Norfolk Chamber Music Festival 2012 Concert Program

C H A M B E R M U S I C F E S T I V A L • YA L E S C H O O L O F M U S I C

Music Among Friends

2012

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Director's Welcome When the Battell family built their Norfolk estate in the 19th century, they designed an oasis of tranquility and beauty in the midst of a hectic world. They opened their home to the community and engaged the very best musicians from around the world to perform for Norfolk audiences. Today their estate continues to be a haven where families and friends can escape the daily grind to enjoy music in a beautiful setting.

On behalf of the Yale School of Music and the Artists, Fellows and Staff of the Norfolk Chamber Music Festival, welcome to the Battell Stoeckel Estate. If you are visiting for the first time, please be sure to say hello; and to our returning friends, it is great to see you again!

The centerpiece of our Main Series and Young Artists’ Performances this year will be the complete cycle of Beethoven String Quartets. Collectively these seminal works of the chamber music literature stand at the absolute pinnacle of western artistic achievement. They span the entire compass of human expression and provide an incomparable listening experience. We will have the rare opportunity to hear all 16 of them performed by three of the world's very finest ensembles – the Artis, Keller and Tokyo String Quartets – as well as by some wonderful student Fellows with a fresh perspective. To find out when your favorite Beethoven quartet is programmed, just thumb through the pages of this book or consult our website (where the Young Artists’ programs are listed weekly) at norfolkmusic.org. If you can’t make it to Norfolk on a given weekend, all our Friday and Saturday night concerts are streamed live on the website. You can also get the latest news and follow us for the entire summer on Facebook and Twitter.

As always, the heart of our program will be the Young Artists’ Performance Series, Thursday evenings at 7:30 pm and Saturday mornings at 10:30 am (also the first two Tuesdays in August at 7:30 pm). Some of the best young musicians from around the globe will be in residence.

You can hear them free of charge all summer! We have an extra very special Young Artists’ Performance this year by the Saint Paul’s School Choirs who will be visiting us from Hong Kong on Tuesday, July 17, at 7:30pm.

You are also invited on Wednesday evenings to our free informal In Context talks or to the popular Listening Club sessions with Jim Nelson.

And don’t forget Family Day at the Festival, Sunday, July 8. We will begin with a children’s concert at 2:00 pm, followed by a performance by the Professors of Bluegrass at 4:00 pm. Both concerts will be free of charge, and ice cream (also free!) will be served.

In addition to our concerts and educational programs, this year we are honored to announce the most exciting and challenging initiative at the Norfolk Festival since Ellen and Carl Stoeckel opened the Music Shed in 1906. An anonymous donor has made a 2:1 challenge grant of $1,000,000.00 toward the restoration of our historic concert hall. Renowned preservation architect, John G. Waite, has been engaged to oversee the project, and world famous acoustician R. Lawrence Kirkegaard will serve as consultant. Please see the enclosed brochure for more details. It goes without saying that we will be extremely grateful for any help you can give us in preserving the Music Shed. Please don’t hesitate to ask any of our staff if you have any questions.

On a bittersweet note, most of our patrons will know that after a truly remarkable career, the Tokyo String Quartet has announced it will retire from the world's concert stage after next season. At Norfolk we have been blessed with their extraordinary music-making and teaching since 1976, and the members of the quartet have been wonderful friends and colleagues to all of us. We will have an opportunity to say thank you and wish them well next year when they perform their last concert ever on July 6, 2013, in the Music Shed.

As you settle into your seat, I want to extend our most sincere thanks to the incredible volunteers, donors and patrons who have helped make our season possible. And a very special thanks to you for joining us tonight in this century-old tradition of Music Among Friends.

Paul Hawkshaw, Festival Director, June 2012.

DIRECTOR's WELCOME | 3

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Table of Contents 3 ............................. Director’s Welcome 5 ............................. Table of Contents 7 ............................. Festival Acknowledgements 9 ............................. Festival History 11 ............................. Artist Spotlight: Peter Frankl 13 ............................. In the Time of Beethoven 21 ............................. Festival Artists 23 ............................. Fellowship Recipients 27 ............................. Festival Administration 30 ............................. Music Shed Restoration Benefit 31 ............................. Saturday, June 16 • Norfolk Cabaret Night 32 ............................. Saturday, June 23 • Amadinda 34 ............................. Friday, June 29 • New Music Recital I 35 ............................. Saturday, June 30 • New Music Recital II 36 ............................. Friday, July 6 • Weekend Series 38 ............................. Saturday, July 7 • Weekend Series 40 ............................. Sunday, July 8 • Family Day 42 ............................. Friday, July 13 • Weekend Series 44 ............................. Saturday, July 14 • Weekend Series 46 ............................. Tuesday, July 17 • Choirs of St Paul's

Co-educational College and Primary

School 48 ............................. Friday, July 20 • Weekend Series 50 ............................. Saturday, July 21 • Weekend Series 52 ............................. Friday, July 27 • Weekend Series 54 ............................. Friday, July 28 • Weekend Series 56 ............................. Friday, August 3 • Weekend Series 58 ............................. Saturday, August 4 • Weekend Series 60 ............................. Friday, August 10 • Weekend Series 62 ............................. Saturday, August 11 • Weekend Series 65 ............................. Saturday, August 18 • Choral Festival 66 ............................. In the Time of Beethoven, continued 70 ............................. Music in Context Series & Young Artists' Performance Series 71 ............................. Artist Biographies 83 ............................. Music Shed Restoration Donors 85 ............................. Annual Fund Donors 88 ............................. Festival Mission

TABLE OF CONTENTS | 5

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Acknowledgements The Norfolk Chamber Music Festival — Yale School of Music wishes to express its enormous gratitude to the many individuals and organizations that have helped to make this season possible Agent 16, Bill Brown Burton & Joyce Ahrens Lynne Addison Liz Allyn Dana Astmann John & Astrid Baumgardner Jack Beecher Rick & Candace Beinecke Botelle School, Peter Michelson, Principal Botelle School Parent Teacher Organization, Chaya Berlstein Susan L. Carney Chamber Music America, Margaret Lioi, President Kristina Chmelar, Senior Architect Yale University Carolyn Childs Hope Childs Laura Chilton Kristina Chmelar Dennis & Pamela Collins Ken Crilly Hope Dana & John Perkins Tara Deming Ed Domaney, Domaney Wines Carl & Marilee Dudash Sue Dyer, First Chairman, Town of Norfolk English Speaking Union, Jennifer Luk Jeff Euben First Congregational Church, Rev. Erick Olsen Nicholas Fanelli

Charles Fidlar Valerie Fitch Pamela Frank Adrienne Gallagher Nicholas Gordon Bill & Barbara Gridley Ann Havemeyer Susan Hawkshaw Mara Hazzard-Wallingford Danielle Heller Coleen & Brett Hellerman Jim & Leni Herzog Elizabeth Hilpman & Byron Tucker Evan Hughes & Peter Ermacora Inf inity Music Hall, Dan Hincks Bhakti & Jim Jackson Martin Jean, Director, Yale Institute of Sacred Music Helen & Philip Jessup Gregory Johnson Krista Johnson Jeanne Kazzi Doreen & Michael Kelly Jenna–Claire Kemper Eugene Kimball Robert King, CPA Land of Nod Winery, Rick Granger Christopher & Betsy Little David Low & Dominique Lahaussois Suzanne Eggleston Lovejoy Taber Lightfoot Litchf ield Piano Works, Joseph DiBlasi

John Martin Associates, Architects Chris Melillo Cecily Mermann Samuel D. Messer, Director, Yale Summer School of Art Roger Mitchell & Pete Peterson David Nevins The Norfolk Historical Society, Barry Webber The Norfolk Library, Richard Dann Robin Yuran Norfolk Lions’ Club Norfolk Volunteer Fire Department Kevin O’Connor Ruthann Olsson Vincent Oneppo Monica Ong Reed Patricia Pappacoda Aldo Parisot Dan Pellegrini Linda Perkins Phoenix Press, Jason Driscoll Drew & Sally Quale Nancy & Jim Remis Rock Hall Luxe Lodging, Stella Somers Kathy & Curtis Robb Jason Robins Arthur Rosenblatt Julie Scharnberg Kim Scharnberg David Sims Anne–Marie Soullière & Lindsey Kiang Ashley Starkins

LaSalle Adams Fund

Carol Stein Robert Storr, Dean, Yale School of Art Rafi Taherian, Executive Director Yale Dining Services Jerry & Roger Tilles Francesca Turchiano & Bob Bumcrot Laura Usiskin Benjamin Verdery Edwina & Peter Vosburgh Sukey Wagner John G. Waite Associates, Architects, John G. Waite Clay Palazzo Matthew Scheidt Mark & Tania Walker Elizabeth Wilford Jacques Wood Michael Yaffe And ...

The citizens of Norfolk who share their lovely community with our Fellows, Artists and audiences The host families who graciously open their homes to our Fellows The Battell Arts Foundation, sponsors of the Young Artists’ Performance Series Most of all, Ellen Battell Stoeckel, our founder & patroness

Select Norfolk performances are broadcast on New York City's classical music station

YALE SCH O O L O F MUSI C

FesTIVAL ACKNOWLEDGEMENTS | 7

Close Encounters With Music celebrating 21 years of artistic collaboration October 2012 to June 2013 www.cewm.org 800.843.0778

Top: Liv Ullmann. Left to right: Arve Tellefsen, Shannon Mercer, Stephen Stubbs & Doug Williams (Tragicomedia Ensemble,) Yehuda Hanani, Primakov Duo, & Eliot Fisk

Festival History Music in Norfolk has a long and vibrant history, dating back to the 1890s when Ellen Battell and her husband Carl Stoeckel, son of the Yale School of Music’s first professor, founded the Litchfield County Choral Union. Chamber music and choral concerts in their 35–room mansion, Whitehouse, were the beginning of the Festival that, by the turn of the century, was already considered one of the country’s most prestigious. As audiences grew, the Stoeckels commissioned New York architect, E.K. Rossiter, to design the larger and acoustically superior Music Shed. Dedicated in 1906, to this day the hall retains all of its original glory and stunning acoustics. It has remained essentially unchanged since its stage was graced by such renowned musicians as Fritz Kreisler, Sergei Rachmaninoff and Jean Sibelius.

Upon her death in 1939, Ellen Battell Stoeckel left her estate in a private trust with instructions that the facilities be used for Yale University’s summer music school, ensuring an enduring artistic legacy. Now in its 71st season, the Norfolk Chamber Music Festival ­­— Yale School of Music has a dual teaching/performance purpose. Audiences from around the country come to northwest Connecticut to hear world–class artists, such as the seven–time Grammy ® nominee Tokyo String Quartet, which has been in residence since 1976. Boris Berman, Peter Frankl, David Shifrin, William Purvis, Frank Morelli, Ani Kavafian and artists from around the world perform as part of a series of more than 30 concerts over a nine–week period. These (Left to Right ) Conductor Arthur Mees, professional musicians also serve as teachers and mentors to the Fellows who come to Norfolk soprano Alma Gluck, violinists Efrem each year to study.

Zimbalist and Fritz Kreisler in Alma’s new

Young instrumentalists, singers, conductors and composers Ford, purchased on the way to Norfolk are selected through a highly competitive The Music Shed c. 1920 international admissions process to spend Photo courtesy of the Mees Family. their summer participating in the intensive program of coaching, classes and performances. They are exposed to every aspect of their future profession: their colleagues, their mentors, and most importantly, their audience.

Alumni of the Norfolk program include Alan Gilbert, Richard Stoltzman, Frederica von Stade, Pamela Frank, the Eroica Trio, So Percussion, eighth blackbird, and the Ying, Miró, Shanghai, Saint Lawrence, Cavani, Calder and Jasper quartets.

A strong bond exists with the community, as residents of Norfolk and the surrounding area host the Fellows throughout their summer experience. The Fellows perform on the Young Artists' Performance Series which is offered free to the public throughout the summer. The community of music lovers supports the young performers and becomes their most enthusiastic advocate.

Over the years, while Norfolk has become a symbol of quality in chamber music performance and professional study, thousands have enjoyed the picturesque environment of the Ellen Battell Stoeckel Estate and the excellence of one of America’s most distinguished musical traditions.

The interior of the Music Shed c. 1906

Festival History | 9

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ATON FOREST An Ecosystem Research Station &

Nature Preserve Land preservation + Scientific research of the Ecosystem + Conservation for the enhancement of Nature Welcoming our community: citizen scientist activities + education programs + volunteer opportunities

ATON FOREST WORKSHOPS, TALKS & OTHER EVENTS - 2012 SCHEDULE Check our website (www.atonforest.org AF Workshops) for more details

Jun 16, Sat: Sandy Brook Conservation Corridor, a talk by John Anderson, Doolittle Clubhouse, Norfolk, 4 pm Jul 7, Sat: Botanical Fieldtrip to the Phelps Research Area, led by John Anderson, Rte 183, North Colebrook, 10 am Jul 28, Sat: “Teaching & illustrating the New England Flora: New tools for plant enthusiasts”

Elizabeth Farnsworth, ecologist and botanical illustrator

Battell Recital Hall, Norfolk, co-sponsored with the Norfolk Chamber Music Festival, 4 pm Aug 11, Sat: Naturalistic Landscaping Workshop with landscape designer Larry Weaner, Aton Forest, 9 am Sep 8, Sat: “Mushroom Foray & Feast” led by mycologist Andrew Janjigian, Aton Forest, 2 – 5 pm Sep 15, Sat: “Bark: Get to Know Your Trees” a Workshop with author & naturalist Mike Wojtech, Aton Forest, 9 am th

Oct 20, Sat: The 10 Annual Aton Forest Open House

Hike * Eat * Learn

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Artist Spotlight Since making his name on the international circuit as a young pianist in the 1960s, pianist Peter Frankl has performed across the globe with some of the world’s finest orchestras and most esteemed conductors, collaborated with numerous chamber ensembles and has an extensive discography. In recognition of his numerous artistic achievements he was awarded the Officer’s Cross and Middle Cross by the Hungarian Republic. Peter Frankl is a member of the Yale Faculty and an Honorary Professor at the Liszt Academy.

(A full biography can be found on page 75.)

When you are away touring, do you bring anything special with you to remind you of home?

Photographs of my two children.

When you f ly what do you like to read? How do you pass the time?

Reading biographies. When travelling with my wife, I enjoy playing Scrabble with her. When I am alone, Sudoku is good to kill time.

What is a favorite non-musical past time?

Watching tennis and soccer – I used to play the latter when I was young.

What is your favorite concert hall (aside from the Music Shed of course) to play in and why? And it doesn’t have to be for a musical reason.

I loved to play in the large hall of the Liszt Academy in Budapest. It was a beautiful hall with wonderful acoustics, especially for solo recitals and chamber music. When – after an absence of 14 years – I returned there for the first time, I felt very nostalgic for my student years... the electricity in the hall was palpable and it took me a while before I could start the concert. At present the building is being completely renovated and the hall is closed. Hopefully it will be rebuilt to its former glory. My other favorite concert halls are the Concertgebouw in Amsterdam, London’s Wigmore Hall and the Severance Hall in Cleveland.

What does it feel like right before you walk onto the stage? What runs through your mind?

I am always tense before going on stage and I hope to find a rapport with my audience right from the start – which is not always easy.

Is there a work that brings to mind a particularly happy memory? For instance, is there a piece that made you want to play your chosen instrument, or one that always reminds you of home or a favorite place? Would you share the work and the memory?

I was very young when I heard Annie Fischer play the Mozart Concerto in E flat, K 482. It made a huge impact on me and I was so glad that I played this very piece on my New York debut with George Szell.

Everyone dislikes as least one thing about their profession. Aside from being away from loved ones and home, what is your least favorite part about being a musician?

What I dislike intensely is jealousy and competitiveness among artists. When I moved to London about 50 years ago, I was very happy there, and one of the reasons was the friendly atmosphere among us young artists. Later on at Yale, with Claude Frank and Boris Berman on the piano faculty, I felt immediately at home in this wonderful, friendly environment.

What is your favorite piece music and why?

I love operas and two of my favorites that come to my mind are Mozart’s Cosi Fan Tutte and Verdi’s Falstaff. From the first to the last note these operas are perfection in themselves, and musically I find them the most satisfying works to listen to.

When you perform, what do you try to communicate to the listener?

Obviously, as I have developed throughout the decades as a human being, my understanding and interpretation of the music I am performing have also changed – hopefully for the better!

Is there anything about the way classical music is presented to the world that you would like to see change or evolve?

I am not an advocate of the new trend of interpreting 18th and 19th-century music on period instruments. I like to hear the great composers' works interpreted with rich sound and emotion – of course in the style of the composer in question.

Often we hear people say that they don’t listen to classical music or go to classical music concerts for fear of not “knowing anything about it” or “understanding it.” How would you respond to them? What three works would you recommend as an introduction genre?

Let people taste the best variety of the classics – the same way as tasting different types of good food. I am sure they will not go home hungry... Why not start with Bach, Mozart, Chopin or Schubert?

And finally, for the all the Fantasy Baseball players out there, if you could play in an ensemble with anyone, living or dead, no matter what the instrument, whom would you choose and why?

I would have loved to play a Brahms Concerto with the great Carlos Kleiber... this would have been the greatest musical experience of my whole life!

Artist SPOTLIGHT | 11

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In the time of

Beethoven

In 2012 the Festival is presenting all sixteen Beethoven string quartets. In the spirit of this ambitious undertaking by our Festival artists, we’ve prepared a biographical timeline that includes important contemporary cultural and historical events. It was a period of great social, political and cultural change in western Europe, Asia, the Middle East, South America and of course, the United States. Think of those years from 1770 to 1827: the American and French revolutions turned the world upside down. During the Napoleonic wars, the United States emerged as a nation, and the map of Europe was redrawn.

Businesses were created that survive into the 21st-century: Grey Poupon Mustard (1777), Hartford Fire Insurance (1810), Colman’s Mustard (1814), Spode (1770), Royal Doulton (1815), Waterford Crystal (1784), Pear’s Soap (1789), Brooks Brothers (1818) and Lord & Taylor which opened its first store in New York in 1826. Women’s suffrage was a big concern -- but in the other direction: several states including New York, New Jersey, Connecticut and Rhode Island enacted laws disenfranchising women. And during Beethoven’s lifetime, the Hudson River Valley had more slaves per capita than North Carolina; in 1790 about one out of five Americans was a slave.

There were great achievements in literature [Gibbon's The History Ludwig van Beethoven (1815), by W. J. Mähler of the Decline and Fall of the Roman Empire (1781), Boswell’s Life of Johnson (1791), Jane Austen’s Sense and Sensibility (1811), Goethe’s Faust (1770), Grimm’s Fairy Tales (1815) and Frankenstein (1818) by Mary Wollstonecraft Godwin Shelley] and in art [Malvern Hall (1809) by John Constable; Shipwreck (1805) by J.M.W. Turner; The Death of Marat (1793) and The Death of Socrates (1787) by Jacques Louis David and the Barque of Dante (1822) by Eugène Delacroix]. During Beethoven’s early life, Haydn and Mozart were flourishing; Franz Schubert outlived him by only a year. An interesting aside -- if Mozart had lived to Haydn’s age (77 instead of 35), he would have lived until 1833 (the year Brahms was born) and witnessed not only the great historical events of those additional forty years, but also the composition of all of Beethoven’s works, Schubert’s Ninth Symphony, the First Piano Concertos of Liszt and Chopin, and even Berlioz’ Symphonie fantastique. Imagine!

There is just so much, and small things that continue to have an impact on our lives today, it’s hard to contain: poker was first developed by some sailors in New Orleans (1821); the first house rats in America were sighted in Boston (1775); the dollar sign ($) was created by a merchant in New Orleans (1778); corn was first recognized in 1779; the Rosetta stone was discovered (1799) and translated (1822); the Hudson river froze over in the coldest winter ever recorded in North America (1780) in contrast to our warm winter this year; Ben Franklin tried to get the French to adopt Daylight Savings Time in 1784 -- French farmers resisted, insisting that cows cannot change their habits (neither can my dog!); Berkshire Hathaway had its beginnings in Providence, RI, in 1806; the first photograph was developed in 1802 by Josiah Wedgewood, the son of the founder of Wedgewood Porcelain and Pottery; and the world’s first carbonated beverage company began production in Geneva under local jeweler Jacob Schweppe (1791). The first to sell bottled soft drinks, by the way, was Yale’s first chemistry professor, Benjamin Silliman (in 1807, at the age of 28). And don’t get us started on potatoes! Closer to home here in Norfolk, Joseph Battell began construction on Whitehouse in 1801 and, according to documents in the Battell archives, the favored caterer for Battell Stoeckel events around the turn of the 20th-century was the New York restaurant, Delmonico’s, which opened in 1827, the year Beethoven died.

The following list is very short (we edited 95 pages down to 8) and more can be found on our website at norfolkmusic.org. The editor offers the caveat that much of this came from the 'interweb,' which, as we all know, is wonderful, if sometimes a bit wide of the mark in its accuracy. So think of all this while listening to the great music performed this summer, including all the Beethoven String Quartets in one Norfolk season. Add your comments and thoughts, and do let us know if you see something missing or incorrect. We also encourage you to ‘friend’ us on Facebook to receive postings of additional events throughout the summer. We think this is fun. We hope you do as well.

— James Nelson, Festival Manager

Beethoven Timeline | 13

Beethoven continued 1770 | Beethoven born December 16 at 515 Bonngasse (No. 20 today)

England grows enough potatoes for public sale of the tubers for the first time First edition of the Encyclopaedia Britannica is published. It appeared in print editions through 2011; of course the printed volumes were discontinued in favor of the online edition in March, 2012.

Famine-stricken Prussians at Kolberg receive a wagon-load of potatoes sent by Friedrich II (the Great) but refuse to eat them

1771 | The Society of Lloyd's is established at London

French agriculturist-botanist Antoine-Auguste Parmentier lists potatoes among vegetables that may be used in times of famine (he was taken prisoner five times by the Prussians during the Seven Years' War and obliged to survive on a diet of potatoes)

Ludwig van Beethoven, the composer's grandfather whom he greatly revered, in his uniform as the Elector's Kapellmeister Oil painting by L. Radoux

Beethoven's birthplace at No. 515 Bonngasse in Bonn, the ancient town of the Electors of Cologne. Pencil drawing by R. Beissel (1889) Wolfgang Amadeus Mozart at Salzburg writes five violin concerti between April 14 and December 20, each in one day except for the Concerto No. 4 in D Major, which he works on over the course of a month and completes in October Popular song: Yankee Doodle with lyrics to an old English tune

1776 | The Declaration of Independence is signed July 4 at Philadelphia

The Bolshoi Theater is founded at Moscow

1772 | Virginia colony lawyer Thomas Jefferson, now 29, notes in his

Vienna's Burgtheater opens, giving the city a new opera house and concert hall. The Holy Roman Emperor Josef II has founded the theater and forbids curtain calls, feeling that he is more worthy of applause than his servants the actors

1774 | Gluck’s first grand opera in French Orphée et Euridice,

Rock of Ages verses by London editor Augustus Montague Toplady are published in the February issue of The Gospel Magazine

diaries that he has eaten Irish potatoes from his garden

written in 1762, premieres in Paris, reforming opera to the ideals of its original composers – matching the music to the drama and “serving the poetry without interrupting the action or smothering it with superfluous ornaments…” That’s Gluck writing in the foreword to his opera Alceste Theatrical activities throughout the American colonies are abolished in October by resolution of the Continental Congress, whose members recommend closing all places of amusement

1775 | The American War of Independence begins April 19 at the Battles of Lexington and Concord

14 | Beethoven Timeline

Adam Smith’s The Wealth of Nations is published, as is Thomas Paine’s Common Sense The Phi Beta Kappa Society is founded Philadelphia's population reaches 40,000, making it larger than Boston and New York (24,000) combined

1778 | Beethoven’s first public concert 'academy' on March 26

at Cologne. In an interesting coincidence, it was 49 years later, on March 26, 1827 that Beethoven, lying on his deathbed and awakened by a flash of lightening and crash of thunder, raised his fist to the heavens, and silently sank back into his bed, dead.

Milan's la Scala opens

1780 | The first modern pianoforte is built in Paris by Sébastien Érard

The fountain pen is invented

1782 | Beethoven becomes deputy court organist in Bonn at the

age of 13 and publishes his first work, which was written in 1780: Nine Variations on a March by Dressler.

1783 | The Montgolfier brothers give the first public

Gluck dies at age 73. Emperor Josef II appoints Mozart imperial composer to succeed Gluck, but he pays him only 800 florins per year whereas Gluck received 2,000.

First performance: Eine Kleine Nachtmusik by Mozart

1789 | Start of the French revolution Beethoven meets the Waldstein family

Edward Gibbon completes The Decline and Fall of the Roman Empire "I am so antiquated as still to dine at four," writes author Horace Walpole, now 72; most English people now dine at 5 or 6 o'clock

demonstration of an ascension balloon in France, sending up a sheep, a duck and a cockerel to test the effects of the air at higher altitudes Webster's Spelling Book by Connecticut-born, Yale graduate, Noah Webster Waterford Crystal is founded in Ireland First performances: Mozart’s Symphony No. 35 in D Major (Haffner) at Vienna's Burgtheater. The Emperor Josef II gives Mozart 25 ducats to show his appreciation; Mozart’s Symphony No. 36 in C Major (Linz)

1784 | Beethoven at age 14 is made assistant to his teacher,

Count Ferdinand Ernst Gabriel von Waldstein

by Antonín Machek (ca. 1800)

First performances: four Mozart Piano Concerti in a house outside Vienna

In 1792 Beethoven left for Vienna carrying an album preserving entries from his friends, including his great benefactor, Count Waldstein, whose final entry read: "Through uninterrupted industry receive Mozart's spirit from the hands of Haydn."

1785 | Madrid's Prado Museum has its beginnings

1791 | Congress charters the First Bank of the United States at the

The first performance of the Beaumarchais play The Marriage of Figaro in Vienna is announced, but is immediately prohibited. The official censor has allowed the words to be published but not performed due to the potentially seditious nature of the work. Mozart’s opera, adapted by Lorenzo da Ponte from Beaumarchais’ play, will be premiered in Vienna in 1786.

