2022 SUMMER FESTIVAL PROGRAM | Chamber Music Northwest

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Jaime Laredo, Sharon Robinson, Nokuthula Ngwenyama, & Anna Polonsky Thursday, November 10th, 2022 | The Old Church


Monday, December 12th, 2022 | Lincoln Recital Hall

ALISA WEILERSTEIN: THE COMPLETE BACH CELLO SUITES Saturday, February 4th, 2023 | The Old Church


Sunday, April 9th, 2022 | The Old Church

2022/23 SEASON

CURTIS ON TOUR: THE SOLDIER’S TALE Curtis Institute students & alumni, Soovin Kim, David Shifrin, & actor John de Lancie Tuesday, March 14th, 2023 | Alberta Rose Theatre


Date & Venue To Be Announced


WELCOME TO OUR 2022 SUMMER FESTIVAL! Dear Music Lovers, Welcome to our 2022 Summer Festival, Inspirations & Influences! I came to the United States from Taiwan to study music in high school, and Soovin was born here to Korean immigrant parents. Intercultural encounters shape and enrich our experiences every day. We always marvel at the endless possibilities that emerge when people from diverse backgrounds and beliefs exchange ideas. Our musical heritage is a result of this exchange. Our piano and violin teachers immigrated to the U.S. from Bolivia, Russia, and Korea, and their teachers studied in Armenia, Austria, and France. Throughout music history, cultural exchange has spurred creative evolution and invention among both performers and composers. This summer’s composers from all over the world share a wide range of inspirations: a sonic aesthetic (Debussy, Crumb), the seasons (Schiff, Piazzolla, Tchaikovsky), German poetry (Strauss, Schoenberg), folk roots (Coleridge-Taylor, Prokofiev), and a love of south and east Asian harmonies (Esmail, Cowell, Ravel, Fang Man). These are just some of the relationships that have drawn these pieces to one another on these programs. Inspirations & Influences is a celebration of how cultural diversity enriches the human experience. Let us enjoy the composers speaking to one another through their music about their shared passions and fascinating differences. We are thrilled to have our first full-fledged CMNW festival since 2019. Thank you for joining us in this celebration!

Gloria Chien & Soovin Kim Artistic Directors

CMNW’s summer home for more than three decades.


Ticket & Box Office Information For tickets to Chamber Music Northwest concerts, visit us online at CMNW.org, or call us at 503-294-6400. You may also visit the ticket office at 1201 SW 12th Ave, Ste. 500, from 10 am–4 pm, Monday through Friday. Tickets for upcoming events may also be purchased at the onsite box office one hour prior to start, and during most concert intermissions.

Alberta Rose Theatre 3000 NE Alberta St.

Kaul Auditorium, Reed College SE 28th & Woodstock

Lincoln Performance Hall & Lincoln Recital Hall Portland State University SW Broadway & Market

Donate Your Unused Tickets If you are unable to use your tickets, please call the box office to return them for resale. You will receive a tax deduction for the full value of the tickets in addition to giving another music lover the opportunity to attend!

Reser Center for the Arts

ADA Services

128 NW 11th Ave.

Accessible seating and parking is available at all venues. Contact the Ticket Office in advance to arrange for your specific needs. We can provide special seating and additional accommodation information.

Picnics, Dining, and Refreshments Picnics are a festival tradition before performances at Reed College. Bring your own picnic or purchase dinner from Reed’s on-site caterer Bon Appétit beginning at 6 pm. You can also enjoy a meal on-the-town before or after concerts at PSU, at Higgins or various nearby restaurants. Refreshments are available at intermission for most concerts.

12625 SW Crescent St., Beaverton

The Armory at Portland Center Stage Community Concerts Mago Hunt & Pilot House, University of Portland 5000 N Willamette Blvd. Gresham Arts Plaza 401 NE 2nd St., Gresham North Clackamas Park 5440 SE Kellogg Creek Dr., Milwaukie Columbia Tech Center Park SE Sequoia Cir. & SE Tech Center Dr. Vancouver, Washington

We respectfully acknowledge that our festival sits on the ancestral lands and traditional village sites of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla and many other tribes who made their homes along the Columbia (Wimahl) and Willamette (Whilamut) rivers.

Our 2022 Festival Advisories Your enjoyment, health, and safety if you choose to attend concerts is our paramount priority – along with safe conditions for our musicians and staff. It’s important for us to share exceptional music with you, and also offer excellence in making your concert-going experiences safe and satisfying. Please take a moment to review our new COVID-related procedures and precautions for this year’s festival which include: • Proof of vaccination and boosters are required at the door for every audience member. • Facemasks are required indoors, regardless of vaccination status, at all times, except to briefly sip a beverage. For more detailed information about our health and safety procedures please visit cmnw.org. NOTE: Musicians will not be wearing masks while performing, but will be distanced from the audience.

Please silence all cell phones. Food and beverages are not allowed in the concert hall. Personal water bottles are allowed. Cameras and recording devices are not permitted -- please do not take pictures or record our concerts.


In consideration of our patrons with scent sensitivities, we ask that patrons refrain from wearing products with strong fragrances, including colognes, perfumes, and essential oils.

In consideration of our audience and artists, parents are requested not to bring children under the age of 7 to CMNW concerts, except at designated performances.

Patrons with hearing aids should be aware that such devices may transmit a shrill tone. The wearer is not often conscious of this. House staff makes an effort to identify the wearer, but it is extremely helpful for audience members, musicians, and recording staff if nearby patrons kindly let the wearer know that such a sound is being produced. The wearer will be appreciative and take care of the problem.


SCHEDULE OF EVENTS A week-by-week listing of our festival events


OUR FRIENDS & SUPPORTERS Appreciation for our donors, sponsors and friends


COMMUNITY & EDUCATION EVENTS Free events and educational experiences


YOUNG ARTIST INSTITUTE Learn about our new program for youth musicians


2022 PROTÉGÉ PROJECT Concert programs and program notes for our performances


PROGRAMS Concert programs and program notes for our performances


ARTIST BIOS Gain a little more insight into our artists with their biographies


ABOUT CMNW Who we are and what we do


Week One

6:30pm Kaul Auditorium



All Day



Musicians Around Town: Young Artist Institute Pop-up Concerts

Young Artists Institute Prelude

Week Two


Open Rehearsal: Alistair Coleman Flute Quintet

7pm Alberta Rose

Happy Hour

8pm Kaul Auditorium

Honoring the past and looking forward

11am Kaul Auditorium

Opening Night Celebration

8 pm Alberta Rose

New@Night: Rhapsodies & Demons

8pm Kaul Auditorium


English Expressions


All Day


11am Kaul Auditorium

Musicians Around Town: Young Artist Institute Pop-up Concerts

Open Rehearsal: Korngold Piano Quintet

12pm Lincoln Recital Hall

Happy Hour

in E Major, Op. 15 5pm The Armory

Protégé Artist Spotlight: Zlatomir Fung —Solo Cello Masterpieces

Recognizing culture and continuum

Week Three

8pm Kaul Auditorium



12pm Lincoln Recital Hall

Protégé Alumnus Spotlight: Benjamin Beilman — A Tribute to Kreisler

Viennese Wunderkinds

7pm North Clackamas Park

Week Four

8pm Kaul Auditorium


Eastern Inspirations

11am Kaul Auditorium


Open Rehearsal: Henry Cowell Set of Five 5pm The Armory

Happy Hour

Viano Quartet Community Concert

Painting vibrant pictures with music

6 pm The Armory

New@Night: Arcadiana Unlocked

6 pm The Armory

New@Night: American Triptych 7/19

7pm Alberta Rose

Happy Hour 8 pm Alberta Rose

New@Night: Andy Akiho’s Seven Pillars with Sandbox Percussion

11am Kaul Auditorium


Open Rehearsal: The Brentano String Quartet

Prepare to be wowed

Week Five

7/25 8pm Kaul Auditorium

Sinta Saxophone Quartet: American Voices

7/26 12pm Lincoln Recital Hall

Protégé Artist Spotlight: Anna Lee — On Wings of Song

7/27 11am Kaul Auditorium

Open Rehearsal: David

Schiff Chamber Concerto No. 2: Vineyard Rhythms 5pm The Armory

Happy Hour

Out with a shimmer 6

6 pm The Armory

New@Night: Terroir (A Sense of Place)


6:30pm The Reser



8pm The Reser

6:30pm The Reser


10am Lincoln Recital Hall

Masterclass: Ettore Causa, viola

8pm The Reser

7pm Pilot House,


10am Lincoln Recital Hall

Young Artists Institute Prelude

Oregon Bach Festival performance

8pm Kaul Auditorium

4pm Lincoln Performance Hall


6:30pm Kaul Auditorium

4pm Lincoln Performance Hall


6:30pm Kaul Auditorium


Young Artists Prelude

Eastern Inspirations

Colors of Debussy & Crumb


Sinta Saxophone Quartet Community Concert

Young Artists Prelude 8pm The Reser


Young Artists Prelude 8pm The Reser

Seasonal Rhythms


Young Artists Prelude 8pm Kaul Auditorium

7/29 6pm Sokol Blosser Winery

Chamber Party: David Schiff’s Vineyard Rhythms 7pm Columbia Tech Center Park, Vancouver

7/24 4pm Lincoln Performance Hall

Dawn Upshaw & Brentano Quartet: Dido Reimagined

An Evening with the Brentano Quartet

6:30pm The Reser

6:30pm Kaul Auditorium

7/17 4pm Lincoln Performance Hall

Colors of Debussy & Crumb

7pm Gresham Arts Plaza


Viennese Wunderkinds

8pm Kaul Auditorium



English Expressions

8pm The Reser

6:30pm The Reser

3pm Beall Hall, Eugene

8pm Kaul Auditorium

Masterclass: Benjamin Beilman, violin

Young Artists Prelude


6:30pm Kaul Auditorium

Slavic Scenes

Young Artists Institute Final Concert



Young Artists Institute Prelude

University of Portland

Slavic Scenes

Special Opportunities

Folk Ingenuity

Young Artist Institute Showcase

Young Artists Institute Prelude

6:30pm The Reser


10am Lincoln Recital Hall

7pm Lincoln Recital Hall

Folk Ingenuity

Free Festival Event Young Artist Institute Event


Masterclass: Zlatomir Fung, cello

Young Artists Institute Prelude

Mainstage Concert


Fill your summer with five weeks of extraordinary music!

Sinta Saxophone Quartet: American Voices

7/30 6:30pm Kaul Auditorium

Young Artists Prelude

7/31 4pm Kaul Auditorium

Festival Finale: Love & Transformation

8pm Kaul Auditorium

Shades of Impressionism

CMNW presents VSO Brass Quintet Community Concert



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THANK YOU, FRIENDS OF CHAMBER MUSIC NORTHWEST Acknowledgements It takes many people beyond our board, donors, year-round and festival staff to bring our Summer Festival to life! Chamber Music Northwest is grateful for our ongoing partnership with Reed College, without which this festival would not be possible. Our special thanks goes out to President Audrey Bilger, the Conference & Events Planning team, as well as the entire music department at Reed College. This summer, we are overjoyed to continue our partnerships with Portland State University and Alberta Rose Theatre, and to building new relationships with The Patricia Reser Center for the Arts, Portland Center Stage at The Armory, University of Portland, and SoundsTruck NW. Our gratitude to Sokol Blosser Winery for donating wine for our many events, and to our Chamber Party hosts for opening their homes to host intimate concerts. Thank you to all of these amazing collaborators, we are so appreciative! We recognize the outstanding support of Hyatt House Portland/Downtown, and Enterprise Rent-A-Car for the excellent service and attention they provide for our many visiting artists; Don Boyer of Educational Music Services; Barry Stewart for his A/V assistance; Tom

Emerson and Shawnte Sims for their photography expertise; Tim Neighbors and Ian Stout with Invisible Harness our visual editing team, and audio engineers Branic Howard and Rod Evenson for their work on our ATHOME recordings; Rick VanSant our publications angel at B&B Print Source; Steinway Portland for providing our Steinway concert grand piano and other pianos; Communications Northwest, Hollywood Lights, and J&S Golf Cart Rentals, LLC for our on-site production needs; and, Eric Leatha for his pitchperfect tuning services. A huge thank you to Michael Roberts, Jon Greeney, the Oregon Symphony, Dwayne Corbin and all of our percussion community friends for their help with renting and sourcing the percussion instruments used this summer! We extend our gratitude to our education and community engagement partners. We are grateful for our partnerships with the City of Gresham, North Clackamas Parks & Recreation District, City of Vancouver and Vancouver Symphony Orchestra for hosting our outdoor community concerts; and to Portland State University and University of Portland for hosting our Young Artist Institute Showcases.

Thank you to our wonderful community collaborators for hosting our music this summer, and for SoundsTruck NW for providing the opportunity to use their mobile stage for many of these performances. We extend our appreciation to our classical music-loving friends at All Classical, BRAVO Youth Orchestra, Fear No Music, 45th Parallel, Friends of Chamber Music, Metropolitan Youth Symphony, Opera in the Park, Oregon Symphony, OrpheusPDX, Portland Baroque Orchestra, Portland Columbia Symphony Orchestra, Portland Opera, Portland Youth Philharmonic, Resonance Ensemble, Third Angle New Music, Willamette Valley Chamber Music, and Vancouver Symphony Orchestra. We wish them a wonderful year ahead! We offer a very special thanks to our volunteers. We know we are blessed by your unwavering service and financial support year after year. This festival could not happen without you. Thank you to all of the incredible contributors, funders, donors and community partners who make the 2022 Summer Festival possible…and to YOU our audience for your patronage!

2022 Summer Festival Concert Sponsors Chamber Music Northwest gratefully acknowledges the generous support of our concert sponsors. Each has contributed to help underwrite concerts, events and the production of our At-Home concerts this summer. The sponsors are listed in order of the number of years they have supported CMNW. For more information on Chamber Music Northwest sponsorship opportunities, please contact Leslie Tuomi at 503-546-0184 or lesliet@cmnw.org


Powell’s Books | 38

Karen & Norman Sade | 6

William & Helen Jo Whitsell | 22

Chamber Music Northwest’s Volunteers | 5

Acorn Fund of The Oregon Community Foundation | 16

An Anonymous Friend of CMNW | 5

Karen & Cliff Deveney | 10

Jerome Guillen & Jeremy Gallagher | 2

All Classical | 2

Reed College | 9

Leslie Hsu & Rick Lenon | 2

Peter & Ann van Bever | 8

Joan Levers & David Manhart | 2

David & Maryanne Holman | 7

Ravi Vedanayagam & Ursula Luckert | 2

George & Deborah Olsen | 7

Leslie Lehmann & Clark Worth | 1

The Oregonian | 6

Ellen Macke & Howard Pifer | 1

Bill & Diana Dameron | 6

West Side Friends | 1

Marilyn Crilley & George Rowbottom | 6

Heidi Yorkshire & Joseph Anthony | 1

Portland State University | 6

We gratefully acknowledge contributions received from the following generous friends. This list reflects contributions received through May 15, 2022. If you notice information that needs to be corrected, please notify us at 503-546-0184.

Corporations, Foundations, and Government Artistic Director’s Circle ($25,000 and above)

Fortissimo ($10,000–$24,999)

Wheeler Foundation

Crescendo ($5,000–$9,999) Google Henry Lea Hillman, Jr. Foundation Juan Young Trust Dorothea M. Lensch Fund of The Oregon Community Foundation Musica Solis Powell’s Books Marianne Steflik Irish Fund of The Oregon Community Foundation Rose E. Tucker Charitable Trust OCF Joseph E. Weston Public Foundation

Brillante ($2,500–$4,999)

Sokol Blosser Winery+ The Swigert Foundation

Maestoso ($1,000–$2,499) Anima Mundi Arnerich Massena & Associates Cascadia Foundation Elk Cove Vineyards+ John S. Ettelson Fund of The Oregon Community Foundation Heritage Bank The Holzman Foundation Dorothy Lemelson Foundation M Science Morgan Stanley

Allegro ($500-$999) Apple, Inc. Ascension Financial Advisors Avenue2Possibilities B&B Printing+ Columbia Sportswear Company First Congregational United Church of Christ+ Goldy Family Designated Fund of The Oregon Community Foundation Intel Corporation Richard & Mary Rosenberg Fund of OCF Vibrant Table Catering+ The Walt Disney Company Foundation

Individuals Artistic Director’s Circle ($25,000 and above) Daniel H. Boyce & Lilla Cabot Karen & Cliff Deveney Betsy & Gregory Hatton Paul L. King Ronni Lacroute Michael & Alice Powell Anonymous Friend of CMNW


Aaron Copland Fund ($10,000–$24,999) All Classical+ Carl Abbott & Margery Post Abbott The Jackson Foundation Projects that have adequate resources (human, financial, material) to ensure a Carole Alexander Nike, Inc. reasonable chance of success. & Pamela De Boni Sheraton Airport Hoteland realistic Paul plans. Projects that have been developed Portland with clear, carefully considered,

Yoko & Jonathan Greeney James Jones Howard Pifer III & Ellen Macke Susan Sokol Blosser Peter & Ann van Bever Ravi Vedanayagam & Ursula Luckert Slate & Davida Wilson

Crescendo ($5,000–$9,999) Evelyn J. Brzezinski Kennett F. Burnes Bill & Diana Dameron Ann & Ken Edwards / Starseed Foundation+ Ronnie-Gail Emden & Andrew Wilson Dr. Howard P. Greisler & Elizabeth Hudson David C. & Maryanne Holman Mary Dooly & Thomas W. Holman Fund & the Thomas W. Holman Jr. Memorial Fund of The Oregon Community Foundation Robert & Susan Leeb Patricia Morris-Rader Marilyn Crilley & George Rowbottom William & Helen Jo Whitsell Heidi Yorkshire & Joseph Anthony Anonymous Friend of CMNW

Brillante ($2,500–$4,999) Acorn Fund of The Oregon Community Foundation Paul E. & Nancy H. Bragdon Bruce Cronin Martha G. Dibblee Marlene Burns & Jon Dickinson Jerome Guillen & Jeremy Gallagher Sonja L. Haugen Leslie Hsu & Richard Lenon William & Barbara Langley Leslie Lehmann & Clark Worth Kate Lyons & Corey Millard Linda & Ken Mantel Sara Jane Patterson & Andrew Jacobs III Janet & Larry Richards Karen & Norman Sade Bill Scott & Kate Thompson Norm & Barbara Sepenuk Holly C. Silver Anne Stevenson Marc Therrien & Jena Rose Nancy & Herb Zachow

Mort & Audrey Zalutsky Anonymous Friend of CMNW



2021-2022 Season Supporters

($1,000–$2,499) A & M Family Fund Nan & Greg Anderson Scott & Margaret Arighi William & Gail Bain Peter Bilotta & Shannon Bromenschenkel Bruce Blank Richard Blickle Terry Bryll Gloria Chien & Soovin Kim Elaine & Arnold Cogan Nathan F. Cogan Marvin & Abby Dawson William Dolan & Suzanne Bromschwig Jon Feldhausen Deborah & Larry Friedman Mrs. Beverly Galen Kit Gillem Dean & Susan Gisvold Ed Gronke Bill Haden & Doris Huff John & Judie Hammerstad Irv & Gail Handelman Howard & Molly Harris Kirk Hirschfeld Ivan & Jeri Inger Lynne Johnson & Larry Madson James Kahan & Kathia Emery Sally & Bob Landauer Robert Lane & Tom Cantrell Allan & Joyce Leedy Joan Levers & David Manhart Wayne Litzenberger & Jane Patterson Shawn & Lisa Mangum Joseph & Linda Mandiberg Lucinda Parker & Steve McCarthy Judy McCraw Wilfried & Deanna Mueller-Crispin Beverly & Richard North Deborah & George Olsen Robert & Rachel Papkin Hugh Porter & Jill Soltero Ellen Pullen Judy Rice Woody & Rae Richen Amy Richter Jeff & Kathleen Rubin Janet Schibel Jinny Shipman & Dick Kaiser Erik & Robin Skarstad

Projects where other sources of funding are not appropriate or available.

+ In-kind contributions

Organizations that have a clear and important mission.

Organizations that have an active, responsible and committed administrative staff and board.


David Staehely Mike & Judy Stoner Leslie & Scott Tuomi Estate of Robert Weil

Allegro ($500–$999) Ginny Adelsheim Angela Allen & Jan van Santen Robin Bacon-Shone Dawn & Gary Banker Arlena Barnes & William Kinsey John & Claudette Beahrs Elizabeth & J. Bruce Bell Celia Brandt Charles & Carol Ouchi Brunner Linda Hathaway Bunza Diana & Lauretta Burman Elizabeth Carnes Rick Caskey & Sue Horn-Caskey Joseph & Corinne Christy Linda S. Craig Drs. Barry DeGregorio & Judy Holeva Mary Dickson Kay L. Doyle David & Beth Ferguson Linda L. Friedman Kathy Gentry Donald & Karen Hall James & Linda Hamilton Scott Young & Carla Hansel Thomas A. Hansen Linda & John Hardham Ted Haskell & Mary Mears-Haskell David Hattner & Kristie Leiser Diane M. Herrmann Gary McDonald & Barbara Holisky Jean Holznagel Bill & Jean Horton Sherene Huntzinger Dennis C. Johnson Dr. Howard Rosenbaum & Dr. Marcia Kahn Dr. & Mrs. Peter J. Kane Paula Kanarek & Ross Kaplan Elaine & Edward Kemp Nancy Kieburtz Katherine King Nick Klein Adela & Dick Knight Miyoung Kwak Harvey & Ellen Leff Carol Schnitzer Lewis Fund of The Oregon Community Foundation Peter & Elisabeth Lyon Tess & George Marino M. & L. Marks Family Fund of The Oregon Community Foundation Debra Meisinger & Barry Buchanan Lora & Jim Meyer Family Fund of The Oregon Community Foundation Madeline B. Moore Gregory & Sonya Morgansen Tom & Christine Neilsen


Randall Nelson Kate Nicholson & Bill Ray Susan Olson & Bill Nelson Milo & Beverly Ormseth Rev. Dr. Rodney & Sandra Page Greg Phillips Carole Douglass & William Pressly Drs. Bonnie & Pete Reagan Susan & Lawrence Rein Betty & Jacob Reiss Robert & Anne Richardson Dave & Cheryl Richardson Michael & Susan Richmond Peter Riemer Rosemarie Rosenfeld Suzanne Sarason Bill & Meredith Savery Dianne Sawyer & Richard Petersen Dr. Kathy Scanlan Diana & Hal Scoggins David & Roxanne Shifrin Sue Stegmiller & Bill Joy Mardy & Hank Stevens Donald & Roslyn Sutherland Jeanette Swenson Susan & Patrick Troccolo Herb Trubo & Steven Buchert Janette Trussel Cherie & Charles Walker Liz Wehrli Karen & Lawrence Zivin Anonymous Friends of CMNW (4)

Cantabile ($250-$499) Rumiko & Laurent Adamowicz Agoston & Maria Agoston Greg & Susan Aldrich Mary Ellen Andre Richard & Kristin Angell Ruby Apsler Elizabeth Arch Joan & Paul Ash Tom & Dorothy Atwood Robin Bagai & Willa Schneberg Laura Barton Deb Zita & Maryka Biaggio Virginia Smith & John Bissonnette Jerry Bobbe Ben & Sandra Bole Barbara Brandt Jerry & Amy Brem Evona Brim Kay Bristow Barbara Brooks Monika Butcher Cheryl & Stephen Campbell Brianne & David Chase Yong Sung & Ilze Choi Matthew A. Cohen Jerry & Jean Corn Marian Creamer David & Marie Culpepper Allen Dobbins Norma Dody Cynthia K. Doran

Stephen & Janet Elder Arthur & Margianne Erickson George W. Fabel Kurt Feichtmeir John Betonte & Carol Fredlund Freeman Family Foundation Lucille Gauger Harold Goldstein & Carol Streeter Laura Gordon Ellen L. Green Scott & Tamara Grigsby Kirk Hall Kara Hamilton Ulrich H. Hardt & Karen Johnson Robert & Janis Harrison Kristine Harter & Will White William & Beverly Hendricks Nancy & David Hill Elizabeth Hooton Mark Huey & Wayne Wiegand Linda Hutchins & John Montague Cecily Johns Jean Kempe-Ware & Gordon Ware Scott Kerman & Jill Speaker Jim & Morley Knoll Timothy J. Lafolette Paul Lambertsen Terry & Thad Langford Thomas C. & Marcia K. Lee Tom Giese & Nora Lehnhoff Amelia Lukas Kay Mannion Becki Marsh & Wink Gross Bill McRae & Steve Bardi Gary Miller & Dell Ann Dyar Jane Moore Pamela Murphy Martin L. & Lucy Miller Murray Patricia Navin Ralph Conrad Nelson Eugene & Barbara Norcross-Renner Kris Oliveira Katherine O’Neil & John Paul Graff Elsa Ostergaard Charley Peterson & Susan Sater Diane Pinney & Clifford Droke Ruth & Charles Poindexter Norma Reich Richard & Melvina Romanelli Daniel Rosenhouse & Pam Waldman Charlotte A. Rubin Jim & Joanne Ruyle William H. & Susan M. Sack James B. & Julianne Sawyer David & Judy Schiff Bob & Judy Scholz Janet Schwartz Mitzi Scott Peter & Gillian Smith Michele Laing Stemler L. William & Lynda Strand M. Jessica Taft Terence Thatcher Michael Truman Hans Tschersich Beth Unger

Dominique van de Stadt & Octavio Pajaro Marjan Wazeka Bruce Weber Cameron J. Wiley & Carey Whitt Wiley Wade & Lynnetta Wisler Anne K. Woodbury Jean Wu Floyd M. Zula Anonymous Friends of CMNW (3)

Sostenuto ($100 - $249) Donald Aibel Kris Amling Marlene Anderson & David Filer Thomas R. Anderson & Joan J. Montague Gene & Linda Appel Barbara Backstrand Roberta Badger-Cain & Leonard Cain Barbara Bailey David Bailey & Deirdre Poe Jim Bane & Elizabeth Goy Lindy Barocchi Suzanne Barthelmess Lori & Todd Bauman Doris & Don Beard Marcia Bechtold & Brian Carroll Howard J. Beckerman Robert & Gail Black Robert Wilder Blue Ralph Bolliger & Peggy Cook Kimberly Branam Joyce & David Brewster Kris Brown Coleman Marda Buchholz Marianne Buchwalter Elaine Calder & William J. Bennett John & Barbara Camp Dobak Family Charitable Fund Steven Demarest David & Janet Dobak David & Wendy Doerner Anne E. Draper Janet & Larry Drury Charles & Michele Ducharme Kitt Dyer Robert & Elizabeth Dyson Ralph Eccles Carolyn Eckel Jerry & Lisa Eckstein Norman & Sherry Eder Margaret & Jim Eickmann Larry R. Erickson Marco Escalante & Dongni Li Joan Foley & Per Järnberg Lauren Fox Robert & Denise Frisbee Curtis Frye & Virginia Belt Jerome & Mary Fulton Carolyn Gassaway Scott Gilbert & Anne Raunio Lelde Gilman

Gary & Jerrie Lovre Diane & Richard Lowensohn Valerie Lyons Terry S. MacDonald Madeleine Mader Marcy Magill Marjorie Maletzky Terri Maragos Craig & Susan Markham Raymond Mayer Harry & Carol McCulley Colin & Heidi McDonough Martha McKinnon Cathy Mesenbrink Keith & Alison Miles Robert Moore & Sharon Thorne Connie L. Morgan Martin C. Muller Mr. & Mrs. John P. Mullooly Leonard Murray & Jacqueline Marschak Donald & Karen Neal Sean Nolan & Gloria Jacobs Nancy Oberschmidt Diane & Terry O’Connor Phyllis & Warren Oster Tom & Marie Penchoen Diane D. Perry Charles W. Pfeiffer Walter & Susan Piepke Nancy Piver Marcia & Robert Popper Nancy Pole-Wilhite Diana Spies Pope Roger J. Porter Stephen Poteet & Anne Kao Renate & Jim Powell Maria A Powell Nancy & Richard Prouser Martin Quinn Suzanne Rague James & Sally Reed Carolyn Robb Ruth Robinson

Shirley Roffe Charlene Rogers Eve & Alan Rosenfeld Laurens & Judith Ruben Jean Rystrom David & Eleanor Sacks Julie & David Sauer John & June Schumann Jill & Lew Seager Stephanie & Douglas Sears James & Judith Seubert Diana Shenk Jeremy Shibley & Romalia StickneyShibley Mark & Carol Slegers Caroline Sloan Betty Smith Carolyn Smith & Neil Soiffer Valarie Smith Jan & Chris Sokol Charles & Karen Springer Karen R. Steingart, MD Donald & Barbara Stephens Leslie Houston & Scott Stephens Kathleen Stephenson-Kuhn Loraine Stuart Michael & Patricia Sullivan Dennis Taylor & Mindy Campbell Karyn Thrapp David Tillett Lyle M. Tucker Allen & Muriel van Veen Joanne Wakeland Patricia Wand Lawrence Weisberg Joella Werlin Richard & Jan Widmayer Karen & Bob Williams Bruce & Susan Winthrop Sandra Wiscarson Carol S. Witherell Marylou Witz Lawrence W. Woelfer Jennifer Wolcott & Dan Heinrichs

Kathleen Worley Merri Souther Wyatt Cynthia Yee Catherine & Jon Zaerr Ronald Zaraza & Lynne Wehrman Anonymous Friends of CMNW (13)

In Memoriam Marjorie Gardner Gwilliam Stuart Carter Luis Halpert Joseph Jannuzzi


Marlene Gleason Anne & Franklin Glickman Elizabeth Glock Martha Goetsch & Linda Besant Bettianne Goetz Gary & Susan Goncher Roje Gootee Sylvia Gray & Viktors Berstis Nancy & Robert Greiff Kenneth & Margaret Guire Christina M Gullion Kristine Gundacker Clive Kienle & Molly Hamill Constance Hammond Virginia Hancock John & Carolyn Harbison Wesley & Virginia Harper Caroline & Adrian Harris Crowne Laura Hassell & Carla Jimenez Jean E. Herrera Lynda J. Hess Diane Hollister Adriana Huyer Carol Ihlenburg Richard & Deanna Iltis Pamela Jacklin & Leonard Girard Constance Jackson & Xavier Le Hericy Joseph Jannuzzi Michael Johnson Jeffrey Jones Phil Joslin & Ted Katz David & Dolores Judkins Andrea G. Julian R. Duncan Kerst Elizabeth L. Keyser Niloofar Khiabani & David Entrikan Elaine Kohnen Grethe A. Larson & James D. Mullins Barbara A. Lee Sidne Lewis Sandra Leybold Paul Irvin & Carol Linne

Robert C. Shoemaker, Jr. Margaret & Jim Eickmann Dick Walters Barbara Brooks

In Honor of Peter Bilotta Avenue2Possibilities, LLC Nancy Prouser Mel & Elaine Ball Ray & Sheryl Robert David Shifrin Mary Ellen André Ellen Green Gary McDonald & Barbara Holisky Usher Esprit de Corps Terry MacDonald

Support the Commissioning of New Music The Chamber Music Northwest Commissioning Club is made up of music lovers who have pledged their support to collaboratively commission at least one new work each season. Commissioning Club members have opportunities to learn about the music, the composer’s creative process, attend a rehearsal and meet with the composer. Each year, they meet with our Artistic Directors to discuss and select the work(s) to be commissioned. This year, the Commissioning Club is sponsoring the commissions of both Chris Rogerson and Alistair Coleman.

For information on how you can join the Commissioning Club, contact Leslie Tuomi at 503-546-0184 or email lesliet@cmnw.org.

Commissioning Club Carl & Margery Abbott Greg & Susan Aldrich Gary & Dawn Banker Elizabeth Carnes Joseph & Corinne Christy Linda Craig Bill & Diana Dameron Mary Dickson Ronnie-Gail Emden & Andrew Wilson David & Beth Ferguson Kit Gillem Harold Goldstein & Carol Streeter David Hattner & Kristie Leiser Diane M. Hermann

Miyoung Kwak Susan & Robert Leeb Kay Mannion Debra Meisinger & Barry Buchanan Martin & Lucy Miller Murray George & Deborah Olsen Ellen Pullen Marilyn Crilley & George Rowbottom Jeff & Kathleen Rubin Karen & Norman Sade Bill Scott & Kate Thompson Mike & Judy Stoner Jeanette Swenson Peter & Ann van Bever Anonymous Friend of CMNW


In Memoriam We note with sadness the passing of the following members of our Chamber Music Northwest family this past year. We will miss them, and we offer our sincere condolences to their families and friends.

Muriel Lezak Una Loughran Barbara Manildi Jim Meyer Milo Ormseth Helen Ramatowski Henry Richmond Bill Savery Bob Shoemaker Robert Lloyd Smith Don Stephens David Tallman

Kirby Allen Paul Bragdon Bruce Browne Marianne Buchwalter Debi Coleman Janet Dobak Beverly Galen Marjorie Gwilliam Luis Halpert Sue Horn-Caskey Hal Hurwitz Norma Leszt

Named Endowment Funds With deep gratitude we recognize the donors of the following Named Endowment Funds, which provide perpetual support for Chamber Music Northwest artists and programs. In this current 2021-2022 year, income from the following funds helped underwrite the activities shown below. Bart Alexander Oboe Chair Fund Allan Vogel

David Golub Piano Chair Fund Gilles Vonsattel

Boyce/Cabot Emerging Artist Fund Young Artist Institute

Ned & Sis Hayes Young Artist Fund Anna Lee

Theodore & Celia Brandt Cello and Violin Chair Funds Brentano String Quartet, 2021-22 Artists-in-Residence

Mary-Claire King Flute Chair Fund Tara Helen O’Connor

CMNW Commissioning Fund New works by Alistair Coleman, Fang Man, Chris Rogerson, and Melinda Wagner

Jean Vollum Piano Fund Rental and stewardship of pianos from Steinway Pianos Whitsell Cello Fund Zlatomir Fung

Michael & Alice Powell Vocal Chair Fund Dawn Upshaw Stephen Swerling New Ventures Fund Production of Andy Akiho’s Seven Pillars

Donors, you can direct taxes to fund culture. Really. When you give to one or more of Oregon’s 1,500+ cultural nonprofits, including Chamber Music Northwest, you become eligible for a powerful tool: Oregon’s Cultural Tax Credit. This tax credit gives you the opportunity to direct more of your state taxes to cultural activities around the state. To receive your tax credit, give at CulturalTrust.org, and claim it on your tax return. You will get 100% of your donation back* as a tax credit. Congratulations, you supported culture without spending more! Learn more by scanning the code, visiting CulturalTrust.org, calling 503-986-0088 or consulting your tax preparer.

BRAVO Youth Orchestras string players, supported by the Oregon Cultural Trust.

*Your maximum credit is the lesser of: • your cumulative donations to cultural nonprofits this year • $500 for individuals, $1,000 for couples or $2,500 for C-Class corporations.

The following generous friends have made provisions for Chamber Music Northwest in their estate plans and/or have made a major gift to our Endowment Fund: Carl Abbott & Margery Post Abbott Carole Alexander Scott & Margaret Arighi Phoebe Atwood* Laura L. Barber* Peter J. Bilotta & Shannon M. Bromenschenkel Diane Boly Daniel H. Boyce & Lilla Cabot Theodore* & Celia Brandt Evelyn J. Brzezinski The Clark Foundation Matthew A. & Roberta* Cohen Maribeth Collins* The Collins Foundation Helen Corbett* Bill Dameron Nathan Davis Karen & Cliff Deveney Mary Dickson William Dolan & Suzanne Bromschwig Elaine Durst John & Jane Emrick

Barbara Engel* Don H. Frank* Don & Emilie Frisbee* Doris S. Fulton* Elizabeth & John Gray* Susan & Jeffrey* Grayson Dr. Howard P. Greisler Marilyn & Harold Hanson* Robert & Janis Harrison Sonja Haugen Ned & Sis Hayes* Gary McDonald & Barbara Holisky James Kahan & Kathia Emery Paul L. King Sally & Bob Landauer Leslie Lehmann & Clark Worth Dorothea Lensch* Muriel D. Lezak* Amelia Lukas Leeanne G. MacColl* Linda Magee Steve & Cindy McCarthy Dr. Louis* & Judy McCraw

Nancie McGraw & McGraw Family Foundation Betty A. Merten William D. & Lois L. Miller Wilfried & Deanna Mueller-Crispin Anne & Ernest Munch Janice Orloff* Dolores Young Owen* Rev. Dr. Rodney & Sandra Page Norma Pizza Michael & Alice Powell Judson Randall* Paula P. Randall* Konrad Reisner* George & Claire Rives* Ruth Robinson Laurens & Judith Ruben Gilbert & Thelma Schnitzer* Mayer* & Janet Schwartz Bill Scott & Kate Thompson David Shifrin Joan* & John Shipley Jinny Shipman & Dick Kaiser Al Solheim

Anne Stevenson Stephen Swerling* Phyllis Swett* Hall Templeton* Harry Turtledove* Peter & Ann van Bever Ravi Vedanayagam & Ursula Luckert Jean Vollum* Larry & Dorie Vollum Bruce Weber Margaret (Peggy) & Robert Weil* Judy Weinsoft* Samuel C. Wheeler*/ Wheeler Foundation William & Helen Jo Whitsell Jane Williams* Slate & Davida Wilson Nancy & Herb Zachow Anonymous Friends of CMNW (2)


Nautilus Circle Members

*Recognized posthumously

Join the Nautilus Circle The Nautilus Circle recognizes individuals who included CMNW in their will or estate plan, as well as those who have made significant gifts to the CMNW Endowment Fund. If you are planning or have already made provisions to remember CMNW with a legacy gift, we would be pleased to honor you as a member of our Nautilus Circle. You need not provide details of your plans. Please consult your tax and financial advisors to determine how a planned gift to CMNW will affect your estate.

Create a Legacy of Music You can create a musical tribute to our community with a planned gift to Chamber Music Northwest as part of your will or estate plan – a lasting testimonial to your love of chamber music. Your legacy gift becomes a part of our permanent endowment, helping to create exceptional concerts, educational programs, and community engagement initiatives to share chamber music throughout our region. You can even designate your gift to endow or support a musical program or project that is especially dear to your heart, promising a meaningful and memorable connection with your community.

There are many ways to leave a legacy – through your will, a trust, as a beneficiary of a retirement plan or life insurance policy, and many more. We can help with clear, simple guidance on how you can leave a meaningful gift for CMNW as well as other charities you love. Please contact Leslie Tuomi at 503-546-0184 or lesliet@cmnw.org for further information and consult your tax advisor or financial planner to discover how to shape your legacy.


The Big Reveal The Big Oct 19 & 20, 2022 Reveal

Caroline Shaw & Sō Percussion Caroline Shaw Nov 11, 2022 & Sō Percussion

Self Portrait Self Jan 26 & 27, 2023 Portrait

The Goddess: Min Goddess: Xiao-Fen & The Rez Abbasi Min Xiao-Fen & Mar 2 & 3, 2023 Rez Abbasi

Yo-Yo Va April 27 & 28, 2023 Yo-Yo Va

1000 Airplanes on the Roof 1000 Airplanes on May 20 & 21, 2023 the Roof

Oct 19 & 20, 2022

Jan 26 & 27, 2023

April 27 & 28, 2023

Nov 11, 2022

Mar 2 & 3, 2023

May 20 & 21, 2023

2022 / 2023 2022Season / 2023 thirdangle.orgSeason | 503-331-0301 thirdangle.org | 503-331-0301

tick, tick … BOOM! by Jonathan Larson | Aug 20 – Sep 18, 2022 Fans of Rent will love this raw, hilarious, genre-cracking rock musical.

2o22-2o23 Season

… the ripple, the wave that carried me home by Christina Anderson | Oct 8 – 30, 2022

Celebrate the power of community with sparkling humor, rocking music, and an abundance of perspectives and experiences on stage.

Subscribe today and save big! 3-show packages start at $108 • First Access to Seats • Unlimited Exchanges • Monthly Payment Plans • Discounts for Friends

This deeply moving story explores a family’s fight for the integration of their local swimming pools.

Kristina Wong, Sweatshop Overlord by Kristina Wong | Nov 5 – Dec 18, 2022 A tour-de-force performance that recounts the early days of the pandemic with sharp humor and refreshing insight.

It’s a Wonderful Life: A Live Radio Play by Joe Landry | Nov 19 – Dec 24, 2022 This heartwarming journey of community triumph is reimagined for the stage as a live 1940s radio broadcast.

Ms. Holmes & Ms. Watson – Apt. 2B by Kate Hamill | Jan 14 – Feb 12, 2023 A bold, feminist take on the iconic crime-fighting duo, packed full of non-stop laughs.

Young Americans

• And so much more!

by Lauren Yee | Feb 11 – Mar 26, 2023

PCS.ORG | 503.445.3700

With Bowie blaring from a mixtape, this new play offers a look at a U.S. road trip through the lens of the immigrant experience.

Treasure Lunan in August Wilson’s Gem of the Ocean. Photo by Shawnte Sims.

Where We Belong by Madeline Sayet | Feb 25 – Mar 26, 2023

“Engaging. Creative. Unexpected.” –Audience Comment

An Indigenous theater-maker journeys across geographic borders, personal history, and cultural legacies in search of a place to belong.

Choir Boy by Tarell Alvin McCraney | Apr 15 – May 14, 2023 Filled with rousing music and soul-stirring dance, this play rejoices in all that it means to march to your own drum.

A Midsummer Night’s Dream by William Shakespeare | Jun 3 – Jul 2, 2023

One of Shakespeare’s most popular comedies! It’s time to fall in love all over again — but watch your step!

PCS_2223_CMNW_7.375x10_4c.indd 1

4/29/22 12:18 PM



NOV 12, 2022 | 7:30 PM Autumn Variations: Stark & Dvořák

DEC 26, 2022 | 7:30 PM Concert-at-Christmas: “Up in the Air”

MAR 4, 2023 | 7:30 PM Ruth Gipps: Symphony No. 3

MAY 7, 2023 | 4:00 PM Ludwig van Beethoven: Symphony No. 9

and a world premiere by Jeff Scott

with Portland Symphonic Choir

SUBSCRIPTIONS ON SALE NOW! Presenting world premieres and classic masterworks performed by inspiring young musicians in Season 99!

Su bs c r ibe 2 0 2 2 Now! 2 0 2 3 OCT


Heath Quartet

| Oct 17 & 18


Not So Classic Series

MJ New Quartet | Oct 30

Trio Karénine | Mar 20 & 21

Not So Classic Series

Classic Series

Martinů Quartet | Nov 6 – 13


Trio Mediæval | Apr 22

Takács Quartet | Dec 5 & 6

Danish String Quartet | Jan 23 & 24 Classic Series

Modigliani Quartet | Apr 3 & 4 Classic Series

Vocal Arts Series

Classic Series


| Mar 5

Classic Series

Dvořák Festival


Dreamers' Circus


Benjamin Appl, baritone | May 4 James Baillieu, piano Vocal Arts Series


Bang on a Can All-Stars | Feb 1 Not So Classic Series

Chanticleer | Feb 24

Photo Credit: Håvard Lotsberg

Vocal Arts Series

Trio Mediæval

503.224.9842 | www.focm.org |

L I V E . I N T I M AT E . I N S P I R E D .


You are invited to enjoy these FREE music-infused events all over town from Chamber Music Northwest during our Summer Festival this year!

Musicians Around Town June 28 & July 5 | All around Portland! CMNW’s Young Artist Institute musicians will be out in the community and performing short “pop-up” performances at a variety of public sites around Portland both June 28 and July 5. Visit cmnw.org and our social media channels for details

Young Artist Institute Showcases

June 24 @ 7pm | Mago Hunt Recital Hall, University of Portland July 1 @ 7pm | Lincoln Recital Hall, Rm. 75, Portland State University July 8 @ 7pm | Pilot House, University of Portland Experience the Young Artist Institute musicians as they grow and evolve throughout their time with CMNW this summer. These public showcases will feature both solo and string quartet performances.

Outdoor Community Concerts

July 12 @ 7pm North Clackamas Park | featuring the Protégé Project Viano String Quartet July 22 @ 7pm Gresham Arts Plaza | featuring Sinta Saxophone Quartet July 29 @ 7pm Columbia Tech Center Park, Vancouver | in partnership with Vancouver Symphony Orchestra featuring the VSO Brass Quintet. Plan to stay after the concert for a movie in the park! Pack a picnic and bring your own seats to enjoy outdoor concerts perfect for the whole family! Many of these performances are in partnership with the BRAND NEW SoundsTruck NW.

Prelude Performances

Thursdays, June 30 – July 28 @ 6:30pm | Patricia Reser Center for the Arts Saturdays, July 2 – July 30 @ 6:30pm | Kaul Auditorium, Reed College Enjoy a short performance before your summer festival concerts on Thursdays and Saturdays, performed by local students and CMNW’s Young Artist Institute musicians.

What is SoundsTruck NW?

CMNW is excited to partner with the BRAND NEW SoundsTruck NW, the Pacific Northwest’s premier mobile venue to bring “pop-up” events all over the city during our 2022 Summer Festival. During the pandemic, SoundsTruck NW Founder and Director Yoko Greeney reimagined the concert experience for maximum flexibility, resiliency, and access. The result is a movable venue that allows for invigorating and connective performances while social distancing outdoors. Visit soundstrucknw.org for more information, and stay tuned for where you can catch a concert during our summer festival at cmnw.org, and our social media channels! 20


Wednesdays: July 1, 8 & 15 @ 10am | Lincoln Recital Hall, Rm. 75, Portland State University

For the first three weeks of the festival, witness our 2022 Summer Festival artists coach the next generation of musicians in our community, including many from our Young Artist Institute! Can’t attend in person? These will be available to stream starting the week following the class, then anytime at cmnw.org.

7/1 @ 10am Zlatomir Fung, cello


Education Events

7/8 @ 10am Ettore Causa, viola 7/15 @ 10am Benjamin Beilman, violin

Weekly Events Open Rehearsals

Wednesdays: June 29-July 27 @ 11am Kaul Auditorium, Reed College Go behind the scenes and observe CMNW’s world-class musicians working together to put the finishing touches on music for upcoming performances. An informal Q&A follows the rehearsal.

6/29 @ 11am Alistair Coleman’s Flute Quintet with Tara Helen O’Connor (flute), Jennifer Frautschi (violin), Alexi Kenney (violin), Teng Li (viola), and Sophie Shao (cello) 7/6 @ 11am Erich Wolfgang Korngold’s Piano Quintet in E Major, Op. 15 with Gloria Chien (piano) and Viano String Quartet

7/13 @ 11am Henry Cowell’s Set of Five with Benjamin Beilman (violin), Ellen Hwangbo (piano), and Ian Rosenbaum (percussion)

7/20 @ 11am Open Rehearsal with the Brentano String Quartet 7/27 @ 11am David Schiff’s Chamber Concerto No. 2: Vineyard Rhythms

Musical Conversations

Join our musicians and Artistic Directors Soovin Kim and Gloria Chien for festival highlights, insights and context that delve into the myriad aspects of the musical programs throughout the summer. Available online at cmnw.org.


Announcing Your Oregon Symphony’s 2022/23 Classical Season Secure the best seats at the best price and enjoy exclusive perks when you purchase a subscription to the Classical series.

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Subscriber Benefits: • Big savings on your series – up to 20% off! • Free and easy ticket exchanges • Early access to new concerts ...and more! tickets: orsymphony.org | 503-228-1353 909 sw washington st, portland, or 97205

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holst’s the planets

5/4/22 1:47 PM

20 years of free Opera for All!


AIDA Keith Clark, Conductor

Photo courtesy of Indy.Wise.Shots


ANGELA BROWN “At last an Aida” NY Times

SUNDAY, AUGUST 7 6 PM Washington Park Amphitheater FREE ADMISSION! operaintheparkportland.org

A S O NR E S 3 2 / 2 2 20 C U R ATO AN GUEST V L A D IM IR


OCT 8 / 9 2022 “I begin to wonder if there is any mode or composer in which this magnificent artist cannot excel” — Ralph Moore for Musicweb International



DEC 3 / 4 2022 “The Russian pianist showed himself a crack pianist as well as a character with unique stage demeanor.” — Lawrence Johnson for Chicago Classical Review


JAN 21 / 22 2023 “. . . Rashkovskiy’s control of the treacherous piano writing was exemplary, barnstorming in the finger-twisters while brooding in a typically Slavic manner in the somber numbers.”

MAR 25 / 26 2023 “Music seems to just pour out of her . . . the staggeringly gifted Russian pianist Daria Rabotkina.”


MAY 6 / 7 2023 “A true polymath, in the Renaissance sense of the word.” — Lucy Jefferey for Seen and Heard International

— Boston Musical Intelligencer


JUN 3 / 4 2023 Dubbed a “quiet maverick” by the Daily Telegraph, Korsantia has been said, by the Calgary Sun, to have a “piano technique where difficulties simply do not exist.”

— Chang Tou Lian for The Straits Times of Singapore



AUG 4 -7


Where Opera Gets Intimate Subscribe Today! orpheuspdx.org | Tickets start at $50 | Lincoln Hall, PSU


AUG 25-28

CMNW | Ad Size: 1/2 page Horizontal (7.375 x 4.875) | To Run: Summer Festival Program | Contact: Chris Mattaliano 503-380-4620

Enriching. Transformative. Flexible. No matter your age or stage of life, the opportunity to pursue complex ideas with a community of fellow learners can be transformative. The Master of Arts in Liberal Studies is a flexible, part-time, interdisciplinary graduate program for adults whose quest for knowledge is unfinished business. Evening classes; entrance in fall, spring or summer. LEARN MORE AT reed.edu/MALS. PORTLAND, OREGON

YOUNG ARTIST INSTITUTE Chamber Music Northwest’s NEW Young Artist Institute This summer CMNW launches the Young Artist Institute (YAI), a new intensive education program for 16 talented string players from around the world, ages 14-18. The YAI will be held on the University of Portland campus, and the young musicians will be featured in free performances throughout the community, including on the brand new mobile concert stage. The violinists, violists, and cellists selected for this program are among the top high school string players from North America and Asia. The students have been finalists in the most important competitions in the world such as the Menuhin and Sphinx Competitions, and hail from prestigious preparatory programs at the New England Conservatory, San Francisco Conservatory, Colburn Academy, Cleveland Institute of Music, Korea National University of the Arts, and Portland’s own Portland Youth Philharmonic. CMNW’s Institute will provide the talented young musicians the unique opportunity to perform numerous times during its three weeks. The students will experience tremendous growth performing both solo works and string quartets for small and large audiences. The Portland community will get to enjoy the amazing virtuosity and precociousness of these musicians at festival concerts and pop-up performances around the city.

Institute Young Artists Corina Deng (14) • Violin • Vancouver, Canada Fiona Huang (14) • Cello • Saratoga, California Emily Hwang (16) • Viola • Palo Alto, California Hanna Jang (17) • Viola • Seoul, South Korea Sarah Kave (18) • Cello • Los Angeles, California Joshua Kovác (15) • Cello • Johnson City, Tennessee Eleanor Markey (17) • Violin • Wayland, Massachusetts Jiyu Oh (16) • Violin • Seoul, South Korea Ella Saputra (17) • Violin • Schaumburg, Illinois Nazeeh Shahid (17) • Viola • Chicago, Illinois Nate Strothkamp (18) • Violin • Portland, Oregon Moshi Tang (17) • Violin • Cleveland, Ohio Hana Taylor (16) • Violin • Brookline, Massachusetts Maanas Varma (17) • Viola • Flower Mound, Texas Kira Wang (17) • Cello • Portland, Oregon Marina Ziegler (17) • Violin • Akron, Ohio

Institute Faculty Alyssa Tong • violin, manager Soovin Kim • violin, faculty Jessica Lee • violin, faculty Nicholas Cords • viola, faculty Peter Stumpf • cello, faculty Katie Danforth • Young Artist Mentor Paul Kim • Young Artist Mentor

A new Collaborative Piano Fellowship has also been created to support the YAI. The two fellows, selected from major conservatories, will collaborate intensively each day in rehearsals and performances with the Institute students. “Supporting and educating young artists has been at the core of our work at Music@Menlo (where Gloria was institute director), and at the New England Conservatory and Yale School of Music (where Soovin teaches),” said Gloria Chien and Soovin Kim, CMNW Artistic Directors. “This Young Artist Institute is a dream come true, and we know it is going to affect the lives of the extraordinary students and the CMNW audiences. Our hope is to inspire and invigorate the love of chamber music through these bright, shining musical talents!”


Sponsors of the 2022 Young Artist Institute Ronni Lacroute Daniel H. Boyce & Lilla Cabot Greg & Betsy Hatton Peter & Ann van Bever Slate & Davida Wilson James Jones Kennett F. Burnes Yoko & Jon Greeney Ravi Vedanayagam & Ursula Luckert Howard Greisler & Elizabeth Hudson Kate Lyons & Corey Millard Anonymous Friend of CMNW

Collaborative Piano Fellowship A critical person in a young string player’s development is the pianist with whom they collaborate in concertos, sonatas, and other pieces with piano. The pianist provides the string player with the sense of rhythm, harmony, and texture. We are excited to create the CMNW Collaborative Piano Fellowship that brings two of the finest graduate student pianists to rehearse and perform perform with Institute string players Sponsored by Yoko Greeney

Collaborative Piano Fellows Pualina Lim Mei En • Piano fellow • Singapore Yandi Chen • Piano fellow • Shanghai, China

CATCH THEIR PERFORMANCES! Young Artist Institute Showcases • SHOWCASE: June 24 @ 7pm Mago Hunt Recital Hall, University of Portland • PRELUDE: June 27 @ 6:30pm Kaul Auditorium, Reed College CORINA DENG

• POP-UP DAY: June 28* • PRELUDE: June 30 @ 6:30pm Patricia Reser Center for the Arts • SHOWCASE: July 1 @ 7pm Lincoln Recital Hall, Rm. 75, Portland State University • PRELUDE: July 2 @ 6:30pm Kaul Auditorium, Reed College • POP-UP DAY: July 5* • PRELUDE: July 7 @ 6:30pm Patricia Reser Center for the Arts • SHOWCASE: July 8 @ 7pm Pilot House, University of Portland



• PRELUDE: July 9 @ 6:30pm Kaul Auditorium, Reed College












*Multiple pop-up performances by YAI students, citywide, locations and times TBA. Visit cmnw.org and our social media channels for details.




2022 PROTÉGÉ PROJECT Chamber Music Northwest’s Protégé Project is a world-class professional residency for emerging musicians that cultivates and encourages the growth of chamber music’s rising stars. Protégé Project artists are featured in Chamber Music Northwest concerts and present music engagements in the community. The 2022 Summer Festival Protégé Project artists are Alistair Coleman (composer), Zlatomir Fung (cello), Anna Lee (violin), and Viano Quartet (ensemble): Lucy Wang (violin), Hao Zhou (violin), Aiden Kane (viola), Tate Zawadiuk (cello). All of these incredible musicians will be with us for several weeks during the summer festival and are a part of several concerts. Zlatomir and Anna will perform intimate and personal Protégé Artist Spotlight concerts at Lincoln Recital Hall. Since its founding in 2010, Chamber Music Northwest’s Protégé Project has played a key role in launching the professional careers of dozens of America’s finest young chamber musicians including the now internationally renowned ensembles Dover Quartet, Jasper String Quartet, and Akropolis Reed Quintet; violinists Benjamin Beilman, violinists Nikki Chooi and Bella Hristova; composers Andy Akiho, Gabriella Smith, and Chris Rogerson; pianists Yekwon Sunwoo, Yevgeny Yontov, and Gloria Chien; and many other artists.

Alistair Coleman

Lucy Wang 28

Zlatomir Fung

Hao Zhou

Anna Lee

Aiden Kane

Tate Zawadiuk

Farm & Forage

Seated Tastings

Tours & Summer Hikes

We Are Proud to be a Part of Chamber Music Northwest’s 2022 Summer Festival Visit our Tasting Room in the beautiful Dundee Hills - reservations required 503-864-2282 | www.sokolblosser.com | info@sokolblosser.com 5000 NE Sokol Blosser Lane, Dayton, OR 97114 | @sokolblosser @evolutionwine

FALL REGISTRATION NOW OPEN! there’s a place for you here

orchestra, band, percussion, and jazz ensembles in Portland and Hillsboro with Saturday rehearsals video auditions accepted on a rolling basis through the summer

visit PLAYMYS.org for information & to register tution assistance available

raúl gómez-rojas |


CMNW’s 2022/23 Season on sale in July! See page 2 for more information.

Experience the world’s top names in the art of pianos: Yamaha, Bösendorfer, Schimmel, Estonia, and authentically restored Steinways

Over 300 new and used pianos in inventory

Five-Star Trade-Up Policy with every purchase

503-239-9969 3003 SE Milwaukie Ave.


22-23 SEASON

7:30 PM | 2 PM (m)atinee



Keller Auditorium Nov. 5, 11, 13m, 2022



Newmark Theatre • March 18, 22, 24, 26m, 2023



Keller Auditorium • April 22, 28, 30m, 2023



with the Portland Opera Orchestra Keller Auditorium • 8 PM | May 26, 2023

Tickets are available today from $35.






Inspiring our Community Inspiring our Community Celebrating thethe Richness and Celebrating Richness and Diversity of of Chamber Music Diversity Chamber Music Featuring Artists ofof the Highest Featuring Artists the HighestCaliber Caliber Presenting Exceptional Opportunities Presenting Exceptional Opportunitiesfor for Enjoyment, Education, and Reflection Enjoyment, Education, and Reflection

Monday, June 27 Kaul Auditorium | 8pm Sponsors:

Bill & Diana Dameron

Opening Night Celebration BEETHOVEN (1770-1827)

Ten Variations on ‘Ich bin der Schneider Kakadu’ for Piano Trio, Op. 121a • (18’)

Gloria Chien, piano Carmit Zori, violin Fred Sherry, cello

RAVEL (1875-1937)

Introduction and Allegro, M. 46 • (12’)

Nancy Allen, harp Jennifer Frautschi, violin Carmit Zori, violin Paul Neubauer, viola Fred Sherry, cello Ransom Wilson, flute David Shifrin, clarinet



Sextet in C Major, Op. 37 • (30’) (1935) I. Allegro appassionata II. Intermezzo: Adagio III. Allegro con sentimento IV. Finale: Allegro vivace, giocoso

Gloria Chien, piano Carmit Zori, violin Paul Neubauer, viola Sophie Shao, cello David Shifrin, clarinet William Purvis, horn

After shelving the trio for a decade, Beethoven dusted it off again in 1816 for some revisions in hopes of publishing it to alleviate his financial troubles. Describing it to his publisher as “one of my early works” and “not poor stuff,” he finally succeeded in getting it published in 1824. Beethoven plays a slight joke on the listener by beginning the trio with a self-important, serious introduction in G minor. When Müller’s carefree majorkey theme finally emerges, it seems comically simplistic by comparison. Beethoven’s variations on the melody gradually expand in depth, giving each instrumentalist many moments in the spotlight – with a few twittering cockatoo flourishes for good measure.

—© Ethan Allred

By 1905, the thirty-year-old Maurice Ravel had established himself as the leading composer of his generation, the successor to Claude Debussy. Yet one key marker of success eluded him: the Prix de Rome, a highly respected prize identifying the best young composer in France, which he had failed to win four times. He tried one last time in 1905, just before reaching the age limit. This time, he did not even pass the first round of examination. A public scandal erupted, as Gabriel Fauré and many others called the system a disgrace, if it

In the wake of the scandal, Ravel wrote the Introduction et Allegro just before embarking on a yacht vacation. As this miniature harp concerto shows, Ravel actually enjoyed writing in the academic forms tested by the Prix de Rome, but he could not help but expand the harmonic and expressive language used within them. The brief Introduction sets the impressionistic tone with lush harmonies, swelling glissandos, and gentle melodies. The sonata-form Allegro, on the other hand, shows off the harp as an instrument – the piece was commissioned by a harp builder. Its rolling rhythms and sumptuous textures set up a splendid cadenza at the end of the development section, after which the recapitulation gracefully brings the sonata form to a close.

interludes. The Intermezzo alternates hushed, introverted episodes with a powerful, rhythmically stark theme. The “sentiment” of the Allegro con sentimento is lighthearted and the primary theme goes through a series of gentle variations. In the Finale, we hear Dohnányi’s interest in the jazz music making its way across Europe during the 1920s and 30s. Its driving syncopations alternate with a dainty waltz straight out of a Viennese café, and it features an impishly high-spirited theme reflecting Dohnányi’s tongue-in-cheek sense of humor.

Week One

In 1803, Ludwig van Beethoven, selected one such well-known melody as the theme for a piano trio titled Ten Variations on ‘Ich bin der Schneider Kakadu,’ Op. 121a. The song, originally written by Wenzel Müller (composer of more than 160 operas in total), translates amusingly as “I Am the Tailor Cockatoo.”

could not recognize Ravel’s talent, and demanded reform.


Before the era of audio recordings, music was still mass-distributed, just by other means. Whether via printed music, handwritten copies, or especially street performances, many operatic melodies entered the public conscience in the metropolises of 18th and 19th-century Europe.

—© Elizabeth Schwartz

—© Ethan Allred

If you heard Ernö Dohnányi’s Sextet in C Major, Op. 37 without knowing its author, you might think at first you were listening to Brahms, a comparison Dohnányi would have welcomed. Brahms was an early admirer of Dohnányi’s music, and for most of his life, Dohnányi’s style reflected the rich, lush Romantic harmonies and rapturous melodies of the late 19th century, even though he lived well into the 20th. During his lifetime, Dohnányi was considered the preeminent Hungarian musician of his generation; a virtuoso pianist and conductor who led the Budapest Philharmonic, and a noted pedagogue and director of Hungary’s Academy of Music, whose students included conductor Georg Solti (he was also the grandfather of conductor Christoph von Dohnányi). The Sextet is a later work, written when Dohnányi was recuperating from an illness in 1935. Over the course of its four movements, Dohnányi takes the listener on a musico-historic journey beginning in late 19th-century Vienna and ending in an American speakeasy full of smoky jazz. The Allegro appassionata lives up to its tempo markings with its soaring horn phrases and murmurous


Wednesday, June 29 Alberta Rose Theatre | 8pm Co-Sponsors:

Joan Levers & David Manhart

New@ Night

New@Night: Rhapsodies & Demons


BARTÓK (1881 - 1945)

Folk Dances • (12’) Time Passes Graceful Let’s Pick It Up Shopping With Grandmother

Fred Sherry, cello Sophie Shao, cello


Rhapsody No.1 • (7’)

Alexi Kenney, violin

SONDHEIM (1930-2021) KENJI BUNCH (b. 1973)

The Demon Barber (2010) • (5’)

Monica Ohuchi, piano


Netsuke (2011) • (21’) I. Tengu, the shapeshifter that feeds on the falsely holy II. Tadamori and the Oil-thief III. Tanuki playing the samisen IV. Baku, the monster that devours nightmares V. Demons carrying a rich man to hell VI. Jewel of Wisdom with mountain pavilions

Jennifer Frautschi, violin Monica Ohuchi, piano

Fred Sherry claims he had been aware of Bartók’s Folk Dances for a long time before he tracked down the manuscripts at their home in Columbia University’s Butler Library. He studied the melodies and began to transcribe them for two cellos; as he made progress through the 809 tunes, he began to understand Bartok’s enthusiasm for this enticing and important part of music history. Later Sherry began to write introduction accompaniments and codas for the tunes. Sherry confessed that he made up the titles and thanked people past and present in dedications at the beginning of each melody.

—© Kenji Bunch

—© Esmeralda Katz, Buenos Aires

Rhapsody No. 1 is the first solo violin piece I wrote for myself. It draws on inspiration from Eugène Ysaÿe’s solo violin works and is meant to serve as both an étude and a standalone work. This piece is intended to be part of a set of 6 solo violin works, each of which will be dedicated to a different contemporary violinist, and inspired by an historical composer.

—© Jessie Montgomery

instead of being carried by his usual bearers, seven demons have hijacked his sedan chair and gleefully cart him down to Hell. The final netsuke shows a serene mountain landscape intricately rendered in a water-drop-shaped piece of ivory. Gnarled wind-blown trees and the verandas of handsome pavilions can be discerned through the mist. Commissioned by the McKim Fund in the Library of Congress, Netsuke is dedicated in friendship and gratitude to Matt Albert and Lisa Kaplan of eighth blackbird.

Week One

My first exposure to Sweeney Todd came as a 10-year-old watching a PBS broadcast of the Broadway production. I was both terrified and fascinated, and have felt both the work’s and Sondheim’s influence ever since. For The Demon Barber – an homage to the seething, menacing introductory song, The Ballad of Sweeney Todd – I highlighted the original song’s oblique references to the Dies irae Gregorian melody into a persistent, ominous chant that surfaces throughout. I also wanted to amplify the work’s horror-show qualities with low register rumblings, shrieking high clusters, and insistent rhythmic ostinato patterns.


Here is a different side of Béla Bartók than one is accustomed to hearing. Bartok visited remote and isolated Romanian villages to collect folk songs and dances between 1908 and 1917. These melodies had never been notated until Bartok took on the superhuman task of understanding the subtleties of this centuries-old traditional music. He became obsessed by the tunes themselves and the evolution of their performance, which was passed down from generation to generation. The process changed his approach to composition and eventually he wove some of the melodies into his original compositions.

—© Stephen Hartke

Netsuke are Japanese miniature carvings that were originally made to secure objects suspended from a man’s sash. Often very intricate in design, they represent a broad range of subject matters from depictions of animals and people to scenes from folk-tales, literature, and everyday life to fanciful supernatural creatures. This piece was inspired by six exquisite carvings from the Bushell Collection at the Los Angeles County Museum of Art. In the first movement, a tengu, a hawk-like goblin, takes on the appearance of a monk to lure a religious hypocrite to his doom. The second carving, “Tadamori and the Oil-Thief,” is a wonderfully kinetic depiction of a midnight scuffle between a samurai and a poor servant whom he has mistaken for a thief. A tanuki is a raccoon-like creature thought to have the power to change its appearance. In this small sculpture, one is seen dressed in a robe quietly playing the samisen. In my piece, I found myself thinking of the samisen duels that one frequently hears in Japanese theatrical music. While quite fearsome looking, with the head of an elephant and a lion’s mane, the baku is a shy creature that performs the useful service of protecting sleepers from nightmares. In the carving that inspired the fifth movement, a rich man has apparently set off on a journey, but


Thursday, June 30

Saturday, July 2

The Reser | 8pm

Kaul Auditorium | 8pm



Heidi Yorkshire & Joseph Anthony

Anonymous Friend of CMNW

Folk Ingenuity Humoresque, Op. 101, No. 7 • (4’)

COLERIDGE-TAYLOR (1875-1912) Arr. Maud Powell & Paul Neubauer

Deep River, Op. 59, No. 10 (5’)


Clarinet Quintet in F-Sharp Minor, Op. 10 • (34’) I. Allegro energico II. Larghetto affettuoso III. Scherzo: Allegro leggiero IV. Finale: Allegro agitato


DVORÁK (1841–1904) Arr. De Luca & Alistair Coleman

Paul Neubauer, viola George Li, piano

David Shifrin, clarinet Viano String Quartet Lucy Wang, violin Hao Zhou, violin Aiden Kane, viola Tate Zawadiuk, cello



Piano Quartet in A Minor, Op. 1 • (20') I. Allegro appassionato II. Adagio III. Allegro con fuoco

George Li, piano Jennifer Frautschi, violin Paul Neubauer, viola Sophie Shao, cello

British composer Samuel ColeridgeTaylor, son of a medical student from Sierra Leone and a white English woman, revealed his prodigious musical talent early. He began playing violin at five and entered London’s Royal College of Music at 15; his classmates included Ralph Vaughan Williams and Gustav Holst. ColeridgeTaylor quickly attracted favorable attention from his teachers, including his composition teacher Sir Charles Stanford. When a racist fellow student insulted Coleridge-Taylor, Stanford retorted that Coleridge-Taylor had “more music in his little finger than [the abuser] did in the whole of his body.” Edward Elgar concurred, saying Coleridge-Taylor was “far and away the cleverest fellow going amongst the young men.” “What Brahms has done for the Hungarian folk-music, Dvořák for the Bohemian, and Grieg for the Norwegian, I have tried to do for these Negro Melodies,” Samuel Coleridge-Taylor declared of his 24 Negro Melodies, Op. 59, which he published in 1905.

Coleridge-Taylor first encountered “Deep River,” a well-known Negro spiritual, when he heard the Fisk Jubilee Singers, an African-American a capella group from Fisk University in Nashville, Tennessee, perform in London during one of their tours of Europe. ColeridgeTaylor’s setting presents only the first four measures of the song, then expands into a quasi-fantasia before returning to the opening bars. The Clarinet Quintet in F-sharp Minor, Op. 10 emerged as the result of a challenge from Charles Stanford to his students in 1895. After attending a performance of Brahms’ Clarinet Quintet Stanford reportedly claimed no subsequent clarinet quartets could be written without reflecting Brahms’ influence. Two months later, the 20-yearold Samuel Coleridge-Taylor presented Stanford with his own clarinet quintet, which not only fully refuted Stanford’s assertion, but stands as a monumental achievement on its own terms. The Allegro energico opens with the clarinet singing in its chalumeau register, emphasizing the sunlightand-shadow quality of the F-sharp Minor tonality. Howsoever ColeridgeTaylor presents his musical ideas, he never lets us lose track of the basic motifs that anchor this movement. The exquisite languor of the opening theme of the Larghetto affettuoso recalls momentarily the composer’s setting of Deep River. The strings assume the central thematic role, while the clarinet serves in a supportive capacity until more than halfway through the movement, when the instruments reverse their roles. In the sunny Scherzo, playful rhythmic ideas abound. Coleridge-Taylor’s love for Dvořák shows itself most clearly in this delightful mercurial music. The closing Allegro agitato features a bracing thematic idea, first sounded by the clarinet, then strings. The constant interplay between F-sharp Minor and A Major (the related major key) keeps both musicians and listeners alert to sudden changes of mood, key, and tempo.

Upon hearing Josef Suk’s Piano Quartet in A minor for the first time, you may be surprised to discover it is a student work, written by a 17-year-old in 1891, under the supervision of his composition teacher and future fatherin-law Antonin Dvořák at the Prague Conservatory. Dvořák was so pleased with Suk’s Quartet that he chose it for performance at the Conservatory’s commencement ceremony that year.

Week One

Violist William Primrose’s 1941 recording with the Victor Symphony Orchestra is the source of this version, with its brief additional introduction. This record, according to violist Paul Neubauer, is one of the most famous – if not the most famous – recordings Primrose ever made, and did much to advance his career.

Coleridge-Taylor’s Pan-Africanism spurred his interest in music from all over the Black diaspora; the songs of Op. 59 come from East, West, and South Africa, the West Indies, and America.


The myth that the signature rhythm of Antonin Dvořák’s Humoresque in G-flat Major, Op. 101 No. 7 came from the train Dvořák was supposedly on while composing it sounds just plausible enough to be true, which is why the story persists, even though there is no factual basis to support it. Dvořák finished the collection of Humoresques for solo piano in 1894; his publisher, Fritz Simrock, subsequently published many arrangements for No. 7, which is, according to writer David Hurwitz, “probably the most famous small piano work ever written, after Beethoven’s Für Elise.

In 1898, Suk married Dvořák’s daughter Otilie. Her untimely death in 1905 at age 27 and Dvořák’s a year earlier marked a permanent change in Suk’s musical style, which until that time had been grounded in the solidly Romantic pastoral Czech tradition. Suk numbered this quartet Op. 1 to indicate it was his first “mature” work, although he had composed earlier pieces. The emotional content reveals its youthful genesis, full of the intense ardor that only teenagers experience so completely. Structurally, Suk’s mastery of form and his ability to develop musical ideas show a maturity beyond his chronological age.

—© Elizabeth Schwartz


Sunday, July 3

Monday, July 4

Lincoln Performance Hall | 4pm

Kaul Auditorium | 8pm

Dedicated in memory of David Tallman, our long-time Patron Services Manager, and a beloved member of our CMNW family.

English Expressions BOCCHERINI (1743-1805)

Flute Quintet No. 2 in G Major, G. 438 • (14’) I. Allegro II. Adagio non tanto III. Andante con variazioni

Tara Helen O’Connor, flute Alexi Kenney, violin Teng Li, viola Zlatomir Fung, cello Sophie Shao, cello


Broadacre City for Flute Quintet • (13’) WORLD PREMIERE

Tara Helen O’Connor, flute Jennifer Frautschi, violin Alexi Kenney, violin Teng Li, viola Sophie Shao, cello


Piano Quintet in A Minor, Op. 84 • (36’) I. Moderato - Allegro II. Adagio III. Andante - Allegro

George Li, piano Alexi Kenney, violin Jennifer Frautschi, violin Teng Li, viola Zlatomir Fung, cello

Alistair Coleman’s Broadacre City has been commissioned with the generous support of the Chamber Music Northwest Commissioning Club and the CMNW Commissioning Fund.


The only existing source regarding the Flute Quintet No. 2 in G Major, G. 438, is a set of anonymous handwritten parts located in the Royal Palace Archive in Madrid. In fact, no definitive evidence demonstrates that Boccherini even wrote the quintets in this collection, and his own meticulous musical catalogue makes no mention of them. However, their unusual instrumentation (with two cellos rather than two violins) hints that Boccherini, a virtuoso cellist himself, may indeed be their true composer. On the other hand, none of Boccherini’s other flute quintets include a second cello part, so it’s certainly open for debate. The Quintet No. 2 in G Major consists of three delightful movements: a sprightly Allegro, an austere Adagio, and a playful theme and variations. One cello holds down the harmonic backbone of the piece, while the other (perhaps originally performed by Boccherini himself) is free to engage in a spirited melodic back-andforth with the other musical voices.

—© Ethan Allred

Glass-enclosed dwellings, endless horizon lines, UFO-like helicopters, and three-wheeled automobiles were among many characteristics of “Broadacre City,” Frank Lloyd Wright’s idealized American suburbia. Wright, considered one of the most influential architects in American history, was a proponent of ‘organic

The Broadacre City concept was meant to be impractical, a dream to which architects and city planners could aspire. It was one of six hundred Wright designs that were unrealized or unfinished — over half of his entire output. At Columbia University’s Avery Architecture Library, I was overwhelmed by the countless beautiful, and sometimes deranged designs that, for whatever reason, were commissioned but never built. In my new flute quintet, Broadacre City, commissioned by CMNW, I try to capture the aspiration of Broadacre City and other unbuilt projects that only exist on-paper. Fleeting flourishes catalyze a relentless, driving section filled with rhythmic momentum, and intensity. Over time, this musical “machine” begins to break down with the material slowly disintegrating to complete stasis. Remnants of the machine flow in and out of focus, as a ghost of what it once was. Slowly, those remnants find a footing and breathe life into new ideas and different musical contexts — all of which are trying to capture the effect these radical designs had on the consciousness and craft of their creators.

composer, Elgar spent the two decades after Enigma creating an enduring legacy of works. By the time the war ended, however, much had changed. Exhausted by the chaos, horror, and loss caused by four years of war, Elgar and his wife Alice left London for the quiet countryside of Sussex. Their cottage came with a picturesque ghost story: a grove of dead, gnarled trees stood nearby, supposedly the remains of medieval Spanish monks struck by lightning as punishment for engaging in sacrilegious rites. The ghostly forms of the trees, along with Elgar’s prevailing mood, lend a haunted ethereality to the sound of the Quintet. Another recurring idea heard first in the piano’s opening notes of the Moderato, is the plainchant Salve Regina. The eerie atmosphere, supported by unexpected harmonic movement, is juxtaposed with wistful romanticism; together, both lend the Quintet a uniquely beautiful poignancy.

Week One

Within a few years, Boccherini had secured a long-term contract with the Spanish Infante Luis de Borbón, younger brother of King Charles III. His job description: write 18 pieces of chamber music per year (other duties as assigned).

architecture’ a style in which homes and buildings are in dialogue with their natural surroundings. Broadacre City was the apotheosis of this philosophy: each American household, regardless of socioeconomic status, would be entitled to one acre of land for a home that would embrace an open terrain.


At age 23, Italian composer Luigi Boccherini set out on a life-changing journey. Thinking he might end up in London, he first visited Genoa, Nice, and Paris. But when an alluring opportunity presented itself in Madrid, Boccherini changed course for the city that would become his new home.

—© Elizabeth Schwartz

—© Alistair Coleman

The Edward Elgar who wrote the Piano Quintet in A Minor, Op. 84, just after the end of World War I was a very different man from the composer of the Enigma Variations of 1899. The Elgar of Enigma was a man in mid-life, who had striven for years to achieve recognition in his own country, much less internationally. He was ambitious and insecure about his social status in the rigid classbound world of Victorian England. The fame that followed Enigma’s premiere did much to reassure Elgar; freed from worries about his worth as a


Tuesday, July 5 Lincoln Recital Hall | 12:00pm Sponsor:

Ravi Vedanayagam & Ursula Luckert

Protégé Artist Spotlight: Zlatomir Fung —Solo Cello Masterpieces


DALL’ABACO (1710-1805)

11 Capricci for Cello • (6’) Capriccio No. 8 in G Major Capriccio No. 9 in C Major

TANIA LEÓN (b. 1943)

Four Pieces for Solo Cello (1983) • (9’) I. Allegro II. Lento doloroso, sempre cantabile (To My Father) III. Montuno IV. Vivo

BACH (1685-1750)

Cello Suite No. 4 in E-flat Major, BWV 1010 • (26’) I. Prélude II. Allemande III. Courante IV. Sarabande V. Bourrée I - Bourrée II VI. Gigue

Zlatomir Fung, cello

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Explore the mus ical riches and unique settings of thes e allied festival s of the Western Unite d States.


Wednesday, July 6 The Armory | 6pm Sponsor:

New@ Night

New@Night: Arcadiana Unlocked


JUDITH WEIR (b. 1954)

Unlocked (1999) • (15’) 1. Make Me A Garment 2. No Justice 3. The Wind Blow East 4. The Keys To The Prison 5. Trouble, Trouble

Zlatomir Fung, cello

THOMAS ADÈS (b. 1971)

Arcadiana, Op. 12 ( 1994) • (20’) 1. Venezia notturna 2. Das klinget so herrlich, das klinget so schön 3. Auf dem Wasser zu singen 4. Et... (tango mortale) 5. L’Embarquement 6. O Albion 7. Lethe

Viano String Quartet Lucy Wang, violin Hao Zhou, violin Aiden Kane, viola Tate Zawadiuk, cello

Make Me A Garment (No. 1) is based on a song sung by a prisoner in Florida who was found by the Lomaxes in the tuberculosis ward and could only whisper his song. No Justice (No. 2) is a set of variations, using extended playing techniques, growing out of a simple prison song from Georgia (original title Oh we don’t get no justice in Atlanta). The Wind Blow East (No. 3) comes from fragments of a chorus heard in the Bahamas — it represents the prisoner’s dream of a better life. The Keys To The Prison (No. 4) is based on an original song sung by a 15-year old (Cajun) girl in French. In the song, a boy in prison sings to his mother, “Hey mom, I’ve got the keys to the prison and I’m going to escape”. She says “How come, when the warders have the keys hanging round their necks?” and so it goes on. The music composed around it is very fast and agile, and for me represents the prisoner’s fantasy that the prison doors are suddenly wide open, and the guards have all gone. Trouble, Trouble (No. 5) is a transcription/arrangement of a blues sung by a prisoner in Alabama.

The second and sixth movements inhabit pastoral Arcadias, respectively: Mozart’s Kingdom of Night, and more local fields. The joker in this pack is the fourth movement, the literal dead centre: Poussin’s tomb bearing the inscription, “Even in Arcady am I.”

Week Two

Six of the seven titles which comprise Arcadiana evoke various vanished or vanishing ‘idylls’. The odd-numbered movements are all aquatic, and would splice if played consecutively. It might be the ballad of some lugubrious gondolier; No. 3 takes a title and a figuration from a Schubert Lied; in No. 5, a ship is seen swirling away to L’Isle Joyeuse; No. 7 is the River of Oblivion.


Unlocked arises out of my interest in the magnificent collection of American folksongs in the Library of Congress collected by John and Alan Lomax in the 1930s. A significant proportion of the songs were collected from prisoners — mostly black prisoners in Southern jails. The piece is made up of freely composed cello ‘fantasias’ inspired by five of these songs:

Arcadiana was commissioned by the Endellion Quartet with funds from the Holst Foundation.

—© Faber Music

Unlocked was written for Ulrich Heinen, and first performed by him in Birmingham, England, in May 1999.

—© Judith Weir


Thursday, July 7

Saturday, July 9

The Reser | 8pm

Kaul Auditorium | 8pm



David & Maryann Holman

Ellen Macke & Howard Pifer

Slavic Scenes GLIÈRE (1875–1956)

Selections from 12 Album Leaves, Op.51 • (13’) II. Commodo III. Andantino VI. Allegretto X. Con tristezza XII. Animato

PROKOFIEV (1891-1953)

String Quartet No. 2 in F Major, Op. 92, (“Kabardinian”) (1941) • (22’) I. Allegro sostenuto II. Adagio III. Allegro

Zlatomir Fung, cello Gloria Chien, piano

Viano String Quartet Lucy Wang, violin Hao Zhou, violin Aiden Kane, viola Tate Zawadiuk, cello



String Quartet No. 2 in A Minor, Op. 35 • (28’) I. Moderato II. Thème and Variations: Moderato III. Finale: Andante sostenuto - Allegro moderato

Jessica Lee, violin Nicholas Cords, viola Zlatomir Fung, cello Peter Stumpf, cello

Prokofiev’s String Quartet No. 2, Op. 92 fuses Kabardian folk melodies with sophisticated 20th century harmonies. In just three movements, Op. 92 is a compact, tautly constructed work; Prokofiev presents each folk melody straightforwardly, then amplifies and develops it using western classical structures imbued with his unique voice. The Allegro sostenuto contains three Kabardian folk themes. While Prokofiev was attracted to the region’s


The brief finale begins by quoting music from a Russian funeral Mass, moves into a spirited fugue, briefly returns to the somber church melody, and ends with a joyful version of the Russian folksong Slava! (Glory), often played at coronation ceremonies for czars. This song was also previously used by Ludwig van Beethoven in one of his Razumovsky Quartets, and by Modest Mussorgsky, in Boris Godunov. After Op. 35’s 1894 premiere in Moscow, Arensky’s publisher, fearing the work wouldn’t sell well because of its unusual instrumentation, asked Arensky to arrange it for standard string quartet. Both versions can be found on concert programs today.

Week Two

In August 1941, Sergei Prokofiev and several other Soviet artists, having already been evacuated from Moscow, arrived in Nalchik, the capital city of the Kabardino-Balkarian Republic, in the North Caucasus. Far from the ravages of WWII, Prokofiev settled into the mountain town and made the acquaintance of the region’s Minister of Culture, Khatu Sagidovich Temirkano and his wife. In Prokofiev’s autobiography, the composer writes, “[Temirkano] said to us, ‘You have a gold mine of untapped folk music in this region. If you take advantage of your stay here to work up this material, you will be laying the foundation of a Kabardinian music … Indeed, the material proved to be fresh and original … I settled on writing a string quartet, thinking that the combination of new, untouched Oriental folk-lore with the most classical of forms, the string quartet, ought to produce interesting and unexpected results.”

“non-Russian” sound, he did not make any attempt to smooth out the basic rough contours of these melodies. Instead, he presents them broadly, unadorned, develops them briefly using his signature ironic wit, and ends with a simple restatement. An exquisite Kabardian love song serves as the melodic framework for the Adagio, which Prokofiev presents with simple open intervals and octave declamations; a central quasi-Scherzo section brightens and speeds up before the opening melody returns. The closing Allegro centers around a recurring jaunty dissonant theme, with contrasting episodes of scratchy discords, non-Western scales, a solo cello cadenza, and moments of breathless speed.


Reinhold Glière is known for his largescale works: operas, symphonies, and especially ballets (audiences may know him best as the composer of “The Russian Sailors Dance” from the 1927 ballet, The Red Poppy). Album Leaves, Op. 51, is a youthful work, composed while Glière lived in Berlin in 1910. This collection of short, vivid character pieces for cello and piano showcases Glière’s lifelong affinity for expressive, singable melodies. The selections on tonight’s concert explores various moods: warm and welcoming; pensive; bold and powerful; sorrowful; passionate.

—© Elizabeth Schwartz

The first thing to notice about Anton Arensky’s String Quartet No. 2, Op. 35, is its highly unusual instrumentation: violin, viola and two cellos, rather than the standard two violins, viola, and single cello. Arensky chose this configuration to emphasize the lower end of the quartet’s range, and to focus on the rich expansive sonorities of the cellos, which he thought appropriate for a work written as an homage to his friend and mentor Peter Ilyich Tchaikovsky, who had died in November 1893. Arensky’s quartet reconciles the two opposing aesthetic schools of late 19th-century Russian music by incorporating The Five’s passion for all things Russian with Tchaikovsky’s inclination towards the formal structures of non-Russian composers, particularly Mozart and Haydn. The Moderato begins and ends with music for a Russian Orthodox psalm; the second movement is a haunting theme and variations based on Tchaikovsky’s A Legend from his 16 Songs for Children, Op. 54. This movement, the longest of the three, became so popular that Arensky’s publisher encouraged Arensky to arrange it as a stand-alone work for string orchestra. This version, titled simply Variations on a Theme by Tchaikovsky, Op. 35a, is Arensky’s best known work, far outstripping the original quartet.


Sunday, July 10

Monday, July 11

Lincoln Performance Hall | 4pm

Kaul Auditorium | 8pm


Viennese Wunderkinds MOZART (1756-1791)

String Quintet in D Major, K. 593 • (25’) I. Larghetto - Allegro II. Adagio III. Menuetto: Allegretto IV. Allegro

Jessica Lee, violin Lucy Wang, violin Ettore Causa, viola Aiden Kane, viola Peter Stumpf, cello



Piano Quintet in E Major, Op. 15 (1921) • (32’) I. Mässiges Zeitmass, mit schwungvoll blühendem Ausdruck II. Adagio: Mit grösster Ruhe, stets äusserst gebunden und aus drucksvoll III. Finale: Gemessen beinahe pathetisch

Gloria Chien, piano Viano String Quartet Lucy Wang, violin Hao Zhou, violin Aiden Kane, viola Tate Zawadiuk, cello

In this context, the String Quintet No. 5 in D Major, K. 593 (1790) can be heard as a mini-opera, with each instrument expressing not only its musical part, but its particular character. Many moments in K. 593 sound like spirited dialogs, or even arguments, albeit without words. After the opening Larghetto, in which the cello poses a question the other instruments attempt to answer, the first violin erupts with an impassioned cascade of notes. Subsequent violin solos are juxtaposed with calmer responses from the ensemble; the cello’s question returns in a recapitulation of the Larghetto. Mozart’s Adagios are justifiably considered some of his most inventive and expressive music, and K. 593’s is no exception. If we continue the opera analogy, the first movement ensemble lays out the narrative premise of the story, while the Adagio explores the emotional subtext underneath. Mozart uses thematic fragments from

Erich Korngold was a man out of time. Had he been born a century earlier, his romantic sensibilities would have aligned perfectly with the musical and artistic aesthetics of the 19th century. Instead, Korngold grew up in the tumult of the early 20th century, when his tonal, lyrical style had been eclipsed by the horrors of WWI and the stark modernist trends promulgated by his fellow Viennese composers Arnold Schoenberg, Alban Berg, and Anton Webern.

steamy atmosphere of the greenhouse enhances the stunning beauty of the blooms. The Adagio, by contrast, has an inward, pared-down quality. It opens with viola and cello in slow steady octaves, anchored by deep chords in the piano. Even as the tempo changes from Adagio to faster interludes, Korngold maintains the crystalline texture by means of pizzicatos, harmonics, and continued octaves for various string pairs. Korngold ranges far and wide harmonically, but always returns to the steady stasis of the opening theme. What makes this movement so unusual is the combination of deeply expressive phrases and the calm serenity of its opening. The Finale is a study in the unexpected: it opens with a powerful violin cadenza, but soon gives way to a series of episodes that keep the listener playfully off-balance.

Week Two

In last summer’s notes I mentioned the viola’s superpower – its role as the harmonic glue in chamber and orchestral music. Within the intimate setting of a chamber ensemble, the second viola in a string quintet continues to serve its customary harmonic function, but it also does more; each voice in the ensemble can be likened to a character in an opera. As an opera composer, Mozart especially loved writing ensembles for several voices, sometimes adding additional characters to an already charged scene midway through. The challenge of making the music comprehensible as more elements are added to an already bubbling pot was irresistible.

the first movement, including subtle pauses and hesitations, to construct new musical ideas, but narratively speaking, the action stops. This is a moment for emotional expression, not plot advancement. A lighthearted, graceful Menuet and Trio give way to an animated closing Rondo, in which the first violin once again takes the lead, while the ensemble is quick to respond (or retort).


Last season, Chamber Music Northwest presented one of Wolfgang Amadeus Mozart’s viola quintets (he composed six in all). Other than Luigi Boccherini, Mozart is essentially the only composer to add a second viola to the standard string quartet. One viola quintet can be explained by compositional curiosity, but six? Even the fact that Mozart himself preferred playing viola to violin in chamber ensembles doesn’t fully account for his enduring interest in a subgenre he practically invented.

—© Elizabeth Schwartz

Korngold’s prodigious compositional talent emerged early. At age ten, he performed his cantata Gold for Gustav Mahler, whereupon the older composer called him “a genius.” When Korngold was 13, just after his bar mitzvah, the Austrian Imperial Ballet staged his pantomime The Snowman. In his teens, Korngold received commissions from the Leipzig Gewandhaus Orchestra; pianist Artur Schnabel performed Korngold’s Op. 2 Piano Sonata on tour, and Korngold also began writing operas, completing two full-scale works by age 18. At 23, Korngold’s opera Die tote Stadt (The Dead City) brought him international renown; it was performed in 83 different opera houses. After Die tote Stadt, Korngold turned his attention to chamber music, and began working on his Piano Quintet in E Major, Op. 15 (1921). The first movement, marked “with a lively blooming expression,” unleashes Korngold at his most Romantic. Ravishingly opulent harmonies and dense textures, in the manner of Richard Strauss, fill the soundscape. The overall experience of listening to this music is the aural equivalent of walking through a hothouse full of exotic rare orchids; the


Tuesday, July 12 Lincoln Recital Hall | 12:00pm

Protégé Alumnus Spotlight: Benjamin Beilman — A Tribute to Kreisler THE BIG LIE / A MUSICAL HOAX KREISLER (1875-1962)

Praeludium and Allegro “In the style of Pugnani” • (5’) Violin Concerto in C Major “In the Style of Vivaldi” • (4’) II. Andante doloroso Aucassin and Nicolette • (3’) La Chasse in E-flat Major “In the style of Cartier” • (2’)

GREAT ARTISTS STEAL BRAHMS (1833-1897) Arr. Fritz Kreisler

Hungarian Dance No. 17, WoO1 • (4’)

SCOTT (1879-1970) Arr. Fritz Kreisler

Lotus Land, Op. 47, No. 1 • (5’)

ALBÉNIZ (1860-1909)

Tango from España, Op. 165, No. 2 • (3’)

PAGANINI (1782-1840) Arr. Fritz Kreisler

Caprice in D Major, Op. 1, No. 20 • (3’)




La Gitana • (4’) Polichinelle (Sérénade) • (2’) Tambourin Chinois, Op. 3 • (4’)

POLDINI (1869-1957) Arr. Fritz Kreisler

Poupée Valsante (Dancing Doll) • (3’)


Viennese Rhapsodic Fantasietta • (10’)

Benjamin Beilman, violin Ellen Hwangbo, piano

Wednesday, July 13 The Armory | 6pm Sponsor:

Marilyn Crilley & George Rowbottom

New@ Night

New@Night: American Triptych



Partita for Solo Violin (2020) • (13’) 1. Praeambulum 2. Sarabande-Chaconne 3. Minuet 4. Air 5. Caprice

Benjamin Beilman, violin


Moonshot: A Triptych for String Quartet (2019) • (15’) July 16, 1969 July 20, 1969 July 21, 1969

Soovin Kim, violin Anna Lee, violin Aiden Kane, viola Tate Zawadiuk, cello

DAVID LUDWIG (b. 1974)

Swan Song for Violin and Piano (2013) • (18’)

Benjamin Beilman, violin Ellen Hwangbo, piano

Three years ago, I was fortunate to tour the Glenstone Art Museum in Potomac, MD. It was a magical experience, and it was here that I encountered On Kawara’s Moon Landing triptych. The juxtaposing colors, precise gestures, powerful historical context, and placement of the pieces encapsulated me in the space. I have only seen photos and historical artifacts from the mission, but experiencing Kawara’s pieces, each completed on the day of each event, made me feel frozen in a moment in time — almost as if the works themselves were artifacts from the mission, or more broadly, living relics from a watershed moment in American history. Experiencing Kawara’s Moon Landing triptych led me to envision a threemovement work for string quartet which is now titled Moonshot. Each movement is titled with a date painted on each canvas: I. July 16, 1969, launch; II. July 20, 1969, the lunar landing; and III. July 21, 1969, the day people on Earth came together to celebrate humanity’s first steps on the moon. I wanted to illustrate the feeling of each

—© Alistair Coleman

I composed Swan Song as the third piece in a triptych that are inspired by other works from the repertoire. Perhaps “inspired” isn’t a strong enough word, because these pieces draw directly from the materials of this music from the past (I have in my mind the image of making my own sculpture out of the same bucket of clay), and what compels me is the idea of reworking those materials as a part of a deeper connection to the tradition. But for Swan Song in particular, I felt like I was writing a play with many characters having separate conversations about the same piece of music: Franz Schubert’s Fantasy for Violin and Piano in C major, K. 934.

and many little games and conversations with Schubert. The sections have many characters, each making a statement, then stepping back. At one point, Schubert himself makes a brief appearance in Swan Song, as a phantom who emerges into the light and returns to the background as quickly as he appeared. Finally, after increasingly fast music that seems to plow headlong into a brusque ending, hope appears, rising toward a resolution of the quiet questions asked in the first twinkling sonorities of the piece.

Week Three

—© Chris Rogerson

moment in time, using the paintings as a direct connection to those events, and capturing the wonder of art and space exploration that Kawara’s work evoked in me. The piece was commissioned by the Glenstone Museum and premiered in 2019. The world premiere recording was filmed in the Smithsonian Air and Space Museum and produced for the 2019 Smithsonian Year of Music.


Partita for Solo Violin was written in 2020 during the height of the pandemic. Ben Beilman is one of my closest friends (we attended the Curtis Institute together), and given how isolated our society was, it was especially rewarding to work so closely with him on this project. Partita is inspired by Baroque dance forms — in fact, I was particularly inspired by Ben’s performances of Bach and very specifically his wonderful, light-as-air ornamentation. Throughout the work, the listener will hear ornamentation that is evocative of the Bach partitas and sonatas. This work is in five movements: Praeambulum, a short, declamatory introduction; Sarabande; Minuet, a playful interlude; Air (in which the violin is tuned a half-step lower for each of the two lower strings); and finally, Caprice, a virtuosic close to the work.

Swan Song was commissioned by Carnegie Hall for violinist Benjamin Beilman to be premiered November 14, 2013 with Beilman and pianist Yekwon Sunwoo.

—© David Ludwig

The term “Swan Song” in music is most closely associated with Schubert, whose last songs were collected and titled (posthumously) Schwanengesang, as if these were Schubert’s last beautiful utterances. Perhaps of all composers, his music speaks the most of inner sadness, even at its most gemütlich (comfortable). In writing a new work for violin and piano, I thought immediately of Schubert’s Fantasy, a work that dates from the last two years of his tragically short life. Swan Song models Schubert, weaving in and out of music that is not a series of miniature movements or variations, but a chain of related passages that, linked together, form a Fantasy. The opening passage of Swan Song appears several times throughout the piece, each time slightly different, as if transformed by all the music preceding it. In between are fast passages with quick exchanges between violinist and pianist, music in the extremes of volume and register,


Thursday, July 14

Saturday, July 16

The Reser | 8pm

Kaul Auditorium | 8pm



Peter & Ann van Bever

Marilyn Crilley & George Rowbottom Leslie Lehmann & Clark Worth

Colors of Debussy & Crumb DEBUSSY (1862–1918)

String Quartet in G Minor, Op. 10 • (26’) I. Animé et très décidé II. Assez vif et bien rythmé III. Andantino, doucement expressif IV. Très modéré - Très mouvementé et avec passion

Viano String Quartet Lucy Wang, violin Hao Zhou, violin Aiden Kane, viola Tate Zawadiuk, cello



A Journey Beyond Time (American Songbook II) Songs of Despair and Hope: A Cycle of Afro-American Spirituals (2003) • (42’) I. Swing Low, Sweet Chariot II. Joshua Fit de Battle ob Jericho III. Steal Away IV. Oh, a-Rock-a My Soul V. The Pregnant Earth: Psalm for Noontide VI. Sit Down, Sister VII. Nobody Knows de Trouble I See VIII. Go Down, Moses IX. Sometimes I Feel Like a Motherless Child

Kenneth Overton, baritone Ellen Hwangbo, piano Sandbox Percussion Ian Rosenbaum, percussion Terry Sweeney, percussion Jonny Allen, percussion Victor Caccese, percussion

Debussy borrowed several ideas from Grieg’s Op. 27: his own String Quartet in G Minor, Op. 10 shares the same key, and opens with the same four notes, although the vigorous propulsive rhythm of Debussy’s notes clearly distinguishes his quartet from Grieg’s. And, like Grieg, Debussy also uses this initial motif, particularly its rhythm, as a unifying organizational idea that recurs in all four movements. Grieg’s influence notwithstanding, however, Debussy’s sole string quartet is – unequivocally and unapologetically – completely new. The opening movement, marked “Lively and very determined,” presents this unifying theme in a series of guises. Debussy tweaks the traditional sonata form by eliminating the usual contrast and development of theme and counter-theme. Instead, in his words, he “circulates” themes. Colorful non-traditional harmonies anchor the unifying theme’s different iterations. The viola’s unifying theme opens the second movement while the other instruments execute sharp pizzicato exclamations; each instrument in turn takes the spotlight for a phrase or two. This brief, animated movement bristles with sharp accents and sudden dynamic juxtapositions. The quiet beauty of the Andantino showcases Debussy’s unmatched coloristic approach to harmony. A simple, unadorned melody heard first in the viola – the unifying theme in a languid mood – drifts in and out of the modal harmonies generated by the other instruments. The closing

One of the defining elements of George Crumb’s approach to writing music was his affinity for the particular acoustics of different environments, like the echoing mountains and river valleys of his West Virginia childhood. Crumb, who died earlier this year at the age of 92, believed every composer’s music reflected, consciously or not, the “inherited acoustic” of their childhood sound-world.

tapestries of sound (Swing Low, Steal Away, Motherless Child, and Nobody Knows de Trouble I See); evocations of battle, including the sounding of the shofar (ram’s horn), in Joshua; flustered anticipatory agitation in Sit Down, Sister, and the awesome power of Moses, echoed by the percussion instrument known as a lion’s roar, demanding the release of the Israelites in Go Down, Moses.

—© Elizabeth Schwartz

Week Three

Debussy sought new ways to generate musical structure and form; he also wanted to create new approaches to harmony, independent of the Germanic tradition. Grieg’s quartet gave Debussy the inspiration and ideas he needed to take the most German of genres, the string quartet, into wholly new musical territory.

movement begins gently and gradually builds to an emphatic statement of the unifying theme in its original setting, and finishing with a triumphant shimmering G Major chord.


In 1890, Claude Debussy attended a Paris performance of Edvard Grieg’s String Quartet No. 2 in G Minor. At this time, the 28-year-old Debussy was largely unknown, although he had already made himself infamous with his teachers at the Paris Conservatoire for rebelling against Germanic musical norms.

Crumb was most at home composing chamber music: works for solo piano, piano and voice, and most particularly, piano(s), voice(s) and percussion. He began his American Songbooks series (there are seven in all) in 2001; the initial idea came from a request from Crumb’ daughter Ann, for an arrangement of Appalachian folksongs. “In undertaking the task I was, in a sense, returning to my own Appalachian roots. Indeed, these beautiful and haunting melodies were always a part of my musical psyche, and in many of my earlier compositions I had quoted fragments of these tunes as a sort of symbolic and very personal musical ‘signature,’” Crumb wrote. “In confronting these songs head-on, so to speak, I determined to leave the beautiful melodies intact … since one could not hope to “improve” on their pristine perfection … I have attempted to heighten the expressiveness of this music by scoring the work for a rather unusual “orchestra” consisting of a quartet of percussionists (who play a number of rather unconventional instruments in addition to the more common ones) and amplified piano … If my settings of these wonderful songs will enhance the listener’s enjoyment, I would feel that my creative efforts were truly rewarded.” For American Songbook II: A Journey Beyond Time, Crumb set eight wellknown spirituals. The instruments create a variety of accompaniments tailored to each song: ethereal


Sunday, July 17

Monday, July 18

Lincoln Performance Hall | 4pm

Kaul Auditorium | 8pm Sponsor:

Eastern Inspirations REENA ESMAIL (b. 1983)

Darshan: Bihag (2021) • (6’)


Nocturne (1994) • (5’)


When the Violin (2020) • (5’)

COWELL (1897-1965)

Set of Five, HC. 779 (1952) • (18’) I. Largo sostenuto II. Allegro III. Andante IV. Presto leggiero V. Vigoroso

Vijay Gupta, violin

Ellen Hwangbo, piano Benjamin Beilman, violin Ian Rosenbaum, percussion



Piano Trio in A Minor, M. 67 • (25’) I. Modéré II. Pantoum: Assez vif III. Passacaille: Très large IV. Finale: Animé

Gloria Chien, piano Benjamin Beilman, violin Efe Baltacigil, cello

—© Reena Esmail

This piece is based on a Hindustani raag (or raga) (p/d) called Charukeshi. This version of When The Violin was created for Vijay Gupta as part of the 2020 Nancy Hanks Lecture on Arts and Public Policy, given by Americans for the Arts. Because the lecture was given remotely, due to COVID-19, the original piece was adapted for solo violin.

—© Reena Esmail In February 1994, Kaija Saariaho learned Polish composer Witold Lutosławski had died. Saariaho put the violin concerto she was writing aside to compose a Nocturne for solo violin. This haunting tribute to her colleague expresses Saariaho’s grief using a variety of violin techniques. It opens with a scratchy, breathy tone that slowly morphs into a full-voiced note. We hear achingly slow glissandos, double stops, trills, harmonics, pizzicato, sul pont (playing near the bridge of the violin to produce a thin, nasal sound) – in between silence-filled pauses. After completing Nocturne, Saariaho returned to the concerto, incorporating the Nocturne into its opening measures.

—© Elizabeth Schwartz

As a companion piece to Spanish Renaissance composer Tomás Luis de Victoria’s O Vos Omnes, I chose to set a beautiful text by the 14th century Persian poet Hafiz. The text of O Vos Omnes is asking, simply, to be seen in a moment of sorrow – to be beheld through suffering and darkness. Hafiz’s text responds in such a beautiful way – it moves through that darkness and begins to let those very first slivers of light in.

Why aren’t we more familiar with the music of Henry Cowell? Even classical aficionados are largely unacquainted with his work. The answer may lie in Cowell’s insatiable curiosity; Cowell once declared, “I have never deliberately concerned myself with developing a distinctive ‘personal’ style, but only with the excitement and pleasure of writing music as beautifully, as warmly, and as interestingly as I can.” Beginning in the 1920s, Cowell, along with other California avant-garde composers, including John Cage and Cowell’s student, Lou Harrison, expanded the sonic possibilities of Western classical music by incorporating instruments, scales, and aesthetics from Asian cultures. Set of Five fuses Baroque and Classical idioms with percussion timbres and instruments from outside the Western tradition. Oregon Arts Watch Senior Editor Brett Campbell, reviewing a performance in the Bay Area, writes, “An American classic, Set of Five seamlessly embraces elements from throughout Cowell’s career, from tone clusters to American hymnody to non-Western techniques, and … does so in a completely organic and universally appealing way.”

Unlike much of Maurice Ravel’s music, known for its beauty and craftsmanship rather than personal revelations, the Piano Trio in A Minor brims with intimacy. Ravel wrote the Trio over a six-month period beginning in March 1914, just months before World War I began. “Yes, I am working with the certainty, the lucidity of a madman,” Ravel confided to a friend that summer, “but sometimes depression is at work as well and suddenly there I am sobbing over my sharps and flats.”

Week Three

This movement, in Raag Charukeshi, is the first movement of five, which will be written over a span of five years. It explores grief, in its many facets and forms.

‘breakthroughs’ often don’t have the hard edge, the burst of energy that the word implies, but that they can be about finding tender, warm, deeply resonant spaces within ourselves as well.


Darshan means ‘seeing’ in Hindi. In the Hindu religion, to give ‘darshan’ is to see and worship God. As Vijay Gupta and I worked on this music together over three years, we began to see the divine in one another.

After war broke out in August 1914, Ravel was devastated. In addition to not knowing the fate of his friends who had gone to war, Ravel was obsessed by “this nightmare … the horror of this fighting which never stops for a second.” In March 1915, after repeated attempts to enlist, the 40-year-old Ravel became a private, driving a truck in the Thirteenth Army Regiment. Ravel’s affinity for Javanese music is clearly audible in the Trio, which uses a pentatonic (five-note) scale found in Indonesian gamelan music as its foundation. Ravel combines this non-Western scale with rhythms commonly found in the Basque music of his heritage. The Modéré, which Ravel characterized as “Basque in color” features 8/8 time (eighth notes in 3+3+2 groupings). As a result, the phrases float through the modal harmonies in a liquid manner, even when rhythmically intense. In the Passacaille, Ravel pays homage to J. S. Bach. The austere repeating bass line anchors some of the Trio’s most personal, impassioned music – we can indeed hear Ravel “sobbing over his sharps and flats.”

—© Elizabeth Schwartz

When the Violin is about that first moment of trust, of softening, about the most inward moments of the human experience, of realizing that


New@ Night

Tuesday, July 19 Alberta Rose Theatre | 8pm Sponsor:

Karen & Cliff Deveney

New@Night: Andy Akiho’s Seven Pillars with Sandbox Percussion ANDY AKIHO (b. 1979)

Seven Pillars (2014) • (85’) I. Pillar I II. Amethyst III. Pillar II IV. Pillar III V. Spiel VI. Pillar IV VII. mARImbA VIII. Pillar V VIX. Pillar VI X. carTogRAPh XI. Pillar VII

Sandbox Percussion Ian Rosenbaum, percussion Terry Sweeney, percussion Jonny Allen, percussion Victor Caccese, percussion Michael Joseph McQuilken, stage and lighting designer

The commission of Seven Pillars has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by the Andrew W. Mellon Foundation and the Chamber Music America Endowment Fund, and also by the Barlow Endowment for Music Composition at Brigham Young University.

WARNING: This performance features strobe lights, and could potentially trigger seizures for people with photosensitive epilepsy.


This arch structure creates space that can be populated with emotion and imagination. These free spaces are first seen in the solo movements, which have a more improvisatory form. They are the skin to the pillars’ bones, but, as we zoom in further, this soft tissue permeates every moment of this meticulously crafted work. Pillar I throws us into the world of Seven Pillars. The building blocks of the piece are flying around, colliding and combining with each other to eventually congeal into a cohesive whole. This extraverted overture is followed by the first solo, Amethyst. Scored for vibraphone, it transports us away from the cacophony of Pillar I into the colorful, dreamlike world of pitch and brightness.

Every theme presented thus far is tightly woven into the impenetrable lattice structure of Pillar IV. Afterwards, the third solo mARImbA, introduces the marimba to our palette. Its warm, dark tones are a welcome sound, exploring a more introspective realm. Pillar V is a sadistic game. We hear the same hexatonic scale from Pillar III, now used as the foundation for a bass line ostinato. The movement presses forward relentlessly, ending with an obsessive accelerating repetition of its six pitches. The following Pillar VI is like a delirious fever-dream. A marimba motif like a ticking clock battles unsettled unison gestures. The coda of Pillar VI is profound in its simplicity. Repeated unison pulses anchor a high marimba descant. These pulses fade away along with the melody. The stillness is interrupted by the fourth and final solo, carTogRAPh. Scored for a multi-percussion setup (a ‘trap’ set), this solo is a virtuosic display of rhythmic complexity and agility. Titled accordingly, carTogRAPh requires the performer to navigate a highly detailed map of musical twists and turns.

Week Four

The macro-structure of Seven Pillars consists of two simultaneous processes. The first is an additive process where each movement introduces a new instrument that is then incorporated into the subsequent pillars. To balance this expansion, there is a symmetrical structure on either side of the central movement, Pillar IV.

sound that collapses into a sedated coda. The second solo, Spiel, introduces the glockenspiel. With dazzling speed and agility, it eventually disappears into thin air as if nothing had happened.


Andy Akiho’s Seven Pillars explores the free spaces created within an organized structure. This work, comprising seven quartets and four solos, began with its central movement, Pillar IV. Originally commissioned as a stand-alone work, this piece contained a rigorous structure and motivic content that Akiho felt compelled to expand beyond its 10-minute capsule. Pillar IV became the nucleus for Seven Pillars, containing the DNA from which the other movements are built.

Pillar VII is structurally akin to Pillar I; rather than stark unpitched sounds, Pillar VII is populated with all the vivid colors that previously heard. Notes that were dizzyingly fast now seem comforting, and with each successive layer we gain confidence, not concern. This movement, and the entire Seven Pillars, finishes with the performers executing over five thousand notes in the final three minutes alone.

—© Jonny Allen

Pillar II is an otherworldly experience generated from Akiho’s reimagining of what the vibraphone and crotales can be. It begins with glowing, amorphous sounds. The resolution on these sounds is made finer as the piece progresses. This sets the stage for Pillar III, which brings us back to earth with its firm rhythms. Interlocking figures dance around each other and then snap into unison. We are treated to Akiho’s version of a backbeat – in 13 rather than four. Layers of variations culminate into a fire-alarm of


Thursday, July 21 The Reser | 8pm Co-Sponsors:

Acorn Fund of the Oregon Community Foundation Ellen Macke & Howard Pifer

An Evening with the Brentano Quartet HAYDN (1732-1809)

String Quartet in B-flat, Major, Op. 33, No. 4 • (15’) I. Allegro moderato II. Scherzo: Allegretto III. Largo IV. Finale: Presto

BARTÓK (1881-1945)

String Quartet No.5, Sz. 102 (1934) • (30’) I. Allegro II. Adagio molto III. Scherzo: Alla bulgarese IV. Andante V. Finale: Allegro vivace


DVORÁK (1841-1904)


String Quartet No. 14 in A-flat Major, Op. 105 • (30’) I. Adagio ma non troppo — Allegro appassionato II. Molto vivace III. Lento e molto cantabile IV. Allegro non tanto

Brentano String Quartet Mark Steinberg, violin Serena Canin, violin Misha Amory, viola Nina Lee, cello

In a letter to potential customers, Haydn described Opus 33 as “written in a new and special way.” While it may be tempting to write this off as simple marketing, the Opus 33 quartets are genuinely more mature and wellrounded than his earlier efforts in the genre. Haydn also took the step of replacing the quartets’ traditional minuet movements with quicker, more playful Scherzos, leading some to dub the collection “Gli scherzi.” The String Quartet in B-flat Major, Op. 33, No. 4 is somewhat unusual among the Opus 33 quartets in that it has no descriptive nickname. It exemplifies many of the characteristics that make Haydn the quintessential Classical era composer: humorous, transparent, precise, and, above all, imaginative.

In this quartet, Bartók seamlessly combined many of the influences he had explored throughout his career, including folk music, mathematical patterns, and extended instrumental techniques. He structured its five movements into a symmetrical arch form, where four outer movements are arranged around a central third movement like the shape of an arch. The quartet opens with an energetic Allegro, in which small, accentuated melodic fragments coalesce together to create a feeling of ongoing motion. The Adagio molto, on the other hand, exemplifies Bartók’s signature “night music” style. A sense of stillness, owing to the cello’s steady drone, is balanced by miniature interjections from the upper instruments. The keystone to the quartet is the Scherzo alla bulgarese. Here, Bartók draws from his experience in the field studying the uneven rhythmic patterns of Bulgarian folk music. Such rhythms are the basis of a flowing melodic exchange between the instruments, at times abstract and at others capturing the exuberant spirit of an actual folk dance.

After spending three years living in the United States, in 1895 Antonín Dvořák returned at last to Bohemia. Back home, he decided to spend his final years exploring musical storytelling, focusing especially on stories from Bohemian folklore. Before these musical stories, however, Dvořák completed two final examples of absolute music, or music with no external narrative: his String Quartets No. 14 & 15. He began the String Quartet No. 14 in A-flat Major, Op. 105, while still in the United States, eventually completing it in December 1895 after he returned home.

Week Four

Haydn signed a new contract with the Esterházys in 1779. Critically, it allowed him to publish and receive commissions without approval, and he quickly capitalized on the demand for his music, establishing an extensive international business as a composer. One of his first major projects was a new set of six string quartets, his Opus 33 (1781).

In 1934, Béla Bartók received a longawaited job offer. Having spent decades working a day job as a teacher, he finally received a position as a full-time ethnomusicology researcher. This life change presented him with an opportunity to finish incomplete research projects, but also to solidify his mature, late-period voice as a composer, starting with the String Quartet No.5, Sz. 102.


For most of his life, Joseph Haydn served as music director for the wealthy Esterházy family at their estate in modern-day Austria. Under the terms of his contract, he was prohibited from publishing his music without the family’s approval. Despite this provision, unofficial editions and manuscripts of his music spread quietly among music aficionados, and by the late 1770s he was known throughout Europe.

While many of Dvořák’s recent works, such as the “New World” Symphony, drew inspiration from American culture and folklore, in this quartet he removed the American sound from his tone palette. Following a slow introduction, the first movement’s passionate theme initiates a dramatic musical journey. The second movement, on the other hand, alludes to the Bohemian furiant dance with its halting rhythms, while the third offers a beautifully simple song whose melody gradually transforms through lush chromatic additions. In the finale, a tense cello line precedes a charming collection of dancelike melodies, which bring the quartet to its conclusion.

—© Ethan Allred

The Andante mirrors the second movement in its sparseness, created in this case by periodic moments of silence. The instrumentalists break the quiet with inventive melodic ideas, sometimes utilizing extended techniques such as snapping the strings to create an even more diverse sound spectrum. In the Finale, Bartók lets loose a stunning display of melodic imitation and rhythmic interplay. Ever the master of contrast, he suddenly interrupts the movement with a shockingly banal folk tune, before finishing the race to the final bar.


Saturday, July 23 Kaul Auditorium | 8pm Sponsor:

Dawn Upshaw & Brentano Quartet: Dido Reimagined PURCELL (1659-1695)

Oh Let Me Weep from The Fairy Queen, Z. 629 • (9’) (Arr. Mark Steinberg)


Fantasia a 4, in B-flat Major Z. 736 • (4’)

LOCKE (1621-1677)

Suite No. 2 for four viols in D

DOWLAND (1563-1626)

Come Again, Sweet Love doth now invite, IJD 3 • (2’) (Arr. Stephen Prutsman)


Suite No. 2 in D Major • (2’) II. Courante


Can she excuse my wrongs • (3’) (Arr. Stephen Prutsman)


Suite No. 2 in D Major • (2’) III. Ayre


Weep you no more, sad fountains • (4’) (Arr. Stephen Prutsman)


Suite No. 2 in D Major • (2’) IV. Sarabande

TOMKINS (1572-1656)

Alman in F Major • (2’)

BYRD (1543-1623)

Through Amaryllis dance in green • (4’)

JOHNSON (1583-1633)

The Witty Wanton, IRJ 6 • (3’)


Fantasia No. 4 in C Minor, Z. 738 • (2’)


When I am laid in earth (Dido’s Lament) from Dido and Aeneas, Z. 626 • (5’)

Dawn Upshaw, soprano Brentano String Quartet Mark Steinberg, violin Serena Canin, violin Misha Amory, viola Nina Lee, cello


“Dido Reimagined” a response to Purcell’s “Lament” • (25’) WEST COAST PREMIERE • CMNW CO-COMMISSION a monodrama for Dawn Upshaw & the Brentano String Quartet Music by: Melinda Wagner • Libretto by: Stephanie Fleischmann

The Brentano String Quartet appears by arrangement with David Rowe Artists. Dawn Upshaw appears by arrangement with Colbert Artists Management, Inc. Melinda Wagner is represented by Theodore Presser Company. Stephanie Fleischmann is represented by The Barbara Hogenson Agency, Inc.

Commissioned by Chamber Music Northwest, Hopkins Center for the Arts at Dartmouth College, Interlochen Center for the Arts, Rockport Music, Tisch Center for the Arts at 92nd St. Y, Wake Forest University - Secrest Artists Series, University of Maryland, and Clarice Smith Center. 64

And with whom better to do this than Dawn Upshaw, a treasured collaborator of ours? Dawn has a way, when she sings, of making you feel she is speaking plainly, with utter candor, right to you, so beautifully suited to music both confessional and personal. The first half of our collaborative program weaves together instrumental and vocal music, starting and ending with Purcell arias on love and loss. The final aria, the perennially beloved Dido’s Lament, opens the door for the great new

—© Mark Steinberg

Dido, Queen of Carthage, was a remarkable woman. Unlike many heroines in the pantheon of Greek and Roman mythology, her beginnings were not rooted in aether. Nor was she merely a figment of the classical imagination. A historical figure who became myth, Dido has shifted shape and agendas through the ages. She has been transmogrified from lived personage to fictional character by Virgil in The Aeneid; by playwrights Christopher Marlowe and Thomas Nashe in the play, Dido, Queen of Carthage; and by Henry Purcell and Nahum Tate in their opera, Dido and Aeneas, from which this evening’s “Lament” is excerpted; as well as by writers from Ovid to Dante, from Petrarch to Chaucer and beyond. The real Dido, whose name evokes meanings encompassing “beloved” and “the wanderer,” was most likely a Phoenician queen of the city-state of Tyre, which is now Sūr, in Lebanon. After Dido’s brother murdered her husband, she fled to what is currently Tunisia, where the Berber king Iarbas offered her as much land as could be encircled by an ox hide. Dido cut the hide into strips, exponentially expanding the perimeter of her new kingdom, which would become Carthage, the prosperous city-state she founded. The “Dido Problem” in mathematics—the oldest problem in the Calculus of Variations— takes its name from Dido’s innovative thinking. King Iarbas’s offering did not come without strings attached. To avoid having to marry him, Dido built a funeral pyre and committed suicide, a practice not uncommon during the Greco-Roman era. In Dido’s clear-sighted hands, the gesture took the form of political protest.

When Melinda Wagner and I first spoke about writing a contemporary Dido for Dawn Upshaw and the Brentano String Quartet, we knew immediately that our Dido would not partake of the depiction of women imprinted on us by men through the centuries. We knew, too, that Dido’s epic love for Aeneas and her self-immolation in response to what she perceived as his abandonment of her— romantic tropes devised by Virgil and immortalized by Purcell and Tate (for Aeneas post-dated Dido by anywhere between 50 and 400 years)—needed to metamorphose in our hands. We were compelled by the notion of an epic love in contemporary times. What form might that take for a powerfully strong, complex woman of today, who has long realized her full potential in terms of both career and family? A woman whose experience of first love is but a distant memory. How does she allow herself to get so knocked off kilter, so swept off her feet? What is the fallout of that? In both Virgil and Purcell/Tate’s versions, Dido’s lovesickness is incited and meddled with by Venus and Juno. But in an era without any gods, where does that intensity of feeling come from? It seemed to us that there was no better medium than music with which to explore this question.

Week Four

This blending of interiority with revelation, this clarity of vision melding the rational and the instinctive, is a quality often evinced by the English music of the Renaissance and Baroque periods. We, as a string quartet, have in our ancestry the plaintive, pungent voices of the viol family, as well as the idea of the viol consort as an intimate gathering of friends conversing, cavorting, and entangling strands of sense and sound. Our group has long been enriched by exploring this repertoire, enjoying the vibrant camaraderie and the frisson of lines that lean into each other as they both frolic and keen. The song repertoire of the period is, if anything, even more vulnerable, delicate and disarmingly pellucid. Gathering works here by composers Henry Purcell, John Dowland, Matthew Locke, Thomas Tomkins, William Byrd and Robert Johnson (who supplied music for Shakespeare’s productions) gives us a chance to shrink the concert hall into a parlor, to invite our audience to be our confidantes. The music combines elements of the public and the private; the listener can eavesdrop on the proceedings, can get drawn into the conversations and collisions, the friendliness and the frictions.

monodrama on the second half, Melinda Wagner and Stephanie Fleischmann’s Dido Reimagined, a reexamination of the archetypal figure of Dido, an operatic investigation drawn into the world of chamber music. It is with great gratitude for this new work and great excitement for the opportunity to discover it and bring it to life that we offer this program.


Imagine yourself before a painting by Vermeer. The light is soft, yet penetrating. The captured moment is inward, almost clandestine, yet here we are gazing into it, in relationship with it. The scene is simple, mundane even, yet replete with intricate detail, rewarding close attention. The intimacy of the experience, unassuming and direct, can also be piercingly emotional. We see the painting; simultaneously it seems to see into us.

Dido of ancient times, whether real or fictional, had no choice. Our Dido, however, has the power to determine her own fate. I have been lucky enough to keep returning, over the years, to a writing retreat on an island where there are no cars, no shops, only a few houses, and a landscape strewn with ancient rocks, covered with windblown trees, and ringed by sea. Our Dido’s refuge was inspired by my time in this place. Our Dido does not choose death. She removes herself from the everyday world, she chooses solitude. She returns to nature, she becomes one with it. Together, Melinda and I have attempted to make something between a song cycle and a monodrama. A piece of music drama that is simultaneously journey and meditation. A reflection on the power of love, on the passage of time, on loss, resilience, and the restorative power of a disappearing world.

—© Stephanie Fleischmann 65

Sunday, July 24

Monday, July 25

Lincoln Performance Hall | 4pm

Kaul Auditorium | 8pm Sponsor:

CMNW Volunteers

Sinta Saxophone Quartet: American Voices LIGETI (1923-2006) Arr. Sinta Quartet

Six Bagatelles for Wind Quintet (1953) • (13’) I. Allegro con spirito II. Rubato: Lamentoso III. Allegro grazioso IV. Presto ruvido V. Adagio: Mesto (Béla Bartók in memoriam) VI. Capriccios


Red Pine (2014) • (9’)

JOHN MACKEY (b. 1973)

Unquiet Spirits (2012) • (13’) I. II. III.

Sinta Quartet Dan Graser, soprano saxophone Zach Stern, alto saxophone Joe Girard, tenor saxophone Danny Hawthorne-Foss, baritone saxophone

INTERMISSION MARK O’ CONNOR (b. 1961) Arr. Dan Graser

Appalachia Waltz (1996) • (7’)


Meditation for Violin and Saxophone Quartet • (6’-9’) WORLD PREMIERE • CMNW COMMISSION

Soovin Kim, violin Sinta Quartet

GERSHWIN (1898-1937) Arr. Alistair Coleman

Rhapsody in Blue for Piano and Saxophone Quartet • (18’) (1924)

Gilles Vonsattel, piano Sinta Quartet

Chris Rogerson’s Meditation has been commissioned with the generous support of the Chamber Music Northwest Commissioning Club and the CMNW Commissioning Fund.


John Mackey’s Unquiet Spirits fuses his energetic contemporary style with elements of funk and jazz. Mackey explains, “The piece’s title reflects the unsettled and unsettling moods of its three movements. The restless first movement propels the ensemble to a climactic bout of raucous rhythmic gestures. The second movement is an off-kilter dance, featuring acrobatic counterpoint throughout the ensemble and an eerie,

“American fiddle virtuoso Mark O’Connor’s Appalachia Waltz is a nostalgic remembrance of a waltz,” says Sinta’s soprano saxophonist Dan Graser, who arranged it. “It’s a traditional tune that has a lyricism and sense of memory; it has been adapted to many instrumental combinations.”

—© Elizabeth Schwartz

Meditation for Violin and Saxophone Quartet is conceived from material I composed following two weeks I spent trekking in Afghanistan in 2018. In light of the recent tragic developments in Afghanistan, I felt compelled to revisit this material. The region I visited, home to one of the last truly nomadic people on earth, was for many years peaceful and isolated from the Taliban. Now their villages were being raided by the Taliban, armed with Kalashnikovs. The material in this work is meant to evoke the timelessness and peacefulness I felt hiking through this landscape, the same route Marco Polo traced centuries ago. There is no way for me to depict Afghanistan or the Afghan people – I can only describe my own experience. Yet, I hope that listeners will feel the same timelessness and peacefulness I felt while I was there.

—© Chris Rogerson

Tonight’s concert concludes with the first and best-known fusion of classical music with uniquely American sounds of jazz. George Gershwin’s Rhapsody in Blue introduced jazz to classical audiences, and simultaneously made an instant star of its composer. From its iconic clarinet glissando to its brilliant finale, Rhapsody in Blue epitomizes the Gershwin sound.

Week Four

Written for Sinta Quartet, Kristin Kuster’s Red Pine depicts the serene, meditative state she discovered while walking through the woods. “I wrote Red Pine to mark the retirement of Don Sinta from University of Michigan,” Kuster says. “The idea for this music came from my favorite hike in Ontario, Canada, the Wilderness Trail at the Pinery Provincial Park. It’s a slow meandering hike through a dense forest of red pine trees … the saxes fold under and over each other in really lush chords to reflect changes in depth perception in a dense forest as we move through it.”

waltz-like middle theme. Finally, the third movement is a fiendish moto perpetuo, a ‘barn burner.’”


In the years just after World War II, chafing under the aesthetic restrictions of Hungary’s post-war government, György Ligeti embarked on a quest for a new sound. “In 1951, I started to experiment with simple structures of rhythm and sound in order, in a manner of speaking, to build up a new music from nothing,” Ligeti wrote. “ … I asked myself, what can I do with a single note? what can I do with its octave? what with one interval? what with two intervals? What with definite rhythmic relationships which could form the foundation of a whole based on rhythm and interval? In this way several small pieces were composed, chiefly for piano.” Ligeti’s Six Bagatelles for Wind Quintet emerged from this experiment, as an adaptation of an earlier piano solo, Musica Ricercata.

On January 4, 1924, Ira Gershwin showed his brother George an article in the New York Tribune about an upcoming concert by jazz bandleader Paul Whiteman, grandiosely titled “An Experiment in Modern Music,” that would endeavor to trace the history of jazz. The article concluded, “George Gershwin is at work on a jazz concerto.” This was certainly news to Gershwin, who was then in rehearsals for a Broadway show. Gershwin contacted Whiteman to refute the Tribune article, but Whiteman eventually talked Gershwin into the project. In 1931, Gershwin described to biographer Isaac Goldberg how the musical ideas for Rhapsody in Blue first emerged: “It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer … And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end … I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.” At the premiere, Gershwin’s “musical kaleidoscope of America,” coupled with his phenomenal abilities at the keyboard, wowed the audience as much as the novelty of hearing jazz idioms in a classical work. The opening clarinet solo got its signature jazzy glissando from Whiteman’s clarinetist Ross Gorman. This opening unleashes a floodgate of colorful ideas that blend seamlessly. The pulsing syncopated rhythms and showy music eventually morph into a warm, expansive melody.

—© Elizabeth Schwartz


Tuesday, July 26 Lincoln Recital Hall | 12:00pm

Protégé Artists Spotlight: Anna Lee: On Wings of Song


PERKINSON (1932-2004)

Blue/s Forms (1972) • (8’)

POULENC (1899-1963)

Sonata for Violin & Piano (1942-1943) FP. 119 • (18’)

YOUNG JO LEE (b. 1943)

Honza nori (1995) • (7’)

MENDELSSOHN (1809-1847)

Auf Flügeln des Gesanges • (4’)

GERSHWIN (1898-1937) Arr. Jascha Heifetz

An American in Paris (1928) • (6’)

Anna Lee, violin Yoko Greeney, piano

Priyana Acharya and Ben Youngstone; by Jingzi Zhao

2022/23 SEASON

tickets at obt.org 22/23 Season Supported by:

Wednesday, July 27 The Armory | 6pm

New@ Night

New@Night: Terroir (A Sense of Place) ELEANOR ALBERGA (b. 1949)

No-Man’s-Land Lullaby (1997) • (10’)

Anna Lee, violin Yoko Greeney, piano

VIJAY IYER (b. 1971)

Song for Flint (2019) • (10’)

Jessica Bodner, viola

DANA WILSON (b. 1946)

Hungarian Folk Songs (2008) • (3’) V. Porondos Viz Martján (on the river bank)

Deborah Pae, cello

DAVID SCHIFF (b. 1945)

Selections from Chamber Concerto No. 2 for Violin and String Nonet: Vineyard Rhythms WORLD PREMIERE• CMNW COMMISSION

Soovin Kim, solo violin Francesco Lecce-Chong, conductor Sarah Kwak, violin I Daniel Chong, violin II Vali Phillips, violin IV Jessica Bodner, viola I Jordan Bak, viola II Alexander Hersh, cello I Deborah Pae, cello II Braizahn Jones, bass

David Schiff’s Vineyard Rhythms was commissioned by Chamber Music Northwest with the generous support of Susan Sokol Blosser.


It was the imagery of the First World War that finally brought these things together, especially the image of men dying slowly and uncomforted in a place called No-Man’s-Land. I am especially indebted to Paul Fussell’s book The Great War and Modern Memory for laying out so clearly the life of soldiers in the trenches. The piece is cast in three sections and is entirely based on the melody that emerges most identifiably towards the end.

—© Eleanor Alberga

Judith Butler defines “precarity” as the unequal distribution of precariousness. These are precarious times, in which access to safe clean water is an endangered human right, increasingly under siege by the damage to the planet brought about by humankind’s excesses. But this is also an epoch of systemic inequality, in which corporations, municipalities, and nationstates can and do inflict incremental or drastic harm on entire vulnerable populations, through war, deregulated pollution, and the differential withholding of basic life needs. Jasbir Puar has called out this cruel, largely

—© Vijay Iyer

When Susan Sokol Blosser first asked me to compose a violin concerto to honor both her mother, who was a violinist, and the vineyard she loved, she sent me some of her writings that evoked the changing seasons at her famed vineyard in the Dundee Hills, Oregon. She also invited me to visit the vineyard as often as possible to view the vine-covered landscape over the course of the year. Her words and my many visits inspired me. My challenge was to transform what I saw and felt into a concerto. I decided on a three-movement format, with each movement portraying the passing of one season into the next, but from three different points of view. The first movement, Hawk, moves from the depths of winter to early spring, from an avian perspective; on my first visit to the vineyard, Susan had pointed out a tree with hawk’s nest, and on every subsequent visit, at least one red-tailed hawk monitored my strolls. The second movement, Gaia, is a song of the earth, beginning with a chant in the violin’s lowest register, gradually warming from spring to summer. The third movement, Harvest, is a celebration of nature’s bounty, and of all the intense human labor needed to turn dormant fields into the worldrenowned wines that display the Sokol Blosser label.

In Winter the vineyard rests quietly. Seemingly the only activity is the hawks riding the wind currents. But below ground the vines are regrouping, gathering strength to be ready for the next season when they will once again burst forth. As the weather warms, the buds on the pruned canes swell, unfurling suddenly into tiny rosytipped baby leaves. Miniature grape clusters with tiny tendrils emerge. As Spring arrives, the vineyard throbs with activity—hawks soar, bluebirds nest, swallows swirl. The bright new growth holds the promise of the vintage.

Week Five

Visiting parts of central Europe over that summer of 1996, I was struck by the almost unreal beauty of the landscapes; yet, I received a heavy sadness in the atmosphere that took me back to the events of half a century ago, some of which had been played out against this very scenery. At the same time I was visited by a melody. It arrived unbidden and would not leave me alone. It seemed, however, to offer comfort.

unchecked capacity of the powerful, which she critically labels “the right to maim.” The people of Flint, Michigan became a historic example of a living population subjected to this kind of violence, in the form of environmental racism. In this Year of Water, I offer this piece, and my commission, to the children of Flint.


Setting about writing a new work for violin and piano in the summer of 1996, I had planned a somewhat lightweight and predominantly upbeat piece. However, I was to receive visitations which ensured that the piece which emerged as No-Man’sLand Lullaby has neither of these qualities. Indeed, for me the work became a kind of acknowledgement of my European heritage and a realization that two World Wars are part of my history also.

In Summer, the vines grow to cover their wire trellis, while the grape clusters develop and ripen in the warm sun. Hawks circle above and newly hatched finches, swallows, and bluebirds flutter in the leafy canopy. The vineyard pulsates with life. Then Harvest—the culmination of the year’s work. Controlled chaos as the vineyard crew harvests the fruit and the winery hums with activity. When all the fruit is in, the vines send their energy back down to their roots and shed their leaves. The long silence begins as the leaves turn yellow and slowly drop to the ground. Hawks still circle but the swallows gather and then, as one, all fly south. Dormancy. In the vineyard, time is circular. The vines stay put and the seasons flow effortlessly, one into the next, weaving a multicolored, multilayered tapestry. Like the vineyard, we are the same person year after year, but we each have our own season of hope, of growth, of maturing, of inactivity or withdrawal, and then of renewal. The vineyard is my metaphor for life

—© Susan Sokol Blosser, founder, Sokol Blosser Winery

—© David Schiff, on the challenge of composition


Thursday, July 28 The Reser | 8pm Co-Sponsors:

West Side Friends: Ascent Financial Advisors, Maryka Biaggio & Deb Zita, Judy & Ian Freeman, Marcia Kahn & Howard Rosenbaum, Allan & Joyce Leedy, Jerome Magill, Tess & George Marino, Pat Morris-Rader, Michael & Susan Richmond, Anonymous (3)

Seasonal Rhythms TCHAIKOVSKY (1840-1893)

Selections from The Seasons, Op. 37a • (11’) April: Snowdrop June: Barcarolle November: Troika

Gilles Vonsattel, piano

DAVID SCHIFF (b. 1945)

Chamber Concerto No. 2 for Violin and String Nonet: Vineyard Rhythms • (15’) WORLD PREMIERE• CMNW COMMISSION I. Hawk (winter to spring) II. Gaia (spring to summer) III. Harvest (fall to winter)

Soovin Kim, solo violin Francesco Lecce-Chong, conductor Sarah Kwak, violin I Daniel Chong, violin II Vali Phillips, violin IV Jessica Bodner, viola I Jordan Bak, viola II Alexander Hersh, cello I Deborah Pae, cello II Braizahn Jones, bass


Four Seasons of Buenos Aires (1965-1970) • (23’) I. Verano porteño (Summer) II. Otoño porteño (Autumn) III. Primavera porteña (Spring) IV. Invierno Porteño (Winter)

Anna Lee, solo violin Daniel Chong, violin I Vali Phillips, violin I Sarah Kwak, violin II Jordan Bak, viola Jessica Bodner, viola Deborah Pae, cello Alexander Hersh, cello Braizahn Jones, bass

David Schiff’s Vineyard Rhythms was commissioned by Chamber Music Northwest with the generous support of Susan Sokol Blosser.


June: Barcarolle “Let us go to the shore/where the waves will kiss our feet/With mysterious sadness/ The stars will shine down on us.” – Pleshcheyev November: Troika “In your loneliness, do not look at the road/and do not rush out after the troika./Suppress at once and forever the fear of longing in your heart.” — Nekrasov

In the mid-1950s, Astor Piazzolla went to Paris to study with renowned pedagogue Nadia Boulanger. After playing his tangos for her, she said, “Here is the true Piazzolla – do not ever leave him.” Piazzolla called this “the great revelation of my musical life,” and brought the raw fiery passion of tango, with its powerful rhythms and edgy melodies, into classical music. This version of the Cuatro estaciones porteñas de Buenos Aires (The Four Seasons of Buenos Aires) was created in 1999 by Russian composer/arranger Leonid Desyatnikov, at the request of violinist Gidon Kremer. Desyatnikov not only arranged Cuatro estaciones, but also inserted quotes from Antonio Vivaldi’s Four Seasons into Piazzolla’s music. In each movement, Desyatnikov’s quotes from Vivaldi are clearly distinct from Piazzolla’s music. Some of the Vivaldi

Playing tango requires mastering several techniques: wailing glissandos, sharp pizzicatos, bouncing harmonics, and a raw, scratchy bowing technique using the wood of the bow.

—© Elizabeth Schwartz When Susan Sokol Blosser first asked me to compose a violin concerto to honor both her mother, who was a violinist, and the vineyard she loved, she sent me some of her writings that evoked the changing seasons at her famed vineyard in the Dundee Hills, Oregon. She also invited me to visit the vineyard as often as possible to view the vine-covered landscape over the course of the year. Her words and my many visits inspired me. My challenge was to transform what I saw and felt into a concerto. I decided on a three-movement format, with each movement portraying the passing of one season into the next, but from three different points of view. The first movement, Hawk, moves from the depths of winter to early spring, from an avian perspective; on my first visit to the vineyard, Susan had pointed out a tree with hawk’s nest, and on every subsequent visit, at least one red-tailed hawk monitored my strolls. The second movement, Gaia, is a song of the earth, beginning with a chant in the violin’s lowest register, gradually warming from spring to summer.

below ground the vines are regrouping, gathering strength to be ready for the next season when they will once again burst forth. As the weather warms, the buds on the pruned canes swell, unfurling suddenly into tiny rosytipped baby leaves. Miniature grape clusters with tiny tendrils emerge. As Spring arrives, the vineyard throbs with activity—hawks soar, bluebirds nest, swallows swirl. The bright new growth holds the promise of the vintage. In Summer, the vines grow to cover their wire trellis, while the grape clusters develop and ripen in the warm sun. Hawks circle above and newly hatched finches, swallows, and bluebirds flutter in the leafy canopy. The vineyard pulsates with life.

Week Five

April: Snowdrop “The blue, pure snowdrop – flower/And near it the last snowdrops/The last tears over past griefs/And first dreams of another happiness.” – Maykov

insertions are tongue-in-cheek, as in Verano (Summer), when Desyatnikov includes a short, airy reference to Vivaldi’s Winter, reminding listeners that seasons are reversed in the southern hemisphere.


In the winter of 1875, Nikolai Bernard, editor of the St. Petersburg arts monthly Nuvellist, commissioned Peter Ilyich Tchaikovsky to write a series of short piano pieces corresponding to each month of the year. Bernard published one piece in each issue, beginning in December 1875, along with an accompanying descriptive subtitle and a short quote from various Russian poets. Bernard also gave the music its misleading title The Seasons; “The Months,” while not as poetic, would have been more accurate.

Then Harvest—the culmination of the year’s work. Controlled chaos as the vineyard crew harvests the fruit and the winery hums with activity. When all the fruit is in, the vines send their energy back down to their roots and shed their leaves. The long silence begins as the leaves turn yellow and slowly drop to the ground. Hawks still circle but the swallows gather and then, as one, all fly south. Dormancy. In the vineyard, time is circular. The vines stay put and the seasons flow effortlessly, one into the next, weaving a multicolored, multilayered tapestry. Like the vineyard, we are the same person year after year, but we each have our own season of hope, of growth, of maturing, of inactivity or withdrawal, and then of renewal. The vineyard is my metaphor for life

—© Susan Sokol Blosser, founder, Sokol Blosser Winery

The third movement, Harvest, is a celebration of nature’s bounty, and of all the intense human labor needed to turn dormant fields into the worldrenowned wines that display the Sokol Blosser label.

—© David Schiff, on the challenge of composition

In Winter the vineyard rests quietly. Seemingly the only activity is the hawks riding the wind currents. But


Saturday, July 30 Kaul Auditorium | 8pm Co-Sponsors:

Anonymous Friend of CMNW Karen & Norman Sade

Shades of Impressionism

Reflets dans l’eau • (5’) Mouvement • (4’) L’isle joyeuse • (5’)

DEBUSSY (1862-1918)

Gilles Vonsattel, piano

Fleur Barron, mezzo-soprano Gloria Chien, piano FANG MAN 方满 (b. 1977)

CHAUSSON (1855 - 1899)


Chanson perpétuelle Op. 37 • (10’)

Fleur Barron, mezzo-soprano Gloria Chien, piano Sarah Kwak, violin Anna Lee, violin Jessica Bodner, viola Deborah Pae, cello


Piano Quintet in F Minor • (34’) I. Molto moderato quasi lento II. Lento, con molto sentimento III. Allegro non troppo, ma con fuoco

Gilles Vonsattel, piano Daniel Chong, violin Anna Lee, violin Jordan Bak, viola Alexander Hersh, cello

Fang Man’s Partridge Sky was commissioned with the generous support of the CMNW Commissioning Fund.


—© Elizabeth Schwartz

鷓鴣天 李清照 —© Fang Man

Ernest Chausson’s Chanson perpétuelle is the last work he completed before his tragic and untimely death at age 44. Using some of the verses of Charles Cros’s poem Nocturne, Chausson crafted a beautiful and achingly sad song about love, loss, and memory. Every element of this work – the verses Chausson selected from Cros’s lengthy poem, its C-sharp Minor tonality, the soaring melodic lines, and the luxurious harmonies – create the unshakeable tristesse (sadness) that permeates so much of Chausson’s music. The song traces a narrative arc beginning with the remembered joy of a happy, fulfilling love; the agonized wait for the lover’s return; hope that love will rekindle itself; nostalgia for happier times, and, ultimately, bereft of all hope, yearning for the comfort of death.

Holmès began taking lessons with Franck in 1876, soon counting the Belgian composer as her most admired teacher. Franck may have revealed his true feelings for Holmès in the Piano Quintet, a belief held by many since its 1880 premiere. Camille Saint-Saëns played the piano part at the premiere. He was reportedly such a great sight-reader that he hardly looked at the music before stepping onstage. By the final bar, Saint-Saëns’ distaste for the quintet was profoundly evident. He stormed off, pointedly leaving the score behind and rejecting Franck’s music for all to see. The only person who disliked the quintet even more than Saint-Saëns was Franck’s own wife, who commented, “I know that Franck has written beautiful works, for I am a musician; his organ pieces are admirable, but that Quintet … !”

Week Five

Symbolism is not straightforward; it alludes to an idea or image without anchoring itself to a single interpretation. Debussy’s Images are aural Rorschach tests; what the listener hears is true and correct, and no two listeners hear them the same way. Reflections ripples with non-Western timbres in an ever-shifting kaleidoscope. The “Homage” to French Baroque composer Jean-Phillipe Rameau (16831764) is a stately Baroque sarabande (a dance in ¾ time), but the harmonic language is wholly Debussy’s. Movement clearly moves, but it also embodies something else: joy.

intervals in both the melodic lines and harmonic scheme, which is one of the significant features of Chinese music. I also adopted the oriole birdsongs reflected in this particular Ci. Note that poet Li was highly regarded for her “subtle and concise style” and therefore I composed the music accordingly.


The titles of Claude Debussy’s works often seem straightforward, like the music on tonight’s program, Reflections on the Water, Homage to Rameau, and Movement. Debussy’s music is often called Impressionistic (a characterization he emphatically rejected), and the titles of his first set of Images for solo piano create the expectation that we will “hear” reflections or movement. It is important to remember, however, that Debussy aligned himself not with Impressionist painters but with Symbolist poets, particularly Stéphane Mallarmé, Charles Baudelaire, Arthur Rimbaud, and Paul Verlaine.

Public opinion could not have disagreed more with these reactions. Most found much to admire in Franck’s dense writing, and this lyrical, wide-ranging quintet has long been an audience favorite. Franck’s austere personality resounds in the quintet’s broad lines and serious tone. His feelings for Augusta Holmès, on the other hand, might explain the youthful exuberance that occasionally shines through.

—© Ethan Allred

—© Elizabeth Schwartz Partridge Sky for mezzo-soprano and piano was commissioned by Chamber Music Northwest for mezzo Fleur Barron and pianist Gloria Chien. The lyrics came from one of China’s most celebrated female poets Li Qingzhao (1084-ca.1155), of the Song Dynasty. She was renowned for her Ci-poetry, which is a type of lyric poetry that also draws upon folk tradition and uses various poetic meters. In many of her Ci, Li expressed deep love for her husband as well as her feelings of loneliness, as her husband was often away from home; later he passed away. The music was inspired by great French composers such as Ravel and Messiaen. However, I made frequent use of the fifth and fourth

César Franck’s Piano Quintet in F Minor began with a scandal that had very little to do with the music itself. To understand this scandal, we must first meet Augusta Holmès, a singer and composer of Irish descent who lived in Paris, became well-known in artistic circles of the 1870s for her talent as well as her brash reaction against oldfashioned attitudes about women in the arts. Many of her peers idolized her; Camille Saint-Saëns even proposed to her, recalling later in life, “Literary men, painters, musicians – any one of us would have been proud to make her his wife.”


Sunday, July 31 Kaul Auditorium | 4pm Sponsor:

William & Helen Jo Whitsell

Festival Finale: Love & Transformation

R. STRAUSS (1864 - 1949)

Sextet from Capriccio, Op. 85 (1942) • (12’)

Daniel Chong, violin Soovin Kim, violin Jordan Bak, viola Jessica Bodner, viola Alexander Hersh, cello Deborah Pae, cello


Einerlei (Sameness), Op. 69, No. 3 • (3’)

Fleur Barron, mezzo-soprano Gloria Chien, piano


Nachtgang (Night Walk), Op. 29, No. 3 • (3’)


Zueignung (Devotion/Dedication), Op. 10, No. 1 • (3’)


Morgen (Morning), Op. 27, No. 4 • (2’)



Verklärte Nacht (Transfigured Night), Op. 4 • (28’)

Soovin Kim, violin Daniel Chong, violin Jessica Bodner, viola Jordan Bak, viola Deborah Pae, cello Alexander Hersh, cello

Strauss composed the majority of his 200 art songs (“lieder” in German) before 1900 – over 40 years before Capriccio. His muse for most of these songs was none other than his wife, soprano Pauline von Ahna, and he wrote them with her voice in mind. Einerlei (Sameness, 1918) sets a miniature poem by Achim von Arnim about how love manages to always feel new, even when things stay the same. Strauss’ pristine piano postlude captures the poem’s sentiment especially clearly, as two melodies entwine in sensuous parallel harmony. Nachtgang (Night Walk 1895), based on a poem by Otto Julius Bierbaum, depicts a romantic nighttime stroll during which the singer becomes overwhelmed by an uncontrollable feeling of adoration. In this song, Strauss takes a more restrained approach to the piano part, allowing the poetry’s unassuming beauty to come through in the singer’s impassioned delivery of the text. Zueignung (Devotion 1885), unlike most of Strauss’ songs, was originally written with a tenor voice in mind.

Morgen! (Morning! 1894) comes from Strauss’ Opus 27, his wedding gift to his wife. John Henry Mackay’s motionless poem revels in joy that love can grow stronger with each passing morning. The first stanza’s ardent musical setting leads to a nearly timeless stillness in the second, as the singer sings of gazing into their lover’s eyes. Then, a piano postlude emerges to spin out the beautiful feeling for just a moment longer.

Although many know Arnold Schoenberg (1874–1951) only for his revolutionary atonal and 12-tone compositions, he began his career composing relatively approachable music inspired by Brahms and Wagner. Perhaps the greatest example of this early output is his 1899 tone poem for string sextet, Verklärte Nacht (Transfigured Night).

Schoenberg’s music in Verklärte Nacht is positively approachable by today’s standards, but the perceived ambiguity of its harmonies provoked a furious response among his contemporaries. One such commentator snidely exclaimed, “[it sounds] like the score of Tristan had been smeared while the ink was still wet.” According to Schoenberg, fist fights even broke out at the first performance in Vienna. While we might view this music as unrelated to Schoenberg’s more dissonant works, he believed that his entire output grew from the seeds planted in Verklärte Nacht. As he later said, “I have not stopped composing in the same style and manner as at the very beginning. The only difference is that I do it better now than before.”

Week Five

The remarkable Sextet from Capriccio, now frequently excerpted as a standalone work, comes from the opera’s opening scene. When two characters hear a chamber ensemble performing the sextet in another room, they begin to argue about the relative importance of words and music. With its lush, inviting textures, the sextet makes a compelling case that music matters most. But, in the end, the debate ends in a tie; words and music both play an equally valuable role in making opera great.

Hermann von Glim’s poem expresses the idea that being loved can make you a better person than you thought you could be before. In the final verse, the mood suddenly transforms as the singer launches into the word “Heilig” (Holy), culminating in a final ecstatic exclamation, “Habe Dank!” (Be thanked!).


By the early 1930s, Richard Strauss had established a venerable reputation as Europe’s preeminent living composer. However, after the rise of the Nazi regime, he struggled to find a path forward. Unwilling to engage with the political questions of the day, he focused instead on protecting his career and his family. In choosing the subject for his final opera, Capriccio (1942), Strauss maintained that riskaverse approach by addressing a solely artistic question: Which is more important to an opera, its words or its music?

—© Ethan Allred

Tone poems, or stories told entirely through music, evolved through the music of Franz Liszt, Antonín Dvořak, and especially Richard Strauss, among others. Their orchestral tone poems generally tell sweeping, dramatic stories filled with action and plot. Schoenberg, however, took the genre in a different direction, using the medium of chamber music to examine a far more intimate story based on Richard Dehmel’s 1896 poem Verklärte Nacht. In Dehmel’s poem, a woman tells her lover she has become pregnant with another man’s child. Following a profound moment of transformation, self-acceptance, and understanding, the lovers agree to raise the child together. Schoenberg particularly admired Dehmel’s ability to capture the interaction between emotions and the natural world, writing to the poet, “from you we learned the ability to listen to our inner selves.”


ARTIST & COMPOSER BIOS Tyler Abbot 2nd Summer Tyler Abbott maintains an active performance schedule as an orchestral bassist, chamber musician, jazz bassist, clinician, and soloist, performing throughout the region and nation in both the classical and jazz music worlds. He has performed with or is a member of, the Eugene Symphony, Oregon Symphony, Aspen Festival Orchestra, Oregon Bach Festival, Orchestra Next, Spokane Symphony, Astoria Music Festival, Oregon Ballet Theater, Oregon Mozart Players, Eugene Opera, and others. As a jazz bassist, he has performed with Branford Marsalis, Ron Miles, Steve Wilson, Danilo Perez, Ken Peplowski, Ted Rosenthal, Ben Monder, Dick Hyman, Chuck Redd, Mark Ferber, Howard Levy, and others. Tyler frequently presents master classes regionally, nationally, and internationally and has presented at International Society of Bassists Conventions. He can be heard on recordings on Bridge, Innova, Origin, OA2, and Ninjazz record labels. Tyler currently teaches double bass, jazz bass, and music theory at the University of Oregon.

Jonny Allen (Sandbox Percussion) Jonny Allen is a Brooklyn-based percussionist whose contagious passion for music has been described as “a demonstration of raw power, virtuosity and feeling” by The New York Times.


Jonny has won prizes at both the International Chamber Music Competition and the International Marimba Competition in Salzburg, giving respective performances at Carnegie Hall and Schloss Hoch in Flachau, Austria. He has also performed as a drum set soloist with Ghana’s National Symphony Orchestra at the National Theatre in Accra. Outside of Sandbox, Jonny performs regularly with his jazz trio, Triplepoint, the Percussion Collective, and is a founding Core Member of the American Modern Opera Company (AMOC). He is also a committed educator, co-directing the NYU Sandbox Percussion Seminar each summer, holding a position as Percussion Director at Choate Rosemary Hall, as well as giving workshops and masterclasses worldwide. Jonny holds a Bachelor’s degree and Performer’s Certificate from the Eastman School of Music, as well as a Master’s degree and Artist Diploma from the Yale School of Music.

Nancy Allen 16th Summer Hailed by The New York Times as “a major artist” following her New York recital debut in 1975, Nancy Allen joined the New York Philharmonic in June of 1999 as Principal Harp. She maintains a busy international concert schedule as well as heading the harp departments of The Juilliard School and the Aspen Music Festival and School, and teaching at Stony Brook University. In addition, Ms. Allen appears regularly with The Chamber Music Society of Lincoln Center and the Orpheus Chamber Orchestra. Ms. Allen’s busy performing schedule includes solo appearances at major international festivals. She has

appeared on PBS’s Live From Lincoln Center with The Chamber Music Society, as well as with Ms. Battle, and has performed as a recitalist for Music at the Supreme Court in Washington, D.C. Ms. Allen’s recording of Ravel’s Introduction and Allegro with the Tokyo Quartet, flutist Ransom Wilson, and clarinetist David Shifrin received a Grammy Award nomination; she can also be heard on Sony Classical, Deutsche Grammophon, and CRI. Ms. Allen is a native of New York, where she studied with Pearl Chertok and undertook private lessons in piano and oboe. The summer of 1972 took her to Paris, where she studied with Lily Laskine. During that same year, she entered The Juilliard School to study with Marcel Grandjany. In 1973, Ms. Allen won the Fifth International Harp Competition, in Israel, and was later awarded a National Endowment for the Arts Solo Recitalist Award.

Misha Amory (Brentano String Quartet) 8th Summer Since winning the 1991 Naumburg Viola Award, Misha Amory has been active as a soloist and chamber musician. He has performed with orchestras in the United States and Europe, and has been presented in recital at New York’s Tully Hall, Los Angeles’ Ambassador series, Philadelphia’s Mozart on the Square festival, Boston’s Gardner Museum, Houston’s Da Camera series, and Washington’s Phillips Collection. He has been invited to perform at the Marlboro Festival, the Seattle Chamber Music Festival, the Vancouver Festival, the Chamber Music Society at Lincoln Center, and the Boston Chamber Music Society, and has released a recording of Hindemith sonatas on the Musical

Michael Anderson 4th Summer Michael Anderson is principal clarinet of the Eugene Symphony and Santa Fe Pro Musica. He was principal clarinet of the Oregon Bach Festival and Oregon Ballet Theater for many years. Michael is Artistic Director of the chamber ensemble microphilharmonic, in residence at The Shedd Institute in Eugene, Oregon, and has performed with Chamber Music Northwest, the festival Le Domaine Forget, the Oregon Symphony, and the Smithsonian Chamber Players. Michael Anderson premiered Tomas Svoboda’s Clarinet Concerto in April 2013 with the Eugene Symphony, broadcast internationally on American Public Media’s Performance Today. He performed on the Oregon Bach Festival’s Grammy Award-winning recording of Penderecki’s Credo and the Grammy-nominated Das Lied von der Erde recorded by Santa Fe Pro Musica and the Smithsonian Chamber Players. Anderson has served in leadership roles for the Oregon Bach Festival, Eugene Symphony Orchestra, Portland Baroque Orchestra, and Eugene Opera, and also as Director of Artistic Administration for the Oregon Bach Festival. Over his career as an administrator, he has produced hundreds of performances of symphony, oratorio, opera, ballet, pops, chamber music, and period instrument ensembles. In 2017, Michael Anderson was the recipient of the Eugene Arts and Letters Award, which honors an individual who has made an exceptional contribution to the arts and culture of Eugene, Oregon. He studied clarinet with David Shifrin (USC); John McManus, Robert Vagner, Wayne Bennett (University of Oregon);

and Catherine Palladino (Portland State University). Michael has taught at the University of Oregon, Willamette University, and Lane Community College; and is currently at Woodwinds at Wallowa Lake.

Theodore Arm 46th Summer Theodore Arm has delighted audiences throughout the United States, Canada, Europe, Korea and Japan with his artistry. He has appeared as soloist, recitalist, and guest artist with such well-known organizations such as The Chamber Music Society of Lincoln Center, the Group for Contemporary Music, and the Boston Chamber Music Society. Mr. Arm has been a member of the highly acclaimed chamber group TASHI since 1976 and has performed with Lukas Foss, Chick Corea and Gary Burton, among others. He has had several works written for him, including a chamber violin concerto by Gabriela Frank that he presented at Carnegie Hall in November of 2004, and a suite for violin and piano by David Schiff. Teddy is a favorite with summer chamber music festival audiences. He has been a regularly featured artist at Chamber Music Northwest in Portland, Oregon, the Sarasota Music Festival and Music from Angel Fire, New Mexico He is an emeritus professor of violin at the University of Connecticut and for the past eight years he has taught and performed at Connecticut College. Mr. Arm has taken part in performances and chamber music coaching at the Moon Beach Festival in Okinawa and Tokyo, Japan. In 2018 he presented three recitals in Toulouse and Agen, France in celebration of the great violinist-composer and pedagogue Martin-Pierre Marsick. Mr. Arm performs on the 1652 Andrea Guarneri owned by the celebrated Belgian violinist. Mr. Arm has recorded for RCA, Delos, Koch, Musical Heritage Society and ECM. He holds a Doctorate in Performance from The Juilliard School, where he studied with Christine Dethier and Joseph Fuchs.

Jordan Bak Award-winning Jamaican-American violist Jordan Bak is building an exciting international career as a trailblazing artist, praised for his radiant stage presence and robust alto sound. The 2021 YCAT Robey Artist and a top laureate of the 2020 Sphinx Competition, Bak is also a Grand Prize winner and Audience Prize recipient of the 2019 Concert Artists Guild Victor Elmaleh Competition and the 2019 John White Special Prize from the Tertis International Viola Competition. In addition, Bak is a featured artist for WQXR’s Artist Propulsion Lab.


Heritage Society label. Mr. Amory holds degrees from Yale University and the Juilliard School; his principal teachers were Heidi Castleman, Caroline Levine and Samuel Rhodes. Himself a dedicated teacher, Mr. Amory serves on the faculties of the Juilliard School in New York City and the Curtis Institute in Philadelphia at the Ithaca College School of Music.

Highlights of the 2021-2022 season include recital debuts at Wigmore Hall, Merkin Concert Hall & Baltimore’s Shriver Hall, chamber music tours with Musicians from Marlboro and CAG on Tour, and new music commissions from such composers as Tyson Davis, Shawn Okpebholo & James Ra. A proud new music advocate, Bak gave the world premiere of Kaija Saariaho’s Du gick, flög for viola and mezzosoprano and the viola premiere of Jessica Meyer’s Excessive Use of Force. Bak has been a presence at numerous chamber music festivals including the legendary Marlboro Music Festival; he has collaborated and performed with top-level ensembles including Verona Quartet and Merz Trio, and such artists as Jonathan Biss, Lara Downes, and Ani Kavafian. A New York native, Jordan Bak holds degrees from New England Conservatory and The Juilliard School, where he was only the third violist to receive the coveted Artist Diploma. In addition to his performing schedule, Bak serves as viola faculty of Opportunity Music Project in New York and as returning viola faculty for the Classical Music Institute of San Antonio, while giving masterclasses internationally.


Efe Baltacigil Turkish cellist Efe Baltacigil finished his undergraduate in Istanbul Turkey, then got into the Curtis Institute of Music in Philadelphia. During his last year of study he won the associate principal cello of the famous Philadelphia Orchestra at the age of 23. He has been principal cellist of the Seattle Symphony since 2011 and he has appeared as a soloist with the Berlin Philharmonic, Sir Simon Rattle, the Philadelphia Orchestra, Seattle Symphony Orchestra, and played recital and concerto debuts in Carnegie Hall. He has been a senior member of the Marlboro Music Festival in VT since 2017. Besides music and his family, Efe enjoys windsurfing, sailing, drawing and volleypong.

Fleur Barron Hailed as a “charismatic star” by the Boston Globe and as “a knockout performer” by The Times, BritishSingaporean mezzo-soprano Fleur Barron is a 2018 HSBC Laureate of the Festival d’Aix-en-Provence and the recipient of the 2016 Grace B. Jackson Prize from the Tanglewood Music Festival, awarded to one outstanding young singer each year. A passionate interpreter of chamber music, concert works, and opera ranging from the baroque to the contemporary, Ms. Barron is mentored by Barbara Hannigan. In the 2021-2022 season, Fleur Barron has house debuts at Arizona Opera as the title role in Carmen, at English National Opera as Schwertleite in Die Walküre, conducted by Martyn Brabbins, and in Oviedo as the title role in Hänsel und Gretel. She returns to the Festival d’Aix-en-Provence as Ottavia in L’incoronazione di Poppea under the baton of Leonardo Garcia Alarcon and to Opéra de Toulon as Polina in The Queen of Spades. In concert, she has a recital debut at Wigmore Hall, joins Barbara Hannigan for Offenbach with


the London Symphony Orchestra at the Barbican, and reunites with regular collaborator Julius Drake for a United States recital tour, performances of Schubert’s Winterreise in Spain, and multiple concerts in the United Kingdom. Additionally, she serves as an artist-in-residence at Denmark’s Oremansgaard Festival with acclaimed cellist Natalie Clein. This season sees the release of CDs of Brahms and Samuel Barber songs, both for Resonus Classics, as well as a world premiere recording of the Handel/Hasse opera “Caio Fabbricio HWV A9” with London Early Opera for Signum Records, in which she sings the lead role of Pirro.

Benjamin Beilman 2nd Summer Benjamin Beilman has won international praise both for his passionate performances and deep rich tone which The Washington Post called “mightily impressive,” and The New York Times described as “muscular with a glint of violence.” The Times has also praised his “handsome technique, burnished sound, and quiet confidence,” and The Strad described his playing as “pure poetry.” A 2018 feature in The Boston Globe remarked that Beilman’s “playing already has its own sure balance of technical command, intensity, and interpretive finesse.” Highlights of Beilman’s 2021/2022 season include performances of the Samuel Coleridge-Taylor Concerto with the Indianapolis, Toledo, and Charlotte Symphonies, as well as the premiere of a new Violin Concerto by Chris Rogerson with the Kansas City Symphony and Gemma New. In Europe, highlights include performances with the Swedish Radio Symphony and Elim Chan, the Antwerp Symphony and Krzysztof Urbański, the Toulouse Symphony and Tugan Sokhiev, and the Trondheim Symphony and Han-Na Chan. In past seasons, Beilman has performed with many major orchestras worldwide including the Chicago Symphony, Antwerp Symphony, Rotterdam Philharmonic, London Philharmonic, Frankfurt Radio Symphony and Zurich Tonhalle.

In recital and chamber music, Beilman performs regularly at the major halls across the world, including Carnegie Hall, Lincoln Center, Concertgebouw Amsterdam, Kölner Philharmonie, Berlin Philharmonie, Wigmore Hall, Louvre (Paris), Bunka Kaikan (Tokyo) and at festivals he has performed at Verbier, Aix-en-Provence Easter, Prague Dvořák, Robeco Summer Concerts (Amsterdam), Music@Menlo, Marlboro and Seattle Chamber Music, amongst others. Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy, and has received many prestigious accolades including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant and a London Music Masters Award. Beilman plays the “Engleman” Stradivarius from 1709 generously on loan from the Nippon Music Foundation.

Jessica Bodner Jessica Bodner, described by The New York Times as a “soulful soloist”, is the violist of the Grammy awardwinning Parker Quartet. A native of Houston, TX, Jessica began her musical studies on the violin at the age of two, then switched to the viola at the age of twelve because of her love of the deeper sonority. Ms. Bodner has recently appeared at venues such as Carnegie Hall, 92nd Street Y, Library of Congress, Concertgebouw (Amsterdam), Wigmore Hall (London), Musikverein (Vienna), Philadelphia Chamber Music Society, and Seoul Arts Center, and has appeared at festivals including Chamberfest Cleveland, Lake Champlain Chamber Music Festival, Yellow Barn, Perigord Noir in France, Monte Carlo Spring Arts Festival, San Miguel de Allende, Istanbul’s Cemal Recit Rey, Mecklenburg-Vorpommern, Hitzacker, and Heidelberg String Quartet Festival. As a member of the Parker Quartet, she has recorded for ECM, Zig-Zag Territoires, Nimbus, and Naxos.

Jessica is a faculty member of Harvard University’s Department of Music in conjunction with the Parker Quartet’s appointment as Blodgett Quartetin-Residence. She has held visiting faculty positions at the New England Conservatory and Longy School of Music, served as faculty at the Banff Centre for Arts and Creativity and Yellow Barn Festival and has given masterclasses at institutions such as Eastman School of Music, San Francisco Conservatory, Amherst College, University of Minnesota, and at the El Sistema program in Venezuela. Outside of music, Jessica enjoys cooking, running, practicing yoga, and hiking with her husband, violinist Daniel Chong, their son, Cole Franklin, and their vizsla, Bodie.

Brentano String Quartet

8th Summer Since its inception in 1992, SERENA CANIN Violin the Brentano String Quartet MISHA AMORY has appeared Viola throughout the NINA LEE world to popular Cello and critical acclaim. “Passionate, uninhibited and spellbinding,” raves The Independent; The New York Times extols its “luxuriously warm sound [and] yearning lyricism.” MARK STEINBERG Violin

Within a few years of its formation, the Quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award and was also honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut. Since then, the Quartet has concertized widely, performing in the world’s

most prestigious venues, including Carnegie Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. In addition to performing the entire two-century range of the standard quartet repertoire, the Brentano Quartet maintains a strong interest in contemporary music and has commissioned many new works. Their latest project, a monodrama for quartet and voice called Dido Reimagined, was composed by Pulitzerwinning composer Melinda Wagner and librettist Stephanie Fleischmann, and premiered in spring 2021 with soprano Dawn Upshaw. Other recent and upcoming commissions include the composers Matthew Aucoin, Lei Liang, Vijay Iyer, James Macmillan, and a cello quintet by Steven Mackey (with Wilhelmina Smith, cello.) The Brentano Quartet has worked closely with other important composers of our time, among them Elliot Carter, Charles Wuorinen, Chou Wen-Chung, Bruce Adolphe, and György Kurtág. They have also been privileged to collaborate with such artists as soprano Jessye Norman, mezzo-soprano Joyce DiDonato, and pianists Richard Goode, Jonathan Biss, and Mitsuko Uchida. The Quartet has recorded works by Mozart and Schubert for Azica Records, and all of Beethoven’s late Quartets for the Aeon label. In 2012, they provided the central music (Beethoven Opus 131) for the critically-acclaimed independent film A Late Quartet. Since 2014, the Brentano Quartet has served as Artists-in-Residence at the Yale School of Music. They were formerly the Ensemble-in-Residence at Princeton University, and were twice invited to be the collaborative ensemble for the Van Cliburn International Piano Competition. The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved”, the intended recipient of his famous love confession.

Victor Caccese (Sandbox Percussion) Victor Caccese is a founding member of the Brooklynbased percussion quartet, Sandbox Percussion, and a Grammynominated percussionist. As a member of Sandbox, Victor has performed over 150 concerts worldwide and taught at institutions such as the University of Missouri – Kansas City, The Peabody Conservatory, The Curtis Institute, Michigan State University, Vanderbilt University, University of Kansas, and the University of Massachusetts Amherst. Victor has collaborated with composers such as Amy Beth Kirsten, Andy Akiho, David Crowell, James Wood, John Luther Adams, and Thomas Kotcheff. In the Fall of 2021, along with Sandbox Percussion, Victor will give the world premiere of an evening-length work by Andy Akiho entitled Seven Pillars. Next summer Victor will teach and perform at the seventh annual NYU Sandbox Percussion Seminar, a chamber music festival accepting students from around the world to study and perform some of today’s leading contemporary percussion pieces.


Recent collaborators include clarinetists Charles Neidich and Jörg Widmann, pianists Menahem Pressler, Shai Wosner, and Orion Weiss, violinists Nadja Salerno-Sonnenberg and Donald Weilerstein, violists Kim Kashkashian and Roger Tapping, cellists Paul Katz and Natasha Brofsky, and percussionist Ian Rosenbaum.

Also a composer and arranger, Victor has written a number of pieces for percussion. His works have been performed by Sandbox Percussion more than 50 times throughout the United States. While music and percussion is at the core of his professional life, Victor has also worked as a photographer and videographer. As head of media and content development for Sandbox Percussion, he has developed and maintained a YouTube presence consisting of performance videos, workshop documentaries, and travel vlogs. Victor holds degrees from the Peabody Conservatory and the Yale School of Music. He is also a member of The Percussion Collective, a stunning ensemble founded by performer and pedagogue Robert van Sice. Victor serves on faculty at the University of Missouri – Kansas City Conservatory as a percussion instructor and ensemble-in-residence with Sandbox Percussion. He also is on faculty at the Mahanaim School for Music in Huntington, NY and was a visiting artist at the University of Massachusetts Amherst with


Sandbox Percussion as the ensemble in residence in the Fall of 2019. Victor endorses Pearl/Adams instruments, Vic Firth drumsticks, Remo drumheads, Zildjian Cymbals, and Black Swamp accessories.

Serena Canin (Brentano String Quartet) 8th Summer Violinist Serena Canin was born into a family of professional musicians in New York City. An accomplished chamber musician, Ms. Canin was twice invited to the Marlboro Music Festival and has toured the United States with Music From Marlboro, the Brandenburg Ensemble, and Goliard Concerts. In New York, she has made frequent appearances on the Continuum Series at Alice Tully Hall and at the Mannes Beethoven Institute. Ms. Canin has taught chamber music to young musicians at the Chamber Music Society of Lincoln Center and the Chamber Music Center of New York. She holds degrees from Swarthmore College and the Juilliard School, where her principal teachers were Burton Kaplan and Robert Mann. She lives in Manhattan with her husband, pianist Thomas Sauer, and their two sons.

Ettore Causa Awarded both the P. Schidlof Prize and the J. Barbirolli Prize for “the most beautiful sound” at the prestigious Lionel Tertis International Viola competition (England) in 2000, Italian-born violist Ettore Causa is praised for his exceptional artistry, passionate intelligence, and complete musicianship. He has made solo and recital appearances in major venues around the world, such as Carnegie Hall, Zurich Tonhalle, Madrid National Auditorium, Salle Cortot, Tokyo Symphony Hall, Teatro Colon, etc., and has performed at numerous international festivals, such as the Menuhin, Salzburg, Tivoli, Prussia Cove, Savonlinna, Launadire, and Norfolk Festivals.


Also a devoted chamber musician, Mr. Causa has collaborated extensively with internationally renowned musicians such as the Tokyo, Artis, Brentano, Cremona, and Elias String Quartets, as well as Pascal Rogé, Boris Berman, Peter Frankl, Thomas Ades, Natalie Clein, Ana Chumachenco, Ani Kavafian, Alberto and Antonio Lysy, Liviu Prunaru, Thomas Demenga, Ulf Wallin, William Bennett, and others. Having studied at the International Menuhin Music Academy with Alberto Lysy and Johannes Eskar, and later at the Manhattan School of Music with Michael Tree, then having taught both viola and chamber music for many years at the International Menuhin Music Academy, Mr. Causa joined the faculty of the Yale School of Music in 2009. Causa has recorded many highlyregarded CDs on the Claves label, including Romantic Transcriptions for Viola and Piano, on which he performs his own transcriptions and which was awarded a prestigious 5 Diapasons by the French magazine Diapason. His latest CD of Brahms works with Clive Greensmith and Boris Berman for the Le Palais de Dégustateur label was given the distinguished CHOC de Classica award by France’s esteemed Classica magazine. Ettore Causa was one of the honored guests at the 43rd International Viola Congress where he performed with enormous success his own arrangement of the Schumann cello concerto and the British Viola Society has awarded him the Honorary Membership in recognition of his enormous contribution to the viola community.

Gloria Chien CMNW Artistic Director, festival artist 5th Summer Taiwanese-born pianist Gloria Chien has one of the most diverse musical lives as a noted performer, concert presenter, and educator. She made her orchestral debut at the age of sixteen with the Boston Symphony Orchestra with Thomas Dausgaard, and she performed again with the BSO with Keith Lockhart. She was subsequently selected by the The Boston Globe as one of its Superior Pianists of the year,

“who appears to excel in everything.” In recent seasons, she has performed as a recitalist and chamber musician at Alice Tully Hall, the Library of Congress, the Phillips Collection, the Dresden Chamber Music Festival, and the National Concert Hall in Taiwan. She performs frequently with the Chamber Music Society of Lincoln Center. In 2009, she launched String Theory, a chamber music series in Chattanooga, Tennessee that has become one of the region’s premier classical music presenters. The following year she was appointed Director of the Chamber Music Institute at Music@Menlo. In 2017, she joined her husband, violinist Soovin Kim, as artistic director of the Lake Champlain Chamber Music Festival in Burlington, Vermont. The duo became artistic directors at Chamber Music Northwest in Portland, OR in 2020. Chien studied extensively at the New England Conservatory of Music with Wha Kyung Byun and Russell Sherman. She, with Kim, were awarded Chamber Music Society of Lincoln Center’s 2021 CMS Award for Extraordinary Service to Chamber Music. Chien is Artist-in-Residence at Lee University in Cleveland, Tennessee, and she is a Steinway Artist. Chien received her B.M., M.M., and D.M.A. degrees from the New England Conservatory of Music as a student of Russell Sherman and Wha-Kyung Byun.

Daniel Chong Grammy Awardwinning violinist Daniel Chong is one of the most exciting and versatile musicians of his generation. Since 2002, as the founding first violinist of the Parker Quartet, he has garnered wide recognition for his performances in such venues as Carnegie Hall, the Library of Congress, the Musikverein, and Wigmore Hall. Additionally, recent solo engagements include appearances at National Sawdust in New York City, Seoul Arts Center and Jordan Hall in Boston. Mr. Chong has received several awards and prizes such as the 2009-2011 Cleveland Quartet Award and top prizes at the Concert Artists Guild Competition and the Bordeaux International String Quartet Competition. In the recording

Mr. Chong has performed at major music festivals including the Marlboro Music Festival, Mostly Mozart, Festspiele Mecklenburg-Vorpommern, and the Perigord Noir Music Festival. In addition to the core repertoire, Daniel is a strong advocate for new music. Some of the composers he has worked closely with are György Kurtág, Augusta Read Thomas, Helmut Lachenmann and Chaya Czernowin. In 2011, he won a Grammy Award with the Parker Quartet for their recording of György Ligeti’s string quartets. Actively engaged in pedagogy, Mr. Chong has given masterclasses throughout the United States and currently serves on the faculty at Harvard University.

Alistair Coleman

CMNW 2022 Protégé Artist, CMNW commissioned composer 2nd Summer Alistair Coleman is a young composer from Washington, DC. Recent commissioned projects include a concerto for violinist Soovin Kim, a concerto for Grammy-awardwinning cellist Zuill Bailey, and a sonata for Joseph Alessi, Principal Trombonist of the New York Philharmonic. Alessi premiered the sonata on-tour in China and Japan in 2019. Last season, Alistair’s string quartet was premiered by the Abeo Quartet in collaboration with the Glenstone Museum and the Smithsonian Institution. Current projects include a virtual ensemble piece for members of the Curtis Symphony Orchestra featuring a film by Julian Elia, and a new work for solo violin commissioned by San Francisco’s Musaics of the Bay. As the 2020 recipient of Juilliard’s Gena Raps Chamber Music Prize, Alistair will write a piano trio to be premiered at Alice Tully Hall in 2021. In 2022, he is a Protégé Composer-in-Residence at Chamber Music Northwest. Alistair’s works have been performed by the “President’s Own” United States

Marine Chamber Orchestra, Atlantic Music Festival Orchestra, Washington Master Chorale, Boston University Chapel Choir, National Cathedral Choral Society, and musicians from the Baltimore Symphony, National Symphony, Carnegie Hall’s Ensemble Connect, and Minnesota Opera Orchestra. Performers also include trumpeter Chris Gekker, flutist Mimi Stillman, and baritone Randall Scarlata. Alistair is recipient of a 2021 and 2020 ASCAP Morton Gould Young Composer Award, the 2020 Brian Israel Prize from the Society for New Music, an American Composers Forum NextNotes Award, and has been recognized by the Lake George Chamber Music Festival and the National YoungArts Foundation. He was featured on the National Public Radio show, “From the Top” with Host Christopher O’Riley in 2018. In 2016, he was appointed the Composer-in-Residence of the National Philharmonic Orchestra and Chorale. In 2000, Alistair graduated with an Undergraduate Diploma from The Juilliard School, where he was recipient of the George Gershwin Scholarship. At Juilliard, he studied with Robert Beaser, took academic coursework at Columbia University, and engaged in mentorship with President Emeritus Joseph W. Polisi. Alistair is completing his undergraduate studies at the Curtis Institute of Music where his teachers include Richard Danielpour, Jennifer Higdon, David Serkin Ludwig, and Amy Beth Kirsten. While in high school, Alistair studied at the Lake Champlain Chamber Music Festival, Atlantic Music Festival, and Curtis Young Artists Program. As a teacher and advocate, Alistair worked with Strathmore Hall to launch Bloom By Strathmore, an initiative to provide free and low-cost events to increase access to the arts in Maryland. In the summer of 2020, Alistair founded a composition mentoring program with NYC’s Opportunity Music Project where K-12 students created music to tell their story. In partnership with Carnegie Hall’s PlayUSA, over thirty students receive mentorship on their pieces, engage in weekly seminars, and hear their pieces workshopped by professional musicians. At Juilliard, Alistair was a Teaching Fellow in the Ear Training Department. He maintains a private teaching studio and mentors students of Vermont’s Music-COMP program.

Nicholas Cords YAI faculty, festival artist For more than two decades, omnivorous violist Nicholas Cords has been on the front line of a unique constellation of projects as a performer, educator, and cultural advocate, with a signature passion for the cross-section between the long tradition of classical music and the wide range of music being created today.


realm, he can be heard on the Zig-Zag Territoires, Naxos and Nimbus Records labels. Mr. Chong’s newest album was released last fall on the ECM New Series featuring the Parker Quartet and Kim Kashkashian.

Nicholas serves currently as violist of the Silkroad Ensemble, a musical collective founded by Yo-Yo Ma in 2000 with the belief that cross-cultural collaboration leads to a more hopeful world. This mission is poignantly explored by the recent Oscarnominated documentary by Morgan Neville, The Music Of Strangers, which makes a case for why culture matters in today’s world. Having served from 2017-2020 as a Co-Artistic Director for Silkroad, Nicholas previously served as Silkroad’s Programming Chair. Nicholas appears on all of the Silkroad Ensemble’s albums including Sing Me Home (Sony Music), which received a 2017 Grammy Award for Best World Music Album. Another key aspect of Nicholas’ musical life is as founding member of Brooklyn Rider, an intrepid group which NPR credits with “recreating the 300-year-old form of the string quartet as a vital and creative 21stcentury ensemble.” Highly committed to collaborative ventures, the group has worked with Irish fiddler Martin Hayes, jazz saxophonist Joshua Redman, ballerina Wendy Whelan, Persian kamancheh virtuoso Kayhan Kalhor, Swedish mezzo-soprano Anne Sofie von Otter, Mexican singer Magos Herrera, and banjoist Béla Fleck, to name a few. Their most recent recording Healing Modes was lauded by the New York Times and received a 2021 Grammy Nomination. His acclaimed 2020 solo recording Touch Harmonious (In a Circle Records) is a reflection on the arc of a tradition spanning from the baroque to today, featuring multiple premieres. A dedicated teacher, Nicholas currently serves on the viola and chamber music faculty of the New England Conservatory.


Tomás Cotik 2nd Summer Hailed by Michael Tilson Thomas as “an excellent violinist,” Tomás Cotik was a firstprize winner at the National Broadcast Music Competition in his native Argentina in 1997 and the winner of the Government of Canada Award for 2003-2005. An avid recording artist, Dr. Cotik has recorded fifteen CDs for Naxos and Centaur Records, which have received three million Spotify streams and over two hundred enthusiastic reviews from publications such as Gramophone, American Record Guide, Downbeat, and MusicWeb International. His latest Piazzolla CD on Naxos was nominated for the International Classical Music Awards. Mr. Cotik was a rotating concertmaster with the New World Symphony and has performed hundreds of recitals and chamber music concerts across the globe as a member of the acclaimed Amernet, Delray, and Harrington string quartets. He has worked closely with artists such as Joseph Kalichstein, Franklin Cohen, and members of the Cleveland, Miami, Pro Arte, Vogler, Vermeer, Tokyo, and Endellion string quartets. Committed to passing on his passion for music, Dr. Tomás Cotik recently received the inaugural Dean’s Council Award for Research, Scholarship & Creativity for his significant contributions at the international level and was promoted to Associate Professor of Violin at Portland State University. He previously taught at West Texas A&M University, Florida International University, and the University of Miami’s Frost School of Music.

Fang Man 方满 CMNW commissioned composer Hailed as “inventive and breathtaking” by The New York Times, Fang Man is a Chineseborn American composer educated in China, the United States, and Europe. She has been influenced by both Eastern and Western musical and literary traditions, often borrowing materials and ideas from traditional Chinese


operas, instrumental music, and folk music, and blending them with Western techniques and forms. Over the years, she has developed a keen interest in interdisciplinary art involving dance, visual arts, film, opera, and theatre.​ Her music has been performed worldwide by notable orchestras and ensembles such as the Los Angeles Philharmonic Orchestra New Music Group under the baton of Esa-Pekka Salonen, Camerata Royal Concertgebouw Orchestra, Mannheimer Philharmoniker, Basel Sinfonietta, American Composers Orchestra, Tokyo Philharmonic Orchestra, National Orchestre de Lorraine, Minnesota Orchestra, Slovak Philharmonic Orchestra, Aldeburgh Symphony Orchestra, Peabody Symphony Orchestra, Baldwin-Wallace Symphony Orchestra, USC Wind Ensemble, Prism Saxophone Quartet, Dolce Suono Ensemble, Ensemble UnitedBerlin, Cassatt String Quartet, Music from China, among others. In 2019-20, she was featured as the composer-in-residence with the Mannheimer Philharmoniker under Boian Videnoff in Germany for their 2019-20 season to celebrate the orchestra’s 10th Anniversary, which includes performances and recordings of her orchestral works. Her newest commission from the San Francisco Symphony and League of American Orchestras funded by the Virginia B. Toulmin Foundation is a large-scale Sheng (Chinese mouth organ) concerto to be premiered by Sheng virtuoso Wu Wei and conducted by SFSO’s new director Esa-Pekka Salonen in the 20212022 season. ​ She is the recipient of a Guggenheim Fellowship, Koussevitzky Foundation Commission, Los Angeles Philharmonic Orchestra Association Commission, an Underwood/ACO Commission, Toru Takemitsu Award (Japan), Opera America Discovery Grant, the National Endowment for the Arts Award, Siemens Berlin Music Foundation Commission, NewMusicUSA Commission, the 47th UWRF Commissioned Composer, Dolce Suono Ensemble MahlerSchoenberg Project Commission, Prism Saxophone Quartet/Music From China Commission, USC Provost Grant, Bank of America Gallery Commission, the Darmstadt Stipend-Prize-Award, SACEM Scholarship (France), SC Arts Fellowship, Kate Neal Kinley Memorial

Fellowship, Frank Huntington Beebe Fellowship, Music from China Award, among others. She has been invited to new music festivals such as the Festival d’Aix-enProvence, Centre Acanthes (France); Darmstadt New Music Festival, Festival Blurred Edges, Global Ear Festival, Sinus~Ton Festival (Germany); Gaudeamus Music Week (the Netherlands); Cabrillo Festival, Aspen Music Festival, June in Buffalo, and Bowdoin Summer Music Festival (USA), among others. She was invited as a resident composer at the Hermitage Artist Retreat in Florida, Aldeburgh Music Centre (UK), and Civitella Ranieri Music Foundation (Italy). