. He

Catingub’s

Former

has performed with numerous orchestras including

Concertmaster of the Oregon Symphony and Florida

concerto written

for her.

the Cleveland Orchestra, Jacksonville Symphony,

Orchestra, Amy has served as guest concertmaster

RTÉ National Symphony, Minnesota Orchestra,

for the symphony orchestras of Pittsburgh, Atlanta,

and Boston Pops. He has taken masterclasses

New York Pops, Hawaii Pops, and festival orchestras

from Andras Schiff, Richard Goode, and Paul

of Brevard, Colorado and Grand Teton.

Lewis, as well as many other notable artists. His

Director of the McDuffie Center for Strings since its

achievements include scholarships from the U.S.

Praised by Strad magazine as having “lyricism that

Chopin Foundation and the YoungArts Foundation,

stood out…a silky tone and beautiful, supple lines,”

first prize at the 2016 Boston Symphony Concerto

violist Milena Pajaro-van de Stadt has established

Competition, second prize at the 2016 Thomas and

herself as one of the most sought-after violists of

Evon Cooper International Competition, and second

her generation. In addition to appearances as soloist

prize as well as the Mozart and Chopin special prizes

with the Tokyo Philharmonic, the Jacksonville

at the 2018 Dublin International Piano Competition.

Symphony, and the Sphinx Chamber Orchestra, she

He has performed three times on NPR’s From the

has performed in recitals and chamber-music

Top, as a soloist and as a chamber musician, and has

concerts throughout the United States, Latin

participated in festivals such as Marlboro Music

America, and Europe, including an acclaimed 2011

Festival and International Mendelssohn Akademie

debut recital at London’s Wigmore Hall, which was

Leipzig. He has previously studied piano with Dr. Paul

described in Strad as being “fleet and energetic…

Wirth, theory and composition with Dr. Sarah

powerful and focused”.

Miller, and conducting with Courtney Lewis. In 2014,

Ms. Pajaro-van de Stadt is the founding violist of the

Ozel moved to Massachusetts, attending Walnut Hill

Dover Quartet, First Prize-winner and recipient of

School

from

every special award at the Banff International String

Walnut Hill in 2017, he matriculated to New England

Quartet Competition 2013, and winner of the Gold

Conservatory, where he currently studies piano with

Medal and Grand Prize in the 2010 Fischoff Chamber

Wha Kyung Byun.

Music Competition. Her numerous awards also

inception in Mercer University’s Townsend School of Music, Ms. Moretti has developed the Fabian Concert Series and holds the Caroline Paul King Chair in Strings. She is a member of the internationally acclaimed Ehnes Quartet and maintains an active schedule of solo, chamber and concertmaster appearances. Her dedication to collaboration and performance complements her directorship and inspires her teaching of the Center’s gifted musicians. Through the efforts of the Stradivari Society, Amy plays a Guadagnini violin. She lives in Georgia with her husband and two sons, enjoying all aspects of motherhood, especially Saturday soccer games.

for

the

Arts.

After

graduating

MILENA PAJARO-VAN DE STADT

include First Prize of the Lionel Tertis International Viola Competition and top prizes at the Tokyo International Viola Competition and the Sphinx Competition. Ms. Pajaro-van de Stadt’s summer EVREN OZEL RISING STAR

festival appearances include Marlboro, Bowdoin,

Santa Fe Chamber Music Festival, Sarasota, Strings,

Pohjonen is also an ardent exponent of Scandinavian

Philharmonic, San Francisco Symphony, Atlanta

Bravo! Vail, and La Jolla Summerfest, as well as Italy’s

music and his growing discography offers a

Symphony, Buffalo Philharmonic, and Mostly Mozart

Emilia Romagna Festival. Among the conductors

showcase of compositions by Finnish compatriots,

Festival, and with orchestras throughout Scandinavia.

with whom she has worked are Seiji Ozawa,

including Esa-Pekka Salonen and Kaija Saariaho.

Elsewhere, he has performed with the National Arts

Christoph Eschenbach, Alan Gilbert, Charles Dutoit,

Juho Pohjonen openned the 2018-2019 season in a

and Otto-Werner Mueller.

duo concert with Swedish cellist Jakob Koranyi, with

Centre Orchestra in Ottawa; in the United Kingdom, with the Philharmonia and Scottish Chamber Orchestra,

Bournemouth

Symphony;

Zagreb

A violin student of Sergiu Schwartz and Melissa

whom he appeared in Mälmo. During the season,

Pierson-Barrett for several years, she began studying

Juho Pohjonen appeared as soloist with the

viola with Michael Klotz at the Bowdoin International

Nashville, Pacific, Bay Atlantic and Duluth Superior

Music Festival in 2005. Ms. Pajaro-van de Stadt

Symphony Orchestras.

graduated from the Curtis Institute of Music, where

association with the Chamber Music Society of

she studied with Roberto Diaz, Michael Tree, Misha

Lincoln Center, appearing with the Escher Quartet in

Amory, and Joseph de Pasquale. She then received

New York’s Alice Tully Hall and Chicago’s Harris

her Master’s Degree in String Quartet with the

Theater, and performing with violinist Angelo Xiang

Dover Quartet at Rice University’s Shepherd

Xu in New York, Chicago and Madison, NJ. He also

School of Music, as a student of James Dunham.

collaborated with members of the Calidore at the

Mr. Pohjonen’s debut recording Plateaux, released

Ms. Pajaro-van de Stadt performs on a 1780

Wolf Trap Foundation for the Performing Arts in

on Dacapo Records, features works by Scandinavian

Michele Deconet generously on loan by the

Vienna, Virginia. Other season highlights of Juho

composer Pelle Gudmundsen-Holmgreen Recently,

grandson of the viola’s former owner, Boris Kroyt

Pohjonen included his recital debut at the 92nd

he formed the Sibelius Piano Trio with Petteri Iivonen

of the Budapest String Quartet.

Street Y in New York and concerts in Alicante, Spain,

and Samuli Peltonen, and released a recording on

the Lane Series of the University of Vermont, and

Yarlung Records in honor of Finland’s centennial. A

Music Toronto.

new recording with cellist Inbal Segev, released on

He enjoyed an ongoing

Juho Pohjonen has previously appeared in recital in New York’s Carnegie Hall and Lincoln Center, at the

JUHO POHJONEN Juho Pohjonen is one of today’s most exciting and vibrant instrumentalists. The Finnish pianist performs widely in Europe, Asia, and North America, with symphony orchestras, in recital and chamber music.

Philharmonic in Croatia, and toured Japan with the Lahti Symphony Orchestra.

Mr. Pohjonen has

collaborated with today’s foremost conductors, including Marin Alsop, Lionel Bringuier, Marek Jankowski, Kirill Karabits, Esa-Pekka Salonen, Markus Stenz, and Pinchas Zukerman, and has appeared on multiple occasions with the Atlanta Symphony and music director Robert Spano.

Avie Records in 2018, features music of Chopin, Schumann, and Grieg.

Kennedy Center in Washington, DC, and San

Juho Pohjonen began piano studies in 1989 at the

Francisco, La Jolla, Detroit, and Vancouver. He made

Junior Academy of the Sibelius Academy in Helsinki.

his London debut at Wigmore Hall, has given recitals

He continued work with Meri Louhos and Hui-Ying

throughout Europe—Antwerp, Hamburg, Helsinki, St.

Liu-Tawaststjerna at the Sibelius Academy from

Petersburg,

which he obtained a Master’s Degree in 2008. In

Lucerne, Savonlinna, Finland, Bergen, Norway, and

2009, Pohjonen was selected by Sir András Schiff as

Mecklenberg-Vorpommern in Germany, as well as

winner of the Klavier Festival Ruhr Scholarship. He

the Gilmore Keyboard Festival. Pohjonen has

has won numerous prizes in both Finnish and

performed

international competitions.