The French National Assembly sets up a General Commission of Weights and Measures to establish a natural standard for the mètre (making it one ten-millionth part of a quadrant of the earth's circumference)

Neefe, as the court organist at Hanover

The Encyclopedia Britannica is expanded to 18 printed volumes

First performances: Another four Concerti for Piano and Orchestra

by Mozart, including his Piano Concerto No. 21

1787 | Beethoven sent to Vienna, but returns to Bonn after a short

time due to his mother’s death. Spends the next two years in Bonn looking after his father and two younger brothers, teaching and playing viola in opera orchestra.

insistence of Secretary of the Treasury Alexander Hamilton

Mozart dies December 5 in Vienna at age 35 of kidney failure during an influenza epidemic with his Requiem still incomplete. The three great Mozart symphonies, No. 39 in E flat Major, No. 40 in g minor, and No. 41 in C Major ( Jupiter), all written in 1788 during a space of less than 2 months, remain unperformed First performances: Mozart’s Così fan tutte (So Do They All) with libretto by Lorenzo da Ponte; La Clemenza di Tito, Die Zauberflöte (The Magic Flute); Concerto for Clarinet and Orchestra

Don Giovanni premieres at Prague's National Theater, music by Wolfgang Amadeus Mozart, libretto by Lorenzo da Ponte

Beethoven Timeline | 15

Beethoven continued 1792 | Beethoven returns to Vienna; studies with Haydn The New York Stock Exchange has its origin in an agreement drafted by 24 local brokers

1797 | Beethoven writes his Piano Sonatas No. 1 – 3, Op 2; Cello

Sonatas No. 1 & 2, Op 5; Quintet for piano, oboe, clarinet, bassoon and horn, Op 16

Just out of Yale, Eli Whitney and Katherine Greene invent a cotton "gin" that will revolutionize the economies of the US and Britain

Gott, Erhalte den Kaiser is sung for the first time, on the emperor's birthday, February 12. The Emperor's Hymn by Joseph Haydn with lyrics

by Austrian poet Lorenz Leopold Hoschka, 48, will become Austria's national anthem

The US Postal Service is created by act of Congress

Franz Schubert is born

First performance: Symphony No. 94 in G Major (The Surprise) by Joseph Haydn in Vienna; La Marseillaise by French army officer Rouget de Lisle

London haberdasher John Etherington leaves his shop in the Strand wearing England's first top hat

The guillotine, proposed in 1789, is used for the first time

1793 | The Louvre Palace opens to the public as an art museum

French revolutionists turn the Tuileries gardens at Paris into a potato field. A French ordinance forbids consumption of more than one pound of meat per week on pain of death.

The Widow Clicquot (Veuve Clicquot) begins improving French champagne; her brand will become a world leader First performances: The "Emperor Quartet" by Joseph Haydn; Cherubini’s Medea at the Théâtre Feydeau, Paris

French chefs accompanying their aristocratic employers in their flight from the revolution's Reign of Terror introduce the tall white toque to Britain along with French cooking

1794 | Paris has 500 restaurants, but many of its best chefs have long since fled the country. Only now do people other than royalty and aristocrats begin to enjoy the French cuisine that has developed since the arrival of Catherine de' Medici from Florence in 1533.

First performances: Symphony No. 99 in E-flat Major by Joseph Haydn at London's Hanover Square Rooms; Symphony No. 100 in E Major (Military) by Haydn at London; Symphony No. 101 in D Major (The Clock) by Haydn

1795 | Beethoven contracts with Artaria to publish his Op 1

Piano Trios – against the advice of Haydn who found them too modern The Paris Conservatory is founded First performances: Beethoven's debut as composer and virtuoso in his Piano Concerto No. 2 in B-flat Major at Vienna's Burgtheater; Symphony No. 103 in E Major (Drumroll) and Symphony No. 104 in D Major (London) by Haydn at London

A chef at Norfolk wearing a toque

1798 | "Right," "Center," and "Left" political designations have

their origin as France's Council of 500 meets in the palace of Louis XIV's illegitimate daughter Louise Françoise de Bourbon.

The palace's "grand apartments" assembly hall is semicircular, and the representatives soon develop the habit of seating themselves with the most revolutionary on the left, the most reactionary on the right.

Essay on the Principles of Population by English parson Thomas R. (Robert) Malthus is published

First performances: Leonore, ou l'amour conjugal at the Théâtre Feydeau, Paris, with an overture by Beethoven; Piano Concerto No. 1 in C Major by Beethoven at Prague; The Creation Mass and Mass in d minor (Nelson Mass) by Haydn

One of Beethoven's ear-trumpets J. N. Maelzel, made famous by his invention of the metronome, created many of the composer's ear-trumpets. Beethoven even wrote his Battle Symphony for Mälzel's mechanical instrument the "Panharmonicon"

16 | Beethoven Timeline

1799 | Beethoven writes his Violin Sonatas No. 1 – 3, Op 12;

Piano Sonata No. 8 (Pathétique), Op 13; Piano Sonatas No. 9 – 10, Op 14 On December 26, the Times of London says: "The present century will not terminate till January 1, 1801... We shall not pursue this question further.”

First performances: Die Schöpfung (The Creation) by Haydn in Vienna under the direction of the composer; Pathétique Sonata by Beethoven

1800 | Beethoven writes his String Quartets Op 18; Septet

in E-flat, Op 20; Symphony No. 1 in C Major; Piano Concerto No. 3, Op 37 Fossil remains of dinosaurs are discovered in the Connecticut River Valley

First performances: Beethoven’s Symphony No. 1 in C Major at Vienna's Hofburg Theater, in a concert that also includes his Septet in E-flat Major for Strings and Winds, Air and Duet from Haydn’s Creation, and Improvisations on Haydn's Emperor Hymn; Piano Concerto in c minor by Beethoven at Vienna's Theater-an-der-Wien

1802 | Beethoven writes his Serenade for Flute, Violin and

Viola, Op 25; Piano Sonatas No. 12, 13 (Sonata quasi una fantasia), No. 14 (Moonlight) and No. 15 (Pastoral); Symphony No. 2 in D Major; Violin Sonata No. 9 (Kreutzer), Op 47; Piano Sonatas No. 16 – 18, Op 31 (1802-04) Swiss wax modeler Marie Tussaud takes her collection of wax models to London. Commissioned during the Reign of Terror at Paris to make death masks of famous guillotine victims, Mme. Tussaud used the heads of decapitated bodies in her models.

Newspaper reports that President Jefferson has fathered children by his slave Sally Hemings creates a minor scandal in Washington, D.C. Beethoven writes his 'Heiligenstadt Testament' – a letter addressed to his brothers in which he reveals despair over his increasing deafness

1801 | Beethoven writes his Piano Concerto No. 1 in C Major,

Op 15; String Quintet in C Major, Op 29; The Creatures of Prometheus, Op 43; Violin Sonata No. 5 in F Major (Spring), Op 24 March 1: the London Stock Exchange is founded as an outgrowth of the bourse that opened in 1698

Johann van Beethoven, the composer's younger brother, an apothecary in Linz

Italian violin prodigy Niccoló Paganini, 17, completes a concert tour in which he has dazzled audiences with his virtuosity

Painting by Leopold Gross

Joseph Battell begins construction of Whitehouse in Norfolk, CT

"Johnny Appleseed" arrives in the Ohio Valley with seeds obtained from Philadelphia cider presses The first reasonably accurate census figures show that China has a population of 295 million, India 131 million, the Ottoman Empire 21, Japan 15, Russia 33, France 27.4, the German states and free cities 14.1, Britain 10.4, Ireland 5.2, Spain 10.5, Egypt 2.5, and the United States 5.3 million, of whom 1 million live west of the Alleghenies (two thirds of Americans live within 50 miles of the Atlantic Ocean) Guangzhou (Canton) is the world's largest city with 1.5 million; four other Asian cities have populations of over 1 million. London is by far the largest European city, with a population of nearly 1.1 million as compared with 598,000 in Constantinople; 547,000 in Paris; 183,000 in Berlin; 6,000 in Stockholm; 70,000 in Philadelphia; 60,000 in New York; 25,000 in Boston; 18,000 in Charleston, South Carolina; 13,000 in Baltimore; and 1,565 in Pittsburgh First performances: The Creatures of Prometheus at Vienna's Hofburg Theater; Die Jahreszeiten (The Seasons) by Franz Josef Haydn at the Viennese palace of Prince Schwarzenberg

1803 | Beethoven writes his Romance in G for violin and orchestra, Op 40; Fidelio, Op 72 started (last revision in 1814)

Cotton surpasses tobacco for the first time as the leading U.S. export crop Pennsylvania-born engineer Robert Fulton develops a small ship propelled by steam power First performances: Symphony No. 2 in D Major by Beethoven at Vienna, in a concert that includes his oratorio Christ on the Mount Olives and his Piano Concerto No. 3 in c minor with Beethoven, himself, as soloist. Beethoven’s Sonata in A Major for Violin and Piano (Kreutzer) premieres at Bonn, in a concert given at 8 in the morning. Beethoven has dedicated the work to violinist Rudolf Kreutzer, who called it "unintelligible" and refused to play it. The premiere was by Beethoven and violinist George Bridgetower.

Beethoven Timeline | 17

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Beethoven continued 1804 | Beethoven writes his Piano Sonata No. 21 (Waldstein);

Symphony No. 3 (Eroica), Op 55; Triple Concerto for Piano, Violin, Cello and Orchestra, Op 56; Piano Sonata No. 23 (Appassionata), Op 57; begins work on Symphony #5 in c minor Napoléon Bonaparte is proclaimed emperor by the French senate and tribunate; a national plebiscite ratifies his elevation by a vote of 3.6 million to 2,569, and Pope Pius VII consecrates the emperor Napoléon at Paris in a ceremony imitative of Pepin III's coronation in 754 and Charlemagne's in 800 Beethoven scratches out dedication of Eroica symphony to Napoléon, after Napoléon declares himself Emperor

1805 | Beethoven writes his Romance in F Major for Violin and Orchestra, Op 5

The first American covered bridge spans the Schuylkill River Tangerines (Citrus reticulata) reach Europe for the first time, coming directly from China. The first California orange grove of any size is planted at San Gabriel Mission near Los Angeles First performances: Beethoven shocks the world with Symphony No. 3 in E-flat Major (Eroica) at Vienna. Romance in F for violin and orchestra, Op 5; Fidelio, at Vienna's Theater-an-der-Wien, with music

by Beethoven, who includes a second version of his Leonore Overture

1807 | Beethoven writes his Coriolanus Overture, Op 62; Leonore

Overture No. 1, Op 138; several movements of his Mass in C Major, Op 86; String Quartets, Op 59 (Rasumovsky) First performances: Beethoven’s Symphony No. 4 in B flat Major at the Viennese palace of Prince Lobkowitz, in a program that includes Beethoven's three earlier symphonies, his Coriolanus Overture, and his Piano Concerto in G Major

It is to Count Andreas Kyrillovitch Rasumowsky, Russian Ambassador to Vienna, art lover and accomplished amature violinist, that Beethoven dedicated his Opus 59 quartets.

Painting by J. B. Lampi

1808 | Haydn's last public concerttakes place in Vienna where Salieri conducts a performance of the Creation

The first Parisian restaurant of any substance with fixed prices opens in the Palais Royal First performances: Beethoven’s Symphony No. 5 in c minor and Symphony No. 6 in F Major (Pastoral) at Vienna, in a concert that also includes his Piano Concerto No. 4 in g minor and Choral Fantasy as well as movements from his Mass in C First theatrical performances: Goethe’s Faust, Part 1

1809 | Beethoven writes his Cello Sonata No. 3, Op 69; Piano Concerto No. 5 in E-flat Major, (Emperor), Op 73; String Quartet in E-flat Major (Harp), Op 74;Piano Trios Op 70, Nos. 1 and 2 Compendious Lexicon of the Hebrew Language by New York landowner and lexicographer Clement Clarke Moore is published A History of New York from the Beginning of the World to the End of the Dutch Dynasty by Washington Irving is published on St. Nicholas Day, December 6. Irving dedicates his comic history derisively to the 5-year-old New-York Historical Society and makes references to an impish, pipe-smoking St. Nicholas who brings gifts down chimneys, thus beginning a legend that will travel around the world Piano maker Sébastien Érard invents a key mechanism that allows notes to be repeated more quickly Franz Joseph Haydn dies at Vienna at age 77; Felix Mendelssohn is born

1810 | Beethoven writes his Wind Sextet, Op 71; Piano Sonatas Op 78 & 79; Sextet in E-flat Major, Op 81b; Incidental Music to Egmont, Op 84; String Quartet, Op 95 (Quartetto Serioso) Frederic Chopin and Robert Schumann are born Plymouth, CT, clockmakers Seth Thomas and Silas Hoadley buy Eli Terry's clock business after fulfilling a 3-year contract to supply Terry with 4,000 clocks. Thomas will sell his share in 1812 and go into business for himself at Plymouth Hollow, CT (later Thomaston), and will establish the Seth Thomas Clock Co. in 1853 The Munich Oktoberfest has its beginnings as a festival to celebrate the marriage of Bavaria's Crown Prince Ludwig Count Rasumowsky's Palace on the Landstrasse by E. Gurk

Beethoven Timeline | 19

Beethoven continued 1811 | Beethoven writes his Choral Fantasia in c minor, Op 80;

Piano Sonata No. 26 (Les Adieux), Op 81a; Piano Trio No. 6 (The Archduke), Op 97; Ruins of Athens, Op 113 Luddites riot against Nottingham textile manufacturers who have replaced craftsmen with machines, cut wages, and employed unapprenticed workmen Franz Liszt is born Sense and Sensibility, A Novel by a Lady is published anonymously at London. Its author is Jane Austen New York adopts a Commissioners' Plan marking off future Manhattan streets and avenues in a grid pattern The Russian ambassador to Paris, Prince Kurakin, introduces the practice of serving meals in courses (à la Russe) instead of placing many dishes on the table at once

1812 | Beethoven writes his Symphony No. 7 in A Major, Op 92; Symphony No. 8 in F Major, Op 93

The War of 1812 begins as the United States declares war on Britain Beethoven meets Goethe at Teplitz and writes first of three letters to the "Immortal Beloved"

While staying in Teplitz for health reasons, Beethoven struck up a close friendship with singer Amalie Sebald.

Some believe her to be the illusive "Immortal Beloved" to whom Beethoven wrote his famous three-part love letter.

Richard Wagner and Giuseppi Verdi are born The waltz gains widespread popularity in Europe First performances: Symphony No. 1 in D Major by Franz Schubert; Symphony No. 7 in A Major by Beethoven at the University of Vienna.

Tancredi and L'Italiana in Algeri at Venice, with music by Rossini

1814 | Beethoven writes his Piano Sonata No. 27, Op 90; Irish Songs, Opp. 223, 224 & 225

Wellington's Victory spreads Beethoven's fame and success. (Legal dispute with Maelzel over this work later followed) The Rasumovsky palace is destroyed in fire; Beethoven’s financial position improves. We know of no connection Napoléon retreats to Fontainebleau, abdicates unconditionally, and is awarded sovereignty of the 95-square-mile Mediterranean island of Elba with an annual income of 2 million francs to be paid by the French The British loot Washington and set fire to most of its public buildings, including the unfinished Capitol building and the 12-year-old executive mansion. Gutted by fire, the interior of Whitehouse goes up in smoke, but a rainstorm saves its outer walls and they will be repainted to create the "White House" Schubert writes Gretchen am Spinnrade, his first song to a text by Goethe The Star Spangled Banner by Francis Scott Key is published in the Baltimore American First performances: Beethoven’s Symphony No. 8 in F Major at Vienna

Engraving after C. Kolb

1813 | Beethoven writes his Wellington’s Victory (or Battle of Vittoria), Op 91

"Uncle Sam" is used for the first time to mean the United States in an editorial in the Troy (New York) Post. Troy meat packer Samuel Wilson has been shipping meat to the U.S. Army in barrels stamped with the initials U.S., and someone suggested that the initials stood for Uncle Sam The Royal Philharmonic gives its first concert at London A flight of passenger pigeons seen by painter John James Audubon takes three days to pass overhead; Audubon describes it as a "torrent of life"

20 | Beethoven Timeline

Title page of the original edition of "Wellington's Victory" Continued on page 66

Festival Artists Robert Blocker Dean

•

Paul Hawkshaw Director Tokyo String Quartet

Festival Artists

Martin Beaver violin

Ole Akahoshi cello

Martin Bresnick Director, New Music Workshop

Kazuhide Isomura viola Clive Greensmith cello

Janna Baty soprano Boris Berman piano

Aaron Jay Kernis Ezra Laderman David Lang Ingram Marshall Kim Scharnberg Christopher Theofanidis James Wood

Kikuei Ikeda violin

Artis Quartet Peter Schuhmayer violin Johannes Meissl violin Herbert Kefer viola Othmar Müller cello

Composers in Residence

Syoko Aki violin

Robert Blocker piano

Dashon Burton baritone

Simon Carrington conductor Ettore Causa viola Dann Coakwell tenor Hannah Collins cello Michael Compitello percussion Allan Dean trumpet

Keller Quartet András Keller violin Cover Photo

Christopher Little, 2012

Photo Credits Deanne Chin Christian Ducasse Katherine Griswold Bob Handelman Bernard Mindich Vincent Oneppo Pannon Philharmonic - Bublikum Photo John Pearson Nina Roberts Ulrike Schwarz Carol Stein Christian Steiner Chandra Villanueva

For artist photo credits, please visit our website at www.norfolkmusic.org.

Zsófia Környei violin Zoltán Gál viola Judith Szabó cello

Amadinda

Károly Bojtos Aurél Holló Zoltán Rács Zoltán Váczi

John Pizzarelli Quartet Professors of Bluegrass The Choirs of St. Paul's Co-educational College and Primary School, Hong Kong Warren Lee music director

Claude Frank piano

Peter Frankl piano Michael Friedmann narrator June Han harp Scott Hartman trombone

Guest Lecturers

Astrid Baumgardner Michael Friedmann Elliott Forrest Constance Shuman David Sims Ulrike-Theresia Wegele

Ani Kavafian violin

Humbert Lucarelli oboe Lisa Moore piano

Frank Morelli bassoon

Joan Panetti piano/composer Esther Park piano

William Purvis French horn André-Michel Schub piano David Shifrin clarinet

Richard Stoltzman clarinet Stephen Taylor oboe Robert van Sice percussion

Ransom Wilson flute/conductor Carol Wincenc flute

Lucas Wong organ/piano Wei–Yi Yang piano

Norfolk Festival Chamber Orchestra and Chorus Norfolk Contemporary Ensemble

Artists and programs are subject to change without notice.

FESTIVAL Artists | 21

BATTELL ARTS FOUNDATION Proud to support the Norfolk Festival's Young Artists' Performance Series for the 12th Year.

The Battell Arts Foundation is a philanthropic organization dedicated to supporting educational events and performances involving music, drama, and the visual arts in Norfolk, Colebrook, and the surrounding area.

Projects we sponsor include:

*

Norfolk Chamber Music Festival’s Young Artists’ Performance Series on Thursday evenings and Saturday mornings

*

Community Drawing Classes and Children’s Art Camp provided by the Art Division of the Yale Summer School

*

Children’s Concert and post-concert field activities on Norfolk Festival Family Day

*

Three-week drama workshop at the local elementary school led by a professional artist-in-residence

*

Two-week intensive theater arts summer camp for older students culminating in free public performances

*

Performances and master classes given at the local elementary school by Yale School of Music students during the school year

*

Scholarships for area young people to pursue further studies in artistic endeavors

We invite you to join the Battell Arts Foundation in supporting our mission to promote education and participation in the arts in our area. Please contact us for more information about our activities. All donations are tax deductible.

Battell Arts Foundation, P O Box 661, Norfolk, CT 06058

Fellowship Recipients Chamber Music Session Vistula String Quartet

L ouise Willson Scholarship University for Music and Dramatic Arts -Vienna, Austria Paulina Różańska violin Oriana Masternak violin Rafał Zalech viola Magdalena Sas cello

Kyodai Brass Quintet

Yale School of Music Cincinnati Conservatory Eastman School of Music

Hayato Tanaka trumpet Kyle Dobbeck trumpet Jamin Morden French horn Gary Jones trombone Douglas Jones tuba

Trio Mignon

Weimar, Germany

Angelika Löw-Beer violin Simone Drescher cello Katharina Schlenker piano

Joshua C. Anderson clarinet Peabody Conservatory

Sharon Cho violin University of Performing Arts and Music, Austria Isabel Lepanto Gleicher flute SUN Y-Purchase John Craig Hubbard French horn Yale School of Music Schuyler Jackson bassoon University of Hartford Patrick Jankowski French horn Yale School of Music James Jihyun Kim oboe Yale School of Music Nayeon Kim violin 2006 Centenary Committee Scholarship Yale School of Music On You Kim viola Yale School of Music Rena Kimura violin Indiana University, Bloomington Hannah Lash composer John and A strid Baumgardner Scholarship Yale School of Music

SunKyung Liz Ban violin Yale School of Music

Wai Lau clarinet C lement C lark Moore S cholarship Yale School of Music

Caroline Bean cello Indiana University, Bloomington

Seokjung Lee violin Yale School of Music

Dominic A. Cheli piano Manhattan School of Music

Jonathan Lo cello The Juilliard School

Asa Maynard double bass Yale School of Music Isabella Mensz viola New England Conservatory Marina Moore viola New England Conservatory Gregory Robbins double bass Yale School of Music Charles Richard-Hamelin piano Yale School of Music Midori Samson bassoon The Juilliard School Jonathan Slade flute English Speaking Union Scholarship Royal Academy of Music Justin Tierney composer John and A strid Baumgardner Scholarship Yale School of Music Maura Valenti harp Yale School of Music Rachel Van Amburgh oboe University of Southern California Georgi Videnov percussion Peabody Conservatory Mark Baekbum Yee cello Manhattan School of Music

FELLOWSHIP RECIPIENTS | 23

THE LITCHFIELD COUNTY CHORAL UNION, INC. Est. 1899 Jonathan F. Babbitt, Music Director with

The Litchfield County Choral Union Festival Orchestra presents

JOHANN SEBASTIAN BACH'S

ST JOHN PASSION Sunday, July 22, 2012, at 3:00 p.m.

The Music Shed at the Ellen Battell Stoeckel Estate The Yale Summer School of Music and Art Route 44 in Norfolk, Connecticut Tickets: Adult $20.00 Senior/Student $15.00 For ticket information or reservations call: (860) 868-0739 or (860) 542-5039

Joseph Stannard

Antiques & Design

norfolk, ct 06058 860.542.5212 info@josephstannard.com

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Arts

www.ironbank.com 860-542-5541 Offices in: Cornwall Bridge, Norfolk, Salisbury, Washington Depot

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Fellowship Recipients New Music Workshop Anderson F. Alden composer Yale School of Music

Crist贸bal Gajardo percussion Yale School of Music

Ian David Rosenbaum percussion Brooklyn, N Y

Samantha Wolf composer Queensland Conservatorium

Garrett Arney percussion Peabody Conservatory

Thomas Kotcheff composer University of Southern California

Adam Rosenblatt percussion Yale School of Music

Mari Yoshinaga percussion The Curtis Institute

Victor Caccese percussion Yale School of Music

Patrick Murray composer University of Toronto

Julia Sherriff piano Peabody Conservatory

Georgi Videnov percussion Peabody Conservatory

Yie Eun Chun composer Indiana University, Bloomington

Gity Razaz composer The Juilliard School

Michael Smith piano Stony Brook University

Chamber Choir & Choral Conducting Workshop Irene Apanovitch alto/conductor University of Alberta

Maximilian Holman tenor Rutgers University

Ryan Brown bass Westminster Choir College

Emily Isaacson alto/conductor University of Illinois, Urbana-Champaign

Jerilyn Chou soprano University of Texas, Arlington

Marcus Jordan bass Kalamazoo, MI

Scott Crissman tenor Virginia Symphony Orchestra Chorus/ Virginia Chorale

Katherine Johnson alto/conductor University of Houston

Rebecca Duren soprano/conductor University of South Florida

BoYoung Kang soprano/conductor Pennsylvania State University

Sarah Frook alto Director of Choirs and Music Teacher, St Catherine's School, Richmond, VA

Jonathan King tenor/conductor University of Michigan, Ann Arbor

Nicholas Garza tenor University of Texas, Arlington Madeline Healey soprano Westminster Choir College

Allan Laino bass Director, Sunday Lite Singers, Palmdale, CA Assistant Director, Sunday Night Singers, Palmdale, CA

Loren Loiacono composer John and A strid Baumgardner Scholarship Yale School of Music Wendy Moy soprano University of Washington Brian Mummert bass Yale University Alexander Naji bass/conductor Conductor, Female Chorus Audienda Tokyo, Yokohama Jessica Petrus soprano Yale School of Music Bryan Pinkall tenor University of Missouri, Kansas City Erin Plisco soprano/conductor Music Director, Trinity Christian Fellowship Church, Pinehurst, NC

Sof铆a Pollak alto Pontificia Universidad Cat贸lica, Chile Nathan Reiff tenor/conductor University of Michigan, Ann Arbor Samantha Scully alto Westminster Choir College Joel Tranquilla bass/conductor Michigan State University

FELLOWSHIP RECIPIENTS | 25

Festival Administration Norfolk Chamber Music Festival Leadership Council Robert Blocker Paul Hawkshaw Joyce Ahrens John Baumgardner Kathleen Kelley Christopher Little James Remis Byron Tucker Sukey Wagner

Dean Director

Administration & Staff Robert Blocker Paul Hawkshaw James Nelson Deanne Chin Carol Jackson

Dean Director General Manager Associate Manager Associate Administrator

Shannon Whitney Brian Daley Nicholas DeMaison Joseph DiBlasi William Harold Kenneth Mahoney Scott Switzer Jaci Wilkinson Donna Yoo

Box Office Assistant Piano Curator Production Manager Piano Tuner Piano Curator Head Chef Recording Engineer Librarian/Director’s Assistant Associate Administrator, Operations

Ellen Battell Stoeckel Trust William G. Gridley, Jr. Peter Salovey Anne–Marie Soullière

Trustee Trustee (Yale University) Trustee

Yale University Richard C. Levin President Peter Salovey Provost Linda Koch Lorimer Vice President & Secretary Dorothy K. Robinson Vice President & General Counsel Bruce D. Alexander Vice President & Director of

New Haven and State Affairs Inge Theresa Reichenbach Vice President for Development Emily P. Bakemeier Deputy Provost for the Arts and Humanities Jack Beecher Senior Director of Business Operations Regina Starolis Executive Assistant to the President

Contact the Festival Year Round

Email:

norfolk@yale.edu

June – August Mail:

Street:

Tel: / Fax:

Website: www.norfolkmusic.org

PO Box 545, Norfolk, CT 06058 Ellen Battell Stoeckel Estate, 20 Litchfield Road Norfolk, CT 06058 860.542.3000 / 860.542.3004

September – May

Mail: PO Box 208246, New Haven, CT 06520

Street: 500 College St, Ste 301, New Haven, CT 06520

Tel: / Fax: 203.432.1966 / 203.432.2136

Festival Administration | 27

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Nutmeg Ballet’s

Summer Dance Festival

An eclectic showcase of classical and modern dance repertoire performed by the talented students, graduates and guests of Nutmeg’s 44th International Summer Training Program

Sharon E. Dante

Founder/Executive Director

Victoria Mazzarelli Artistic Director

Friday, July 27 at 8:00 pm Saturday, July 28 at 12:00 pm A special program in the Carole and Ray Neag Performing Arts Center’s Nancy Marine Studio Theatre Warner Theatre, 68 Main Street, Torrington, CT 06790 www.warnertheatre.org or 860.489.7180 Seats: $25

Join us for a free performance at Jacob’s Pillow Inside/Out Wednesday, July 25, 2012 at 6:15 pm

Graham Allyn John Allyn

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Music Shed Restoration Benefit Gala Chairs

Joyce and Burton Ahrens

Gala Vice-Chairs (As of May 9, 2012)

Joanna Aversa Astrid and John Baumgardner Amy and Peter Bernstein Annette McEvoy Bronheim and Harold Bronheim Jennie and Bill Brown Blake and Elizabeth Cabot Sally Carr Carolyn Childs Hope Childs Robert Dance and Robert Loper Drew S. Days, III and Ann R. Langdon Rohit and Katharine Desai Fleur Fairman and Tim Wallach Mary Fanette and Veronica Burns Valerie Fitch Lionel and Dotty Goldfrank Barbara and Bill Gridley Billy and Mary Gridley Elizabeth Hilpman and Byron Tucker Philip and Helen Jessup Doreen and Michael Kelly Susan and Peter Kelly Peter L. Kennard

Stuart C. H. Kiang and Grace Wiersma Christopher and Betsy Little Kim and Judy Maxwell Katherine Moore Richard and Barbara Moore Kevin and Hatice Morrissey Patricia Nooy and Roger Miller John Perkins and Hope Dana Leroy and Jane Perkins Ned and Karen Peterson Drew and Sally Quale Margo Rappoport and Michael Emont Jim and Nancy Remis Sandy and Dick Rippe Kathy and Curtis Robb John and Barbara Rutledge Bernard and Lisa Selz Howard Sobel and Ileene Smith Anne-Marie Soullière and Lindsey C. Y. Kiang Kathleen Soullière Pat and Kurt Steele Alyson and Tony Thomson Sukey Wagner

Event Committee Co-Chairs Valerie Fitch Evan Hughes and Peter Ermacora Doreen Kelly Nancy Remis

30 | JuNE 16, 2012

Norfolk Cabaret Night Norfolk Chamber Music Festival | Saturday, June 16, 8:00 pm

This evening's program will be announced from the stage.

