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Welcome to Norfolk Welcome to Norfolk 2015. If you are reading this note you have already seen the restoration work on the outside of the Music Shed and the magnificent new cupola (the original was destroyed decades ago) on top of the building. We hope you like the work that has been done, and that you feel more comfortable on warm evenings as a result of the increased ventilation the cupola provides. We have now completed the first phase of restoration and preservation of our magnificent concert hall. The objectives of phase one were to secure the perimeter of the building - primarily siding and roofing - and to make the space naturally cooler by restoring the original ventilation. We will monitor the cupola’s impact over the summer before making decisions about further steps that might improve the ambient temperature for our audiences and performers without affecting the acoustics. We would be very grateful for any comments or observations you may have. Phase two of the restoration will address the interior of the hall - chairs, finishes, box office, lobby spaces, handicap access, lighting, etc. - as well as exterior items such as the windows, stairs and doors that needed to wait until the siding was complete. Phase three will replace the studio annex at the north end of the building, provide a green room for meeting the performers, and enlarge and modernize the rest rooms. We wish we could do the restrooms sooner, but they need to wait until the Paul Hawkshaw north wall of the Shed can be opened to join with the new studio space. More information about the entire project is available on our website at norfolkmusic.org or in the display in the lobby of the Music Shed. Brochures are also available in the lobby. In the meantime, we have a great season in store for you, culminating in our annual Gala with two of the world’s great artists, violinist Pamela Frank and pianist Emanuel Ax. The Artis, Brentano and Emerson Quartets are returning along with one of America’s oldest and most respected ensembles, the Alexander Quartet. They last performed at Norfolk in 1990 and will join us for an evening of American Music Virgil Thomson, Dominick Argento and Aaron Copland’s wonderful Appalachian Spring (July 31). Many more of our favorite artists will also be here: Ole Akahoshi, Syoki Aki, Janna Baty, Robert Blocker, Ettore Causa, Melvin Chen, Julie Eskar, Peter Frankl, Clive Greensmith, Scott Hartman, Kikuei Ikeda, Ani Kavafian, Kazuhide Isomura, Mihai Marica, Frank Morelli, Joan Panetti, William Purvis, Richard Stoltzman, James Taylor, Stephen Taylor, Ransom Wilson, Carol Wincenc and Wei-Yi Yang. Delightful young soprano, Sarah Yanovitch, will join conductor Simon Carrington and pianist/harpsichordist/organist, Ilya Poletaev, for the choral program on Saturday, August 22; and composer Martin Bresnick, conductor Julian Pellicano, and pianist, Lisa Moore, lead our New Music Workshop (Friday, July 3). Much more program information is available in the following pages and on our website. On behalf of our Faculty, Staff and Fellows, I want to thank Dean Blocker and the Yale School of Music, the Ellen Battell Stoeckel Trust, and all the donors, patrons and volunteers who have made the season possible. We also want to express our most sincere gratitude to everyone who has contributed to the Music Shed Restoration Fund. As many of you know, an anonymous donor has committed a matching gift of $1,000,000 if we can raise $2,000,000. As of this writing, the total of contributions and commitments we have received is slightly over $1,650,000. The donor agreed to release $500,000 last spring so work on phase one could be completed. We still need to raise about $350,000 to obtain the remainder of the match. Please help if you can. For the purposes of the match, you could make a pledge now and contribute at a later date. A gift of any size will be very greatly appreciated. If you would like to consider a naming opportunity, or if you have any questions, please call me (203 645 3646) or Jim Nelson (860 542 3000); or send us an email at paul.hawkshaw@yale.edu or james.nelson@yale.edu. Thank you again everyone very much. Please sit back and enjoy the music in the company of good friends.
Paul Hawkshaw, Director. June, 2015.
DIRECTOR'S WELCOME | 3
Table of Contents
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3 ........................
Director’s Welcome
5 ........................
Table of Contents
7 ........................
Festival Acknowledgements
9 ........................
Festival History
11 ........................
Artist Spotlight: Allan Dean
13 ........................
Virgil Thomson
19 ........................
Virgil Thomson Timeline
23 ........................
Festival Mission & Leadership Council
25 ........................
Festival Artists
26 ........................
Music in Context, Piano Masterclass Young Artists’ Performance Series
27 ........................
Fellowship Recipients
31 ........................
Festival Administration
33 ........................
Sunday, June 21 • Open House
35 ........................
Friday, July 3 • Young Artists' Performance
36 ........................
Friday, July 10 • Weekend Series
38 ........................
Saturday, July 11 • Weekend Series
40 ........................
Friday, July 17 • Weekend Series
42 ........................
Saturday, July 18 • Weekend Series
44 ........................
Friday, July 24 • Weekend Series
46 ........................
Saturday, July 25 • Weekend Series
48 ........................
Friday, July 31 • Weekend Series
50 ........................
Saturday, August 1 • Weekend Series
52 ........................
Friday, August 7 • Weekend Series
54 ........................
Saturday, August 8 • Weekend Series
56 ........................
Friday, August 14 • Weekend Series
58 ........................
Saturday, August 15 • Weekend Series
60 ........................
Special Event: Emanuel Ax & Pamela Frank
63 ........................
Choral Festival
64 ........................
Artist Biographies
76 ........................
Cupola Society
77 ........................
Music Shed Restoration Donors
82 ........................
Annual Fund Donors
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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 Burton & Joyce Ahrens Liz Allyn Dana Astmann Emmauel Ax Janna Baty John & Astrid Baumgardner Jack Beecher Rick & Candace Beinecke Linda Bell David Bibbey Botelle School, Matthew O'Connell, Principal Daysi Cardona Chamber Music America, Margaret Lioi, President Carolyn Childs Hope Childs Kristina Chmelar, Senior Architect, Yale University Ken Crilly Perry DeAngelis Tara Deming Wood Creek Grill, Heidi & Michael Dinsmore Martina Dodd Carl & Marilee Dudash Sue Dyer, First Selectman, Norfolk, CT Nicholas Fanelli Emily Ferrigno First Congregational Church, Rev. Erick Olsen Pamela Frank Adrienne Gallagher Christine & Philippe Gousseland Barbara Gridley Susan Hawkshaw Coleen & Brett Hellerman
Sarah Henderson Elizabeth Hilpman & Byron Tucker Tom Hodgkin Infinity Music Hall, Dan Hincks Martin Jean, Director, Yale Institute of Sacred Music Helen Jessup Gregory Johnson Krista Johnson Diane Johnstone Rob Kapilow Austin Kase Jeanne Kazzi Kathleen Kelley Doreen & Michael Kelly Jenna-Claire Kemper Eugene Kimball Robert King, CPA Kronenberger & Sons Restoration, Inc Bryan Addy Christopher & Betsy Little David Low & Dominique Lahaussois Litchfield Piano Works John Martin Associates, Architects Kim & Judy Maxwell Chris Melillo Cecily Mermann Samuel D. Messer, Director, Yale Summer School of Art Roger Mitchell & Pete Peterson Michael Morand Lester Morse Martha Mullins Norfolk Artists & Friends, Ruthann Olsson
The Norfolk Historical Society, Alyson & Tony Thomson Barry Webber Jerry & Roger Tilles The Norfolk Library, Stephan Tieszen Ann Havemeyer Jenny Vogel Norfolk Lion’s Club, Sukey Wagner Grant Mudge, President John G. Waite Associates, Architects Norfolk Volunteer Fire Department John G. Waite Northwest Connecticut Arts Council, Clay Palazzo Amy Wynn Matthew Scheidt Monica Ong Reed Michelle Jenkins Patricia Pappacoda Katherine Onufer Aldo Parisot WFCR Stefanie Parkyn Elizabeth Wilford Linda Perkins Wiley Wood Northwest Regional High School, Woodridge Lake Association Steven Zimmerman, WSHU Music Coordinator Michael Yaffe, Associate Dean, Nancy & Jim Remis Yale School of Music Arthur Rosenblatt Kelly Yamaguchi-Scanlon Rosewood Custom Cabinetry Wei-Yi Yang & Millwork, Inc. Donna Yoo Paul Carlson Salisbury Wines, Warren Carter Julie Scharnberg And ... Kim & Gwynn Scharnberg Anne-Marie Soullière & The citizens of Norfolk who Lindsey Kiang share their lovely community State Historic Preservation Office, with our Fellows, Artists Laura Mancuso and audiences Pat & Kurt Steele The host families who graciously Robert Storr, Dean, open their homes to our Fellows Yale School of Art The Battell Arts Foundation, Lily Sutton sponsors of the Young Artists’ Rafi Taherian, Executive Director, Performance Series Yale Dining Services Martin Tandler Most of all, Ellen Battell Stoeckel, James Taylor our founder & patroness
FESTIVAL ACKNOWLEDGEMENTS | 7
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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, a recent restoration has returned the hall to its original glory. The stunning acoustics have remained unchanged since its stage was graced by such renowned musicians (Top: Left to Right ) as Fritz Kreisler, Conductor Arthur Mees, soprano Alma Sergei Rachmaninoff Gluck, violinists Efrem Zimbalist and and Jean Sibelius. Fritz Kreisler in Alma’s new Ford, purchased on the way to Norfolk Upon her death in 1939, Ellen Battell Photo courtesy of the Mees Family. 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 74th 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 Alexander, Brentano, Emerson and Artis Quartets. Boris Berman, Peter Frankl, William Purvis, Frank Morelli, Ani Kavafian and many others from around the world perform as part of a series of more than 30 concerts over a nine–week period. These professional musicians also serve as teachers and mentors to the Fellows who come to Norfolk each year to study.
Young instrumentalists, singers, conductors and composers are selected through a highly competitive international admissions process to spend 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 interior of the Music Shed c. 1906
The Music Shed c. 1920
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.
FESTIVAL HISTORY | 9
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Artist Spotlight Now in his 31st season with the Festival, 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, Essy, a student at Susquehanna University. He is an avid tennis player and practices hatha yoga daily.
When you are away touring, do you bring anything special with you to remind you of home? Pictures of my wife and daughter.
When you fly, what do you like to read? How do you pass the time?
When I’m flying, I listen to my iPod (now iPhone) and I read. Usually I’m reading history, mystery and biography. As much as I love holding a “real” book, the Kindle is a great invention for travel.
What is a favorite non-musical past time?
In the summer it’s tennis. Year around it’s yoga.
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’ve played in a lot of amazing places around the world but I can’t say that I have a favorite. Concert halls tend to be either too bright or too dead for brass players so we complain a lot.
What does it feel like right before you walk onto the stage? What runs through your mind?
I try to focus on the music at hand, but often I just notice how cold my hands are!
Do you have any pre-concert traditions?
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? My favorite song from growing up in the Midwest: “We’re from I-oway, I-oway, State of the all the land, Join in every hand, We’re from I-oway, I-oway, That’s where the tall corn grows.” At which point everyone throws their arms up in the air! Big hit in Iowa.
My favorite chamber pieces to play are by Stravinsky: The Octet and L’Histoire. We brass players are very fortunate to have important parts in these great works. 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? I can’t find much to dislike. I’ve been playing the trumpet for 65 years and making a living at it. I’m a pretty lucky guy.
Do you find that your training and skills as a musician are helpful in non-musical areas of your life? Would you share an example? I find the reverse especially true. I feel meditation and yoga may help me focus better in performance.
Almost every concert is a different situation. I’m always concerned if I’m not nervous before a big concert, so I work at making myself a bit nervous. ARTIST SPOTLIGHT | 11
Artist Spotlight continued What is one of your favorite pieces of music and why?
I love the Goldberg Variations particularly, but really all of Bach’s keyboard music. My listening habits are the music of Bach and before and jazz music from the 1950’s on.
Is there anything about the way classical music is presented to the world that you would like to see change or evolve?
Is there a particular piece of advice/insight that you share with your students about being a musician?
If a student has to ask: “Should I try to become a professional musician?” then it is probably hopeless. One has to have the talent, drive, perseverance and desire to become a musician and then anything is possible.
I’d love to see more money for arts education and get more children involved in all kinds of music. Having grown up in the great band tradition of the Midwest, it is depressing to see the decline of music education in the schools.
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Honoring
Virgil Thomson
By Dana Astmann
Composer and critic, thinker and speaker, author and conductor, Virgil Thomson lived large, with a career sprawling across multiple facets of the music world. His friends and colleagues included numerous important figures of the twentieth century, but his uncompromising personality led to the souring of many of those friendships. Looking back on his compositional career, Thomson ref lected: “At 17 I knew I was a ‘modern.’ At 28 I was ceasing to be a neo-classical, neo-medieval, neobaroque modern and beginning in my own way to be what I still think of as a highly independent composer.… Once your apprentice years are over, only the discipline of spontaneity has value.” That spontaneity defined his far-ranging work, from the accumulation of musical references and genres in his compositions to the brazen honesty of his prose writing and the utterly natural rhythms of his vocal music. His style has been called neoclassical for its reworking of conventional forms, yet his attention to tradition was far more irreverent than the music sounds on the
Virgil Thomson, c. 1980. Photograph by Betty Freeman Courtesy of the Irving S. Gilmore Music Library, Yale University surface. His mature homegrown vocabulary incorporated a broad palette of musical inf luences into an idiosyncratic, open-sounding language. He composed in pencil, out of a desire “always to be able to change my mind. I am very American about that.” Thomson’s inf luence on American music is often understated – or perhaps overlooked, though no less a figure than Aaron Copland called him the “father of American music.” Thomson himself revered the quirky French composer Erik Satie for having “eschewed the impressive, the heroic, the oratorical” and admired his music for its “consequence, quietude, [and] precision.” His own works demonstrated many of the same qualities, puzzling contemporaries at a time that Schoenberg and Stravinsky were leading music further toward complexity and dissonance.
January 1944, Vladimir Horowitz is at the piano and Virgil Thomson on far right in front row. Also in the audience are Bruno Walter, George Szell, Edgard Varèse and Issac Stern. Courtesy of the James Nelson Collection
Words are as important as music in understanding Thomson. His prose writing, centered around his fourteen years as music critic of the Herald Tribune, astonishes with its incisive precision and farreaching understanding. Vocal works form the core of his musical output, from opera to art song, and his approach to text-setting blazed a new standard of clarity. “Enabling singers to make words clear and meaningful is part of the composer’s art,” he wrote; in his vocal music, the words fall easily from the tongue, intuitively following the everyday rhythms of the English language. Although not religious, he wrote several sacred works, including the 1960 Missa pro defunctis and the wiry, contrapuntal 1931 Stabat Mater (July 31 program).
HONORING VIRGIL THOMSON | 13
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Virgil Thomson continued “The Christianity element never took on me,” he remarked. “But I love the whole layout of it. You see, it’s like theater. I’m at home in the backstage of religion, like in the choir room or the vestry, in the same way that I’m at home backstage in the theater.” Thomson was always proud of Kansas City, Missouri, where he was born in 1896. As a child, he demanded piano lessons and received them. Through his teenage years, Thomson studied piano, voice, organ, and harmony, gradually becoming a paid
working musician. Though he had not yet begun composing, he did find “that ‘thinking about music and reading about it’ were becoming ‘no less an urgency than making it.’” He also began writing, finding his voice in non-fiction: “Language, to me, is merely for telling the truth about something; and it was during my high school years that I learned to use it that way.” Eager for more education but unable to afford college, Thomson took an extra year of advanced classes at his high school, and then, as Europe embroiled itself in the First World War, enrolled in a new junior college opening in his town. Even in his freshman composition class, according to his close friend Alice Smith, Thomson “freely” issued “pungent criticism.” At the new college, Thomson founded a group he called the Pansophists, declared himself president, and published a magazine – most of which he wrote himself. He was already comfortable as a writer, critic, and sharp-witted intellectual.
A letter to Paul Reuter, Assistant Manager of the Hartford Symphony Courtesy of the James Nelson Collection
Virgil Thomson, Hartford, CT, 1985 Photograph by T. Charles Erickson Courtesy of the Irving S. Gilmore Music Library, Yale University
In March of 1917, one month before the US entered the war, Thomson joined the Missouri National Guard, then in August enrolled in the army. The war ended while he was still waiting to be sent overseas. After receiving an honorable discharge, Thomson set his sights on Harvard. He secured a scholarship, and later awards and fellowships, to fund his East Coast education. One of the most important aspects of his time there was his involvement in the Harvard Glee Club. Two other inf luences were S. Foster Damon, who introduced Thomson to works of Satie and Gertrude Stein, and Edward Burlingame Hill, who, while the German tradition reigned, taught French music and encouraged the exploration of American genres like folk and gospel. And it was at Harvard, at the age of 24, that Thomson wrote his first significant compositions. Thomson’s growing interest in French music and France itself eventually found its fulfillment. The Glee Club toured France in 1921, the same year Thomson received a fellowship allowing him to remain in Paris for a year. There he studied with Nadia Boulanger, the famed pedagogue who nurtured numerous American composers from Roy Harris to Elliott Carter. Thomson, however, didn’t take well to what he called HONORING VIRGIL THOMSON | 15
Virgil Thomson continued “the Boulanger cult.” He did meet many other musicians, including his idol Erik Satie. He actively composed and wrote his first efforts in music criticism, published in the Boston Evening Transcript. In 1922 Thomson’s glowing review of Sergei Koussevitzky’s important Paris concerts helped set his writing career in motion. At the end of his year in France, Thomson returned to Boston to finish his degree. When he graduated – passing his exams, but not earning distinction – he lived in New York for a year, then Boston again. Finally, in 1925 he moved to his beloved Paris, where he lived until 1940. “I figured,” he said, “that if I were going to starve, I might as well starve in a place where the food was good.” To get by, he wrote stories for Vanity Fair, composed, and gave piano lessons. He met musicians, artists and writers. Reluctantly, he studied again with Boulanger, wanting to improve in the subjects that had tripped him up in his Harvard finals. Throughout the 1920s, Thomson thought about his compositional style, how to balance his lively imagination with musical coherence, and how best to incorporate many different musics: sacred and secular, vocal and instrumental, classical and orally transmitted, historical and contemporary. He experimented with neo-classical dissonance in the Sonata da Chiesa (August 7 program) and found for a while a certain solution in Dada’s liberation of childlike imagination. Long an admirer of Gertrude Stein’s writing, around this time Thomson befriended Stein and her partner Alice B. Toklas. What secured this longtime friendship was his setting of Stein’s short poem “Susie Asado.” Though Stein’s language confounded many people, Thomson found ways to clarify it. “My theory,” he wrote, “was that if a text is set correctly for the sound of it, the meaning will take care of itself…. I had no sooner put to music after this recipe one short Stein text than I knew I had opened a door.” That door led to Five Phrases from the Song of Solomon (1926), the successful Capital Capitals (1927), and two full-length operas, Four Saints in Three Acts (written 1927-28, orchestrated 1933) and The Mother of Us All (1947). The esoteric but vivid and lyrical Four Saints in Three Acts remains Thomson’s best-known work. It not only represented an artistic breakthrough but also earned widespread publicity when it premiered in Hartford, CT, in 1934. Artists and socialites from New York came; the New Haven Railroad added extra cars to accommodate the crush of curiosity; and the society columnist for the Herald Tribune wrote: “there has never been anything like it, and until the heavens fall or Miss Stein makes sense there will never be anything like it.” After the opera, Thomson turned to honing his technique in
(left to right) Virgil Thomson, Walter Piston, Herbert Elwell, and Aaron Copland at Nadia Boulanger's Paris home, 1925 writing for instruments, particularly strings. In the mid to late 1930s, he produced chamber works such as the string quartets and the violin sonata, as well as his second symphony. He also began writing in a genre that he kept with all his life: the musical portrait. Inspired by Stein’s word portraits, Thomson’s were nearly always drawn from life, composed while the subject sat as though for a painting. He eventually completed over 150 of them. Thomson did not limit his dramatic inclinations to opera. Much of his instrumental music, too, is for dramatic purposes, including a substantial corpus of incidental music for the theater. He wrote several film scores, beginning with The Plow That Broke the Plains in 1936; the suite from Louisiana Story earned him the 1949 Pulitzer Prize, the only Pulitzer awarded to a film score. Thomson’s ballet Filling Station, which premiered in Hartford in 1937, was the first truly American ballet from the scenario through the creative team. Both his film scores and his ballets
HONORING VIRGIL THOMSON | 17
Virgil Thomson continued incorporated quintessentially American music such as spirituals, band music, and old popular and cowboy songs, a blend that proved inspirational to Copland and other contemporaries.
Popular artists were not immune: he did not shy away from criticizing the conductor Arturo Toscanini, or slamming the pianist Vladimir Horowitz as a “master of distortion and exaggeration.”
In 1940, Thomson returned to the States and became music critic of the New York Herald Tribune “until I had nothing more to say – fourteen years.” From his first review, he distinguished himself with erudite, fiendishly straightforward writing. He did not hold back for the sake of politeness; he offended many and enthralled perhaps many more. Copland called him “the most articulate musician who’s ever walked the street.”
Thomson contributed his sharply insightful prose to a variety of publications, including several articles in the 1930s for the prominent journal Modern Music. In 1938 he began his first book. To a friend he wrote:
“I think music reviewing should be a serious musical job,” Thomson said. A few samples show his range, from poetic – Carl Ruggles’s music, he wrote, “never treads water, only sun” – to acerbically funny: “Beethoven’s Overture to Egmont is a classic hors d’oeuvre. Nobody’s digestion was ever spoiled by it and no late comer has ever lost much by missing it.” Olivier Messiaen received thoughtful praise for his “natural instinct for making music plus the simplicity and sincerity of his feelings… [and] musical technique of great complexity and considerable originality.” Of Porgy and Bess, Thomson wrote: “With a libretto that should never have been accepted on a subject that should never have been chosen, a man who should never have attempted it has written a work that has considerable power.”