Warsaw—appeared

soloist with the

festivals

Los Angeles

Classical Voice) made his Israel Philharmonic debut

performed with The Instrumenta Music Festival in

under Zubin Mehta aged 10, having immigrated

Puebla, Mexico and the Palm Beach Chamber Music

to Israel a year before from Tashkent, Uzbekistan.

Festival. This summer marks his third return to

Rabinovich was the first of three young pianists to be

ChamberFest Cleveland.

championed by András Schiff, who selected him for his Building Bridges series. He has performed with all the major Israeli orchestras, Orchestre de Chambre de Paris, KBS Symphony, Prague Symphony, Buffalo

ROMAN RABINOVICH

Philharmonic and many others.

Praised by The New York Times for his “uncommon

Mr. Traba holds Bachelor and Master of Music degrees from The Cleveland Institute of Music and has done postgraduate work at the Juilliard School. In addition to his orchestral duties, he has a private bassoon studio in Sarasota, serves on the faculties of Florida Southern College in Lakeland as well as

sensitivity and feeling”, the eloquent young pianist

the State College of Florida in Bradenton, and has

Roman Rabinovich is the winner of the 12th Arthur

edited

Rubinstein International Piano Master Competition.

and

provided

the

Spanish

language

translation for the 2nd edition of Bassoon Reed

He has performed throughout Europe and the USA

Making: Basic Technique by Christopher Weait.

in such prestigious venues as Leipzig’s Gewandhaus, London’s Wigmore Hall, the Great Hall of Moscow Conservatory, Cité de la Musique in Paris and the Millennium Stage at Washington DC’s Kennedy Center. Dubbed “a true polymath, in the Renaissance

FERNANDO TRABA

sense of the word” (Seen & Heard International,

Fernando Traba, Principal Bassoon of the Sarasota

2016), Rabinovich is also a composer and visual

Orchestra, is a native of Mexico City, Mexico.

artist. In summer 2016 he embarked upon the Haydn

Mr. Traba has served as Principal Bassoon with all five

Project, encompassing recitals of Haydn’s complete

major orchestras in Mexico City, as well as the

keyboard sonatas at Lammermuir and Bath Festivals

Orchestra of the Principality of Asturias in Oviedo,

in UK. Highlights of Rabinovich’s 2017-18 season will

Spain, the National Opera Orchestra in Lisbon,

include appearances with the Royal Scottish National

Portugal and the Orquesta Sinfónica de Minería in

Orchestra and Sir Roger Norrington, Symphony in C,

Mexico City. He has performed many of the major

Szczecin Philharmonic, Leopoldinum Chamber

bassoon concertos with orchestras in Mexico,

Orchestra and Boca Raton Symphonia and recitals

Europe and the United States. Most recently he was

for the Washington Performing Arts Society and at

heard in 3 performances of the Richard Strauss Duet-

Wigmore Hall.

Concertino with Clarinetist Bharat Chandra and the

Rabinovich, “whose mature, self-assured playing belies 78

his

chronological

age”

(San

Fransisco

Sarasota Orchestra in February, 2019. An avid chamber musician, Mr. Traba has been a member of the Sarasota Wind Quintet since 1992. He has

PETER WILEY Cellist, Peter Wiley enjoys a prolific career as a performer and teacher. He is a member of the piano quartet, Opus One, a group he co-founded in 1998 with pianist Anne-Marie McDermott, violinist Ida Kavafian and violist Steven Tenenbom. Mr. Wiley attended the Curtis Institute of Music as a student of David Soyer. He joined the Pittsburgh Symphony in 1974. The following year he was appointed Principal cellist of the Cincinnati Symphony Orchestra, a