Born in Paterson, New Jersey, John Pizzarelli has been playing guitar since age six, following in the tradition of his father, guitar legend Bucky Pizzarelli. He began playing with his father at age 20, then went out on his own. Since 1992, the John Pizzarelli Trio has toured extensively.

In 1993, they were honored to open for Frank Sinatra's international tour and then joined in the celebration for his 80th birthday at Carnegie Hall.

John Pizzarelli has recorded as a bandleader for RCA, Chesky, Stash and Novus, and in 1997 appeared in the Broadway musical Dream, a revue of Johnny Mercer songs. Along the way, Pizzarelli has been a bandleader, solo performer and special guest on recordings for major pop names such as James Taylor, Natalie Cole, Tom Wopat, Rickie Lee Jones and Dave Von Ronk, as well as leading jazz artists like Rosemary Clooney, Ruby Braff, Johnny Frigo, Buddy DeFranco, Harry Allen and, of course, Bucky Pizzarelli. With more than 40 albums under his belt, Pizzarelli was recently featured opposite Donna Summer, Jon Secada and Roberta Flack on the Grammy ® Award winning CD, Songs From The Neighborhood: The Music of Mr. Rogers. This past February he was a guest guitarist on Beatles legend Paul McCartney’s new album Kisses on the The John Pizzarelli Bottom with pianist Dina Krall.

Quartet

Aside from his busy recoding and touring schedule, he was featured in a popular TV commercial for Foxwoods Casino, and has has performed on the country's most popular national television shows such as The Tonight Show with Jay Leno and The Late Show with David Letterman. He has also successfully launched Radio Deluxe with John Pizzarelli, his nationally syndicated radio program, co-hosted with his wife, Broadway star Jessica Molaskey. On the program he has interviewed a wide range of guests from Liza Minnelli, Mitch Albom and Regis Philbin to Kurt Elling, Annie Ross and Keely Smith. The show is available globally as a podcast at johnpizzarelli.com and via iTunes.

Pizzarelli performs annual engagements at the Café Carlyle with Jessica Molaskey and at Birdland with his jazz combo. He continues to tour throughout the United States, Europe, South America and Japan.

John Pizzarelli Quartet

John Pizzarelli guitar and lead vocals

JuNE 16, 2012 | 31

Program Notes — Program notes by Michael Compitello Although percussion features prominently into almost every musical culture in the world, the notion of the percussion ensemble—and percussion quartet in general—is a relatively recent development. Amadinda’s program acknowledges contemporary percussion’s debt to traditional musical cultures throughout the world, shows how these influences have been developed and transformed over time, and pays tribute to two of the most important composers for percussion in the 20th century: John Cage and Steve Reich.

Ugandan traditional music and Txalaparta, traditional Basque music

The amadinda is a Ugandan log xylophone that is the precursor to the modern marimba. Groups of two musicians, sitting on opposite sides of the instrument, play interlocking rhythms to create a fluid, composite melody that one player could not accomplish alone. The Txalaparta is a Basque instrument consisting of wooden planks typically played by two musicians. Txalaparta is an onomatopoeic reference to a horse’s gallop, the sound of which is invoked by the two players’ structured improvisation on various parts of each of the planks.

LIGETI: Pattern Transformation

The unforgettable timbre, virtuosic technique and performative flair that ethnic percussive traditions embody have had a significant influence on contemporary percussion music. Lukas Ligeti’s Pattern Transformation was composed with Amadinda’s phenomenal skill in interlocking rhythms in mind, and combines the melodic technique of African xylophone playing with Ligeti’s own unique musical voice. The four players, playing on two marimbas, play the same melody in close canon, gradually inserting rests in different places to move from a dense chromatic texture to a more convivial composite of interlocking tones. At times, the dense, skittering counterpoint between the four players resembles the music of Ligeti’s father, famed Hungarian composer Györgi Ligeti.

HOLLO: 39 - the Dream of Manichaeian / beFORe JOHN 3

José / beFORe JOHN 5 BECKER: Unseen Child Begun in 1996 by Amadinda percussionists Aurél Holló and Zoltán Váczi, the BeFORe JOHN series is, like Pattern Transformation, an attempt to connect traditional percussion cultures with prominent musical trends of the 20th century. Holló’s José / beFORe JOHN 5 is a raucous take on Spanish Flamenco music that invokes the virtuosic clapping of Flamenco dancers while transforming the rapid guitar flourishes typical of the style into astounding marimba patterns. Like Pattern Transformation, 39 - the Dream of Manicaeian / beFORe JOHN 3 uses subtle variation within a dense texture of repeating interlocking rhythms. However, where Ligeti moves in the direction of harmonic transformation, Holló incorporates subtle changes in color and a variety of non-pitched instruments as impulse for compositional development. Incorporating a similar array of mallet instruments, Bob Becker’s Unseen Child is based on Japanese composer Toru Takemitsu’s song Mienai Kodomo. Becker’s soft, gentle texture invokes the patient and unique sound world of Takemitsu’s music.

CAGE: Imaginary Landscape No. 2

Three 2

John Cage is often considered the father of the modern percussion ensemble because of his influential role as a composer and performer of in the 1930s and 1940s. Composed between 1939 and 1952, Cage’s five Imaginary Landscapes were among the first pieces to incorporate instruments or other elements requiring electricity and, like Cage’s three Constructions for percussion ensemble, combine a rigid and self-relational formal structure with raucous and unusual sounds that raise non-pitched percussion instruments to a level of legitimacy equal with traditional western instruments. Subtitled “March,” Imaginary Landscape No. 2 is composed for an array of percussive noise-makers—including tin cans, a conch shell, a ratchet, and a wastebasket—and an amplified coil of wire, attached to a phonographic tone arm. A much later piece, Three 2 is written for three percussionists who each play three non-specified instruments, and was composed for performance with choreography from Merce Cunningham, Cage’s long-time collaborator.

Reich: Mallet Quartet

Steve Reich has also incorporated musical techniques of West African drumming and Balinese Gamelan into his own style. Mallet Quartet, dedicated to Amandinda’s 25th anniversary and the influential Canadian percussion group Nexus, is set in three continuous movements (slow-fastslow) and draws upon the interlocking rhythms of African drumming to create patterns in the marimbas, over which the vibraphones play in close imitation. The piece is distinguished by its remarkable second movement, a tender song that is among the sparsest music Reich has written to date.

32 | JUNE 23, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, June 23, 8:00 pm arr. Amadinda

Ugandan traditional music Pattern Transformation

Lukas Ligeti

39 - the Dream of Manichaeian / beFORe JOHN 3

Aurél Holló

(b. 1965) (b. 1966)

arr. Amadinda

Txalaparta, Basque traditional music José / beFORe JOHN 5

Holló

| Intermission |

Imaginary Landscape No. 2

John Cage

(1912 - 1992)

Bob Becker

Unseen Child

(b. 1947)

Three 2

Cage Steve Reich

Mallet Quartet

(b. 1936)

Net proceeds of this concert will go to the rebuilding of the Norfolk Curling Club facilities.

Amadinda

Károly Bojtos — Aurél Holló — Zoltán Rács — Zoltán Váczi with Lajos Tóth JuNE 23, 2012 | 33

Concert Program Norfolk Chamber Music Festival | Friday, June 29, 7:30 pm James Wood

Cloud Polyfonies III (Co-commissioned by the Norfolk Chamber Music Festival with a consortium of American Universities and Percussion, The Hague)

(b. 1953)

Village Burial with Fire

Wood

Rogosanti

Wood

Caprichos Enfaticos

Martin Bresnick

(b. 1946)

Norfolk Contemporary Ensemble Martin Bresnick director — James Wood conductor — Lisa Moore piano

Garrett Arney percussion — Cristóbal Gajardo percussion — Ian David Rosenbaum percussion Adam Rosenblatt percussion — Mari Yoshinaga percussion — Georgi Videnov percussion Julia Sherriff piano — Michael Smith piano

34 | JuNE 29, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, June 30, 2:00 pm The order of this afternoon's program will be announced from the stage.

Sonata for Two Pianos and Percussion Mallet Quartet

Béla Bartók

(1881 - 1945)

Steve Reich (b. 1936)

with world premieres by Fellows of the New Music Workshop Anderson F. Alden composer — Yie Eun Chun composer — Thomas Kotcheff composer Patrick Murray composer — Gity Razaz composer — Samantha Wolf composer

Norfolk Contemporary Ensemble Martin Bresnick director — Lisa Moore piano

Garrett Arney percussion — Cristóbal Gajardo percussion — Ian David Rosenbaum percussion Adam Rosenblatt percussion — Mari Yoshinaga percussion — Georgi Videnov percussion Julia Sherriff piano — Michael Smith piano

JUNE 30, 2012 | 35

Program Notes — Program notes by Laura Usiskin

Haydn: String Quartet in f minor, Op 20, No. 5

Written in 1772, Haydn’s Opus 20, No. 5, was among the last of 18 quartets he had written in the previous five years. The work was his most mature and developed quartet to date. It also stands out for being in the tragic key of f minor, an unusual trait for an era when most quartets were congenial pieces meant for enjoyment at home. In the first movement, even the second theme is contemplative and sober despite being in a major key. The second movement is a heavy minuet that at times gives hints of a country dance or Ländler. The third movement presents a siciliano theme to which the first violin gives virtuosic embellishments. The last movement harkens back to the Baroque era with a fugue, one of three finale fugues in the Opus 20 set. The title “a due soggetti” refers to its two short subjects. One is a leaping motive that Mozart, Handel and others had used, and the second is a stepwise figure. The fugue is marked “sotto voce,” meaning “under voice,” and is to be played softly until the end of the piece, when the fugue bursts open in full strength.

Beethoven: String Quartet in c minor, Op 18, No. 4

Beethoven’s Opus 18, No. 4, has many parallels with the preceding work on tonight’s program. Written in 1798 - 1800, it too is an early work of a composer known for quartet writing. It is also in a minor key and has constructional similarities, such as the use of fugal subjects.

Beethoven’s work, however, has a much different character from Haydn’s and many traits that are his own. Instead of a melancholy first movement, Beethoven’s allegro is stormy, driving, and intense. The second theme is almost the same as the opening theme only in a major key. There is no slow movement in the work. The second movement is built on a regal fugal subject comprised of three repeated notes and a scale. The third movement is a scherzo rather than a minuet. The last movement is a rondo whose staccato refrain contrasts with its smooth, lyrical episodes. To bring the impassioned work to a close, Beethoven indicates that the end be played as fast as possible.

Beethoven: String Quartet in B-flat Major, Op 130/133

Completed in January 1826, Opus 130 was one of Beethoven’s final compositions. It contains the four traditional quartet movements – introduction, dance, slow movement, finale – plus additional dance and slow movements that are among his most beloved. Its finale, the Grosse Fuge, was deemed at the premiere too complex, massive and difficult for the work. Beethoven replaced it with a smaller, more manageable finale and gave the fugue its own opus number - 133. Tonight’s program offers the original version of the work. Its six-movement structure, inventive forms, striking harmonies, arresting contrasts and transcendental moments, make Opus 130 one of the great late Beethoven quartets.

The first movement’s unusual oscillations between slow and fast tempos, loud and soft dynamics, and sustained and disconnected notes give the work a schizophrenic feeling. The brief second movement opens in a whisper but becomes outgoing in its trio section. The third movement is the first slow movement, though Beethoven indicates that it should remain moving and light. The fourth movement is an inviting, heartfelt, and warm German dance, the second dance of the work. The Cavatina is regarded as one of Beethoven’s most sublime compositions. Beethoven himself said that never had one of his own pieces moved him so deeply and reliving it always cost him a tear. All of the movements build up to the finale, the Grosse Fuge. After a disjoint initial presentation of the fugal material, the music launches into a non-stop, ferocious double fugue. Three more contrasting sections follow, each with its own manipulations of the fugal subjects. The coda presents the material in a triumphant manner, bringing this monumental work to a close.

36 | July 6, 2012

Concert Program Norfolk Chamber Music Festival | Friday, July 6, 8:00 pm String Quartet in f minor, Op 20, No. 5

Franz Joseph Haydn (1732 - 1809)

Allegro molerato

Menuetto Adagio

Finale: Fuga a due soggetti Artis Quartet

String Quartet in c minor, Op 18, No. 4

Allegro ma non tanto

Menuetto: Allegretto

Ludwig van Beethoven (1770 - 1827)

Scherzo: Andante scherzoso quasi allegretto

Allegro-Prestissimo

Artis Quartet

| Intermission |

String Quartet in B-flat Major, Op 130; Grosse Fuge, Op 133

Adagio ma non troppo - Allegro

Andante con moto, ma non troppo

Cavatina: Adagio molto espressivo

Beethoven

Presto

Alla danza tedesca: Allegro assai Grosse Fuge (Op 133)

Artis Quartet

The Faculty, Fellows and Staff of the Festival would like to welcome the many volunteers from throughout the Norfolk community to this evening's concert.

Artis Quartet

Peter Schuhmayer violin — Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello July 6, 2012 | 37

Program Notes — Program notes by Laura Usiskin

Mysliveček: Octet No. 3 in B-flat Major

Despite a late start to his music career and early death at age 43, 18th-century Czech composer Josef Mysliveček wrote hundreds of works.

Mozart admired him very much. He never relied on employment with a court or church, always preferring to make ends meet his own way.

Since most wind ensemble compositions at the time were used for military or civic occasions, one can only speculate as to the inspiration for the three wind octets composed during an extended stay in Munich in 1777 - 1778. The Octet No. 3 in B-flat Major exemplifies the balanced, spirited manner that defines Mysliveček’s style. Whimsical syncopations give buoyancy to the first movement’s second theme. The touching melody of the second movement, first presented in the clarinet, shows Mysliveček’s songful abilities. A short finale concludes this light, charming work.

MOZART: Concerto No. 12 for Piano and Orchestra in A Major, K 414

Before Mozart, keyboard instruments typically assumed a continuo role in a large ensemble. Mozart redefined the position of the piano in a large ensemble with 27 concertos that he wrote to display his own virtuosic piano skills. He designed the accompaniment of the three of these concertos, K 413, 414 and 415 to be effective both as an orchestra and string quartet. The first movement of this one, K 414, contains no fewer than six separate themes, each with its own elegance and delightfulness. The second movement’s melody is taken from an overture

by J.C. Bach, a mentor to Mozart who had recently died. The last movement contains a unique cadenza for the piano that puts the soloist in dialogue with the orchestra. This pleasing rapport befits a work of such charm and joy.

SCHOENBERG: Ode to Napoleon Buonaparte, Op 41

One the most influential composers in the history of Western music, Austrian-born Arnold Schoenberg moved to the United States in 1933 to escape Hitler’s regime. Written in Los Angeles in 1942, Ode to Napoleon is one of several late Schoenberg works that are religious or philosophical in content. Lord Byron wrote the eponymous poem in 1814, only days after Napoleon had announced his exile. Schoenberg’s choice of this poem sends his own message about Hitler and the evils of tyranny. Like many of his later works, Ode to Napoleon walks a blurry line between tonality and twelve-tone technique of which Schoenberg was the famous inventor. The final chord is a resounding E-flat Major that references another famous work associated with Napoleon, Beethoven’s Eroica Symphony. The narration part is in Sprechstimme – another technique associated with Schoenberg - where the speaker’s rhythms are specified but the written pitches are suggestive only of contour and emphasis. In addition to its political message, this masterpiece shows the incredible expressivity of Schoenberg’s music and his ability to manipulate the coloristic possibilities of each instrument.

BRAHMS: Trio for Piano, Violin & Clarinet in a minor, Op 114

In 1890, Brahms decided to give and destroy all his incomplete works. His determination lasted only about a year until, hearing German clarinetist Richard Mühlfeld, he was inspired to compose agaon. The first piece that followed was the Clarinet Trio in 1891. It has become a staple in the clarinet repertoire and a favorite work among audiences and performers alike. The trio contains evocative melodies and poignant passages in every corner. The cello takes the lead in the first movement, presenting both main melodies. In the second movement, melodic and accompanimental figures pass freely between the three parts. The third movement is reminiscent of a nostalgic waltz, and its trio section in the style of a country dance or Ländler, complete with yodeling passages. The final movement, more virtuosic than the previous three, drives the work to an intense finish.

38 | July 7, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, July 7, 8:00 pm Octet No. 3 in B-flat Major

Josef Mysliveček (1737 - 1781)

Allegro

Larghetto con un poco di moto

Presto

Stephen Taylor, James Jihyun Kim oboe — Wai Lau, Joshua C. Anderson clarinet — Schuyler Jackson, Midori Samson bassoon John Craig Hubbard, Patrick Jankowski French horn — Gregory Robbins double bass

Piano Concerto in A Major, K 414

Allegro

Rondo: Allegretto

Wolfgang Amadeus Mozart (1756 - 1791)

Andante

Robert Blocker piano — Artis Quartet

Ode to Napoleon Buonaparte, Op 41

Arnold Schoenberg

Boris Berman piano — Artis Quartet — Michael Friedmann narrator

(1874 - 1951)

| Intermission |

Trio for Piano, Violin & Clarinet in a minor, Op 114 Allegro

Johannes Brahms (1833 - 1897)

Adagio

Andante grazioso

Allegro

Richard Stoltzman clarinet — Boris Berman piano — Othmar Müller cello

Artis Quartet

Peter Schuhmayer violin — Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello July 7, 2012 | 39

Family Day at the Festival All Family Day events are FREE and OPEN to the public 2.00 pm • Music Shed

3:00 pm - 3:45 pm • Music Shed 4:00 pm • Music Shed

Young Artists' Performance for Kids by Summer Fellows of Yale School of Music Ice Cream Social & Children's Games The Professors of Bluegrass

Family Day children's games and activities are sponsored in part by the Battell Arts Foundation

Norfolk's Family Day events are part of Norfolk ArtsWave!

For a complete listing of events town-wide, visit norfolkartswave.org.

40 | July 8, 2012

Concert Program Norfolk Chamber Music Festival | Sunday, July 8, 2:00 pm

This afternoon's program will be announced from the stage.

In the early ‘90s, now Yale University Provost, Peter Salovey, and fellow Psychology Professor, Kelly Brownell, assembled a group of Yale community members who, like themselves, loved to play and listen to bluegrass music. The group enthralled the rest of the community, and as the picture to the left documents, it carries on that tradition to this day.

As members of the original band moved on, a brief lull in the music was relieved by a second incarnation of the group. That edition enjoyed great popularity from 1996 to 1999, but sadly for music lovers, members continued to move on and the Professors of Bluegrass once again descended into quiescence.

Now, thanks to some returning members, some new members, and the passion for the music that unites bluegrass musicians everywhere, the Professors of Bluegrass are alive and well once again!

The Professors of Bluegrass The Professors of Bluegrass Sten Isak Havumaki, Havumaki Fine Custom Woodwork guitar and lead vocals

Craig Harwood, Yale PhD, 2002, Director of the Macaulay Honors College at Hunter College and former Dean of Davenport College mandolin Oscar Hills, Yale College 1974, Yale Department of Psychiatry banjo

Katie Scharf, Yale Law School 2006, State of CT Deputy Commissioner of Energy & Environment f iddle and vocals Peter Salovey, Yale PhD 1986, Provost of the University and Chris Argyris Professor of Psychology bass

The Professors of Bluegrass are committed to bringing "the high lonesome sound" to the Ivy League and recently appeared, to great acclaim, at Mory's!

July 8, 2012 | 41

Program Notes — Program for Britten and Dvořák by Jordan Kuspa

BRITTEN: Phantasy Quartet, Op 2

Britten was an incredibly precocious and productive young composer. He wrote over 800 works and fragments of works before the appearance of his first published composition. Though Britten composed the Phantasy Quartet when he was only 18 years old, it represents a remarkably assured and sophisticated musical voice. Composed for the famed British oboist Leon Goosens, the Phantasy Quartet was one of Britten’s first works to garner international recognition. Cast in a single-movement arch form, the work features lyrical writing that foreshadows Britten’s later brilliance as a composer of vocal music. Another outstanding feature of the work is Britten’s masterly handling of diverse textures, evinced particularly in the frequent blending of bowed and plucked passages for the strings.

SCHARNBERG: Icebox Ethos (World Premiere)

ice·box [ahys-boks]

1. an insulated cabinet or chest with a partition for ice, used for preserving or cooling food, beverages, etc.

2. Older Use - an electric or gas refrigerator.

** 3. nickname for Norfolk, CT e·thos [ee-thos, ee-thohs, eth-os, -ohs]

1. Sociology . the fundamental character or spirit of a culture; the underlying sentiment that informs the beliefs, customs,

or practices of a group or society; dominant assumptions of a people or period: "In the Greek ethos the individual was

highly valued."

** 2. the character or disposition of a community, group, person, etc.

3. the moral element in dramatic literature that determines a character's action rather than his or her thought or emotion.

One of my favorite things to do is write music for longtime friends. I've known Scott Hartman since 1978 so he definitely qualifies.

This piece is inspired by his virtuosity and beautiful tone as well as the spirit that embodies this little corner of my world here in Norfolk. ** N/A = Norfolk Applicable — Kim Scharnberg

DVOŘÁK: Piano Trio No. 3 in f minor, Op 65

Dvořák’s Trio in f minor is widely regarded as one of the composer’s greatest chamber music works. Composed in 1883, when he was forty-two, the trio stands out as uncharacteristically stormy and tragic in comparison with the bulk of the composer’s oeuvre. The work also shows the development of a more cosmopolitan and international style in the Czech composer’s work, a trend that developed after the widespread success of Dvořák’s overtly “nationalist” works, such as the Slavonic Dances. The outer movements in particular betray the influence of Dvořák’s friend and mentor, Johannes Brahms, both in the robust development of motivic ideas and in the strength of the work’s formal design. However, Dvořák’s indefatigable melodic sense and his penchant for intricate accompanimental textures evince his love and understanding of the music of Franz Schubert. One such particularly beguiling textural effect is created at the outset of the second movement scherzo. The violin and cello begin with fast alternating pitches yet, when the piano enters a few bars later, the listener is made to retroactively understand the string patterns as triplet figures, causing a pleasant sense of momentary rhythmic dislocation. Playful touches of this sort abound in Dvořák’s Trio, lightening its overall mood of darkness, and foreshadowing the work’s triumphant conclusion.

