Norfolk Chamber Music Festival 2017 Concert Program by Norfolk Chamber Music Festival Yale Summer School of Music

CHA MBER MUSIC FESTIVA L â&#x20AC;¢ YA LE SCHOOL OF MUSIC

Music Among Friends

2017

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Classical Music

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Welcome To The Festival June 2017 I welcome you to another wonderful summer at Norfolk, in my first year as director. Even though this position is new to me, in my previous visits as performer and teacher, I have fallen in love with this place. The stunning natural surroundings, the talented students, and the inspirational concerts are familiar to returning patrons, and are things I hope to introduce to a wider audience. Each Friday evening program is centered around a particular idea, and the works performed all illuminate some aspect of that theme. To put each Friday evening program into the context of its theme, Professor Paul Berry will lead a pre-concert conversation at 7pm before the concert. You will definitely enjoy him and what he has to say - his classes are so popular at Yale that he was awarded a University teaching award! I am particularly excited about the three-week Dvořák mini-Festival that occupies the third, fourth, and fifth weeks. This mini-Festival explores different aspects of Dvořák's music and influences, and you will see that there are programs devoted to “Dvořák and Brahms,” “Dvořák and the Folk Tradition,” and “Dvořák and America.” This Dvořák celebration culminates in our annual Gala, which this year will feature the faculty and fellows performing the Dvořák Serenades. We feel that the Fellows, who come from this country’s finest music schools, are a hidden gem of the Norfolk festival. Many of you are already familiar with the weekly Emerging Artists concerts, but we are featuring the Fellows in an even more visible way, by including several of them in every Friday evening program. You will be amazed at their

poise and artistry as they perform alongside their more experienced colleagues. The proceeds from the Gala will go towards scholarships for the Fellows, and we are starting a campaign to sponsor every Fellow. If you are interested in sponsoring one of our Fellows, please talk to me or the Festival's General Manager Jim Nelson. This summer many of your favorite groups and musicians are back, including the Brentano and Emerson quartets, Boris Berman, Peter Frankl, David Shifrin, William Purvis, Wei-Yi Yang, Ransom Wilson, Steven Taylor, Dashon Burton, Ole Akahoshi and Frank Morelli. You will also have the chance to see and hear some new faces, like the Miró quartet, Harumi Rhodes, Jennifer Frautschi, Atar Arad, and Benjamin Hochman. This group of extraordinary musicians and teachers will make this summer of music a memorable one! I am appreciative that Paul Hawkshaw, the director for many years, agreed to oversee the completion of phase-two of the Shed renovation which will be finished in the fall and will further improve air flow and make you more comfortable during the warm summer evenings. The third and final phase of the Shed project involves an annex at the back which will provide new rehearsal spaces, enlarged and modernized bathrooms, and a green room for the musicians. The anticipated cost of this final phase is $3,000,000, and we are in the beginning stages of raising money for this phase. Please help if you are able - feel free to talk to me or Jim Nelson about this. I and the Faculty, Staff, and Fellows, are most grateful to Dean Blocker, the Yale School of Music, the Ellen Battell Stoeckel Trust, the donors, patrons, volunteers, and friends for their generous and committed support of this summer’s season. Without the help of so many dedicated contributors, this festival would not be possible. Finally, I would like to reiterate my warm welcome to all of you, as we enjoy another summer together of “Music Among Friends!”

Melvin Chen, Director

DIRECTOR'S WELCOME | 3

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Table of Contents 3 ........................ Director’s Welcome 5 ........................ Table of Contents 7 ........................ Festival Acknowledgements 9 ........................ Festival History 10 ........................ Dvořák in Norfolk 11 ........................ The Dvořák Connection 13 ........................ Dvořák & His Times 21 ........................ Artist Spotlight: Boris Berman 23 ........................ Festival Artists 25 ........................ Fellowship Recipients 28 ........................ Festival Mission • Leadership Council 29 ........................ Festival Administration 30 ........................ Wednesday, June 21 • Yale Choral Artists 32 ........................ Emerging Artist Showcase Masterclass Pre-Concert Conversation 33 ........................ Friday, June 30 • Emerging Artist Showcase: New Music Recital 34 ........................ Friday, July 7 • 1st & 2nd Viennese Schools 36 ........................ Saturday, July 8 • Brentano String Quartet 38 ........................ Friday, July 14 • From The British Isles 40 ........................ Saturday, July 15 • Brentano String Quartet 42 ........................ Sunday, July 16 • Open House 44 ........................ Friday, July 21 • Dvořák & Brahms 46 ........................ Saturday, July 22 • Miró Quartet 48 ........................ Friday, July 28 • Dvořák & The Folk Tradition 50 ........................ Saturday, July 29 • Miró Quartet 52 ........................ Friday, August 4 • Dvořák In America 54 ........................ Saturday, August 5 • Festival Gala 56 ........................ Friday, August 11 • Late Works 58 ........................ Saturday, August 12 • Emerson String Quartet 61 ........................ Saturday, August 19 • Choral Festival 62 ........................ Artist Biographies 73 ........................ Music Shed Restoration Donors 79 ........................ Cupola Society 79 ........................ Paul & Susan Hawkshaw Scholarship Donors 81 ........................ Annual Fund Donors

TABLE OF CONTENTS | 5

For a Festival of Flowers at Home...

July 6–August 6

at The Colonial Theatre, Pittsfield, MA

Celebrating 60Years

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book, music and lyrics by Meredith Willson (1) 860-542-5100 e-mail: BRI@BlackberryRiverInn.com www.BlackberryRiverInn.com 538 Greenwoods Road West (Route 44) Norfolk, Connecticut 06058

directed by Travis G. Daly music direction by Mark Gionfriddo

www.BerkshireTheatre.org (413) 997-4444

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

Adrienne Gallagher

Erica Barden

Paul & Susan Hawkshaw

Liz Allyn

John & Astrid Baumgardner Jack Beecher

Rick & Candace Beinecke Linda Bell

Donald & Erszébet Black Elizabeth Borden

Barbara Gridley

Coleen & Brett Hellerman Sarah Henderson

Elizabeth Hilpman & Byron Tucker Infinity Music Hall, Dan Hincks

Norfolk Volunteer Fire Department Northwest Connecticut Arts Council, Amy Wynn Northwestern Regional High School, Steven Zimmerman, Music Coordinator Patricia Pappacoda

Aldo & Elizabeth Parisot

Tom Hodgkin

Bill & Jennie Brown

Martin Jean, Director, Yale Institute of Sacred Music

Joe Poindexter

Daysi Cardona

Gregory Johnson

Karin Roffman

Chamber Music America, Margaret Lioi, President

Doreen & Michael Kelly

Botelle School, Lauren Valentino, Principal Michelle Brummitt

Sally Carr and Larry Hannafin

Leila & Daniel Javitch

Krista Johnson

Woodridge Lake Association WSHU

Kelly Yamaguchi-Scanlon

Michael Yaffe, Associate Dean, Yale School of Music

Arthur Rosenblatt

Matthew LeFevre

Julie Scharnberg

Christopher & Betsy Little

Lauren Schiffer

John G. Waite Associates, Architects John G. Waite Clay Palazzo Matthew Scheidt

Wiley Wood

Nancy & Jim Remis

Chris Keyes

Sukey Wagner

Elizabeth Wilford

Linda Perkins

Salisbury Wines, Warren Carter

Jerry & Roger Tilles

WFCR

Hanul Park

Stefanie Parkyn

Alyson & Tony Thomson

Yale Collection of Musical Instruments,

Antonia Chandler

Erik Klingaman

Lily Schaeffer

Carmen Cusmano, Yale Printing & Publishing Services

Litchfield County Refinishing, Charles Boucher

Kim Scharnberg & Gwynn Griffin

Dr. Donna Yoo

Andrew De Rocco & Joan McNulty

David Low & Dominique Lahaussois

Hope Childs

Perry DeAngelis

Kim & Judy Maxwell

Wood Creek Grill, Heidi & Michael Dinsmore

Cecily Mermann

Tara Deming

Martina Dodd Felice Doynov

Julian Drucker

Carl & Marilee Dudash

Sue Dyer, First Selectman, Norfolk, CT Katelyn Egan

First Congregational Church, Rev. Erick Olsen Janelle Francisco

Chris Melillo

Samuel D. Messer, Director, Yale Summer School of Art Roger Mitchell & Pete Peterson Norfolk Artists & Friends, Ruthann Olsson

The Norfolk Historical Society, Barry Webber The Norfolk Library, Ann Havemeyer, Executive Director Norfolk Lion’s Club

And

Anne-Marie Soullière & Lindsey Kiang Joe Stannard

The citizens of Norfolk who share their lovely community with our Fellows, Artists and audiences

State of CT Historic Preservation Office

The host families who graciously open their homes to our Fellows

Mary Dunne Julie Carmelich

Pat & Kurt Steele

The Battell Arts Foundation, sponsors of the Emerging Artist Showcase

Robert Storr, Dean, Yale School of Art Lynette Stoyles Lily Sutton

Rafi Taherian, Executive Director, Yale Dining Services Martin Tandler

Tents Unlimited, Brittany Sherwood

William Purvis, Director Susan Thompson, Curator

Dean Robert Blocker and the entire Yale School of Music for their continuing and invaluable support of Norfolk Festival Most of all, Ellen Battell Stoeckel, our founder and patroness

FESTIVAL ACKNOWLEDGEMENTS | 7

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Festival History Music in Norfolk has a long an vibrant history, dating back to the 1890’s 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 35room 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 Jean Sibelius in Norfolk, 1916. New York architect, E.K. Photo courtesy Joanna Dolbey 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 renowned musicians such as Fritz Kreisler, Sergei Rachmaninoff, and Jean Sibelius graced its stage. Programs from the early days of the Festival (1906-1923) demonstrate that Norfolk was a dynamic center where composers, performers, poets and authors from around the world were Honourary members of the Litchfield County Choral Union. A short list includes Alice Longworth in 1910 (daughter of Henry Wadsworth Longfellow and one of the founders of Radcliffe College); Henry Hadley also in Norfolk in 1910 (first conductor of the San Francisco Symphony, Associate Conductor of the New York Philharmonic, founder of the Berkshire Symphonic Music Festival in 1934 - later known as Tanglewood); and Frederick Stock in 1915 (Music Director of the Chicago Symphony for 37 years, succeeding its founder, Theodore Thomas, and preceding Fritz Reiner). Other Honourary members included Vincent D’Indy, Antonín Dvořák, Edward Everett Hale, Camille Saint-Saëns and Ralph Vaughan Williams. Norfolk was an important, perhaps critical, stop on the music circuit in the early years of the 20th century. Upon her death in 1939, Ellen Battell Stoeckel left her estate in a private trust with instructions that the facilities be used for Yale University’s summer music school, ensuring an enduring artistic legacy. Now in its 75th season, the Norfolk Chamber Music – 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 Tokyo, Alexander, Brentano, Emerson and Artis String 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 nearly 40 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. The Fellows who spend their summer in Norfolk participate in the intensive program of coachings, 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 who have enjoyed successful careers in music include Alan Gilbert, Richard Stoltzman, Frederica von Stade, Pamela Frank, the Claremont and Eroica Trios, Sō Percussion, eighth blackbird, and the Alexander, Calder, Cassatt, Cavani, Jasper, Miró, Saint Lawrence, Shanghai and Ying quartets, among many others. Recent Norfolk alumni, have also won many of the most prestigious chamber music prizes including the Young Artists’, Naumberg, Fischoff, and Banff competitions. A strong bond exists with the community, as residents of Norfolk and the surrounding area host the Fellows throughout their summer experience. The Fellows perform on the Emerging Artits Showcase series, which is offered free to he public throughout the summer. The community of music lovers supports the young performers (Top: Left to Right ) Conductor Arthur Mees, soprano Alma Gluck, violinists Efrem Zimbalist and becomes their and Fritz Kreisler in Alma’s new Ford, most enthusiastic purchased on the way to Norfolk advocate. Photo courtesy of the Mees Family. 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. In both the school and in our concerts we work every day to honor the spirit of Ellen and Carl Stoeckel, as stated in a concert program from June, 1922: “the sole object being to honour the composer and his work, under the most elevated conditions.”

FESTIVAL HISTORY | 9

Dvořák In Norfolk by Paul Berry

Antonín Dvořák, 1897

One hundred and twenty-six years ago this summer, the Gilded Age philanthropist Jeannette Thurber offered Antonín Dvořák the position of Artistic Director and Professor of Composition at the National Conservatory of Music in New York. Lured by Thurber’s challenge to forge a national musical style for the United States and the promise of twenty-five times his previous salary, Dvořák arrived in September 1892 and taught in New York until financial crises decimated Thurber’s budget in 1895. His three-year sojourn stimulated some of his most influential music.

Born in the Bohemian countryside in 1841, and internationally established by the late 1870s, Dvořák was well equipped for Thurber's nationalist project. By 1892, he had already spent three decades juggling the conflicting imperatives inherent in his identity as a distinctly Czech Facade of the National Conservatory of artist, on the one hand, Music at 47-49 West 25th Street, 1905 and his ambitions of dominance within the growing Austro-German canon, on the other. The formative models encountered in his youth were Bedřich Smetana and other patriotic, Czech-speaking Bohemians, yet his own gift for seemingly spontaneous melody rivaled that of the quintessentially Viennese Franz Schubert, and his formal musical training was that of a pragmatic, omnivorous craftsman in the mold of J. S. Bach. He had already explored styles both vernacular (in the early song cycle Cypresses) and cosmopolitan (in the Serenade for Strings and String Quartet in d minor) before his music found broader audiences through the influence of Johannes Brahms, who encountered a bundle of Dvořák's scores in 1878 when serving on the jury for the Austrian State Stipend for Artists competition and promptly convinced his own publisher, Fritz Simrock, to release them. The Slavonic Dances, Opus 44, made Dvořák's reputation almost overnight and identified him permanently as a Czech nationalist in the eyes and ears of the all-important German marketplace. 10 | DVOŘÁK IN NORFOLK

That perceived identity became, in turn, a double-edged sword in times of political conflict between Berlin and Prague, forcing the composer to substitute the neutral abbreviation “Ant.” for his given name on the covers of his scores and, arguably, leading him to adopt a denser, more overtly Brahmsian approach in works like the Piano Trio in f minor. Craft and cultural cunning both served him well in the United States. Like many of his European contemporaries, from Grieg to Mussorgsky to Samuel Coleridge-Taylor, Dvořák located musical nationalism in the shared sense of regional nostalgia provoked by borrowed or simulated folk tunes. In an 1895 article in Harper's Monthly, he conjured up a typical American listener and asked: “What melody could stop him on the street if he were in a strange land and make the home feeling well up within him?” In a country of immigrants, however, this was no easy question to answer, and the solutions he found remain powerful and discomfiting to this day. Based on his own reading in ethnographic literature and with the help of an AfricanAmerican baritone and composition student, Henry Burleigh, Dvořák settled on the vanishing musics of Native Americans and African slaves as his source material, a decision that implicated European art music in the stereotyped appropriation of racial and ethnic difference his audience had already encountered in popular entertainment like the blackface minstrel show. Indeed, as Dvořák knew, some of the songs that Burleigh sang to him were not slave songs but minstrel show melodies by Stephen Foster, and the supposed Amerindian tunes he studied were often just as far removed from their original sources. On these fraught and shifting foundations, Dvořák built a quintessentially “American” sound in works like the Symphony From the New World and the E-flat Major String Quintet: simple melodies unfold above static, drone-like accompaniments, while transparent textures and open harmonies evoke the unhurried South and the uncrowded West that still hover around the edges of the (white) American imagination. After Dvořák departed for Prague in 1895, the sound he created and the aesthetic he articulated found continued resonance through the influence of his students at the National Conservatory. Henry Burleigh enfolded slave songs like Go Down, Moses in rich, Brahmsian harmonies and crystalline counterpoint. Rubin Goldmark painted lightly exotic instrumental landscapes like The Call of the Plains; Goldmark, in turn, taught two of the greatest inventors of twentiethcentury Americana, George Gershwin and Aaron Copland. Another Dvořák protégé, Harry Rowe Shelley, was one of Charles Ives’s teachers; while the modernist Piano Trio of 1915 would surely have shocked the old Bohemian had he lived to hear it, even Ives’s most radical compositions still root themselves in native soil by borrowing the melodies of vernacular song. Through the works of these composers and their countless descendants, Dvořák’s legacy of musical nationalism was forever intertwined with the cultural history of the United States — in all its promise and all its problems. (for

more on paul berry see page 62)

The Dvořák Connection This season we are focusing on Dvořák’s legacy in American classical music, and the influences that shaped his own music, specifically the regional and national folk music that were such an important part of his musical life. From an early age, he absorbed influences of Bohemian folk songs, dances and Gypsy music, and later in life heard and absorbed regional ‘dialects’ from the new world. This use of the ‘vernacular’ in more formal concert music was prevalent in the late 19th century and is heard in the music of Brahms, Mahler,

Dvořák and many others. As we explored Dvořák’s connections to the American music scene of the later 1800s, it became clear that the Norfolk Festival and Dvořák had many mutual and important links. Below you will find several illustrations of connections linking Dvořák and the musical legacy of Norfolk. (He was listed as “Deceased Honourary Member” in the 1922 concert program of the Litchfield County Choral Union.) See the chart below for a brief look at some of Dvořák’s profound influence in classical concert music.

THE DVOŘÁK CONNECTION | 11

PRESENTS

NORFOLK ARTISTS & FRIENDS 9th AUGUST ARTS WEEKEND

ART SHOW 2017 At the Battell Stoeckel Gallery

AUGUST 4, 5 & 6 A RT O PENING F RI. 4 TH 5 PM ~ 7:30 PM S AT. 5 TH 12 PM ~ 5:30 PM S UN. 6 TH 11 AM ~ 4 PM

MEET THE ARTISTS & FRIENDS:

Follow signs on the Stoeckel Estate to the gallery from Route 44 and 272 in Norfolk, CT Please visit our website for more details:

w w w. n o r f o l k a r t . o r g

www.weekendinnor folk.org

Dvořák And His Times The legacy of Dvořák’s influence on music extends in many directions, as “The Dvořák Connection” and Paul Berry’s piece found in this program book demonstrate. The same is true of the Norfolk Festival, which quickly established itself as a premier stop for the major artists touring North America. Following now is a ‘timeline’ of events, inventions, creations, births and deaths, some extraordinary and some mundane that occurred during Antonín Dvořák’s lifetime. We have sought to keep political events such as the Civil War out of the timeline, but some were impossible to edit out - not because of profound impact but more because they were on the, how shall we say, quirky side of history. Some years can be seen in retrospect as relatively normal - although what can be called “normal” for an entire world? 1900 gave us the births of Spencer Tracy, Sammy Davis, Jr., Aaron Copland, Margaret Mitchell, Xavier Cugat - all memorable and significant. Other years were extraordinary - 1903 gave us births of several great musicians: pianists Claudio Arrau, Rudolf Serkin, Vladimir Horowitz, violinist Nathan Milstein and cellist Gregor Piatigorsky. This was in addition to entertainers Edgar Bergen, Lawrence Welk, Bix Beiderbecke, Bing Crosby, Bob Hope, restaurateur Toots Shor,

baseball legend Lou Gehrig, Eliot Ness, Benjamin Spock and cartoonist Al Hirshfeld. While this may be only a happenstance of births, isn’t that an amazing list! 1890s brought us Fannie Farmer’s cookbook, Henry Ford’s first automobile, and the Kodak Brownie camera. I wonder if Henry Ford took a selfie with a Brownie in his new car? And does anyone find it curious that Mae West and Dorothy Parker were born in the same year? I can only imagine what these two would find in common if they had spent time together. We hope these pages will provide a sense of the times, and that you will find it interesting and amusing. We’ve edited this down from many pages into a couple, and tried to give you a glimpse of 63 years of world history - in six pages. Hmmmm. And with that, I’ll close with the annual caveat that much of this came from the "interweb" which, although wonderful, really isn’t the most accurate source of information in every instance. You can also ‘like’ us on Facebook where we’ll post additional tidbits of information throughout the summer. We’ve got LOTS more! We find this fun. We hope you do as well.

1841 | Dvořák is born.

1852 | The novel Uncle Tom's Cabin is published. In the South

The US Supreme Court decides that the Africans who had been aboard the ship Amistad are free to return to Africa, that they are not legally slaves. The trial took place in New Haven, CT.

1845 | The faster shipment of potatoes from the Americas across

the Atlantic to Europe allows the survival of mold arriving with the potatoes. The mold creates potato crop failures across Europe and starvation in Ireland.

Dr. Morton (dentist and former partner of Horace Wells of Hartford, CT) gives a patient in Boston ether as an anesthetic, a revolution in surgical practice. Horace Wells was the first to understand the use of the anesthetic, having tried it on himself a few years earlier. - It is fun to know that in Hartford there are three (3!) Horace Wells and a memorials to Horace Wells, the replica of the founder of anesthetics. ether inhaler.

complaints arise that the novel is exaggeration, and owning a copy of the book is made illegal.

1855 | Brahms begins his Symphony #1 (completed in 1876). New Music: Dvořák writes his first work, Forget-Me-Not-Polka, at age 14.

1856 | Deaths: Robert Schumann 1857 | Elisha Graves Otis installs the first passenger-safe elevator in a department store in New York City.

The US Supreme Court, in the Dred Scott case, rules that African Americans, free or slave, are not citizens and have no recourse in federal courts. Births: Sir Edward Elgar New Music: Brahms German Requiem; Dvořák Mass in B-flat Major

1848 | With Friedrich Engels, Karl Marx writes The Communist Manifesto.

At a women's rights convention in Seneca Falls, New York, a call is made for equal treatment of women and men under the law and voting rights for women. DVOŘÁK AND HIS TIMES | 13

Dvořák And His Times 1859 | Charles Darwin publishes his Origin of the Species; he had been sitting on it for 21 years.

British scientist John Tyndall describes carbon dioxide (CO2) and water vapor trapping heat in the atmosphere. He suggests that change in the concentration of gases could bring climate change. [That was 160 years ago!]

1860 | In the US, George Crum has

New Music: Verdi String Quartet; Bruckner Symphony #3; Brahms Variations on a Theme by Haydn; Saint-Saëns Cello Concerto; Dvořák Symphony #3, Octet, 2 String Quartets

1874 | Births: Gustav Holst, Arnold Schoenberg, Charles Ives New Music: Verdi Requiem; Bruckner Symphony #4; Smetana Má Vlast; Dvořák String Quartet in a minor

created what is to be known as the potato chip. He opens his own restaurant, featuring potato chips in a basket placed on every table.

1875 | In Canada the light bulb is invented. Thomas Edison

buys the patent. In 1876 Alexander Graham Bell invents the telephone. In 1877 Thomas Edison develops the phonograph. Wow!

1862 | In the US the first paper money is issued.