position he held for eight years. From 1987 through

Toulouse,

1998, Mr. Wiley was cellist of the Beaux Arts Trio. In

Symphony, conductors Valery Gergiev, Zubin

2001 he succeeded his mentor, David Soyer, as

Mehta, David Robertson, James DePreist and Yuri

cellist of the Guarneri Quartet. The quartet retired

Bashmet, at Avery Fisher Hall, Carnegie Hall’s Stern

from the concert stage in 2009. He has been

Auditorium, Tokyo’s Suntory Hall and Amsterdam

awarded an Avery Fischer Career Grant, nominated

Concertgebouw. As a recitalist he performed at

for a Grammy Award in 1998 with the Beaux Arts

Carnegie Hall’s Distinctive Debut series, People’s

Trio and in 2009 with the Guarneri Quartet. Mr.

Symphony Concerts, the Louvre Museum, Suntory

Wiley participates at leading festivals including

Hall and Frankfurt Radio.

Music from Angel Fire, Chamber Music Nothwest,

Mr. Zorman was invited to the Verbier, Marlboro,

OK Mozart, Santa Fe, Bravo! and Bidgehampton. He continues his long association with the Marlboro Music Festival, dating back to 1971. Mr. Wiley teaches at the Curtis Institute of Music and Bard College Conservatory of Music.

Utah

Symphony

and

American

Rheingau, Mecklenburg-Vorpommern and Radio France Festivals. He is a member of the Israeli Chamber project, and a member of the Lysander Piano Trio, which won the 2012 Concert Artists Guild Competition. Mr. Zorman studied at the Jerusalem Academy, The Juilliard School, Manhattan School of Music and the Kronberg Academy, working with Sylvia Rosenberg and Christian Tetzlaff. He plays a 1734 Guarneri Del Gesù violin from the collection of Yehuda Zisapel.

ITAMAR ZORMAN Awarded the Borletti-Buitoni Trust Award for 2014, violinist Itamar Zorman is the winner of the 2013 Avery Fisher Career Grant, and the 2011 International Tchaikovsky Competition in Russia. Mr. Zorman has performed as a soloist with such orchestras as the Mariinsky Orchestra, Israel Philharmonic, KBS Symphony Seoul, German Radio Philharmonic, Orchestre National du Capitole de 79

DONORS 201 9 This list includes all individual donors as of May 20, 2019. Every effort has been made to ensure its accuracy. Please contact cheryl@chamberfestcleveland.com with any errors or omissions.

BENEFACTOR $5,000-$10,000 Christopher Brandt and Beth Sersig Franklin Cohen Joyce Glickman Morton and Judith Levin Barbara Robinson DONOR $2,500-$4999 William P. Blair, III Irad and Rebecca Carmi Brian and Cindy Murphy Diana Cohen Alexander Cohen Rob Gudbranson and Joon-Li Kim Patrick Ellingsworth and Kris Ellingsworth Andrew and Judy Green Dr. Damir Janigro and Ms. Kim Conklin S. Lee Kohrman Astri Seidenfeld PATRON $1,000-$2,499 Mr. Richard Bogomolny and Ms. Patricia Kozerefski Arthur Brooks 80

Marshall and Brenda Brown Ann Calkins Robert Conrad Carol Frankel Mr. Richard Goddard and Mrs. Anne Unverzagt Francis and Maureen Greicius Scott and Pamela Isquick Larry and Barbara Kronick Richard and Barbara Lederman Dan and Courtney Lindsay Frank and Ellen Loughan Robert Risman Kenneth and Amy Rogat Joel and Beth Scott Alice Sherman Stephen and Martha Somach Bruce and Virginia Taylor Christina and Tom Thoburn Jordan and Jeanne Tobin Gregory Wuliger SUPPORTER $500-$999 Dr. Ronald H. Bell Dr. Glenn R. Brown and Dr. Jeanette Grasselli Brown Barbara Davis Doris Donnelly John and Pam Gibbon

Bob and Nicki Gudbranson Rabbi Roger C. Klein Costa Petridis Alleyne Toppin Carl Tretter Stephen and Carolyn Gadiel Warner Doreen Ziska CONTRIBUTOR $250-$499 Cathy and Bill Annable Tom and Abby Abelson Dr. Tom Abelson and Dr. Abby Abelson Marilyn Bedol Dr. and Mrs. Erol Beytas Susan Starrett and Jarod Brown Eileen Burkhart Irene Ten Cate Robert Chwast John and Pam Gibbon Peter and Joanne Griesinger James and Gale Jacobsohn Bernette Jaffe Kurt and Mary Beth Karakul Dr. William Katzin and Katherine Solender Eric and Sue Kisch Dr. Stephan and Mrs. Lillian Levine Mr. Jeff Litwiller Chris and Gaylee McCracken Glenn and Ida Mercer Vincent M. Monnier Daniel and Polly Morgenstern Margie Moskovitz Deborah Neale

Nancy Osgood Diane â&#x20AC;&#x153;Deedeeâ&#x20AC;? Paster Jeff and Martha Pollock Dale and Marcie Rubin Peter and Sylvia Salaff Tim Skola Jan C. Snow George and Mary Stark Sue Starrett and Jerry Smith Avi Stern and Bracha Cohen Dr. Elizabeth Stern Nancy L. Wolpe FRIEND Up to $249 Nancy A. Adams Ken and Sharen Bakke Ms. Bonnie M. Baker Geoffrey and Maryann Barnes Ruth Berger Stephen Bottorff and Pat Moyer Terry Boyarsky Judy Bundra Dr. Owen Cantor Ed and Carolyn Gabelman James Collins Mr. Marc Damoulakis and Ms. Samantha Basford Wendy Deuring Avrum and Phyllis Froimson Katherine A. Ganz Peter D. Garlock Barbara A. Gartland Gayle Gathercole Lois Gaynor

Irena and Gheorghe Cheremoush Nina Gibbans Chip Gilkeson Walter and Anne Ginn Nan and Sheldon M. Gisser Timothy Unverzagt Goddard Sally Good Barbara Green David and Lori Hammack Kenneth Harwood Maxine Karns Robert and Nancy Klein Michael and Sarah Knoblauch Nancy Kohn Mary Kay Johnson Konicek Janet Kramer Marj Krause Andrew and Susan Krembs Barbara Kuby Chris and Marilyn Langmack Brian Larson and Laurie Albright Alice Lefkowich Gary Levine and Pamela Barron George McGaughey Brenda Mikota Marvin and Mrs. Renate Miller Toni Miller Paula Mindes and George Gilliam Louise F. Mooney Joseph and Barbara Nahra Rachel Wayne Nelson Fred Ormand Linda Park James and Marian Patterson Laura Peskin

Marlene Phillips Richard and Joanne Prober Quentin and Gay Quereau Dr. Richard E. Rodda and Ms. Janet Curry Illene Rosewater John and Linda Roush Polly Ryder Marjorie Bell Sachs Mr. Michael Salkind and Carol Gill Mari Sato Charles Schenkelberg Rick and Judy Schiller Melvin and Susan Schwarzwald Allan Silberger John Simna Nan T. Sims Ms. Barbara Fitzhugh and Mr. Howie Smith Doris Sopher Linda Sperry Jane Peterson and Philip Star Myron Stern Donald and Jackie Stimpert Fan-Chia Tao and Tara Kazak Robert Targett Susan Thomson Tripathy Ken Uchino Steve and Denise Umans Ann Warren Loren and Lita Weiss Israel and Judith Weitzman Yoash and Sharon Wiener Sheila Wyse

STAFF BOARD INTERNS PROFESSIONAL STAFF Diana Cohen, Executive and Co-Artistic Director Franklin Cohen, Co-Artistic Director Cheryl Carter, Managing Director Jamil Hairston, Assistant to the Managing Director FESTIVAL STAFF Gary Adams, Photographer Emil Agopian, Film Production Erica Brenner and Ken Wendt, Video Production Bruce Egre, Recording Engineer Eric Farnan, Festival Librarian Allison George, Production Manager Hunter Lorelli, Production Assistant Deedee Paster, Artist Liaison BOARD OF DIRECTORS Richard Goddard, Chair Diana Cohen, President Rebecca Carmi Franklin Cohen Carol Frankel Joyce Glickman Robert Jackson Ellen Loughan Joon-Li Kim Marjorie Kitchell Dan Lindsay Costa Petridis Christina Thoburn Jeanne Tobin

ADVISORY BOARD Dr. Ronald H. Bell Jonathan Biss William Blair III Irad Carmi Alexander Cohen Gayle Gathercole John Gibbon Jeanette Grasselli Brown Bernette Jaffe Damir Janigro Mary Beth and Kurt Karakul Rabbi Roger C. Klein Joel Levin Barbara S. Robinson Orion Weiss INTERNS David Coy Mariah Fritz Paige MacMullan

VENUES CLEVELAND INSTITUTE OF MUSIC MIXON AND KULAS HALLS 11021 East Boulevard, Cleveland, Ohio 44106 NOTICE: Due to construction at CIM, parking will not be available in their lot. Free parking is being offered courtesy of the VA Northeast Ohio Healthcare System in their garage at 10701 East Boulevard (two doors west of CIM on the north side of the street). Handicap parking spaces in front of CIM can be reserved in advance. Additionally, free street parking is available throughout University Circle after 6 PM. For questions about parking please call 216-471-8887. CLEVELAND MUSEUM OF ART GARTNER AUDITORIUM 11150 East Boulevard, Cleveland, Ohio 44106 Free street parking is available throughout University Circle after 6 PM. Paid parking is available in The Cleveland Museum of Art garage. HARKNESS CHAPEL AT CASE WESTERN RESERVE UNIVERSITY 11200 Bellflower Road, Cleveland, Ohio 44106 Free street parking is available surrounding the venue and througout University Circle. THE WINE SPOT 2271 Lee Road, Cleveland Heights, Ohio 44118 Ample metered parking behind The Wine Spot and on Lee Road.

THANK YOU! To all who make ChamberFest possible, including: FOUNDATION & GOVERNMENT SUPPORT $30,000 - $50,000 The Cleveland Foundation The Milton and Tamar Maltz Family Foundation $20,000 - $29,999 Cuyahoga Arts & Culture The George Gund Foundation $10,000 - $19,999 Paul M. Angell Family Foundation National Endowment for the Arts Ohio Arts Council $2,000 - $9,999 Amphion Foundation Calfee, Halter, & Griswold LLP Harry K. Fox and Emma R. Fox Charitable Foundation John P. Murphy Foundation David and Inez Myers Foundation Third Federal Foundation

2019 HOST FAMILIES Terry Boyarsky David and Doris Budin Eileen Burkhart Marsha Dobrzynski and Roger Breedlove Richard and Christine Elliott David and Carol Entrikin Gary and Deb Franke Richard Goddard and Anne Unverzagt Ann Iannarelli Kurt and Mary Beth Karakul Willie Katzin and Katie Solender Bert and Marjorie Moyar Brian and Cindy Murphy Ed and Sarah Peck Jeff and Martha Pollock Bill and Cari Ross

2019 FESTIVAL SPONSORS

Bourbon and Becky Ziegler

ARTIST SPONSOR Calfee, Halter & Griswold, LLP Hsin-Yun Huang

RISING STAR SPONSORS Each year, ChamberFest invites exemplary young artists to play alongside established chamber music professionals during our summer festival, an experience that often launches their careers to the next level and beyond. This year we are pleased to present our Rising Star sponsors: Christopher Brandt and Beth Sersig The Milton and Tamar Maltz Family Foundation CONCERT SPONSOR Third Federal Foundation Mozart the Giant

SPECIAL THANKS TO Laura Beytas, Auction Chair ClevelandClassical.com Will Craig Carol Entrikin Debra Franke ideastream/WCLV Mitchellâ&#x20AC;&#x2122;s Homemade Ice Cream Murray Hill Market Alan Olshan, Ticket Brochure Writer The Plain Dealer Dr. Richard E. Rodda, Program Annotator Christina Thoburn VA Northeast Ohio Healthcare System GRAPHIC DESIGN Pastiche, LLC VIDEO & SOUND Azica Records Erica Brenner Productions

Note: All artists and programs are subject to change. Please visit our website www.chamberfestcleveland.com for up-to-the-minute details.

CFC CONGRATULATES OUR NEWEST GRAMMY AWARD WINNER ON OUR TEAM ERICA BRENNER OTHER PAST AND PRESENT WINNERS Ian Dobie, Past CFC Recording Engineer

Shhh. QUIET STYLE S P E A K S VO LU M E S

Karim Sulayman, Past CFC Artist Scott Bell, oboe, 2019 CFC Artist Jessica Bodner, viola, 2019 CFC Artist Franklin Cohen, Principal Clarinet Emeritus of The Cleveland Orchestra and Co-Artistic Director, ChamberFest Cleveland Bruce Egre, 2018-19 CFC Recording Engineer

The Cleveland Israel Arts Connection is proud to support

Eton Chagrin Boulevard kilgoretrout.com

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ROMAN RABINOVICH & ITAMAR ZORMAN and their performances with ChamberFest Cleveland. The Cleveland Israel Arts Connection is a program of the Jewish Federation of Cleveland, connecting our community with the most dynamic 21st century cultural experiences that Israel has to offer.

a program of the Jewish Federation of Cleveland

www.jewishcleveland.org

12387 Cedar Road | Top of the Hill Cleveland Heights | 216/795-0550 Kitchen open seven nights per week until midnight. Music on most evenings. Please check the schedule on our website. Piano bar every Friday and Saturday, 10:30 p.m.—1:00 a.m. After the performance, call us on your mobile phone and we’ll hold a table for you. www.nighttowncleveland.com

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Joining with

our friends andour neighbors friends and neighbors to CELEBRATE and neighbors to CELEBRATE to CELEBRATE Joining with our friends and ChamberFest neighbors to CELEBRATE ChamberFest ChamberFest Cleveland Cleveland Cleveland

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Dover Quartet

James Ehnes, violin & Andrew Armstrong, piano The Complete Beethoven Sonatas for Violin and Piano September 17, January 14, April 21 Jerusalem Quartet October 22, 2019

Till Fellner, piano November 12, 2019

Dover Quartet December 3, 2019

Apollon Musagète Quartet February 4, 2020

Chanticleer: "Trade Winds" March 3, 2020 Albers Trio, David Bowlin, viola, & Maiya Papach, viola May 5, 2020

Chanticleer

216.291.2777 ClevelandChamberMusic.org

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Students enjoy a stimulating, supportive atmosphere with world-class chamber music faculty. Through CIMâ&#x20AC;&#x2122;s Center for Innovative Musicianship (CIM2), students can take advantage of comprehensive career services, community and virtual performance opportunities and an entrepreneurship-focused curriculum.

cim.edu Bachelor of Music | Master of Music | Doctor of Musical Arts Artist Certificate | Professional Studies | Artist Diploma

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MAKE A GIFT! Contributions of every size make it possible for ChamberFest to present world-class chamber music to our community, keep ticket prices at a minimum and offer discounts to young audiences.

3W AYS TO MAKE A GIFT â&#x20AC;Ś 1. S END A CHECK TO: ChamberFest Cleveland 20620 John Carroll Boulevard, Suite 217 Cleveland, Ohio 44118

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www.ChamberFestCleveland.com

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ChamberFest Cleveland is an Ohio non-profit organization exempt from Federal income tax under Section 501(c)(3) of the Internal Revenue Code. ChamberFest Cleveland is also qualified to receive tax-deductible bequests, devices, transfers or gifts under Code Section 2055, 2106 or 2522