42 | July 13, 2012

Concert Program Norfolk Chamber Music Festival | Friday, July 13, 8:00 pm Phantasy Quartet, Op 2

Benjamin Britten

Stephen Taylor oboe — Peter Schuhmayer violin — Herbert Kefer viola — Othmar Müller cello

Icebox Ethos (World Premiere)

(1913 - 1976)

Kim Scharnberg

Scott Hartman trombone — Michael Compitello percussion — Hannah Collins cello

(b. 1960)

| Intermission | Piano Trio No. 3 in f minor, Op 65

Allegro ma non troppo

Antonín Dvořák (1841 - 1904)

Allegro grazioso Poco Adagio

Finale: Allegro con brio Ani Kavafian violin — Ole Akahoshi cello — André-Michel Schub piano

July 13, 2012 | 43

Program Notes — Program notes by Dana Astmann

BEETHOVEN: String Quartet in F Major, Op 18, No. 1

Beethoven was in his late twenties when he wrote his first string quartets, and 31 when he published the six quartets of Opus 18. Haydn had established the genre; Mozart had written his first six quartets as a tribute to Haydn; now it was Beethoven’s turn to contribute his first efforts. Though this quartet is labeled No. 1, it is actually the second quartet Beethoven wrote, and it was revised substantially before its publication. The assertive motif that opens the quartet grabs the ear and dominates the first movement. Marked Allegro con brio, the movement takes the motif through a broad range of transformations and moods. After bringing the sonata form full circle – exposition, development, recapitulation – Beethoven continues to play with his musical materials in an extended coda. The deeply moving second movement, Adagio affettuoso ed appassionato, is in the tragic key of D minor, the key of the Ninth Symphony and the “Tempest” Sonata, Opus 31, No. 2. Beethoven himself left evidence that the movement was inspired by the tomb scene from Romeo and Juliet. The mischievous third-movement Scherzo is full of off-beat accents and other surprises; the trio section in the middle juxtaposes virtuosic runs in the first violin against understated ensemble passages. In the fourth movement, marked allegro, Beethoven retains some of the character that he established in the scherzo, but develops his material much further: the movement is bursting with diverse textures, rich thematic exploration, and the added complexity of counterpoint.

BERG: String Quartet, Op 3

Alban Berg lived in Vienna at an extraordinary time and as a teenager was already embracing the city’s abundance of new music, art, theater and literature. Though he took piano lessons as a child and began writing music in his teens, Berg did not begin formal compositional training until he was 19. He studied with Arnold Schoenberg and within a few years had emerged as a young talent. The expressive, focused String Quartet, Opus 3, was the last work Berg composed under Schoenberg’s watchful eye. Upon hearing the piece at its premiere in 1911, Schoenberg wrote with surprise of “the fullness and unconstraint of its musical language, the strength and sureness of its presentation, its careful working and significant originality.” Though the harmony is freely atonal – the work was written in that heady time between the discarding of triadic harmony and the development of the twelve-tone method – the sonorities are lush; Berg incorporated a Romantic sensibility into his music even when working outside of tonal harmony. Despite the quartet’s contrapuntal texture and meticulous structure, the work sounds rich and spontaneous. “Permanent transition” is how Theodore Adorno described Berg’s method of developing thematic material: the music unfolds outwards into an intricate weave of interrelated elements. The first movement employs traditional sonata form along with this motivic unity. The second movement is more loosely structured. A reworking of the main theme from the first movement, based on the whole-tone scale, becomes an important motive in the second movement.

BEETHOVEN: String Quartet in E-flat Major "Harp," Op 74

In the eight years that elapsed after the publication of the Opus 18 quartets and the Quartet in E-flat Major, Opus 74, Beethoven’s style evolved significantly. His middle period included works like the Fifth Symphony, the “Appassionata” Sonata and the Violin Concerto. This string quartet, his tenth, radiates confidence and warmth; absent are the agita and heroism of the previous works. The first movement opens with a slow introduction before breaking into the sunny first theme of the Allegro. The pizzicato effects (plucking the strings) give the “Harp” Quartet its nickname. The development section whips the texture into a froth before relaxing back into spun-out melodic lines and then the pizzicato figures. In the second movement (Adagio ma non troppo – Slow, but not too slow), Beethoven’s lyricism takes full flight. The melody in this rondo-form movement is stated three times, each slightly varied, interspersed with contrasting episodes. After the peace of the adagio, the presto takes off with a jolt. The movement is a rhythmically jagged scherzo in c minor. Its two trio sections (rather than the usual one) are thematically related, and the second one builds on the first with a fugato. The rhythmic energy continues even as the volume fades away, with the movement fading furtively into the major mode and, without pause, into the Allegretto. The last movement is a theme and variations, serene and graceful overall, but not without detours into more vigorous and jaunty moods. The final chords are a self-effacing conclusion.

44 | July 14, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, July 14, 8:00 pm String Quartet in F Major, Op 18, No. 1

Allegro con brio

Scherzo: Allegro molto

Ludwig van Beethoven (1770 - 1827)

Adagio affettuoso et appassionato

Allegro

Artis Quartet

Alban Berg

String Quartet, Op 3

(1885 - 1935)

Langsam

Mässiger viertel Artis Quartet

| Intermission |

String Quartet in E-flat Major "Harp," Op 74

Beethoven

Poco Adagio; Allegro

Adagio, ma non troppo

Presto

Allegretto con variazioni Artis Quartet

Artis Quartet

Peter Schuhmayer violin — Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello July 14, 2012 | 45

Program Notes The Choirs of St. Paul’s Co-educational College

With a vision to nurture students in the Christian spirit of “Faith, Hope and Love,” St. Paul’s Co-educational College has been reputed as one of the finest schools in Hong Kong since its establishment in 1915.

Music has always been at the forefront of the school experience at the College. Since the founding of the School Choir in 1949, the College has built a fine choral tradition over the span of six decades, and now has two choirs in the College and four in the Primary School.

As active participants in the Hong Kong Schools Music Festival since 1950, the various College choirs have long enjoyed continued success in the competition. Internationally, the College Choirs won the highest Gold Award at the International Music Festival in Sydney in 1992. More recently, the Concert Mixed Voice Choir was also awarded a Gold Diploma and declared the Winner of the Mixed Youth Choirs in the 6th World Choir Games in 2010.

Of equal importance to the choirs’ participation in competitions are the performance experiences the choristers receive. Over the years, the College choirs have made guest appearances at historic occasions such as the Olympic Torch Ceremony in 1964, the public farewell ceremonies for governors of Hong Kong in 1964 and 1971, and the opening of the inaugural Hong Kong Arts Festival in 1973.

More recently, the Primary School Concert Choir performed at Beijing’s Central Conservatory of Music in 2010 and was invited to perform with the Shenzhen Symphony Orchestra in 2009, as well as with Bobby McFerrin in the 2004 Hong Kong Arts Festival.

Guided by the artistic vision and strategic direction of Warren Lee (Yale School of Music '99), the choirs of St. Paul’s Co-educational College are conducted by various faculty members of the school.

46 | July 17, 2012

Concert Program Norfolk Chamber Music Festival | Tuesday, July 17, 7:30 pm

This evening's program will be announced from the stage.

Sponsored by the Yale-China Association

July 17, 2012 | 47

Program Notes — Program notes by Laura Usiskin

SCHUMANN: Fantasiestücke (Fantasy Pieces), Op 73

In 1849, Schumann explored the small chamber ensemble medium with many short works written for various instrumental combinations. He wrote his Opus 73 Fantasiestücke for clarinet and piano and indicated the possibility of replacing the clarinet with violin or cello. Since then horn, bassoon, trombone and others have transcribed the work for their own use. Schumann borrowed the title “Fantasy Pieces” from the famed author E.T.A. Hoffman and used it for this and several other compositions. Many shared elements link the three pieces in this cycle. The piano ripples in triplets throughout the set; the melodies of each piece have a wide register range; all three pieces are in a loose ABA form; and they are to be played without pause.

STRAUSS: Andante in C Major for French Horn and Piano

Strauss had a penchant for the horn that came from his father, a professional horn player. The result of this affinity was two concertos for the instrument as well as this work. He intended it to be part of a complete sonata but never finished any other movements. Instead, it stands on its own as a delightful, short piece. Within its brevity, the work travels from a songful opening melody to a stormy middle section and back.

STRAUSS: Alphorn for Soprano, French Horn and Piano

The alphorn is a long canonical instrument used for centuries in Switzerland and elsewhere for communication purposes. In Strauss’ work, the horn plays the role of alphorn. Almost all of the notes in its opening fanfare fall in the natural harmonic series, just as an alphorn would play. The soprano sings a poem by 19th-century poet Justinus Kerner about how impossible it is to locate the source of an alphorn sound as it bounces off the mountains and trees.

DVOŘÁK: Love Songs, Op 83

Dvořàk’s first venture in vocal writing was an 18-song cycle entitled “Cypresses” that even he recognized was weak and poor. In the years that followed, he took melodies from it and put them in new compositions, including an eponymous string quartet and his Eight Love Songs, Opus 83. In Opus 83, the poetry moves in an overall progression from pessimism and unrequited love to optimism and devotion. A recurring undulating effect in the piano creates different characters in each movement: tumultuous and stormy in song No. 2, peaceful in No. 5, and tender in No. 8. The use of a folk-like tune in No. 3 reflects the words “old song.” After singing of death and unanswered love, only in the final song does the singer declare her eternal love.

BRAHMS: Two Songs for Alto, Viola and Piano, Op 91

Brahms wrote his heartrending Opus 91 songs for his good friend, violinist Joseph Joachim. At the time Joachim was married to Amalie Schneeweiss, a contralto who had given up her career to raise his six children. The two were having marital trouble, and Brahms hoped an intimate musical piece for viola and voice would reconcile their differences. Not only was the effort fruitless, Brahms and Joachim’s friendship was compromised as a result. The first song depicts nature and the woods. Brahms evokes the scene in the instrumental parts, including a climax in the middle that mirrors the singer’s anxiety. The second song is a lullaby based on the carol Josef, lieber Josef mein.

BRAHMS: Piano Trio No. 2 in C Major, Op 87

Brahms was notorious for being his own toughest critic, often destroying works instead of publishing them. The Piano Trio in C Major is the second of three magnificent piano trios of which Brahms approved, though there existed a companion piece to this work in E-flat Major that he chose to discard. He wrote the C Major trio in 1882 at a time when he was in full maturity as a composer and had already written many great chamber works. The first movement begins with the strong, unison declamation of a C major theme that contrasts with the smooth lyricism of a second theme, first presented in the piano. The second movement, unlike those of most of his chamber works, is heavy and strident instead of gentle and intimate. It contains a Hungarian-inspired theme and five variations. The third movement is a biting, sardonic scherzo.

The fourth, like the preceding three, begins with the strings in unison. It brings the work to a jubilant and celebratory close.

48 | July 20, 2012

Concert Program Norfolk Chamber Music Festival | Friday, July 20, 8:00 pm Fantasiestücke (Fantasy Pieces), Op 73

Zart und mit ausdruck Lebhaft, leicht Rasch und mit Feuer

Robert Schumann (1810 - 1856)

William Purvis French horn — Peter Frankl piano

Andante in C Major for French Horn and Piano William Purvis French horn — Peter Frankl piano

Alphorn for Soprano, French Horn and Piano

(1864 - 1949)

Strauss

Janna Baty soprano — William Purvis French horn — Peter Frankl piano

Love Songs, Op 83

Richard Strauss

O, nasi lasce | Never will love lead us to that glad goal V tak mnohem | Death reigns in many a human breast Kol domu se ted 'potacim | I wander oft past yonder house Ja vim ze3 v sladké | I know that on my love to thee Nad krajem vévodi lehky spanek | Nature lies peaceful in slumber and dreaming Zde v lese u potoka | In deepest forest glad I stand V té sladké moci tvych | When thy sweet glances on me fall O, diuse draha, jedinka | Though only, dear one but for thee

Antonín Dvořák (1841 - 1904)

Janna Baty soprano — Peter Frankl piano

| Intermission |

Two Songs for Alto, Viola and Piano

Gestillte Sehnsucht (Ruckert) | Longing Geistliches Wiegenlied (nach Lope de Vega) | Lullaby for the Christ Child

Johannes Brahms (1833 - 1897)

Janna Baty soprano — Peter Frankl piano — Kazuhide Isomura viola

Piano Trio No. 2 in C Major, Op 87

Allegro Andante con moto Scherzo: Presto Finale: Allegro giocoso

Brahms

Peter Frankl piano — Martin Beaver violin — Clive Greensmith cello

July 20, 2012 | 49

Program Notes — Program notes by Laura Usiskin

WEBERN: Five Movements for String Quartet, Op 5

Webern’s Opus 5 quartet was his first venture into atonal writing and his first published string quartet. Written in 1909, it was also one of the first works Webern wrote after completing his studies with the famous composer and teacher Arnold Schoenberg. There are many qualities characteristic of Webern in the work, such as compact, dense writing, short movements and the use of inventive, coloristic effects in the strings. Within the first two bars of the piece, the instruments must pluck, bow and hit the strings with the wood of the bow. Also characteristic of Webern is the expressivity he achieves within a compressed amount of time. The first movement is outgoing and intense.

The second movement has striking stillness to it. The third is scherzo-like, and the fourth recalls the night music of Bartók. The finale – long in length by Webern’s standards – closes the work on a contemplative, meditative note.

BEETHOVEN: String Quartet in C Major, Op 59, No. 3

Six years after his first set of quartets, Opus 18, Beethoven received a commission from the Russian ambassador to Vienna, Andreas Kirillovich Rasumovsky, to write three new ones. The Opus 59 quartets are the result, and they stand as pillars in Beethoven’s middle period. Coming on the heels of multiple concertos and the Eroica Symphony, the works contain more symphonic elements than his first quartets and are larger and more experimental in nature. Rasumovsky requested that each quartet contain a Russian folk tune to pay homage to his heritage. Beethoven complied in the first two but not the third. The harmonic and rhythmic ambiguity in the opening of this quartet creates a fog that is resolved in the ensuing fast section. Difficult passagework pervades all the string parts in the first movement.

Though the second movement does not contain an actual Russian tone, the plucking in the cello and soulful melody in the first violin suggest a folk melody. The third movement contains a gracious, innocent first section and raucous trio section. It moves without pause into the finale, a flashy, blazing fugal movement. Its grand, symphonic scope and incessant, motoric drive bring the work to a breathless close.

BEETHOVEN: String Quartet in c-sharp minor, Op 131

The epic Opus 131 string quartet was the last of three Beethoven wrote for a commission from Prince Nikolai Golitzin. Within the seven movements, there is both a strong sense of unity and a wide spectrum of forms, keys and moods. Thematic rhythmic elements and transitions linking the movements provide cohesiveness. Forms ranging from fugue to variation, as well as disparate keys – six over the course of the seven movements – and contrasts in mood give the work continuous variety.

The first contains a bleak fugue, opposite in character from the fugue that closed the first half of tonight’s program. For the second movement, all seriousness fades in a carefree melody. The third movement is less than a minute long and acts as an interlude to the fourth movement which is the lengthiest of all the movements and the heart of the piece. It consists of a simple theme followed by six variations.

Each variation has the unusual feature of being marked in a different tempo. The third variation highlights a viola/cello duet that harkens back to the conversation of the fugue. The fourth variation contains whimsical plucking; the fifth sustained chords; and the sixth jarring rumblings from the cello. A coda brings the movement to a gentle, Schubertian close. The fifth movement is youthful and droll, with entertaining plucking, comical starting and stopping, and a closing passage played sulponticello (on the bridge). The sixth movement is a brief sad expression that leads into the finale where, after five distinct keys, the piece returns to tonic c-sharp minor. A strident, march-like first theme contrasts with a cascading second theme. The piece ends with thrilling vigor.

50 | July 21, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, July 21, 8:00 pm Five Movements for String Quartet, Op 5

Heftig bewegt

Sehr bewegt

In zarter Bewegung

Anton Webern (1883 - 1945)

Sehr langsam

Sehr langsam

Tokyo String Quartet

String Quartet in C Major, Op 59, No. 3 Introduzione: Andante con moto - Allegro vivace

Ludwig van Beethoven (1770 - 1827)

Andante con moto quasi Allegretto

Menuetto grazioso - attacca Allegro molto

Tokyo String Quartet

| Intermission |

String Quartet in c-sharp minor, Op 131

Adagio, ma non troppo e molto espressivo

Allegro moderato

Beethoven

Allegro motlo vivace

Andante, ma non troppo e molto cantabile

Presto

Adagio quasi un poco andante

Allegro

Tokyo String Quartet

Tokyo String Quartet

Martin Beaver violin — Kikuei Ikeda violin — Kazuhide Isomura viola — Clive Greensmith cello July 21, 2012 | 51

Program Notes — Program notes by Jordan Kuspa

HAYDN: String Quartet in g minor, Op 74, No. 3, HOB III/74, "The Rider"

Despite spending most of his working life at the Court of Esterházy, Haydn became well known across the European continent due to the widespread publication of his works. A 1791 concert tour of London made Haydn a superstar. Hearing his quartets played for a large public audience changed the way he approached the intimate genres of chamber music. Now Haydn began to construct opening gestures designed to grab a mass audience; he began to increase the virtuosity of the instrumental parts; and he made an effort to write even catchier, more memorable tunes. The “Rider” Quartet, named for the “galloping” rhythm of the final movement, was composed in 1793, soon after Haydn’s London trip had encouraged him to shift his conception of the string quartet. Right from the outset, Haydn paints in bold brushstrokes, and maintains a heightened dramatic sense throughout the work. It is no surprise that Haydn considered the inclinations of his public in writing this work; the Opus 74 quartets were written specifically for the composer’s second tour of London.

BEETHOVEN: String Quartet in G Major, Op 18, No. 2

Beethoven’s first string quartets were composed only a few years after the Opus 74 and Opus 76, quartets by Haydn, and were written largely at the same time that the elder master (and Beethoven’s teacher) was completing his two Opus 77 quartets for Prince Lobkowitz.

Beethoven’s six Opus 18 quartets were also written for Lobkowitz, and show the nearly thirty year-old composer both embracing and challenging the examples set by Haydn and Mozart. The second of these quartets is often considered the most centered in 18th-century musical traditions. Its relaxed charm and grace earned it the nickname Komplimentier-Quartett, which could be translated as “quartet of bows and curtseys.”

ELGAR: Piano Quintet in a minor, Op 84

Seeking respite from illness and the scourge of WWI, in 1917 Elgar and his wife moved from London to a cottage in Sussex called “Brinkwells.” It was in this woodland home that, over the next three years, Elgar was to compose the final four major works of his career: the Violin Sonata, Opus 82; the String Quartet, Opus83; the Piano Quintet, Opus 84; and the famed Cello Concerto, Opus 85. The appearance of these works in such quick succession is even more remarkable when one considers that Elgar had not published any new chamber music in nearly thirty years. The nearly forty-minute Piano Quintet is Elgar’s longest chamber work. Responding to the conflict inherent in the work’s turbulent opening movement, the playwright and critic George Bernard Shaw called it “the finest thing of its kind” since Beethoven’s Coriolan Overture. From a muted beginning, the first movement grows into a tempestuous and expansive saga. The central adagio has the noble pathos also found throughout the Cello Concerto; Michael Kennedy dubbed the piece “one of Elgar’s sublime movements.” The final movement, like the first, builds from a quiet and elusive opening to a thunderous climax.

52 | July 27, 2012

Concert Program Norfolk Chamber Music Festival | Friday, July 27, 8:00 pm String Quartet in g minor, Op 74, No. 3, HOB III/74, "The Rider" Allegro

Franz Josef Haydn (1732 - 1809)

Largo assai

Menuetto: Allegretto

Finale: Allegro con brio Tokyo String Quartet

String Quartet in G Major, Op 18, No. 2 Allegro

Adagio cantabile

Allegro molto quasi Presto

Ludwig van Beethoven (1770 - 1827)

Scherzo: Allegro

Tokyo String Quartet

| Intermission |

Piano Quintet in a minor, Op 84 Moderato

Edward Elgar (1857 - 1934)

Adagio

Andante - Allegro Wei-Yi Yang piano — Tokyo String Quartet

Tokyo String Quartet

Martin Beaver violin — Kikuei Ikeda violin — Kazuhide Isomura viola — Clive Greensmith cello July 27, 2012 | 53

Program Notes — Program notes by Jordan Kuspa

HANDEL: Music for the Royal Fireworks Water Music Suite for Trumpet in D Major, No. 2

Handel’s Water Music and Music for the Royal Fireworks are often grouped together on programs; both were composed for royal celebrations and both were meant to be performed outdoors. But the two works are separated by over thirty years, as Water Music was written to accompany the court of King George I as it ceremoniously floated down the Thames in 1717, while Music for the Royal Fireworks was written to accompany a fireworks display celebrating the end of the War of the Austrian Succession in 1749. Both works were scored for large forces, with a particular emphasis on wind instruments, which are more easily heard outdoors. Due to their popularity, however, these pieces have been heard in numerous arrangements through the centuries, both for the modern orchestra and for chamber groups. Whatever the instrumentation, both Water Music and Music for the Royal Fireworks have retained the immense popularity they gained at their initial performances nearly three hundred years ago. As music historian Anthony Hicks writes: “Handel’s music transcends the event it celebrates and has elevated the spirits of many generations since.”

VIVALDI: Concerto in e minor for Bassoon, Strings and Continuo, RV 484 Concerto in a minor for Bassoon, Strings and Continuo, RV 497

At the beginning of the 18th century, the most popular instrumental genres in Europe were the trio sonata and the concerto grosso. Both genres emphasized the counterpoint between several prominent instruments. In the vocal and theatrical sphere, however, for opera seria was in vogue, and particularly the virtuosic solo arias performed by the greatest singers of the time. Soon, composers began to embrace the solo paradigm in their instrumental works as well, and the solo concerto began to supplant the concerto grosso as the orchestral genre of choice. Vivaldi composed more than 500 concertos, most of them solo concertos, and after the collection of more than 200 such works for violin, the over three dozen bassoon concertos represent the second-largest group. Most of Vivaldi’s concertos, including those for bassoon, were written to be performed by the orchestra of Venice's Ospedale della Pietà, a home for poor and orphaned girls. Vivaldi worked there as a violinist and teacher for many years before becoming the Music Director in 1716. As Director, Vivaldi built the orchestra of the Ospedale into one of Europe’s most renowned ensembles.

BACH: Keyboard Concerto No. 3 in D Major, BWV 1054

Though Bach was one of the most prolific composers in history, he often borrowed heavily from his earlier works to create new compositions.

The Keyboard Concerto No. 3 in D Major (BWV 1054, originally played on the harpsichord), was derived from the Violin Concerto in E Major (BWV 1042). This is not to say that the concerto should not be considered an independent work in its own right. Bach reworked the original extensively, adding new contrapuntal lines and developing the musical material more fully. The manuscript has been dated to 1738, though it is probable that Bach would have played the concertos several years before then. As such, Bach’s keyboard concertos form one of the earliest significant bodies of German music in the genre.

54 | July 28, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, July 28, 8:00 pm Water Music Suite for Trumpet in D Major, No. 2 Overture Gigue

Aire (Minuetto)

March 1 (Bourée)

March 2

George Frideric Handel (1685 - 1759)

Allan Dean trumpet — Charles Richard-Hamelin harpsichord Rena Kimura, Sharon Cho violin — On You Kim viola — Caroline Bean cello — Asa Maynard double bass

Concerto in e minor for Bassoon, Strings and Continuo, RV 484

Antonio Vivaldi

(1678

Allegro poco Andante Allegro Frank Morelli bassoon — Esther Park harpsichord — Vistula Quartet — Gregory Robbins double bass

Keyboard Concerto, No. 3 in D Major, BWV 1054

Allegro

Adagio e piano sempre Allegro

- 1741)

Johann Sebastian Bach (1685 - 1750)

Wei-Yi Yang harpsichord — Syoki Aki, Sharon Cho, Rena Kimura violin 1 — Nayeon Kim, SunKyung Liz Ban, Seokjung Lee violin 2 Marina Moore, Isabella Mensz viola — Mark Baekbum Yee, Jonathan Lo cello — Gregory Robbins double bass

| Intermission |

Concerto in a minor for Bassoon, Strings and Continuo, RV 497

Vivaldi

Music for the Royal Fireworks

Handel

Allegro molto Andante molto Allegro Frank Morelli bassoon — Esther Park harpsichord — Vistula Quartet — Gregory Robbins double bass

Movements to be announced

James Jihyun Kim, Rachel Van Amburgh oboe — Frank Morelli, Midori Samson, Schuyler Jackson bassoon Allan Dean, Hayato Tanaka, Kyle Dobbeck trumpet — Jamin Morden, Patrick Jankowski, John Craig Hubbard French horn Syoki Aki, SunKyung Liz Ban, Seokjung Lee, Paulina Różańska, Angelika Löw-Beer violin 1 Rena Kimura, Sharon Cho, Nayeon Kim, Oriana Masternak violin 2 — On You Kim, Marina Moore, Isabella Mensz, Rafał Zalech viola Caroline Bean, Angelika Löw-Beer, Hannah Collins, Magdalena Sas cello

Vistula Quartet

Paulina Różańska violin — Oriana Masternak violin — Rafał Zalech viola — Magdalena Sas cello July 28, 2012 | 55

Program Notes — Program notes by Dana Astmann

FRANÇAIX: 11 Variations on a Theme of Haydn

Jean Françaix began his musical life as a piano prodigy and enjoyed a long career as a composer, writing prolifically throughought most of his eighty-five years. When Françaix was still a boy, Maurice Ravel said to his parents: “Among the child's gifts I observe above all the most fruitful an artist can possess, that of curiosity.” His style has been called “melodically elegant and rhythmically incisive”; he gravitated toward Stravinsky-esque neoclassicism and French impressionism, but he refused to adhere to a single doctrine. He wrote in nearly every genre, and in his instrumental music displayed a particular affinity for woodwinds. Françaix wrote his Eleven Variations on a Theme of Haydn later in his life, in 1981. The work’s instrumentation (nine wind instruments plus double bass) as well as the multi-movement structure place the piece in the eighteenth-century tradition of the serenade. The Haydn theme is from the second movement of the “Surprise” Symphony (No. 94 in G Major); that movement, an Andante, is itself a series of variations on a theme. An abrupt fortissimo blast – just one – gives Haydn’s symphony its nickname. Françaix picks up on both Haydn’s melodic theme and the element of surprise in his own piece, which is full of instrumental color, quirky musical effects and abrupt shifts in dynamics and mood.

BRITTEN: Serenade for Tenor, Horn and Strings

Benjamin Britten’s Serenade for tenor, horn and strings offers a different take on the serenade tradition. The six texts in the work – which range from the 15th-century anonymous Lake Wyke Dirge to poems by William Blake (1757–1827) and Alfred, Lord Tennyson (1809–1892) – are all reflections on the night. Edward Sackville-West, to whom the piece is dedicated, wrote: “The subject is Night...the lengthening shadow, the distant bugle at sunset… …. The whole sequence forms an Elegy or Nocturnal, as Donne would have called it.” The piece is framed by the horn’s solo Prologue and Epilogue, in which the horn plays only the instrument’s natural harmonics. The voice enters in the Pastoral (text by Charles Cotton, 1630–1687), whose placid, at times poignant mood is followed by the more restless “The Splendour Falls” (Tennyson). As the voice sings “Blow, bugle, blow,” the horn outlines animated chords; at the words “dying, dying,” both voice and horn fade away. In the Elegy (text by Blake), the loss of innocence is depicted with open fifths in the strings and plaintive falling cries from the horn.

In the Dirge, those half-steps reappear in the tenor, around whose constant melody the strings build a furtive web of counterpoint. The entry of the horn with the fugue subject in the sixth stanza heightens the sense of urgency. In the lively Hymn (text by Ben Jonson, 1572–1637), marked Presto e leggiero (fast and light), the horn becomes the hunting horn of the goddess Diana. There is no horn in the Sonnet (text by John Keats, 1795–1821), in which glimmering string textures transport us to “soothest Sleep.”

BRITTEN: Lachrymae, Reflections on a Song of Dowland, Op 48

Britten wrote both the Serenade and Lachrymae for specific performers: Serenade for the horn player Dennis Brain, and Lachrymae for the violist William Primrose. Primrose, with the composer at the piano, gave the premiere of Lachrymae at Britten’s fledgling Aldeburgh Festival.

In Lachrymae, Britten paid tribute to the English lutenist and composer John Dowland (1563–1626), born 350 years before Britten. The piece is a set of free variations on Dowland’s lament “If My Complaint Could Passions Move.” However, the full original tune is revealed only at the end. Britten’s “reflections” on Dowland’s tune take small melodic fragments and reflect them in an uneven surface, like water. The sixth variation also quotes Dowland’s well-known “Flow, My Tears, which lends Britten’s piece its name: “lachrymae” is the Latin for “tears.”

FRANÇAIX: Le diable boiteux (The Devil upon Two Sticks)

Le diable boiteux (The Devil upon Two Sticks) was Françaix’s first opera. (He wrote five in all, plus sixteen ballets and an “oratorio fantastique.”)

Françaix himself wrote the libretto, which is based on the satirical novel of the same name by Alain-René Lesage (1668–1747). The story imagines a demon in Madrid who makes all the roofs of the city transparent, so as to show his human companion what is happening beneath them. Written in 1937, when Françaix was only 25, the chamber opera is scored for only two voices, a tenor and a bass, with a small orchestra.

Nadia Boulanger, the famed teacher of composition (whose pupils included not only Françaix but also American eminences from Aaron Copland to Elliott Carter to Virgil Thomson), conducted the premiere, a concert performance. The staged premiere had to wait until 1949, when Bronislaw Horowicz directed the work at the Festival International de Musique contemporaire.

56 | August 3, 2012

Concert Program Norfolk Chamber Music Festival | Friday, August 3, 8:00 pm 11 Variations on a Theme of Haydn

Jean FranÇaix

Rachel Van Amburgh, James Jihyun Kim oboe — Joshua C. Anderson, Wai Lau clarinet

(1912 - 1997)

Schuyler Jackson, Midori Samson bassoon — Patrick Jankowski, John Craig Hubbard French horn Kyle Dobbeck trumpet — Asa Maynard double bass

Serenade for Tenor, Horn and Strings

Benjamin Britten

Prologue — Pastoral (Charles Cotton) — Nocturne (Alfred, Lord Tennyson) — Elegy (William Blake) —

Dirge (anonymous, 15th century) — Hymn (Ben Jonson) — Sonnet ( John Keats) — Epilogue

(1913 - 1976)

Ransom Wilson condcutor — Dann Coakwell tenor — William Purvis French horn

Nayeon Kim, Rena Kimura, Sharon Cho violin 1 — SunKyung Liz Ban, Seokjung Lee, Angelika Löw-Beer violin 2 On You Kim, Marina Moore viola — Caroline Bean, Mark Baekbun Yee cello — Gregory Robbins double bass

| Intermission |

Britten

Lachrymae, Reflections on a Song of Dowland, Op 48

Lento — Allegretto, andante molto — Animato — Tranquillo — Allegro con moto — Largamente — Appassionato — Alla valse moderato — Allegro marcia — L'istesso tempo

Joan Panetti piano — Ettore Causa viola

Françaix

Le diable boiteux (The Devil upon Two Sticks) Ransom Wilson conductor — Dann Coakwell tenor — Dashon Burton bass

Isabel Lepanto Gleicher flute — Rachel Van Amburgh oboe — Wai Lau clarinet — Midori Samson bassoon — John Craig Hubbard French horn Hayato Tanaka trumpet — Gary Jones trombone — Maura Valenti harp — Michael Compitello, Georgi Videnov percussion Paulina Różańska, Seokjung Lee, Nayeon Kim violin 1 — Oriana Masternak, SunKyung Liz Ban violin 2

Rafał Zalech, Isabel Mensz viola — Magdalena Sas, Hannah Collins cello — Gregory Robbins double bass

August 3, 2012 | 57

Program Notes — Program notes by Jordan Kuspa

BEETHOVEN: String Quartet in a minor, Op 132

Beethoven’s late string quartets (Opp. 127; 130; 131; 132; the Grosse Fuge, Opus 133; and Opus 135) constitute a corpus of chamber music unsurpassed in its emotive power, compositional ingenuity and affective variety. Written in the final years of Beethoven’s life, these six works were at first widely misunderstood—the composer Louis Spohr once called them “indecipherable, uncorrected horrors”—but each of these quartets has since taken its place at the pinnacle of the chamber music repertoire.

Opus 132 was actually the second of these late works to be composed, falling chronologically between the Quartet in E-flat, Opus 127, and the Quartet in B-flat, Opus 130. Together, these three quartets are known today as the Golitsïn Quartets, after the Russian Prince Nikolay Golitsïn, who commissioned them at a price of 50 ducats per work. Beethoven only received payment for the first quartet however, as the prince was in dire financial straits by the time the works were completed. Unfortunately, the prince’s debt remained unpaid at the time of Beethoven’s death.

The Quartet in a minor is in five movements rather than the typical four. The most famous of these movements is the central slow movement. Composed after a grave illness almost took Beethoven’s life, the initial melody of the movement is inscribed Hymn of thanksgiving to the divinity, from a convalescent, in the Lydian mode, while the contrasting section in 3/8 time is entitled Feeling new strength.

Beethoven’s hymn of thanks is music of sublime tenderness. As Maynard Solomon observed, “Music here appears to become an implicit agency of healing, a talisman against death.”

BRAHMS: Clarinet Quintet in b minor, Op 115

In 1890, Brahms declared his intent to cease composing. Yet in 1891, he asked the clarinetist Richard Mühlfeld to play a private audition of the clarinetist’s entire repertoire. Soon after, Brahms produced two of his most beloved chamber works: the Trio for Clarinet, Cello and Piano, Opus 114; and the Quintet for Clarinet in Strings, Opus 115. These two works, along with the two later clarinet sonatas, Opus 120, have often been described as “autumnal,” an adjective suggested both by the plaintive tone of the clarinet and by the reflective and nostalgic affect of the music.

It was Mühlfeld’s exquisite playing that was the impetus for these compositions. Brahms felt that Mühlfeld was the greatest player of any wind instrument, and often referred to him by the fanciful title, Fraülein von Mühlfeld, my prima donna. Brahms’ lifelong friend Clara Schumann recognized both the beauty of Mühlfeld’s playing and of the music itself when she wrote to Brahms: "I must write you a line after having at last heard your exquisite quintet. What a magnificent thing it is and how it moves one! The adagio is most affecting, and how wonderfully interesting is the middle movement. But words are inadequate to express what I feel! And the man played so wonderfully, he might have been specially created for your works. I marveled at his profound simplicity and the subtlety of his understanding."

58 | August 4, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, August 4, 8:00 pm String Quartet in a minor, Op 132

Ludwig van Beethoven (1770 - 1827)

Assai sostenuto; Allegro

Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen tonart: Molto adagio; Neue Kraft fühlend: Andante

Allegro ma non tanto

(Hymn of thanksgiving to the divinity, from a convalescent, in the Lydian mode: Molto Adagio; Feeling nre strength: Andante)

Alla marcia, assai vivace Allegro appassionato

Tokyo String Quartet

| Intermission |

Clarinet Quintet in b minor, Op 115

Allegro

Andantino; Presto non assai, ma con sentimento

Johannes Brahms (1833 - 1897)

Adagio

Con moto

David Shifrin clarinet — Tokyo String Quartet

Tokyo String Quartet

Martin Beaver violin — Kikuei Ikeda violin — Kazuhide Isomura viola — Clive Greensmith cello AUGUST 4, 2012 | 59

Program Notes — Program notes by Jordan Kuspa

REGER: Serenade in G Major for Flute, Viola and Piano, Op 141a

Max Reger is today remembered largely as a musical reactionary, overly beholden to the precepts of baroque counterpoint and classical form, but this characterization too easily discounts the immense charm of many of his works. Reger had a particular gift for formal clarity and motivic variation (a feature of his music noted by Arnold Schoenberg), and also had a great affinity for lucid chamber music textures.

The Serenade in G Major is a late work and demonstrates these qualities in abundance. Its three movements are light and joyous, with a whimsical quality that is accentuated by the lack of any bass instruments, leaving the flute, violin and viola to float as if carried on a pleasant breeze.

BEETHOVEN: String Quartet in e minor, Op 59, No. 2

The three quartets Beethoven composed for Count Andreas Rasumovsky, the Russian ambassador in Vienna, fall into the middle or “heroic” period of Beethoven’s oeuvre. Written in 1806, these works show Beethoven expanding the norms of quartet writing, particularly regarding the quartets’ great length and technical difficulty. One of the unusual features of this set of works is the inclusion by Beethoven (probably at Rasumovsky’s request) of Russian folk music into the fabric of these quartets. In the e minor quartet, a Russian tune (later used by Mussorgsky in Boris Godunov) is employed as the contrasting major theme of the third movement scherzo. Musicologist Joseph Kerman wrote of this moment: “It sounds as though Count Razumovsky had been tactless enough to hand Beethoven the tune, and Beethoven is pile-driving it into the ground by way of revenge.” The most celebrated movement of the quartet is the second, a molto adagio which has some of the reverent quality found in the famous Heiliger Dankgesang from the Opus 132 quartet. According to multiple sources, Beethoven was inspired to write this movement as he contemplated the night sky and thought about the music of the spheres.

DEBUSSY: Sonata for Flute, Viola and Harp

In 1915, with WWI raging and his own health failing, Debussy embarked on a series of six sonatas for diverse instruments. These works were to be Debussy’s credo of French nationalism in music; they were an explicit rejection of what he disparagingly termed the “multicolored putty” and “heroic theatrics” of German music. Debussy only lived to complete three of these projected works: sonatas for cello and piano, and violin and piano, along with the present Sonata for Flute, Viola and Harp. Debussy originally imagined an oboe in place of the viola, but felt that the viola would fit better with the flute and harp. Debussy often blends the distinct timbres of the three instruments into an alchemical new sonority, and the shifting tone colors mirror perfectly the mutable nature of the work’s emotional pitch, from the languid and melancholic Pastorale, to the bucolic and high-spirited Finale.

SCHOENFIELD: Six Chassidic Songs for Flute and Piano

Much like the Duo Concertant, the first two songs were transcriptions of earlier works written for Ms. Wincenc. After some prompting, she convinced him to complete all six songs for her Ruby Anniversary, celebrating 40 years of performing genius.

The first song, Ufaratsta (and you should pursue good deeds) is a wild folk dance that calls for virtuoso playing as the fingering of the instruments parallels the wildness of the dance. The next song, Achat Sha’alti (once I asked) displays warmth and power in the harmonies and harkens to the spiritual landscape of Psalm 27. Vah’ hi Vishurun Melech (And it was on the return of the king) is a joyous song about the return of the King of Jerusalem. This song, inspired by Psalm 33, was often sung at Polish weddings as a wish of joy for the bride and groom. The tempo picks up for Kozatske, a Russian dance sometimes called “Bear Dance” which mimics a peasant who has had too much to drink but in an uplifting and comical way. Next comes Nigun which is often a simple folk melody composed by the local Rabbi. Finally, Rikun or “Hebrew Dance” rounds out the cycle as a high energy piece that conjures our beloved “Sabre Dance”. The spirit of these songs is beautifully captured in a painting by Carlo Nisita. Called Carnival, which is on display in the Doolittle Gallery, the painting captures the sense of joyous movement that attends a circus but with hints of Hebrew themes and color schemes that remind one of the paintings of Chagall. Enjoy the feast!

— From Classically Speaking: A Burchfield Feast of Music © Peter R. Reczek, PhD

60 | AUGUST 10, 2012

Concert Program Norfolk Chamber Music Festival | Friday, August 10, 8:00 pm Serenade in G Major for Flute, Viola and Piano, Op 141A

Max Reger

(1873 - 1916)

Vivace Larghetto Presto

Carol Wincenc flute — Joan Panetti piano — Ettore Causa viola

String Quartet in e minor, Op 59, No. 2

Allegro

Molto Adagio: Si tratta questo pezzo con molto di sentimento

Allegretto - Maggiore (Thème russe)

Finale: Presto

Ludwig van Beethoven (1770 - 1827)

Vistula Quartet

| Intermission | Sonata for Flute, Viola and Harp

Pastorale: Lento, dolce rubato Interlude: Tempo di minuetto Finale: Allegro moderato ma risoluto

Claude-Achille Debussy (1862 - 1918)

Carol Wincenc flute — June Han harp — Ettore Causa viola

Six Chassidic Songs for Flute and Piano (1994/2009)

Ufaratsta | And you should pursue good deeds

Vah'hi Vishurun Melech | And it was on the return of the king

Achat Sha'alti | Once I asked

Paul Schoenfield (b. 1947)

Kozatske | Bear Dance Nigun | Melody

Rikud | Hebrew Dance Carol Wincenc flute — Sharon Cho, Rena Kimura violin — On You Kim viola — Caroline Bean viola — Asa Maynard double bass

Welcome to Colebrook night at the Norfolk Chamber Music Festival Vistula Quartet

Paulina Różańska violin — Oriana Masternak violin — Rafał Zalech viola — Magdalena Sas cello AUGUST 10, 2012 | 61

Program Notes — Program notes by Laura Usiskin

BEETHOVEN: String Quartet in A Major, Op 18, No. 5

Written just before his 30th birthday, Beethoven’s quartet Opus 18, No. 5, exemplifies a dichotomy in the young composer’s life at the time: on the one hand reverence for the traditions of his predecessors, and on the other, a unique, inventive voice ready to speak. The quartet looks back to the works of Mozart both in general style and literal inspiration, particularly Mozart’s quartet K. 464 in A Major. It also has inventive qualities that show Beethoven’s individual voice, specifically with experiments in form, style and harmony. The first movement is a warm, pleasant entry into the piece. The second has irresistible charm and delicateness. The off beat accents in the trio section are reminiscent of a German dance. The third movement contains a theme and five variations. The final movement begins with a short motive passed in imitation among the voices. A contrasting, sustained second theme follows. Though Beethoven wrote this quartet fourth in his series of six, he requested that it be published fifth.

BEETHOVEN: String Quartet in f minor, Op 95, "Serioso"

The ten years between the previous quartet on tonight’s program and this one might as well have been a lifetime. In those intervening years, Beethoven wrote eight symphonies, several quartets and many other works, all the while going deaf. He moved from Mozartean style and grace, to this compact, symphonic and at times downright violent work. Its nickname “serioso” comes from the tempo marking in the third movement. The first movement opens with a stormy unison passage that contrasts with the second theme, a pleasant and songful tune. The second begins with a slow, descending scale in the cello followed by a melody in the first violin that cannot decide whether it is in a major or minor key. The viola begins a subsequent fugal section with a thorny, chromatic subject. The music moves without pause to the third movement, where the stormy quality of the opening movement returns. There are two trio sections, a common feature for Beethoven’s works in this period. The final movement holds many surprises: a sorrowful slow opening, an unsettled allegro section and, at the end, a coda in sprightly, celebratory C major.

BEETHOVEN: String Quartet in F Major, Op 135

Opus 135 was Beethoven’s last complete work, though he had plans for an opera, oratorio, overture and more that never came to fruition.

The last years of his life were plagued with poor health and difficult familial situations. The months during the composition of this piece were among his most difficult, though the work does not betray any of these negative circumstances. One might expect the last work of the great composer to be innovative and revolutionary. On the contrary, just as the first work on tonight’s program looks back to Mozart, this one looks back farther to Haydn.

After an eccentric, almost false start, the music opens out into an inviting, congenial Allegretto in sonata form. The second movement has playful syncopations and, in the trio section, a raucous explosion where the lower three parts repeat a grinding ostinato nearly fifty times while the first violin dances over them. The third movement – the second slow theme and variations of tonight’s program – presents a simple theme in warm D-flat Major. The second variation is sparse and dirge-like, and the cello and first violin share the tune in the third variation. The movement closes with the intimacy in which it began. The final movement contains the title The Difficult Decision as well as words attached to the opening motives – “Must it be? It must be! It must be!” Beethoven is referring to an unpaid bill from a friend who muttered, “If you must” when Beethoven threatened him to pay up. The movement begins with a tense, unresolved section followed by an optimistic allegro. The cello presents a delightful second theme. The opening seriousness returns once more, but the piece ends with pleasantness and good humor.

62 | AUGUST 11, 2012

Concert Program Norfolk Chamber Music Festival | Saturday, August 11, 8:00 pm String Quartet in A Major, Op 18, No. 5

Ludwig van Beethoven (1770 - 1827)

Allegro

Menuetto

Andante cantabile

Allegro

Keller Quartet

String Quartet in f minor, Op 95, "Serioso"

Beethoven

Allegro con brio

Allegretto ma non troppo

Allegro assai vivace ma serioso

Larghetto; Allegretto agitato

Keller Quartet

| Intermission |

Beethoven

String Quartet in F Major, Op 135 Allegretto Vivace

Lento assai, cantante e tranquillo

Der schwer gefasste Entschluss: Muss es Sein? Es muss sein! Es muss sein!: Grave, ma non troppo tratto; Allegro Keller Quartet

Keller Quartet

András Keller violin — Zsófia Környei violin — Zoltán Gál viola — Judit Szabó cello AUGUST 11, 2012 | 63

graduate study in choral conducting organ 路 voice: art song and oratorio at Yale Institute of Sacred Music and Yale School of Music

degrees offered Master of Music Master of Musical Arts Doctor of Musical Arts Artist Diploma

Full tuition scholarships for all admitted students plus additional merit-based awards available. Abundant musical and interdisciplinary opportunities. www.yale.edu/ism 路 ism.admissions@yale.edu

Concert Program Norfolk Chamber Music Festival | Saturday, August 18, 4:00 pm Lieto Godea

Giovanni Gabrieli (c. 1555-1612)

Peccantem me quotidie

Cristobal de Morales (c. 1500-1553)

Venite Populi, Venite

Wolfgang Amadeus Mozart (1756-1791)

Lover’s Recantation

The Kind Appointment Caelia Made

Now Cecilia, from Mama got loose

Thomas Arne (1770 - 1778)

To all the sex deceitful

How engaging, How enduring

Jessica Petrus soprano

Sehnsucht, Op. 112, No. 1 (arr. Kugler)

Johannes Brahms (1833-1897)

Uri Tsafon (2002)

John Rommereim (b. 1959)

World Premiere to be announced

Loren Loiacono (b. 1989)

Psalm 148 (2008)

Judith Weir (b. 1954 )

Afro-American Fragments (2009)

Song for Billie Holiday

William Averitt (b. 1948) Jessica Petrus soprano

Aesop’s Fables (2008)

The Hare and the Tortoise

The Fox and the Grapes

Bob Chilcott (b. 1955)

The Mountain in labour

The North Wind and the Sun The Goose and the Swan

This concert is co-sponsored by the Yale Institute of Sacred Music.

Norfolk Festival Chamber Orchestra Simon Carrington conductor — Lucas Wong organ/piano

Isabel Gleicher flute — Joshua Anderson clarinet — Patrick Jankowski French horn

Gary Jones trombone — Michael Compitello percussion — Mark Baekbum Yee cello — Asa Maynard double bass AUGUST 18, 2012 | 65

Beethoven continued 1815 | Beethoven writes his Cello Sonatas, Nos. 4 & 5, Op 102;

The New York Stock and Exchange Board is established to bring order to securities trading

Napoléon abdicates once more. Taken as a prisoner of war to the island of St. Helena in the South Atlantic, he will live there until his death in 1821.

Harvard Law School is established at Cambridge, Massachusetts

Calm Sea and Prosperous Voyage, Op 112

Russian soldiers bivouac at Paris following the Battle of Waterloo, and by some accounts they introduce the word bistro, meaning "café," by ordering waiters to bring orders "bystro, bystro" (quickly, quickly).

Franz Schubert, who has been writing songs since age 14, writes Erlkönig as well as his Third Symphony London banker Nathan Mayer Rothschild, now 37, receives carrier pigeon reports from Belgium advising him of Napoléon's defeat at Waterloo. Feigning gloom, he depresses the price of British consols by selling short, then has his agents buy them up at distressed prices.

When news of Wellington's victory sends prices sky-high Rothschild sells, reaping a great fortune on the London Exchange.

1816 | Beethoven is made co-guardian of his nephew, Karl, along with Karl's mother. Writes his song cycle An die ferne Geliebte (To the Absent Beloved)

Russian colonists at Fort Ross plant the first grapevines seen in northern California Irish emigration begins on a large scale as thousands die in the potato famine. Potatoes have provided a cheap source of food that has helped the country's population reach 6.5 million, up from just over 5 million in 1801.

1818 | Beethoven writes his Piano Sonata No. 29 (Hammerklavier), Op 106 and Missa Solemnis in D Major, Op 123

London firm of Broadwood sends Beethoven a piano; after 20 years of defective hearing Beethoven becomes totally deaf but continues to compose. We know of no connection.

Failure of the Baltimore branch of the Second Bank of the United States precipitates a U.S. financial crisis

The Elgin Marbles, portions of the sculptured frieze of the Parthenon in Athens completed in 438 BC, go on display at the British Museum.

Now 50, Thomas Bruce, Lord Elgin, has gone into debt. He lost his nose to disease at Constantinople; his wife has left him; and he has asked Parliament to purchase the works.

Family Shakespeare in 10 volumes by Thomas Bowdler will go through four editions in 6 years and many subsequent editions "in which nothing is added to the original text; but those words and expressions are omitted which cannot with propriety be read aloud in a family."

Bowdler’s work is full of substitutions or revisions to make the text less potentially objectionable, such as having Ophelia in Hamlet drown accidentally instead of committing suicide.

France abolishes divorce entirely as Roman Catholicism becomes the state religion under Louis XVII

Silent Night (Stille Nacht, Heilige Nacht) by Austrian priest Joseph Mohr will be set to music by Franz Xaver Gruber

Schubert completes his Fourth and Fifth Symphonies

The tin can is introduced to Americaby Peter Durand

German musician Johann Maelzel patents the metronome

First performances: Rossini’s The Barber of Seville at Rome and Othello in Naples

1817 | Beethoven writes his Piano Sonata No. 28, Op 101; String

Quintet in c minor, Op 104; begins work on his Symphony No. 9 in d minor, Op 125 (Choral) Friendship with Nanette Streicher renewed (She helps out domestically)

Schubert writes his songs An die Musik (To Music), Die Forelle (The Trout) and Der Tod und das Mädchen (Death and the Maiden) Ismaelis (progressive Muslims) begin contributing the zakat (12 percent of their income) to the Aga Khan, a direct descendant of the prophet Mohammed. He and future Aga Khans will become immensely rich.

The Bartlett pear gets its name by some accounts from Massachusetts farmer Enoch Bartlett

66 | Beethoven Timeline

Beethoven's unusual eye expression is said to be due to Schimon's working on the painting during an invitation by the composer for "sixty-bean" coffee.

Beethoven by Ferdinand Schimon (ca. 1818-19)

1819 | Spain cedes eastern Florida and all its possessions east of

the Mississippi to the United States after months of effort

by Andrew Jackson, who has occupied Pensacola and executed some Seminole chiefs

Salmon, lobster meat and oysters are packed in tin cans at New York The world's first commercially produced eating chocolate goes on sale at Vevey, Switzerland; it is the first chocolate to be prepared and sold in blocks made by machine Madrid's Prado Museum opens to the public as the Royal Museum of Painting after 34 years of construction; includes works by Spanish artists El Greco, Diego Velázquez and Francisco de Goya, as well as major works by Hieronymus Bosch, Pieter Bruegel the Elder, Claude Lorrain, Nicolas Poussin, Raphael, Rembrandt, Peter Paul Rubens, Tintoretto, Anthony Van Dyke, Paolo Veronese and Watteau Schubert writes his Trout Quintet Singapore comes under British occupation and becomes a prosperous trading post. Founder Stamford Raffles holds his nose in July and runs the other way when he encounters the overpoweringly foul smell of the durian fruit whose sweet, custardy yellow flesh is prized by the locals above all others, but whose odor is unbearable to Europeans.

1821 | Beethoven writes his Piano Sonata No. 31, Op 110; Bagatelles for piano, Op 119

Mexico declares her independence from Spain claiming freedom also for the provinces of California and Texas after three centuries of Spanish rule The Saturday Evening Post begins publication at Philadelphia and will continue until 1969 Hail to the Chief is played for the first time at the second inaugural of U.S. President James Monroe Ireland's potato crop fails again, as it did in 1816. The resulting famine will cause perhaps 50,000 deaths by the end of the next year as an epidemic of fever strikes a population weakened by hunger.

First performances: Weber’s Der Freischütz

1822 | Beethoven writes his Consecration of the House overture, Op 124

Beethoven’s friend Schuppanzigh returns to Vienna and the composer has a deepening friendship with Grillparzer. Work on the Choral symphony, started in 1817, continues as does his work on the last quartets. Temporary reconciliation with brother Johann.

The Royal Academy of Music is founded at London Hungarian pianist Franz Liszt makes his debut at Vienna at age 11 and meets Franz Schubert New York City's population reaches 124,000

An engraving of Thomas Stamford Raffles and a chromolithograph of durian fruit by Hoola Van Nooten, ca. 1863

Joseph and Claude Niépce, using silver chloride, produce the first fixed positive image that could be called a photograph At the behest of Pope Pius VII, the Catholic Church recognizes that the solar system of Copernicus is a physical fact and not just a hypothesis

1820 | Beethoven writes his Piano Sonata No. 30, Op 109 The Venus de Milo (Aphrodite of Milos) turns up on the Aegean island of Milos Johnnie Walker Scotch whisky is first distilled in Scotland and will become the world's largest-selling brand. Beefeater gin has its beginnings the same year in a London distillery. Widow Clicquot (Veuve Clicquot Champagne) retires to her chateau at the age of 43 and lives there until she dies in 1866. We know of no connection.

The Unites States population reaches 9.6 million, with some 83 percent of gainfully employed Americans engaged in agriculture. Between 2.5 million and 3 million live west of the Alleghenies, up from 1 million in 1801. Charleston, South Carolina, is the third-largest U.S. city, with a population of 19,376 whites and 57,221 slaves. The country will receive on average some 35,000 Irish immigrants per year for the next two decades.

Austrian writer Franz Seraphicus Grillparzer wrote: "Above all one must say that Beethoven, although highly eccentric, was a truly good man." He would also write the oration for the composer's funeral.

Lithograph by Josef Kriehuber, 1841

Beethoven Timeline | 67

Beethoven continued 1823 | Beethoven writes his Piano Sonata No. 32, Op 111;

Bagatelles for piano, Op 126; Diabelli Variations, Op 120

The petroleum industry has its beginnings at the Caspian Sea port of Baku on Russia's Apsheron Peninsula, where the "eternal fire" of natural gas holes has been known at least since the time of Alexander the Great in the 4th century B.C. Primitive drilling for oil begins at Baku and will yield half the world's petroleum by 1900.

A Visit from St. Nicholas is published anonymously in the December 23 issue of the Troy (New York) Sentinel. New York landowner and lexicographer Clement Clarke Moore will later claim authorship of the verses that bring to life the figure depicted by Washington Irving in 1809: "Twas the night before Christmas . . . Now, Dasher! now, Dancer! now, Prancer and Vixen! On, Comet, on, Cupid! on, Donder and Blitzen!"

Charles Macintosh dissolves rubber in low-boiling naphtha and invents the waterproof fabric that bears his name, although usually spelled mackintosh First performance: Franz Schubert’s Ballet Music from Rosamunde at Vienna

1824 | Beethoven writes his Ruins of Athens, Op 114 (March & Chorus); String Quartet in E-flat Major, Op 127

Anton Bruckner is born Beethoven is sent inscribed gold medal from Louis XVIII and receives piano from the firm Konrad Graf

Shakers build the first round barn at their Hancock, New York, community Cadbury's Chocolate has its beginnings in an English tea and coffee shop opened by Birmingham Quaker John Cadbury First performances: Mass in D Major (Missa Solemnis) by Beethoven at St. Petersburg; Symphony No. 9 in d minor (Choral )with Beethoven conducting at Vienna

1825 | Beethoven finishes String Quartets Op 127, 130 & 132; Grosse Fuge, Op 133

Beethoven is becoming more possessive and neurotic over Karl Chopin publishes his Op 1, the Rondo for Piano; Mendelssohn composes his Octet for Strings The Erie Canal opens October 26 to link the Great Lakes with the Hudson River and the Atlantic The Bolshoi Ballet adopts that name as Moscow's new Bolshoi Theater and takes over the ballet company of the Petrovsky Theater that was established in 1776.

1826 | Beethoven writes his String Quartets, Op 131 & 135; Andante maestoso in C Major for piano, Op 174

Schubert starts his song cycle Die Winterreise; Mendelssohn composes his Overture to A Midsummer Night’s Dream Karl attempts suicide. Beethoven is devastated and goes with Karl to his brother's estate at Gneixendorf. On return to Vienna he catches a chill and is confined to bed. This is the start of his final illness, and he has his first of five operations.

Former U.S. president Thomas Jefferson dies bankrupt and heavily in debt at Monticello at age 83 on the fiftieth anniversary of the signing of the Declaration of Independence that he wrote in 1776 at age 33; former president John Adams dies at Quincy, Massachusetts, a few hours later at age 90.

The internal combustion engine is patented by inventor Samuel Morey leading to the invention of the automobile Burke's Peerage by Irish genealogist John Burke is the first dictionary of British baronets and peers in alphabetic order James Fennimore Cooper writes The Last of the Mohicans

Beethoven's last piano, a gift from the Viennese piano maker Konrad Graf, has quadruple instead of the usual triple strings.

68 | Beethoven Timeline

First performances: Beethoven’s String Quartet in B-flat Major, Op 131, premiered in Vienna without the Grosse Fuge; Marche Militaire

by Franz Schubert First performances: Weber’s opera Oberon; Weber dies this year in London at the age of thirty-nine

1827 | Beethoven has 4 further operations. Visited by Schubert

and Hummel. Makes a will leaving all to his nephew, Karl.

New York's first public transit facility begins operations: a 12seat horse-drawn bus (called an "accommodation"), but the city's population of 200,000 depends chiefly on private carts and carriages The Dixon Ticonderoga pencil has its beginnings in a firm located in Marblehead, Massachusetts New Orleans has its first February Mardi Gras celebration The coffee percolator, invented by a Frenchman, permits the brewing water to pass continually over the coffee grounds. It will continue to be used long after the invention of other drip methods that produce far superior brews.

French-American ornithologist John James Audubon starts publication of Birds of America, a collection of lifelike drawings that are published in Europe

March 26: Ludwig van Beethoven dies at age 56 of what later will be diagnosed as lead poisoning. Cause of death is listed as Cirrhosis of the liver accompanied by dropsy; he has been completely deaf for the past 9 years .

20,000 people gather outside Beethoven's last residence, the Schwarzpanierhaus for the funeral at 3:00 pm. Procession leaves at 3.30 pm; the hearse is drawn by 4 horses. There is a Church service at 5:00 pm at the Dreifaltigkeitskirche. His body is taken to the Wahring cemetery where, at the gates, Grillparzer's funeral oration was read by the actor Anschutz.

In honor of the composer, Mozart's Requiem is sung at the parish church of the Augustinian monks, and on April 5, a mass by Cherubini is sung at the Karlskirche.

In April Beethoven's belongings are auctioned

John Walker invents the friction match that can be ignited by pulling the match through sandpaper

Beethoven's funeral took place at 3:00 pm on March 29, 1827, with many of Vienna's foremost musicians acting as torch and pall bearers, including Franz Schubert, Johann Nepomuk Hummel, Franz Grillparzer and Carl Czerny.

Beethoven's last residence is in the background of the picture on the right beside the church.

Watercolor by F Stรถber

Beethoven Timeline | 69

Music in Context

Free & Open to the Public!

Wednesdays, at 7:30 pm — All events are at Battell Recital Hall unless noted

June 20 Norfolk Listening Club

Led by James Nelson with guest speaker David Sims Beethoven String Quartets I June 27 (Lecture to be held in the Music Shed) Robert van Sice

Professor of Percussion, Yale School of Music Out of the Cage: Thoughts on the Contribution of John Cage July 4

No Lecture Scheduled

July 11 (Lecture to be held in the Norfolk Congregational Church) Ulrike-Theresia Wegele Organist

The Variation and Bach’s Influence on German Romantic

Organ Music

July 18 Astrid Baumgardner

Director, Office of Career Strategies, Yale School of Music Creating Successful Music Careers in the 21st Century:

The Challenges and the Opportunities July 25 Constance Shuman

President, Shuman Associates The Role of the Public Relations Person in the Classical

Music World August 1 Elliott Forrest

Peabody Award Winning Broadcaster and

Producer, Radio Station WQXR, New York The Future of Classical Music: Broadcasting and the Stage August 8 Norfolk Listening Club

Led by James Nelson Beethoven String Quartets II, with live music

Young Artists' Performance Series Sponsored in part by the Battell Arts Foundation Catch a rising star as the Festival presents its Young Artists' Performance Series. These casual concerts are in the Music Shed and are free of charge.

Throughout the years, Norfolk audiences have heard hundreds of emerging artists who have gone on to successful professional careers. Norfolk alumni perform with the most illustrious musical organizations in the world: the Metropolitan Opera Orchestra, the Chicago Symphony, the Saint Lawrence, Muir, Miró, Ying, Brentano, Shanghai and Maia string quartets; the Claremont and Eroica trios; and new music ensembles such as eighth blackbird and SO PERCUSSION. Syoko Aki, Claude Frank, Pamela Frank, Frederica von Stade, Alan Gilbert, and Richard Stoltzman are all former students of Norfolk. Whether you are an aficionado or a chamber music novice you will enjoy the wonderful performances and casual environment these programs offer. Families with children are most welcome.

Repertoire and ensembles are chosen weekly. Program details will be posted on the Norfolk website as they become available.

Please visit us at norfolkmusic.org

Free & Open to the Public!

Concerts are held at the Music Shed

Performance dates: Thursday Saturday Thursday Saturday Thursday Saturday Thursday Saturday Tuesday Thursday Saturday Tuesday Thursday Saturday

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July 5 July 7 July 12 July 14 July 19 July 21 July 26 July 28 July 31 August 2 August 4 August 7 August 9 August 11

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7:30 pm 10:30 am 7:30 pm 10:30 am 7:30 pm 10:30 am 7:30 pm 10:30 am 7:30 pm 7:30 pm 10:30 am 7:30 pm 7:30 pm 10:30 am

Artist Biographies Cellist Ole Akahoshi performs in North and South Americas, Asia and Europe in recitals, chamber concerts and as a soloist with orchestras such as the Orchestra of St. Luke’s, Symphonisches Orchester Berli and Czech Radio Orchestra. His performances have been featured on CNN, NPR, BBC, major German radio stations, Korean Broadcasting Station and WQXR. He made numerous recordings for labels such as Naxos. Most recent releases include the string quartet by Ranjbaran, and Mendelssohn’s Octet with Gil Shaham. Akahoshi has collaborated with the Tokyo, Michelangelo, and Keller String Quartets, Syoko Aki, Sarah Chang, Ani Kavafian, Cho-Liang Lin, Elmar Oliveira, Gil Shaham, Chee-Yun, Ettore Causa, Lawrence Dutton, Nobuko Imai, Myung Wha Chung, Franz Helmerson, Edgar Meyer, Boris Berman, Robert Blocker, Leon Fleisher, Claude Frank, Peter Frankl, Garrick Ohlsson, Elizabeth Parisot, André-Michel Schub, Frank Morelli, David Shifrin, Ransom Wilson and William Purvis. He has performed and taught at festivals in Banff, Norfolk, Aspen and Korea, and has given master classes most recently at Central Conservatory Beijing, Sichuan Conservatory and Korean National University of Arts At age eleven, Akahoshi was the youngest student to be accepted by Pierre Fournier. He studied with Aldo Parisot at Juilliard and Yale, and with Janos Starker at Indiana University. Akahoshi was teaching assistant for both Aldo Parisot and Janos Starker. Akahoshi is the principal cellist of the Sejong Soloists and a faculty at the Manhattan School of Music. He joined the faculty of the Yale School of Music in 1997 where he is Assistant Professor of Cello. | 9th Season at Norfolk Syoko Aki, violinist, studied the Toho Academy of Music (Japan), Hartt College and the Yale School of Music.

She has taught at the Eastman School and the State University of New York at Purchase. She has appeared as soloist with leading conductors such as Seiji Ozawa and Krzysztof Penderecki. As concertmaster and soloist with the New York Chamber Symphony, Miss Aki has recorded extensively on several major labels including Delos and Pro Arte.

She has served as concertmaster of the New Japan Philharmonic, Waterloo Festival Orchestra and the New Haven and Syracuse symphonies. Miss Aki joined the Yale faculty in 1968 and became a member of the Yale String Quartet which earned international praise. With her long–time faculty colleague, pianist Joan Panetti, she has recorded on the Epson label. A highlight of their collaboration was a complete performance of Mozart’s violin sonatas over two seasons as part of Yale’s celebration of the 250th anniversary of the composer’s birth. Bernard Holland of the New York Times wrote: “What a pleasure it was to hear this great music portrayed with such calm and exquisite thoughtfulness.” | 37th Season at Norfolk Founded in Vienna in 1980, the Artis Quartet (Peter Schuhmayer, violin – Johannes Meissl, violin – Herbert Kefer, viola – Othmar Müller, cello) began their international career in 1985 with concerts at Carnegie Hall, Kennedy Center, Suntory Hall (Tokyo), the Concertgebouw (Amsterdam), Théatre des Champs-Elysées (Paris), Santa Caecilia (Rome) and many others. In Vienna they have performed an annual cycle of concerts at the Wiener Musikverein since 1988. Notable moments in their history have included an invitation to play all twenty-three Mozart quartets in both Tokyo and Vienna during the Mozart Year 1991. In 1997 they performed the complete Schubert quartets at the Concertgebouw, De Doelen (Rotterdam) and the Musikverein. They have appeared at many of the world’s major music festivals including Salzburg, Schleswig Holstein, the Berliner Festwochen, Ravinia, Bournemouth, Hong Kong and Paris. Their more than 30 CDs have won awards such as the Echo Klassik, Indie Award, Grand Prix du Disque and the Diapason d´Or. Their most recent recording of quartets by Egon Wellesz, was awarded the 2009 Midem Classical Award in Cannes. Permanently resident in Vienna, the members of the Artis Quartet teach at the Universities of Vienna and Graz. Peter Schuhmayer plays on a violin by Johann Rombach (2001). Johannes Meissl's violin (Guarneri, 1690), Herbert Kefer's viola, (Guadagnini, 1784) and Othmar Müller's cello (Amati 1573) are on loan from the Austrian National Bank's collection of musical instruments. | 2nd Season at Norfolk | artis-quartett.at Amadinda Percussion Group (Károly Bojtos, Aurél Holló, Zoltán Rács, Zoltán Váczi) was formed in Budapest, Hungary in 1984. Back then, Amadinda had two objectives in mind: first, to bring masterpieces of percussion music to Hungarian audiences and second, to inspire contemporary composers to write pieces for percussion. In recent years, Amadinda’s goals were enriched with new elements: research of traditional percussion cultures, creating new compositions and transcriptions of some great pieces of classical music. As a result, traditional music from four continents, the beFORe JOHN series of Zoltán Váczi and Aurél Holló, and transcriptions of works by various European composers were added to Amadinda’s repertoire. Some of the highlights of Amadinda’s career include the debut performance of John Cage’s Four4, a piece written for Amadinda, in Tokyo in 1991 and the premiere of György Ligeti’s composition Síppal, dobbal, nádihegedűvel (With Pipes, Drums, Fiddles), written especially for Katalin Károlyi and Amadinda in 2000. The nearly 20-year relationship between Steve Reich and Amadinda resulted in Mallet Quartet (2009), dedicated to the 25-year-old Amadinda and Canadian percussion group Nexus. The diversity of Amadinda’s work is also reflected by numerous recordings. A six-CD series containing the percussion compositions of John Cage was completed recently. Today Amadinda is considered one of the most original and versatile percussion groups worldwide. | 1st Season at Norfolk | amadinda.com Artist Biographies | 71

Artist Biographies continued Soprano Janna Baty has appeared with the Hamburgische Staatsoper, Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Brooklyn Philharmonic, Hartford Symphony, the Orquesta Filarmónica de Bogotá (Colombia), Eugene Opera and Boston Lyric Opera. She has sung under Seiji Ozawa, Michel Plasson, Carl Davis and Robert Spano among others, and has appeared at the Aldeburgh and Britten festivals in England, the Semanas Musicales de Frutillar Festival in Chile, as well as at Tanglewood. She has won several international competitions, most notably the XXI Concurso Internacional de Ejecución Musical “Dr. Luis Sigall” (Chile). She has worked with violist Nobuko Imai, pianists Claude Frank and Peter Frankl, guitarist Stephen Marchionda, Bernard Rands, Sydney Hodkinson, Peter Child, Christopher Lyndon Gee, Fred Lerdahl, Yehudi Wyner and John Harbison. Ms. Baty can also be heard on Boston Modern Orchestra Project’s Naxos disc of works by Reza Vali. | 4th Season at Norfolk Known to audiences on six continents, pianist BORIS BERMAN regularly appears with leading orchestras and in important festivals. An active recording artist and Grammy ® nominee, Mr. Berman was the first pianist to record the complete solo works of Prokofiev (Chandos), and his recital of Shostakovich piano works (Ottavo) received the Edison Classic Award in Holland, the Dutch equivalent of the Grammy ®. The recording of three Prokofiev concertos with the Royal Concertgebouw Orchestra (Chandos), was named the Compact Disc of the Month by CD Review. In 1984 Mr. Berman joined the faculty of the Yale School of Music, where he chairs the Piano department and serves as music director of the Horowitz Piano Series. He was the founding director of the Yale Summer Piano Institute and of the International Summer Piano Institute in Hong Kong. In 2005 he was given the title of honorary professor of Shanghai Conservatory of Music. In 2000 Yale University Press published Mr. Berman’s Notes from the Pianist’s Bench, which has been translated into several languages. His newest book, Prokofiev’s Piano Sonatas, has been published by Yale University Press. | 20th Season at Norfolk | pantheon.yale.edu/%7Ebb25 Robert Blocker is internationally regarded as a pianist, for his leadership as an advocate for the arts and for his extraordinary contributions to music education. A native of Charleston, South Carolina, he debuted at historic Dock Street Theater (now home to the Spoleto Chamber Music Series). He studied under the tutelage of the eminent American pianist, Richard Cass and later with George Bolet. Today, he concertizes throughout the world. Recent orchestral engagements include the Beijing and Shanghai Symphony orchestras, the Korean and Daejon Symphony orchestras, the Prague and Moscow chamber orchestras, the Monterrey Philharmonic and the Houston Symphony. His appearances at the Beethoven Festival (Warsaw) and the Great Mountains International Music Festival (Korea, with Sejong) add to his acclaim as noted in the Los Angeles Times: “…great skill and accomplishment, a measurable virtuoso bent and considerable musical sensitivity...” In 1995, Blocker was appointed the Henry and Lucy Moses Dean of Music and Professor of Piano at Yale University and in 2006, he was named honorary Professor of Piano at the Central Conservatory of Music in Beijing. His many contributions to the music community include service on the advisory boards for the Avery Fisher Artist Program and the Stoeger Prize at Lincoln Center, the Gilmore Artist Advisory Board and the Curatorium of the Liszt Ferenc Academy of Music in Budapest. He is a member of the Van Cliburn Board of Directors. Robert Blocker appears regularly on national radio and television as an artist and commentator and is active as a consultant to major educational institutions and government agencies. In 2000, Steinway and Sons featured him in a film commemorating the tercentennial year of the piano. His recent recording of three Mozart concerti appear on the Naxos label. In 2004, Yale University Press published The Robert Shaw Reader, a collection of Shaw’s writings edited by Robert Blocker. The volume received considerable acclaim and is now in its third printing. | 6th Season at Norfolk Martin Bresnick’s compositions, from chamber and symphonic music to film scores and computer music, are performed throughout the world. Bresnick delights in reconciling the seemingly irreconcilable, bringing together repetitive gestures derived from minimalism with a harmonic palette that encompasses both highly chromatic sounds, consonant harmonies, and a raw power reminiscent of rock. At times his musical ideas spring from hardscrabble sources, often with a very real political import. But his compositions never descend into agitprop; one gains their meaning by the way the music itself unfolds. Bresnick received, the first Charles Ives Living Award from the American Academy of Arts and Letters, as well as the Rome Prize, the Berlin Prize, a Guggenheim Fellowship and a Koussevitzky Commission. Martin Bresnick’s compositions are published by Carl Fischer Music Publishers, New York; CommonMuse Music Publishers, New Haven; Böte & Bock, Berlin; and have been recorded by Cantaloupe Records, New World Records, Albany Records, Bridge Records, Composers Recordings Incorporated, Centaur and Artifact Music. | 16th Season at Norfolk | martinbresnick.com

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Bass-baritone Dashon Burton is a native of Bronx, NY. Praised for his "enormous, thrilling voice seemingly capable ... [of] raising the dead;" and “nobility and rich tone,” (New York Times) he is active in a wide range of repertoire and feels privileged to have worked with artists and ensembles all across the U.S. as well as in Cameroon, Canada, Italy and Germany. Prominent collaborations include Pierre Boulez, Masaaki Suzuki and Steven Smith. He began his studies at Case Western Reserve University and graduated from the Oberlin College Conservatory of Music. Upon graduation, he was invited to join Cantus, a professional men's classical vocal ensemble based in Minneapolis. With the nine member ensemble, he collaborated with renowned organizations and artists including the Saint Paul Chamber Orchestra, the Minnesota Orchestra, the Boston Pops, James Sewell Ballet and Bobby McFerrin. He appears on albums recorded with the ensemble, including the eponymous album, Cantus, which was singled out by National Public Radio as a top ten recording of 2007. After completing his tenure with Cantus in 2009, Dashon completed his Master of Music at Yale University's Institute of Sacred Music, having studied with Professor James Taylor. His solo repertoire includes such diverse roles as Jesus in Bach's St. Matthew Passion, Mendelssohn's Elijah, Superintendent Bud in Britten's opera Albert Herring and Ned Rorem's song cycle, War Scenes. | 1st Season at Norfolk | dashonburton.com.

Simon Carrington has enjoyed a distinguished career as singer, double bass player and conductor, beginning in the UK where he was born. From 2003 to 2009 he was professor of choral conducting at Yale University and director of the Yale Schola Cantorum, a chamber choir which he has brought to international prominence. Previous positions include director of choral activities at the New England Conservatory, Boston and at the University of Kansas. Prior to coming to the United States, he was a creative force for twenty–five years with the internationally acclaimed The King’s Singers, which he co–founded at Cambridge University. He gave 3,000 performances at many of the world’s most prestigious festivals and concert halls, made more than seventy recordings and appeared on countless television and radio programs, including nine appearances on the Tonight Show. He had a lively career as a double bass player, first as sub–principal of the BBC Philharmonic Orchestra and then as a freelance player in London. He has played with all the major symphony and chamber orchestras under Daniel Barenboim, Pierre Boulez and Georg Solti among others. Now a Yale professor emeritus he is active as a freelance conductor and choral clinician. | 7th Season at Norfolk | simoncarrington.com Since 2001, ETTORE CAUSA has served as professor of viola and chamber music at the International Menuhin Music Academy (Switzerland), and he regularly presents master classes throughout Europe and South America.

Additionally, he is a member of the Aria Quartet, with whom he performs throughout the world. Mr. Causa studied at the International Menuhin Academy with Sir Yehudi Menuhin, Johannes Eskar, and Alberto Lysy as well as with Michael Tree at the Manhattan School of Music. Following his studies, Mr. Causa was appointed First Solo Viola of the Carl Nielsen Philharmonic in Denmark and was also leader of the Copenhagen Chamber Soloists. In 2000, he was awarded both the Schidlof Prize and the J. Barbirolli Prize. Since then, he has concertized in major artistic capitals of the world and performed in notable venues such as Victoria Hall (Geneva), Salle Cortot (Paris), Teatro Colón (Buenos Aires), and Tokyo Hall. He regularly performs at major festivals, including Salzburg, Tivolli, Perth and Festival de Estorial (Portugal). He joined the Yale School of Music faculty in the 2009. | 3rd Season at Norfolk | homepage.mac.com/ettorecausa/ettorecausa/ettorecausa.html Dann Coakwell, tenor, has performed as a soloist stateside and abroad under such internationally acclaimed conductors as Helmuth Rilling, Masaaki Suzuki, William Christie, Matthew Halls, Craig Hella Johnson and former King’s Singers Gabriel Crouch and Simon Carrington. Mr. Coakwell has performed multiple times at New York’s Carnegie Hall, having made his solo debut there in February 2010 as the lead role of Andrey in the world premiere of Prokofiev's newly discovered and reconstructed opera act, Dalyekie Morya (Distant Seas), and as recently as December 2011, in Britten’s Serenade for tenor, horn, and strings, Op. 31. He is also a featured soloist on the 2009 Grammy ® nominated album Conspirare: A Company of Voices (harmonia mundi records). Major roles Mr. Coakwell has performed include Evangelist and tenor arias in all of J.S. Bach’s major oratorios (St. Matthew Passion, St. John Passion, Christmas Oratorio, Mass in B-Minor); many of Bach’s cantatas; Almaviva in Rossini’s Il Barbiere di Siviglia; solo tenor in Medelssohn’s Elijah and the title role in Handel’s Judas Maccabaeus. He has also performed solo in numerous full productions of Handel’s Messiah, most notable of which have been with Conspirare and Ensemble VIII in Austin, and upcoming in December 2012, with Maestro Suzuki and Philharmonia Baroque in San Francisco. Mr. Coakwell holds an Artist Diploma in Vocal Performance from Yale University and the Yale Institute of Sacred Music, an MM from Texas Tech University, and a BM from the University of Texas at Austin. | 1st Season at Norfolk | danncoakwell.com

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Artist Biographies continued Cellist Hannah Collins, winner of the De Link Competition 2010 for contemporary interpretation, is a dynamic performer and collaborator devoted to diverse forms of musical and multimedia expression. With support from the Presser Foundation, Hannah spent 2009-2011 in France and The Netherlands researching and performing contemporary cello repertoire. She has recently commissioned and premiered several unconventional works for solo cello including Monologue (2011), a 20-minute piece for speaking, singing and acting by Dutch composer Patrick van Deurzen. Hannah has been invited to give solo and chamber music performances at festivals throughout Europe and North America including Orford Centre d'arts (CA), NJO (NL), Aldeburgh Festival (UK) and Musique de Chambre à Giverny (FR). An active performer of early music she appears with the Quodlibet Ensemble and the Sebastian Chamber Players. She served as the lead continuo player on the 2009 Naxos recording of the Bach and Mendelssohn Magnificats with Yale Schola Cantorum. In 2011, Hannah received a Master’s degree from the Royal Conservatory of The Hague. She also holds degrees in biomedical engineering and music from Yale University. Her teachers have included Stefan Reuss, Ole Akahoshi, Aldo Parisot and Michel Strauss. This fall, Hannah will begin a two-year fellowship at the Academy, a program of Carnegie Hall, The Juilliard School and the Weill Music Institute in partnership with the NYC Department of Education. | 1st Season at Norfolk Percussionist Michael Compitello is guided by his passion to create new art through collaborations with composers, performers, actors and artists in all mediums. He has worked with composers David Lang, John Luther Adams, Martin Bresnick, Helmut Lachenmann, Alejandro Viñao and Marc Applebaum on premieres and performances of new works, and has performed as a chamber musician and soloist in diverse locations such as the Darmstadt Summer Course, the Banff Centre, the International Festival of Arts and Ideas, the Norfolk Chamber Music Festival and the Kurt Weill Festival. From 2009 to 2010, Michael performed and studied contemporary chamber music with the Ensemble Modern and the International Ensemble Modern Academy in Frankfurt, Germany on a Fulbright Grant from the US Department of State. Michael’s interest in inter-disciplinary collaboration has led to performances at the Yale Repertory Theater and the Yale Cabaret, where he helped create Basement Hades a multimedia musical drama featuring his trio New Morse Code, composer Dan Schlosberg, students from the Yale School of Drama and director Ethan Heard. A student of Robert van Sice, Michael earned a BM in Percussion from the Peabody Conservatory and an MM and MMA from the Yale School of Music. | 1st Season at Norfolk Allan Dean is Professor in the Practice of Trumpet at the Yale School of Music and performs with Summit Brass, St. Louis Brass and the Yale Brass Trio. In the early music field he was a founding member of Calliope: A Renaissance Band and the New York Cornet and Sackbut Ensemble. Dean was a member of the New York Brass Quintet for 18 years and freelanced in the New York City concert and recording field for over 20 years. Dean performs and teaches each summer at the Mendez Brass Institute and the Norfolk Chamber Music Festival. He is a frequent soloist with Keith Brion’s New Sousa Band and has appeared at the Spoleto and Casals festivals, Musiki Blekinge (Sweden) and the Curitiba Music Festival (Brazil) among others. He can be heard playing both modern trumpet and early brass on over 80 recordings on most major labels including RCA, Columbia, Nonesuch and others. On early instruments he has recorded with Calliope, the Waverly Consort, and the Smithsonian Chamber Players. Dean served on the faculties of Indiana University, the Manhattan School of Music, The Hartt School and the Eastman School. He lives in the Berkshire Mountains with his wife, Julie Shapiro, an artist, and his daughter, Eloisa. He is an avid tennis player and practices hatha yoga daily. | 28th Season at Norfolk Having enjoyed one of the most distinguished careers of any pianist, Claude Frank has repeatedly appeared with the world’s foremost orchestras, chamber ensembles, major festivals and at its most prestigious universities since his debut with Leonard Bernstein and the New York Philharmonic in 1959. During recent seasons, Claude Frank has given joint recitals with his daughter, violinist Pamela Frank, throughout the United States and abroad. He also appeared with his late wife, pianist Lilian Kallir. A milestone in Claude Frank’s career was RCA’s release of his recordings of the 32 Beethoven sonatas and his worldwide performances of the cycle. Time Magazine proclaimed it as one of the year’s “10 Best,” and High Fidelity and Stereo Review recommended it above other renditions. A renowned teacher as well as performer, Claude Frank has been professor of piano at the Yale School of Music since 1973 and is on the faculty at the Curtis Institute of Music in Philadelphia. Claude Frank lived in Nuremberg until the age of 12, when he joined his father in Brussels. Shortly thereafter he went to live in Paris, where he studied in the Paris Conservatoire. The German occupation forced Mr. Frank to leave France. While in Spain illegally, he was invited to perform at a party given by the Brazilian ambassador. There, he won his first “fee”—a visa to come to the United States granted by the American Consul, who attended the party. | 26th Season at Norfolk

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Peter Frankl, piano, made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since that time he has performed with some of the world’s finest orchestras including the Royal Concertgebouw, Israel Philharmonic, Orchestre de Paris, all the London orchestras and the major American orchestras. He has collaborated with such eminent conductors as Ashkenazy, Boulez, Maazel, Muti and Solti. World tours have taken him to Japan, Australia, New Zealand and South Africa, and he has appeared at many European and American festivals. His many chamber music partners have included the Tokyo, Takacs and Guarneri quartets.

Among his recordings are the complete works for piano by Schumann, Debussy, a Hungarian Anthology, Concerti and four–hand works by Mozart. In recognition of his artistic achievements, he was awarded the Officer’s Cross and Middle Cross by the Hungarian Republic. He is Honorary Professor at the Liszt Academy. He joined the Yale faculty in 1987. | 26th Season at Norfolk Scott Hartman, trombone, began his chamber music career by joining the Empire Brass Quintet and the Boston University faculty in 1984. His performing career has been primarily as a chamber musician and soloist. Mr. Hartman has taught and played concerts throughout the world and in all fifty states. He now performs and records regularly with numerous ensembles including Proteus 7, Millennium Brass, the Brass Band of Battle Creek, the Yale Brass Trio and Four of a Kind. He has recorded for the Angel/EMI, Sony, Telarc, Summit and Dorian labels.

Mr. Hartman is a clinician for the Bach instrument company and has served as a member of the faculties of Indiana University and the New England Conservatory. He grew up in Elmira, New York, and attended the Eastman School of Music where he received his bachelor and master’s degrees. Mr. Hartman joined the faculty of the Yale School of Music in 2001. | 12th Season at Norfolk | slushpump.com

MICHAEL FRIEDMANN, Professor of Music Theory and Chamber Music both at the Yale School of Music and the Department of Music, received his B.A. from Brandeis University and his Ph.D. in composition from Harvard University. He has served on the music faculties of the New England Conservatory of Music, the University of Pittsburgh, the Hartt School of Music, and was Valentine Visiting Professor at Amherst College in the fall of 1990.

He has also taught at the Steans Institute for Young Artists of the Ravinia Festival. His teaching specialties relate issues of music theory and analysis to performance. In spring, 2008, he served on the Yale/PkU program in Beijing, teaching both at Beijing University and the Central Conservatory of Music. Mr. Friedmann has published articles in music theory journals on Schoenberg, a theory of musical contour and other related subjects. His book, Ear Training for Twentieth-Century Music, was given a special citation by the Society for Music Theory. His compositions have been widely performed, and he is a frequent piano recitalist, specializing in the complete piano music of Schoenberg as well as works of Beethoven, Schubert and Schumann. | 1st Season at Norfolk Paul Hawkshaw is Professor in the Practice of Music History and Director of the Norfolk Chamber Music Festival. An authority on the music of Anton Bruckner he has edited seven volumes of the composer's Collected Works (Vienna) which are performed by major orchestras and choruses throughout the world. His articles have appeared in The Musical Quarterly, Nineteenth-Century Music and the Oesterreichische Musikzeitschrift, and he wrote the Bruckner Biography for Grove's Dictionary of Music and Musicians. In 1996 he was awarded the special honor of an invitation from the Austrian National Library, Vienna, to give the commemorative address celebrating the centenary of the composer's death.

Since coming to Yale in 1984, Professor Hawkshaw has taken an active interest in community affairs and public education in New Haven. He was co-founder of a program involving Yale Music Faculty and students in the curriculum at the local Co-operative High School for the Arts. In 1998 the program was recognized by Secretary of Education Richard W. Riley as a model of how music plays an integral role in improving overall education standards. Dr. Hawkshaw has also helped organize and participated in a number of teacher training initiatives for New Haven Public School teachers on the Yale Campus. He worked with the local Board of Education and the Yale University Class of '57 to establish an experimental music and literacy program at the Lincoln Bassett School, an elementary inner city public school in New Haven, Connecticut. In May 2007 the Class announced the establishment of an endowment of $6,000,000.00 at the Yale School of Music to support Music Education and public school music education. Professor Hawkshaw has been publicly recognized for his contribution to the New Haven Schools by an official proclamation of Mayor John DeStefano and, in the spring of 2000, he was awarded the Yale School of

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Artist Biographies continued Music's highest honor, the Simon Sanford Medal, for his scholarship and community service.

Born in Toronto, Canada, Professor Hawkshaw received his Ph. D. in Musicology from Columbia University in 1984. He has recently been appointed to the Editorial Boards of both the new Bruckner Edition published by the International Bruckner Society, and Wiener Bruckner Studien published under the auspices of the Austrian Academy of Sciences. In the spring of 2011 he was awarded the Kilenyi Medal of Honor by the American Bruckner Society. Past recipients have included Karl Boehm, Bernhard Haitink, Paul Hindemith, Serge Koussevitzky, Robert Simpson, Georg Solti, Georg Tintner, Arturo Toscanini and Bruno Walter. Dr. Hawkshaw has been Director of the Norfolk Chamber Music Festival since 2004. | 9th Season at Norfolk Violinist Ani Kavafian enjoys a very busy career as soloist, chamber musician, and teacher. As concertmaster of the New Haven Symphony Orchestra, she will be performing with them as soloist in November of 2012 and has started a project to perform the complete Mozart Concertos with William Boughton, conductor. With clarinetist David Shifrin and pianist André-Michel Schub, the Kavafian-Schub-Shifrin Trio and will be touring US again this year as well. Last year, she conducted workshops in Taiwan alongside David Finckel, Wu Han, Leon Fleisher and Arnold Steinhardt.

She appears with her sister, violinist, Ida Kavafian; they celebrated the 25th anniversary of their Carnegie Hall debut as a duo in November 2008 with a concert dedicated to them and their students presented by the Chamber Music Society. Together with cellist Carter Brey, she is artistic director of Mostly Music whis is celebrating its 34th anniversary this year. She has appeared as soloist with the New York Philharmonic, Philadelphia Orchestra and San Francisco Symphony among many others. Among her recordings are the Bach sonatas with Kenneth Cooper, Mozart sonatas with Jorge Federico Osorio and the recently released piano trio of Justin Dello Joio with Jeremy Denk and Carter Brey. An Avery Fisher Career Grant recipient and winner of the Young Concert Artist International Auditions, she is a full professor at Yale University. Ms. Kavafian, who plays a 1736 Stradivarius, has been an Artist of The Chamber Music Society of Lincoln Center since 1979. She lives in Westchester County, NY with her husband, artist, Bernard Mindich. Their son, Matthew graduated from the University of Puget Sound in Washington and now resides in Los Angeles. | 5th Season at Norfolk The Keller Quartet (András Keller, violin – Zsófia Környei, violin – Zoltán Gál, viola – Judit Szabó, cello) was founded in 1987 at the Liszt Academy of Music in Budapest. Three of the Conservatory’s most renowned professors can be regarded as their mentors to this very day: Sandór Devich, András Mihály and György Kurtág, who has composed for the Quartet. The Keller Quartet achieved its international breakthrough in 1990 by winning all prizes and special awards at both the Evian and Borciani Competitions. Throughout its history, the Quartet has exhibited extraordinary musical curiosity: curiosity about encounters with musicians and composers of all genres; curiosity about unknown works; and curiosity about new forms of programming, where unusual combinations develop their own dramatic tension. Examples include their famous Bach/Kurtág program, where selections from Bach’s Art of Fugue are intertwined with works of György Kurtág, and their performance of Zwiegespräch for string quartet and synthesizer by Kurtág father and son. The Süddeutsche Zeitung has written, "They have courage and they take their time for profound mourning. They never fall into an abyss of sentimentality." The Keller Quartet has recorded on the ECM, Erato, and Euro Arts labels. | 5th Season at Norfolk A winner of the coveted 2002 Grawemeyer Award for Music Composition and one of the youngest composers ever awarded the Pulitzer Prize, A ARON KERNIS has taught composition at the Yale School of Music since 2003. His music figures prominently on orchestral, chamber, and recital programs worldwide and he has been commissioned by many of America‘s foremost performing artists, including sopranos Renée Fleming and Dawn Upshaw, violinists Joshua Bell and Nadja Salerno–Sonnenberg, and guitarist Sharon Isbin, and by institutions including the New York Philharmonic, San Francisco Symphony, Minnesota Orchestra, Saint Paul chamber orchestras, the Walt Disney Company and the Chamber Music Society of Lincoln Center. He was awarded the Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, the Rome Prize, and he received Grammy ® nominations for Air and his Second Symphony. Since 1998, he has served as new music adviser to the Minnesota Orchestra and is chairman and co–director of the Minnesota Orchestra Composer Institute. His music is available on Nonesuch, Phoenix, New Albion, Argo and CRI. | 5th Season at Norfolk

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Ezra Laderman is a distinguished and widely performed composer. His commissions have included works for the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra and Pittsburgh Symphony. He has written works for numerous chamber ensembles, and for soloists including Yo–Yo Ma, Jean–Pierre Rampal, Emanuel Ax and Ronald Roseman among many others. In February 2003, the Pittsburgh Symphony, with Gunter Herbig conducting and Richard Page as soloist, premiered Mr. Laderman’s Concerto for Bass Clarinet and Orchestra. Mr. Laderman is the recipient of three Guggenheim Fellowships, the Prix de Rome, and Rockefeller and Ford Foundation grants. He has served as president of the National Music Council, chair of the American Composers Orchestra, director of the NEA Music Program and president of the American Music Center. Mr. Laderman was elected to the American Academy of Arts and Letters in 1989, and became its president in 2006. From 1989 to 1995 he served as Dean of the Yale School of Music, where he is currently professor of composition. | 9th Season at Norfolk The music of DAVID LANG has been performed by major music, dance, and theater organizations throughout the world, and has been performed in the most renowned concert halls and festivals in the United States and Europe. He is the co–founder and co–artistic director of New York’s legendary music festival Bang on a Can. In 2008 Lang was awarded the Pulitzer Prize in Music for The Little Match Girl Passion, commissioned by Carnegie Hall. His many other honors include the Rome Prize, the Revson Fellowship with the New York Philharmonic, and grants from the Guggenheim Foundation, the National Endowment for the Arts and the American Academy of Arts and Letters. His work is recorded on the Sony Classical, Teldec, BMG, Point, Chandos, Argo/Decca, Caprice, Koch, Albany, CRI and Cantaloupe labels. David Lang holds degrees from Stanford University and the University of Iowa, and received the D.M.A. from the Yale School of Music. His music is published by Red Poppy (ASCAP) and is distributed worldwide by G. Schirmer, Inc. Lang joined the Yale School of Music faculty in 2008. | 4th Season at Norfolk | davidlangmusic.com Humbert Lucarelli, hailed as “America’s leading oboe recitalist” by The New York Times, has performed extensively throughout the United States, Canada, Mexico, South America, Europe, Japan, Australia and Asia.

Chamber music collaborations have included the Original Bach Aria Group and the American, Emerson, Leontovich, Manhattan, Muir, Panocha and Philadelphia string quartets. In the summer of 2002, Mr. Lucarelli was the first American oboist to be invited to perform and teach at the Central Conservatory of Music in Beijing, China. He has performed and recorded with some of the world’s leading conductors including Leonard Bernstein, Arthur Fiedler, James Levine, Georg Solti, Leopold Stokowski and Igor Stravinsky among others. Mr. Lucarelli has recorded for Koch International, Lyrichord, MCA Classics, Musical Heritage Society, Pantheon and Stradivari. Professor of Oboe at The Hartt School and the Conservatory of Music at SUNY–Purchase, he has been the recipient of a Solo Recitalists Fellowship, Consortium Commissioning and Music Recording grants from the National Endowment for the Arts. | 7th Season at Norfolk Composer INGRAM MARSHALL lived and worked in the San Francisco Bay Area from 1973 to 1985 and in Washington State, where he taught at Evergreen State College, until 1989. Currently he serves as Visiting Lecturer in Composition at the Yale School of Music. He studied at Columbia University and California Institute of the Arts, where he received an M.F.A., and has been a student of Indonesian gamelan music, the influence of which may be heard in the slowed–down sense of time and use of melodic repetition found in many of his pieces. His music has been performed by ensembles and orchestras including Kronos Quartet, Los Angeles Philharmonic and San Francisco Symphony. He has received awards from the National Endowment for the Arts, Rockefeller Foundation, Fromm Foundation, Guggenheim Foundation and the American Academy of Arts and Letters. Recent recordings are on Nonesuch (Kingdom Come) and New Albion (Savage Waters). | 5th Season at Norfolk | ingrammarshall.com

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Artist Biographies continued Australian pianist LISA MOORE has been described as “beautiful and impassioned” (The New York Times) and "New York's queen of avant-garde piano" (The New Yorker). She has collaborated with a large and diverse range of musicians and artists - the London Sinfonietta, Bang on a Can, Steve Reich Ensemble, New York City Ballet, Chamber Music Society of Lincoln Center, American Composers Orchestra, So Percussion, Signal, TwoSense and the Paul Dresher Double Duo. Festival appearances include Lincoln Center, BAM, Crash, Graz, Tanglewood, Huddersfield, Paris d'Automne, Shanghai, Beijing, Hong Kong, BBC Proms, Southbank, Adelaide, Perth, Sydney, Spoleto, Israel and Warsaw. Moore has released six solo discs (Cantaloupe Music and Tall Poppies) and over 30 collaborative discs (Sony, Nonesuch, DG, BMG, New World, ABC Classics, Albany and New Albion). Lisa Moore won the Silver Medal in the 1981 Carnegie Hall International American Music Competition. From 1992 through 2008 she was the founding pianist for the Bang On A Can All-Stars and winner of Musical America's 2005 Ensemble of the Year Award. She has collaborated with composers ranging from Iannis Xenakis, Elliot Carter and Frederic Rzewski to Ornette Coleman, Meredith Monk and Martin Bresnick. As an artistic curator Moore directed Australia's Canberra International Music Festival 2008 Sounds Alive series. Lisa Moore teaches at Wesleyan University and as a regular guest at the Australian National Academy of Music in Melbourne. | 7th Season at Norfolk | lisamoore.org Frank Morelli, was the first bassoonist awarded a doctorate by The Juilliard School. With over 150 recordings for major labels to his credit, the Orpheus CD Shadow Dances, featuring Frank Morelli, won a 2001 Grammy ® Award.

He has made nine appearances as a soloist in New York’s Carnegie Hall and has appeared with the Chamber Music Society of Lincoln Center on numerous occasions, including at the White House for the final state dinner of the Clinton presidency. A member, Windscape, an ensemble in residence at the Manhattan School of Music, he also serves on the faculties of The Juilliard School, Yale School of Music and SUNY Stony Brook. He is co–principal bassoonist of the Orpheus Chamber Orchestra. Frank Morelli has released three solo recordings on MSR Classics: Romance and Caprice; Bassoon Brasileiro and Baroque Fireworks. Gramophone Magazine has said that “Morelli’s playing is a joy to behold.” He has published several transcriptions for bassoon and woodwind quintet, and compiled the first collection of Stravinsky’s music for the bassoon, entitled Stravinsky: Difficult Passages. | 19th Season at Norfolk | morellibassoon.com Joan Panetti, pianist and composer, garnered first prizes at the Peabody Conservatory and the Conservatoire de Musique in Paris. She holds degrees from Smith College and the Yale School of Music. She taught at Swarthmore College, Princeton University and the Department of Music at Yale University before joining the faculty of the Yale School of Music. Among her principal mentors were Olivier Messiaen, Alvin Etler, Mel Powell and Donald Currier.

She has toured extensively in the United States and Europe and performs frequently in chamber music ensembles.

She has recently recorded a disc of works (Epson) with violinist Syoko Aki. Among her most recent compositions are a piano quintet, commissioned by Music Accord, which she performed with the Tokyo String Quartet; a piano trio, commissioned by the St. Luke’s Chamber Ensemble, and performed by members of the ensemble with the composer at the piano. A renowned teacher, Ms. Panetti has developed a nationally recognized course, that emphasizes the interaction between performers and composers. In 2007, she conducted an interactive workshop at the National Conference of Chamber Music America and taught and coached at the Central Conservatory in Beijing, China. She is the recipient of the Luise Voschergian Award from Harvard University, the Nadia Boulanger Award from the Longy School of Music, and the Ian Minninberg Distinguished Alumni Award from the Yale School of Music. She was named the Sylvia and Leonard Marx Professor of Music at Yale University in 2004 and served as Director of the Norfolk Chamber Music Festival from 1981 to 2003. — 32nd Season at Norfolk Pianist ESTHER PARK has performed as a soloist with orchestras and in recitals across the United States, Asia and Europe. Ms. Park has appeared as soloist with orchestras including the Houston Symphony, Corpus Christi Symphony, Filharmonia Pomorska, Poland, Shanghai Philharmonic, China, the American Academy of Conducting Orchestra at Aspen, Shreveport Symphony, the Juilliard Symphony and the New Jersey Symphony. She gave a fivecity recital tour in Korea, and has performed at Alice Tully Hall, Lincoln Center, Carnegie Halls’ Weill Recital Hall and Salle Cortot in Paris among others. Ms. Park is the winner of the 2009 “Prix Amadeo” and the 2009 Chopin Gesellschaft Klavierwettbewerb. She is the winner of the 2004 Gina Bachauer Piano Competition at the Juilliard School, and the 52nd Kosciusko International Piano Competition. Born in Pusan, Korea in 1984, Ms. Park began to play in public soon after her first piano lessons at the age of four. She moved to the United States in 1995 and has since received her Bachelor’s degree and Master’s degree from the Juilliard School, studying with Dr. Yoheved Kaplinsky.

Ms. Park also studied at the Hochschule fur Musik und Theater (Hannover) under the tutelage of Bernd Goetzke, and is currently an Artist Diploma candidate at the Yale School of Music under the guidance of Boris Berman. — 1st Season at Norfolk Artist Biographies | 78

A native of Pennsylvania, William Purvis, French horn, pursues career in the U.S. and abroad as soloist, chamber musician, conductor, and educator. A passionate advocate of new music, he has participated in numerous premieres as hornist and conductor. Mr. Purvis is a member of the New York Woodwind Quintet, Orchestra of St. Luke’s, Yale Brass Trio and Triton Horn Trio, and is an emeritus member of Orpheus. A frequent guest artist with the Chamber Music Society of Lincoln Center, he has also collaborated with the Tokyo, Juilliard and Orion string quartets. His extensive list of recordings spans from original instrument performance and standard repertoire through contemporary solo and chamber music to recordings of contemporary music as conductor. His recent recording of Peter Lieberson's Horn Concerto (Bridge) received a Grammy® and a WQXR Gramophone Award. Mr. Purvis is currently a faculty member at the Yale School of Music and The Juilliard School. At Yale, he is coordinator of winds and brass and was recently appointed interim director of the Yale Collection of Musical Instruments. | 27th Season at Norfolk As a composer, arranger, orchestrator, producer, music supervisor and conductor, Norfolk resident Kim Scharnberg happily wears many different musical hats. His Moozie’s Orchestra Adventure (commissioned by the Children’s Kindness Network) was performed twelve times by the Atlanta Symphony this past season.

The Summit Records CD of this piece features the voices of Chris Botti, Dave Brubeck, Linda Eder, Harvery Fierstein, Sutton Foster, Anne Garrels, Larry Gatlin, Kathie Lee Gifford, Wynonna Judd, Earl Klugh, Trent Kowalik, Kaitlyn Lusk, Jessye Norman, Peter Schickele, Richard Thomas, Ronan Tynan and Ben Vereen. His orchestrations for Broadway include Jekyll & Hyde, Scarlet Pimpernel, Civil War, Little Women (Drama Desk nomination) and Wonderland. Film orchestrations include A River Runs Through It, Quiz Show, Made In America and Fly Away Home. | 1st Season at Norfolk | KimScharnberg.com

Pianist André–Michel Schub’s recent appearances have included orchestras in Memphis, Santa Barbara, and Williamsburg, Virginia, and solo recitals in Washington and Phoenix. He has also performed joint recitals with violinist Cho–Liang Lin and trio concerts with David Shifrin and Ani Kavafian and completed a recording project of Mozart’s music to commemorate the tenth season of the Virginia Arts Festival. Winner of the 1974 Naumburg International Piano Competition, recipient of the 1977 Avery Fisher Career Grant, and grand prize winner of the 1981 Van Cliburn International Piano Competition, Mr. Schub has been the Artistic Director of the Virginia Arts Festival Chamber Music Series since 1997. He appears as guest artist at Mostly Mozart, Tanglewood, Ravinia, the Blossom Festival, Wolf Trap and the Casals Festival in Puerto Rico. He has performed with the Boston, Chicago, Cincinnati, Dallas, Detroit, St. Louis and Milwaukee symphonies; the Cleveland and Philadelphia orchestras; the Los Angeles, New York, and Rochester philharmonics; the Royal Concertgebouw; the Bournemouth Symphony and the New York Pops in Carnegie Hall. | 6th Season at Norfolk David Shifrin, clarinet, has appeared as soloist with the Philadelphia, Pittsburgh, Houston, Dallas, Denver, Kansas City, Milwaukee, Calgary, and Edmonton symphony orchestras, l’Orchestre de la Suisse Romande, the Los Angeles Chamber Orchestra and the New York Chamber Symphony. Currently music director of Chamber Music Northwest, Mr. Shifrin was awarded an Avery Fisher Career Grant in May 1987. He is also the recipient of a Solo Recitalist Fellowship from the NEA. His recording for Delos of the Mozart Clarinet Concerto received a 1987 Record–of–the–Year award from Stereo Review, and he was nominated for a Grammy ® as Best Classical Soloist with Orchestra for his 1989 recording of the Copland Clarinet Concerto on Angel/EMI. Since 1989, he has been an artist member of the Chamber Music Society of Lincoln Center and from 1992–2004 he was its Artistic Director. Mr. Shifrin also serves as Artistic Director of the Yale School of Music’s Chamber Music Society and Yale in New York series. | 12th Season at Norfolk

Artist Biographies | 79

Artist Biographies continued Clarinetist Richard Stoltzman’s virtuosity, musicianship and sheer personal magnetism have made this two–time Grammy ® Award winner one of today’s most sought–after concert artists. As soloist with more than 100 orchestras, as a captivating recitalist and chamber music performer (performing the first clarinet recitals in the histories of both the Hollywood Bowl and Carnegie Hall), and as an innovative jazz artist, Stoltzman has defied categorization, dazzling critics and audiences alike while bringing the clarinet to the forefront as a solo instrument. A prolific recording artist, Stoltzman’s acclaimed releases can be heard on BMG/RCA, SONY Classical, MMC, Naxos and other labels, and include the Grammy ® winning recordings of Brahms’ sonatas with Richard Goode; and trios of Beethoven, Brahms and Mozart with Emanuel Ax and Yo–Yo Ma; as well as Hartke’s Landscapes with Blues, The New York Times “Best of 2003.” He performed Rautavaara’s Clarinet Concerto (which was written for him) at the Norfolk Festival in 2008. | 6th Season at Norfolk | richardstoltzman.com Oboist Stephen Taylor holds the Mrs. John D. Rockefeller III solo oboe chair with the Chamber Music Society of Lincoln Center. He is also solo oboe with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St. Luke’s Chamber Ensemble (where he is co–director of chamber music) and the American Composers Orchestra among others. He also plays as co–principal oboe with the Orpheus Chamber Orchestra. He appears regularly as soloist and chamber musician at such major festivals as Spoleto, Chamber Music Northwest, and Schleswig–Holstein. Stereo Review named his recording on Deutsche Grammophon with Orpheus of Mozart’s Sinfonia Concertante for winds as the Best New Classical Recording. Included among his more than 200 other recordings is the premieres of Elliott Carter’s Oboe Quartet, for which Mr. Taylor received a Grammy ® nomination.

Mr. Taylor a faculty member of The Juilliard School. He also teaches at SUNY Stony Brook and the Manhattan School of Music. The Fromm Music Foundation at Harvard University awarded him a performer’s grant in 1981.

Mr. Taylor joined the faculty of the Yale School of Music in the fall of 2005. | 6th Season at Norfolk Christopher Theofanidis is one of the more widely performed American composers of his generation.

He regularly writes for a variety of musical genres, from orchestral and chamber music to opera and ballet. His work, Rainbow Body, loosely based on a melodic fragment of Hildegard of Bingen, has been programmed by over 120 orchestras internationally. Mr. Theofanidis’ works have been performed by such groups as the New York Philharmonic, the London Symphony, the Philadelphia Orchestra, the Orpheus Chamber Orchestra and the Moscow Soloists. His Symphony #1 has just been released on disc by the Atlanta Symphony. Mr. Theofanidis has written widely for the stage, from a work for the American Ballet Theatre, to multiple dramatic pieces, including The Refuge for the Houston Grand Opera and Heart of a Soldier with Donna DiNovelli for the San Francisco Opera. His large-scale piece The Here and Now, for soloists, chorus, and orchestra was nominated for a Grammy award in 2007.

Mr. Theofanidis is currently on the faculty of Yale University and has taught at the Peabody Conservatory and the Juilliard School. He is also a fellow of the US-Japan’s Leadership Program. His upcoming works include the opera, Siddhartha, for the Houston Grand Opera, a new work for the Miró Quartet for Chamber Music Monterey Bay in collaboration with multimedia artist Bill Viola, a solo piano work for the fiftieth anniversary of the Van Cliburn Competition, and a evening-length oratorio, called Creation/Creator for the Atlanta Symphony and Chorus. | 4th Season at Norfolk | theofanidismusic.com Percussionist Robert van Sice has premiered more than one hundred works, including concertos, chamber music and solos. He has made solo appearances with symphony orchestras and given recitals in Europe, North America, Africa and the Far East. In 1989 he gave the first full-length marimba recitals at the Concertgebouw in Amsterdam and has since played in most of Europe's major concert halls, with many broadcasts by the BBC, Swedish Radio, Norwegian Radio, WDR and Radio France. He is frequently invited as a soloist with Europe's leading contemporary music ensembles and festivals, including the London Sinfonietta, Ensemble Contrechamps, and L'Itinéraire and the Archipel, Darmstadt, and North American new music festivals. From 1988 to 1997 he headed Europe's first diploma program for solo marimbists at the Rotterdam Conservatorium. In 1997, joined that faculty of the Yale University School of Music and subsequently joined the faculties of the Peabody Institute of The Johns Hopkins University and the Curtis Institute of Music. Mr. van Sice has given master classes in more than twenty countries and frequently visits the major conservatories in Europe as a guest lecturer. He has released six CDs on the Etcetera, Mode and New World labels. For the last 15 years, van Sice has collaborated with the Adams Corporation in the Netherlands in the design of a series of marimbas bearing his name. | 3rd Season at Norfolk

Artist Biographies | 80

Since its founding over 30 years ago the Tokyo String Quartet (Martin Beaver, violin – Kikuei Ikeda, violin – Kazuhide Isomura, viola – Clive Greensmith, cello) has collaborated with a remarkable array of artists and composers, built a comprehensive catalogue of critically acclaimed recordings and established a distinguished teaching record. Performing well over a hundred concerts worldwide each season, the Tokyo String Quartet has a devoted international following that not only includes the major capitals of the world but also reaches all four of its corners. Deeply committed to teaching young string quartets, they devote a considerable amount of time to the Yale School of Music during the academic year, where they have served on the faculty since 1976 as quartet–in–residence, and to the Norfolk Chamber Music Festival in the summer. An exclusive contract with Deutsche Grammophon firmly established the Quartet as one of the world’s leading chamber music ensembles, and it has since released more than 30 landmark recordings on DG, BMG/RCA Victor Red Seal, Angel–EMI, CBS Masterworks and Vox Cum Laude. The Quartet’s recordings have earned such honors as the Grand Prix du Disque and Montreux, “Best Chamber Music Recording of the Year” awards from Stereo Review and Gramophone magazines, as well as seven Grammy ® nominations. The Tokyo String Quartet performs on “The Paganini Quartet,” a group of renowned Stradivarius instruments named for legendary virtuoso Niccolò Paganini, who acquired and played them during the 19th-century. The instruments have been loaned to the ensemble by the Nippon Music Foundation since 1995, when they were purchased from the Corcoran Gallery of Art in Washington.

Officially formed in 1969 at The Juilliard School of Music, the Tokyo String Quartet traces its origins to the Toho School of Music in Tokyo, where the founding members were profoundly influenced by Professor Hideo Saito. | 35th Season at Norfolk | tokyoquartet.com R ansom Wilson, flute/condcutor, studied at the North Carolina School of the Arts and The Juilliard School, before working with Jean–Pierre Rampal. As soloist he has appeared with the Israel Philharmonic, the English Chamber Orchestra, the London Symphony Orchestra, I Solisti Veneti, the Prague Chamber Orchestra and the Orpheus Chamber Orchestra, among others. He is an Artist Member of the Chamber Music Society of Lincoln Center. An active conductor, Mr. Wilson is Music Director of Solisti New York and has held that position with Opera Omaha, the San Francisco Chamber Symphony, and the OK Mozart Festival in Oklahoma. He founded the Mozart Festival at Sea, and received the Republic of Austria’s Award of Merit in Gold for his efforts on behalf of Mozart’s music in America. More recently he has conducted at the Metropolitan Opera and the New York City Opera. A supporter of contemporary music, he has had works composed for him by Steve Reich, Peter Schickele, Joseph Schwantner, John Harbison, Jean Françaix, Jean–Michel Damase, George Tsontakis, Tania Léon and Deborah Drattel. | 12th Season at Norfolk | ransomwilson.com

Artist Biographies | 81

Artist Biographies continued Carol Wincenc, flute, was First Prize Winner of the Walter W. Naumburg Solo Flute Competition. She has appeared as a soloist with such ensembles as the Chicago and London symphonies; the BBC and Buffalo philharmonics; the Saint Paul and Stuttgart chamber orchestras; and the New York Woodwind Quintet. She has performed in the Mostly Mozart Festival and music festivals in Aldeburgh, Budapest, Frankfurt, Santa Fe, Spoleto and Marlboro. Ms. Wincenc has premiered numerous works written for her by many of today’s most prominent composers including Christopher Rouse, Henryk Gorecki and Joan Tower. In great demand as a chamber musician, Ms. Wincenc has collaborated with the Guarneri, Emerson, and Tokyo string quartets, and performed with Jessye Norman, Emanuel Ax and Yo–Yo Ma. She has recorded for Nonesuch, London/Decca, Deutsche Grammophon and Telarc. Ms. Wincenc created and directed a series of International Flute Festivals in St. Paul, Minnesota, featuring such diverse artists as Jean–Pierre Rampal, Herbie Mann and the American Indian flutist, R. Carlos Nakai. Ms. Wincenc is currently teaching at The Juilliard School. | 11th Season at Norfolk Pianist Lucas Wong made his solo debut at the Canadian Broadcasting Company in Vancouver after winning the Début Young Artists Competition. Mr. Wong is one of very few pianists around the world who performs Liszt-Berlioz's Symphonie Fantastique. As a collaborator in demand, Mr. Wong was a featured artist alongside with violinist Soovin Kim and bassoonist Frank Morelli at the Banff Centre. He was invited to perform the Shanghai premiere of Mahler's Des Knaben Wunderhorn. He appeared in James Levine’s vocal masterclass in Carnegie Hall. Mr. Wong is currently assistant conductor at the New York City Opera, faculty at SongFest, staff at the Yale Opera and repetiteur at the Opera Theater of Connecticut. He will serve as the official accompanist for the 2012 Metropolitan Opera Council District Auditions in Connecticut. Mr. Wong is a graduate of both University of British Columbia (B. Mus) under Robert Silverman and Yale School of Music (M.M., M.M.A, D.M.A) under Boris Berman. Mr. Wong also holds a Post-Graduate Fellowship from Bard Conservatory, where he worked closely with Dawn Upshaw. Mr. Wong was nominated by William Bolcom as a finalist for the Lili Boulanger Prize. Among other top achievements are the Piano Encouragement Award at the Marilyn Horne Foundation Vocal Competition and the YSM Alumni Association Prize. He has given masterclasses and lectures at Xinghai Conservatory, British Columbia Conservatory of Music, the Juilliard School and Shanghai Conservatory. | 3rd Season at Norfolk | lucaswongpiano.com JAMES WOOD, composer, Composer James Wood studied composition with Nadia Boulanger in Paris, read music at Cambridge and later studied percussion and conducting at the Royal Academy of Music. Today he is known for his wide ranging activities as composer, conductor and virtuoso percussionist. He was Professor of Percussion at the Darmstadt International Summer Courses from 1982 to 1994, and during that time was a regular visitor to contemporary music festivals around the world as a solo percussionist. He is the founder/director of the highly acclaimed New London Chamber Choir and is founder and director of London's Centre for Microtonal Music and its ensemble, Critical Band. As a composer his interests have led to a wide range of works for almost every conceivable genre. He has realised commissions from such diverse sources as the Arditti String Quartet, Electric Phoenix, and Amadinda Percussion Group. He has twice been commissioned for the Proms, and since 1996 has become increasingly involved in the world of electronics and electro-acoustic music. Between 2002 and 2005 he produced his largest work so far, a two-act opera based on the life and visions of Hildegard of Bingen scored for soprano and baritone soloists, chamber choir, large ensemble and electronics. Major awards include the 1993 Gemini Fellowship, the 1995/6 Arts Foundation Fellowship for electro-acoustic composition, and a Holst Foundation Award. | 1st Season at Norfolk Acclaimed pianist Wei-Yi Yang enjoys a flourishing concert career, appearing on four continents, in solo recitals, chamber music concerts and with symphony orchestras. Most recently, Mr. Yang was praised by the New York Times as the soloist in a "sensational" performance of Messiaen's Turangalîla-Symphonie at Carnegie Hall. Winner of the San Antonio International Piano Competition, Mr. Yang has performed in such prestigious venues as Lincoln Center, Steinway Hall, Merkin Hall, the Kosciuszko Foundation and the Kennedy Center, in addition to concert halls throughtout Korea, England, Scotland, Hong Kong and Australia among many others. An avid chamber musician, Mr. Yang has performed with members of the Cleveland, Philadelphia and Minnesota Orchestras; the New York Philharmonic; the Chicago, San Francisco, Pittsburgh, Singapore and London Symphonies; Orpheus and Saint Paul Chamber Orchestras; and Orquestra do Estado de São Paulo, among others. Born in Taiwan of Chinese and Japanese heritage, Mr. Yang received his early education in the United Kingdom, and at New York's Manhattan School of Music. Mr. Yang has worked with such artists as Claude Frank, Peter Frankl, Vera Gornostaeva, Byron Janis, Murray Perahia and the late Hans Graf. Under the guidance of Boris Berman, Mr. Yang received his DMA from Yale in 2004. A Yale faculty since 2005, Mr. Yang is in demand for master classes and lectures, as well as diverse recording projects. Recently, He has appeared at festivals in Serbia, Mexico, Montenegro, Switzerland and the Bahamas. | 5th Season at Norfolk Artist Biographies | 82

Music Shed Restoration Fund (As of May 11, 2012)

The Ellen Battell Stoeckel Circle Burton and Joyce Ahrens Anonymous

Byron Tucker and Elizabeth Hilpman

The Rachmaninov Circle

Astrid and John Baumgardner Paul and Susan Hawkshaw

James Nelson and Adrienne Gallagher

Anonymous in Memory of Wm. Hale Charch and Ruth Heidrick Charch Anonymous in Honor of Paul Hawkshaw James and Nancy Remis Alex and Patricia Vance

The Samuel Coleridge Taylor Circle Robert Dance and Robert Loper

Michael Emont and Margo Rappoport John Perkins and Hope Dana Curtis and Kathy Robb

Anne-Marie SoulliĂŠre and Lindsey C.Y. Kiang Sukey Wagner

Percy Grainger Circle Peter L. Kennard

Raymond and Yong Sook Kwok Merck Partnership for Giving The Selz Foundation Pat and Kurt Steele

MUSIC SHED RESTORATION FUND | 83

Music Shed Restoration Fund continued Fritz Kreisler Circle Joanna Aversa

Catherine Gevers and

Katherine Moore

Annette McEvoy Bronheim

The William and Mary Greve

Kevin and Hatice Morrissey

Amy and Peter Bernstein

and Harold Bronheim

Jennie and Bill Brown

Blake and Elizabeth Cabot Sally Carr

Carolyn Childs Hope Childs

Drew S. Days, III and

Ann R. Langdon

Rohit and Katharine Desai Fleur Fairman and

Tim Wallach

Veronica Burns

Mary Fanette and

John Fernandez

Foundation, Inc.

Barbara and Bill Gridley Billy and Mary Gridley

Mr. and Mrs. Brett Hellerman Philip and Helen Jessup

Doreen and Michael Kelly Susan and Peter Kelly Stuart C. H. Kiang

and Grace Wiersma

Christopher and Betsy Little

The J.D. and C.T. MacArthur Foundation

Richard and Barbara Moore Ingrid and Michael Morley Grant and Kristin Mudge Leroy and Jane Perkins

Ned and Karen Peterson Drew and Sally Quale

Sandy and Dick Rippe

John and Barbara Rutledge Howard Sobel and

Ileene Smith

Kathleen Soullière

Alyson and Tony Thomson

Kim and Judy Maxwell

Additional Contributors Caroline Andrus

Ruah Donnelly and

Jim and Jeanne Moye

Robert and Serena Blocker

Jim and Lois Harris

Richard and Sandra Tombaugh

ErzsĂŠbet and Donald Black Libby Borden

Dr. Robert Bumcrot and

Ms. Francesca Turchiano Mr. and Mrs. Starling

W. Childs

84 | Music Shed RESTOR ATION FUND

Steven Dinkelaker

Mr. and Mrs. Gerald Hess Janine King and

Steven Paganuzzi

Family Fund

Stephen J. McGruder

Anonymous

Nancy R. Wadhams Alexandra Walcott

Annual Fund We wish to thank the many individuals and organizations who, through their support, have made this season possible.

(As of May 11, 2012)

Leading Contributors Burton and Joyce Ahrens

The Argosy Fund for Contemporary Music Battell Arts Foundation

Astrid and John Baumgardner Centenary Scholarship Fund

Community Foundation of Northwest Connecticut, Inc. State of Connecticut Department of Economic and Community Development, Office of the Arts Rohit & Katharine Desai

Christopher Di Bonaventura Ellen Battell Stoeckel Trust Anonymous

The LaSalle Adams Fund

Clement Clarke Moore Scholarship Fund Ronald and Susan Netter Jim and Nancy Remis

Roger and Jerry Tilles Tokyo String Quartet

Louise Willson Scholarship Fund

ANNUAL FUND Contributors | 85

Annual Fund continued Musicians' Circle Robert and Ann Buxbaum Herbert and Jeanine Coyne Perry T. DeAngelis Michael Emont and

Margo Rappoport Mrs. John T. Gallagher Barbara and Bill Gridley Anonymous Leila and Daniel Javitch

Philip and Helen Jessup Mr. and Mrs.

Gardner M. Mundy Aldo and Elizabeth Parisot Richard and Sandy Rippe Donald and Mary Roberts John and Barbara Rutledge Pat and Kurt Steele

Associate Members Hope Childs Marjorie Clarke John and Helen Davis Fleur Fairman and Tim Wallach Adrienne Gallagher and

Jim Nelson The William and Mary Greve Foundation Leni and Jim Herzog IBM Matching Gifts Program Tom Martin and Susan Spiggle

Katherine Moore Rod Perkins Pete Peterson and

Roger Mitchell Andrew and Sally Quale Sharon Ryan Richard and Marilyn Schatzberg Alyson and Tony Thomson Mark and Tania Walker

Sustaining Members Mr. and Mrs. Samuel A.

Anderson Ann and Leonard Bass Malcolm and Barbara Bayliss Linda and Frank Bell ErzsĂŠbet and Donald Black Jean R. Bradley John and Denise Buchanan Peter Coffeen and Stephen Getz Pamela and Dennis Collins Jeffrey P. Cunard

Louise Ducas Susan A. and Jon Eisenhandler Bob and Eiko Engling Lloyd Garrison Morton and Judith Grosz John Hartje and

Carol Camper Anne and John Herrmann Gerald and Barbara Hess Daphne Hurford and

Sandy Padwe Colta and Gary Ives

86 | ANNUAL FUND Contributors

Judith and Samuel Kellner Michael and Doreen Kelly Eileen and Edgar Koerner Christopher and Betsy Little John D. and Catherine T.

MacArthur Foundation Susan MacEachron Mr. and Mrs. James R. Miller Ingrid and Michael Morley Paul Provost and Pepe Lopez Susan and Peter Restler Marvin and Joyce S. Schwartz

Cornelia and Jon Small Howard Sobel and

Ileene Smith Linda Sonnenblick and

Henry Zachs Graham Taylor Carol Tobin and Arthur Brill Nancy R. Wadhams

Supporting Members Molly Ackerly and Michael Sconyers Bank of America Matching Gifts Program Patricia J. Barnett Francis and Christianne Baudry David L. Belt Libby Borden Karen Burlingame and Anders Bolang Ralph C. Burr and Andrew E. Cushing Blake and Elizabeth Cabot Jill Campbell Linda and Walter Censor Joe and Phyllis Crowley Drew Days, III and Ann R. Langdon Andrew G. De Rocco Allan Dean and Julie Shapiro Karen DiYanni and Ned Peterson Judith and Paul Dorphley Randall R. Dwenger and

Steven B. Callahan

The Dwyer Family Bonnie and Clifford Eisler Kate Wenner and Gil Eisner Peter Ermacora and

Evan G. Hughes Scott Falk George Fenn Judith Friedlander in memory

of Erwin Fleissner Richard and Evelyn Gard Betsy Gill Ellen D. Glass, M.D. Dotty and Lionel Goldfrank James and Lois Harris Alan Harwood and

Margot Welch Peter S. Heller Dr. Suzanne M. Hertel Marsha Keskinen and

George Weichun King, King and

Associates, CPA's Larry S. King Marilyn and Jay Koslow Roberta and Lawrence Krakoff

Dr. and Mrs. Robert Lapkin Henry and Carlene Laughlin Anne Garrels and

Vint Lawrence Starling Lawrence Michael and Judith Lesch Maija Lutz and Peter Tassia Kim and Judy Maxwell Gwen E. Melvin Merck Partnership for Giving Alan and Cecily Mermann Mr. and Mrs. James R. Miller Jim and Jeanne Moye Ingegerd Mundheim Norfolk Artists and Friends Kevin M. O'Connor Bob and Dorothy Pam Jane and Lee Perkins Charles and Barbara Perrow Florence D. Persons Eileen E. Reed and

C.A. Polnitsky, M.D. Edward Potter Anitra M. Powers

Andrew Ricci, Jr., M.D. and Jacqueline Ann Muschiano MacGregor Robinson Naomi Rosenblum Frederick Russell Jacqueline and Frank Samuel Mr. and Mrs. Anthony Scoville Tom Shachtman and Harriet Shelare Chris and Frank Silvestri Mary and Walter Simons The Robbins Family Peter and Abbe Steinglass William and Linda Terry Richard and Sandra Tombaugh Mr. and Mrs. Courtland W. Troutman Nancy Wadelton Alexandra Walcott

ANNUAL FUND Contributors | 87

Annual Fund continued Donors Jay and Sylvia Abbott Prof. and Mrs. Herbert Arnold Joanna Aversa Ivan A. Backer Warren and Joanne Bender Jonathan and Anne Marie Berger Donald Bickford Gayle H. Blakeslee John Boyer Bernard and Awilda Buchholz Cynthia and Burton Budick David and Jame Leslie Burgin Margaret Burnett Linda Censor Ms. Star Childs Peter Coffeen Mimi and John Cole

Beth and Patrick Crossman Kendra Dahlquist Rich and Alexa Dann Dennis and Penny Dix Bob and Eiko Engling Eileen M. Fitzgibbons Mary Kay and Woody Flowers John and Suzanne Funchion John Gillespie Janice and Felix Graham-Jones Dr. David Hamerman Rev. Mary N. Hawkes Norman S. Hewitt Elaine and Jon Hyman Ted and Nancy Johnson Mr. and Mrs.

Abraham Kaufman Martha Klein

Ann D. Knapp Kathleen and John Kruse Peter and Suzanna Lengyel Gerald and Selma Lotenberg Lenore Mand Robi and Steve Margolis Dr. and Mrs. Ronald M. Match Ronnie and Jerry McNamara Z and Z Meistrick in

memory of Jack Crockett Zdenek and

Zuzana Meistrick Alan and Cecily Mermann Ian Mickenberg and Pat Fahey Robert M. and Andrea Seigerman Milstein Gisela Moellmann Carols and Alda Neumann

June and Christopher Peterson Christopher and

Elizabeth Reinhart Dee and Stan Shapiro Rita and Harvey Simon Dr. J. W. Streett Judy and Howard Suslow Richard and Gretchen Swibold Sandras and David van Buren Peter and Edwina Vosburgh Mrs. William B. Warren Roberta Warren Abby N. Wells Beatrice and Edgar Wolf Jeppy M. Yarensky

Festival Mission To provide artistic and academic preparation for the most gifted graduate–level performers and composers from around the world under the tutelage of an international faculty To support and extend the Yale School of Music’s internationally recognized music programs by serving as a pedagogical and performance venue for faculty and fellows as well as provide opportunities for the development of special projects consistent with YSM activities

To foster the creation of new chamber music through commissions, concerts, workshops, competitions and residencies for established and student composers from around the world

To seek new possibilities for the international cultivation of chamber music through exchange programs as well as by developing new media and performance venues To invite audiences to discover, explore and appreciate chamber music through concerts, lectures, listening clubs, school programs and creative outreach activities

88 | ANNUAL FUND Contributors & FeSTIVAL MISSION

In concert with the highest standards in retirement living Comfortable apartments, restaurant-style dining, library, adjoining YMCA, social activities, educational programs, and much more.

Route 7, Canaan, CT | Just 10 minutes from Norfolk www.geercares.org | 860-824-2623

Over 200 concerts every year, most of them free and open to the public, many streaming live online!

From early music to new music, from opera to jazz, featuring Norfolk’s favorite performers and many more in chamber music, solo recitals, orchestra, opera, and countless other concerts.

Jasper String Quartet

oneppo chamber music series

Featuring the Tokyo String Quartet, Windscape with the Orion String Quartet, Jasper String Quartet, and more

horowitz piano series

Recitals by Emanuel Ax, Radu Lupu, Paul Lewis, and Yale faculty

Yale Opera

collection of musical instruments

Period performances from artists such as Quicksilver, Les Delices, and more, in the intimate space of Yale’s unparalleled Collection

yale opera

Opera at the Shubert Theatre, plus autumn Opera Scenes, Liederabend, and an original springtime production

ellington jazz series

Bringing a rich variety of jazz performers to New Haven audiences

yale in new york

The School of Music’s critically-acclaimed series at Carnegie Hall, with concerts devoted to Mozart, Hindemith, and more

philharmonia orchestra of yale

Tafelmusik

One of America’s foremost music school ensembles

faculty artist series

Performances from Yale’s distinguished faculty, including Peter Frankl, Ettore Causa, Wendy Sharp, Ole Akahoshi, and many more

new music new haven

Presenting contemporary works by distinguished guests and up-and-coming composers

music.yale.edu office of concerts & media · 203 432-4158 Tokyo String Quartet