oneppo chamber music series
yale in new york
David Shifrin, Artistic Director
Generations of Music at Yale
Tuesday, December 3, 2024 | 7:30 p.m.
Morse Recital Hall in Sprague Memorial Hall
New Haven, CT
Wednesday, December 4, 2024 | 8:00 p.m.
Weill Recital Hall at Carnegie Hall
New York, NY
José García-Léon, Dean
Program
Quincy Porter 1897–1966
David Lang b. 1957
Charles Ives 1874–1954
Quintet for Clarinet and Strings (1929)
I. Largo - Allegro
David Shifrin, clarinet
Callisto Quartet
vent (arr. flute and strings)
Tara H. O’Connor, flute
Callisto Quartet
Chelsea Strayer, double bass
Serenade
Songs my mother taught me
The greatest man
Feldeinsamkeit
The Housatonic at Stockbridge
He Is There!
The Year’s at the Spring
Ellen Robertson, soprano
Veronica Roan, mezzo-soprano
Trevor Scott, tenor
Fredy Bonilla, baritone
Tara H. O’Connor, piccolo
Tomoko Nakayama, piano
intermission
Henry Wadsworth Longfellow
Natalie Macfarren
Anne Collins
Hermann Allmers
Robert Underwood Johnson
John McCrae
Robert Browning
Ernest Chausson 1855–1899
Concerto for Violin, Piano, and String Quartet, Op. 21
I. Décidé
II. Sicilienne
III. Grave
IV. Très animé
Tai Murray, violin
José García-Léon, piano Callisto Quartet
As a courtesy to others, please silence all devices. Photography and recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.
Artist Profiles
David Shifrin, clarinet & artistic director
One of only two wind players to have been awarded the Avery Fisher Prize since the award’s inception in 1974, David Shifrin is in constant demand as an orchestral soloist, recitalist, and chamber music collaborator. He has appeared with many of the major orchestras in the United States and abroad, and has served as principal clarinetist with the Cleveland Orchestra, American Symphony Orchestra (under Stokowski), Los Angeles Chamber Orchestra, and others. A sought after chamber musician, he collaborates frequently with distinguished ensembles and artists. Shifrin has been an artist member of the Chamber Music Society of Lincoln Center since 1989 and served as its artistic director from 1992 to 2004. From 1981 to 2020, he was the artistic director of Chamber Music Northwest in Portland, OR. Shifrin also continues to broaden the repertoire for clarinet and orchestra by commissioning and championing the works of 20th- and 21st-century American composers.
At Yale, Shifrin teaches a studio of graduate-level clarinetists and coaches chamber music ensembles. He is also the Artistic Director of Yale’s Oneppo Chamber Music Series and the Yale in New York concert series. Previously, Shifrin served on the faculties of the Juilliard School, University of Southern California, University of Michigan, Cleveland Institute of Music, and the University of Hawaii.
Mr. Shifrin’s recordings have consistently garnered praise and awards. He has received three Grammy nominations—for
a collaborative recording with the Chamber Music Society of Lincoln Center of the collected chamber music of Claude Debussy (Delos), the Copland Clarinet Concerto (Angel/EMI) and Ravel’s Introduction and Allegro with Nancy Allen, Ransom Wilson, and the Tokyo String Quartet (Angel/EMI). His recording of the Mozart Clarinet Concerto with the Mostly Mozart Festival Orchestra, performed in its original version on a specially built basset clarinet, was named Record of the Year by Stereo Review.
José García-Léon, piano
José García-León is the Henry and Lucy Moses Dean of Music at Yale University, a role to which he brings a broad, international perspective and a commitment to more equitably extending the reach of music education. García-León was born in Seville, Spain, where, as an ascendant pianist, he graduated with highest honors from that city’s Conservatorio Superior de Música. He continued his studies in the United States, earning his Bachelor of Arts degree from the State University of New York at Binghamton and his Doctor of Musical Arts degree from the Manhattan School of Music.
His career on stage, launched with a prize-winning performance at the Artist International Competition in New York, has included concerts at celebrated institutions such as Carnegie’s Weill Recital Hall, the Moscow State Tchaikovsky Conservatory, and the St. Petersburg International Music Festival. Endlessly curious and erudite, García-León has
given presentations and lecture-recitals exploring Spanish folk in the United States, Europe, Asia, and South America.
García-León has shared his pedagogical expertise in piano lessons as well as chamber music and classroom settings, having taught courses across a breadth of topics including a course on the effects music has on the brain. A thoughtful and collaborative leader, García-León has made a multitude of contributions to music education at institutions such as Oakland Community College in Michigan, University of New Haven, and most recently at The Juilliard School. During his time as dean of academic affairs and assessment at Juilliard, García-León was instrumental in creating and developing new degree programs, driving diversity and belonging initiatives, forging collaborations with peer institutions, and, in 2021, opening the Tianjin Juilliard School in China. García-León returned to New Haven and began serving as dean of the Yale School of Music in September 2023 with an earnest dedication to the school’s mission of preparing students for service to the profession and to society.
Outside of work, García-León is an avid reader whose interests and tastes run from scholarship to fiction. He participates in endurance sports and values the draw of nature. García-León is married to French lyric soprano and educator Coralie Gallet. They live with their children in New Rochelle, N.Y., and New Haven.
Tai Murray, violin
Violinist Tai Murray has been described by the Philadelphia Inquirer as “a violinist with more than technique on her mind” and a musician of “exceptional assurance and style.” A winner of the 2004 Avery Fisher Career Grant, Murray has appeared in recital and with major ensembles around the world including the Atlanta Symphony, Baltimore Symphony, BBC Scottish Symphony Orchestra, Chicago Symphony, and Los Angeles Philharmonic. She has been named a BBC Radio 3 New Generation Artist and has been a member of Chamber Music Society II at Lincoln Center for the Performing Arts. In addition to touring with Musicians from Marlboro, Murray has performed at the BBC Proms, Chamber Music Society of Lincoln Center, Great Lakes Chamber Music Festival, IMS Prussia Cove, John F. Kennedy Center for the Performing Arts, Schleswig-Holstein Musik Festival, and West Cork Chamber Music Festival.
A 2012 recipient of the Sphinx Organization’s Sphinx Medal of Excellence, Murray is dedicated to championing music by living composers. Her recordings include an album of Ysaÿe sonatas (harmonia mundi), 20th Century: The American Scene (eaSonus), and a recording of Bernstein’s Serenade (after Plato’s Symposium) on the Mirare label.
Murray is an assistant professor (adjunct) of violin at the Yale School of Music, where she teaches applied violin and coaches chamber music. She earned artist diplomas from Indiana University’s Jacobs School of Music and the Juilliard School.
Tara H. O’Connor, flute
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, a two-time Grammy nominee, and the first wind player chosen to participate in the Bowers Program (formerly CMS Two). She is now a Season Artist of the Chamber Music Society of Lincoln Center. A Wm. S. Haynes flute artist, O’Connor regularly participates in prestigious music festival across the country including the Santa Fe Music Festival, Music@Menlo and the Spoleto Festival USA. Along with her husband Daniel Phillips, she is the newly appointed Co-Artistic Director of the Music From Angel Fire Festival in New Mexico.
O’Connor is a member of the woodwind quintet Windscape and the legendary Bach Aria Group, and is a founding member of the Naumburg Awardwinning New Millennium Ensemble. She has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet, and Emerson Quartet. O’Connor has appeared on A&E’s Breakfast for the Arts and Live from Lincoln Center, and has recorded for Deutsche Grammophon, EMI Classics, Koch International, CMS Studio Recordings with the Chamber Music Society of Lincoln Center, and Bridge Records. O’Connor 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.
Callisto Quartet
Masha Lakisova, violin Gregory Lewis, violin
Eva Kennedy, viola Hannah Moses, cello
Praised for their “lush intensity and bravado” and the “cohesion and intonation one might expect from an ensemble twice their age” (Third Coast Review), the American-Canadian Callisto Quartet brings together four musicians who share a passion for bringing chamber music to audiences around the world. Since their inception at the Cleveland Institute of Music in 2016, Callisto has garnered top prizes in nearly every major international chamber music competition and has been hailed by audiences across the globe. Grand Prize winners of the 2018 Fischoff National Chamber Music Competition and Second Prize Winners of the 2019 Banff International String Quartet Competition, the Callisto Quartet has also taken home prizes from the Bordeaux, Melbourne, and Wigmore Hall competitions. Previously, Callisto has held residencies at prestigious institutions such as Yale University, the Queen Elisabeth Music Chapel in Belgium, Rice University’s Shepherd School of Music, and the Escuela Superior de Música Reina Sofía in Spain.
The Callisto Quartet maintains an active touring and performing schedule, which has included notable appearances in Carnegie’s Weill Recital Hall, the Kennedy Center, the Schneider Concert Series, Ravinia Festival, the Banff International String Quartet Festival, and the Heidelberg String Quartet Festival. Additionally, Callisto has been invited to perform
at renowned chamber music festivals throughout North America and Europe.
As dedicated educators, the Callisto Quartet is deeply committed to mentoring students and connecting with audiences. Callisto has taught masterclasses at universities at many prestigious institution. In summer 2025, Callisto will be joining the faculty of Rocky Ridge Music as their Faculty Quartet in Residence. Callisto developed a unique chamber music curriculum entitled “Chamber Music Deconstructed”, which they have shared with arts organizations across the country. As a result of the success of this curriculum, Callisto was asked to assist in spearheading a chamber music pedagogy initiative at the Hudson Montessori School Conservatory of Music in 2023, which focused on teacher training and sharing chamber music teaching techniques with private music faculty.
Chelsea Strayer, double bass
Chelsea Strayer is in the second year of her Master’s of Music in double bass performance at the Yale School of Music. Additionally she holds both a Bachelor’s of Music and Bachelor’s of Music Education from the Peabody Institute. Chelsea has a deep love for performing new compositions for her instrument and educating the upcoming generation of young bassists. She has been on staff for Bassworks for the past four years, is an active board member of the International Society of Young Bassists Program, and has premiered contemporary works for the double bass internationally.
Quartet from the Yale Voxtet
Ellen Robertson, soprano
Veronica Roan, mezzo-soprano
Trevor Scott, tenor
Fredy Bonilla, baritone
Members of the Yale Voxtet are students of James Taylor, Professor in the Practice of Voice, and are candidates for graduate degrees in voice. The select group of eight singers specializes in early music, oratorio, and chamber ensemble. In addition to performing a variety of chamber music programs each year, the group sings, tours, and records as part of Yale Schola Cantorum
Tomoko Nakayama, piano
A native of Japan, Tomoko Nakayama holds a bachelor’s degree in harpsichord performance from the Juilliard School, where she worked with Lionel Party. In 2009, she completed a master’s degree in music at Juilliard in collaborative piano under the supervision of Margo Garrett. Since then, Nakayama has had an active career as both keyboardist and assistant conductor for such organizations as the Tanglewood Music Center, International Vocal Art Institute in Israel, Opera on the Avalon, Wolf Trap Opera, New York Lyric Opera Theatre, and most recently the Washington National Opera, where she has been the DomingoCafritz Young Artist. She has command of a wide range of languages and reportorial styles, and has extensive experience as a coach. Nakayama is also a fortepianist and chamber musician. She has performed with the New York Philharmonic Ensemble and with members of Orpheus Chamber Orchestra.
Program Notes
Quintet for Clarinet and Strings
Quincy porter
Patrick Campbell Jankowski
Quincy Porter is as much a “hometown hero” to the Yale School of Music as they come. Born in New Haven to a Yale Divinity School professor and minister, he studied at Yale College and the School of Music. Following some time in Paris and leadership positions at the Cleveland Institute of Music, Vassar College, and New England Conservatory, he ended up back at Yale as a professor in 1946. He wrote a fair amount of chamber music, including nine string quartets, which seems appropriate considering that his own primary instrument was the viola.
This quintet for clarinet and strings was written in 1929 while he was living in Paris in his early thirties on a Guggenheim Fellowship. Compact in form, it is in one continuous movement, roughly divided into slow and quick sections. It begins with a pastoral theme occasionally interrupted with dissonance, subtle instability, and a mildly rebellious clarinet. As the Largo section draws to a close, the impatient clarinet continues with its cheeky interjections, rushing the strings into a quicker section. The music gradually morphs into a swinging dance and a frenetic dialogue before coming to a sudden halt. Echoes of the beginning return, and after some searching, the work concludes peacefully on a droning chord.
Quartets and Songs charles ives
Patrick
Campbell Jankowski
Another artist closely associated with Yale, Charles Ives had something in common with Ernest Chausson as well, in that music wasn’t necessarily the trade by which he earned a living. In this respect, Ives remained a maverick, never needing to sell his music, be paid for commissions, or appeal to critics. Though he had some notable admirers, his music was largely ignored during his lifetime. By 1927, he was done composing. Ironically, his notability increased in the subsequent silent decades until his death in 1954, and he is now regarded as among the greatest composers of the twentieth century and certainly among the most inventive. The manner in which he was able to experiment with sound, harmony, and structure while also remaining quintessentially American is unique. In his career, Ives wrote around 150 songs, self-publishing 114 of them in 1922 in a single collection. They run the gamut of styles and subjects, from war to nature to family and love. Some are humorous, others ominous. The middle five songs in the set performed this evening are all taken from the expansive collection of 114, and they are bookended by works originally for a cappella choir. “Serenade,” written in 1894, uses a text taken from the play The Spanish Student by Longfellow. “The Year’s at the Spring” is a setting of Robert Browning, composed even earlier in 1891. At the time, Ives was literally a teenager who played organ at church after having learned music from his Army bandleader father. Ives’s songs for solo voice and his choral works are seldom if ever heard in this way.
vent
DaviD lang from the composer
I wrote vent for my friend Andrew Sterman. When I met Andrew he was already a great saxophone player and a skilled clarinetist. He commissioned me specifically to write a flute piece so that he could push his flute skills as well. I tried to write a piece for him that would honor all of his interests—there are sections of this piece in which I know I was thinking of the soprano sax, while I was writing for flute. I chose the title because I loved this image of a vent, a sharp-edged opening that lets in air or light. But the title is also a humble reference to Stravinsky’s Symphonies d’instruments à vent, in honor of all the wind instruments that Andrew plays.
Concerto for Violin, Piano, and String Quartet, Op. 21
ernest chausson Patrick Campbell Jankowski
Ernest Chausson followed the paths of his teachers Jules Massenet and Cesar Franck to carry on a tradition of French Romanticism—perhaps a bit more grounded than Saint-Saëns and certainly less experimental than Debussy. Nevertheless, his small but well-crafted body of work warrants investigation. Chausson was a rather wealthy man and wrote music not out of necessity but for enjoyment. With the Concerto for Violin, Piano, and String Quartet, he does seem to be having a bit of fun. As its title suggests,
this is less a balanced chamber work and more a concerto grosso—common in the Baroque era and far less prevalent by Chausson’s time—featuring the two named solo instruments, with the quartet standing in as a miniature chamber orchestra. Both the violin and piano parts are extravagantly showmanlike throughout.
The introduction is dramatic to say the least: a monolithic three-note motive starts in the solo piano, is echoed just as robustly in the strings, and is later harmonized at an ominous whisper.
This motive forms the basis of the sonata-form movement’s initial theme, heard first in the solo violin atop the piano’s rhapsodic accompaniment following a gradual build. By contrast, the Sicilienne is more delicately composed: a gently swaying dance in a transparent, glistening texture. The brooding qualities of the first movement return in the Grave, a lamenting movement with crawling chromatic lines and a dirge-like quality, although not, as with a funeral march, without a brief major-mode respite in the middle. The animated finale, a rondo with elements of theme and variation, is filled with fireworks. The piano’s rapid figures near the movement’s close remind us definitively that this is above all else a concerto in spirit, if not in scale.
Texts and Translations
Serenade
Stars of the summer night!
Far in yon azure deeps, Hide, hide your golden light! She sleeps, my lady sleeps!
Moon of the summer night! Far down yon western steeps, Sink, sink in silver light! She sleeps, my lady sleeps!
Wind of the summer night!
Where yonder woodbine creeps, Fold, fold thy pinions light!
She sleeps, my lady sleeps!
Dreams of the summer night!
Tell her, her lover keeps watch!
While in slumbers light
She sleeps, my lady sleeps!
Henry Wadsworth Longfellow
Songs my mother taught me
Songs my mother taught me in the days long vanished, Seldom from her eyelids were the tear drops banished. Now I teach my children each melodious measure; Often tears are flowing from my memory's treasure.
Natalie Macfarren
The greatest man
My teacher said us boys should write about some great man, so I thought last night 'n thought about heroes and men that had done great things, 'n then I got to thinkin' 'bout my pa; he ain't a hero 'r anything but pshaw! Say! He can ride the wildest hoss 'n find minners near the moss down by the creek; 'n he can swim 'n fish, we ketched five new lights, me 'n him!
Dad's some hunter too - oh, my!
Miss Molly Cottontail sure does fly when he tromps through the fields 'n brush! (Dad won't kill a lark 'r thrush.)
Once when I was sick 'n though his hands were rough he rubbed the pain right out. "That's the stuff!" he said when I winked back the tears. He never cried but once 'n that was when my mother died. There're lots o' great men: George Washinton 'n Lee, but Dad's got 'em all beat holler, seems to me!
Anne Collins
Feldeinsamkeit
Ich ruhe still im hohen grünen Gras
Und sende lange meinen Blick nach oben, Von Grillen rings umschwirrt ohn Unterlaß, Von Himmelsbläue wundersam umwoben.
Die schönen weißen Wolken ziehn dahin Durchs tiefe Blau, wie schöne stille Träume; Mir ist, als ob ich längst gestorben bin, Und ziehe selig mit durch ew’ge Räume.
Hermann Allmers
The Housatonic at Stockbridge
Contented river! In thy dreamy realm
The cloudy willow and the plumy elm: Thou beautiful!
From ev’ry dreamy hill what eye but wanders with thee at thy will, Contented river!
And yet over-shy
Solitude in a field
I rest quietly in the tall green grass And for a long time send my gaze aloft, Surrounded by the unceasing whirr of crickets, Enfolded wondrously by blue sky.
The lovely white clouds drift by Through deep blue, like beautiful, silent dreams; I feel as though I am long dead And drift blissfully along through eternal space.
To mask thy beauty from the eager eye; Hast thou a thought to hide from field and town? In some deep current of the sunlit brown Ah! there’s a restive ripple, And the swift red leaves
September’s firstlings faster drift; Wouldst thou away, dear stream?
Come, whisper near!
I also of much resting have a fear: Let me tomorrow thy companion be, By fall and shallow to the adventurous sea!
Robert Underwood Johnson
He Is There!
Fifteen years ago today
A little Yankee, little yankee boy Marched beside his granddaddy In the decoration day parade. The village band would play those old war tunes, and the G. A. R. would shout, "Hip Hip Hooray!" in the same old way, As it sounded on the old camp ground.
That boy has sailed o'er the ocean, He is there, he is there, he is there. He's fighting for the right, but when it comes to might, He is there, he is there, he is there; As the Allies beat up all the warlords! He'll be there, he'll be there, and then the world will shout the Battle-cry of Freedom Tenting on a new camp ground. For it's rally round the Flag boys Rally once again, Shouting the battle cry of Freedom.
The Year’s at the Spring
The year’s at the spring, And day’s at the morn; Morning’s at seven; The hill-side’s dew-pearl’d; The lark’s on the wing; The snail’s on the thorn; God’s in His heaven–All’s right with the world!
Robert Browning
Fifteen years ago today
A little Yankee, with a German name Heard the tale of "forty-eight" Why his Granddaddy joined Uncle Sam, His fathers fought that medieval stuff and he will fight it now; "Hip Hip Hooray! this is the day," When he'll finish up that aged job.
That boy has sailed o'er the ocean...
There's a time in ev'ry life, When it's do or die, and our yankee boy Does his bit that we may live, In a world where all may have a "say." He's conscious always of his country's aim which is Liberty for all, "Hip Hip Hooray!" is all he'll say, As he marches to the Flanders front.
That boy has sailed o'er the ocean...
John McCrae
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