Births: Samuel Coleridge-Taylor, Maurice Ravel

Births: Claude Debussy, Frederick Delius

New Music: Bizet Carmen; Tchaikovsky Swan Lake; Dvořák Symphony #5, Serenade for Strings, String Quintet, Piano Quartet, Piano Trio; Grieg Peer Gynt

- Oh, that $20 bill you found is mine…

New Music: Brahms Cello Sonata #1; Dvořák String Quartet #1

1863 | Births: Jean Sibelius, Carl Nielsen

Deaths: Georges Bizet

George Crum

1876 | New Music: Wagner Siegfried, Götterdämmerung; Brahms

Symphony #1; Smetana String Quartet #1 (From My Life); Dvořák Piano Concerto in g minor, String Quartet in E Major, Piano Trio, Stabat Mater

New Music: Wagner Tristan und Isolde; Brahms Horn Trio

1867 | Russia's Tsar Alexander II

1877 | The US economy has been on a down swing, and labor unrest

wants to consolidate its frontier and sells Alaska to the US.

Dating trees by their annual rings begins. Trees were ageless until then.

State flag of Alaska

New Music: J. Strauss Blue Danube Waltz

Quartet in E-flat Major; Franck Piano Quintet

State flag of Wyoming

1871 | Life expectancy at birth in England has risen from 36 years in 1700 to 41 years.

New Music: Verdi Aida

1872 | Births: Alexander Scriabin, Ralph Vaughan Williams

14 | DVOŘÁK AND HIS TIMES

Dvořák Wind Serenade, Slavonic Dances and Rhapsodies, String Sextet; Elgar Romance for Violin

1879 | New Music: Dvořák Czech Suite, Violin Concerto, String

1870 | New Music: Wagner Die

1873 | Births: Sergei Rachmaninov

New Music: Brahms Symphony #2; Saint-Saëns Samson et Delilah; Dvořák String Quartet in d minor

allows women to vote.

has spread across the country. Three million men, roughly 27 % of the working population are unemployed.

1878 | New Music: Brahms Piano Concerto #2, Violin Concerto;

1869 | The Territory of Wyoming

Walküre, Siegfried Idyll; Brahms Alto Rhapsody; Dvořák 3 String Quartets, Notturno for Strings

1880 | After many failed attempts to assassinate Alexander II, radicals

fail again, blowing up the dining room at the Tsar's palace, killing eleven and wounding 56. The Tsar was late for dinner.

John D. Rockefeller's empire controls 95% of US oil refining. The US has a total of eleven college-level professors of history. New Music: Brahms Academic Festival Overture, Piano Trio #2; Tchaikovsky Serenade for Strings; Dvořák Symphony #6;

1881 | Tennessee's legislature mandates racial segregation on railroads.

US President James Garfield is shot by a disgruntled office-seeker on July 2. Doctors repeatedly poke their fingers into the bullet hole looking for the bullet, causing an infection. Garfield dies on September 19 after being President for about six months. He is succeeded by Chester A. Arthur. Births: Béla Bartók

Births: Alban Berg New Music: Dvořák Symphony #7; Sibelius String Quartet; Brahms Symphony #3; Sullivan The Mikado

1886 | Deaths: Franz Liszt New Music: Saint-Saëns Le carnaval des animaux, Symphony #3 (Organ); Dvořák Slavonic Dances (2nd series)

Deaths: Modest Mussorgsky

1887 | Births: Hector Villa-Lobos

New Music: Borodin String Quartet # 2; Dvořák Legends, String Quartet in C Major

Deaths: Alexander Borodin

1882 | Births: Igor Stravinsky New Music: Brahms String Quartet #1; Tchaikovsky 1812 Overture

1883 | Germany’s 1st Chancellor,

Otto Von Bismarck, introduces a state health insurance law. [Wonder if it was called "Ottocare?"]

Otto Eduard Leopold, Prince of Bismarck in his 75th year. By Franz von Lenbach Births: Anton Webern, Horatio Parker, Edgar Varèse, John Maynard Keynes, Benito Mussolini Deaths: Karl Marx New Music: Smetana String Quartet #2; Dvořák Piano Trio

1884 | Deaths: Bedřich Smetana New Music: Bruckner Symphony #8; Brahms Symphony #4

1885 | In Germany, Karl

Benz develops an internal combustion engine. It can run at 250 RPM.

The 1885 Benz Patent-Motorwagen, widely regarded as the world's first automobile, cost 600 imperial German marks in 1885, equivalent to $3,998 in 2016.

New Music: Verdi Otello; Brahms Double Concerto; Dvořák Piano Quintet, Piano Quartet; Fauré Pavane, Requiem; Wolf Italian Serenade; Stanford “Irish Symphony”

1888 | New Music: Gounod Petite Symphonie; Tchaikovsky

Sleeping Beauty, Symphony #5; Rimsky-Korsakov Scheherezade; Mahler Symphony #1; Satie Trois Gymnopédies

1889 | New Music: Dvořák Symphony #8; Richard Strauss Death and Transfiguration; Debussy Petite Suite

1890 | Births: Bohuslav Martinů, Jacques Ibert Deaths: César Franck, Vincent Van Gogh New Music: Brahms String Quintet #2; Dvořák Dumka for Piano Trio; Rachmaninov Piano Concerto #1

1891 | Germany's Social Democratic Party advocates a variety of

reforms: the 8-hour work day; prohibition of child labor under the age of 14; government regulation of working conditions; the abolition of laws that restrict the right of people to assemble; direct suffrage by secret ballot; the election of judges; an end to laws that put women at a disadvantage as compared with men; a graduated income and property tax; free medical attention; a people's militia for defense; secularized public education; no public money supporting religious institutions, and initiates the first public old-age pension system.

1892 | Births: Ferdé Grofe, Darius Milhaud, Athur Honegger

Deaths: Édouard Lalo New Music: Dvořák Te Deum; Elgar Serenade for Strings; Brahms Clarinet Quintet, Clarinet Trio

DVOŘÁK AND HIS TIMES | 15

Dvořák And His Times 1893 | New Zealand is the first country to give women the vote in national elections.

Antonín Dvořák's Symphony No. 9, "From the New World" receives its premiere at Carnegie Hall, New York City. Births: Jimmy Durante, Andres Segovia, Harold Lloyd, Big Bill Broonzy, Mississippi John Hurt, Mae West, Dorothy Parker, John P Marquand, Mao Zedong

Kate Sheppard was the most prominent member of New Zealand's women's suffrage movement and also appears on the New Zealand ten-dollar note. Advertisement for the December 16, 1893, concert which included the world premiere of Dvořák's "New World" Symphony. Courtesy of the Carnegie Hall Archives.

Deaths: Charles Gounod, Peter Tchaikovsky New Music: Tchaikovsky Symphony #6 (Pathétique); Dvořák String Quintet in E-flat Major, String Quartet “American”; Debussy String Quartet;

1894 | New Zealand enacts the world's first minimum wage law. France's Captain Alfred Dreyfus is falsely accused of passing military information to German agents and is sent to Devil's Island. Rightwing haters of the Republic and its secularism associate the treason of Dreyfus, a Jew, with government malfeasance. This will not be resolved until 1906. Births: Norman Rockwell, Jack Benny, Bessie Smith, Martha Graham, Aldous Huxley, Arthur Fiedler New Music: R Strauss Also Sprach Zarathustra; Bruckner Symphony #9; Brahms 2 Clarinet Sonatas; Mahler Symphony #2; Debussy Prelude to the Afternoon of a Faun.

1895 | In Russia the average male dies at 31.4 years-of-age and the average woman at 33.3.

Josef Breuer and Sigmund Freud publish Studies in Hysteria, which describes their "talking cure" and is generally considered to be the beginning of psychoanalysis. Oscar Hammerstein opens the Olympia Theatre, the first theatre to be built in New York City's Times Square district. The gold reserve of the US Treasury is saved when J. P. Morgan and the Rothschilds loan $65 million worth of gold to the US government. Births: Babe Ruth, Shemp Howard (Three Stooges), Rudolph Valentino, Carl Orff, Buckminster Fuller, Buster Keaton, Paul Hindemith Deaths: Frederick Douglass (and he’s still doing amazing things!), Franz von Suppé, Friedrich Engels, Louis Pasteur New Music: Mahler Symphony #3; Dvořák Cello Concerto

1896 | Walter Arnold, of East Peckham, Kent, England, is fined 1

shilling for speeding at 8 mph, exceeding the contemporary speed limit of 2 mph. For this he earns the first speeding fine.

16 | DVOŘÁK AND HIS TIMES

Bridget Driscoll is run over by a Benz car on the grounds of The Crystal Palace, London, the world's first motoring fatality. Charles Dow publishes the first edition of the Dow Jones Industrial Average. Henry Ford builds his first automobile. On Christmas Day John Philip Sousa composes his magnum opus, the Stars and Stripes Forever.

The US Supreme Court introduces the "separate but equal" doctrine in Plessy v. Ferguson and upholds racial segregation.

The paperclip is patented by Johan Vaaler, a Norwegian inventor

In France the real spy in the Dreyfus Affair has been found, but the French Army prefers to keep its mistake hidden and maintain that Dreyfus, still on Devil's Island, is guilty.

Births: Francis Poulenc, Goodman Ace, Vladimir Nabokov, Duke Ellington,| Fred Astaire, E B White, Ernest Hemingway, Alfred Hitchcock, Jorge Luis Borges, Eugene Ormandy, Hoagy Carmichael, Noël Coward, Humphrey Bogart

Births: Leon Theremin, F. Scott Fitzgerald, Howard Hanson, Virgil Thomson, Ira Gershwin Deaths: Clara Schumann, Harriet Beecher Stowe, Anton Bruckner, Alfred Nobel New Music: Puccini La Bohème; R Strauss Don Quixote; Ives Symphony #1, Quartet #1; Mrs. H. H. A. (Amy) Beach Gaelic Symphony

New Music: Samuel Coleridge-Taylor Death of Minnehaha; Schoenberg Verklärte Nacht

1897 | Dracula, by Bram Stoker is first published; and the first

1900 | Now this is a big year...

Boston Marathon is held, with fifteen men competing.

In September in The New York Sun, Francis Church responds to a letter to the editor that is now known as the famous “Yes, Virginia, there is a Santa Claus” letter. The word "computer," an electronic calculation device, is first used. Births: Marian Anderson, Thornton Wilder, Frank Capra, George Szell, Amelia Earhart, William Faulkner, Edith Head (won a record 8 Academy Awards for costume design from 1949 through 1973’s The Sting) Deaths: Johannes Brahms

Johan Vaaler and the paperclip he patented in 1899 and 1901.

Sigmund Freud publishes Die Traumdeutung (The Interpretation Of Dreams), which presents his theory that dreams are wish fulfillment. L. Frank Baum's The Wonderful Wizard of Oz is on sale. - These two are not related in any way.

The Shubert Brothers - Sam, Lee, and Jacob - begin producing plays and acquiring theaters in New York. The first automobile show in the US opens at New York City's Madison Square Garden. Milton S. Hershey introduces the milk chocolate Hershey bar in the US.

Deaths: Lewis Carroll

In New Haven, Connecticut, Louis Lassen of Louis' Lunch makes the first modern-day hamburger sandwich. (Yes, we know this is a contentious entry, but we are in Connecticut.)

New Music: Elgar Enigma Variations; R. Strauss Ein Heldenleben; Samuel Coleridge-Taylor Hiawatha Wedding Feast

Queen Victoria dies at age 81. Edward VII is crowned.

1899 | The boll weevil crosses the Rio Grande and begins to

President McKinley begins his second term.

1898 | Births: Gracie Fields, Bertolt Brecht, Enzo Ferrari,

Golda Meir, Dr. Norman Vincent Peale, MC Escher, Berenice Abbot, Henry Moore, George Gershwin, Lotte Lenya, C. S. Lewis, Alfred Eisenstadt

spread through US cotton fields, damaging Southern cotton production and stimulating a migration of black people to the North.

Guglielmo Marconi establishes the first radio link between England and France The Gideons Society is founded in Wisconsin by an international association of Christian traveling salesmen and sets out to present a Bible for guests' use to each hotel owner in the country. In 1908, the group decided to provide Bibles in each hotel room in the US.

The front and back covers of the 1900 first edition

Bayer registers aspirin as a trademark.

DVOŘÁK AND HIS TIMES | 17

Dvořák And His Times Germany leads the world in literacy. Literacy is said to be above 90 percent in Britain, France, Norway, Sweden, and Australia; between 70 and 90 percent in the United States, Canada and Japan; 78 percent in Italy; 50 to 70 in the Balkans; 30 to 50 percent range in Russia; and below 30 percent in China, India, Africa and the Islamic countries. In 2016 the literacy rate in the United States was 86%. In Britain the average male is dead at 51.5 years of age and the average woman at 55.4. In France these figures are 45.4 and 50. In Spain they are 41 and 42.5. In Kansas, Carrie Nation, age 54, 6 feet tall and 175 pounds, accompanied by hymn singing women, starts smashing up saloons. Aviation pioneer Gustave Whitehead flies a motor-powered aircraft in Connecticut. In 2013 Jane's All The World's Aircraft recognized Whitehead as making the first Carrie Nation, a radical member manned, powered, of the temperance movement, controlled flight. is particularly noteworthy At the Pan-American for attacking alcohol-serving Exposition in establishments with a hatchet. Buffalo, New York, an anarchist mill worker, Leon Czolgosz, shoots President William McKinley. On the ground and bleeding, McKinley calls Czolgosz a "poor, misguided fellow" and asks that he not be hurt. McKinley will die eight days later. Theodore Roosevelt succeeds William McKinley as President of the US. US President Theodore Roosevelt invites African American leader Booker T. Washington to the White House. Many southern whites react angrily to the visit and racial violence increases. On the fifth anniversary of Alfred Nobel's death, the first Nobel Prize ceremony is held. Eastman Kodak introduces the Brownie camera, priced at one US dollar. Millions of people will buy the simple camera and take hundreds of millions of photographs with it, buying most of their film from Kodak. World population: 1,650,000,000 up from about 1 billion in 1800 (Europe has 408,000,000 and North America has 82,000,000) Births: Xavier Cugat, Spencer Tracy, Sammy Davis Jr., Aaron Copland, Margaret Mitchell, George Antheil, Kurt Weill Deaths: Sir Arthur Sullivan

18 | DVOŘÁK AND HIS TIMES

1901 | J. P. Morgan buys mines and steel

mills in the US, marking the first billion dollar business deal. At the Minnesota State Fair Theodore Roosevelt utters the famous phrase, “Speak softly and carry a big stick.” American yacht Columbia defeats the British Shamrock in the America's Cup yachting race.

The "Columbia"

Births: Linus Pauling, Louis Armstrong, Ed Sullilvan, Enrico Fermi, William S. Paley, George Gallup, Walt Disney, Margaret Mead, Marlene Dietrich, Clark Gable, Jascha Heifetz Deaths: Giuseppe Verdi, Richard D’Oyly Carte, Lewis Waterman, Henri de Toulouse-Lautrec

1902 | German physicist Arthur Korn develops a

method of transmitting photographs over wires by electricity, breaking the image down into components and then reconstructing it at the other end using selenium cells. The resulting fax process, then known as telephotography, soon becomes indispensable for transmitting photographs of news events.

1903 | Ivan Pavlov reports his

One of Pavlov's dogs, preserved at The Pavlov Museum in Ryazan, Russia

experiments in learning by conditioning. He demonstrates that a dog trained by giving it food at the same time a bell is rung will soon learn to salivate at the sound of the bell with no food present.

Henri Poincaré recognizes that very small inaccuracies in initial conditions can lead to vast differences in a short order, the fundamental idea of chaos (which will not be explored much further until the 1970s and 1980s). And thus, chaos is born. The safety razor, first thought of by King Gillette in 1895, goes on sale selling 51 razors and 168 blades during its first year. Within a year sales will be up to 123,648. And sadly, now every male hipster in Brooklyn has a bushy beard. The first successful powered airplane is launched at Kitty Hawk by Wilbur and Orville Wright on December 17. Powered by an internal combustion 12HP engine, its best flight lasts 59 seconds. Cuba leases Guantanamo Bay to the US "in perpetuity."

The first box of Crayola crayons was made and sold for 5 cents. It contained 8 colors; brown, red, orange, yellow, green, blue, violet and black. Theodore Roosevelt becomes the first American President to ride in an automobile when he rides in a Columbia Electric Victoria through Hartford, Connecticut. Note - it was electric.

Binney and Smith produced the first box of eight Crayola crayons in 1903.

Births: Claudio Arrau, Edgar Bergen, Lawrence Welk, Bix Beiderbecke, Rudolf Serkin, Gregor Piatigorsky, Eliot Ness, Benjamin Spock, Bing Crosby, Toots Shor, Bob Hope, Lou Gehrig, Al Hirschfeld, Vladimir Horowitz, Nathan Milstein Deaths: Hugo Wolf, Paul Gauguin, James McNeill Whistler

1904 | Charles Guillaume discovers that a kilogram of water has a volume of 1000.028 cm3 at 4°C, not 1000 cm3 as planned by the designers of the metric system. Since this is also the definition of a liter, the liter is redefined as being 1000.028 cm3. Henry Ford sets a new automobile land speed record of 91.37 mph For $10 million, the US gains control of the Panama Canal Zone. In New York City, the first New Year's Eve celebration is held in Times Square. Births: Cary Grant, George Balanchine, SJ Perelman, Jimmy Dorsey, Glenn Miller, BF Skinner, Sir John Gielgud, Fats Waller, Robert Openheimer, Willem de Koonig, Salvador Dalí, Count Basie

Front page of The New York Times following the first New Year's celebration. How did it all begin? The New York Times inaugurated its new headquarters (42nd Street between Broadway and 7th Avenue) on December 31, 1904 with a New Year's spectacle - including fireworks - and began a New Year's tradition.

Deaths: Antonín Dvořák, Anton Chekhov, Henry Morton Stanley (Dr. Livingston, I presume?)

Dvořák's funeral procession on 5 May 1904. “I received a letter from Prague, the paper framed in black: Antonin Dvořák is dead. The brilliant Czech composer, whose name is known to the whole world, is no longer with us. We have thus lost one of the few contemporary original and national composers [...] I loved Dvořák as an artist and as a musician and, last year, I was fortunate to have come to know him as a true and good person." - Edvard Grieg

DVOŘÁK AND HIS TIMES | 19

PEOPLE’S UNITED BANK IS PROUD TO SUPPORT THE

Norfolk Chamber Music Festival

“A painter paints pictures on canvas. But musicians paint their pictures on silence.” ― Leopold Stokowski

The Raynard & Peirce Real Estate Co. Canaan 860-453-4148

Norfolk 860-542-5518

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Artist Spotlight Pianist and GRAMMY® nominee, Boris Berman performs regularly in more than fifty countries on six continents. Born in Moscow, he studied at Moscow Tchaikovsky Conservatory with the distinguished pianist Lev Oborin. In 1973, he left a flourishing career in the Soviet Union to emigrate to Israel where he quickly established himself as one of the most sought after keyboard performers. A teacher of international stature, Boris Berman heads the Piano Department of Yale School of Music and conducts masterclasses throughout the world. (read more about boris berman on page 62)

When you are away touring, do you bring anything special with you to remind you of home? My phone — and it gets quite a workout! I never take for granted how easy it is to stay in touch with my family when I travel. That certainly was not the case at the beginning of my career, or even 10 years ago. When you f ly, what do you like to read? How do you pass the time? Flying gives me time to finish whatever book I am reading, which has often been put to the side for a long time, or to watch some movie (or movies) that I’ve missed. Often, after watching a movie in the plane, I come home and tell my wife: “I saved you 3 hours; you don’t need to waste time on that one.” What is a favorite non-musical past time? I love to explore new places, and always try to steal away some time to explore whatever city I am in. I love visiting art museums. In case of the great museums, no matter how often you visit them there are always artworks you can discover — or rediscover — for yourself. On the other hand, many small, less famous museums are hidden treasures, it often pays to visit them too. 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. Many halls have great acoustics, but there are some halls in which wonderful acoustics are complemented with a very special aura. Among these are The Boston Symphony Hall, Concertgebouw in Amsterdam, Stern Auditorium at Carnegie Hall, and Bolshoi Hall of Moscow Conservatory, which holds a special place for me since my years as a student there. This special aura makes it an inspiration to play in these incredible spaces.

What does it feel like right before you walk onto the stage? What runs through your mind? I am always nervous before performing. The nervousness is of a different kind before a chamber concert, a recital, or a performance with an orchestra. In every case, I try “to stay on message” and focus on the work I am to perform, “sinking” into its atmosphere. Do you have any pre-concert traditions? There are certain things I don’t do right before a concert — like socializing, eating, or drinking alcohol; and certain things I always do — like having an afternoon nap, meditating, and having a cup of tea. However, the times of performances and rehearsals force us often to be flexible and to adjust our day-of routine. 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? The process of traveling is becoming increasingly unpleasant and undignified. This is perhaps one irritant that gets to me more as I get older. In addition, performing musicians need to make sure they are always in (technical) shape; for a pianist, this means constantly making arrangements to have access to a piano wherever you go, which can often be a nuisance. 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 think that being a musician trains one to know how to manage time, to be on time, and to be reliable. If a musician becomes known for missing rehearsals or, God forbid, concerts, or for showing up unprepared, nobody will want to have anything to do with him or her. We musicians carry this training to other areas of life, as well.

(spotlight continued page on 22)

ARTIST SPOTLIGHT | 21

Artist Spotlight What is one of your favorite pieces of music and why? That’s tough! The truth is that it keeps changing: I often become involved in a piece I am learning to such a degree that it never leaves me. Or I hear a piece at a concert that makes a strong impression, and I want to hear it again and again. Or when working with a student on a great work, it will stay in my mind for days. Is there anything about the way classical music is presented to the world that you would like to see change or evolve? There seems to be a trend now to present classical music as something much less formidable than people may think. The intention to reach a wider audience is laudable, but I am concerned that the implied message seems to be “See, it is not that difficult, it is not a big deal.” I would prefer to project a different idea: “It is complex, it is complicated, but it gives an enormous satisfaction to those who listen closely.”

22 | ARTIST SPOTLIGHT

Is there a particular piece of advice/insight that you share with your students about being a musician? I often say to my students “You don’t go into the musical profession to become rich — there are many much more lucrative occupations. Being a musician is hard; it demands your full and total dedication. In return, it gives you an immense privilege of communing with the greatest achievements of human spirit, on a daily basis.” Often we hear people say that they don’t listen to classical music or go to classical music concerts for fear of not “knowing anything about it” or not “understanding it.” How would you respond to them? What works would you recommend as an introduction to the genre? Music is a language; the more you hear it, the more you understand it. Just keep listening!

Festival Artists Festival Artists & Ensembles Robert Blocker Dean Melvin Chen Director Ole Akahoshi cello

Benjamin Hochman piano

Boris Berman piano

Lisa Moore piano

Atar Arad viola

Robert Blocker piano

Dashon Burton baritone

Melvin Chen piano / viola Allan Dean trumpet Cover Image

Violin, Andrea Guarneri 1672. Bequest of Mr. Andrew Petryn. Courtesy of the Yale Collection of Musical Instruments.