“It is to be a complete account of the musical world (no less) and include esthetics, economics, politics, and even some technical matters…. Not an encyclopedia of course. Just my opinions about all these things.” The State of Music, published in 1939, is brief but colorful, unabashedly ambitious and opinionated. It roves through such chapters as “How Composers Eat, or, Who Does What to Whom and Who Gets Paid” and “Why Composers Write How, or, The Economic Determinism of Musical Style.” Its far-reaching pronouncements include this one on performances of contemporary music: “I don’t think the conductors quite want any composer to have a very steady success. They consider success their domain.” Sales of the book were dismal, but critics were enthralled, and the arts world fascinated. As Thomson entered middle age, he continued to write songs, portraits, choral music, and orchestral works, and he began to reflect on his career. His push for a biography resulted in a long, tangled collaboration amongst Kathleen Hoover, John Cage, and the publisher that became Virgil Thomson: His Life and Music. Other books included a self-titled autobiography, focusing on his years in Paris; American Music Since 1910; collections of his articles and other writings, including one that won a National Book Critics Circle Award; and an explication of his ideas on prosody, which he called Music with Words. Thomson’s fame brought him other projects as well: conducting, radio broadcasting, lecturing, and other public speaking engagements. He received honorary degrees, as well as awards such as the Légion d’Honneur (1947) and a Kennedy Center Honor (1983). He also began the task of organizing his papers, eventually deciding upon Yale as the home of his archives. It took the library over a year to catalogue the five large moving containers of music manuscripts, prose papers, photos, letters, programs, and countless other materials.
Left to right: Aaron Copland, Vivian Perlis, Virgil Thomson and Anne-Marie Soullière Courtesy of the Yale School of Music
18 | HONORING VIRGIL THOMSON
Thomson lived in New York City’s Chelsea Hotel until his death at the age of 93. As Vivian Perlis remembers, he “died as he hoped: at home in his sleep, and in time to make all the editions of the Sunday New York Times.”
In the time of In 2015 we are celebrating the life of composer/chef/critic/writer Virgil Thomson, with several performances of his music and an enjoyable essay in our program book. It’s well worth reading about this fascinating man - if anyone’s life could be described as ‘charmed’ it would be Virgil Thomson. To place his music in context we thought it helpful (and fun) to provide another of our timelines of key events throughout his life. Living through most of the 20th century, Thomson saw his share of major events - everything from the first flight through the first men on the moon. Electricity spread throughout the countryside, automobiles came into common use, and of course, the computer was born. We’ve left out the bad news of far too many wars, revolutions and catastrophes during the century, and in the interest of brevity, omitted celebrated births and deaths. Still, everytime we look at the events, inventions and creations of the 20th-century, we are amazed at the dazzling developments that have taken place. Not just the first flight, but manned space flight. In the world of art, Thomson spent his formative years in Paris of the 1920’s - the home of Gertrude Stein, Erik Satie, Nadia Boulanger, Pablo Picasso, James Joyce and Ernest Hemingway. And he knew them all,
1908 | VT is a paid organist at Calvary Baptist Church in Kansas City, MO. At the age of 12
Arnold Schoenberg composes his Book of the Hanging Gardens, bringing new style to classical music. Tonality is replaced by atonality, creating what many listeners considered to be noise.
Virgil Thomson
and more. Newspapers gave way to radio, which gave way to television, which is now giving way to the web. Think of the cultural shifts which can be labeled by their decade, the Roaring 20’s; the desperate 30’s; war and restoration of the 40’s; the mash-up of youth-focused popular culture and business orientation of the 50’s; and the revolution of thinking that took place through the 1960’s. (I know it’s simplistic, but there is more than a kernel of truth in all of that when you think about it.) The following list is a distillation of many pages into a couple, and much more can be found on our website at norfolkmusic.org. We’ve focused on years in which major events in Virgil Thomson’s (VT) life took place, although some other years are included for additional context. We will also offer our usual caveat that much of this came from that worldwide web which, although it is wonderful, can also be a bit wide of the mark in its accuracy. With all of that in mind, we invite you to ‘like’ us on facebook where we will post additional findings throughout the summer. We think this is fun. We hope you do as well.
James Nelson, Festival Manager
1917 | VT joins the US Army and is stationed in New York City World-wide influenza pandemic strikes; by 1920, nearly 20 million are dead. In US alone, 500,000 perish. The first op-ed page appears in The New York Times.
1914 | VT becomes part of a literary
1919 | VT enrolls at Harvard University, financed by a
The Panama Canal is officially opened after 10 years of construction.
The 18th amendment to the Constitution, prohibiting the sale of alcholic beverages anywhere in the U.S., is ratified (Jan. 16).
The world's first red and green traffic lights are installed in Cleveland, Ohio.
Dial telephones are introduced by the American Telephone and Telegraph Company.
Henry Ford sells 248,000 cars - he first developed the Model T in 1908, selling it for $850. Keep in mind the old saying from where I grew up - “there are only two kinds of cars: a Ford, and a can’t afford.” Yeah, you gotta say it with a nice, slow country drawl.
Albert Einstein's theory of general relativity is confirmed when the Royal Astronomical Society sees the predicted effect during a solar eclipse.
Mormon Church scholarship; is the accompanist for the Harvard Glee Club.
group that publishes its own magazine. At the age of 18
Babe Ruth makes his major league debut with the Boston Red Sox.
1920 | No major VT activity, but I couldn't resist the following:
Babe Ruth's 1914 Baltimore Orioles Rookie Card.
The Yale Bowl officially opened in New Haven, CT. Ok. Harvard defeated Yale 36-0.
The US Post Office rules that children may not be sent via parcel post. (A "Hall of Fame" worthy tidbit.)
1921 | VT tours Europe with the Harvard Glee Club; receives a scholarship to study in Paris with Nadia Boulanger
Edith Wharton's Age of Innocence wins Pulitzer Prize. VIRGIL THOMSON TIMELINE | 19
In the time of
Virgil Thomson continued
1923 | VT graduates from Harvard. Receives Fellowship to study at Juilliard
The first covers. Time: 1923 & The New Yorker: 1925
Harlem's Cotton Club opens and presents all-black performances to white-only audiences. Entertainers will include Lena Horne, the Nicholas Brothers and Cab Calloway. Time Magazine debuts.
1924 | VT invited by H.L. Mencken to write a piece on jazz; professional writing career begins
New York's Computer Tabulating Recording Company is re-organized and will now be known as International Business Machines Corp. (IBM). Paul Whiteman introduces George Gershwin's Rhapsody in Blue. First Macy's Thanksgiving Day parade.
1925 | VT returns to Paris The New Yorker makes its debut.
1931 | VT writes String Quartet No. 1
In California five distributors lowered the price of their gasoline to 18 cents a gallon to compete with Richfield Oil, which had lowered its prices to 19 cents – that’s $2.34 and $2.47 in 2012 dollars respectively.
The Star Spangled Banner officially becomes our national anthem
1926 | VT meets Gertrude Stein; writes Sonata da Chiesa (his
1934 | Four Saints in Three Acts (libretto by Stein) with an all-
graduation piece, including a tango, for Nadia Boulanger)
Martha Graham, the American pioneer of the modern-dance revolt, gives her first New York performance, which features 18 barefoot, evocatively costumed dancers.
1927 | VT starts writing Four Saints in Three Acts
The German economy collapses. Charles Lindbergh makes the first nonstop solo transatlantic flight. Al Jolson astounds audiences with his nightclub act in The Jazz Singer, the first feature-length talkie.
1928 | VT writes Symphony No. 1
The first television is sold - a Daven for $75.
1929 | Stock market prices plummet (Nov.-Dec.). U.S. securities lose $26 billion, marking the first financial disaster of the Great Depression.
The Museum of Modern Art opens in New York City.
20 | VIRGIL THOMSON TIMELINE
The Empire State Building is completed. black cast premieres in Hartford, CT, then moves on to Broadway for an 8-week run, one year before Gershwin’s Porgy & Bess. Thomson is now the “most discussed” composer in America.
Bonnie and Clyde, March 1933, in a photo found by police at the Joplin, Missouri, hideout
Bonnie Parker and Clyde Barrow are ambushed by lawmen in Louisiana and John Dillinger is shot outside a Chicago movie theater.
Dust storms ruin about 100 million acres and damage another 200 million of cropland in Kansas, Texas, Colorado, and Oklahoma ("Dust Bowl").
1937 | VT hired as critic for the New York Herald Tribune; writes film score The River
Britain begins 999 emergency telephone number. The US starts 911 service in New York in 1968. Edgar Bergen and his puppet Charlie McCarthy make their radio debut on NBC. I wonder why the show was a hit when nobody could see the work of a ventriloquist - it was just two voices. Must have been really good writing. Frank Lloyd Wright builds "Fallingwater."
1939 | VT publishes his first book The State of Music 1940 | VT leaves Paris (with photographer Man Ray) due to the war The first McDonald's hamburger stand opens in San Bernardino, CA. 63 years later the widow of Ray Kroc, who built the McDonlad's chain into a fast food behemoth, gave a gift of $200 million the NPR. Would you like fries with that?
1947 |
VT awarded the Chevalier de la Légion d’honneur by the French government; publishes Mother of Us All (libretto by Gertrude Stein)
1951 | VT writes Five Blake Songs Color television is introduced in the US. In an effort to introduce rhythm and blues to a broader white audience, which was hesitant to embrace "black music," disc jockey Alan Freed uses the term rock 'n' roll to describe R&B. UNIVAC (Universal Automatic Computer), the first business computer to handle both numeric and alphabetic data, is introduced.
1954 | VT Quits Herald Tribune to allow more time for composing; writes Flute Concerto
The Dead Sea Scrolls are discovered at Qumran.
The Supreme Court unanimously bans racial segregation in public schools.
Jackie Robinson joins the Brooklyn Dodgers. Keep in mind that Virgil Thomson’s Four Saints in Three Acts used an all-black cast and premiered in 1933, fourteen years earlier.
The revenue for television broadcasters finally surpasses that of radio broadcasters.
1959 | The USS Nautilus, the first atomic submarine, is commissioned at Groton, CT.
Meet the Press debuts on NBC. The first news show will become television's longest-running program. Tennessee Williams' A Streetcar Named Desire opens at Broadway's Ethel Barrymore Theatre, with Marlon Brando as Stanley Kowalski and Jessica Tandy as Blanche DuBois. Hey Stella. STELLA! Your play will win the 1948 Pulitzer Prize. The microwave oven is invented by Percy Spencer (US). Thor Heyerdahl crosses the Pacific in the Kon-Tiki. I loved this book as a kid.
1948 | VT Receives Pulitzer Prize for Louisiana Story Suite
The Nation of Israel proclaimed. Berlin Airlift begins; it will end the following year.
In 1947, the first commercial microwave stood over 5 1/2 feet tall, weighed 750 pounds, & cost about $5000.
Columbia Records introduces the 33 1/3 LP ("long playing") record at New York's Waldorf-Astoria Hotel. It allows listeners to enjoy an unprecedented 25 minutes of music per side, compared to the four minutes per side of the standard 78 rpm record.
1950 | VT writes his Cello Concerto Era of McCarthyism begins. Charles Schulz introduces the Peanuts comic strip. The first Xerox machine is produced.
Robinson’s rookie cards were issued by Bond Bread in 1947. There were 13 cards issued — all of Robinson and all aimed at selling loaves of bread, one card per pack. I wonder if the bread was pink and chewy like bubble gum?
Cuban President Batista resigns and flees; Fidel Castro assumes power 45 days later. Tibet's Dalai Lama escapes to India.
Rumors of cheating on quiz shows erupt into a national scandal. Two years earlier Columbia University professor Charles Van Doren became a media sensation by winning $129,000 on the quiz show Twenty One.
1963 | President John F. Kennedy is assassinated, and TV viewers
tuned into NBC witness Jack Ruby shoot Lee Harvey Oswald on camera – the first live telecast of a murder.
The French Chef with Julia Child debuts on educational television.
1964 | The Beatles appear on The Ed Sullivan Show. The world is never the same again...
1966 | VT publishes his autobigraphy Virgil Thomson Medicare begins. The old Metropolitan Opera House is abandoned as the company moves to Lincoln Center. The new Metropolitan Opera opens with Samuel Barber's Antony and Cleopatra.
The first self-service elevator is installed in Dallas by Otis Elevator. VIRGIL THOMSON TIMELINE | 21
In the time of
Virgil Thomson continued
1969 | Stonewall riot in New York City marks beginning of gay
Nixon's resignation letter.
Apollo 11 astronauts — Neil A. Armstrong and Edwin E. Aldrin, Jr., — take first walk on the Moon.
Thursday, August 8, Richard M. Nixon announces he will resign, the first President to do so. Vice President Gerald R. Ford of Michigan is sworn in as 38th President of the US and grants "full, free, and absolute pardon" to ex-President Nixon a month later.
rights movement.
In August, more than half a million people gather in the small, upstate New York town of Bethel (near Woodstock, N.Y.) for four days of sex, drugs and rock 'n' roll. And rain!
Children's Television Workshop introduces Sesame Street.
The Apollo 11 Lunar Module, Eagle, in a landing configuration photographed in lunar orbit from the Command and Service Module Columbia.
Movies geared to the counter-culture youth market take over Hollywood with releases of Midnight Cowboy, Butch Cassidy and the Sundance Kid, The Wild Bunch, Easy Rider, Anne of the Thousand Days. Well ok, maybe not Anne of the Thousand Days.
1972 | VT writes Symphony No. 3 (an orchestral version of String Quartet No. 2 from 1932); John Houseman directs premiere of VT's Lord Byron at Juilliard
Time Inc. first transmits HBO, the first pay cable network. Electronic mail is introduced. Queen Elizabeth will send her first email in 1976. Atari introduces the arcade version of Pong, the first video game. The home version comes out in 1974. Five men are apprehended by police in attempt to bug Democratic National Committee headquarters in Washington, D.C.’s, Watergate complex — start of the Watergate scandal.
1974 | Intel introduces the microprocessor. Patricia Hearst, 19-year-old daughter of publisher Randolph Hearst, kidnapped by Symbionese Liberation Army. House Judiciary Committee adopts three articles of impeachment charging President Nixon with obstruction of justice, failure to uphold laws, and refusal to produce material subpoenaed by the committee. I had never made the connection between Watergate and Patty Hearst. 22 | VIRGIL THOMSON TIMELINE
1984 | Apple introduces the user-
friendly Macintosh personal computer.
1988 | VT receives National Medal of Arts award
Original Macintosh: Price - $2,495 Weight: 16.5 lbs CPU - 8 MHz Memory - 128 KB Storage: Floppy disk (400 KB) Today's MacBook: Price - $1,299 Weight - 2.03 lbs CPU - 1.1 GHz Memory - 8 GB Storage - 256 GB
Ninety-eight percent of US households have at least one television set. NASA scientist James Hansen warns Congress of the dangers of global warming and the greenhouse effect. 1988!
1989 | VT publishes last book Music With Words
First World Wide Web server and browser developed by Tim Berners-Lee (England) while working at CERN, laying the groundwork for the interweb as we know it.
Sir Tim Berners-Lee: The man that helped to make "surfing" an international pastime - at home or at work. Well, maybe not at work...
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
Festival Leadership Council The Leadership Council is an advisory board which works with the Director to advance the mission of the Norfolk Chamber Music Festival through support, advocacy, participation in its educational activities and fundraising. Council members contribute in a variety of ways including helping to develop new audiences, implementing fund–raising initiatives and providing advice and counsel. The Dean of the Yale School of Music serves on the Leadership Council ex officio.
COUNCIL MEMBERS Robert Blocker, Dean Paul Hawkshaw, Director Joyce Ahrens John Baumgardner Coleen Hellerman Diane Johnstone Kathleen Kelley James Remis Byron Tucker Sukey Wagner
FESTIVAL MISSION & LEADERSHIP | 23
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Ole Akahoshi cello Syoko Aki violin Emanuel Ax piano Janna Baty mezzo-soprano Scott Bean trombone Boris Berman piano Robert Blocker piano Simon Carrington conductor Ettore Causa viola Melvin Chen piano Allan Dean trumpet Julie Eskar violin Pamela Frank violin Peter Frankl piano Scott Hartman trombone Kikuei Ikeda violin Kazuhide Isomura viola Ani Kavafian violin Humbert Lucarelli oboe Mihai Marica cello Lisa Moore piano Frank Morelli bassoon Joan Panetti piano/composer Julian Pellicano conductor Ilya Poletaev piano/harpsichord/organ William Purvis French horn Richard Stoltzman clarinet James Taylor tenor Stephen Taylor oboe Ransom Wilson flute Carol Wincenc flute Jacques Wood cello Wei-Yi Yang piano Sarah Yanovitch soprano
Artists and programs are subject to change without notice.
Alexander String Quartet
Special Guest Artists
Zacharias Grafilo violin Frederick Lifsitz violin Paul Yarbrough viola Sandy Wilson cello
Emanuel Ax piano
Allant Trio
Martin Bresnick Director, New Music Workshop Aaron Jay Kernis David Lang Hannah Lash José Peris Christopher Theofanidis
Beth Nam viola Anna Park violin Alina Lin cello
Artis Quartet
Peter Schuhmayer violin Johannes Meissl violin Herbert Kefer viola Othmar Müller cello
Brentano String Quartet Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello
Emerson String Quartet Philip Setzer violin Eugene Drucker violin Lawrence Dutton viola Paul Watkins cello
Norfolk Contemporary Ensemble
Pamela Frank violin
Composers in Residence
Guest Lecturers
Astrid Baumgardner Yale University Jack Brin Musicologist
Lyris Hung D’Addario Strings Joanne Lipman Author and Journalist Patrick McCreless Yale University
James Nelson Norfolk Festival Manager Ilya Poletaev McGill University
Matt Stamell Stamell String Instruments
Norfolk Festival Chamber Orchestra and Chorus
Photo Credits Lucas Bec Marco Borggreve Deanne Chin Laurie Davidson Bob Handelman
Lisa-Marie Mazzucco Vincent Oneppo Nina Roberts Christian Steiner Lynette Stoyles Mingzhe Wang
FESTIVAL ARTISTS | 25
free event
Music in Context wednesdays at 7:30 pm battell recital hall An informal discussion series that puts a wide range of musical topics in a broad context. No musical background needed just an interest in things musical.
free event
Young Artists' Performance Series New Music Workshop
Friday, July 3, 7:30 pm
Norfolk Listening Club (with live music)
led by James Nelson, General Manager
July 8
Strings Attached
Joanne Lipman, Author and former Deputy Managing Editor for The Wall Street Journal; former Editor-in-Chief Condé Nast’s Portfolio
July 15
Denmark’s Finest Composer: Carl Nielsen on the 150th Anniversary of His Birth
Patrick McCreless, Professor of Music Theory, Yale Univeristy
July 22
How to Build a Stringed Instrument
Matt Stamell, violin maker, restorer and dealer; owner of Stamell Stringed Instruments
July 29
Norfolk Listening Club (with live music)
led by James Nelson, General Manager
August 5
Making Strings
Lyris Hung, Orchestral Products Manager, D’Addario Strings
August 12
Video Presentation: Sibelius’ Visit to America and Norfolk
Jack Brin, Sibelius scholar
August 19
Perfumed Delights of the Unwritten: Performing French Baroque Music on a Modern Piano
Ilya Poletaev, Assistant Professor of Piano, McGill University
Music Shed
Chamber Music Session Music Shed
July 1
•
•
Free Admission
July: Thursdays, 7:30 pm & Saturdays, 10:30 am The first two weeks of August: Tuesdays and Thursdays, 7:30 pm & Saturdays, 10:30 am
Catch a rising star as the Festival presents its Young Artists' Performance Series with the extraordinary young musicians studying at 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. Details will be posted on norfolkmusic.org when available.
free event
Piano Masterclass Would you like to know what a musical coaching is like? Now is your chance. Sit in on a masterclass led by the piano faculty of the Norfolk Chamber Music Festival. Piano Fellows of the Festival will perform their repertoire.
Boris Berman: Mon., July 6, 7:30 pm • Music Shed
Melvin Chen: Mon., July 13, 7:30 pm • Battell Recital Hall Peter Frankl: Mon., July 20, 7:30 pm • Battell Recital Hall Wei-Yi Yang: Mon., July 27, 7:30 pm • Battell Recital Hall
Fellowship Recipients Chamber Music Session Blue Hill String Quartet d'addario foundation scholarship
The Juilliard School Katherine Liccardo violin New York, NY Wyatt Underhill violin Marta Hortobagyi Lambert viola Seth Biagini cello
Brickhaus Brass Yale School of Music
Eva Aronian violin
2006 centenary committee
Li-Mei Liang violin New England Conservatory
Jesse Limbacher composer
scholarship
New England Conservatory
Andrea Beyer double bass Yale School of Music
Yale School of Music
Hae Jee Ashley Cho flute
Yurie Mitsuhashi violin Yale School of Music
The Juilliard School
Julia Clancy viola Yale School of Music
Dechopol Kowintaweewat violin Seula Lee violin Pablo MuĂąoz Salido viola Indiana Zizai Ning cello
scholarship
Dannielle McBryan oboe Manhattan School of Music
john and astrid baumgardner
Aidan Boase piano Perth, Western Australia
scholarship
louise willson scholarship
Indiana University
Scott Leger French horn Southern Methodist University
clement clark moore
Aaron Krumsieg trumpet Danny Venora trumpet Reese Farnell French horn Omar Dejesus Jr trombone John Caughman V tuba
ZorĂĄ String Quartet
Kenta Akaogi clarinet Yale School of Music
Alexander Davis bassoon Stony Brook University Daniel Feng piano Mannes College of Music Carl Gardner bassoon Yale School of Music Ian Gottlieb composer john and astrid baumgardner
Chang Pan cello aldo and elizabeth parisot scholarship in memory of harris goldsmith
Yale School of Music
Sun-A Park piano Yale School of Music Will Robbins double bass Yale School of Music Patricia Ryan cello San Francisco Conservatory of Music
scholarship
Caroline Sonett flute Eastman School of Music
Cody Halquist French horn Yale School of Music
Daniel Stone viola Yale School of Music
Bixby Kennedy clarinet Yale School of Music
Lauren Williams oboe The Juilliard School
Yale School of Music
Bora Kim violin Yale School of Music
FELLOWSHIP RECIPIENTS | 27
BATTELL ARTS FOUNDATION Proud to support the Norfolk Festival's Young Artists' Performance Series for the 16th 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:
*
Arts Scholarships for area young people
*
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
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Three-week drama workshop at the local elementary school led by a professional artist-in-residence
*
Theater and literacy program at Colebrook Consolidated School in conjunction with The Hartford Stage Company
*
Performances and master classes given at the local elementary school by Yale School of Music students during the school year
*
Arts workshops for teenagers and museum visits for school classes
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 New Music Workshop Benjamin Daniels composer
kountz fund scholarship
Duke University
Rex Isenberg composer Manhattan School of Music Jisu Jung percussion Peabody Institute, Johns Hopkins University Bora Kim violin Yale School of Music
Shuying Li composer University of Michigan
Robin McLaughlin composer Houghton College
Richard Liverano trombone Yale School of Music
Anna Meadors composer
Clare Longendyke piano Indiana University Megan McDevitt double bass University of Michigan
kountz fund scholarship
University of North Carolina, Greensboro
Alexa Rinn composer Peabody Institute, Johns Hopkins University Patricia Ryan cello San Francisco Conservatory of Music
Danny Mui clarinet Caroline Sonett flute Northwestern University Eastman School of Music Yuan Qi viola Yale School of Music
Elly Toyoda violin Yale School of Music
Chamber Choir & Choral Conducting Workshop Matthew Abernathy tenor/conductor University of Michigan
Adele Marie Grabowski mezzo soprano Yale University
Jessica Beebe soprano Philadelphia, PA
Joshua Harper tenor/conductor Director of Choirs, The Williston Northampton School
Steven Berlanga bass baritone Indiana University Jessica Bush soprano University of Notre Dame
Nao Ishii alto/conductor Kunitachi College, Japan
Michael Laurello john and astrid baumgardner scholarship
composer Yale School of Music
Jun Lee bass baritone/conductor University of Connecticut David B. Macbeth bass/conductor Artistic Director of Voice, Lehigh Valley Charter High School for the Arts, Bethlehem, PA
Sean Jackson tenor Raul Dominguez Baylor University tenor Daniel Mahoney Choir Director, Shohei Kobayashi tenor/conductor Clear Lake High School, tenor Boston Conservatory of Music Houston, TX Lewis and Clark College David McCune Will Doreza Sarah Latto bass baritone alto/conductor The King's University, TX Westminster Choir College University of Cambridge, England Sarah Paquet Chase Gaines mezzo soprano/conductor bass baritone Yale School of Music Baylor University
Phoebe Jevtovic Rosquist soprano/conductor Los Angeles , CA Gabriela Estephanie Solis alto San Francisco State University Emily Sung mezzo soprano/conductor Westminster Choir College Stephanie Tubiolo soprano Yale School of Music Andrea Walker soprano University of Houston Jenny Ching Yee Wong soprano/conductor University of Southern California
FELLOWSHIP RECIPIENTS | 29
THE LITCHFIELD COUNTY CHORAL UNION Est. 1899 Jonathan F. Babbitt, Music Director With The Litchfield County Choral Union Festival Orchestra Presents
Selected choral works and solo arias from 1776 By
Wolfgang Amadeus Mozart Sunday, July 26, 2015 at 3:00 p.m. The Music Shed at the Ellen Battell Stoeckel Estate The Yale Summer School of Music and Art Routes 272/44 in Norfolk, Connecticut Tickets: Adult $25.00 Senior/Student $20.00 For ticket information or reservations call: (860) 868-0739
Festival Administration Norfolk Chamber Music Festival Leadership Council Robert Blocker Paul Hawkshaw
Dean Director
Joyce Ahrens John Baumgardner Coleen Hellerman Diane Johnstone
Kathleen Kelley James Remis Byron Tucker Sukey Wagner
Administration & Staff Robert Blocker Paul Hawkshaw James Nelson Deanne Chin Benjamin Schaeffer
Dean Director General Manager Associate Manager Associate Administrator
Erica Barden Christine Bartlett Brian Daley Joseph DiBlasi Carolyn Dodd Katelyn Egan Janelle Francisco William Harold Jeff Hartley Matt LeFevre Kenneth Mahoney Tammy McDermott Lauren Schiffer
Box Office/Administrative Intern Chef Piano Curator Piano Tuner Facilities Manager Librarian/Director’s Assistant Production Coordinator Piano Curator Chef Recording Engineer Chef PR Consultant Box Office/Administrative Assistant
Ellen Battell Stoeckel Trust Samuel A. Anderson Benjamin Polak
Trustee
Trustee (Yale University)
Anne–Marie Soullière Trustee
Yale University Peter Salovey
President
Benjamin Polak
Provost
Bruce Donald Alexander Vice President for New Haven and State Affairs and Campus Development Alexander E. Dreier
Vice President and General Counsel
Kimberly M. Goff-Crews Secretary and Vice President for Student Life Shauna Ryan King Vice President for Finance and Business Operations Linda Koch Lorimer Vice President for Global and Strategic Initiatives Joan Elizabeth O'Neill
Vice President for Development
Michael Allan Peel Vice President for Human Resources and Administration Dorothy K. Robinson
Senior Counselor to the President
Scott Allan Strobel Vice President for West Campus Planning and Program Development Emily P. Bakemeier
Deputy Provost for the Arts and Humanities
Contact the Festival Year Round
Email: norfolk@yale.edu Web: norfolkmusic.org
June – August Mail: Street: Tel: / Fax:
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 | 31
Open House at the Festival INTRODUCING THE NEW CUPOLA
Sunday, June 21, 2015 1:30 pm - 3:30 pm
Whitehouse
Tours of Whitehouse
2:00 pm
Music Shed
Children's Concert
3:00 pm - 3:45 pm
Music Shed
Ice Cream Social & Children's Games
4:00 pm
Music Shed
The Allant Trio
Children's games and activities are sponsored in part by the Battell Arts Foundation
About the Artists Formed in 2010 at the Juilliard School, the ALLANT PIANO TRIO (Beth Nam, piano – Anna Park, violin – Alina Lim, cello) is quickly establishing itself as one of the most exciting young ensembles today. Winners of the prestigious Beverly Hills Auditions in Los Angeles in 2013, they were also awarded the Jonathan Madrigano Entrepreneurship Grant from the Juilliard School. The trio has studied with Toby Appel, Rohan DeSilva, Jonathan Feldman, Clive Greensmith, Nicholas Mann and Vivian Weilerstein. Most recently, the Allant Trio released their first album, Ignition (Sony Classical); gave a performance of Beethoven’s Triple Concerto at the Seoul Arts Center with the Seongnam Philharmonic Orchestra; performed at the Embassy Youth Forum and the US ambassador’s residence in Korea. Earlier this year, the trio gave a highly acclaimed debut recital at Carnegie's Weill Recital Hall. The Allant Trio has participated at the Norfolk Chamber Music Festival, the Yehudi Menuhin Chamber Music Festival in San Francisco, as well as the chamber music residencies at The Banff Centre in Canada and Hill and Hollow Music in New York. They were named semifinalists at the Trondheim International Chamber Music Competition in Norway. The Trio have been guest teaching artists at many schools, and are committed to reaching out to communities that have limited access to classical concerts. They have given performances at various community facilities including the Bailey House, the James Lenox House for seniors in New York City and at the soup kitchen of Calvary-St. George's Episcopal Church.
32 | JUNE 21, 2015
Concert Program Norfolk Chamber Music Festival | Sunday, June 21, 2:00 pm & 4:00 pm 2:00 pm CHILDRENS' CONCERT with the ALLANT TRIO Frank Bridge
Selections from Miniatures, H 87 Minuet Gavotte Allegretto Saltarello Marche Militaire
(1879-1941)
Selections from Shall We Play Spring Breeze Polka Chasing Shadows Happy Row Song to the Moon Winter Lullaby Interval Play
Allant Trio
4:00 pm CONCERT with the ALLANT TRIO Piano Trio, Op 1, No. 1 in E-flat Major Allegro Adagio cantabile Scherzo. Allegro assai Finale. Presto
Ludwig Van Beethoven (1770-1827)
| Short Break |
Maurice Ravel
Piano Trio
Modéré Pantoum. Assez vite Passacaille. Très large Final. Animé
Allant Piano Trio
(1875-1937)
Beth Nam piano — Anna Park violin — Alina Lim cello JUNE 21, 2015 | 33
Ezra Laderman (1945-2015) Ezra Laderman’s works included twelve string quartets, eleven concertos, and eight symphonies; six dramatic oratorios, music for dance, seven operas, and music for two Academy Award-winning films. In the words of Anthony Tommasini, “Mr. Laderman’s gruff, kinetic music mixes pungently atonal elements into a harmonic language that is tonally rooted and clearly directed.” After joining the Yale School of Music community as a composerin-residence in 1988, Laderman served as Dean from 1989 to 1995. Under his leadership, the Artist Diploma was added to the School’s degree programs in 1993. After his tenure as Dean, he served as Professor of Music until his retirement in 2013. He was named Professor Emeritus in 2014. Ezra Laderman was a leader of numerous professional organizations: he served as Chair of the National Endowment for the Arts composer-librettist program, President of the American Music Center, Director of the music program of the National Endowment for the Arts, President of the National Music Council, Board Chair of the American Composers Orchestra, and President of the American Academy of Arts and Letters. He was the recipient of three Guggenheim fellowships, the Rome Prize, and has had residencies at the Bennington Composers Conference, the American Academy in Rome, and the Rockefeller Foundation at Bellagio. Ezra Laderman was born in Brooklyn, New York, on June 29, 1924. The son of Polish immigrants, he began improvising at the piano at age four, and just a few years later, began to compose music. He once wrote, “I hardly knew it then, but I had at a very early age made a giant step to becoming a composer.” He attended New York City’s High School of Music and Art, where at the age of fifteen he performed his own piano concerto with the school’s orchestra. In 1943 began serving in the United States Army as a radio operator with the 69th Infantry Division. He lost his brother Jack in the war and himself was present at the Battle of the Bulge and the taking of Leipzig. He later wrote: “We became aware of the horror, and what we now call the Holocaust, while freeing Leipzig.” Shortly after the war ended, Laderman wrote a four-movement piece that became known as the Leipzig Symphony. After performing a piano reduction, he became an orchestrator with the G.I. Symphony Orchestra. He was discharged from the army on April 22, 1946. Upon return to civilian life, Laderman enrolled in Brooklyn College earning his B.A. in 1950, and then continued on to Columbia University, where received his M.A. in 1952. Laderman’s commissions have included works for the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic,
Philadelphia Orchestra and many others. His operas included Marilyn, based on the life of Marilyn Monroe, which premiered at the New York City Opera in 1993. He has written for such chamber ensembles as the Tokyo, Juilliard, and Vermeer quartets and for soloists Yo-Yo Ma, Jean-Pierre Rampal, Sherrill Milnes, Emanuel Ax and many others. He composed the Nonet of the Night on this evening's program for the Norfolk Festival in 2004. Albany Records has released a nine-volume set called The Music of Ezra Laderman, focusing on his chamber output over many years. Each performance of the 27 works was supervised by the composer. As Laderman remarked in the liner notes: My compositions have embraced a pluralism of musical gesture. It is the path taken. A path taken not with the intention of making a different sound, but a good sound—one that was mine… I have never agreed that ‘new’ translates to important. I have simply wanted to extend the Western canon with my own voice. Among his other recordings are the Citadel, Sanctuary, and Violin Concerto with the Louisville Orchestra (First Editions); Pentimento with the Albany Symphony (CRI), Concerto for Orchestra with the Baltimore Symphony (Desto), and the String Quartet No. 6 with the Audubon Quartet (RCA Victor). Robert Blocker, Dean of the Yale School of Music, said: “The loss of Ezra Laderman greatly diminishes our community, but his life and music enlarged us and, indeed, all of humankind.” - By Dana Astmann
Concert Program Norfolk Chamber Music Festival | Friday, July 3, 7:30 pm In honor of Ezra Laderman (1924-2015) Complete program to be announced.
world premieres by Composition Fellows of the Norfolk Festival New Music Workshop Benjamin Daniels* composer — Rex Isenberg composer — Shuying Li composer Robin McLaughlin composer — Anna Meadors* composer — Alexandra Rinn composer
Nonet of the Night I
Ezra Laderman (1924-2015)
II III IV V VI
* Kountz Fund Scholarship Recipient Martin Bresnick director — Julian Pellicano conductor — Lisa Moore piano Norfolk Contemporary Ensemble
Caroline Sonett flute — Danny Mui clarinet — Richard Liverano trombone — Jisu Jung percussion
Clare Longendyke piano — Bora Kim, Elly Toyoda violin — Yuan Qi viola — Patricia Ryan cello — Megan McDevitt double bass JULY 3, 2015 | 35
Program Notes MOZART: Quintet for Piano and Winds in E-flat Major, K 452
Mozart’s Quintet for Piano and Winds, K. 452, premiered on April 1, 1784, and was written during a time of feverish activity in Mozart’s life. He was making his way as an independent artist in Vienna, free, for the first time in his life, from the oversight of his father and the demands of the Archbishop in Salzburg. This “year of masterpieces” began with the composition of, in just four days, the Linz Symphony, K. 425. Within five months, he completed four of his greatest piano concertos (K. 449, K. 450, K. 451, and K. 453), the B-flat Major Violin Sonata, K. 454, and the Quintet for Piano and Winds. In addition he managed to play twenty-five concerts. To his father he wrote, “It is my custom (especially if I get home early) to compose a little before going to bed. I often go on writing until one - and am up again at six.” The quintet's first movement opens with a stately Largo introduction in which the instruments trade off melodic fragments. After the introduction, we get a sonata movement in E-flat Major, in which the piano dominates the texture with concerto-like figuration. The second movement is a gentle Larghetto in which the winds dominate the texture with warm, full-bodied sonorities. The final movement is a brief and charming Allegretto in rondo form, in which the piano is again given ample opportunity for virtuosic display. The work ends in an extended coda in which we hear his operatic style. Mozart was extraordinarily pleased with the quintet and wrote to his father after the premier, “[the quintet] called forth the very greatest applause: I myself consider it to be the best work I have ever composed…How I wish you could have heard it! And how beautifully it was performed!” | Adam Bloniarz
MOZART: Adagio for Glass Harmonica in C Major, K 617a Adagio and Rondo for Glass Harmonica in c minor, K 617
The original scoring of this quintet calls for winds, strings and glass harmonica, an instrument Benjamin Franklin invented that consists of a series of glass bowls of different sizes that produce varying pitches when rubbed. Somewhat common in the 19th century yet obsolete today, the glass harmonica appeared in several of Mozart’s compositions. Today most ensembles substitute piano or harp for the glass harmonica; there are also solo piano, solo organ, and piano duo arrangements of the Adagio and Rondo. Mozart composed the work in the same month as his celebrated Ave Verum K. 618, and the two share many similar, sublime qualities. | Laura Usiskin
FRANCK: Piano Quintet in f minor, Op 34
Though César Franck is known as one of the most important of all French composers, he did not begin to focus on composition until he was forty-eight years old. He eventually became revered as a composition teacher. His training began as a pianist and, throughout most of his career, he was famous as an organist, in particular as a remarkable improviser. He wrote his Piano Quintet in 1878-79.Franck’s works are in a late Romantic style, and his organ background often permeates them even when no organ is present. In this work, for example, Franck frequently puts the strings in rhythmic homophony that produces large blocks of sound similar to what one might create with an organ. In addition, he builds massive, musical climaxes that suggest he had the enveloping sound of the organ in mind when writing them. The work also uses Franck’s “cyclic form,” a compositional method he developed and regularly used where thematic material occurs across movements to create a unified whole. Franck dedicated the quintet to Camille Saint-Saëns, his friend and colleague at the Société Nationale de Musique. At the work’s premiere, Saint-Saëns performed at the piano but left the stage in disgust for reasons that have never been confirmed. Today the work is both one of Franck’s most celebrated as well as one of the most popular pieces for piano quintet. | Laura Usiskin
36 | JULY 10, 2015
Concert Program Norfolk Chamber Music Festival | Friday, July 10, 8:00 pm Quintet for Piano and Winds in E-flat Major, K 452 Largo; Allegro moderato Larghetto Rondo: Allegretto
Wolfgang Amadeus Mozart (1756-1791)
Dannielle McBryan oboe — Bixby Kennedy clarinet — Alexander Davis bassoon Cody Halquist French horn — Boris Berman piano
Adagio for Glass Harmonica in C Major, K 617a
Mozart
Boris Berman piano
Andante für eine Walze in eine kleine Orgel in F major, K 616
Mozart
Boris Berman piano
Adagio and Rondo for Glass Harmonica in c minor, K 617
Mozart
Adagio Rondo: Allegretto
Caroline Sonett flute — Stephen Taylor oboe — Herbert Kefer viola Othmar Müller cello — Boris Berman piano
| Intermission | Piano Quintet in f minor, Op 34
César Franck
Molto moderato quasi lento; Allegro Lento, con molto sentimento Allegro non troppo, ma con fuoco
(1822-1890)
Artis Quartet — Boris Berman piano
Welcome to the families, teachers and staff of the Botelle and Northwestern Regional Schools Artis Quartet
Peter Schuhmayer violin — Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello JULY 10, 2015 | 37
Program Notes MOZART: String Quartet in B-flat Major, K 458, "The Hunt" “The Hunt” quartet, as it has affectionately come to be known, was the fourth of Mozart’s six quartets dedicated to his mentor Franz Joseph Haydn. In his dedication of these quartets to Haydn, who was the indisputable master of the string quartet genre, Mozart wrote “Here they are then, O great Man and dearest Friend, these six children of mine. They are, it is true, the fruit of a long and laborious endeavor, yet the hope inspired in me by several Friends that it may be at least partly compensated encourages me, and I flatter myself that this offspring will serve to afford me solace one day.” Though Mozart himself never called it so, the work came to be called the hunt in a nod to the opening theme of the first movement, which, with its jaunty, galloping 6/8 rhythm, and triadic melodic components, evokes the calling of hunting horns on horseback. The hunt was among the most popular activities in upper class society at the time, and musical topics frequently served to remind musical connoisseurs of its delights. The premise of hunting in the outdoors infiltrates the entire quartet, including the exciting finale in which the second theme seems to issue a “call and response” effect between pairs of instruments. At one point, with four staggered entrances among the musicians, one can almost imagine the distant echo of horn calls in the mountains. | Patrick Jankowski
HAYDN: Seven Last Words of Christ, Op 51 (arr. José Peris) It was only natural that such a famous and devout Roman Catholic composer as Joseph Haydn would receive a commission for the Good Friday service. In 1785-1786 he was asked by the Cathedral in Cádiz to provide orchestral interludes between the spoken parts of the service, namely the Seven Last Words of Christ, for the Grotto Santa Cueva in southern Spain. The work was originally conceived for a full classical orchestra, with an introduction and ending moment. Haydn arranged it for string quartet in 1787 and for four voices in 1801 so that it could be more widely performed. In the quartet version, the Latin text is actually written under the notes so that the first violinist can consider speaking the words musically, while the string writing paints the text. In tonight's arrangement, Spanish composer José Peris has set the texts to be sung as the quartet plays. This work is one of the most substantial of Haydn’s instrumental compositions. It uses a complex harmonic language and abrupt juxtapositions of material to provide a musical description of Jesus Christ’s final hours. The Introduction in d minor sets the tone for the entire work. In the first sonata lyrical, sweet passages are juxtaposed with anguish and anger. The second sonata is a resigned movement in c minor contrasted with brighter major keys. The third sonata features the age-old twonote descending sighing motive. The fourth sonata is highly chromatic and canonic. The fifth sonata, again features the sighing motive, juxtaposed with strong repeated notes and a heavy bass line. The sixth sonata is in a somber g minor with its B-flat-major melody interrupted by continuous sudden shifts back to the minor mode. In the last sonata, muted violins reflect the weakened voice of Christ at the end of his ordeal. A closing section represents the Earthquake that followed Jesus’ death. In the preface to the published score, Haydn wrote: Some fifteen years ago I was requested by a canon of Cádiz to compose instrumental music on the seven last words of Our Savior on the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose even Adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners. | Alisa A. Seavey
38 | JULY 11, 2015
Concert Program Norfolk Chamber Music Festival | Saturday, July 11, 8:00 pm String Quartet in B-flat Major, K 458, "The Hunt" Allegro vivace assai Menuetto: Moderato Adagio Allegro assai
Wolfgang Amadeus Mozart (1756-1791)
Artis Quartet
| Intermission |
Seven Last Words of Christ, Op 51, HOB III/50-56 (arr. José Peris)
Introduction: Maestoso ed adagio Sonata No. 1: Father, forgive them, for they know not what they do. Sonata No. 2: Verily I say unto thee, today shalt thou be with me in Paradise. Sonata No. 3: Woman, behold thy son; son behold thy mother. Sonata No. 4: My God, My God! Why hast thou forsaken me? Sonata No. 5: I thirst. Sonata No. 6: It is f inished! Sonata No. 7: Father, into thy hands I commend my spirit. The Earthquake: Presto con tutte la forza
Franz Josef Haydn (1732-1809)
Artis Quartet — James Taylor tenor
Artis Quartet
Peter Schuhmayer violin — Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello JULY 11, 2015 | 39
Program Notes BEETHOVEN: Octet in E-flat Major, Op 103
Beethoven wrote his Octet in 1793, early in his career. It is a fresh, invigorating work that nonetheless is very powerful. The winds-only instrumentation imbues the piece with a pastoral quality, but the compositional style is much more linked to his piano music than, say, his sixth symphony. The timbres of the wind instruments are so similar to one another that the Octect can sound more like piano music than the usual symphonic tapestry. However, the sustaining ability of the winds gives a singing quality to the second movement that a piano could not. Beethoven capitalizes on this by using one of his favorite second-movement compositional techniques: he writes a big block chord that dies out, but leaves one voice sustaining, which then continues the line. Aside from the second movement, this piece is quite lighthearted. The third movement foreshadows some of his later symphonies, but does not yet cross the line into the daring, brash Scherzi for which the composer is now known. The fourth movement is a light, classical finale that brings the work to a boisterous close. The octet for winds is a charming example of early Beethoven and gives the listener a look at some of his fledgling compositional tendencies.
KLUGHARDT: Fünf Schilflieder, Op 28
August Klughardt’s Fünf Schilflieder, or Five Reed Songs, after poetry of Nikolas Lenau, is an unknown gem of the repertoire. Written in 1872, this piece is a beautiful work by an otherwise obscure composer. The rhapsodic first movement opens wanderingly with a Wagnerian or Lisztian quality, both composers whom Klughardt admired. The second movement is evocative of Robert Schumann in its sweep and constant ebb and flow of both rhythm and sentiment. The third movement is an intimate break from the energy of what preceded it. In this movement just like the second, Klughardt is able to create dreamlike moments of seeming suspension. The turbulent fourth movement is striking in how programmatic it sounds. It jolts in and out of certain moods, evoking the poem’s tempestuousness. The last movement, on the other hand, sounds closest to traditional Schubertian lieder. The texture is pared down and simplicity reigns, giving the listener a final sense of repose. Klughardt wrote a work based on a five-part cycle of poetry to which each movement so clearly corresponds, yet there is no text in the actual piece. The instrumentation is unconventional but flexible, able to vividly evoke the character behind each movement’s corresponding text.
NIELSEN: Serenata in vano Canto serioso
Nielsen’s enigmatic Serenata in vano for mixed ensemble is a hard piece to make heads or tails of. It is very folksy, not just in instrumentation but in its conception. It makes use of the double bass in a forward-looking way that gives the instrument more melodic content than was typical. Nielsen shifts between pastoral and refined idioms, often delineating the two by instrumentation. One hears rustic winds answered by delicate strings, and then the two groups switch, giving the piece an antiphonal character. The Serenade pairs nicely with the Canto serioso, a succinct work also in a style unique to Nielsen. It has the same folkloric idiom as the Serenata, but is more tranquil and comforting. The two pieces were composed only one year apart - the Canto having been written in 1913 and the Serenata in 1914. What the Serenata might lack in emotional content the Canto makes up for in spades.
SPOHR: Nonet in F Major, Op 31
Louis Spohr wrote his Grand Nonetto, Opus 31, in the year 1813 as a commission for a wealthy merchant named Johann Tost. Spohr recalled in his autobiography, “I bethought myself of my obligation to Tost and asked him what he would like. He thought for a moment and decided for a nonette, made up of four strings plus flute, oboe, clarinet, horn and bassoon, to be written in such a way that each instrument would appear in its true character. I was much attracted by the difficulty of the assignment and went right to work.” Indeed, the piece highlights the special timbres that each instrument has to offer. It is elegant and charming throughout, with the wind instruments providing a pastoral, rustic sound. Sphor uses similar thematic material throughout the four movements. | Program notes by Levi Jones
40 | JULY 17, 2015
Concert Program Norfolk Chamber Music Festival | Friday, July 17, 8:00 pm Octet in E-flat Major, Op 103
Ludwig van Beethoven
Allegro Andante Menuetto Finale: Presto
(1770-1827)
Stephen Taylor, Lauren Williams oboe — Kenta Akaogi, Bixby Kennedy clarinet Carl Gardner, Alexander Davis bassoon — William Purvis, Scott Leger French horn
Fünf Schilflieder, Op 28
August Klughardt
Langsam, träumerisch Leidenschaftlich erregt Zart, in ruhiger Bewegung Feurig Sehr ruhig
(1847-1902)
Stephen Taylor oboe — Herbert Kefer viola — Melvin Chen piano
| Intermission | Canto serioso
Serenata in vano
William Purvis French horn — Melvin Chen piano
(1865-1931)
Nielsen
Kenta Akaogi clarinet — Carl Gardner bassoon — William Purvis French horn Othmar Müller cello — Andrea Beyer double bass
Nonet in F Major, Op 31 Allegro Scherzo: Allegro Adagio Finale: Vivace
Carl Nielsen
Louis Spohr (1784-1859)
Caroline Sonett flute — Stephen Taylor oboe — Bixby Kennedy clarinet — Alexander Davis bassoon — William Purvis French horn Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello — Andrea Beyer double bass
Welcome to the families, teachers and staff of the Botelle and Northwestern Regional Schools JULY 17, 2015 | 41
Program Notes SCHUBERT: String Quartet in D Major, D 94
Schubert’s Quartet in D Major, D 94, was written in the year 1814. It is a short and enigmatic work, lasting only about eighteen minutes. In the first movement, Schubert doubles many voices throughout which creates a sense of both simplicity, and harmonic ambiguity. With fewer notes in the chords, there are fewer indicators of the home key. In the second movement, Schubert writes accompanimental lines consisting primarily of repeating notes that eventually grow into significant melodies. The third movement is a traditional minuet with a charming trio. The finale openins with the same big dominant gesture as the movement preceding it. It is joyous in an unreflective way that contrasts sharply with his later works. | Levi Jones
SCHULHOFF: Five Pieces for String Quartet
Erwin Schulhoff wrote his Funf Stücke in the year 1923 and dedicated it to the French composer Darius Milhaud. The piece is a collection of movements that are neoclassical in that they interpret older dance forms in a new and idiosyncratic way. Schulhoff ’s take on these dances is primarily rhythmic, though he combines a rustic Czech sound with 20th-century compositional techniques. He creates a coherent arc as the short movements ebb and flow in intensity. | Levi Jones
SCHUBERT: String Quartet in d minor, D 810, "Death and the Maiden"
Schubert’s String Quartet in d minor, D 810, is one of his last pieces of chamber music. In the two years that preceded it, the composer developed symptoms of syphilis that would trouble him until his death at 31. Keenly aware of his mortality, Schubert turned to “Death and the Maiden,” a song he had written six years earlier to a text by Matthias Claudius. The maiden pleads with Death to pass her by; Death assures her of quiet sleep. While thematic material from “Death and the Maiden” appears only in the quartet’s somber slow movement, the darkness of the song hangs over the entire work. The tempestuous sonata-form first movement opens with five severe chords, a terse theme developed both rhythmically and melodically in the driving exposition. The lyrical second theme emerges in startling sweetness. The two themes duel throughout the development, each transforming the other. After the stark recapitulation, a reflective coda closes the movement. In Schubert’s time, sets of variations were most often light salon pieces; not so the haunting variations of this second movement. Schubert built the theme from the piano accompaniment, rather than the melody, of his own song “Death and the Maiden.” The variations grow in intensity through a rich variety of means: increasing chromaticism, accompanimental figurations and angular rhythms. The coda brings the peace that Death promised in Claudius’ poem. The brusque Scherzo recalls the brutality of the first movement, with harsh chords and pessimistically descending melodic lines. A respite arrives in the gentle trio. The breathless Presto finale is a tarantella in sonata-rondo form. Several fragments and textures are derived from previous movements, helping to tie the work together. A furious coda toys with D Major before twisting back to the minor. | Dana Astmann
42 | JULY 18, 2015
Concert Program Norfolk Chamber Music Festival | Saturday, July 18, 8:00 pm String Quartet in D Major, D 94
Franz Schubert
Allegro Andante con moto Menuetto and Trio: Allegretto Presto
(1797-1828)
Artis Quartet
Five Pieces for String Quartet
Erwin Schulhoff
Alla Valso Viennese (Allegro) Alla Serenata (Allegro con moto) Alla Czeca ( Molto Allegro) Alla Tango (Andante) Alla Tarantella (Prestissimo con fuoco)
(1894-1942)
Artis Quartet
| Intermission |
String Quartet in d minor, D 810, "Death and the Maiden" Allegro Andante con moto Scherzo: Allegro molto - Trio Presto
Schubert
Artis Quartet
Artis Quartet
Peter Schuhmayer violin — Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello JULY 18, 2015 | 43
Program Notes DUTILLEUX: Choral, Cadence, et Fugato for Trombone and Piano
Henri Dutilleux wrote the enigmatic Chorale, Cadence, et Fugato in the year 1950 for a composition competition at the Conservatoire de Paris. It has three distinct movements that have no pause between one another. The opening, lush and lyrical, has a typically French sound that is unlike Dutilleux’s later work. It leads seamlessly into the cadenza, which showcases the range and lyricism of the trombone before going into the fugue. As the fugue unfolds, it begins to sound as if the two instruments are playing in separate keys simultaneously. Occasionally the tonalities overlap, but Dutilleux phases them in and out in a fascinating way. This all leads to a dazzling display of the trombonist’s virtuosity to close out the piece.
POULENC: Sonata for Flute and Piano
Francis Poulenc wrote his Sonata for Flute and Piano in 1957, and it was premiered by celebrated flautist Jean-Pierre Rampal. Poulenc deftly permeates this work with a combination of sensuousness and intellectualism, making it satisfying to listen to on more than one level. The sonata takes place in a sound world that is Poulenc’s own: evocative harmonies combine with jagged leaps in the melody. The piano is overshadowed by its partner throughout. The first movement relies on motivic material heard at the very beginning. Poulenc weaves it into the fabric of the movement and gives the listener a feeling of familiarity as it unfolds. The lamenting second movement showcases the flute’s lyricism with Poulenc’s langurous writing. The third movement is playful, almost manic. However, Poulenc never fully crosses that line, and the piece comes to a jubilant conclusion. What ties the piece together is not so much the material in each movement, as the mix of playfulness and sentimentality that can be found throughout.
DEBUSSY: Sonata for Violin and Piano in g minor
Debussy wrote his Sonata for Violin and Piano in 1917, intending it to be the third in a six sonata cycle. Unfortunately, this was the last of these sonatas that he completed before his death. From the very beginning, it sounds like a piece that could have been written for solo piano. The violin adds color and connects lines. Great violinists have been able to play this piece with incredibly evocative timbral changes. The second movement is a constant ebb and flow of pulse. The finale harkens back to the beginning of the piece in an entirely different accompanimental context and then quickly moves in a different direction. It goes from flashy and exciting to smoky and atmospheric in short periods of time. The most compelling aspect of the entire work is the sonoral landscape it is able to traverse with so few notes. The writing is sparse and compact, similar to the solo piano music that Debussy was writing at that period in his life. One hallmark of a great composition is that no addition or subtraction of notes could improve it, and that is certainly true of this piece.
BRAHMS: Piano Quartet in A Major, Op 26
Brahms wrote his Piano Quartet in A Major, Opus 26, in the year 1863. At about fifty minutes, it is considerably longer than most of his chamber music. The piece opens with a sense of harmonic ambiguity as it is unclear whether the listener should feel at home in the key of A Major. The discomfort is dispelled when the theme is reiterated in a more triumphant context. The first movement has a very expanded development section that leads the listener to a particularly satisfying and familiar recapitulation. The second movement is in an entirely different sound world, with the strings muted. It never really peaks the way the listener might expect. The third movement is a circular Scherzo in which lines move easily into one another. Both the third and fourth movements have the harmonic ambiguity of the first. The finale, with its distinct Hungarian sound, combines a rustic quality with Brahms’ compositional craft, making a conclusion that is both charming and enduring. | Program notes by Levi Jones
44 | JULY 24, 2015
Concert Program Norfolk Chamber Music Festival | Friday, July 24, 8:00 pm Choral, Cadence, et Fugato for Trombone and Piano
Henri Dutilleux (1916-2013)
Scott Hartman trombone — Peter Frankl piano
Francis Poulenc
Sonata for Flute and Piano
(1899-1963)
Allegretto malinconico Cantilena Azzez lent; Presto giocoso
Carol Wincenc flute — Peter Frankl piano
Sonata for Violin and Piano in g minor
Allegro vivo Intermède (Fantasque et léger) Finale: (Très animé)
Claude-Achille Debussy (1862-1918)
Ani Kavafian violin — Peter Frankl piano
| Intermission |
Piano Quartet in A Major, Op 26
Johannes Brahms
Allegro non troppo Poco Adagio Scherzo: Poco Allegro Finale: Allegro
(1833-1897)
Mark Steinberg violin — Misha Amory viola — Nina Lee cello — Peter Frankl piano
Sponsored by Geer Village JULY 24, 2015 | 45
Program Notes SCHUMANN: String Quartet in a minor, Op 41, No. 1
Schumann wrote his String Quartet in A minor, Opus 41, No. 1, in the year 1842, a year that saw his most prolific chamber music writing. After the opening in A minor, the rest of the first movement is in a pastoral F Major. The second movement is a folksy and energetic Scherzo which reiterates material in various harmonic contexts in a lilting 6/8 time signature. The third movement is a beautiful Adagio that is rife with sentimental appogiaturas which Schumann has a penchant for emphasizing. The finale brings the piece to a close with energy and force, building on motivic material until its rollicking end. Throughout this piece, Schumann uses less melodic material than usual, relying more on motive and rhythm to create a very compelling narrative. | Levi Jones
BRITTEN: String Quartet No. 3, Op 94
Benjamin Britten was one of England’s most celebrated composers and a pillar of 20th-century music. The United Kingdom awarded him life peerage a few months before his death in 1976, the first composer to receive the honor. While renowned for his operas and songs, Britten infused all of his compositions with drama and tunefulness, rendering them favorites among audiences and performers alike. String Quartet No. 3 was his final major composition, written in 1975, but not premiered until after his death. Despite its title, the work is the eighth piece for string quartet Britten wrote, many of the rest not receiving the “String Quartet” designation. The first movement, “Duets,” divides the four instruments into various two-part combinations, one player syncopated and the other on the beat. “Ostinato” begins with a four-note motive that returns throughout the movement. The cello takes the four notes as an ostinato at multiple points, hence the movement’s title. In “Solo: very calm,” the lower three voices take turns accompanying the solo first violin. A playful middle section using all four instruments stands in stark contrast to the serenity of outer sections. “Burlesque. Fast - con fuoco” is a short, sardonic movement containing a fugal passage. The piece ends with “Recitative and Passacaglia. La Serenissima,” a movement that borrows material from his final opera Death in Venice. Britten wrote the last movement in Venice, a place near to his heart. Its reflective quality, unlike anything else in the quartet, suggests a man who knew he was at the end of his days. | Laura Usiskin
MENDELSSOHN: String Quartet in E-flat Major, Op 12
Mendelssohn’s first published quartet, Opus 12 was written in 1829 during an exceptional time in the twenty-year-old’s life. He was enjoying an extended post-university visit to London and Scotland, wowing audiences as both performer and composer. While the visit to Scotland directly inspired his Hebrides Overture and Scottish Symphony, there is no specific inspiration or reference in the E-flat Quartet – though some have suggested the work’s opening is influenced by Beethoven’s “Harp” Quartet, which features the same key and a similar introductory gesture. While one can certainly detect the influence and admiration for Beethoven’s quartets, this music is distinctly Mendelssohn’s, especially the charming canzonetta second movement and the exciting, vibrant finale. | Jacob Adams
46 | JULY 25, 2015
Concert Program Norfolk Chamber Music Festival | Saturday, July 25, 8:00 pm String Quartet in a minor, Op 41, No. 1 Introduzione: andante espressivo; Allegro Scherzo: presto; intermezzo Adagio Presto
Robert Schumann (1810-1856)
Brentano String Quartet
String Quartet No. 3, Op 94
Benjamin Britten (1913-1976)
Duets: with moderate movement Ostinato: very fast Solo: very calm Burlesque: fast - con fuoco Recitative and Passacaglia (La serenissima) Brentano String Quartet
| Intermission |
String Quartet in E-flat Major, Op 12
Adagio non troppo - Allegro non tardante Canzonetta: allegretto Andante espressivo Molto allegro e vivace
Felix Mendelssohn (1809-1847)
Brentano String Quartet
Special thanks to our program advertisers. Please help us welcome them to tonight's concert. Brentano String Quartet
Mark Steinberg violin — Serena Canin violin — Misha Amory viola — Nina Lee cello JULY 25, 2015 | 47
Program Notes THOMSON: Tres estampas de niñez (Three Sketches from Childhood)
Virgil Thomson’s Tres estampes de ninñez is a cycle of three vignettes set to texts of Reyna Rivas. The piece is typical of Thomson in that it uses aspects of a musical vernacular that is not native to him (not to mention the language of the text) and imbues it with sounds all his own. While much of the music has a folk-like character, Thomson highlights special moments with chromatic elements that wouldn’t otherwise be found in this style. The piece has a heartfelt, but simple character throughout. In this collection, Thomson is able to highlight the beautiful aspects of the style without intruding upon it. | Levi Jones
THOMSON: Stabat Mater for Soprano and String Quartet
Ned Rorem, the American composer who assisted Thomson in the 1940s, claimed the eloquent Stabat Mater “says as much in its five minutes as in all Thomson’s dozens of other songs.” The text is an exchange between Jesus, an Angel, St. John and Mary at the foot of the cross. Its author, Max Jacob, was a Jewish poet who converted at age thirty-three to Catholicism. Lean, modal contrapuntal textures dominate. | Jacob Adams
ARGENTO: To Be Sung Upon the Water
American composer Dominick Argento (b. 1927) wrote his song cycle To be Sung Upon the Water in 1973. It is set to poetry of William Wordsworth for voice, clarinet (doubling bass clarinet), and piano. It is a daring piece that is at once soothing and unsettling with some moments that are positively wild. Frank Morelli has transcribed the work for bassoon maintaining a sense of Argento's disparate instrumental combination and Wordsworth's poetry. | Levi Jones
THOMSON: Mostly About Love
Virgil Thomson’s Mostly About Love is a charming song cycle. Written in 1959, it is set to poetry of Kenneth Koch and consists of simple yet evocative vignettes. It has a definitive American flavor and accomplishes much in little time. In contrast to his other pieces on the program, this one is light and accessible. As a whimsical song cycle written by a serious and intellectually rigorous composer, this piece is something like Arnold Schoenberg’s Cabaret Songs. Thomson uses the music to bring out the text’s alternating sentimentality and coquettishness. | Levi Jones
COPLAND: Appalachian Spring
Appalachian Spring was commissioned for a ballet by Martha Graham and was composed in 1943-44. While sketching the piece, Copland searched for a melody to express the American quality of the story and choreographer. He found, in a collection of Shaker tunes, The Gift to Be Simple, the melody that would help catapult Appalachian Spring to its phenomenal success (including a Pulitzer Prize in 1945). He later wrote, “I felt that Simple Gifts, which expressed the unity of the Shaker spirit, was ideal for Martha’s scenario and the kind of austere movements associated with her choreography." When Copland published a revision of the ballet score as Suite for 13 Instruments, he included a description of the ballet’s action: A pioneer celebration [takes place] in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the [nineteenth] century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end, the couple are left quiet and strong in their new house. | Arianna Falk
48 | JULY 31, 2015
Concert Program Norfolk Chamber Music Festival | Friday, July 31, 8:00 pm Tres estampas de niñez (Three Sketches from Childhood)
Rodas las horas (All Through the Long Day) Son amigos de todos (They Are Ev'ryone's Friends) Nadie lo oye como ellos (No One Can Hear Him the Way They Can)
Virgil Thomson (1896-1989)
Janna Baty mezzo soprano — Wei-Yi Yang piano
Stabat Mater for Soprano and String Quartet
Thomson
Three songs from To Be Sung Upon the Water
Dominick Argento
Janna Baty mezzo soprano — Alexander String Quartet
Frank Morelli bassoon — Wei-Yi Yang piano
Mostly About Love
(b. 1927)
Thomson
Janna Baty mezzo soprano — Wei-Yi Yang piano
| Intermission |
Appalachian Spring
Aaron Copland (1900-1990)
Hae Jee Ashley Cho flute — Bixby Kennedy clarinet — Frank Morelli bassoon Sun-A Park piano — Zakarias Grafilo, Dechopol Kowintaweewat, Frederick Lifsitz, Seula Lee violin Paul Yarbrough, Pablo Muñoz Salido viola — Sandy Wilson, Zizai Ning cello — Will Robbins double bass
A special thank you to the Virgil Thomson Foundation. Welcome to the families, teachers and staff of the Botelle and Northwestern Regional Schools Alexander String Quartet
Zacharias Grafilo violin — Frederick Lifsitz violin — Paul Yarbrough viola — Sandy Wilson cello JULY 31, 2015 | 49
Program Notes MOZART: String Quartet in D Major, K 499, "Hoffmeister"
Mozart only composed four string quartets after the celebrated “Haydn Quartets.” Little is known about the events surrounding the composition of this isolated string quartet in D Major. The Viennese publisher Franz Anton Hoffmeister, for whom it has since been named, supposedly commissioned the work in 1786. Although it is considered less complex than any in the “Haydn” set, this quartet remains a work of great beauty. The Adagio is quite profound and the finale is at once tragic and comic, as is the case in so many of Mozart’s later works.
SHOSTAKOVICH: String Quartet No. 4 in D Major, Op 83
Though Dmitri Shostakovich’s greatest works have become emblems of struggle in Stalinist Russia, the composer himself was famously vague about interpreting the political value of his music. Today he holds the peculiar honor in Soviet history of being among the only artists to have been claimed both by official propagandists and by the dissident culture. He was once pegged as a Soviet tool, but is now more often lauded as a long-suffering musical reactionary. Shostakovich composed the quartet No. 4 under the shadow of the infamous 1948 Zdanov Resolution, in which the Communist Party denounced him and other prominent Soviet composers for “decadent formalism.” By publicly admitting to his sins, he avoided the Siberian labor camps, but he remained true to his own voice. Like the first violin concerto, the fourth quartet is steeped in the folk music of the Russian Jew. Anti-Semitism was rampant, and the work was not performed until after Stalin’s death. The quartet is modest in size, but evocative in character. The short first movement serves as a prelude; the terse second movement is a simple, plaintive song that fades into nothing. The scherzo is a characteristic ironic dance, and the more substantial finale hints at bittersweet Klezmer music, evoking a surreal, Chagall-like vision of life in the stetl. | Arianna Falk
BRAHMS: Piano Quintet in f minor, Op 34
The f-minor Piano Quintet, Opus 34, is one of three or four of the most admired and performed works in its genre, along with quintets by Schumann, Dvořák and Franck. Even among other works by Brahms, who was by nature a slow composer, its gestation period was particularly long. It was conceived first as a string quintet (discarded by Brahms), then for a full string orchestra, and eventually published as a Sonata for two pianos before finally becoming this quintet for piano and strings. The degree of thematic unity, even across four movements, is striking. The opening ascending motive (do-fa-sol-la) is a favorite of the composer, appearing in the second theme and third movement of the d minor Piano Concerto (Opus 15), and in the slow movement of the c-minor Piano Quartet (Opus 60). The first movement begins with the motive in three guises: as a foreboding introduction with all voices in unison, then rhythmically compressed (in diminution, as musicians say) as a virtuosic flourish in the piano, and eventually as the soaring theme in the strings above the piano. The second movement’s tranquil melody could easily be scored for a pair of horns, floating above a dance in the strings with a characteristic Viennese “lift,” or emphasis, on the second beat (think waltz). This texture of warm sounding horns returns in the middle section, or Trio, of the third movement. The last movement appears to grow out of the pipes of an organ, calling to mind the slow introduction of Schumann’s Piano Quartet Opus 47. Breaking out of the spell, the cello opens with just the sort of simple, rhythmic, and folk-like theme that typifies Brahms’ characteristic chamber music finale, in which Hungarian folk elements are stylized into sonata rondo form. | David A. Kaplan
50 | AUGUST 1, 2015
Concert Program Norfolk Chamber Music Festival | Saturday, August 1, 8:00 pm Tonight's concert is in honor of William G. Gridley, Jr. (1929-2014), Trustee of the Ellen Battell Stoeckel Estate from 1992 to 2012. String Quartet in D Major, K 499, "Hoffmeister" Allegretto Menuetto: Allegretto Adagio Allegro
Wolfgang Amadeus Mozart (1756-1791)
Alexander String Quartet
String Quartet No. 4 in D Major, Op 83 Allegretto Andantino Allegretto Allegretto
Dmitri Shostakovich
(1906-1975)
Alexander String Quartet
| Intermission |
Piano Quintet in f minor, Op 34 Allegro non troppo
Johannes Brahms (1833-1897)
Andante, un poco adagio Scherzo Finale: Poco sostenuto; Allegro non troppo Alexander String Quartet
Sponsored by Alexander String Quartet
Zacharias Grafilo violin — Frederick Lifsitz violin — Paul Yarbrough viola — Sandy Wilson cello AUGUST 1, 2015 | 51
Program Notes BRUCH: Four Pieces for Clarinet, Viola and Piano, Op 83
During his lifetime (1838–1920) Max Bruch’s fame waxed and waned, not due to a lack of talent, but because his tuneful style and affinity for folk music lost its popularity in favor of the more progressive work of the “new German school” headed by Liszt and Wagner. Bruch’s early chamber works show the influence of Romantic composers Mendelssohn and Schubert. Some of the chamber music he composed at the end of his life was not discovered until the 1990s. The Pieces for Clarinet, Viola and Piano were composed in 1908 when Bruch was 70. Written for his son, Max Felix, a notable clarinetist, they were also arranged by Bruch for violin and cello. The arpeggiated piano part in the Nachtgesang (Night Song) reflects his original intention of including an additional harp. Harpists were as hard to come by then as they are today, so this plan fell by the wayside, and the original harp parts have never been seen. Abounding in rich, folk-like melodies and harmonic textures, these pieces are a delight in any of their diverse instrumental combinations. | Mary Nemet
SCHUMANN: Piano Quartet in E-flat Major, Op 47
Schumann’s Piano Quartet, written in the year 1842, is a fantastic piece written in the composer’s most fruitful period for chamber music. The introduction is fascinating in the way its opening motive becomes the theme of the first movement. The second movement, a moto perpetuo Scherzo, has two trios and is followed by a beautiful slow movement that almost sounds like it could have been written for film. It is rife with the interval of the seventh which is typical of Schumann’s melodic writing. It ends beautifully as the cello tunes its low C string to a B Flat in order to play the lowest form of the tonic and give the last few measures breadth. The finale is intricate and busy, but with some arresting lyrical material. To close the piece out, the piano leads the strings to a rollicking finish. | Levi Jones
HANDEL: Passacaglia (arr. Johann Halvorsen)
Johan Halvorsen’s string duo arrangement of Handel’s Passacaglia for keyboard has become one of the most popular virtuoso string pieces of today. Halvorsen transcribed it in order to dazzle audiences, often as an encore. Despite being a showpiece, it is great music that has been expertly conceived. As is evident in the title, the piece takes the form of a passacaglia, a set of variations over a repeating bass line. The variations enhance, manipulate, and sometimes obscure the ground bass. The level of craft is evident as one can hear the same cadence countless times and still be on the edge of one’s seat! | Levi Jones
THOMSON: Sonata da Chiesa
Virgil Thomson’s Sonata da Chiesa, written in 1926, is a fascinating look at old styles of composition through the lens of a twentieth-century American. The instrumentation is akin to that of the most notable neoclassical composer, Stravinsky. Like Stravinsky’s music, the sonata often has blocks of wind chords and slips into and out of a more tonal language. The three movements are much more of a nod to their namesakes than they are imitation of any kind. | Levi Jones
COPLAND: Sextet
Aaron Copland completed his Sextet in 1938; it is a reinstrumentation of his Short Symphony. He made the arrangement because of the difficulties in obtaining enough rehearsal time for a full orchestra to perfect a piece of this complexity. The reinstrumenation gives the work a more contained and traditional sound than its orchestral version. The composer himself wrote: “It is in three movements — fast, slow, fast — to (be) played without pause. The first movement’s main impetus is rhythmic, with a scherzo-like quality. All melodic figures result form a nine-note sequence — a kind of row — from the opening two bars. The second movement, tranquil in feeling, contrasts with the first movement, and with the finale, which is again rhythmically intricate, bright in color and free in form.” In the sextet the voices interact with each other as if this is how the piece had originally been conceived. With its melodic leaps and rhythmic impetus, the work is quintessentially Copland. | Levi Jones
52 AUGUST 7, 2015
Concert Program Norfolk Chamber Music Festival | Friday, August 7, 8:00 pm Four Pieces for Clarinet, Viola and Piano, Op 83
Allegro con moto Andante con moto Nachtgesang: Allegro con moto Allegro vivace, ma non troppo
Max Bruch (1838-1920)
Richard Stoltzman clarinet — Kazuhide Isomura viola — Melvin Chen piano
Piano Quartet in E-flat Major, Op 47
Robert Schumann
Sostenuto assai; Allegro ma non troppo Scherzo: Molto vivace Andante cantabile Finale: Vivace
(1810-1856)
Kikuei Ikeda violin — Kazuhide Isomura viola — Ole Akahoshi cello — Melvin Chen piano
| Intermission |
Passacaglia (arr. Johann Halvorsen)
Kikuei Ikeda violin — Kazuhide Isomura viola
Sonata da Chiesa
George Frideric Handel (1685-1759)
Virgil Thomson
Richard Stoltzman clarinet — Reese Farnell French horn — Allan Dean trumpet Omar Dejesus Jr trombone — Kikuei Ikeda viola
Sextet
Allegro vivace Lento Finale: Precise and rhythmic
(1896-1989)
Aaron Copland (1900-1990)
Blue Hill String Quartet — Richard Stoltzman clarinet — Melvin Chen piano
Blue Hill String Quartet
Katherine Liccardo violin — Wyatt Underhill violin — Marta Hortobagyi Lambert viola — Seth Biagini cello AUGUST 7, 2015 | 53
Program Notes HAYDN: String Quartet No. 60 in G Major, Op 76, No. 1
Haydn’s seventy-fifth quartet was written in 1797. In a typical Mannheim and Viennese symphonic style of the eighteenth century, the first movement opens with a “be quiet and listen” gesture consisting of three loud chords. Composers used this technique to silence a chatty crowd, having experienced that, in aristocratic social gatherings, gossip would persist into the opening bars of a piece. Haydn’s Opus 76, No. 1 may have been an ironic reference to the technique, as his more sophisticated Viennese audience would have shared in the joke on impolite listeners. The humor is compounded by the utter simplicity of the theme that follows – shattering the expectation of such a dramatic opening. The highly ornamented Adagio, in which four statements of a hymn are contrasted with four inward looking sections evokes the highly German Empfindsamkeit or sensitive style. Haydn’s sense of humor returns in the Scherzo, in which ff (very loud) surprises cut into the p (soft) dynamic. The last movement begins inexplicably in g minor, perhaps finally addressing the drama of the work’s first three chords. By the recapitulation, Haydn succumbs to G Major and ends with a delightful coda. | David A. Kaplan
BEETHOVEN: String Quartet in F Major, Op 135
Beethoven’s String Quartet No. 16 in F Major, Opus 135, was the last of his late quartets, written in 1826 and premiered in 1828 by the Schuppanzigh Quartet. This piece stands in stark contrast to his other late quartets as a simpler and shorter work, though certainly of equal quality. The idea of questioning is a thread that winds all the way through. Throughout the first movement, Beethoven presents phrases that end inquiringly. He sometimes follows them with answers, but more often than not, these questions only beget more questions. Occasionally, Beethoven even transforms answers into questions by changing their harmonic or metric contexts. The second movement is particularly gripping as its unsettling and unrelenting rhythmic drive leaves the listener with little sense of repose. The movement is technically challenging and very tricky for the performers. From here, Beethoven shifts to a third movement of incredible power and beauty in a short theme and variations form. Of all of the movements, this one is best left to speak for itself. In the finale, subtitled “Der Schwer Gefasste Entschluss” or “The Difficult Resolution,” Beethoven presents the idea of questioning in a more concrete way. In the score introduction, which is filled with tension and anxiety, Beethoven wrote the words “Must it be?” and in the rustic, joyful Allegro that follows, he seems to have found the answer: “It must be!” | Levi Jones
SCHUBERT: String Quartet in G Major, Op 161, D 887
Schubert’s String Quartet in G Major, D 887, is a very dramatic, large-scale work. Its first movement is typical of Schubert in many ways with a particularly imaginative approach to texture, voicing and harmony. As a norm, the instruments play in a fairly close range, but when something significant is about to happen in the piece, they often reach their upper or lower extremes. The second movement is at once anguished and sweet, a hallmark of the the tormented late Schubert. The recurring melody in the cello sounds out of place every time. The Scherzo is the one movement that gives the listener a few moments of, if not ease, at least simplicity; it is light and considerably less emotionally torn. The finale returns to the dichotomy of the light and the dark. As the movement builds, it becomes something almost grotesque, all within a traditional and familiar musical language. | Levi Jones
54 |AUGUST 8, 2015
Concert Program Norfolk Chamber Music Festival | Saturday, August 8, 8:00 pm String Quartet No. 60 in G Major, Op 76, No. 1
Allegro con spirito Adagio sostenuto Menuetto: Presto Allegro ma non troppo
Franz Josef Haydn (1732-1809)
Emerson String Quartet
String Quartet in F Major, Op 135
Ludwig van Beethoven
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
(1770-1827)
Emerson String Quartet
| Intermission |
String Quartet in G Major, Op 161, D 887
Allegro molto moderato Andante un poco mosso Scherzo: Allegro vivace - Trio: Allegretto Allegro assai
Franz Schubert (1797-1828)
Emerson String Quartet
Emerson String Quartet
Philip Setzer violin — Eugene Drucker violin — Laurence Dutton viola — Paul Watkins cello AUGUST 8, 2015 | 55
Program Notes DURUFLÉ: Prélude, récitatif et variations for flute, viola and piano
Maurice Duruflé's Prélude, récitatif, et variations (1928) is an evocative piece that has a definite French sound. It opens with a languorous prelude full of redolent harmonies and becomes a rhapsodic duet between viola and flute, with the piano in a supportive role. The second movement is an interesting take on the recitative. The traditional declamatory style is replaced by wandering lines, punctuated here and there by piano. The variation movement grows from simplicity to a joyous, almost frenetic conclusion. | Levi Jones
BRAHMS: String Quintet in F Major, Op 88, "Spring"
Johannes Brahms came to composition relatively late in life, daunted at the prospect of following Beethoven. As he matured his works garnered great repute and became an indispensable part of the classical repertoire. His works express great emotion, charm, and joy, and few convey these qualities more than the First String Quintet in F Major, Opus 88. Brahms greatly enjoyed his life as a resident of Vienna and did his best to behave as a typical Viennese of his stature. In the winters, he concertized and lived in the city while, in summer, he vacationed, as did many Viennese, at the resort town of Bad Ischl where he continued to compose. The Academic Festival Overture and Opus 88 were products of Bad Ischl. The first movement of the quintet is said to have been written for the engagement of a good friend, and the listener will be left in no doubt as to Brahms’ happiness at the news. This movement features a lilting dance-like theme. The following Grave is a flowing song made all the more poignant by the low strings affirming the harmonies. With this work, Brahms continued the tradition established by Mozart of following the slow movement with lighthearted sections, at first an Allegro, and then an even more exuberant Presto. This is an interesting tactic, as it eliminates the need for a more traditional Scherzo third movement. The Grave comes to a prayerful conclusion and is immediately followed by a fast, contrapuntal finale. The boisterousness of the music is made more exciting by each new entrance. Indeed, this movement is full of abandon, culminating in a tarantella-like Presto. Brahms himself considered this quintet among his favorite pieces of chamber music, and upon hearing it, the listener will no doubt feel the same. | Anna Pelzcer
BRAHMS: String Quintet in G Major, Op 111
Brahms wrote his String Quintet No. 2 in the year 1890, intending it to be his final work. As with many composers, this did not turn out to be the case. He had begun to write a fifth symphony, but returned to this more compact medium instead. The quintet in fact begins with the gravitas and scope of a symphony. By adding a viola to the traditional string quartet, Brahms achieved a rich sound, the potential for more intricate inner lines, and more dynamic variety. The piece begins with a heroic cello solo. The second theme, is incredibly delicate, seemingly in an entirely different world. The second movement is one of ambivalence, both harmonically and metrically and is considerably more introverted than the first. The instruments seem to melt into one another with the accompaniment seamlessly trading off lines. The third movement has a few very Brahmsian hallmarks: material that harkens vaguely back (the driving off-beats in the accompaniment); hemiola and metric ambiguity; and arpeggiated figures that do more to cloud harmonies than to stabilize them. The finale is a rustic and provincial romp. In this fresh, upbeat movement, Brahms adheres to a classical tradition of making the last movement celebratory and light (that is, in comparison to the preceding movements). It lacks the weight of the first movement and the introspective quality of the second. But there is something expert in the way it is conceived: it is akin to giving the listener dessert! | Levi Jones
56 | AUGUST 14, 20115
Concert Program Norfolk Chamber Music Festival | Friday, August 14, 8:00 pm Prélude, récitatif et variations for flute, viola and piano Prélude Récitatif Variations
Maurice Duruflé (1902-1986)
Ransom Wilson flute — Ettore Causa viola — Joan Panetti piano
String Quintet in F Major, Op 88, "Spring"
Allegro non troppo, ma con brio Grave et appassionato; Allegretto vivace Allegro energico
Johannes Brahms (1833-1897)
Julie Eskar, Yurie Mitsuhashi violin — Ettore Causa, Daniel Stone viola — Mihai Marica cello
| Intermission |
String Quintet in G Major, Op 111 Allegro non troppo ma con brio
Brahms
Adagio Un poco Allegretto Vivace ma non troppo presto
Julie Eskar, Eva Aronian violin — Ettore Causa, Julia Clancy viola — Mihai Marica cello
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. AUGUST 14, 2015 | 57
Program Notes MOZART: Concerto No. 12 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 particular with 27 concertos that he wrote to display his own virtuosic 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 delightful charm. 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 quartet. This pleasing rapport befits a work of such charm and joy. | Laura Usiskin
JANÁČEK: String Quartet No. 2, "Intimate Letters"
Like so many other composers, Janáček found the string quartet to be a personal and expressive genres. The intimacy of the four equal spirits represented by the strings brought out the most private feelings of the composer. Janáček wrote his second string quartet in twenty-one days. Completed just six months before his death in 1928, Janáček originally intended to name it “Love Letter” because of its musical message for his lover, Kamila Stosslova. Their brief affair occurred in 1917 when Janáček and his wife were vacationing with Kamila and her husband at a warm springs resort in Moravia. He clearly outlined the program of the work in a letter to Kamila. The first movement describes his first impression of her; the next movement portrays the old man looking back fondly on their short affair of 1917 (Kamila was 38 years his junior). The composer describes the third movement in this letter as “bright and carefree, but dissolves into an apparition which resembles you.” The fourth movement is described by Janáček as “the sound of my fear of you, not exactly fear, but yearning, yearning which is fulfilled by you.” The quartet’s first performance took place one month after Janáček’s death in 1928.
BRAHMS: String Quartet in B-flat Major, Op 67
Brahms wrote his String Quartet in B-flat Major, Opus 67, in the summer and autumn of 1875. His third and final quartet, it is a considerably lighter piece than the two that precede it. The first movement, marked Vivace, is lighthearted in character, but with a dense development. Out of the development’s thorny Stretto arises a beautiful rhapsody. The expressive Andante has a much thinner texture than the first movement, giving it a rather elegiac character. In the third movement, Brahms seizes onto one of his favorite concepts - the transformation of a motive. He alters the theme slightly throughout, often just by reiterating it with different acompanimental lines which change its effect. The finale, in theme and variations form, has a clear arc from a boisterous opening to a tumultuous climax before returning to the levity of the beginning. It ends simply but energetically, hinting at material from the first movement as the piece reaches its close. | Levi Jones
58 | AUGUST 15, 2015
Concert Program Norfolk Chamber Music Festival | Saturday, August 15, 8:00 pm Concerto No. 12 in A Major, K 414
Wolfgang Amadeus Mozart
Allegro Andante Allegretto
(1756-1791)
Brentano String Quartet — Robert Blocker piano
String Quartet No. 2, "Intimate Letters"
Leoš Janáček
Andante Adagio Moderato Allegro
(1854-1928)
Brentano String Quartet
| Intermission |
String Quartet in B-flat Major, Op 67
Johannes Brahms
Vivace Andante Agitato (allegretto non troppo) Poco Allegretto con Variazioni
(1833-1897)
Brentano String Quartet
Sponsored by
Brentano String Quartet
Mark Steinberg violin — Serena Canin violin — Misha Amory viola — Nina Lee cello AUGUST 15, 2015 | 59
Claude Frank (1925-2014) Frank was born to a Jewish family in Nuremberg and lived there until the age of 12. His given name at birth was Claus Johannes Frank, the “Johannes” a tribute to Brahms, whose music his mother loved. As Hitler came to power in Germany, Frank joined his father in Brussels. Shortly thereafter he went to live in Paris, where he studied at the Paris Conservatoire. The German occupation of France forced Mr. Frank to leave, and he traveled to Spain. Overheard at the piano, he was invited to perform at a party given by the Brazilian ambassador. The American consul, who was a guest at that party, gave Frank a visa to come to the United States. Once in New York, Claude Frank studied with Artur Schnabel and Karl Ulrich Schnabel, and composition and conducting at Columbia University. He became an American citizen in 1944 and served in the US military, first in Germany and then in Japan. After the war, he studied with Serge Koussevitzky at Tanglewood. He gave his recital debut at Town Hall in 1947, and in 1959 he made his New York Philharmonic debut with Leonard Bernstein. With co-author Hawley Roddick he wrote a memoir, The Music That Saved My Life: From Hitler’s Germany to the World’s Concert Stages. Claude Frank was a member of the Yale School of Music faculty from 1973 to 2006, and was named Professor Emeritus in 2007. He was at the Norfolk Chamber Music Festival from 1949 to 2013 - first as a student then as a Faculty member. In his long and distinguished career as a pianist, Claude Frank appeared with the world’s foremost orchestras, at major festivals, and at its most prestigious universities. He often performed with his wife, the late pianist Lilian Kallir, and gave joint recitals with his daughter, violinist Pamela Frank. One review of a performance with Pamela read: “From the first notes, there was the constant reminder of the security of their collaborative viewpoint, the refreshing buzz of the interplay between idea and response, and their obvious pleasure at uncovering some nuance or emphasis that sent the music spinning.” In chamber music, Frank collaborated with such ensembles as the Tokyo String Quartet, Guarneri Quartet, Juilliard Quartet, Cleveland Quartet, Emerson Quartet, American Quartet, Mendelssohn Quartet, and the London Mozart Players, as well as with Alexander Schneider’s chamber ensembles and at the Metropolitan Museum of Art. He spent 19 summers at the Marlboro Festival and appeared at other festivals including the Gstaad Festival in Switzerland, the Midsummer Mozart Festival in California, and New York’s Mostly Mozart Festival. A milestone in Claude Frank’s career was his recording on RCA of the 32 Beethoven sonatas, as well as his worldwide performances of the cycle. Time Magazine proclaimed it as one of the year’s Ten Best, and High Fidelity and Stereo Review recommended it above other renditions. Mr. Frank also recorded the cycle of Beethoven’s Sonatas for Violin and Piano with his daughter Pamela.
In a New York Times article in 1986, Mr. Frank said he "remained ‘tremendously’ inf luenced by Artur Schnabel… [and was] still concerned, like Schnabel, with the structure of a piece.” Peter Dobrin wrote that Frank was “much admired for interpretations elegantly perched between penetrating expressivity and rigorous intellectual inquiry.” A former student recalls that, when she was nervous before a performance, Frank told her: “There is nothing to be nervous about. Just show everyone how beautiful the music is.” Other former students cite his generosity: complimenting his tie, for example, might prompt Frank to give it to the admirer on the spot. “Those of us who knew him loved him dearly,” wrote the Yale School of Music Dean Robert Blocker, “for he gave to all he touched the extraordinary gifts of his wisdom, wit, artistry, and insatiable passion for beautiful music.” Claude Frank was twice the recipient of the Sanford Medal, the highest honor that the Yale School of Music can bestow. On his 80th birthday he was presented the Stoeckel Teaching Award. Frank ’s repertoire ranged from Bach to Ginastera and Roger Sessions, but his playing was most renowned for his interpretations of the classical literature. He wrote in his autobiography: “The four composers I love most, chronologically, are Bach, Mozart, Beethoven, and Schubert… Every note by them is holy. I present their music as if they are gifts from God, which of course they are.” - By Dana Astmann
Emanuel Ax and Pamela Frank In Honor of Claude Frank
Norfolk Chamber Music Festival | Sunday, August 16, 2:00 pm Sonata in C Major, K 296
Wolfgang Amadeus Mozart
Allegro vivace Andante sostenuto Allegro
(1756-1791)
Pamela Frank violin — Emanuel Ax piano
Piano Quintet in E-flat Major, Op 44
Allegro brillante In Modo d'una Marcia: Un poco largamente Scherzo: Molto vivace Allegro ma non troppo
Robert Schumann (1810-1856)
Bora Kim, Li-Mei Liang violin — Daniel Stone viola — Patricia Ryan cello — Emanuel Ax piano
Complete program to be announced.
AUGUST 16, 2015 | 61
Concert Program Norfolk Chamber Music Festival | Saturday, August 22, 4:00 pm Emendemus in melius
William Byrd (d. 1623)
Sanctus BWV 238
Sarah Yanovitch soprano
Salve Regina HWV 241 Salve Regina
Johann Sebastian Bach (1685-1750) George Frideric Handel (1685-1759)
Ad te clamamus Eia, eia O Clemens
On Secret Errands The Grey above the Green
Daniel Pinkham (1923-2006)
After-Song Soaring
Piano Concerto in F Major H XVIII
Presto
Ilya Poletaev harpsichord
Seven Choruses from the Medea of Euripides (arr. Daniel Pinkham) O gentle heart
Franz Josef Haydn (1732-1809) Virgil Thomson (1896-1989)
Love like a leaf O, happy were our fathers Weep for the little lambs Go down, O Sun Behold, O earth Immortal Zeus controls the fate of man
Von Ewiger Liebe, Op 43, No 1 (arr. Alan Raines) Posmotri, kakáya mgla, Op 27, No 4 Envelope Writings
Song (from Jubilate)
A note to mother (from Samuel Barber)
Johannes Brahms (1833-1897) Sergei Taneyev (1856-1815)
Sarah Yanovitch soprano
Michael Laurello (b. 1981)
Sarah Yanovitch soprano
Bob Chilcott (b. 1955) Lee Hartman (b. 1979)
Sponsored by A special thank you to Carl Dudash for providing the harpsichord for today's performance. Simon Carrington conductor — Sarah Yanovitch soprano — Ilya Poletaev organ/piano/harpsichord Norfolk Festival Chamber Orchestra TBA flute — TBA clarinet — Reese Farnell French horn — Richard Liverano trombone — Jeff Stern percussion TBA violin — TBA violin — TBA viola — TBA cello — Samuel Bobinski double bass AUGUST 22, 2015 | 63
Artist Biographies Cellist OLE AK AHOSHI 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 Berlin and Czech Radio Orchestra. His performances have been featured on CNN, NPR, BBC, major German radio stations, Korean Broadcasting Station and WQXR. He has 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, Elmar Oliveira, Gil Shaham, Lawrence Dutton, Nobuko Imai, Myung Wha Chung, Franz Helmerson, Edgar Meyer, Leon Fleisher, Garrick Ohlsson and André-Michel Schub among many others. 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 is the principal cellist of the Sejong Soloists and a faculty member 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. | 12th 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.” | 38th Season at Norfolk Now is it’s 34th year, the ALEX ANDER STRING QUARTET Quartet (Zakarias Grafilo, violin – Frederick Lifsitz, violin – Paul Yarbrough, viola – Sandy Wilson, cello) has performed in the major music capitals of five continents, securing its standing among the world’s premiere ensembles. Widely admired for its interpretations of Beethoven, Mozart and Shostakovich, the quartet’s recordings of the Beethoven cycle (twice), and the Bartók and Shostakovich cycles have all won international critical acclaim. The Quartet has established itself as an important advocate of new music with over 25 commissions from such composers as Augusta Read Thomas, Martin Bresnick and Pulitzer Prize-winner, Wayne Peterson. With an annual calendar that includes engagements at major halls throughout North America and Europe, the Quartet remains a major artistic presence in its home base of San Francisco. Since 1989 they have served as Ensemble in Residence for San Francisco Performances and Directors of the the Morrison Chamber Music Center in the College of Liberal and Creative Arts at San Francisco State University. The Quartet has added considerably to its distinguished and wide-ranging discography over the past decade, now recording exclusively for the FoghornClassics label. The Quartet was formed in New York City in 1981 and were the first American quartet to win the London International String Quartet Competition in 1985. The Quartet has received honorary degrees from Allegheny College and St. Lawrence University, and presidential medals from Baruch College (CUNY). | Second Season at Norfolk | asq4.com 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 Quartet 64 | ARTIST BIOGRAPHIES
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. | 5th Season at Norfolk | artis-quartett.at Born in Lvov, Poland, pianist EMANUEL AX moved to Winnipeg, Canada, with his family as a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. He attended Columbia University, where he majored in French. Mr. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition. In 1975 he won the Michaels Award of Young Concert Artists followed four years later by the coveted Avery Fisher Prize. A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-Yo Ma and Itzhak Perlman and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. Mr. Ax has received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of GRAMMY® award-winning recordings with cellist Yo-Yo Ma. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki and two children. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities. | First Season at Norfolk | emanuelax.com Praised by the Boston Globe for “a rich, viola-like tone and a rapturous, luminous lyricism,” mezzo-soprano JANNA BATY enjoys an exceptionally versatile career. She has sung with Boston Symphony, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Longwood Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, Eugene Opera and Boston Lyric Opera. She has sung under the batons of James Levine, Seiji Ozawa, Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, among numerous others. As a soloist, chamber musician, and recitalist, she has performed at festivals worldwide, from the Aldeburgh and Britten Festivals in England and the Varna Festival in Bulgaria to the Semanas Musicales de Frutillar Festival in Chile and the Tanglewood Festival in the US. A noted specialist in contemporary music, Ms. Baty has worked alongside many celebrated composers, including John Harbison, Bernard Rands, Yehudi Wyner and Sydney Hodkinson, on performances of their music. She has enjoyed a long collaboration with Boston Modern Orchestra Project, and with them has recorded the critically lauded Vali: Folk Songs (sung in Persian); Lukas Foss’ opera Griffelkin; the world-premiere recording of Eric Sawyer’s Civil War-era opera Our American Cousin; and John Harbison’s Mirabai Songs. She joined the faculty of the Yale School of Music in 2008. | 6th Season at Norfolk SCOTT BEAN, trombone, performed in venues around the world, from The Knitting Factory (NYC) to Seattle’s Benaroya Hall to the Forbidden City Hall in Beijing, China. He enjoys a busy playing schedule as a national freelance artist, performing with the Colorado, Hartford, Springfield, New Haven and Boulder symphony orchestras, as well as, the Goodspeed Opera House, Orchestra New England, Coast Guard Academy Band, Bone Structure and the Denver Brass to name a few. Nationally and internationally, he has toured with The New Sousa Band for over fourteen years. Considered a highly sought after interpreter of new music, Scott has premièred new works at festivals and concerts nationwide, recently performing a US Premier at the Kennedy Center in Washington D.C. As a soloist, Scott has been a guest soloist for numerous University concerts and festivals and has performed as soloist, at the National Band Association Convention in 2013. Mr. Bean is currently the Trombone Professor at the University of Denver's Lamont School of Music. Prior to moving to Denver, Scott was Professor of Low Brass and Music History at the University of Wisconsin-La Crosse, on faculty at Central Connecticut State University from 2002-2012 and The Hartt School (University of Hartford) from 2003-2010. Scott has had the privilege of studying with Norman Bolter, Joseph Alessi, Ronald Borror and John Swallow. He has recorded on the Mode, Ashmont Records, Redeye, Innova and Novisse labels. | Third Season at Norfolk
ARTIST BIOGRAPHIES | 65
Artist Biographies Known to audiences in over fifty countries on six continents, pianist BORIS BERMAN regularly appears with leading orchestras and in important festivals. An active recording artist and a 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®. 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 gives master classes all over the world and is frequently invited to serve as a juror of international piano competitions. In 2005 he was given the title of Honorary Professor of Shanghai Conservatory of Music, and in 2013, Honorary Professor at the Royal Danish Conservatory in Copenhagen. 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 the same publisher. An avid chamber music player, Boris Berman has performed across the world with leading musicians and premiere chamber groups. 22nd 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 Jorge 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. These appearances have won him critical praise: as noted in a Los Angeles Times review, he is a pianist of “…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, the Stoeger Prize at Lincoln Center, the Gilmore Artist Advisory Board, and the Curatorium of the Liszt Ferenc Academy of Music in Budapest. Dean Blocker appears regularly on national radio and television as an artist and commentator and is active as a consultant to several major educational institutions and government agencies. In 2000, Steinway and Sons featured him in a film commemorating the tercentennial year of the piano, and his recording of three Mozart concertos 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. | 9th Season at Norfolk Since its inception in 1992, the BRENTANO STRING QUARTET (Mark Steinberg, violin – Serena Canin, violin – Misha Amory, viola – Nina Lee, cello) has appeared throughout the world to popular and critical acclaim. Within a few years of its formation, the Quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of Chamber Music Society Two, a program which was to become a coveted distinction for chamber groups and individuals. In recent seasons the Quartet has traveled widely appearing all over the world and had performed in some of the world’s most prestigious venues, including Carnegie Hall (New York), the Concertgebouw (Amsterdam); the Konzerthaus (Vienna) and Suntory Hall (Tokyo) . The Quartet has participated in summer festivals such as Aspen, the Edinburgh Festival and the Kuhmo Festival in Finland among many others. The Brentano Quartet has a strong interest in both very old and very new music. It has performed many musical works pre-dating the string quartet, among them works of Gesualdo and Josquin, and has worked closely with some of the most important composers of our time including Elliott Carter and Steven Mackey. The Quartet has released numerous recordings and most recently can be heard in the 2012 film A Late Quartet. Beginning in July 2014, the Brentano Quartet will being as Quartet in Residence at the Yale School of Music, departing from their 15 year residency at Princeton University. The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved.” | Third Season at Norfolk | brentanostringquartet.com
66 | ARTIST BIOGRAPHIES
MARTIN BRESNICK'S compositions, from opera, 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 and more open, 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, and always on its own terms. Besides having received many prizes and commissions, the first Charles Ives Living Award from the American Academy of Arts and Letters, The Rome Prize, The Berlin Prize, a Guggenheim Fellowship, and a Koussevitzky Commission, among many others, Martin Bresnick is also recognized as an influential teacher of composition. Students from every part of the globe and of virtually every musical inclination have been inspired by his critical encouragement. Martin Bresnick's compositions are published by Carl Fischer Music Publishers, New York; Bote & Bock, Berlin; CommonMuse Music Publishers, New Haven; and have been recorded by Cantaloupe Records, New World Records, Albany Records, Bridge Records, Composers Recordings Incorporated, Centaur, Starkland Records and Artifact Music. | 19th Season at Norfolk | martinbresnick.com SIMON CARRINGTON has enjoyed a distinguished career as singer, double bass player and conductor. From 2003 to 2009 he was Professor of Choral Conducting at Yale and Director of the Yale Schola Cantorum, which he 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 US, he was a creative force for twenty–five years with the internationally acclaimed 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. In the early days of the singers he also had a lively career as a freelance double bass player, playing in most of the major symphony and chamber orchestras in London. Now a Yale professor emeritus and based in Europe he maintains an active schedule as a freelance conductor and choral clinician, leading workshops and master classes round the world. He has taught young conductors at the Royal Academy of Music, London; the Liszt Conservatorium, Budapest, Hungary, the University of the Andes, Bogota, Colombia, the World Symposium in Argentina and the Schools of Music at Eastman, Temple, and Indiana among many others in the US. In 2014 he received an honorary doctorate from New England Conservatory. | 10th Season at Norfolk | simoncarrington.com Italian-born violist ETTORE CAUSA has made solo and recital appearances in major venues around the world, such as Carnegie Hall, Zurich Tonhalle, Madrid National Auditorium, Salle Cortot (Paris), Tokyo Symphony Hall, Teatro Colón, and has performed at numerous international festivals, such as the Menuhin (Gstaad), Salzburg, Tivoli (Copenhagen), Prussia Cove (England), Savonlinna (Finland), Lanaudiére (Canada) and Norfolk (USA) Festivals. Mr. Causa has collaborated extensively with internationally renowned musicians such as the Tokyo, Artis, Cremona and Elias String Quartets, Pascal Rogé, Boris Berman, Peter Frankl, Thomas Ades, Natalie Clein, Ani Kavafian, Thomas Demenga, Anthony Marwood, Liviu Prunaru, William Bennett and others. Having studied at the International Menuhin Music Academy with Alberto Lysy and Johannes Eskar, and later at the Manhattan School of Music with Michael Tree, then having taught both viola and chamber music for many years at the International Menuhin Music Academy, Mr. Causa joined the faculty of the Yale School of Music in 2009. His highly praised recordings include two Claves CDs, one featuring the Brahms Viola Sonata and the other his transcription of romantic pieces, which was awarded a prestigious “5 Diapasons” by the major French magazine Diapason. Mr. Causa performs on a viola made for him by Frederic Chaudiere in 2003. | 6th Season at Norfolk | ettorecausa.com A native of Tennessee, pianist MELVIN CHEN has performed as a soloist and chamber musician at major venues throughout the United States, Canada and Asia. His performances have been featured on radio and television stations around the globe, including KBS television and radio in Korea, NHK television in Japan, and NPR in the United States. Recordings include Beethoven’s Diabelli Variations on the Bridge label, praised as “a classic” by the American Record Guide, Joan Tower’s piano music on the Naxos label and recordings of the Shostakovich piano sonatas and Gordon’s Orpheus and Euridice. An enthusiastic chamber musician, Mr. Chen has collaborated with such artists as Ida Kavafian, David Shifrin, Pamela Frank and with the Shanghai, Tokyo and Miro quartets. He has appeared at numerous festivals including the Bard Music Festival and Music from Angel Fire among others. Mr. Chen holds a doctorate in chemistry from Harvard University and a double master’s degree from The Juilliard School in piano and violin. Previously, he attended Yale University where he studied with Boris Berman and received a bachelor of science degree in chemistry and physics. Mr. Chen was on the piano faculty and served as associate director of the Bard College Conservatory of Music. In 2012 he rejoined the faculty of the Yale School of Music, where he serves as Associate Professor (Adjunct) of Piano and Deputy Dean. | 6th Season at Norfolk | melvinchen.com ARTIST BIOGRAPHIES | 67
Artist Biographies 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, Essy, a student at Susquehanna University. He is an avid tennis player and practices hatha yoga daily. | 31st Season at Norfolk | allanjdean.com The EMERSON STRING QUARTET (Philip Setzer, violin – Eugene Drucker, violin – Lawrence Dutton, viola – Paul Watkins, cello) stands apart in the history of string quartets with: more than thirty acclaimed recordings, nine Grammys® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize and Musical America’s "Ensemble of the Year". Cellist Paul Watkins, a distinguished soloist, award-winning conductor, and dedicated chamber musician, joined the ensemble for its 37th season in May of 2013. The Quartet’s season began in Montreal followed by performances in Tianjin and Taiwan. Summer festival performances included Caramoor, Aspen, Ravinia, Tanglewood, Mostly Mozart and a residency at the Norfolk Music Festival. Late summer dates included European festivals in Berlin, Augsburg, Ascona, Città di Castello and Humlebaek, Denmark. In a season of over 80 quartet performances, mingled with the Quartet members’ individual commitments, Emerson highlights feature numerous concerts on both coasts and throughout North America. Multiple tours of Europe include dates in Italy, Germany, the Netherlands, Spain, France, Poland and the UK. The Emerson String Quartet continues its series at the Smithsonian Institution in Washington, DC for its 34th season and gives a three-concert series in Lincoln Center’s Alice Tully Hall. In May and June 2014, the Quartet will toured South America, Asia and Australia. As an exclusive artist for SONY Classical, the Emerson recently released Journeys, its second CD on that label, featuring Tchaikovsky's Souvenir de Florence and Schoenberg's Verkläerte Nacht. Formed in 1976 and based in New York City, the Quartet took its name from the American poet and philosopher Ralph Waldo Emerson. | Third Season at Norfolk | emersonquartet.com JULIE ESK AR Julie Eskar is currently first concertmaster of the Danish National Chamber Orchestra and has performed as a soloist with several orchestras in Denmark and abroad. An avid chamber musician, Ms. Eskar plays in many major festivals around the world including Prussia Cove (England), Horten (Norway), Incontri in Terra di Siena, BIMF (Italy), Tivoli (Denmark). She performs aside musicians such as Boris Berman, Jeremy Denk, Clive Greensmith, Thomas Demenga, Ralph Kirsbaum, Vilde Frang, Ani Kavafian and Ettore Causa among many others. Julie is a founding member of the Eskar Trio, an international award-winning ensemble, one of the leading ensembles on the Danish chamber music stage that has also enjoyed great success across Europe and Japan. With the Trio she has released several critically acclaimed CDs including one of never-before recorded Danish Romantic piano trios which was awarded 'Best Chamber Music Recording' and 'Best Classical Recording of the Year' by the Danish Radio. Together with her husband Ettore Causa, Julie Eskar is also playing in the recently established Arabella String Quartet which is based in Boston. A recording featuring the ensemble is set to be released next fall. Ms. Eskar studied at the Danish Royal Academy of Music in Copenhagen and at the University of Music and Performing Arts, Vienna. | Second Season at Norfolk | eskarjulie.com Violinist PAMELA FRANK has performed under many esteemed conductors, including Daniel Barenboim, Seiji Ozawa, André Previn and Leonard Slatkin. Shae has recorded for London/Decca, MusicMasters and Arte Nova. For Sony Classical, she recorded the Chopin Piano Trio with Emanuel Ax and Yo-Yo Ma, the “Trout” Quintet, and is featured on the soundtrack to the film Immortal Beloved. Her accomplishments were recognized in 1999 with the Avery Fisher Prize, one of the highest honors given to American instrumentalists. Born in New York City, Pamela Frank is the daughter of noted pianists Claude Frank and Lilian Kallir. She began her violin studies at age 5 and after 11 years as a pupil of Shirley Givens continued her musical education with Szymon Goldberg and Jaime Laredo. In 1985 she formally launched her career with appearances with Alexander Schneider and the New York String Orchestra at Carnegie Hall. A recipient of the Avery Fisher Career Grant in 1988, she graduated the following year from the Curtis Institute of Music in Philadelphia. Ms. Frank is on the faculties of Curtis Institute of Music and the Peabody Conservatory and makes her home in the New York area. | Second Season at Norfolk 68 | ARTIST BIOGRAPHIES
PETER FR ANKL has concertized on the international circuit since the 1960s, performing with many of the world greatest orchestras and conductors, such as Abbado, Boulez, Haitink, Maazel, Masur, Solti, and Szell. He has appeared on five continents and has been a regular participant at international festivals at Edinburgh, Aldeburgh, Verbier, Kuhmo, Prades (Casals), Naantali and, in London, at the BBC Promenade Concerts. In the USA his numerous festival appearances include Marlboro, Ravinia, Aspen, Norfolk, Yellow Barn, Chautauqua, and, in London, at the BBC Promenade Concerts. His vast recording output includes the complete piano works by Schumann and Debussy; Brahms piano concertos, violin sonatas, and trios; Mozart piano concertos; Schumann, Brahms, Dohnányi, Dvořák, and Martinů piano quintets; Hungarian violin sonatas, and many solo albums. Mr. Frankl is on the faculty of Yale University and Honorary Professor of the Liszt Academy in Budapest. He has been on many jury panels of International Piano Competitions, including the Van Cliburn, Rubinstein, Leeds, Santander, Hilton Head, William Kappell, Hong Kong, Clara Haskil, Paderewski, Marguerite Long, Queen Elizabeth in Brussels, Manchester, Shanghai and, as chairman, Cleveland. | 29th Season at Norfolk SCOTT HARTMAN is one of the preeminent trombonists of today, performing throughout the US, Europe and Asia as a soloist and chamber musician. Mr. Hartman is presently a member of the Yale Brass Trio, Proteus7, the Summit Brass, the Millennium Brass, the Brass Band of Battle Creek and the trombone quartet - Four of a Kind. He began his chamber music career as a member of the famed Empire Brass. You can hear recordings of these groups on the Telarc, Angel/EMI, Sony Classical, Dorian, Summit Brass and Leaping Frog labels. As a chamber musician, Scott has performed in all of the 50 United States. He has been a featured performer with many major US symphony orchestras – including the Chicago Symphony, Boston Symphony, St Louis Symphony, Cincinnati Symphony, Philadelphia Symphony, Detroit Symphony, San Francisco Symphony and many more. Abroad, Mr. Hartman has been a soloist with the BBC Orchestra, the New Japan Philharmonic, the Caracas Symphony, the Simone Bolivar Symphony, Bursa (Turkey) State Symphony Orchestra, the National Symphony of Taiwan, the Daejeon (South Korea) Philharmonic and the Korean Orchestra in Seoul, South Korea. Scott heads the trombone department at Yale University. Each summer, Mr. Hartman performs and coaches brass chamber music at the Norfolk Chamber Festival, the Raphael Mendez Brass Institute and the Chautauqua Music Festival. | 15th Season at Norfolk | slushpump.com 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 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 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 is a member of 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 Böhm, 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. | 12th Season at Norfolk
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Artist Biographies KIKUEI IKEDA, violinist/violist, was a member of the Tokyo String Quartet since 1974 until they disbanded in 2013. He served on the faculty of the Yale School of Music from 1976 to 2014. The Tokyo Quartet released more than 40 recordings with Harmonia Mundi, BMG/RCA Victor Red Seal and Deutsche Grammophon. These recordings have earned the Grand Prix du Disque Montreux, "Best Chamber Music Recording of the Year" awards from Stereo Review and Gramophone magazines, in addition to seven Grammy nominations. They were featured on "Sesame Street," "CBS Sunday Morning," PBS's "Great Performances," "CNN This Morning" and a national television broadcast from the Corcoran Gallery of Art. One of the highlights of their carrier was when President Carter invited the Quartet in March 1977 to the White House. The Quartet was also awarded the “Foreign Minister’s Commendations for 2013” from the Ministry of Foreign Affairs of Japan. | 40th Season at Norfolk
K AZUHIDE ISOMUR A, violist, is a graduate of the Toho School of Music where he studied with Jeanne Isnard, Kenji Kobayashi, and Hideo Saito. From 1968, Mr. Isomura studied at the Julliard School with Ivan Galamian, Walter Trampler, Robert Mann, and Raphael Hillyer. Mr. Isomura is a founding member of the Tokyo String Quartet which won the Young Concert Artists International Auditions and First Prize at the Munich Competition soon after its formation in the fall of 1969. Over 44 years, based out of New York City, the Tokyo Quartet has gone on to perform concerts throughout the world. The Quartet has released more than 60 landmark recordings which earned numerous awards and seven Grammy nominations. As an individual violist, Mr. Isomura also records solo viola repertoire and sonatas. An artist-in-resident at Yale University School of Music since 1977, Mr. Isomura is currently teaching chamber music and Viola at the Toho School of Music and Manhattan School of Music. In 2013, he received the Foreign Ministry Award from Japan. In 2014, Mr. Isomura received a Career Achievement Award from the American Viola Society. | 40th Season at Norfolk Violinist ANI K AVAFIAN Violinist Ani Kavafian enjoys a very busy career as soloist, chamber musician, and teacher. As concertmaster of the New Haven Symphony Orchestra, she performs with them often as soloist. With clarinetist David Shifrin and pianist André-Michel Schub, the Kavafian-Schub-Shifrin Trio tours the US as well. She has conducted workshops in Taiwan alongside David Finckel, Wu Han, Arnold Steinhardt and Leon Fleisher. She appears frequently 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 presented by the Chamber Music Society. Together with cellist Carter Brey, she is artistic director of Mostly Music whis is celebrating its 35th anniversary this year. She has appeared as soloist with the New York Philharmonic, Philadelphia Orchestra, the Detroit Symphony Orchestra, The Los Angeles Chamber Orchestra and San Francisco Symphony among many others. Among her recordings are the Mozart sonatas with Jorge Federico Osorio and a 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. | 8th 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, AARON JAY KERNIS has taught composition at the Yale School of Music since 2003. His music appears prominently on orchestral, chamber, and recital programs worldwide and he has been commissioned for many of the worlds’ foremost performing artists, including sopranos Renée Fleming and Dawn Upshaw, violinists Joshua Bell, James Ehnes and Nadja Salerno–Sonnenberg, and guitarist Sharon Isbin, and by institutions including the New York Philharmonic, San Francisco Symphony, Minnesota Orchestra, Saint Paul Chamber Orchestra, the Walt Disney Company and the Chamber Music Society of Lincoln Center. He was awarded the Nemmers Prize from Northwestern University, 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. He is Workshop Director of the Nashville Symphony Composer Lab and previously served as New Music Adviser to the Minnesota Orchestra and co-founded and directed the Minnesota Orchestra Composer Institute for 11 years. He is a member of the American Academy of Arts and Letters. His music is available on Nonesuch, Phoenix, New Albion, Argo, New World, CRI, Naxos, Virgin, Arabesque and other labels. He lives in New York City with his wife and two children. | 8th Season at Norfolk
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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. Lang was Musical America's 2013 Composer of the Year, and held Carnegie Hall's Deb's Composer Chair for the 2013/2014 season. 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. 7th Season at Norfolk | davidlangmusic.com Prize-winning composer HANNAH LASH received the ASCAP Morton Gould Young Composer Award, a Charles Ives Scholarship from the American Academy of Arts and Letters, a Fromm Foundation Commission, a fellowship from Yaddo Artist Colony, the Naumburg Prize, the Barnard Rogers Prize and the Bernard and Rose Sernoffsky Prize. She has received commissions from The Fromm Foundation, The Naumburg Foundation, The Great Lakes Chamber Music Festival, Aspen Music Festival, Duo, Case Western Reserve’s University Circle Wind Ensemble and the Aspen Contemporary Ensemble among others. Her orchestral music has been singled out by the American Composers Orchestra for the 2010 Underwood New Music Readings with Furthermore, and by the Minnesota Orchestra which selected her work God Music Bug Music for performance in January 2012 as part of the Minnesota Composers Institute. Her chamber opera, Blood Rose, was presented by NYC Opera’s VOX in the spring of 2011. Lash’s music has also been performed at Carnegie Hall, the Chelsea Art Museum, Harvard University, Tanglewood Music Center and the Chicago Art Institute. Her primary teachers include Martin Bresnick, Bernard Rands, Julian Anderson, and Robert Morris. Her music is published by Schott. Lash serves on the composition faculty at Yale School of Music. | Third Season at Norfolk | hannahlash.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. | 9th Season at Norfolk Cellist MIHAI MARICA won the first prize in the 2005 Irving M. Klein International String Competition. He also received First Prize and the Audience Choice Award at the 2006 “Dr. Luis Sigall” International Competition in Viña del Mar, Chile and the 2006 Charlotte White’s Salon de Virtuosi Fellowship Grant. He has performed with orchestras such as the Symphony Orchestra of Chile, Xalapa Symphony in Mexico, the Hermitage State Orchestra of St. Petersburg in Russia, the Jardins Musicaux Festival Orchestra in Switzerland, the Louisville Orchestra, and the Santa Cruz Symphony in the US. He also appeared in recital performances in Austria, Hungary, Germany, Spain, Holland, South Korea, Japan, Chile, the United States, and Canada. As a chamber musician, he has collaborated with such artists as Mihae Lee, Peter Frankl, Ani Kavafian, William Purvis, David Shifrin, André Watts, and Edgar Meyer, and is a member of the award winning Amphion String Quartet. He played a Weill Hall debut recital and a Zankel Hall debut in early 2008. Mr. Marica studied with Gabriela Todor in his native Romania and with Aldo Parisot at the Yale School of Music where he was awarded the Master of Music and Artist Diploma degrees. He is a member of Chamber Music Society Two and his three-year residency is supported by The Winston Foundation. | Second Season at Norfolk
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Artist Biographies Australian pianist LISA MOORE has been described as "brilliant and searching" (The New York Times) and "New York's queen of avant-garde piano" (The New Yorker). She has released eight solo discs (Cantaloupe Music, Orange Mountain and Tall Poppies) and over 30 collaborative discs (Sony, Nonesuch, DG, BMG, New World, ABC Classics, Albany, Starkland, Harmonia Mundi and New Albion). Moore has collaborated with a large and diverse range of ensembles - the London Sinfonietta, New York City Ballet, Chamber Music Society of Lincoln Center, American Composers Orchestra, Steve Reich Ensemble and So Percussion. From 1992 through 2008 she was the founding pianist for the Bang On A Can All-Stars winning Musical America's 2005 Ensemble of the Year Award. Moore is a member of TwoSense, Grand Band, Ensemble Signal and the Paul Dresher Double Duo. Festival appearances include BAM, Lincoln Center, Graz, Tanglewood, Aspen, Paris d'Automne, Shanghai, Hong Kong, Southbank, Barbican, BBC Proms, Sydney, Adelaide, Spoleto, Israel and Warsaw. Moore won the Silver Medal in the 1981 Carnegie Hall International American Music Competition. She has collaborated with composers ranging from Elliot Carter, Iannis Xenakis 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. | 10th Season at Norfolk | lisamoore.org FRANK MORELLI, the first bassoonist awarded a doctorate by The Juilliard School, studied with Stephen Maxym at the Manhattan School of Music (MSM) and Juilliard. With over 160 recordings for major labels to his credit, the Orpheus Chamber Orchestra CD Shadow Dances featuring him won a 2001 Grammy® Award. He has made nine appearances as soloist in New York’s Carnegie Hall and 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. He is a member of Windscape, woodwind ensemble in residence at MSM. Chosen to succeed his teacher, he serves on the faculties of the Yale School of Music, Juilliard, MSM as well as SUNY Stony Brook and the Glenn Gould School in Toronto. He is principal bassoonist of Orpheus and has released four solo recordings on MSR Classics: From the Heart and Romance and Caprice with pianist Gilbert Kalish; Bassoon Brasileiro with Ben Verdery and Orpheus and Baroque Fireworks with Kenneth Cooper, of which American Record Guide stated: “the bassoon playing on this recording is a good as it gets.” Gramophone magazine proclaimed his playing “a joy to behold.” He has published several transcriptions for bassoon and various ensembles and compiled the landmark excerpt book of Stravinsky’s music for the bassoon, entitled Stravinsky: Difficult Passages. | 22nd 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, Mel Powell, Wilhelm Kempff, and Yvonne Loriod. She has toured extensively, performs frequently in chamber music ensembles, and gives many master classes. 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. | 35th Season at Norfolk JULIAN PELLICANO is currently the Resident Conductor of the Winnipeg Symphony Orchestra, where he leads the orchestra in a wide variety of programs throughout the year. A musician with a penchant for collaboration, Julian regularly works with a variety of different ensembles, orchestras and world class artists. He has toured Turkey conducting new pieces that blend both western and Turkish classical instruments, collaborated with Soprano/Director Susan Narucki and the Kallisti Ensemble condcuting Pascal Dusapin's opera To Be Sung, worked with Dr. Paul Lehrman to create a new performance edition for the original 1923 version of George Antheil's Ballet Mecanique, and has performed with many world-class soloists including pianist Ann Schein, baritone Thomas Meglioranza, composer/pianist Timo Andres, and electric guitarist Andy Summers (The Police). In addition, Julian led the premiere of Martin Bresnick’s critically acclaimed opera My Friend's Story at the International Festival of Arts and Ideas and conducted at Carnegie Hall with members of the Yale Philharmonia Orchestra. Julian has worked in masterclasses with Kurt Masur, Peter Eötvös, 72 | ARTIST BIOGRAPHIES
Zsolt Nagy, Martyn Brabbins, Carl St. Clair, L’Orchestre Philharmonique du Luxembourg and the Royal Scottish National Orchestra. He holds degrees from the Peabody Conservatory, the Royal College of Music (Stockholm), and the Yale School of Music where he was awarded the 2008 Presser Music Award and the Philip F. Nelson Award. | 6th Season at Norfolk | julianpellicano.com Composer JOSÉ PERIS is emeritus professor at the Universidad Autónoma de Madrid and organist of the Chapel of the Royal palace in Madrid. Born in 1924 in Maella, Spain, Peris was a distinguished student at the Conservatorio Superior in Madrid, and went on to study with Nadia Boulanger and Darius Milhaud in Paris, and Carl Orff at the Hochschule für Musik in Munich. Fundamentally a composer of religious music, Peris affirms: “I consider my sacred music as maintaining the tradition of the great Spanish composers of polyphonic music of the 16th century” – such as Cristobal de Morales, Francisco Guerrero and Tomás Luis de Victoria. His most significant works include the Concierto Espiritual, which draws on a poem from Miguel de Unamuno’s book the Christ of Velázquez and received the national Music Award of Spain; Te Deum commemorating the fourth centennial of El Escorial (a monastery and historical royal residence); Offertorio for four mixed choirs for the “Mass for Families” presided over by Pope John XXIII; and his Mass of the Holy Face. Peris became Music Advisor of National Heritage in 1982, and led many conservation projects including the restoration of the Bosch organ in the chapel of the Royal Palace and the Palantine Stradivarius quintet collection. In 2013 King Juan Carlos presented him with the Grand Cross of the Order of Civil Merit. | First Season at Norfolk ILYA POLETAEV, pianist, harpsichordist and fortepianist Ilya Poletaev took First Prize at the 2010 International Johann Sebastian Bach Competition in Leipzig. A prize winner at the 2011 George Enescu competition, he also won First Prize at the 2008 XX Concorso Sala Gallo Piano Competition in Monza, Italy, as well as the Audience, Bach and Orchestra Prizes. He is also the winner of the 2009 Astral artists auditions. A musician with an inquisitive mind, who explores repertoire from the sixteenth to the present century, Poletaev has performed extensively in Europe, Canada, Russia, Israel and the United States both as a soloist and a chamber musician. Engagements include appearances at the Leipzig Gewandhaus, Klavier-Festival Ruhr, Dresdner Musikfesttaege, Accademia Filarmonica Romana, the Weill Hall in Carnegie Hall, Caramoor Festival, Chamber Music Northwest and many other prestigious venues. In 2011 he was appointed Professor of Piano at the Schulich School of Music of McGill University. He previously served on the faculty of Yale University. Born in Moscow, he moved to Israel and then to Canada, where he studied with Marietta Orlov, a student of the legendary Florica Musicescu, and harpsichordist Colin Tilney. Poletaev also holds a Masters and a DMA from Yale, which he completed under the guidance of Boris Berman. | Third Season at Norfolk A native of Pennsylvania, WILLIAM PURVIS, French horn, enjoys a 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 is the director of the Yale Collection of Musical Instruments. | 30th Season at Norfolk Clarinetist RICH ARD STOLTZM AN’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. 9th Season at Norfolk | richardstoltzman.com ARTIST BIOGRAPHIES | 73
Artist Biographies With an extensive repertoire ranging from the medieval period to the twenty-first century, tenor JAMES TAYLOR devotes much of his career to oratorio and concert literature. As one of the most sought after Bach tenors of our time, he has maintained a close relationship with conductor, Helmuth Rilling and the International Bach-Academy, Stuttgart, performing and teaching master classes worldwide. He has been a juror and consultant for the International BachCompetition, Leipzig, and in 2008, he debuted with the New York Philharmonic singing the Evangelist in Bach’s St. Matthew Passion under the direction of Kurt Masur. His career has taken him throughout the United States, South America, Japan, Korea, Israel and to virtually all the major orchestras and concert halls of Europe, where he has performed with conductors such as Blomstedt, von Dohnányi, Harding, Harnoncourt, Herreweghe, Jacobs, Koopman, Labadie, Nézet-Séguin, Norrington, Rilling, Suzuki, Welser-Möst, and Vänskä. Taylor is a frequent recitalist and has performed with such acclaimed collaborators as, Helmuth Deutsch, Irwin Gage, Donald Sulzen, Paul O’Dette, and Stephen Stubbs. His artistry has been documented on no fewer than forty professional CD and DVD recordings for labels such as Sony, Hänssler, harmonia mundi and Naxos; and through numerous television and radio broadcasts in the United States, Canada and abroad. He joined the Yale faculty in 2005 and serves as coordinator for the voice program in Early Music, Art Song and Oratorio.| 5th Season at Norfolk 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 premiere 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. | 10th 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 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 largescale 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, has taught at the Peabody Conservatory and the Juilliard School, and is also a fellow of the US-Japan’s Leadership Program. 7th Season at Norfolk | theofanidismusic.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. | 14th Season at Norfolk | ransomwilson.com
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Grammy-nominated flutist CAROL WINCENC was First Prize Winner of the Walter W. Naumburg Solo Flute Competition and had received a Lifetime Achievement Award from the National Flute Association ad the National Society of Arts and Letters. 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. 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, Telarc and Naxos. 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. She is a member of the New York Woodwind Quintet and a founding member of Les Amis with New York Philharmonic principals Nancy Allen and Cynhia Phelps. Ms. Wincenc is currently on the faculties of The Juilliard School and Stonybrook University and has a popular series of etudes Carol Wincence 21st Century Flute Studies published by Lauren Keiser. | 14th Season at Norfolk Pianist WEI-YI YANG has earned worldwide acclaim for his captivating performances and imaginative programming. Winner of the gold medal in San Antonio International Piano Competition, he has appeared on the stages of Lincoln Center, the Kennedy Center, and major venues across America, Asia, Europe and Australia. Most recently, he was praised by the New York Times in a “sensational” performance of Messiaen’s Turangalîla-Symphonie at Carnegie Hall. Born in Taiwan of Chinese and Japanese heritage, Mr. Yang studied first in the United Kingdom, and then in America with renowned Russian pianists, Arkady Aronov at the Manhattan School of Music and Boris Berman at Yale. Mr. Yang’s performances have been featured on NPR, PBS, ARTE (Association Relative à la Télévision Européenne), and ABC (Australian Broadcasting Company), and on recordings by Ovation, Albany Records, Renegade Classics, and the Holland-America Music Society. A dynamic chamber musician, Wei-Yi Yang is a frequent guest artist at festivals across the United States, from Norfolk to Napa Valley and abroad, including Germany, Serbia, Montenegro, and Mexico. Recent master classes and performances have brought Mr. Yang to Scotland, Ireland, Hong Kong, Taiwan, China, and Korea. He has adjudicated at the Isidor Bajic Piano Memorial Competition, the San Antonio International Piano Competition, and the Concert Artists Guild auditions. In 2004, Mr. Yang received his doctorate from Yale, where he joined the faculty in 2005. | 8th Season at Norfolk Soprano SARAH YANOVITCH is a recent graduate of the Yale Institute of Sacred Music, where she was a student of James Taylor. She has sung the roles of Yum-Yum in The Mikado, Adele in Die Fledermaus, Belinda in Dido and Aeneas, and scenes as Sophie in Der Rosenkavalier, Marzelline in Fidelio, and Despina in Così Fan Tutte. Recent appearances as concert soloist include such works as the Fauré Requiem, Handel’s Messiah, Judas Maccabaeus, and Dixit Dominus, Bach cantatas In allen meinen Taten (BWV 97), and Nun komm, der Heiden Heiland (BWV 61), Haydn’s Harmoniemesse, the Brahm’s Requiem and Vaughan Williams’ Dona nobis pacem with the Yale Glee Club and Camerata, and Beethoven’s Mass in C Major with the Yale Schola Cantorum. Sarah earned her Bachelor of Music from the New England Conservatory and is originally from Griswold, Connecticut. | First Season at Norfolk
ARTIST BIOGRAPHIES | 75
NORFOLK MUSIC SHED
Cupola Society A society of individuals who will be recognized in perpetuity in the base of the restored cupola. You are invited to join ... All donors of $25,000 or more as of August 16, 2015, are invited to inscribe their names and a brief message on a beautiful piece of mahogany that will be enshrined in perpetuity in the cupola base. Names of donors of $10,000 or more as of that date will also be listed in the cupola. All members of the Cupola Society will be identified on a brass plaque on a center post in the Music Shed.
Phase I of the Restoration is complete, but so much more is left to do: • Enlarge & upgrade restrooms • Seating refurbishment
• A Green Room for performers & audiences
• Refurbish lobby, box office & patron welcome area • Modernize concessions gazebo • New doors, windows, carpets • New stairs, ramps & railings
• New plumbing & electrical, including energy-efficient (& cooler) lighting • Improve drainage
• Revitalize landscape
• Modernize recording studio & broadcast facilities for video streaming • Improve projection capabilities for Children’s & New Music Concerts
To join the Society or to make a contribution to the Restoration Fund, please visit our website at norfolkmusic.org or call 860.542.3000.
Society Members anonymous anonymous Burton & Joyce Ahrens Astrid & John Baumgardner Marlene Childs Hope Childs Perry DeAngelis Rohit & Katharine Desai Family Foundation Fleur Fairman & Timothy Wallach Susan & Paul Hawkshaw Leila & Daniel Javitch Robert Loper & Robert Dance David N. Low & Dominique Lahaussois Judith & Kim Maxwell David & Katherine Moore Family Foundation Adrienne Gallagher & James Nelson Dr. William C Popik Drew & Sally Quale James & Nancy Remis The Smart Family Foundation, Inc. Anne-Marie Soullière & Lindsey C.Y. Kiang Pat & Kurt Steele Byron Tucker & Elizabeth R. Hilpman Alex & Patricia Vance Sukey Wagner
Music Shed Restoration Fund (As of May 4, 2015)
The Ellen Battell Stoeckel Circle
anonymous anonymous
Burton & Joyce Ahrens Perry DeAngelis
State of Connecticut, Department of Economic and Community Development, State Historic Preservation Office Byron Tucker & Elizabeth R. Hilpman The Jean Sibelius Circle AKC Fund, Inc.
Astrid & John Baumgardner
Rohit & Katharine Desai Family Foundation Fleur Fairman & Timothy Wallach Leila & Daniel Javitch
David N. Low & Dominique Lahaussois Drew & Sally Quale
James & Nancy Remis
The Smart Family Foundation, Inc.
Anne-Marie Soullière & Lindsey C.Y. Kiang Alex & Patricia Vance
MUSIC SHED RESTORATION FUND | 77
Music Shed Restoration Fund continued The Sergei Rachmaninov Circle anonymous
Marlene Childs
anonymous in memory of Wm. Hale Charch & Ruth Heidrick Charch
Robert Loper & Robert Dance
anonymous in honor of Paul Hawkshaw anonymous in memory of Luther and Osea Noss anonymous
Adrienne Gallagher & James Nelson Judith & Kim Maxwell David & Katherine Moore Family Foundation Dr. William C. Popik Pat & Kurt Steele Sukey Wagner
The Samuel Coleridge-Taylor Circle anonymous
Christopher Little & Elizabeth Kittredge
Molly Ackerly & Michael Sconyers
Theo & Lisa Melas-Kyriazi
Robert & Serena Blocker
Richard & Barbara Moore
Robert & Ann Buxbaum
Lester & Dinny Morse
Hope Childs
John Perkins & Hope Dana
Michael Emont & Margo Rappoport
Belle K. Ribicoff
Valerie Fitch
Curtis & Kathy Robb
John Garrels
Gift of Susan E. Thompson (MMus '79) in memory of Richard T. Rephann (MMus '64)
Lionel & Dotty Goldfrank The William and Mary Greve Foundation Peter Kennard Lakeridge Association 78 | MUSIC SHED RESTOR ATION FUND
Xingping Zuo, Jianmei Li, and Scarlett Tong Zuo Family
The Percy Grainger Circle Mr. & Mrs. Samuel A. Anderson, III
Claudia & Eliot Feldman
Merck Partnership for Giving
Linda & Frank Bell
Frank & Bethany Morelli
Apple Pickers Foundation
Amy & Peter Bernstein, in memory of
William G. Gridley, Jr.
Bertha R. Betts
Constantin R. Boden Elizabeth Borden
The Katherine Bradford Foundation Bill & Jennie Brown Mary Beth Buck
Mary Fanette & Veronica Burns Roy Camblin, III
Peter N. Coffeen & Stephen J. Getz Ron Cohen, in honor of
David Low and Dominique Lahaussois
Herbert & Jeanine Coyne
Charlotte Currier, in memory of
Keith & Rachel Wilson
John & Helen Davis
Andrew G. De Rocco
Mr. & Mrs. Robert Dionne Louise L. Chinn Ducas
Syoko Aki Erle, in honor of
Broadus Erle
Prof. Michael Friedmann & Ms. Deborah Davis
Mrs. John T. Gallagher
Mireille Gousseland, in honor of
David Low & Dominique Lahaussois
William G. Gridley, Jr. for his work
Barbara G. Gridley, in honor of
on the Shed Restoration
Mr. & Mrs. Andrew D. Hart, Sr., in honor of
William G. Gridley, Jr.
Peter S. Heller
Anne & John A. Herrmann, Jr. Suzanne M. Hertel
IBM Matching Gift Program Helen I. Jessup Ani Kavafian
Doreen & Michael Kelly Anthony Kiser Martha Klein
Raymond & Yong Sook Kwok John & Duff Lambros Carlene Laughlin
Starling Lawrence
David & Leni Moore Family Foundation Ingrid & Michael Morley Thomas Murray
Norfolk Artists & Friends Leroy & Jane Perkins Sandy & Dick Rippe
The Felix & Elizabeth Rohatyn Foundation Sally & William Charitable Fund Jacqueline & Frank Samuel Shirley & Ben Sanders
Adrian & Maggie Selby Bernard & Lisa Selz Cameron O. Smith
Linda Bland Sonnenblick & Henry Zachs Schuyler & Heather Thomson Jerry & Roger Tilles
Mr. & Mrs. Eliot Wadsworth Alexandra Walcott Abby N. Wells
Joemy Wilson & Jon Harvey Wei-Yi Yang
James B. Lyon
The Fritz Kreisler Circle anonymous,
Abbie & Zoe Falk
Daphne Hurford & Sandy Padwe
The Asen Foundation, Scott Asen, Trustee
Jamie Brooke Forseth
Paul E. Jagger
in memory of Lloyd Garrison
Roger & Linda Astmann Joanna Aversa
Barbara & Malcolm Bayliss David Belt
Bret & Lori Black
John & Denise Buchanan Blake & Elizabeth Cabot George Cronin
Susan A. & Jon Eisenhandler Bonner & David Elwell Madeline Falk
George K. Fenn, Sr Lloyd Garrison
Catherine Gevers & John Fernandez Roberto Goizueta
Joan & Gerry Gorman
Christine & Phillippe Gousseland, in honor of
David Low & Dominique Lahaussois
William W. Gridley
Brett & Coleen Hellerman Peter L. & Mary H. Hess
Tom Hodgkin & Barbara Spiegel
Colta & Gary Ives Kathleen Kelley
Susan & Peter Kelly
Stuart Kiang & Grace Wiersma
The John D. & Catherine T. MacArthur Foundation
Susan MacEachron
Annette McEvoy Bronheim &
Harold Bronheim
Patricia Nooy & Roger Miller Kevin & Hatice Morrissey
MUSIC SHED RESTORATION FUND | 79
Music Shed Restoration Fund continued Kristin & Grant Mudge
John & Barbara Rutledge
Graham Taylor
Ned & Karen Peterson
Ernie & Suzanne Sinclair
Nancy R. Wadhams
Christian & Alfreda Murck
Richard & Marilyn Schatzberg
Roger Mitchell & Pete Peterson
Ileene Smith & Howard Sobel
Cristin & David Rich
Joseph Stannard
Nina Ritson
Regina Starolis
Karen Rossi
Mark & Tania Walker Dr. Steven Wernick
Mr. & Mrs. Richard Woods
Tauck, in memory of
Caren & Barry Roseman
Alyson & Tony Thomson
Laura Zweig
Keith Wilson
The Maude Powell Circle anonymous
Karen Burlingame &
Florence Fowlkes
Sarita Kwok & Alexandre Lecarme
anonymous
Claire Burson
Larry & Rita Freedman
Joseph Lavieri
anonymous anonymous anonymous
Simon Aldridge & Lisa Tanno Roslyn Allison
Rick & Nurit Amdur Caroline Andrus
Steven J. Archaski
Mrs. Lois Clark Atkinson
Robert F. & Jo Ann D. Austin Ivan A. Backer
Emily P. Bakemeier &
Alain G. Moureaux
Joel Bard & Sayuri Miyamoto
Johanna Barnhart & Caridad Caro Mr. & Mrs. Jeremy Barnum
Francis & Christianne Baudry Barbara & Jack Beecher
Warren & Joanne Bender
Anne Marie & Jonathan Berger ErzsĂŠbet & Donald Black Christopher Blair
Ed & Jeannie Boehner Martin Braid
Amb. & Mrs. Everett Briggs Joyce Briggs
Karen & Trip Brizell
Gerry & Bill Brodnitzky Beth & Peter Brunone
Francesca Turchiano &
Bob Bumcrot
Anders Bolang
Steven Callahan &
Randall Dwenger
Nicholas L. Campbell
Carol Camper & John Hartje Susan E. Carpenter
Sally Carr & Larry Hannifin Linda & Walter Censor Jane & Oscar Chase
Ted & Victory Chase Carolyn Childs
Starling & Michelle Childs Deanne Chin
Pamela Collins
Charles Collins Hilda Collins
Phyllis & Joseph Crowley
Drew Days, III & Ann Langdon Peter & Kristine Dobbeck Ruah Donnelly &
Steven Dinkelaker
Judith & Paul Dorphley
Dr. & Mrs. Paul D. Ellner Howard & Sally Estock Susan L. Fish &
Robert W. Richardson
Mary Ann & Joseph Fitzpatrick Carole & Michael Fleisher
Mary Kay & Woody Flowers
Walter Foery & Ransom Wilson Roz Forman
80 | MUSIC SHED RESTOR ATION FUND
Genevieve Fraiman Bruce Frisch
John G. & Susanne Funchion Dr. Richard J. Gard Jeffrey Guimond
Judith & Arthur Gurtman Rosamond Hamlin Jim & Lois Harris Ann Havemeyer
Gerald & Barbara Hess Tom Hlas
Anita Holmes
David Hosford
Sallie Craig Huber
Maureen Hurd Hause,
in memory
of Keith Wilson
Wayne Jenkins
Nancy & Blair Jensen Michele Jerison
Theodore & Nancy Johnson Elisabeth Kaestner &
Paul de Angelis,
Frank Bell
in honor of
Jenny Kalick
Mr. & Mrs. Abraham Kaufman Galene & Richard Kessin
Robert N. Kitchen, M.D. Sheila Camera Kotur
Roberta & Lawrence Krakoff
Dr. & Mrs. Robert Lapkin Suzanna & Peter Lengyel Judith & Michael Lesch Douglas & Susan Lint David Longmire Vicky MacLean
Jack & Ingrid Manning Janet Marks
Elizabeth & Frank Martignetti Stephen J. McGruder
Family Fund
Gwen E. Melvin
Dr. & Mrs. Ira Mickenberg
Timothy & Deborah Moore Jim & Jeanne Moye
Ingegerd Mundheim Michaela Murphy
Pamela & Julian Nichols Faye O'Meara
Jerry & DeVere Oakes Ruthann Olsson
James & Jean Palmer,
in honor of
William G. Gridley, Jr.
Catherine Perga Barbara Perkins
James Perlotto & Thomas Masse Charles & Barbara Perrow Ted & Iris Phillips
Ed & Reva Potter
Stuart & Helaine Smith,
Martin Tandler
Nancy R. Wadhams
Mr. and Mrs. Hugh M. Ravenscroft
Bridget Taylor
Robert F. Wechsler & Emily Aber
Donna & Dennis Randall Carol & Harold Rolfe
Edward & Karen Rosen
Aaron & Judith Rosenberg Naomi Rosenblum
Mr. & Mrs. Alain C. Saman Martha Saxton
Norman Schnayer
Marvin & Joyce S. Schwartz Stefania Scotti
Anthony & Helen Scoville Shoreline Village, CT
Chris & Frank Silvestri Ron Sloan
Cornelia & Jon Small
in honor of
Michael Emont
Gordon W. Smith
John & Judith Sneath,
in honor of
Dominique Lahaussois
David Low &
The Solid Comfort Fishing Club,
in memory of Frank Bell
Janet & Ronald Spencer
Peter & Abbe Steinglass Dr. J.W. Streett
Michael & Suzanne Stringer Frederica M. Sulzbacher Elizabeth C. Sussman G & R Swibold
Maija Lutz & Peter Tassia
Nancy Wadleton
Dr. Timothy D. Taylor
Kate Wenner & Gil Eisner
Sally & Nicholas Thacher
Virginia T. Wilkinson
Alyson & Tony Thomson
Joan Wilson,
William Tilles
Richard & Sandra Tombaugh
Allen Trousdale
Werner & Elizabeth Wolf
Christina Vanderlip,
Beatrice & Edgar Wolf
in memory of
Susannah & Wiley Wood
William G. Gridley, Jr.
Margot Woodwell,
William & Sally Vaun,
William G. Gridley, Jr.
Kathleen S. Wilson
Nicholas Valkenburg
in memory of
in memory of
Frank B. Bell
in memory of
Frank B. Bell
Toby Young
Peter Vosburgh
The Victor Herbert Circle Craig Baker
Helen & Avi Elnekave
Laura Lasker
Mr. and Mrs. Henry Stern
Mr. & Mrs. Gordon Bischoff,
Jennifer Laursen
Sheldon & Florence Toder
Alice & David Belgray
in memory of
Michael J. Poskus
Gayle H. Blakeslee
Awilda Guerrero-Buchholz &
Bernard Buchholz
Margaret E. Burnett
Ivan & Frances Capella
Virginia Russ Chalmers
Dr. & Mrs. B. Charipper
Chevron Humankind Direct Contribution
Justine & Hakki Cinel Maggie Clarke Joan W. Cox,
in loving memory of
William G. Gridley, Jr.
Mahlon Craft
Jen Perga & Mike DeClement Susan M. Dyer
Alison & Mark Foley,
in memory of
Michael J. Poskus
Steven Fraade Sara Frischer
Swadesh S. Grant
Alysson D. Iceton Green
Jack Grossman & Diane Cohen Joe & Pat Grynbaum
Hartford County 4-H Fair,
in memory of
Michael J. Poskus
Steve & Amy Hatfield Philip Hoskins
Robert & Lise Howe,
in memory
of Michael J. Poskus
Dean & Bob Inglis Valerie Jones
Sun-Ichiro Karato
Diane & David Kopp
Evelyn & Marcel Laufer
Clarice N. Stevens
Sara & William Lavner
Anne Garrels & Vint Lawrence Cheng-hua Lee Karen Linden
Zdenek & Zuzana Meistrick
Robert & Andrea Milstein
Eileen E. Reed &
Peter A. Rogers & Paige Carter
Turi Rostad
Edward & Lynn Russell Mark & Tema Silk
Marcia & Robert E. Sparrow
William G. Gridley, Jr. in memory of
William G. Gridley, Jr.
John & Shirley Warn,
Jay & Elizabeth Nyczak
Arthur S. Rosenblatt
in memory of
Peter Vosburgh
Carlos E. & Alda Neumann
Susan Rood
William & Sally Vaun,
Dr. & Mrs. Ronald Match
C.A. Polnitsky, M.D.
Mr. & Mrs. Dolph Van Laanen,
Lenore Mand
John & Sanda Ursone
in memory of
Michael J. Poskus
Bonnie Watkins
Fred & Edith Wilhelm in honor
of Michael J. Poskus
in memory of
PreSchool Family & Young Fives,
Keith Wilson
Jeppy Yarensky
MUSIC SHED RESTORATION FUND | 81
Annual Fund We wish to thank the many individuals and organizations who, through their support, have made this season possible. (As of May 4, 2015)
Leading Contributors Astrid & John Baumgardner Mr. & Mrs. Christopher DiBonaventura Centenary Scholarship Fund Local Area Fund of the Community Foundation of Northwest Connecticut Clement Clarke Moore Schoarship Fund Aldo & Elizabeth Parisot, in honor of Harris Goldsmith Jim & Nancy Remis Anne-Marie Soullière & Lindsey Kiang Ellen Battell Stoeckel Trust Roger & Jerry Tilles The Virgil Thomson Foundation Sukey Wagner Louise Willson Scholarship Fund Yale Summer Music Fund
82 | ANNUAL FUND
Musicians' Circle anonymous
Richard Goode, in honor of Harris Goldsmith
Katherine Moore
Syoko Aki Erle, in honor of Harris Goldsmith
Anne & John Herrmann
John Perkins & Hope Dana
AKC Fund, Inc.
Mr. & Mrs. Samuel A. Anderson Battell Arts Foundation
John & Denise Buchanan Hope Childs
Marlene I. Childs
D'Addario Music Foundation
Andrew DeRocco & Joan McNulty
Rohit & Katharine Desai Family Foundation Lionel & Dotty Goldfrank
Mireille Gousseland
Leila & Daniel Javitch Helen Jessup
Peter L. Kennard Anthony Kiser,
The William & Mary Greve Foundation
David Low & Dominique Lahaussois Kim & Judy Maxwell Merck Gives Back
Richard & Barbara Moore
Ronald & Susan Netter Jane & Lee Perkins
Andrew & Sally Quale
Resources Management Corp Sandy & Dick Rippe
Mary & Don Roberts Pat & Kurt Steele
Alex & Patricia Vance
Annick & Eliot Wadsworth
Associate Members anonymous
George K. Fenn, Jr.
Ingrid & Michael Morley
Caroline Andrus
Roger Mitchell & Pete Peterson
Burton & Joyce Ahrens Linda & Roger Astmann
ErzsĂŠbet & Donald Black
Mary Beth & Walter Buck
Mr. & Mrs. Herbert Coyne George Cronin
Instrumental Piano Service, LLC Robert Dance & Robert Loper John & Helen Davis,
in memory of William G. Gridley, Jr.
Mary Fanette & Veronica Burns
Adrienne Gallagher & James Nelson,
in honor of the extraordinary Norfolk Festival Staff
Mrs. Jose W. Noyes
Barbara & Bill Gridley
Anne & Bernard Rochet, in honor of Harris Goldsmith
Brett & Coleen Hellerman
Dr. and Mrs. Herbert Scarf
Daphne Hurford & Sandy Padwe
Alyson & Tony Thomson
Kathleen Kelley
Mark & Tania Walker
Morton & Judith Grosz
John & Barbara Rutledge
Peter & Mary Hess
Richard & Marilyn Schatzberg
Colta & Gary Ives
Mr. and Mrs. Robert Vail
David Kurtz
Tom Martin & Susan Spiggle
Sustaining Members anonymous
Claudia & Eliot Feldman
Evelyn & Marcel Laufer
Linda & Frank Bell
Stacey McG. Gemmill
Robert Dance & Robert Loper
Barbara K. & Malcolm B. Bayliss Carol Camper & John Hartje Pamela B. Collins Jeffrey P. Cunard
Allan Dean & Julie Shapiro Louise Ducas
Jon & Susan A. Eisenhandler Bob & Eiko Engling
Howard & Sally Estock
Fleur Fairman & Timothy Wallach
Dr. Richard & Mrs. Evelyn Gard Betsy Gill
Christine Gousseland
William and Mary Gridley Gerald & Barbara Hess
Tom Hlas & Paul Madore
Jean Crutchfield & Robert Hobbs Evan G. Hughes
Michael & Doreen Kelly Sarita Kwok
Vint Lawrence & Anne Garrrels Zdenek & Zuzana Meistrick
Patricia Nooy & Roger Miller Timothy & Deborah Moore Mrs. Ingegerd Mundheim Alain Saman Abby Wells
Sally & William Charitable Fund Mr. & Mrs. Willard Wood
ANNUAL FUND | 83
Annual Fund continued Supporting Members Mary Ackerly &
Judith & Paul Dorphley
Gerald & Selma Lotenberg
Chris & Frank Silvestri
Gwen Melvin
Gordon W. Smith &
Michael Sconyers,
in honor of
William G. Gridley, Jr.
Simon Aldridge & Lisa Tanno Graham & Elizabeth Allyn Richard & Jane Andrias Joanna Aversa
John & Sonia Batten
David & Carolyn Belt
Warren and Joanne Bender Amy & Peter Bernstein
Mr. & Mrs. Edward H. Boehner
Ambassador & Mrs. Everett Briggs Joyce G. Briggs
Mr. & Mrs. Bernard Buchholz Michelle and Star Childs Marvin Chin
Peter Coffeen
Sara & Lewis Cole
Edward & Suzanne Colt
Joseph & Phylis Crowley
Drew S. Days & Ann. R. Langdon John V.H. Dippel Martina C. Dodd
Randall R. Dwenger &
Jeremy Barnum & Caitlin Macy
Steven B. Callahan
Dalton & Roshanak Dwyer
Cecily Mermann
Ronald Ebrecht
Jim & Jeanne Moye
Bonner and David Elwell
Lynn Padell & Bob Altbaum
Raynard & Pierce Insurance
Susan Fish & Robert Richardson Carole & Michael Fleisher
Mary Kay & Woody Flowers Genevieve Fraiman
Rita & Lawrence Freedman
Judy & Tician Papachristou Holly Poindexter
Eileen E. Reed &
C.A. Polnitsky, M.D.
Ed & Reva Potter
Susan & Peter Restler
Sara Frischer
David & Cristin Rich
John T. Gillespie
Betty J. Robbins
Judith & Arthur Gurtman
Caren & Barry Roseman
Lewis Haber
Lawrence & Naomi Rothfield
Peter S. Heller
Carl Schachter,
Suzanne M. Hertel
Sarah & Daniel Hincks
Joel Howard & Tracy Tucker Chris & Diane Johnstone Ani Kavafian
in honor of
Harris Goldsmith
Norman Schnayer Joyce S. Schwartz
Anthony & Helen Scoville
Mr. & Mrs. Richard Kessin
Tom Shachtman & Harriet Shelare
Pamela Kinsey
Dee & Stan Shapiro
Dr. & Mrs. Robert Lapkin
Cornelia & Jon Small
Joanna Vincent
Ileene Smith & Howard Sobel Janet & Ronald Spencer Regina Starolis Bruce L. Stein
Peter & Abbe Steinglass Dr. J.W. Streett
Richard & Gretchen Swibold Graham Taylor
Peter & Jean Thompson
Richard & Sandra Tombaugh C. Dale Turnipseed
Sandy & David Van Buren Marsha Keskinen &
George Weichun
Kate Wenner & Gil Eisner Joan Wilson
Donald & Jane Workman Wesley York &
Robert Scrofani
Jonathan & Faye Silbermann
Members Ole Akahoshi,
Linda & Walter Censor
Robert D. & M. Dean Inglis
Naomi Rosenblum
Ted & Victory Chase
Lawrence & Roberta Krakoff
James & Catherine Terry
in honor of
Harris Goldsmith
Sandy An
Donald A. Bickford Gayle Blakeslee Bert Boyson
Martin Braid
Gerry & Bill Brodnitzki
Cynthia & Burton Budick David & Leslie Burgin Laura Byers
Jill Campbell
Ivan & Frances Capella 84 | ANNUAL FUND
Virginia Russ Chalmers
Chevron Humankind Direct Contribution Marjorie Clarke
Dennis & Penny Dix
Dr. & Mrs. Robert Friedman Ellen D. Glass, M.D.
Rev. Dr. Mary N. Hawkes
Barbara Spiegel & Tom Hodgkin Arthur & Meredith Hurst Elaine & Jon Hyman
IBM Matching Gifts Program
Ralph C. Jones
Peter & Suzanna Lengyel
Ira Mickenberg & Pat Fahey Robert & Andrea Milstein
in honor of
Joan Panetti
Michael Moran
Carlos E. and Alda Neumann Diane L. Northrop
Heather E. & Henry J. Perrault Andrew Ricci, Jr., M.D. &
Jacqueline Ann Muschiano
Edward and Lynn Russell
in honor of
William G. Gridley, Jr.
Rev. Sally Thacher Eric Wanner
Peter & Wendy Wells
William & Phyllis White Mr. John Wightman Eleanor Winslow
Beatrice & Edgar Wolf