Michael Barnes Deanne Chin Allen Cohen Stephane Colbert Tatiana Daubek Kelly Davidson Juergen Frank Matthew Fried Jacklyn Greenberg Robert Handelman Paul Horton Hideki Isoda Jim Leisy Lisa-Marie Mazzucco James Nelson Vincent Oneppo Mark Ostow Jill Steinberg

Wendy Sharp violin

Frank Morelli bassoon

Addy Sterrett soprano

Tara Helen O'Connor flute Joan Panetti piano

Ilya Poletaev piano / harpsichord / organ

Scott Hartman trombone

Harumi Rhodes violin

William Purvis horn

Brentano String Quartet

Emerson String Quartet

Composers in Residence

Guest Speakers

Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello

Photo Credits

Humbert Lucarelli oboe

Peter Frankl piano

Jennifer Frautschi violin / viola

Martin Bresnick Director, New Music Workshop Fernando Buide Aaron Jay Kernis Hannah Lash Christopher Theofanidis

Sharon Roffman violin

Philip Setzer violin Eugene Drucker violin Lawrence Dutton viola Paul Watkins cello

David Shifrin clarinet Stephen Taylor oboe

Ransom Wilson flute / conductor Jacques Lee Wood cello Wei-Yi Yang piano

Mirรณ Quartet

Daniel Ching violin William Fedkenheuer violin John Largess viola Joshua Gindele cello

Astrid Baumgardner Career Planning Paul Berry Pre-Concert Conversations Ani Kavafian Masterclass Daniel Rindler Feldenkrais Wendy Sharp Masterclass

Guest Artists & Ensembles Chris Brubeck's Triple Play Norfolk Contemporary Ensemble Julian Pellicano Conductor Norfolk Festival Orchestra and Chorus Simon Carrington Director Yale Choral Artists Jeffrey Douma Director

Artists and programs subject to change without notice.

FESTIVAL ARTISTS | 23

Fellowship Recipients Chamber Music Session Bicycle Trio Curtis Institute of Music

Katherine Arndt violin paul and susan hawkshaw

Shannon Lee violin

Jillian Kouzel oboe

Zsche Chuang Rimbo Wong viola Arlen Hlusko cello

scholarship

New England Conservatory of Music

Nadia Azzi piano clement clark moore

Callisto Quartet

louise willson scholarship

Cleveland Institute of Music Paul Aguilar violin

Rachel Stenzel violin Eva Kennedy viola

Hannah Moses cello

Maverick Brass Quintet University of Melbourne Connor Jenkinson trumpet Oscar Mason trumpet Isaac Shieh horn

David Farrell trombone

Alexander Jeantou tuba

scholarship

Colburn School Conservatory of Music

John Belk cello aldo and elizabeth parisot scholarship in memory of harris goldsmith

Bard College

Ethan Braun composer john and astrid baumgardner scholarship

Yale School of Music

Giorgio Consolati flute

The Juilliard School

Alison Dresser horn clement clark moore scholarship

Northwestern University

Rachyl Duffy viola

San Diego Symphony

Peter Eom cello

Colburn School Conservatory of Music

Timothy Feil oboe

Yale School of Music

Evan Fojtik flute

Yale School of Music

Matthew Gregoire bassoon

Yale School of Music

University of Texas, Austin

Daniel Le piano

Manhattan School of Music

Aija Mattson horn University of Southern California Jesse McCandless clarinet

Yale School of Music

Michelle Shin violin

2006 centenary committee scholarship

Colburn School Conservatory of Music

Grace Takeda viola

The Juilliard School

Michiko Theurer violin

University of Colorado, Boulder

Benjamin Wallace composer john and astrid baumgardner scholarship

Yale School of Music

Luther Warren violin

New England Conservatory of Music

Elisha Willinger clarinet

Yale School of Music

Lam Wong piano

Yale School of Music

Yen-Chen Wu bassoon

Stony Brook University

FELLOWSHIP RECIPIENTS | 25

BATTELL ARTS FOUNDATION Proud to support the Norfolk Festival's Emerging Artists' Performance Series for the 18th 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 Emerging Artists’ Performance Series on Thursday evenings and Saturday mornings

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

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

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

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

Joint performances and workshops for children from Battell and Colebrook elementary * schools *

Drawing workshop at the Yale Summer School of Art for talented high school students

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 Eric Adamshick cello

Erika Dohi piano

YoungKyoung Lee percussion

Giovanni Bertoni clarinet

Felice Doynov flute

Soosan Lolavar composer

James Budinich composer

Cheng Jin Koh composer

Laura Park violin

Yale School of Music Yale School of Music Duke University

Stony Brook University

Yale School of Music

The Juilliard School

Yale School of Music

Carnegie Mellon University

Connor Way composer

Peabody Institute, Johns Hopkins University

Benjamin Webster composer

University of Miami

Yale School of Music

Chamber Choir & Choral Conducting Workshop Jack Apperley

Kate Faber

Sanders Lau

Jurica Petar Petrac

Royal Academy of Music (England)

tenor / conductor

Alexander Lloyd Blake

bass baritone/conductor

University of Southern California Joshua Boggs

countertenor / conductor

University of Notre Dame

Juliana Child

soprano

Ithaca College

Sarah Coffman

soprano

Case Western Reserve University Natalie Dietterich

composer

john and astrid baumgardner scholarship

Yale School of Music

soprano

City University of London

tenor / conductor

Eastman School of Music

tenor

University of Zagreb (Croatia)

David Gindra

Caroline Law

Meghan Recker

bass baritone

St. Olaf College

mezzo soprano

University of Durham

soprano

William Jewell College

Alexandra Grabarchuk

Simon Lee

Amy Ryan

Kodรกly Institute of the Liszt Ferenc Academy of Music (Hungary)

mezzo soprano / conductor

University of California, Los Angeles

Minji Kim

mezzo soprano / conductor

Texas Tech University

Trevor Kroeger

bass baritone / conductor

University of Cincinnati College-Conservatory of Music

Mark Laseter tenor

Westminster Choir College

tenor

Yale Institute of Sacred Music

Katie Lipow soprano

Westminster Choir College

David Mann

bass baritone / conductor

Michigan State University

alto / conductor

Lucie Shelley

soprano

University of Southern California Edward Straub

Jacquelyn Matava

Sean Watland

mezzo soprano

Jacobs School of Music, Indiana University

David McNeil, Jr.

bass / conductor

bass

University of Missouri tenor / conductor

Boston University

Yale Institute of Sacred Music

FELLOWSHIP RECIPIENTS | 27

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

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 Joyce Ahrens John Baumgardner Coleen Hellerman

Melvin Chen, Director

Kathleen Kelley James Remis

28 | FESTIVAL MISSION | LEADERSHIP COUNCIL

Byron Tucker Sukey Wagner

Festival Administration Norfolk Chamber Music Festival Leadership Council Robert Blocker Dean Melvin Chen Director Joyce Ahrens John Baumgardner Coleen Hellerman

Kathleen Kelley James Remis

Byron Tucker Sukey Wagner

Administration & Staff Robert Blocker Melvin Chen James Nelson Deanne Chin Benjamin Schaeffer

Dean Director General Manager Associate Manager Associate Administrator

Belinda Conrad Rob Crowson Brian Daley Joseph DiBlasi Carolyn Dodd Alisa Goz William Harold Jeff Hartley Noa Michaud Janet F. Reynolds Iris Rogers Sean Tanguay

Production Coordinator Intern Piano Curator Piano Curator Piano Tuner Facilities Manager Box Office & Administrative Intern Piano Curator Chef Box Office & Administrative Intern PR Consultant Librarian/Director’s Assistant Intern Recording Engineer

Ellen Battell Stoeckel Trust Samuel A. Anderson Benjamin Polak

Trustee Trustee (Yale University)

John Hester

Estate Manager

Anne–Marie Soullière Trustee Jack Beecher Director of Operations

Yale University Peter Salovey

President

Benjamin Polak

Provost

Bruce D. 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 Steven C. Murphy Vice President for Finance and Chief Financial Off icer Eileen O'Connor Joan E. O'Neill

Vice President for Communications Vice President for Development

Michael A. Peel Vice President for Human Resources and Administration Scott A. Strobel Vice President for West Campus Planning and Program Development Emily P. Bakemeier

Deputy Provost

Contact the Festival Year Round

email norfolk@yale.edu web norfolkmusic.org

June – August mail street tel / fax

PO Box 545, Norfolk, CT 06058 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 98 Wall Street, New Haven, CT 06520 tel / fax 203.432.1966 / 203.203.4542 FESTIVAL ADMINISTR ATION | 29

Program Notes BRESNICK: Passions of Bloom - Whitman, Melville, Dickinson “A man’s reach should exceed his grasp or what’s a heaven for?” In my reach for heaven I take passages from The Daemon Knows by the great scholar and teacher Harold Bloom and employ them in the manner of a sacred musical Passion. In these Passions of Bloom Harold Bloom becomes our Virgil, our St. John; a secular literary evangelist meditating on selected texts of Walt Whitman, Herman Melville and Emily Dickinson. Keeping with tradition, Passions of Bloom is an extended composition for soloists, chorus and orchestra. Bloom’s message reminds us of our need for literature and art to “heal violence, whether from without or within” and give us “the blessing of more life.” - Martin Bresnick

30 | JUNE 21, 2017

Yale Choral Artists Norfolk Chamber Music Festival | Wednesday, June 21, 7:30 pm Passions of Bloom - Whitman, Melville, Dickinson

Shine! Shine! Shine!

whitman

I Have Aged Into A Firm Conviction

bloom, whitman

The New Found America

bloom, whitman

Why Should I Wish To See God

bloom, whitman

And I Say

bloom, whitman

Where Is Melville The Man

bloom, melville, ahab

It Startles Me

bloom, ishmael, ahab

The Saddest Noise, The Sweetest Noise

dickinson

Perhaps You Smile At Me

bloom, dickinson

I Reason, Earth Is Short

bloom, dickinson

What Remains To Be Done

bloom, whitman

Martin Bresnick (b. 1946)

Yale Choral Artists Jeffrey Douma director

James Taylor (Harold Bloom) tenor

Lisa Moore piano

soprano Megan Chartrand, Molly Netter, Sherezade Panthaki (Emily Dickinson), Sarah Yanovitch alto Eric Brenner, Rachel Colman, Kate Maroney (Emily Dickinson), Megan Roth tenor Colin Britt, Brian Giebler (Walt Whitman), Steven Soph, Gene Stenger

bass Thomas McCargar (Ishmael), Paul Tipton (Herman Melville), Steven Hrycelak, Glenn Miller (Ahab) Members of the Philharmonia Orchestra of Yale violin I Yurie Mitsuhashi, Elliot Lee, Marie Oka, Dio Saraza, Elly Toyoda violin II Laura Park, Martin Luu, Rachel Ostler-Abbott, Stephen Tang viola Emily Brandenburg, Alexandra Simpson, Isabella Mensz

cello Eric Adamshick, Jiyoung Choi, Jesse Christeson flute Felice Dovynov, Helen Park

trombone Alex Walden

bass Will Robbins

clarinet Graeme Johnson, Eric Braley percussion Sam Um

Sean Maher chorus manager JUNE 21, 2017 | 31

free event

Emerging Artist Showcase Astonishing free concerts by the Norfolk Fellows take

place each Thursday evening and Saturday morning (and Tuesday evenings in August) in the intimate setting of the Music Shed amphitheater. Here, the Fellows each

week bring their fresh interpretations of familiar works by Beethoven, Brahms, Dvořák, Bartók and so much

more, as well as less familiar works that always delight our audience. Whether you are a chamber music aficionado or novice, or you prefer new music or the standards, we know you will enjoy the great performances and casual atmosphere these concerts provide.

New Music Workshop

Friday, June 30

•

7:30 pm

•

Music Shed

Martin Bresnick director Julian Pellicano conductor • Lisa Moore piano with the Norfolk Contemporary Ensemble

Chamber Music Session

in july: Thursdays at 7:30 pm • Saturdays at 10:30 am at the Music Shed first two weeks in august: Tuesdays at 7:30 pm • Thursdays at 7:30 pm • Saturdays at 10:30 am at the Music Shed Artists and repertoire are chosen weekly and is posted on norfolkmusic.org when available.

free event

Chamber Music Masterclass

Pre-Concert Conversations

Wednesdays, July 5 - August 9 • 7:30 pm • Music Shed During July and August, we present Fellows in Masterclasses taking guidance from the Norfolk Faculty and Guest Artists. This is a wonderful opportunity to get inside the notes and understand how artistic interpretation is created. Members of the public are very welcome. No tickets are required.

with

Paul Berry

Fridays · July 7 - August 11 · 7:00 pm • Battell Recital Hall Yale School of Music professor Paul Berry will share engaging commentary on the weekend’s programs. Pre-Concert Conversations are free and open to the public. Tickets are required for the evening’s concert and will be available for purchase at the Music Shed box office.

New Music Recital Norfolk Chamber Music Festival | Friday, June 30, 7:30 pm Cheating, Lying, Stealing

David Lang (b. 1957)

My Twentieth Century

Martin Bresnick

Pasos (world premiere)

Fernando Buide

(world premiere)

James Budinich

Kuda Kepang (world premiere)

Cheng Jin Koh

(world premiere)

Soosan Lolavar

(world premiere)

Connor Way

(world premiere)

Benjamin Webster

(b. 1946)

(b. 1980) (b. 1990)

Incense Trance

(b. 1996)

(b. 1987)

(b. 1991)

(b. 1997)

Martin Bresnick director - Julian Pellicano conductor - Lisa Moore piano Norfolk Contemporary Ensemble Felice Doynov flute - Giovanni Bertoni clarinet - YoungKyoung Lee percussion Erika Dohi piano - Laura Park violin - Eric Adamshick cello

JUNE 30, 2017 | 33

Program Notes MOZART: Divertimento for Winds in B-flat Major, K 240

Mozart’s Divertimenti for winds were conceived as summer party music for outdoor aristocratic soirées. The opening Allegro nobly announces the divertimento with each instrument serving a vital role in the movement’s story telling. The Andante Grazioso is cute and coquettish: the simple opening tune in the oboe is

WEBERN: Three Little Pieces for Cello, Op 11

Comprising just 32 measures, this entire work can fit on the front and back of a single page. The piano presents the majority of the thematic material, and the cello provides kaleidoscopic coloristic effects, drawing upon extended techniques such as playing on the fingerboard or bridge or using false harmonics. The three movements cover vast musical ground

BERG: Adagio from Kammerkonzert

Adagio is Alban Berg’s own arrangement of the second movement of his Chamber Concerto from 1923-25. He intended the trio to serve as a more accessible version of the Concerto, which performers found lengthy and difficult. The original calls for solo violin, solo piano, and thirteen additional players, though the solo piano does not play in the

12 MINUTES

later contrasted by a series of guffawing blows between the oboes/horns and bassoons. The final Allegro both satisfies and supersedes stereotypical wind writing. Unison chords anchor the movement and command attention to the opening with a hunting call. The bassoons enjoy fast, melodic lines rather than their traditional bass-line accompaniment. - Julia Clancy 4 MINUTES

in a very brief span of time, and seemingly small details impart complex notions. Webern highlights musical sounds often ignored in traditional classical instrumental music: the decay of a limply struck note on the piano, the metallic scratch of a note pulled over the bridge of the cello and the cloudy shadows of the notes that loom in the silences. - Julia Clancy 12 MINUTES

second movement. Berg preserves most of the original violin part in the trio version and distributes the other material between the clarinet and piano. Like Wozzeck and other Berg compositions, Adagio combines twelve-tone technique with atonality to create a work of stirring expressionism. - Laura Usiskin

MOZART: Adagio and Fugue in c minor, K 546

7 MINUTES

SCHOENBERG: Six Little Piano Pieces, Op 19

5 MINUTES

This fugue was the result of Mozart's study of the contrapuntal techniques of Bach and Handel. Mozart benefitted from the vast music library of his patron. He wrote to his sister in 1782: "Baron van Suiten [sic]...gave me all the works of Handel and Sebastian Bach to take home with me ... When Constanze heard the fugues she fell quite in love with them. Having often heard me play fugues off the top of my head, she asked if I had ever written any down, and when I said I had

These pieces achieve a sense of expressive breadth and expansiveness that Schoenberg's later 12-tone works would cull in order to achieve concise form of expression. The first piece pastes together disjointed musical thoughts in a mere 17 measures. In the next piece, an ostinato of major thirds provides a sense of stability and tonality. The third piece pits the left and right hand against each other dynamically and thematically. The

MOZART: Piano Quartet in g minor, K 478

Mozart's publisher Hoffmeister commissioned three piano quartets, intending them to be easy, light, entertaining music for Vienna's ameteur musicians. Instead Mozart produced a work of high technical demands and musical complexity, and reviews of the quartet were poor: “As performed by amateurs, it could not please: everybody yawned with boredom with the incomprehensible tintamarre (sea of ink) of four instruments which could not keep together..."

34 | JULY 7, 2017

not, she scolded me very thoroughly for not having written anything in this most artistic and beautiful of musical forms." The Adagio alternates between a lyrical passage and a severe dotted-rhythm figure reminiscent of a French overture and recalling the baroque style. The Fugue subject is rigid and vigorous and it serves as an effective and profound tribute to the great baroque masters. - Julia Clancy

next two pieces act as a sort of operatic recitative and aria. The final piece was written months after the original five as an homage to the late Gustav Mahler. it revolves around two soft, sustained chords that fade away at the end "like a breath." In his diary Schoenberg wrote “I said to Webern: for my music you must have time. It does not suit people who have other things to do.” - Julia Clancy 30 MINUTES

Hoffmeister pleaded to Mozart: “Write more popularly or else I can neither print nor pay for anything more of yours,” Mozart responded, “Then I will write nothing more, and go hungry, or may the Devil take me.” In the first movement, the piano introduces a lyrical second theme, but the turbulence throughout the development is unrelenting. The warm middle movement in B-flat Major and the final, exuberant G Major Rondo joyfully ameliorate the torment of the first movement. - Julia Clancy

First & Second Viennese Schools Norfolk Chamber Music Festival | Friday, July 7, 8:00 pm Divertimento for Winds in B-flat Major, K 240 Allegro

Wolfgang Amadeus Mozart (1756 - 1791)

Andante grazioso Menuetto â&#x20AC;&#x201D; Trio Allegro

Stephen Taylor, Timothy Feil* oboe - Yen-Chen Wu*, Matthew Gregoire* bassoon - Alison Dresser*, Aija Mattson* horn

Three Little Pieces for Cello, Op 11

Massig Achtel Sehr bewegt Ă&#x201E;ussert ruhig

Anton Webern (1883 - 1945)

Nina Lee cello - Boris Berman piano

Alban Berg

Adagio from Kammerkonzert

(1885 - 1935)

Mark Steinberg violin - Jesse McCandless* clarinet - Boris Berman piano

Adagio and Fugue in c minor, K 546 Adagio Fugue

Mozart Callisto Quartet*

intermission Six Little Piano Pieces, Op 19

Arnold Schoenberg (1874 - 1951)

Leicht, zart Langsam Sehr langsam Rasch, aber leicht Etwas rasch Sehr langsam

Boris Berman piano

Piano Quartet in g minor, K 478 Allegro Larghetto Allegretto

Mozart

Serena Canin violin - Misha Amory viola - Nina Lee cello - Boris Berman piano * Norfolk Festival Fellows

Callisto Quartet

Paul Aguilar violin - Rachel Stenzel violin - Eva Kennedy viola - Hannah Moses cello JULY 7, 2017 | 35

Program Notes GESUALDO:

from Madrigals

Book V (arr. mark steinberg)

Don Carlo Gesualdo, Prince of Venosa, wrote some of the most startling, gripping, fiercely expressive music the world has ever known. His biography has lured many in with curiosity about his music (he murdered his first wife and her lover, and most likely his second son as well, whose paternity he doubted), and there have been many discussions of his psychological profile. But in the end, the strength and unflinching audacity of his music alone is more than enough to draw us to him. Aldous Huxley, the great thinker and writer, wrote of listening to Gesualdo’s music while under the influence of mescaline: “These voices,” I said appreciatively, “these voices — they’re a kind of bridge back to the human world.” And a bridge they remained even while singing the most startlingly chromatic of the mad prince’s compositions. Through the uneven phrases of the madrigals, the music pursued its course, never sticking to the same key for two bars together. In Gesualdo, that fantastic character out of a Webster melodrama, psychological disintegration had exaggerated, had pushed to the extreme limit,

HARTKE: The Fifth Book

The Fifth Book is Stephen Hartke's second string quartet, written for and premiered by the Brentano String Quartet in 2016. Hartke explains that the piece's title is due to its being the "fifth book of madrigals" that he has written; by this he means that it is the fifth work in which he has incorporated the extremely sensitive, mercurial style that Renaissance composers used when writing madrigals. Obviously there is no text in this case, but the mobility and flexibility of the music evoke the madrigal style. The work is in five movements, composed in an arch-like sequence wherein the first and last movements mirror one another, as do the second and fourth, with the third standing alone. The outer movements are the cornerstones of the piece; both movements are reflective and austere, although the first movement is also shot through with passages of whirling energy while the last is deeply still and pensive. The second and fourth movements are both scherzo-like pieces, the second

a tendency inherent in modal as opposed to fully tonal music. The resulting works sounded as though they might have been written by the later Schoenberg. We present here two madrigals from this final book in an instrumental setting. During Gesualdo’s life the madrigals were sometimes performed instrumentally, on viols, accompanying theatrical performances of a melancholy cast; historical tradition is on our side. The first of the madrigals, Io parto e non piu diesi says: "I go. I can say no more because my grief has taken the life from my heart. In my suffering I lament. I live in pain. But may I never cease to suffer. I was dead but now I am alive, for even the dead would be brought back to life to hear my piteous cries." The second, Io pur respiro in cosi gran dolore states: "Even in agony, I still breathe, and you still live, O pitiless heart. Ah, since there is no more hope of again seeing our beloved, Death, give us aid; take this life. Torture me not, but with a single stroke end my life and woe." - Mark Steinberg 22 MINUTES

delighting in brash cross-rhythms while the fourth is devoted to a whirling, perpetual-motion undercurrent. The central third movement is a lyrical intermezzo, opening with a duet of violins which is perhaps the closest evocation of an actual madrigal texture in the work; this songful material contrasts with a central, more rhythmic section which is characterized by a bopping pizzicato accompanimental pattern. One of the inspirations for the quartet is Hartke's recent move to Oberlin, Ohio, where he now teaches, after many years living in southern California. For him it was a delight to return to the cycle of seasons, and he describes the movements as depicting this cycle, with the first movement being wintry; the second, with its clangorous birdcalls, heralding the springtime; the third, more sultry movement being a summer tableau; the fourth a windy depiction of autumn; and the fifth a return to the stilled austerity of winter. - Misha Amory

BEETHOVEN: String Quartet in F Major, Op 59, No. 1 In 1806, a time of rapid creative energy despite his encroaching deafness, Beethoven composed three string quartets for Count Razumovsky, Russia’s ambassador to Vienna. This triptych of works ripped through musical convention. Accused of not even being music, Beethoven returned: “Not for you, but for a later age.” The compositions are epic in scale. Count Razumovsky was a proficient cellist, and the cello plays a prominent role from the beginning. The allegro strains the borders of Classical sonata form, moving from a grand-scale exposition into an even deeper development section. The cello opens the second movement, too, with a curious

36 | JULY 8, 2017

10 MINUTES

38 MINUTES

one-note rhythmic theme that launches the violin into a staccato countermelody. The movement entwines its virtuosic writing, and jagged rhythms heighten the conflict. Beethoven puzzled generations to follow with the cryptic phrase he wrote on the score of the third movement: “A weeping willow or acacia tree upon my brother’s grave.” The movement, marked “with melancholy,” is suffused with both sadness and light. Its construction is simple, with transparent textures. The allegro finale follows seamlessly; nearly symphonic in conception, it brings back the quartet’s earlier intensity with its careening Russian theme. - Dana Astmann

Brentano String Quartet Norfolk Chamber Music Festival | Saturday, July 8, 8:00 pm from Madrigals, Book V (arr. mark steinberg)

Asciagate i begli occhi O voi, troppo felici Tu m’uccidio crudele

Carlo Gesualdo (1566 - 1613)

The Fifth Book

Stephen Hartke (b. 1952)

intermission

String Quartet in F Major, Op 59, No. 1 Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto — attacca: Thème russe: Allegro

Brentano String Quartet

Ludwig van Beethoven (1770 - 1827)

Mark Steinberg violin - Serena Canin violin - Misha Amory viola - Nina Lee cello JULY 8, 2017 | 37

Program Notes MOZART: Flute Quartet in D Major, K 285 With the exception of K 298, Mozart’s quartets for flute and strings were composed between December, 1777, and June, 1778, while the twenty-three year old was staying in Mannheim, then home to one of Europe’s most famous orchestras. Mozart’s stay in Mannheim was his first serious attempt to escape the dead-end internship to which he was bound with his family employer, the Archbishop of Salzburg. He was unsuccessful in attaining any permanent employment in Mannheim; nor did he succeed in his attempt to marry Aloysia Weber, the daughter of the highly musical family who took him in. what he did gain in Mannheim was a more dramatic style, influenced by the city’s great orchestra. When he sent the K 309 piano sonata home to his

MacMILLAN: Horn Quintet

My Horn Quintet is in one continuous movement and begins by presenting the principal materials in quick succession. First we hear fierce contrapuntal activity built around 'hunting' and 'battle' horn exclamations. This is followed by a fast unison melody, a sad emphatic keening theme and a light, dancing Scherzo on muted solo horn. These elements are then developed in a free fantasia form but there are three important points to look out for. The sad keening fragment is repeated many times on the horn, while the string accompaniment shifts around the main materials; the faster music is

13 MINUTES

sister Nannerl, she wrote, “one can see from its style that you composed it in Mannheim.” This heightened dramatic style especially influenced the first of the flute quartets, which was commissioned by a Dutch doctor and amateur flutist named Ferdinand Dejean. The D Major quartet remains the most frequently performed of these works. The Allegro’s development displays all the boldness the flute has to offer; the poignant Adagio places the flute in relief against the pizzicato strings, with a meltingly beautiful melody that has the sorrowful affect of an Italian lament aria. Exemplifying the dramatic mood-shifts he gleaned from the Mannheim ensemble, the Adagio leads directly to the witty and brilliant Rondo. - David A. Kaplan 15 MINUTES

presented as a duet on the 'bass' instruments of the ensemble, horn and cello; and the Scherzo is transformed into a simple folklike 'song' for three strings, before the music heads off in an unsettled development, taking improvisatory twists and turns. As the work heads to its conclusion the viola features with a cantabile development of the keening theme, before various other threads are gathered up and wind down. The horn player leaves the ensemble while still playing and finishes the work offstage. - James MacMillan

BEETHOVEN: Six National Airs for Flute and Piano, Op 105

15 MINUTES

WALTON: Piano Quartet

30 MINUTES

Published by the Viennese publishing house Artaria in 1819, Opus 105 was originally commissioned by Scottish publisher George Thomson, an amateur musician who avidly collected and published settings of folk songs. Thomson commissioned high profile musicians like Pleyel and Haydn for variations of traditional Scottish airs, often insisting on settings that would be playable by amateurs in Scotland. To Beethoven, he wrote “It would be quite desirable if you wrote the variations in a style that is familiar and easy so that the majority of our ladies may play them and relish them.” Beethoven repeatedly protested Thomson’s request for playability with brilliant and athletic

Walton's Piano Quartet was written during his early years at Oxford, when he was still just 16 years old. The work contains all of his usual hallmarks: rhythmic vigor, warm lyricism and scrupulous craftsmanship. He often spent a great deal of time not only on composing but on revision. Such is true of the Piano Quartet, which Walton revised in 1974, 56 years after its premiere. Walton said of his process with the piano quartet, "without an india-rubber I was absolutely sunk." The work is cohesive in presentation of melodic ideas, but rarely repeats the main melodies or gestures verbatim. Elaborations arise

38 | JULY 14, 2017

piano writing. Contract disputes over commission fees postponed publication of the works — Beethoven did not easily compromise on a project that favored popular appeal over compositional innovation. The first three themes and variations come from Scotland, while the third takes us back to the mainland. The Austrian A Schüsserl und a Reindl (A dish and a pot is all my kitchenware), allows additional ornamentation for the flute in the repeated sections of the melody and its six variations. The final three themes and variations come from Ireland with their popular titles. - Julia Clancy

spontaneously, repetitions often shift metric emphases, overlapping or interweaving with other repeated elements. Harmonically, Walton uses a creative approach to "expanded" tonal harmonies built upon the framework of traditional chord progressions—however he is clever and deft with use of dissonances for dramatic effect to highlight poignant moments. Like so many of Walton's English contemporaries, he fought a double-edged sword: critics either deemed his music too avant-garde or too traditional, two characterizations that fail to describe his unique, idiomatic style. - Julia Clancy

From The British Isles Norfolk Chamber Music Festival | Friday, July 14, 8:00 pm Flute Quartet in D Major, K 285

Wolfgang Amadeus Mozart (1756 - 1791)

Allegro Adagio Rondo

Tara Helen O'Connor flute - Mark Steinberg violin - Misha Amory viola - Nina Lee cello

Horn Quintet

James MacMillan Brentano String Quartet - William Purvis horn

Six National Airs for Flute and Piano, Op 105

Air écossais (The Cottage Maid) Air écossais Air autrichien (A Schüsserl und a Reindl) Air écossais (The Last Rose of Summer) Air écossais (Chiling O'Guiry) Air écossais (Paddy Whack)

(b. 1959)

Ludwig van Beethoven (1770 - 1827)

Tara Helen O'Connor flute - Wei-Yi Yang piano

intermission Piano Quartet

William Walton (1902 - 1983)

Allegramente Allegro scherzando Andante tranquillo Allegro molto Bicycle Trio* - Wei-Yi Yang piano

* Norfolk Festival Fellows Bicycle Trio Shannon Lee violin - Zsche Chuang Rimbo Wong viola - Arlen Hlusko cello Brentano String Quartet Mark Steinberg violin - Serena Canin violin - Misha Amory viola - Nina Lee cello JULY 14, 2017 | 39

Program Notes A Selection of Early Music (arr. for string quartet) Orlando di Lasso, also known as Roland de Lassus, was a well-known contemporary of Palestrina, whose style encompasses every facet of 16th century choral technique. His compositions include Masses, motets, Magnificats, Passions, psalms, Italian madrigals as well as French and German songs. He became a

15 MINUTES

member of the chapel of the Duke of Bavaria at Munich in 1560 and then directed the chorus 1560 until his death in 1594. Richard Mico was an English composer appointed organist to the wife of Charles I and held that post until she fled to Holland in 1642. None of Mico’s works were published in his lifetime. - James Nelson

MOZART: String Quartet in C Major, K 465, "Dissonant"

34 MINUTES

BRAHMS: String Quartet in c minor, Op 51, No. 1

31 MINUTES

Out of the 23 extant string quartets that Mozart wrote in his life, the 19th, commonly known as the “Dissonant” Quartet, is among the most unique and groundbreaking, owing to its justifiable fame and place of import in the chamber music repertoire. As with most of Mozart’s quartets, much is owed stylistically to the influence “Papa Haydn,” as the composer affectionately called the “father of the string quartet.” This work was the last of the six quartets that Mozart dedicated to Haydn, written between 1782 and 1785. The peculiarity of the work in the classical period is evident from the very opening: a rare slow introduction in a time when most quartets opened with something of a “curtain raising” gesture. Mozart

Johannes Brahms was forty years old when he published the String Quartet in c minor, his first venture into the genre. He wrote to his publisher in 1869 that as Mozart took “particular trouble in writing the six beautiful Haydn Quartets,” it was only fitting that he do “his very best to turn out one or two passably decent ones.” Brahms considered the string quartet to be an incredibly important genre, on par with the symphony – which he likewise did not unveil until well into his forties – and, though his first attempt at the genre came twenty years prior, it would take two decades for hypercritical Brahms to fine-tune the work to his satisfaction. Immediately present in this masterful work is the composer’s gift for creating unity and

40 | JULY 15, 2017

grabs the listener’s attention not with volume, but with mystery and intrigue. It is this opening which earned the work its famous nickname. The dissonance generated from the interweaving of the four quartet members as they enter one by one led some to speculate that Mozart had actually written some incorrect pitches. The joke, if it can be called that, is on them, as this chromaticism becomes something of a motive throughout the entire remainder of the work. The composer picks up on the groundwork laid by “Papa Haydn,” opening doors to new possibilities for musical invention in the string quartet. - Patrick Jankowski

musical cohesion. Brahms plants a few musical “seeds” at the opening of the quartet that he germinates throughout the entire remainder of the work. In a process later referred to as “developing variation,” Brahms carefully evolves these musical gestures, expanding into a wide spectrum of moods, styles, tonal areas, and themes, while never losing sight of the motives that bind the work. The Opus 51 quartet is a giant leap for the genre, and from this pivotal place in his artistic career, the composer was able to take just a small step further towards his groundbreaking and masterful first symphony, perhaps not coincidentally in the same key as this work. - Patrick Jankowski

Sponsored by

Brentano String Quartet Norfolk Chamber Music Festival | Saturday, July 15, 8:00 pm

A Selection of Early Music Carmina Chromatico from Prophetiae Sibyllarum Fancy No. 5

Sibylla Cimmeria from Prophetiae Sibyllarum

Orlando di Lasso (1530/32 - 1594)

Richard Mico (1590 - 1661)

di Lasso Mico

Fancy No. 9

Sibylla Persica from Prophetiae Sibyllarum

di Lasso

Fancy No. 7 Jubilate Deo

String Quartet in C Major, K 465, "Dissonant"

Adagio â&#x20AC;&#x201D; Allegro Andante cantabile Menuetto: Allegro Allegro molto

Mico di Lasso

Wolfgang Amadeus Mozart (1756 - 1791)

intermission

String Quartet in c minor, Op 51, No. 1 Allegro Romanze: Poco Adagio Allegretto molto moderato e comodo Allegro

Johannes Brahms (1833 - 1897)

Brentano String Quartet Mark Steinberg violin - Serena Canin violin - Misha Amory viola - Nina Lee cello JULY 15, 2017 | 41

Open House At The Festival Sunday, July 16, 2017 2:00 pm - 3:30 pm 2:00 pm 3:00 pm 4:00 pm

Whitehouse

Tours of Whitehouse

Music Shed

Ice Cream Social & Children's Games

Music Shed

Children's Concert

Concert by Chris Brubeck's Triple Play

Children's games and activities are sponsored in part by the Battell Arts Foundation

42 | JULY 16, 2017

Open House Norfolk Chamber Music Festival | Sunday, July 16, 4:00 pm This afternoon's program will be announced from the stage.

Triple Play

Chris Brubeck bass, trombone, piano - Joel Brown guitarist - Peter "Madcat" Ruth harmonica JULY 16, 2017 | 43

Program Notes BRAHMS: Scherzo from F-A-E Sonata

Brahms started his career as a travelling pianist; one of his more fortuitous early musical engagements was with the Hungarian violinist Eduard Reményi. The partnership exposed the young Brahms to violin technique and to the Hungarian music Reményi would often program. And still, perhaps Brahms’ greatest debt to Reményi came in the form of an introduction: Reményi introduced the young composer to Joseph Joachim, whom Brahms had heard give an inspiring performance of the Beethoven concerto five years earlier in Hamburg. Brahms was at first nervous in the presence of the eminent virtuoso, but the two men warmed to each other when the young composer began to play some of his recent music at the piano. Joachim introduced Brahms to Schumann as well: both the established masters immediately recognized Brahms’s talents, forging long and abiding friendships.

6 MINUTES

Joachim was set to perform in Düsseldorf in October. For the event, Schumann had the idea of writing a composition for Joachim in collaboration with Albert Dietrich, his student, and Brahms — each would contribute a different movement. The title F-A-E is the acronym for Joachim's personal motto, Frei aber einsem (Free but lonely). Schumann’s directions for his protégés were to use the F-A-E motive in their movements. Joachim was given the work on his arrival and played through the work with Clara Schumann accompanying. His task was to guess who had written which movement. Joachim had little difficulty in guessing the authorship of each of the movements. This Scherzo, along with the Scherzo in e-flat minor and those of his piano sonatas, is another example of the early mastery Brahms achieved in this particular idiom. - Julia Clancy

BRAHMS: Cello Sonata No. 1 in e minor, Op 38 (arr. for bassoon)

25 MINUTES

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

40 MINUTES

Johannes Brahms always planned to forge his career in Hamburg, but after several positions went to other musicians, he moved to Vienna in 1862. The Cello Sonata in c minor, Opus 38 was among several new pieces that he hoped would establish his reputation there. He began composing it in 1862 and quickly completed three movements; a fourth was added in 1865. When the piece was unveiled in 1871 however, it contained only three movements; Brahms had apparently destroyed the Adagio. (There is speculation that the missing Adagio was included in his later Cello Sonata in F Major.) The Cello Sonata in e minor requires a sensitive balance between the solo lines and the sonorous accompaniment, particularly considering that the cello part lies unusually low. A famous anecdote suggests that Brahms intentionally sacrificed this balance in a private

Dvořák began working on the Piano Trio No. 3 in 1882, six weeks after the death of his mother. Although Dvořák was finally experiencing some professional success, this personal loss affected him deeply and it shows in this piece. It has a dark, somber feeling, fraught with anxiety and conflict. Generally considered to be the most ‘Brahmsian’ of his works, scholars have suggested that it was inspired directly by Brahms’ Piano Quintet Opus 34, written in 1864. Both pieces are in the same key, have similar instrumentation, and both express a deep melancholy. The Piano Trio No. 3 is not only regarded as one of Dvořák’s greatest achievements in chamber

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performance with the piece’s dedicatee, Dr. Josef Gänsbacher, a cellist of modest skills: “Brahms played so loud that…Josef complained…he could not hear his cello at all. ‘Lucky for you, too,’ growled Brahms, and let the piano rage on.” The opening movement is highlighted by a dignified first theme in the depths of the cello, a more impassioned second theme, and an elegant piano chorale that closes both the exposition and the movement. In the following minuet, the two instruments elegantly exchange melodic figures. The final movement is built upon a triple fugue that reveals Brahms’ admiration for Bach’s contrapuntal mastery. A headstrong coda leads to a powerful conclusion. - Rick Hoffenberg

music, but also as one of the most important works in the genre. The famous Austrian music critic Eduard Hanslick wrote in 1884, “The most valuable gem brought to us amid the plethora of concerts in recent weeks is undeniably Dvořák’s new Piano Trio in f minor. It demonstrates that the composer finds himself at the pinnacle of his career. If we disregard the smaller genres, it is particularly the Symphony in D Major, the string sextet, and now the Trio in m minor which rank Dvořák among the world’s greatest modern masters.” - Antonia Chandler

Dvořák & Brahms Norfolk Chamber Music Festival | Friday, July 21, 8:00 pm Scherzo from F-A-E Sonata

Johannes Brahms (1833 - 1897)

Scherzo

Sharon Roffman violin - Lam Wong* piano

Cello Sonata No. 1 in e minor, Op 38 (arr. for bassoon) Allegro non troppo Allegretto quasi menuetto Allegro

Brahms

Frank Morelli bassoon - Peter Frankl piano

intermission Piano Trio No. 3 in f minor, Op 65

Allegro ma non troppo Allegro grazioso Poco Adagio Finale: Allegro con brio

Antonín Dvořák (1841 - 1904)

Sharon Roffman violin - Peter Eom* cello - Peter Frankl piano

* Norfolk Festival Fellows JULY 21, 2017 | 45

Program Notes DVOŘÁK: Selections from Cypresses, B 11 (arr. for string quartet)

15 MINUTES

BARTÓK: String Quartet No. 4

22 MINUTES

While working as a violist in his mid-twenties in the orchestra pit of the Prague Provisional Theater, Dvořák took on piano students to make ends meet. He fell in love with one of his students, Josefína Čermáková and to win her heart, he wrote her 18 love songs entitled “Cypresses,” settings of poems by Moravian poet Gustav PflegerMoravský. Josefína didn’t return the sentiment, but Dvořák retained his affection for her; when he learned of her terminal illness in 1894, he wrote the slow movement of his Cello Concerto inspired by the fond memories of his young student. The Cypresses, in their original voice-piano form, were among Dvořák’s first compositions.

Among his many and varied contributions to music, Bartók’s six string quartets span his entire career and represent some of the greatest achievements of the twentieth century. The fourth quartet was written in 1928, only one year after the third. In all his quartets, Bartók explores extraordinary contrapuntal possibilities as well as the unique timbres achievable by string instruments. He utilizes such “extended” techniques as putting the bow right next to the bridge to create a scratchy sound; plucking the string so that it snaps against the fingerboard; sliding the fingers of the left hand along the fingerboard in a glissando; hitting the strings with the wood of the bow; and more. In his quartets Bartók also experiments with ways of creating overall unity in the piece as a whole. His

DVOŘÁK: String Quartet in d minor, Op 34 Dvořák wrote his 9th quartet in the remarkable span of 12 days in 1877, and as he was finishing it, he received a letter from Brahms full of praise for his recent Moravian Duets and notice that he had recommended him to his Berlin publisher, Simrock. As a gesture of gratitude, Dvořák dedicated the d minor Opus 34 quartet to Brahms, who in turn recommended it to Simrock. Simrock didn’t bite: the publisher was far more interested in the possibility of Czech folk music from the relatively unknown composer, and Dvořák had to turn to a different company. The quartet shows traces of influence from Dvořák’s Slavonic

46 | JULY 22, 2017

Dvořák never published the very personal and intimate songs in their original form, but often quoted them in his later works. He revisited them and arranged selections for string quartet retitling it, “Echo of Songs.” His publisher, Simrock, decided to rename the work “Cypresses,” a move to clearly connect the works to the original poems by Pfleger-Moravský. The transcriptions are faithful to the originals and each of the Cypresses maintains a lyrical song form typically featuring a solo vocal line, most often given to the first violin. The string quartet texture exploits the warmth of the harmonies and the tenderness of affect. - Julia Clancy

solution in the Quartet No. 4 is to create an “arch” from of the five movements so that the first mirrors the fifth, the second mirrors the fourth, and the third acts as the focal point. The first movement is intense, dissonant, and dense in texture. The second is lightning fast and calls for all of the instruments to be muted. The third movement is a classic example of Bartók’s “night music,” which is intended to evoke the sounds and atmosphere of a nocturnal nature scene. The fourth movement is entirely pizzicato and has the most obvious folk elements in the piece. The finale, with its many off beat accents, has a raucous atmosphere and ends with a direct quote from the opening of the piece. - Laura Usiskin

35 MINUTES

period: his instant success from folk music at that time rubbed off on his less overtly nationalist music. The first movement makes a spinning wheel of the inner voices, with the cello at the foot pedal. The second movement is a strongly characterized polka, cleverly in the traditional scherzo-trio form. The Adagio reveals Dvořák’s talent for for lyricism and melancholy and the final Allegro brings back his folk-inspired instrumental mastery with brilliant energy and rhythmic drive. The quartet as a whole aptly summarizes Dvořák’s synthesis of romantic, Austro-German musical tradition with nationalist and folk elements. - Julia Clancy

Miró Quartet Norfolk Chamber Music Festival | Saturday, July 22, 8:00 pm Selections from Cypresses, B 11 (arr. for string quartet)

In the Deepest Forest Glade I Stand (Lento) Death Reigns in Many a Human Breast (Allegro ma non troppo) When thy Sweet Glances Fall on Me (Andante con moto) Thou Only, Dear One (Moderato) Nature Lies Peaceful in Slumber and Dreaming (Allegro scherzando)

String Quartet No. 4

Antonín Dvořák (1841 - 1904)

Béla Bartók

(1881 - 1945)

Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

intermission

String Quartet in d minor, Op 34 Allegro Alla Polka, Allegretto scherzando Adagio Poco allegro

Miró Quartet

Dvořák

Daniel Ching violin - William Fedkenheuer violin - John Largess viola - Joshua Gindele cello JULY 22, 2017 | 47

Program Notes DVOŘÁK: Selections from Slavonic Dances “Exotic” music was all the rage in mid-19th century Europe, and after Brahms gave Dvořák a ringing endorsement as both a composer and Czech nationalist, Austrian publisher Nikolaus Simrock knew he found the goose that laid golden eggs. Dvořák first wrote the dances as piano duets and began the orchestrations before he had even completed the keyboard scores. Simrock issued both versions simultaneously in 1878. Modeled off Brahms’s wildly popular Hungarian Dances, the version for piano duo made Dvořák suddenly famous, and Simrock suddenly rich. This earned Dvořák critical acclaim as well as popular appeal: Louis Ehlert, the influential critic of the Berliner Nationalzeitung, wrote of their “heavenly naturalness”

10 MINUTES

and Dvořák’s “naturally real talent.” Simrock asked Dvořák for another set of Slavonic dances, but the composer hesitated: “You will forgive me but I simply have not the slightest inclination now to think of such light music… I must tell you that it will not be by any means so simple a matter with the Slavonic Dances as it was the first time. To do the same thing twice is devilishly difficult. As long as I am not in the right mood for it, I cannot do anything." The second set (Opus 72) proved to be as lucrative and popular as the first. Though neither set directly quotes any Slavic folk tunes, they evoke the spirit of Bohemian music in their unique rhythmic profiles and harmonic language. - Julia Clancy

COLERIDGE-TAYLOR: Four African Dances, Op 58

12 MINUTES

MARSALIS: Meeelaan

13 MINUTES

Samuel Coleridge-Taylor was born in Croydon suburb of London to a Sierra Lionean father and an English mother. He was recognized early in his education for his musical talents and was sent on scholarship to study violin and composition at the Royal College of Music, where he won the institution’s most prestigious awards for composition. Coleridge-Taylor's popularity in the US brought him on three tours of North America, where he found strong support from Carl and Ellen Battell Stoeckel. His violin concerto, written for American violinist Maud Powell, premiered at Norfolk in June 1912. He became a leading exponent of Pan-Africanism, a principle emphasizing the significance of a shared African heritage as the hallmark of black cultural identity. While many of his works use

Wynton Marsalis’s Meeelaan, a phonetic spelling of Milan Turkovic, for whom the work was written, is an assortment of jazz styles. Beyond Marsalis’ prowess as a virtuoso classical and jazz trumpeter, music director of Jazz at Lincoln Center and advocate for music education, he has established himself as a composer of works that absorb features of bop, swing, New Orleans jazz, blues, and gospel, while also delving into areas of the most dissonant avant-garde art music.

African or Afro-American music as source material, entitling something “African,” for Coleridge Taylor did not always mean the work contained quotations of African music: he thought of his music as “African” in a more general, expressive sense. His contemporaries saw this in a certain freshness of harmony, boldness of melodic outline and rhythmic and metrical sophistication. The score of Four African Dances notes that the main theme of the second movement comes from a “traditional African melody,” but no source is cited and scholars have not been able to trace it. The Dances might be better described as a romanticized musical impression of the composer’s experiences relating to his African heritage. - Julia Clancy

Meeelaan provides each member of the more typically classical ensemble the chance to revel and play freely within each style. Blues is a cool, swift walking jam session. Tango begins with a sweet and dream-like episode before moving into a quick tango, redolent with references to Argentine composer Astor Piazzolla. Bebop recalls teachings and improvisations from his teachers Clifford Brown and Herbie Hancock. - Julia Clancy

BRAHMS: Piano Quartet No. 1, in g minor, Op 25 Many of the earliest Brahms magna opera, regardless of final format, began as symphonies; the Piano Quartet in g minor is something of a milestone in that the 25-year-old master began and finished it as a quartet. Even so, much of its realization is symphonic: all four of its movements are big, rock-solid and highly serious. Clara Schumann was completely enraptured with the second movement “…it is a piece after my own heart…I find myself so tenderly transported to dreamland that it is as if my soul were rocked to sleep by the notes.” It may well have been at her behest

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40 MINUTES

that Brahms renamed this original Scherzo, Intermezzo - a name that admittedly describes more accurately its grazioso mood and flowing c minor phrases in 9/8 meter. The somber main part of the Andante con moto evolves into a magnificently vibrant animato section in marching C Major. Little need be said at this date about the Rondo alla zingarese finale, one of the best-loved movements in all chamber music. This is very concerto-like with everybody trying (and succeeding!) at being a soloist. - Harris Goldsmith

Dvořák & The Folk Tradition Norfolk Chamber Music Festival | Friday, July 28, 8:00 pm Selections from Slavonic Dances Op Op Op Op

Antonín Dvořák (1841 - 1904)

46, No 1 in C Major (Furiant) 46, No 6 in D Major (Sousedská) 72, No 10 in e minor (Starodávný) 46, No 8 in g minor (Furiant)

Melvin Chen, Nadia Azzi*, Daniel Le*, Lam Wong* piano

Samuel Coleridge-Taylor

Four African Dances, Op 58

(1875 - 1912)

Allegro Andantino molto sostenuto e dolce Allegro con brio Allegro enegico Shannon Lee* violin - Melvin Chen piano

Meeelaan

Wynton Marsalis (b. 1961)

Blues Tango Bebop Frank Morelli bassoon - Katherine Arndt* violin - Michelle Shin* violin Grace Takeda* viola - Peter Eom* cello

intermission

Piano Quartet No. 1 in g minor, Op 25

Johannes Brahms (1833 - 1897)

Allegro Intermezzo: Allegro ma non troppo Andante con moto Rondo alla zingarese: Presto Daniel Ching violin - John Largess viola - Joshua Gindele cello - Melvin Chen piano

* Norfolk Festival Fellows JULY 28, 2017 | 49

Program Notes DVOŘÁK: String Quartet in A-flat Major, Op 105

32 MINUTES

DVOŘÁK: Piano Quintet in A Major, Op 81

32 MINUTES

The A-f lat Quartet, Opus 105, completed in Bohemia on December 30, 1895, was not only Dvořák ’s last string quartet, but his final chamber work as well. Having begun the piece in late March while still in New York, he managed to complete seventy measures before sailing back to Vysoka, his home outside of Prague. Arriving at the Prague Conservatory to resume teaching in the fall, Dvořák embarked upon the Opus 106, returning to the Opus 105 only upon its completion. The first movement, in a loose sonata-allegro form, opens with a thoughtful, stern introduction. This is contrasted by a more sanguine, f lowing first subject based upon the introduction. The bridge section links this statement to the hunting call: second theme in the violins, concluding the material written in New York. The second movement is reminiscent of the Furiant, a Bohemian folk dance used by Dvořák in many of his compositions. The dance

Antonin Dvořák ’s most significant early advocate was Johannes Brahms who helped the younger Czech composer gain recognition and arranged for publication of some early songs and two early string quartets. Given that contemporary criticism leveled at Dvořák often accused him of provincialism and kitsch, it was perhaps refreshing to the composer that his earlier advocate was the bearer of the conservative German tradition, the ‘heir’ to Beethoven. The A Major Piano Quintet, Opus 81, is among the composer’s best known and most loved creations. It exemplifies all the qualities that have brought near universal adulation to Dvořák among audiences and musicians alike, including free-spirited lyricism, inventive form, and the inf luence of native folk music. Composed in 1887, the massive quintet is actually Dvořák ’s second addition to the genre, preceded by the three-movement Opus 5, also in A Major. The pieces aren’t really comparable in scope, although the delightful rhythms and effortless melodies of the later

50 | JULY 29, 2017

is in traditional three-part form, characterized by simple triple-time meter and frequently shifting accents. The melody utilizes ideas from the final bars of the opening part. The major theme of the Lento displays some similarities to the main theme of the first movement. The middle section of the movement contains a highly chromatic subject over a repeated triplet pattern in the cello. This section works itself into a passionate climax, and subsequently returns to the initial material of the movement. Dvořák takes a somewhat light-hearted approach to the restatement of the opening, adding lively figures in the accompaniment to the otherwise somber theme. The final movement of the work evolves in a very episodic manner, ascending from the depth of the cello register, arriving at the full ensemble. - David Spies

work are certainly anticipated in the former. The great f minor Quintet of Brahms was definitely an inspiration for Dvořák, who first encountered the work when Janáček produced a performance in Brno and wrote and analytical article about it. Dvořák ’s first movement has sometimes posed an interpretive problem in how to handle tempos: there is a long tradition of treating the lyrical introduction with a far more relaxed tempo than the Agitato character that follows – mostly in deference to the meltingly beautiful cello solo – but no tempo change is indicated by the composer. The sprawling second movement certainly brings to mind the E-f lat Quintet of Schumann and takes its name “Dumka” from the traditional Slavic folk ballad, which is pensive and melancholic. The form is almost synonymous with an “elegy.” The third and fourth movements both overwhelm with their sheer physical pleasure: dancing, storytelling and feasting. The coda unifies the work with stunning poetic nostalgia. - Anna Pelczer

Miró Quartet Norfolk Chamber Music Festival | Saturday, July 29, 8:00 pm String Quartet in A-flat Major, Op 105

Adagio ma non troppo — Allegro appassionato Molto vivace Lento e molto cantabile Allegro, non tanto

Antonín Dvořák (1841 - 1904)

intermission Piano Quintet in A Major, Op 81

Dvořák

Allegro ma non tanto Dumka: Andante con moto — Vivace Scherzo (Furiant): Molto vivace Finale: Allegro

with Melvin Chen piano

Miró Quartet

Daniel Ching violin - William Fedkenheuer violin - John Largess viola - Joshua Gindele cello JULY 29, 2017 | 51

Program Notes GOLDMARK: Call of the Plains and Witches' Sabbath

The two selections heard tonight from the Four Compositions for Violin and Piano by Rubin Goldmark, Call of the Plains and Witches' Sabbath, exhibit traces of influence from his teacher, Antonín Dvořák, as well as his penchant for Americana. Call of the Plains, possibly a nod to the 1913 silent western short of the same name, reads like an ode to American pioneers of the previous century. Witches’ Sabbath, lightheartedly and romantically caricatures the mythical menaces, much

7 MINUTES

like Dvořák in his tone poems The Noon Witch or The Water Goblin. The pieces were written for Ukranian-American Violin virtuoso Mischa Elman, though it is unclear if the two might have ever collaborated on the work. Though Goldmark’s music was frequently performed during his life, his legacy is built on his reputation as a pedagogue. His most notable students were Aaron Copland and George Gershwin. - Julia Clancy

BURLEIGH: Spirituals for Baritone and Piano

15 MINUTES

IVES: Trio for Violin, Cello and Piano

25 MINUTES

Harry Burleigh was recognized for his musical abilities at a young age in Erie, Pennsylvania, where he quickly rose through the ranks as a baritone soloist in the city’s churches and synagogues. He was awarded a scholarship to the National Conservatory of Music in New York City where he studied with Rubin Goldmark, among others, and rubbed elbows with Dvořák. To support himself, Burleigh worked as a handyman and janitor for the school, where he would sing spirituals as he worked. Dvořák was acting as the director of the conservatory at the time and quickly recognized Burleigh’s strong voice and novel musical language. Burleigh recalled, "I sang our Negro songs for him very often, and before he wrote his own themes, he filled himself with

One might not expect such a sense of humor from an insurance clerk, but when Charles Ives wrote his piano trio, he was far more involved in the insurance world than the music world. The Trio reflects his time as an undergraduate at Yale. In the first movement he recalls a scolding by a philosophy professor with roughly the same 27 measures repeated three times. The second movement, This Scherzo Is A Joke, creates a musical montage of both folk songs and fraternity songs, depicting the festivity of a school holiday. Woven into the scherzo are the popular tunes My Old Kentucky Home, Sailor’s Hornpipe, The Campbells Are Coming, Long, Long Ago, Hold the Fort and A Band of Brothers in DKE (Delta Kappa Epsilon fraternity). The musical

the spirit of the old Spirituals.” The partnership between the composers was mutually beneficial, most evidenced by Dvořák's New World Symphony, which evokes both Native American and African American music. Dvořák wrote of the influence, “These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them.” With Dvořák’s encouragement, Burleigh spent hours recalling and performing the African-American spirituals and plantation songs he learned from his grandfather, a slave who was granted freedom in 1835. He used these musical reminiscences as material for his art songs that quickly exploded in popularity. - Julia Clancy

borrowing continues in the final movement with a quote of a song he wrote for the Yale Glee Club, The All-Enduring, as well as Thomas Hasting’s Rock of Ages in the coda. The trio exemplifies Ives’s idiosyncratic blend of influences from the European classical tradition with his experience as the son of a Union Army Bandmaster. Introduced to music at an early age, Ives soon became the youngest salaried organist in Connecticut, recalling, "As a boy I was partially ashamed of it. When other boys were out driving grocery carts, or doing chores, or playing ball, I felt all wrong to stay in and play piano." - Julia Clancy

DVOŘÁK: String Quintet in E-flat Major, Op 97, "American" Dvořák was already well into his thirties when Brahms “discovered” him. Although he had written quite a few works by that time, his main livelihood came from playing in the Prague Provisional Orchestra. The conductor there, Bedřich Smetana, was also helpful in putting the young man on the map. Once established as an international celebrity, Dvořák became more nationalistic in his music. It is important to understand the nature of Dvořák’s nationalism when discussing the works written during his sojourn in America. Much of Dvořák’s original material is seemingly influenced by songs of the plantations and American Indian dances. If one idea in the Quintet

52 | AUGUST 4, 2017

33 MINUTES

was conceived before the composer ever set foot on this continent, two others seem highly suggestive of what he may have heard from the Iroquois Indians in Spillville, Iowa. The first movement is in orthodox sonata-allegro form. The energetic second movement is a propulsive scherzo with a central trio. The central point of the work, emotionally, is its slow movement, Larghetto. In keeping with several other great composers, Dvořák’s theme is half in the minor mode and half in the major. This dichotomy is fully exploited in the elaborations which follow, and it gives a certain exalted, even hymnal quality to this expansively benign section. - Harris Goldsmith

Dvořák In America Norfolk Chamber Music Festival | Friday, August 4, 8:00 pm Selections from Four Compositions for Violin

Rubin Goldmark (1872 - 1936)

Call of the Plains Witches' Sabbath

Harumi Rhodes violin - Benjamin Hochman piano

Spirituals for Baritone and Piano

I’ve Been in the Storm Were You There He Never Said a Mumberlin’ Word Deep River Ride on King Jesus! Dashon Burton baritone - Benjamin Hochman piano

Henry Thacker Burleigh

Trio for Violin, Cello and Piano

(1866 - 1949)

Charles Ives

(1874 - 1954)

Moderato TSIAJ (This Scherzo Is A Joke) Moderato con moto

Harumi Rhodes violin - John Belk* cello - Benjamin Hochman piano

intermission String Quintet in E-flat Major, Op 97, "American" Allegro non tanto Allegro vivo Larghetto Finale: Allegro giusto

Antonín Dvořák (1841 - 1904)

Harumi Rhodes, Michiko Theurer* violin Atar Arad, Melvin Chen viola - Ole Akahoshi cello

* Norfolk Festival Fellows AUGUST 4, 2017 | 53

Program Notes DVOŘÁK: Sonatina in G Major, Op 100

The Sonatina in G Major was written in 1893, during Dvořák’s three-year sojourn in the United States. He left Bohemia for New York City in 1892 to become the director of the National Conservatory, and spent three years in the country, writing some of his best-known works including the New World Symphony and Humoresque. He dedicated this piece to two of his children, Antonín and Otilka, and was inspired to write it by a trip to the Minnehaha Falls in Minnesota a few months earlier. A popular anecdote about this piece claims that Dvořák was struck by inspiration so suddenly while at the falls that he sketched out the second movement on his shirt sleeve. The Sonatina is in four movements, and is written in a

20 MINUTES

simplistic style that makes it a favorite among young musicians. Dvořák himself said that it was “intended for young people (dedicated to my children) but grown-ups, too, let them get what enjoyment they can out of it.” The difficulty of this piece perhaps does not lie in technical challenges, but in conveying the emotions that the work evokes. It expresses the purity of nature, the freshness of American life, and a longing for one’s homeland. To quote Dvořák again, “a thought comes of itself, and if it is fine and great it is not our merit. But to carry out a thought well and make something great of it, that is the most difficult thing, that is, in fact, art!” - Antonia Chandler

DVOŘÁK: Serenade in d minor for Wind Instruments, Cello and Bass, Op 44

26 MINUTES

DVOŘÁK: Serenade in E Major for Strings, Op 22

29 MINUTES

During a trip to Vienna in 1878, Dvořák heard the Vienna Philharmonic performing Mozart’s Serenade in B-flat Major for wind instruments. He was so inspired by the work that upon returning to Prague he began the Serenade in d minor and completed it in 14 days. Following Mozart’s example, he composed it for wind instruments (two oboes, two clarinets, two bassoons and three horns,) as well as cello and double bass. It premiered in Prague with Dvořák himself conducting. The is dedicated to the music critic Louis Ehlert, who promoted the Slavonic Dances in the Germany and helped to advance Dvořák's career. Although the Serenade was inspired by Mozart, it is not

Dvořák’s Serenade for Strings was composed in only two weeks in 1875. Dvořák was young, newly married with an infant son and struggling as a musician. The year before, he applied for the Austrian State Stupendium for young artists, and his file read: "Anton DWORAK of Prague, 33 years old, music teacher, completely without means." Dvořák did well in the competition, winning 400 gulden (equivalent to $4,000 today) and gaining the favor of the three judges who were Brahms, music critic Eduard Hanslick and conductor Johann Herbeck. Heartened by this success, Dvořák wrote the Serenade for Strings the next spring, as well as many other works including his Symphony No. 5. The Serenade is in five movements, the first four of which are in simple A-B-A form. The first movement is in a cantabile style, and has a short theme using a range of only four notes and lots of imitation, trading back and forth between instruments. The second

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classical in its overall expression. It contains rhythms and harmonies from Slavonic folk songs, and evokes the style of music that was performed in Czech castles and palaces. The instrumentation is notable in that it contains a lot of lower-register instruments and omits the flute, but despite this Dvořák gives the piece a sense of lightness with his graceful melodies and skillful ensemble writing. The Serenade in d minor was very well received. Brahms wrote to his friend Joseph Joachim “A more lovely, refreshing impression of real, rich and charming creative talent you can't easily have... I think it must be a pleasure for the wind players!'' - Antonia Chandler

movement is an energetic waltz, harmonically simple but with asymmetrical 5-bar phrases. In contrast, the following trio is more harmonically complicated, but has regular 4-bar phrases. The third movement is an active scherzo, and uses imitative technique ending with a restatement of the themes from the scherzo and trio. The fourth movement is the emotional center of the piece. It begins with a lyrical and harmonically stable theme, which Dvořák intensifies in the B section of the movement. The finale is the only movement in sonata form, and the most complex. It begins with an exposition containing three themes and a normal recapitulation, but instead of a development has a short and unexpected middle section in which Dvořák restates the theme from the fourth movement. After the recapitulation the opening of the first movement returns, followed by a coda which combines the first and third themes of the finale. - Antonia Chandler

Festival Gala Norfolk Chamber Music Festival | Saturday, August 5, 8:00 pm Sonatina in G Major, Op 100

Antonín Dvořák (1841 - 1904)

Allegro risoluto Larghetto Scherzo Finale

Harumi Rhodes violin - Benjamin Hochman piano

Dvořák

Serenade in d minor for Wind Instruments, Cello and Bass, Op 44

Moderato, quasi marcia Minuetto (Tempo di minuetto) Andante con moto Finale: Allegro molto

Ransom Wilson conductor - Timothy Feil*, Jillian Kouzel* oboe Jesse McCandless*, Elisha Willinger* clarinet - Matthew Gregoire*, Yen-Chen Wu* bassoon Alison Dresser*, Aija Mattson*, Isaac Shieh* horn - Ole Akahoshi cello - Will Robbins double bass

intermission Dvořák Serenade in E Major for Strings, Op 22 Moderato Tempo di Valse Scherzo: Vivace Larghetto Finale: Allegro vivace

violin Harumi Rhodes, Paul Aguilar*, Katherine Arndt*, Shannon Lee*, Michelle Shin*, Rachel Stenzel*, Michiko Theurer*, Luther Warren* viola Atar Arad, Rachyl Duffy*, Eva Kennedy*, Grace Takeda*, Zsche Chuang Rimbo Wong* cello Ole Akahoshi, John Belk*, Peter Eom*, Arlen Hlusko*, Hannah Moses* double bass Will Robbins * Norfolk Festival Fellows AUGUST 5, 2017 | 55

Program Notes POULENC: Sonata for Clarinet and Piano

Francis Poulenc sent his clarinet Sonata to his publisher to be engraved only twelve days before his unexpected death in early 1963. The first performance of the work was in New York City, with the ubiquitous Benny Goodman and the fearless Leonard Bernstein. The Sonata is an interesting blend of contrasts; show tune melodies are punctuated by sharp dissonance, and the clarinet is as aggressive as it is lyrical. The piano writing is very typical of Poulenc: with its dark motoric accompaniments, the Sonata closely resembles the Sextet for Piano and Winds. Often with this complex composer, who struggled

14 MINUTES

with alcoholism throughout his life, the inner sadness of a piece hides beneath a gay exterior. The first movement of this sonata, an Allegro tristamente, conceals its true meaning with boisterous honking and extroverted singing, until the pensive and nostalgic middle section bares all. The Romanza laments with its descending bass line in the piano and the subtle lines of the clarinet. The final Allegro con fuoco again wears a mask of gaiety, relying on an inexorable piano accompaniment for its narrative quality. - David A. Kaplan

DEBUSSY: Sonata for Violin and Piano in g minor

14 MINUTES

SCHUMANN: Märchenerzählungen for Clarinet, Viola and Piano, Op 132

16 MINUTES

BRAHMS: Clarinet Quintet in b minor, Op 115

37 MINUTES

At the outset of World War I, Debussy set out to write a collection of six sonatas, many of which included unusual and innovative instrumental combinations. With the stress of the war and his recent cancer diagnosis, he only lived to see three through completion, of which the violin sonata was his last. Its premiere in May 1917 was the last time Debussy performed publicly. He died nearly a year later; his funeral procession wove through the deserted streets of Paris amidst a German aerial bombardment. The first movement shifts capriciously in mood; at first we seem

By 1853 Schuamnn's insomnia, depression and mental health were all worsening. A temporary ray of light came in the form of Johannes Brahms, whose youthful energy and admiration seemed to help both calm and inspire Schumann towards one last burst of creativity. This renewed enthusiasm resulted in the Opus 132 “Fairy Tales,” composed in just three days. By utilizing the rich colors of the instrumentation and Schumann’s strong pianistic roots, the intimate work realizes subtle shifts and finely nuanced mood changes throughout its four movements. The first movement creates a dreamy landscape full of richly drawn textures and harmonies, ebbing and

A year before Brahms wrote Opus 115, he had informed his publisher that “the time has come for you to say good-bye to any further works from me.” Though he was not yet sixty, Brahms gave every sign of being weary before his time, but a visit to Meiningen, Germany restored his incentive. The rejuvenating catalyst was a superb clarinetist in the Meiningen orchestra named Richard Mühlfeld, of whom Brahms became an admirer and friend. In the first movement the violins open in thirds, soon to be joined by the lower strings, and the clarinet enters with an ascending phrase. In the second movement, the clarinet and violin state the plaintive vocal aria-like first theme. The central section provides anguished

56 | AUGUST 11, 2017

to be in the clouds, only to whisked away by a strong and rainy wind. Trance-like episodes in which the violin sings over a harp-like piano accompaniment are interspersed in the temperamental fits before the movement ends violently and abruptly. The middle movement features a wildly improvisatory violin line against the rhythmic and steady piano part. In the final movement t he violin catches fire and spins into a feverish dance. A drunken waltz cools the air; the momentum rekindles towards a brilliant and fiery finish. - Julia Clancy

flowing through the ensemble. The second movement is a Scherzo, one with a dark underpinning, with respite only temporarily offered in the form of a dance interlude. In the third movement, a lyrical duet between clarinet and viola creates the sublime and emotional center of the work, managing to be at once comforting and mournful. The fourth movement returns to the broader strokes and bold gestures of the second movement to form a spirited and good-natured conclusion. Even here, as evident throughout the work, there is an undercurrent of sadness and pain despite the upbeat nature of the writing, reflecting the autumnal realities of the composer’s mental state. - Jacob Adams

contrast. An agitated episode with pulsating tremolos and rhapsodizing from the clarinet leads to a modified da capo of the opening section. The scherzo alternates two ideas, a lyrical Andantino and a playfully scampering Presto non assai con sentiment. The Finale is a theme with five variations. Variation I is the cellist’s show; variation II uses strategically placed syncopes to create a swaggering forward momentum; variation III fragments the melody into little runs and in its second part has the clarinet playing broken arpeggios; variation IV shows Brahmsian mastery of contrapuntal style; variation V is a Viennese waltz. The epilogue brings the work to a grave conclusion. - Harris Goldsmith

Late Works Norfolk Chamber Music Festival | Friday, August 11, 8:00 pm Sonata for Clarinet and Piano

Francis Poulenc (1899 - 1963)

Allegro tristament Allegretto — Très calme — Tempo allegretto David Shifrin clarinet - Robert Blocker piano

Sonata for Violin and Piano in g minor Allegro vivo Intermède (Fantasque et léger) Finale: (Très animé)

Claude-Achille Debussy (1862 - 1918)

Jennifer Frautschi violin - Melvin Chen piano

Märchenerzählungen for Clarinet, Viola and Piano, Op 132

Lebhaft, nicht zu schnell Lebhaft und sehr markiert Ruhiges Tempo, mit zartem Ausdruck Lebhaft, sehr markiert

Robert Schumann (1810 - 1856)

David Shifrin clarinet - Jennifer Frautschi viola - Melvin Chen piano

intermission Clarinet Quintet in b minor, Op 115

Allegro Adagio Andantino — Presto non assai, ma con sentimento Con moto

Johannes Brahms (1833 - 1897)

David Shifrin clarinet - Luther Warren* violin - Katherine Arndt* violin Rachyl Duffy* viola - John Belk* cello

* Norfolk Festival Fellows AUGUST 11, 2017 | 57

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

37 MINUTES

BEETHOVEN: String Quartet in B-flat Major, Op 130

60 MINUTES

Beethoven once confided to his friend Karl Holz that, while each of his sixteen quartets was unique, "each in its way," his favorite was the c-sharp minor, Opus 131. When Schubert heard the piece, Holz reported that "He fell into such a state of excitement and enthusiasm that we were all frightened for him." Today many people, musicians as well as listeners, consider it the greatest quartet ever written. Beethoven began to work on Opus 131 late in 1825. His flippant note on the score — "Put together from pilferings from this and that" — caused the publisher great concern, and Beethoven had to assure the publisher that the music was completely original, and his remark was only a joke. The very slow introductory Adagio, which Richard Wagner said "reveals the most melancholy sentiment in music," is basically a fugue, all based on the sober melody originally stated by the first violin. The music is contemplative and serene. The fast second movement sails forth, cheery and open-faced. The short movement that follows, only eleven measures long, is in effect a recitative, a rhythmically free

Began in March 1825 and finished eight months later, the quartet’s subtitle comes from the conversation books Beethoven used for daily communication in face of his total deafness, in which he affectionately referred to Opus 130 as “Lieb-quartett” (“Dear Quartet”). Beethoven did not attend the premiere, given in Vienna by the Schuppanzigh Quartet on March 21, 1826, but waited in a nearby tavern. When Karl Holz, second violinist and Beethoven’s close companion, rushed over to tell him of the excellent reception, including the audience’s insistence on repeats of movements two and four, Beethoven reportedly replied: “Yes, these delicacies! Why not the fugue [the original, which he later replaced]?” Then, after a moment’s thought, Beethoven contemptuously exclaimed, “Cattle! Asses!” Despite the positive reaction, the final movement, an exceedingly long and elaborate fugue, invited much criticism from players and audience alike. Beethoven’s publisher, Matthias Artaria, and many others felt it should be replaced. Well aware of Beethoven’s strong nature, Artaria designed a roundabout way to get him to write a new last movement. Claiming that the public was demanding the fugue as a separate piece, Artaria first offered to pay Beethoven for a transcription for piano for four hands, and then convinced him to compose a substitute last movement – for an additional fee. Although the extra money probably played some part in Beethoven’s acquiescence, he most likely would have refused unless he agreed that the fugue was indeed too massive and powerful for the rest of

58 | AUGUST 12, 2017

introduction to the Andante that follows without pause. The fourth movement is an expansive theme and variations that provides the pivotal central focus of the entire quartet. The Presto corresponds to the Classical scherzo movement, playful and humorous in spirit. Its lightness of character disguises a score that is treacherously difficult for the musicians. The short, introspective Adagio, only twenty-eight measures long, provides a transition between the gay flight of the preceding Presto and the rhythmic excitement of the finale. Based on a mournful, meditative melody, the Adagio moves directly to the last section. In summarizing this movement, Richard Wagner wrote: "This is the fury of the world's dance--fierce pleasure, agony, ecstasy of love, joy, anger, passion, and suffering; lightning flashes and thunder rolls; and above the tumult the indomitable fiddler whirls us on to the abyss. Amid the clamour he smiles, for to him it is nothing but a mocking fantasy; at the end, the darkness beckons him away, and his task is done." - Melvin Berger

the quartet. The published version of Opus 130, therefore, includes Beethoven’s new Finale, while the original, the Grosse Fuge (“Great Fugue”), appears separately as Opus 133. The serene opening adagio is an integral part of the thematic material; it reappears several times and binds the movement together. Following is a high-spirited Allegro. The very short, second movement presents the outgoing, jocular side of Beethoven’s nature with the third movement projecting a contrary air of mingled gaiety and melancholy. The poetic and predominately soft Cavatina (Italian for “short aria”) exemplifies Beethoven’s “interior music.” His friend, violinist Karl Holz, wrote that Beethoven “composed the Cavatina of the quartet in B-flat amid sorrow and tears…” The Finale, which Beethoven substituted for the original monumental fugue, was written at his brother’s house in Gneixendorff, in November 1826, between bouts of serious abdominal illness that were to lead to his death four months later. Delightful and cheery on the surface, the new finale reflects several connections with earlier movements. The Shuppanzigh Quartet introduced the new Finale in December 1826 and gave the premiere of the entire reconstituted quartet on April 22, 1827, nearly one month after the composer’s death. This evening the Emerson String Quartet will perform the original movement, the Grosse Fuge. - Melvin Berger

Emerson String Quartet Norfolk Chamber Music Festival | Saturday, August 12, 8:00 pm String Quartet in c-sharp minor, Op 131

Ludwig van Beethoven

Adagio, ma non troppo e molto espressivo — attacca Allegro motlo vivace — attacca Allegro moderato — attacca Andante, ma non troppo e molto cantabile — Piu mosso — Andante moderato e lusinghiero — Adagio — Allegretto — Adagio — Ma non troppo e semplice — Allegretto — attacca Presto — attacca Adagio quasi un poco andante — attacca Allegro

(1770 - 1827)

intermission

String Quartet in B-flat Major, Op 130

Beethoven

Adagio ma non troppo — Allegro Presto Andante con moto, ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Grosse Fuge (Op 133) Overtura: Allegro — Meno mosso e moderato — Allegro — Fuga: [Allegro] — Meno mosso e moderato — Allegro-molto e con brio — Allegro

Emerson String Quartet

Eugene Drucker violin - Philip Setzer violin - Lawrence Dutton viola - Paul Watkins cello AUGUST 12, 2017 | 59

graduate study in

choral conducting Âˇ organ voice: art song and oratorio at Yale Institute of Sacred Music and Yale School of Music degrees offered

Master of Music Master of Musical Arts Doctor of Musical Arts

with Jeffrey Brillhart Marguerite L. Brooks Jeffrey Douma David Hill Martin Jean Judith Malafronte Walden Moore Thomas Murray Henry Parkes Markus Rathey Masaaki Suzuki James Taylor Ted Taylor

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

Choral Festival

Sponsored by

Norfolk Chamber Music Festival | Saturday, August 19, 4:00 pm this afternoon's concert is approximately 60 minutes & will presented without intermission.

Ave Maria

Francisco Guerrero (1528 - 1599)

Ave Maria after Guerrero (world premiere)

Daniel Knaggs (b. 1983)

Dolcissimo Usignolo

Addy Sterrett soprano

Claudio Monteverdi (1567 - 1643)

from Der Tod Jesu

Addy Sterrett soprano

Carl Heinrich Graun (1704 - 1759)

Gethsemane Unser Seele

Harpsichord Concerto in f minor

III. Prestissimo

from Regina Coeli, K 108

Ilya Poletaev harpsichord

Wilhelm Friedemann Bach (1710 - 1784)

Addy Sterrett soprano

Quia quem meruisti — Alleluia Alleluia

Moravian Songs, Op 32

W.A. Mozart (1756 - 1791)

Antonín Dvořák (1841 - 1904) arr. Janáček (1854 - 1928)

Slavikovský polečko malý Holub na javoře Zelenaj se, zelenaj

Spring from The Seasons

Frank Ferko (b. 1950)

When Music Sounds

Joe Gregorio (b. 1979)

chainlink fences (world premiere)

Addy Sterrett soprano

Comin' to Town from The Settling Years

Libby Larson (b. 1950)

There Are Some Men We Dance!

Natalie Dietterich (b. 1992)

Philip Glass (b. 1937) Addy Sterrett soprano

Dominick DiOrio (b. 1984)

A special thank you to Carl Dudash for providing the harpsichord for today's performance. Simon Carrington director — Addy Sterrett soprano - Ilya Poletaev organ/piano/harpsichord Norfolk Festival Orchestra

Leo Sussman flute - Timothy Feil oboe - Elisha Willinger clarinet - Matthew Gregoire bassoon - TBA horn

YoungKyoung Lee percussion - Dhyani Heath violin - TBA violin - Florrie Marshall viola - Jacques Lee Wood cello with the Norfolk Festival Chorus (Complete listing on page 28) AUGUST 19, 2017 | 61

Artist Biographies Cellist OLE AKAHOSHI performs in North and South America, 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. Akahoshi has collaborated with the Tokyo, Michelangelo, and Keller String Quartets, Syoko Aki, Sarah Chang, Elmar Oliveira, Gil Shaham, Lawrence Dutton, 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 and Janos Starker. 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. | 14th Season at Norfolk Violist ATAR ARAD was born in Tel Aviv where he began his early musical education and violin studies. He devoted himself to the viola in 1971, and the following year won the City of London Prize as a laureate of the Carl Flesch Competition and was also awarded First Prize at the International Viola Competition in Geneva. Arad has performed as a soloist with major orchestras and in recitals at some of Europe’s most prestigious festivals. His recordings for Telefunken are widely acclaimed, and his album with pianist Evelyne Brancart was praised by High Fidelity magazine as being “…perhaps the best-played viola recital ever recorded." During his seven years with the Cleveland Quartet, he toured internationally and collaborated with many leading musicians including Menahem Pressler, Emanuel Ax, Yo-Yo Ma, and Mstislav Rostropovich. Arad has taught at the Eastman School of Music, the Shepherd School of Music, and at Carnegie Mellon University. He currently serves as Professor of Viola at the Jacobs School of Music at Indiana University, and in the summers he teaches at music festivals including Domaine Forget Academy of the Arts and the Keshet Eilon Music Center (Isreal). Arad is a frequent guest with today’s leading chamber ensembles, including the Emersson, Tokyo, Mendelssohn, and American string quartets. Arad began composing late in his career, and wrote his Solo Sonata for Viola in 1992. His works have been published by Hofmeister Musikverlag and can be heard on iTunes and CD Baby. | 4th Season at Norfolk | atararad.com

62 | ARTIST BIOGR APHIES

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, 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 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 Berman’s Notes from the Pianist’s Bench, which has been translated into several languages. His newest book, Prokof iev’s Piano Sonatas, has been published by the same publisher. An avid chamber music player, Berman has performed across the world with leading musicians and premiere chamber groups. | 24th Season at Norfolk | borisberman.com A historian of chamber music and song in nineteenth-century Germany and Austria, PAUL BERRY received his BA and PhD from Yale University and serves as Assistant Professor (Adjunct) of Music History at the Yale School of Music. His first book, Brahms Among Friends: Listening, Performance, and the Rhetoric of Allusion, was published in 2014 by Oxford University Press; essays and reviews have appeared in books and scholarly journals in the US and UK. Among his awards is a fellowship from the National Endowment for the Humanities. Berry is also active as a tenor specializing in early music, German lieder, and new compositions. In recent months he has lectured on chamber music and song at Reed College in Oregon, the Royal College of Music in London, Carnegie Hall and Columbia University in New York. | Second Season at Norfolk

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. 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 Blocker. The volume received considerable acclaim and is now in its third printing. | 11th Season at Norfolk | robertblocker.org 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. 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. In July 2014, the Brentano Quartet began 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.” | 5th Season at Norfolk | brentanoquartet.com 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, 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. 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. | 21st Season at Norfolk | martinbresnick.com

ARTIST BIOGR APHIES | 63

Artist Biographies Praised for his "enormous, thrilling voice seemingly capable ... [of ] raising the dead;" (Wall Street Journal), bass-baritone DASHON BURTON has appeared in both the Brahms Requiem and Beethoven's 9th with Franz Welser-Möst and the Cleveland Orchestra in the last two seasons. He began his professional studies at Case Western Reserve University and graduated from the Oberlin College Conservatory of Music. After graduation he joined Cantus, a professional men's classical vocal ensemble based in Minneapolis, and toured with them for five years. In 2009, Burton entered Yale University's Institute of Sacred Music, where he studied with tenor James Taylor and received his Master of Music degree in 2011. Dashon is a frequent guest with Boston's Handel and Haydn Society and has sung key repertoire with Philharmonia Baroque in San Francisco, the Cincinnati and Charlotte Symphonies and the Cincinnati May Festival, Spoleto Festival USA, and I Solisti in Italy, and has performed at the Strathmore Center in Washington, D.C., Carnegie Hall and Lincoln Center. Burton continues to tour and record with the GRAMMY®-winning contemporary vocal ensemble Roomful of Teeth, of which Dashon is a founding member. | Second Season at Norfolk | dashonburton.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 25 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 70 recordings, and appeared on countless television and radio programs. In the early days of the King's 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 around the world. He has taught young conductors at the Royal Academy of Music (London), the Liszt Conservatorium (Budapest, Hungary), the University of the Andes (Bogotá, Colombia), the World Symposium (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. | 12th Season at Norfolk | simoncarrington.com

64 | ARTIST BIOGR APHIES

A native of Tennessee, pianist (as well as violinist and violist) MELVIN CHEN has performed as a soloist and chamber musician at major venues throughout the US, 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, Chen has collaborated with such artists as Ida Kavafian, David Shifrin, Pamela Frank and with the Shanghai, Tokyo and Miró quartets. He has appeared at numerous festivals including the Bard Music Festival and Music from Angel Fire among others. 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. 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. In September of 2016 Chen began as Director of the Norfolk Chamber Music Festival. | 8th Season at Norfolk | melvinchen.com 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. | 33rd Season at Norfolk | allanjdean.com

dates included European festivals in Berlin, Augsburg, Ascona, Città di Castello and Humlebaek, Denmark. The 2016-17 season marks the Emerson Quartet’s 40th Anniversary, and highlights of this milestone year reflect all aspects of the Quartet’s venerable artistry with highprofile projects and collaborations, commissions and recordings. JEFFREY DOUMA, director of the Yale Multiple tours of Europe comprise dates in Austria, Italy, Germany, Glee Club, is also founding director of Switzerland, Belgium, The Netherlands, Spain and the United the Yale Choral Artists and Professor of Kingdom (including Wigmore Hall for a 40th Anniversary Gala); the Conducting at the Yale School of Music, Quartet also tours South America and Asia. After recent engagements where he teaches in the graduate choral together at the Kennedy Center and Tanglewood, illustrious soprano program. He currently serves as musical Renée Fleming joins the Emerson at Walt Disney Concert Hall, director of the Yale Alumni Chorus, which performing works from their first collaborative recording, released by he has led on eight international tours, and Decca in fall of 2015. The Chamber Music Society of Lincoln Center as artistic director of the Yale International has programmed celebratory concerts at Alice Tully Hall, as well as in Choral Festival. Douma has appeared as guest Chicago and Purchase, NY, in October: the Calidore Quartet teams conductor with choruses and orchestras on up with the Emerson for the Mendelssohn Octet, and the Emerson six continents, and has prepared choruses for performances under such gives the New York premiere of Mark-Anthony Turnage’s Shroud (coeminent conductors as Valery Gergiev, Sir Neville Marriner, Sir David commissioned by CMS). On April 21, 2017 the Quartet releases its Willcocks, Krzysztof Penderecki and Helmuth Rilling. An advocate latest album, Chaconnes and Fantasias: Music of Britten and Purcell, the of new music, Douma has premiered many new works by leading and first release on Universal Music Classics’ new US classical record label, emerging composers, and serves as editor of the Yale Glee Club New Decca Gold. Formed in 1976 and based in New York City, the Quartet Classics Choral Series, published by Boosey & Hawkes. His own took its name from the American poet and philosopher Ralph Waldo compositions are published by G. Schirmer. Douma served previously Emerson. | 5th Season at Norfolk | emersonquartet.com on the conducting faculties of Carroll College, Smith College, and the Interlochen Center for the Arts. He holds the Bachelor of Music Degree from Concordia College (Moorhead, MN) and the Doctor of Pianist PETER FRANKL has concertized Musical Arts degree in conducting from the University of Michigan. In on the international circuit since the 1960s, January and February 2017 he was in residence at Luther College as the performing with many of the world's visiting conductor of the internationally renowned Nordic Choir and greatest orchestras and conductors, such in April 2017 was in residence at the Central Conservatory of Music as Abbado, Boulez, Haitink, Maazel, (Beijing). He lives in Hamden, Connecticut with his wife, pianist and Masur, Solti, and Szell. He has appeared conductor Erika Schroth, and their two children Sofia and Will. on five continents and has been a regular | Third Season at Norfolk participant at international festivals at Edinburgh, Aldeburgh, Verbier, Kuhmo, Prades (Casals), Naantali and in London at The EMERSON the BBC Promenade Concerts. In the USA STRING QUARTET his numerous festival appearances include Marlboro, Ravinia, Aspen, (Philip Setzer violin, Norfolk, Yellow Barn and Chautauqua. His vast recording output Eugene Drucker violin, includes the complete piano works by Schumann and Debussy; Lawrence Dutton Brahms piano concertos, violin sonatas, and trios; Mozart piano viola, Paul Watkins concertos; Schumann, Brahms, Dohnányi, Dvořák, and Martinů cello) stands apart piano quintets; Hungarian violin sonatas, and many solo albums. in the history of Frankl is on the faculty of Yale University and Honorary Professor string quartets with of the Liszt Academy in Budapest. He has been on many jury panels more than thirty of international piano competitions, including the Van Cliburn, acclaimed recordings, Rubinstein, Leeds, Santander, Hilton Head, William Kappell, Hong nine GRAMMYs® Kong, Clara Haskil, Paderewski, Marguerite Long, Queen Elizabeth (including two for in Brussels, Manchester, Shanghai and as chairman, Cleveland. | Best Classical Album), three Gramophone Awards, the Avery Fisher 24th Season at Norfolk | peterfrankl.co.uk Prize and Musical America’s "Ensemble of the Year." Summer festival performances included Caramoor, Aspen, Ravinia, Tanglewood, Mostly Mozart and a residency at the Norfolk Music Festival. Late summer

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Artist Biographies Two-time GRAMMY® nominee and Avery Fisher career grant recipient violinist JENNIFER FRAUTSCHI has garnered worldwide acclaim as an adventurous musician with a remarkably wide-ranging repertoire. Highlights of her past season included performances with the St. Paul Chamber Orchestra and Tucson Symphony, as well as return engagements with the Alabama, Arkansas, Belo Horizonte, Chattanooga, Phoenix, and Toledo Symphonies and the Rhode Island Philharmonic. This past summer she performed at the Ojai, La Jolla, Santa Fe, Moab, Bridgehampton, and SaltBay Music Festivals. Her discography includes the Stravinsky Violin Concerto with the Philharmonia Orchestra, conducted by Robert Craft, and two GRAMMY®-nominated recordings with the Fred Sherry Quartet. Her most recent releases are a recording of Romantic horn trios, with hornist Eric Ruske and pianist Stephen Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk. With pianist John Blacklow she will release two discs on Albany Records this year: the first devoted to the Schumann sonatas, the second an exploration of recent additions to the violin and piano repertoire by American composers. Born in Pasadena, California, Frautschi was a student of Robert Lipsett at the Colburn School. She also attended Harvard, NEC, and Juilliard, where she studied with Robert Mann. She performs on a 1722 Antonio Stradivarius violin known as the “ex-Cadiz,” on generous loan from a private American foundation. | First Season at Norfolk | jenniferfrautschi.com SCOTT HARTMAN is one of the preeminent trombonists of today, performing throughout the US, Europe and Asia as a soloist and chamber musician. 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, Hartman has been a soloist with the BBC Orchestra, the New Japan Philharmonic, the Caracas Symphony, the Simone Bolivar Symphony, Bursa State Symphony Orchestra (Turkey), the National Symphony of Taiwan, the Daejeon Philharmonic (South Korea) and the Korean Orchestra

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(Seoul, South Korea). Hartman heads the trombone department at Yale University. Each summer, Hartman performs and coaches brass chamber music at the Norfolk Chamber Festival, the Raphael Mendez Brass Institute and the Chautauqua Music Festival. | 17th Season at Norfolk | slushpump.com Winner of the prestigious Avery Fisher Career Grant in 2011, pianist BENJAMIN HOCHMAN has established a vibrant and venerated musical presence in New York City through concerts with the New York Philharmonic and the American Symphony Orchestra, his Carnegie Hall debut with the Israel Philharmonic and a succession of prominent recital and chamber performances at 92nd Street Y. Hochman's extensive discography includes recordings with Avie Records, Artek and Bridge Records. Hochman’s 2015-2016 season included recitals at the Kennedy Center with Sharon Robinson, and at the Library of Congress with Jennifer Koh. Orchestral engagements include performances with the Kansas City Symphony, Omaha Symphony, Wroclaw Philharmonic Orchestra, and the Greenwich Symphony in Connecticut. Born in Jerusalem, Hochman began his studies with Esther Narkiss at the Conservatory of the Rubin Academy in Jerusalem and Emanuel Krasovsky in Tel Aviv. He is a graduate of the Curtis Institute of Music and the Mannes College of Music where his principal teachers were Claude Frank and Richard Goode. His studies were supported by the America-Israel Cultural Foundation. He is currently on the piano faculty of Bard College and is a Steinway Artist. | First Season at Norfolk | benjaminhochman.com 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 on orchestral, chamber, and recital programs worldwide and he has been commissioned for many of the world's foremost performing artists and ensembles, including sopranos Renée Fleming and Dawn Upshaw, violinist Joshua Bell, guitarist Sharon Isbin, the New York Philharmonic, San Francisco Symphony, 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 the Minnesota Orchestra's New Music Adviser 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. | 9th Season at Norfolk 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. | 4th 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, 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. Lucarelli has

recorded for Koch International, Lyrichord, MCA Classics, Musical Heritage Society, Pantheon and Stradivari. Former 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. | 10th Season at Norfolk The MIRÓ QUARTET (Daniel Ching violin, William Fedkenheuer violin, John Largess viola, Joshua Gindele cello) is one of America’s most celebrated and dedicated string quartets, having been labeled by The New Yorker as “furiously committed” and noted by Cleveland's The Plain-Dealer for their “exceptional tonal focus and interpretive intensity.” For the past twenty years they have performed on the world's most prestigious concert stages, earning accolades from passionate critics and audiences alike. Based in Austin, TX, and thriving on the area’s storied music scene, the Miró takes pride in finding new ways to communicate with audiences of all backgrounds while cultivating the longstanding tradition of chamber music. The Quartet’s 2016-17 season features collaborations with David Shifrin, Martin Beaver, Clive Greensmith, André Watts, and Wu Han, a performance of the complete Beethoven cycle in just nine days for Chamber Music Tulsa, and a much-anticipated return to Carnegie Hall. During its 2015-16 season, the Quartet returned to the Chamber Music Society of Lincoln Center, performing Beethoven in Alice Tully Hall and the complete cycle of Ginastera’s quartets at the Rose Studio; and performed a late-Schubert quartet cycle for the prestigious Slee Series in Buffalo, NY. Formed in 1995, the Miró Quartet was awarded first prize at several national and international competitions including the Banff International String Quartet Competition and the Naumburg Chamber Music Competition. Since 2003 the Miró has served as the quartet-in-residence at the University of Texas at Austin Sarah and Ernest Butler School of Music, and in 2005, the Quartet became the first ensemble ever to be awarded the coveted Avery Fisher Career Grant. | Third Season at Norfolk | miroquartet.com

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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 and over 30 collaborative discs. Moore has collaborated with a large and diverse range of ensembles including 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, BBC Proms, 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. Moore teaches at Wesleyan University and is a regular guest at the Australian National Academy of Music in Melbourne. | 12th 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, 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. | 24th Season at Norfolk | morellibassoon.com

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Flutist TARA HELEN O'CONNOR is a charismatic performer noted for her artistic depth, brilliant technique and colorful tone spanning every musical era. Recipient of an Avery Fisher Career Grant and a two-time GRAMMY® nominee, she is now a Season Artist of the Chamber Music Society of Lincoln Center. A William S. Haynes flute artist, O’Connor is a regular participant in the Santa Fe Chamber Music Festival, Music@Menlo, Spoleto Festival USA and many others. A sought-after chamber musician and soloist, she has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet, Emerson String Quartet, and others. O’Connor is a member of the woodwind quintet Windscape, the Bach Aria Group and is a founding member of the Naumburg Award-winning New Millennium Ensemble. A passionate advocate of new music, she is a member of the Talea and Cygnus Ensembles. O’Connor holds a DMA from Stony Brook University where she studied with the late Samuel Baron. She gives a yearly summer flute master class at the Banff Centre, and is Associate Professor of Flute, Head of the Woodwinds Department and the Coordinator of Classical Music Studies at Purchase College School of the Arts Conservatory of Music. O’Connor is also on the faculty of Bard College Conservatory Music, the Contemporary Performance Program at Manhattan School of Music and is a visiting artist at the Royal Conservatory of Music in Toronto. | First Season at Norfolk | tarahelenoconnor.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, and 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, Panetti has developed a nationally recognized course, that emphasizes the interaction between performers and composers. 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. | 36th Season at Norfolk | joanpanetti.com 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, Pellicano 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 conducting 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 Mécanique, 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, Pellicano 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. Pellicano has worked in masterclasses with Kurt Masur, Peter Eötvös, 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. | 8th Season at Norfolk | julianpellicano.com 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 holds a Masters and a DMA from Yale, which he completed under the guidance of Boris Berman. | 5th Season at Norfolk A native of Pennsylvania, horn player WILLIAM PURVIS 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. 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. 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. | 32nd Season at Norfolk Acclaimed by The New York Times as a “deeply expressive violinist,” HARUMI RHODES has gained broad recognition as a multifaceted musician with a distinct and sincere musical voice. As a founding member of the Naumburg Award–winning ensemble Trio Cavatina, Rhodes has performed in venues nationally and internationally. Her her festival appearances include the Marlboro Music Festival, Seattle Chamber Music, Bard, and the Saito Kinen Festival ( Japan). After completing her residency with Lincoln Center’s Chamber Music Society Two, Rhodes was appointed as an Artist Member of the Boston Chamber Music Society. An avid supporter of contemporary music, Rhodes is a frequent guest artist with Music from Copland House, and has recorded Milton Babbitt’s Sixth String Quartet on John Zorn’s Tzadik label. Rhodes has collaborated with many composers including Richard Danielpour, (continued)

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Artist Biographies Leon Kirchner, Benjamin Lees, Gabriela Lena Frank, and Lisa Bielawa. Recent solo engagements have included performing with the Vermont Mozart Festival Orchestra and the New York Chamber Soloists Orchestra. Rhodes is also a member of the East Coast Chamber Orchestra (ECCO). A graduate of The Juilliard School and the New England Conservatory, her principal teachers have been Shirley Givens, Earl Carlyss, Ronald Copes and Donald Weilerstein. Rhodes has served as Head of Strings and Chamber Music at Syracuse University, as well as Assistant Violin Faculty at the Juilliard School. Rhodes was appointed Assistant Professor of Violin at the University of Colorado Boulder in the fall of 2015. | First Season at Norfolk Violinist SHARON ROFFMAN, a prizewinner in the 2003 Naumburg Foundation International Competition, made her solo debut with the New Jersey Symphony in 1996. Since then, Ms. Roffman has become equally sought after as a soloist, chamber musician, orchestral leader and music educator. She made her Carnegie Hall debut in 2004 as a soloist in Vivaldi’s Concerto for Four Violins with Itzhak Perlman playing and conducting. She has performed all over the world including as a guest concertmaster of the Scottish Chamber Orchestra, Swedish Radio Symphony, Royal Scottish National Orchestra, BBC Philharmonic, Orchestre d’Auvergne, and Orpheus Chamber Orchestra. Ms. Roffman was a member of Orchestre National de France from 2009-2011, and was appointed “Violon Solo” of Orchestre National du Capitole de Toulouse in 2016. As a chamber musician, Ms. Roffman has collaborated with members of the Guarneri, Juilliard, Brentano, Shanghai, Avalon, and Miami Quartets. Passionate about combining performance and education, Ms. Roffman is the founder and artistic director of ClassNotes, a chamber music ensemble and non-profit organization dedicated to introducing public school students to classical music through interdisciplinary school residencies and performances. Ms. Roffman is also serves as Principal Curriculum Developer for the Australian Chamber Orchestra; created an online elementary school curriculum about the relationship between music and art for the ACO; and regularly teaches in elementary schools across Australia both live and via video conferencing. Ms. Roffman is a graduate of The Juilliard School and the Cleveland Institute of Music. Her former teachers include Itzhak Perlman, Donald Weilerstein, Peter Winograd, Robert Lipsett, Patinka Kopec and Nicole DiCecco. | First Season at Norfolk | sharonroffman.com

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DAV ID SHIFRIN, clarinet, has appeared as soloist with the Philadelphia, Pittsburgh, Houston, Dallas, Denver, Kansas City, Milwaukee, Calgary, and Edmonton symphony orchestras, l’Orchestre de la Suisse Romande, the Los Angeles Chamber Orchestra and the New York Chamber Symphony. Currently music director of Chamber Music Northwest, Shifrin was awarded an Avery Fisher Career Grant in May 1987. He is also the recipient of a Solo Recitalist Fellowship from the NEA. His recording for Delos of the Mozart Clarinet Concerto received a 1987 Record–of–the–Year award from Stereo Review, and he was nominated for a GRAMMY ® as Best Classical Soloist with Orchestra for his 1989 recording of the Copland Clarinet Concerto on Angel/EMI. Since 1989, he has been an artist member of the Chamber Music Society of Lincoln Center and from 1992–2004 he was its Artistic Director. Shifrin also serves as Artistic Director of the Yale School of Music’s Chamber Music Society and Yale in New York series. | 16th Season at Norfolk | davidshifrin.com Raised in a musical family in Northern Michigan, Soprano ADDY STERRETT enjoys exploring a wide variety of solo and ensemble repertoire. She currently studies with James Taylor at Yale University’s Institute of Sacred Music as a member of the Voxtet. During her time at Yale, she has been a featured soloist in Bach’s Magnificat, Hasse’s Miserere in c minor, Handel’s Occasional Oratorio, and the premiere of Reena Esmail’s This Love Between Us: Prayers for Unity with Yale Schola Cantorum. Sterrett has worked with conductors David Hill, Masaaki Suzuki, Gabriel Crouch, and Nicholas McGegan and has enjoyed collaborations with early music ensembles Juilliard415 and Gallicantus. Sterrett is a graduate of Interlochen Arts Academy and holds a bachelor’s degree from DePauw University (B.M. ’16) where she studied with Pamela Coburn. While at DePauw, she performed the roles of Beth (Little Women), Ottavia (L’incoronazione di Poppea) and worked with 21st century composers Mark Adamo, Roberto Sierra, and Gabriela Lena Frank. Although currently pursuing a master’s degree in early music, Sterrett is always looking for new ways of expression through contemporary and rarely performed works. When not singing, she enjoys traveling and exploring the great outdoors. | First Season at Norfolk

The American lyric tenor JAMES TAYLOR is one of the most sought after oratorio singers of his generation, appearing worldwide with such conductors as Christoph Eschenbach, Nikolaus Harnoncourt, Christoph von Dohnányi, Herbert Blomstedt, Daniel Harding, Harry Christophers, Osmo Vänskä, Phillipe Herreweghe and Franz WelserMöst. He tours extensively with Helmuth Rilling. Guest appearances have included concerts with the Bavarian Radio Symphony Orchestra, the Vienna Philharmonic, the Cleveland Orchestra, the Berlin Philharmonic, the Concentus Musicus of Vienna, the Toronto Symphony, Tafelmusik, the Gewandhaus Orchestra, Leipzig, the Orchestra of St. Luke’s, the St. Paul Chamber Orchestra, the Israel Philharmonic, and the San Francisco Symphony. He has recorded Dvořák’s Stabat Mater, Mendelssohn’s Paulus, Beethoven’s Missa Solemnis, Handel’s Messiah, Bach’s b minor Mass, and the songs of John Duke. Mr. Taylor is one of the founders of Liedertafel, a vocal ensemble which has appeared in major European music festivals and recorded for the Orfeo label. A recording of Scottish and Welsh songs by Franz Josef Haydn, together with Donald Sulzen and the Munich Piano Trio, has recently been released. Mr. Taylor is on the faculties of the Musikhochschule Augsburg, Germany, and the Institute of Sacred Music at Yale University. | 6th 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 Taylor received a GRAMMY® nomination. Taylor is 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. Taylor joined the faculty of the Yale School of Music in the fall of 2005. | 11th 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. 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 No. 1 has been released on disc by the Atlanta Symphony. 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. Theofanidis is currently on the faculty of Yale University, has taught at the Peabody Conservatory and the Juilliard School, and is a fellow of the US-Japan’s Leadership Program. | 9th Season at Norfolk | theofanidismusic.com Chris Brubeck's TRIPLE PLAY is the name given to three outstanding and versatile musicians, Peter "Madcat" Ruth (harmonica, guitar, jaw harp, percussion and vocals), Joel Brown, (folk and classical acoustic guitar and vocals) and Chris Brubeck (electric bass, bass trombone, piano and vocals). Collectively they bring a rare level of joy, virtuosity, and American spirit to the folk, blues, jazz and classical music they perform. Triple Play’s musical roots go back nearly 40 years in each member’s history. Chris and Madcat have toured and recorded together in different settings since 1969, first as young rock musicians and then as jazz musicians touring the world with Dave Brubeck. Chris went on to form the group Crofut & Brubeck with the uniquely talented banjo player Bill Crofut, featuring Joel on guitar. Sadly, Bill Crofut passed away in 1999, and Madcat joined Chris and Joel to form the group Triple Play. All Music Guide reviewed their first cd, Triple Play Live, saying “This boundary stretching CD should be investigated by anyone who enjoys great American music." With an ever-expanding repertoire, the Trio plays in concert halls, clubs and festivals all over the country, including performing many of Chris’ symphonic arrangements with orchestras across the U.S. | First Season at Norfolk | chrisbrubeckstripleplay.com

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Artist Biographies RANSOM WILSON, flute/conductor, 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, 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. | 16th Season at Norfolk | ransomwilson.com Noted for his fluency of playing and expressive warmth, sensitivity, and technical ease (Boston Musical Intelligencer), cellist JACQUES LEE WOOD enjoys an active and varied musical career. His passion for teaching and research compliments a performance career that explores a broad range of interests: from historically informed performance on baroque cello and commissioning and performing new works, to playing bluegrass banjo, mandolin and cello with his NYC-based group Cathedral Parkway. Wood is a founding member of the Boston-based Antico Moderno, a period chamber ensemble that commissions new works for period instruments, and StringLab, a duo with guitarist Simon Powis that produces original arrangements/compositions and commissions new works. Wood is currently cellist in the Pedroia String Quartet, resident musician and cellist in the Sumner Quartet with musiConnects (Boston), and is a principal player with the GRAMMY® nominated Trinity Baroque Orchestra, Bachsolisten Seoul and the American Baroque Orchestra. Wood is a guest artist with A Far Cry, Yale Schola Cantorum, Bach Collegium Japan, Great Mountains Festival (South Korea), Korea Strings Research Institute, Bari International Music Festival, and others. Wood holds a BM from the New England Conservatory of Music and a MM and DMA from Yale University. | 4th Season at Norfolk | jacquesleewood.com

72 | ARTIST BIOGR APHIES

Pianist WEI-YI YANG has earned worldwide acclaim for his captivating performances and imaginative programming. Winner of the gold medal in the 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, Yang studied first in the United Kingdom, and then in the US with renowned Russian pianists Arkady Aronov at the Manhattan School of Music and Boris Berman at Yale. Yang’s performances have been featured on NPR, PBS, Association Relative à la Télévision Européenne, the Australian Broadcasting Company, and on recordings by Ovation, Albany Records, Renegade Classics, and the Holland-America Music Society. A dynamic chamber musician, Yang is a frequent guest artist at festivals across the US from Norfolk to Napa Valley and abroad, including Germany, Serbia, Montenegro, and Mexico. He has adjudicated at the Isidor Bajic Piano Memorial Competition, the San Antonio International Piano Competition, and the Concert Artists Guild auditions. In 2004, Yang received his doctorate from Yale, where he joined the faculty in 2005. | 10th Season at Norfolk The YALE CHORAL ARTISTS is a professional choir recently founded by the Yale School of Music and the Yale Glee Club to enhance and enrich Yale’s strong commitment to the choral arts. The choir is a projectbased ensemble comprised of leading singers from around the country and is directed by School of Music faculty member Jeffrey Douma. Current members of the Choral Artists also perform in the ranks of such acclaimed ensembles as the Trinity Wall Street Choir, Chanticleer, the Handel and Haydn Society Chorus, the Oregon Bach Festival Chorus, Voices of Ascension, Conspirare, and many others, and are also leading concert soloists, particularly in the area of early music. The Yale Choral Artists made their debut in an all-Handel program led by guest conductor William Christie at Yale and in Zankel Hall in February of 2012. The Choral Artists have since performed as a featured ensemble at the first Yale International Choral Festival, the International Festival of Arts & Ideas, the Norfolk Chamber Music Festival, and with the renowned Mark Morris Dance Group. Upcoming projects include a performance of Robert Levin’s completion of the Mozart’s Great Mass in c minor and premieres of new works by composers Ted Hearne and Hannah Lash. | Third Season at Norfolk

Music Shed Restoration Fund Thank you to the many generous donors who have been part of the Music Shed Restoration. You have made a world of difference with your gifts. (as of may 6, 2017)

the ellen battell stoeckel circle anonymous anonymous anonymous Burton & Joyce Ahrens Perry DeAngelis David N. Low & Dominique Lahaussois State of Connecticut, Department of Community Development: Office of Historic Preservation

the jean sibelius circle AKC Fund, Inc.

Leila & Daniel Javitch Anne-Marie SoulliĂ¨re & Lindsey C.Y. Kiang Alex & Patricia Vance

MUSIC SHED RESTOR ATION FUND | 73

Music Shed Restoration Fund the sergei rachmaninov circle anonymous anonymous anonymous, in memory of Wm. Hale Charch & Ruth Heidrick Charch anonymous, in honor of Paul Hawkshaw anonymous, in memory of Luther & Osea Noss Molly Ackerly & Michael Sconyers Astrid & John Baumgardner

Rohit & Katharine Desai Family Foundation

Adrienne Gallagher & James Nelson

Fleur Fairman & Timothy Wallach

The Netter Foundation

John Garrels Brett & Coleen Hellerman William & Mary Greve Foundation, Inc. Robert Loper & Robert Dance Judith & Kim Maxwell

Hope Childs

David & Katherine Moore Family Foundation

Marlene Childs

Richard & Barbara Moore

Dr. William C. Popik Drew & Sally Quale James & Nancy Remis Gift of Susan E. Thompson (MMus '79) in memory of Richard T. Rephann (MMus '64) The Smart Family Foundation, Inc. Pat & Kurt Steele Sukey Wagner

Andrew G. De Rocco

the samuel coleridge-taylor circle

anonymous

Lakeridge Association

Norfolk Artists & Friends

Robert & Serena Blocker

Xingping Zuo, Jianmei Li, & Scarlett Tong Zuo Family

John Perkins & Hope Dana

Elizabeth Kittredge & Christopher Little

Belle K. Ribicoff

Robert & Ann Buxbaum Michael Emont & Margo Rappoport Valerie Fitch Peter Kennard

74 | MUSIC SHED RESTOR ATION FUND

Theo & Lisa Melas-Kyriazi Lester & Dinny Morse

Curtis & Kathy Robb

Syoko Aki Erle

the percy grainger circle Claudia & Eliot Feldman

Mr. & Mrs. Samuel A. Anderson, III Jeff & Joan Beal

Prof. Michael Friedmann & Ms. Deborah Davis

Bertha R. Betts

Dr. Richard J. Gard

The Katharine Bradford Foundation

Lionel & Dotty Goldfrank

Linda & Frank Bell

Mrs. John T. Gallagher

Constantin R. Boden

Stacey McG. Gemmill

Elizabeth Borden

Mireille Gousseland, in honor of David Low & Dominique Lahaussois

Bill & Jennie Brown

Barbara G. Gridley, in honor of William G. Gridley, Jr. for his work on the Music Shed Restoration

John & Denise Buchanan

Walter & Mary Beth Buck David Budries

Roy Camblin, III Carolyn Childs

Peter N. Coffeen & Stephen J. Getz

Ron Cohen, in honor of David Low & Dominique Lahaussois Herbert & Jeanine Coyne

Anne & John A. Herrmann, Jr. Suzanne M. Hertel

Peter & Mary Hess Ani Kavafian

Charlotte Currier, in memory of Keith & Rachel Wilson

Michael & Doreen Kelly

Mr. & Mrs. Robert Dionne

Martha Klein

IBM Matching Gift Program

Raymond & Yong Sook Kwok

Louise L. Chinn Ducas

John & Duff Lambros

Madeline Falk

Carlene Laughlin

Mary Fanette & Veronica Burns

James B. Lyon

David & Leni Moore Family Foundation Frank & Bethany Morelli

Ingrid & Michael Morley

Christian & Alfreda Murck Thomas Murray

Sandy & Dick Rippe

The Felix & Elizabeth Rohatyn Foundation Jacqueline & Frank Samuel Shirley & Ben Sanders

Adrian & Maggie Selby Mr. & Mrs. Andrew D. Hart, Sr., in honor of Cornelia & Jon Small Bill Gridley Cameron O. Smith Peter S. Heller Linda Bland Sonnenblick & Henry Zachs

Helen I. Jessup

George Cronin

Starling Lawrence

Schuyler & Heather Thomson Jerry & Roger Tilles

Mr. & Mrs. Eliot Wadsworth Alexandra Walcott

Apple Pickers Foundation Abby N. Wells

Sally & William Charitable Fund Joemy Wilson & Jon Harvey Michael & Gail Yaffe Wei-Yi Yang

the fritz kreisler circle

The Asen Foundation, Scott Asen, Trustee

Drew Days, III & Ann Langdon

Lloyd Garrison

Robert F. & Jo Ann D. Austin

Susan A. & Jon Eisenhandler

Catherine Gevers & John Fernandez

Roger & Linda Astmann

Emily P. Bakemeier & Alain G. Moureaux Sally Barrett & Robin Landis David Belt

Warren & Joanne Bender Bret & Lori Black

Mr. & Mrs. Starling W. Childs Phyllis & Joseph Crowley

Dr. & Mrs. Burton Cunin John & Helen Davis

Gordon Douglas

Bonner & David Elwell Robert & Eiko Engling Abbie & Zoe Falk

George K. Fenn, Sr.

Carole & Michael Fleisher Virginia Flynn

Jamie Brooke Forseth Genevieve Fraiman Martina Gago

In memory of Lloyd Garrison

Eulalie Glaser, in honor of Kim and Gwynn Scharnberg Roberto Goizueta

Tauck, in memory of Keith Wilson

Joan & Gerry Gorman

Christine & Phillippe Gousseland, in honor of David Low & Dominique Lahaussois Felix & Janice Graham-Jones

MUSIC SHED RESTOR ATION FUND | 75

Music Shed Restoration Fund William W. Gridley

the fritz kreisler circle (continued)

Gerald & Barbara Hess

Carolyn Monaco

David Shifrin & Family

Jim & Jeanne Moye

Ileene Smith & Howard Sobel

Kevin & Hatice Morrissey

Tom Hodgkin & Barbara Spiegel Sallie Craig Huber

Michaela Murphy

Daphne Hurford & Sandy Padwe

Patricia Nooy & Roger Miller

Colta & Gary Ives

Leroy & Jane Perkins

Paul E. Jagger

Roger Mitchell & Pete Peterson

Kathleen Kelley

Ted & Iris Phillips

Susan & Peter Kelly Anthony Kiser

Dr. Andrew Ricci, Jr., M.D. & Jacqueline Ann Muschiano

Susan MacEachron

Nina Ritson

Sylvia & Leonard Marx

Karen Rossi

Robert N. Kitchen, M.D.

Cristin & David Rich

Jack & Ingrid Manning

Lee Ronnel

Annette McEvoy & Harold Bronheim

John & Barbara Rutledge

Richard & Marilyn Schatzberg

Merck Partnership for Giving

anonymous

Bernard & Lisa Selz

Ernest Sinclair

Joseph Stannard Regina Starolis

Ronald & Marion Stein Martin Tandler Graham Taylor Paul Tetreault

Christopher Tunnard Sally S. Vaun

Mark & Tania Walker Dr. Steven Wernick

Rita & Sandy Wilson

Mr. & Mrs. Richard Woods Laura Zweig

the maude powell circle

anonymous anonymous anonymous

Simon Aldridge & Lisa Tanno Roslyn Allison

Francis & Christianne Baudry

Margaret E. Burnett

Barbara & Jack Beecher

Steven Callahan & Randall Dwenger

Barbara & Malcolm Bayliss

Anne Marie & Jonathan Berger Peter & Amy Bernstein

Rick & Nurit Amdur

Amy & Peter Bernstein, in memory of Bill Gridley

Caroline Andrus

Christopher Blair

Sandy An

ErzsĂŠbet & Donald Black

Paul R. Archaski

Robert & Serena Blocker, in honor of Anne-Marie SoulliĂ¨re's birthday

Steven J. Archaski

Mr. & Mrs. Herbert A. Arnold Mrs. Lois Clark Atkinson Joanna Aversa

Toten & Nadja Bacardi

Ivan A. Backer & Paula Fisher Joel Bard & Sayuri Miyamoto Stephen Barden

Johanna Barnhart & Caridad Caro Mr. & Mrs. Jeremy Barnum

Sonia & John Batten, in honor of Kim & Gwynn Scharnberg 76 | MUSIC SHED RESTOR ATION FUND

Mr. & Mrs. Edward H. Boehner Martin Braid

Amb. & Mrs. Everett Briggs Joyce C. Briggs David Bright

Karen & Trip Brizell

Gerry & Bill Brodnitzky

Christopher & Tish Brubeck Beth & Peter Brunone

Francesca Turchiano & Bob Bumcrot Karen Burlingame & Anders Bolang

Claire Burson

Nicholas L. Campbell

Carol Camper & John Hartje Susan E. Carpenter

Sally Carr & Laurence Hannafin Linda & Walter Censor Virginia Russ Chalmers

Dr. & Mrs. B. Charipper Jane & Oscar Chase

Ted & Victory Chase Deanne Chin Marvin Chin

Dennis & Pamela Collins Charles Collins Hilda Collins

Suzanne & Edward Colt Mahlon Craft

Allan J. Dean, in honor of Kim and Gwynn Scharnberg

The Hospital of Central CT Dialysis Unit, in honor of Dr. Robert Lapkin

Theodore & Nancy Johnson

Phyllis Diggle

Jenny Kalick

Anthony DiBartolo

Elisabeth Kaestner & Paul de Angelis, in honor of Frank Bell

Peter & Kristine Dobbeck

Mr. & Mrs. Abraham Kaufman

Ruah Donnelly & Steven Dinkelaker Judith & Paul Dorphley

Dr. & Mrs. Paul D. Ellner Howard & Sally Estock Roselee & Nick Fanelli

Susan L. Fish & Robert W. Richardson Mary Ann & Joseph Fitzpatrick Woody & Mary Kay Flowers

Walter Foery & Ransom Wilson Roz Forman

Florence Fowlkes, in memory of Tim Childs

Kristin Fox-Siegmund, in honor of Kim & Gwynn Scharnberg Robert Frear, in honor of Kim & Gwynn Scharnberg Larry & Rita Freedman Judith Friedlander Bruce Frisch

John G. & Susanne Funchion Barbara Garside

Elisabeth Childs Gill Pedro Gneiting Carolyn Gould

Jeffrey Guimond

Judith & Arthur Gurtman Rosamond Hamlin Jim & Lois Harris Ann Havemeyer

Richard Hellesen Tom Hlas

Anita Holmes

David Hosford Adela Hubers

Maureen Hurd Hause, in memory of Keith Wilson

Maureen Hurd Hause & Evan Hause Wayne Jenkins

Nancy & Blair Jensen Michele Jerison

Leland Kelson, in honor of Kim & Gwynn Scharnberg Galene & Richard Kessin Robert King

Sheila Camera Kotur

Roberta & Lawrence Krakoff Kate & Tom Kush

Sarita Kwok & Alexandre Lecarme Dr. & Mrs. Robert Lapkin Kathrin Lassila

Joseph L. Lavieri

Suzanna & Peter Lengyel Judith & Michael Lesch Nena Donovan Levine

Carole & Lance Liebman Douglas & Susan Lint David Longmire

Maija Lutz & Peter Tassia Vicky MacLean

Paul Madore & Tom Hlas Janet Marks

Elizabeth & Frank Martignetti

Stephen J. McGruder Family Fund Christine Melchinger Gwen E. Melvin

James Perlotto & Thomas Masse

Karen DiYanni Peterson & Ned Peterson Rev. Dr. Wayne Pokorny Ed & Reva Potter

Donna & Dennis Randall

Mr. & Mrs. Hugh M. Ravenscroft Susan & Joe Ray

Edward Reid & Shu Ching Cheng Carol & Harold Rolfe Susan Rood

Caren & Barry Roseman Edward & Karen Rosen

Marc Rosen & Susan Pinsky Aaron & Judith Rosenberg Naomi Rosenblum Turi Rostad

Paul D. Rust, in honor of William Gridley

Mr. & Mrs. Alain C. Saman Martha Saxton

Norman Schnayer

Marvin & Joyce S. Schwartz Stefania Scotti

Anthony & Helen Scoville Wendy Sharp

Shoreline Village CT

Jonathan & Faye Silberman Chris & Frank Silvestri Ron Sloan

Cecily Mermann

Stuart & Helaine Smith, in honor of Michael Emont

Timothy & Deborah Moore

Nicolette Smith

Dr. & Mrs. Ira Mickenberg Ingegerd Mundheim

Gordon Smith & Joanna Vincent

Pamela & Julian Nichols

John & Judith Sneath, in honor of David Low & Dominique Lahaussois

Faye O'Meara

Marcia & Robert E. Sparrow

Ruthann Olsson

Pamela Stebbins

Mrs. Jose W. Noyes

Joseph B. Solodow

Jerry & DeVere Oakes

Janet & Ronald Spencer

James & Jean Palmer, in honor of Bill Gridley

Peter & Abbe Steinglass

Jill Pellett Levine

Frederica M. Sulzbacher

Steven Pearlstein & Wendy Gray Catherine Perga Barbara Perkins

Dr. J.W. Streett

Michael & Suzanne Stringer Elizabeth C. Sussman G & R Swibold

MUSIC SHED RESTOR ATION FUND | 77

Music Shed Restoration Fund Bridget Taylor

the maude powell circle (continued) Nicholas Valkenburg

Dr. Timothy D. Taylor

Sally & Nicholas Thacher

Christina Vanderlip, in memory of Bill Gridley

Alyson & Tony Thomson

Nancy R. Wadhams

Sheldon & Florence Toder

Charles & Barbara Perrow

Caryn Trager

Virginia T. Wilkinson

Kathleen S. Wilson

Beatrice & Edgar Wolf

Werner & Elizabeth Wolf

John Thew

Peter Vosburgh

William Tilles

Nancy Wadleton

Margot Woodwell, in memory of Frank B. Bell

Richard & Sandra Tombaugh

Kate Wenner & Gil Eisner

Toby Toung

Allen Trousdale

Joan Wilson, in memory of Bill Gridley

Craig Baker

Susannah & Wiley Wood

Dr. Donna Yoo

the victor herbert circle

Alice & David Belgray

Mr. & Mrs. Gordon Bischoff, in memory of Michael J. Poskus Gayle H. Blakeslee

Awilda Guerrero-Buchholz & Bernard Buchholz Ivan & Frances Capella

Chevron Humankind Direct Contribution Justine & Hakki Cinel Maggie Clarke

Joan W. Cox, in loving memory of Bill Gridley Robert & Dianne Dinnean Susan M. Dyer

Alison & Mark Foley, in memory of Michael Poskus Steven Fraade Sara Frischer Jane Glover

KC K. Gonzalez

Swadesh S. Grant

Jack Grossman & Diane Cohen Joe & Pat Grynbaum Neal Hampton

Steve & Amy Hatfield Sarah R. Hewitt

78 | MUSIC SHED RESTOR ATION FUND

Anita Holmes

Eileen E. Reed & C.A. Polnitsky, M.D.

Robert & Lise Howe, in memory of Michael Poskus

Peter A. Rogers & Paige Carter

Philip Hoskins

Hartford County 4-H Fair, in memory of Michael Poskus Alysson D. Iceton Green Dean & Bob Inglis Valerie Jones

Sun-Ichiro Karato

Diane & David Kopp Laura Lasker

Evelyn & Marcel Laufer Jennifer Laursen

Sara & William Lavner

Anne Garrels & Vint Lawrence Cheng-hua Lee Karen Linden Lenore Mand

Dr. & Mrs. Ronald Match

Zdenek & Zuzana Meistrick Robert & Andrea Milstein

Carlos E. & Alda Neumann Jay & Elizabeth Nyczak

Sheryl Payton, in honor of Kim & Gwynn Scharnberg Jen Perga & Mike DeClement

Helen & Avi Elnekave Arthur S. Rosenblatt

Edward & Lynn Russell James M. Self

Mark & Tema Silk Edward F. Steblay

Mr. & Mrs. Henry Stern Clarice N. Stevens

Paul Stranieri & Kathy Albano John & Sanda Ursone

Mr. & Mrs. Dolph Van Laanen, in memory of Bill Gridley William & Sally Vaun, in memory of Bill Gridley William & Sally Vaun, in memory of Frank Bell Daniel Villanueva, in honor of Kim & Gwynn Scharnberg

John & Shirley Warn, in memory of Michael J. Poskus Bonnie Watkins

Fred & Edith Wilhelm, in honor of Michael J. Poskus

PreSchool Family & Young Fives, in memory of Keith Wilson Jeppy Yarensky

Cupola Society T he following are named as members of the Cupola Society for their leadership gifts to the Music Shed Restoration and will be recognizd in perpetuity in the base of the restored cupola. To join the Society or to make a contribution to the Restoration Fund, please visit norfolkmusic.org or call 860-542-3000.

anonymous

John Garrels

The Netter Foundation

anonymous

The William and Mary Greve Foundation

Dr. William C. Popik

Molly Ackerly & Michael Sconyers

Susan & Paul Hawkshaw

Burton & Joyce Ahrens

Brett & Coleen Hellerman

AKC Fund, Inc.

Leila & Daniel Javitch

Astrid & John Baumgardner

Robert Loper & Robert Dance

Marlene Childs Hope Childs Perry DeAngelis Andrew De Rocco & Joan McNulty Rohit & Katharine Desai Family Foundation Fleur Fairman & Timothy Wallach

Drew & Sally Quale James & Nancy Remis

The Smart Family Foundation, Inc.

Anne-Marie SoulliĂ¨re & Lindsey C.Y. Kiang

David N. Low & Dominique Lahaussois

State of Connecticut Historic Preservation Office

Judith & Kim Maxwell

Pat & Kurt Steele

David & Katherine Moore Family Foundation

Byron Tucker & Elzabeth R. Hilpman Alex & Patricia Vance

Richard & Barbara Moore

Sukey Wagner

Adrienne Gallagher & James Nelson

Paul & Susan Hawkshaw Scholarship Fund (as of may 6, 2017)

anonymous

The AKC Fund, Inc.

leading contributors Astrid & John Baumgardner

John C. Garrels

Rohit & Katharine Desai

James & Nancy Taggart Remis

CUPOLA SOCIETY | HAWKSHAW SCHOLARSHIP | 79

Paul & Susan Hawkshaw Scholarship Fund anonymous Joyce & Burton Ahrens Donald & ErszĂŠbet Black Hope Childs Barbara G. Gridley Brett & Coleen Hellerman

Mr. & Mrs. Samuel A. Anderson Sally & Ted Briggs Louise L. Ducas Jean Crutchfield & Robert Hobbs Fleur Fairman & Timothy Wallach

Graham & Elizabeth Allyn Roger & Linda Astmann Barbara & Jack Beecher Peter & Amy Bernstein Elizabeth Borden Sally Carr & Larry Hannafin Peter Coffeen & Stephen Getz

Erica Barden Boris & Zina Berman Marcia & Peter Chesler Carolyn Childs Deanne Chin Karen DiYanni The Emerson String Quartet

anonymous Peter Andrighetti Simon Carrington Richard Davis Katelyn Egan 80 | HAWKSHAW SCHOLARSHIP

musicians' circle

Daniel & Leila Javitch Helen I. Jessup Robert Loper & Robert Dance David N. Low, Jr. & Dominique Lahaussois Kim & Judy Maxwell

Frank & Bethany Morelli Christian & Alfreda Murck Adrienne Gallagher & James Nelson Roger Mitchell & Pete Peterson Sally & Andrew Quale

associate members

Claudia & Eliot Feldman Michael & Doreen Kelly Susan MacEachron & Michael Halloran Stephen & Ruth Melville

Katherine Moore Jim & Jeanne Moye John Perkins & Hope Dana Barbara & John Rutledge Adrian & Maggie Selby

sustaining members

Dr. Joe W. Crow & Virginia Flynn Susan A. & Jon Eisenhandler Dotty & Lionel Goldfrank, III Christine & Philippe Gousseland Gerald & Barbara Hess Myron Kwast

David Kurtz & Candace Bowes Zdenek & Zuzana Meistrick Patricia Nooy & Roger Miller Curtis & Kathy Robb Nini & Alain Saman Anthony & Helen Scoville Pat & Kurt Steele

supporting members

Roselee & Nicholas Fanelli Mary Fanette & Veronica Burns Kevin R. Flach & Merideth McGregor Sara Frischer Joseph Gordon Cecily Mermann

Susan Narucki The Norfolk Facilities Team Dorothy & Robert Pam Naomi Rosenblum Phillida Rosnick Ben & Lily Schaeffer Barbara Spiegel & Tom Hodgkin

members

Janelle Francisco Ralph W. Franklin Maureen Hurd Hause & Evan Hause Colette Hurst

Stefanie Parkyn Benjamin Schiff Lauren Schiffer Harvey Simon Patricia & Paul Tenthorey

Sandra & Richard Rippe Mary & Don Roberts Anne-Marie SoulliĂ¨re & Lindsey Kiang

Jon & Nealie Small John G. Waite Associates, Architects PLLC

Richard & Sandra Tombaugh Mr. & Mrs. John Troyer Byron Tucker & Elizabeth Hilpman

Bryan Stanton & Barry Webber Alexandra Walcott Susannah & Willard Wood Dr. Donna Yoo

Beverly & Robert Vail Sally Vaun Abby N. Wells Carol Wincenc

Annual Fund We wish to thank the many individuals and organizations who, through their support, have made this season possible. (as of may 6, 2017)

leading contributors anonymous

Battell Arts Foundation

Astrid & John Baumgardner

Centenary Scholarship Fund The AKC Fund, Inc.

Rohit & Katharine Desai

Ellen Battell Stoeckel Trust John C. Garrels

Paul & Susan Hawkshaw Scholarship Fund

Evan Hughes & Peter Ermacora Special Projects Fund Clement Clarke Moore Scholarship Fund

Carlton D. Fyler & Jenny R. Fyler Fund, a fund of The Community Foundation of Northwest CT

The Local Area Fund, a fund of The Community Foundation of Northwest CT Aldo & Elizabeth Parisot, in honor of Harris Goldsmith James & Nancy Taggart Remis Roger & Jerry Tilles

Louise Willson Scholarship Fund Yale Summer Music Fund

ANNUAL FUND | 81

Annual Fund musicians' circle

anonymous

Barbara G. Gridley

Mr. & Mrs. Lester S. Morse, Jr.

Syoko Aki, in support of Sophia Mockler ('16)

John & Anne Herrmann

Thomas Murray

Joyce & Burton Ahrens

Battell Arts Foundation

Donald & Erszebet Black

Bellevue Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Hope Childs

Marlene I. Childs

Michael Emont & Margo Rappoport Robert Goizueta

Anthony Kiser, The William & Mary Greve Foundation

Mr. & Mrs. Samuel A. Anderson Sally & Ted Briggs

Mary Beth & Walter Buck Louise L. Ducas George Cronin

Jean Crutchfield & Robert Hobbs Bonnie & Cliford Eisler

Fleur Fairman & Tim Wallach Claudia & Eliot Feldman Morton & Judith Grosz

Douglas & Sallie Craig Huber

Daphne Hurford & Sandy Padwe Colta & Gary Ives

Graham & Elizabeth Allyn Roger & Linda Astmann Ivan A. Backer

Barbara & Jack Beecher Peter & Amy Bernstein

Brett & Coleen Hellerman Daniel & Leila Javitch Helen I. Jessup

Christopher Little & Elizabeth Kittredge Robert Loper & Robert Dance David N. Low, Jr. & Dominique Lahaussois Kim & Judith Maxwell

Barbara F. & Richard W. Moore Fund, The New York Community Trust Frank & Bethany Morelli

Paul E. Jagger

Michael & Doreen Kelly

Roger Mitchell & Pete Peterson Pfizer Matching Gifts Program Andrew & Sally Quale

Richard & Sandra Rippe Don & Mary Roberts

Anne-Marie SoulliĂ¨re & Lindsey Kiang Pat & Kurt Steele

Alex & Pat Vance

The Walcott Family Fund

Barbara & John Rutledge

Carlene Carrasco Laughlin

The Marvin & Joyce S. Schwartz Fund, Northwest Connecticut Community Foundation

Tom Martin & Susan Spiggle

Jon & Neali Small

Merck Gives Back

Keith & Catherine Stevenson

Timothy & Deborah Moore

John G. Waite Associates, Architects, PLLC

John Perkins & Hope Dana

Sally Williams & William Fuller

Evelyn & Marcel Laufer

Susan MacEachron & Michael Halloran

Adrian & Maggie Selby

Stephen & Ruth Melville

Howard Sobel & Ileene Smith

Katherine Moore

Eliot & Annick Wadsworth

Jim & Jeanne Moye

Robert F. Wechsler & Emily A. Aber

Lee & Jane Perkins

sustaining members Peter Coffeen & Stephen Getz

Dotty & Lionel Goldfrank, III

Allan Dean & Julie Shapiro

Carol Camper & John Hartje

Dr. Joe W. Crow & Virginia Flynn Susan A. & Jon Eisenhandler

Constantin Boden

Sally Carr & Larry Hannafin

Kerry Garside

82 | ANNUAL FUND

Adrienne Gallagher & James Nelson

associate members

Florence Bryan Fowlkes, in honor of Hope S. Childs

Elizabeth Borden

Christian & Alfreda Murck

Richard & Evelyn Gard

Christine & Philippe Gousseland Gerald & Barbara Hess Martha Klein

David Kurtz & Candace Bowes Marlene & Myron Kwast

Robin & Sally Landis

sustaining members (continued)

Alexandre Lecarme & Sarita Kwok Tom Hlas & Paul Madore

Zdenek & Zuzana Meistrick

David & Leni Moore Family Foundation Ingrid & Michael Morley

Patricia Nooy & Roger Miller

anonymous

Molly Ackerly & Michael Sconyers Bernard Adams

Simon Aldridge & Lisa Tanno Richard & Jane Andrias Erica Barden

Jeremy Barnum & Caitlin Macy Alice & David Belgray David & Carolyn Belt

Warren & Joanne Bender

Jonathan & Anne Marie Berger Boris & Zina Berman

Charles & Estelle Berthiaume Jean Paul & Eva Blachere Ed & Jeannie Boehner Joyce Briggs

Cynthia & Burton Budick

Mr. & Mrs. David Burgin Margaret E. Burnett Susan E. Carpenter

Jane & Oscar Chase

Mr. & Mrs. Theodore Chase, Jr. Marcia & Peter Chesler Carolyn Childs

Marjorie Clarke

Philip Cohen & Anne Hall

Lewis G. Cole Edward & Suzy Colt John & Helen Davis Karen DiYanni Randall R. Dwenger & Steven B. Callahan

Raynard & Pierce Insurance

Anthony & Helen Scoville

Curtis & Kathy Robb

Alyson & Tony Thomson

Susan & Peter Restler Evelyn Rogoff

Nini & Alain Saman

Sanofi US Matching Gift Harvey Schussler

Shoreline Village CT

Richard & Sandra Tombaugh Mr. & Mrs. John Troyer

Byron Tucker & Elizabeth Hilpman

supporting members Dalton & Roshanak Dwyer The Emerson String Quartet Bob & Eiko Engling Roselee & Nicholas Fanelli Mary Fanette & Veronica Burns Merideth McGregor & Kevin R. Flach Carole & Michael Fleisher Woody & Mary Kay Flowers Alison B. Fox Gerald Freedman & Kristin King LaRita & Lawrence Freedman Michael Friedmann & Deborah Davis Sara Frischer Elisabeth C. Gill Marguerite M. Gill Joseph Gordon Awilda Guerrero-Buchholz & Bernard Buchholz Judith & Arthur Gurtman Ann Havemeyer & Tom Strumolo Peter S. Heller Suzanne M. Hertel Sarah & Dan Hincks IBM Matching Grants Program Marsha Keskinen & George Weichun Galene & Richard Kessin Robert Kitchen Katharine Kush Dr. & Mrs. Robert Lapkin Joseph Lavieri Karen Linden Gerald & Selma Lotenberg

Maija Lutz & Peter Tassia Thomas Gilmore Masse & James M. Perlotto, M.D., in honor of Melvin Chen Cecily Mermann Susan Narucki Mr. & Mrs. Michael Nicastro The Norfolk Facilities Team Michael & Maureen O'Connor Jerry & DeVere Oakes Lynn Padell & Bob Altbaum Dorothy & Robert Pam Cathie Perga Ned K. Peterson & Karen DiYanni Peterson Ted & Iris Phillips Holly & Joe Poindexter Eileen Reed & C.A. Polnitsky, M.D. Dr. Andrew Ricci, Jr., M.D. & Jacqueline Ann Muschicano Matt & Linda Riiska Marc Rosen & Susan Pinsky Aaron & Judy Rosenberg Naomi Rosenblum Phillida Rosnik Lawrence & Naomi Rothfield Frederick Russell Linda & RD Sahl Richard & Marilyn Schatzberg Jonathan & Faye Silbermann Chris & Frank Silvestri Linda Sonnenblick & Henry Zachs Barbara Spiegel & Tom Hodgkin Bryan Stanton & Barry Webber

ANNUAL FUND | 83

Annual Fund Natalie L. Starr, in honor of John & Sandra Blakeslee Michele & Bill Starr Bruce Stein Peter & Abbe Steinglass Dr. J.W. Streett

supporting members (continued)

anonymous anonymous Peter Andrighetti Peter & Julia Anstey Mr. & Mrs. Herbert A. Arnold Joanna Aversa & Christopher M. Ursini, Sr. Donald A. Bickford Gayle H. Blakeslee D. Weston & Joann Boyd Simon Carrington Linda & Walter Censor Virginia Russ Chalmers Mr. & Mrs. Starling Childs Richard Davis John V.H. Dippel Judith & Paul Dorphley Mr. & Mrs. Gordon Douglas Katelyn Egan Dr. Paul & Cornelia Ellner Ellen Cohen & Steven Fraade Janelle Francisco Ralph W. Franklin John G. & Susanne Funchion

84 | ANNUAL FUND

Graham R. Taylor Stephen Taylor Amy & David Troyansky Sandra & David Van Buren Alexandra Walcott Sandy & Rita Walsh-Wilson

members

David Gilmore Ellen Glass Janis & Felix Graham-Jones Rev. Dr. Mary N. Hawkes Maureen Hurd Hause & Evan Hause Colette Hurst Joann & Alfred Ivry Ken Kalmanson Larry S. King Bernadette Kinsman Paul Lakeland Cynthia Ligenza Douglas & Susan Lint Lenore H. Mand John Martin Robert & Andrea Milstein Michael J. Moran Suzanne Myers Carlos E. & Alda Neumann J & T Papachristou Stefanie Parkyn Jennifer Perga & Michael DeClement Heather & Henry Perrault

Kate Wenner & Gil Eisner Kathleen S. Wilson Susannah & Willard Wood Donald G. Workman Dr. Donna Yoo

Charles Pullaro Arthur Rosenblatt Edward W. Russell Benjamin Schiff Lauren Schiffer Dee & Stan Shapiro Harvey Simon Ernie & Suzanne Sinclair Thomas Sliney Joanna E. Vincent & Gordon W. Smith Mark Stewart Elizabeth Stott Patricia & Paul Tenthorey Rev. Sarah & Nicholas Thacher David Torrey & Shelley harms Beverly & Robert Vail Sally Vaun Abby N. Wells William Nels & Phyllis White Virginia & John Wilkinson Carol Wincenc Eleanor Winslow

Robert Blocker, Dean

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Come see and hear our distinguished faculty, gifted students and alumni, and acclaimed guest artists in extraordinary solo, chamber, vocal, and orchestral performances of repertoire ranging from early to new music.

ONEPPO CHAMBER MUSIC SERIES Inspired performances by the Brentano and Takács string quartets, the Academy of St. Martin in the Fields Chamber Ensemble, and a new trio featuring Soovin Kim, Paul Watkins, and Gloria Chien HOROWITZ PIANO SERIES Recitals by YSM’s faculty pianists and renowned guest artists Angela Hewitt and Marc-André Hamelin BREN

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YALE OPERA Ascendant vocalists present fully staged performances at the Shubert Theater and Morse Recital Hall along with programs of opera scenes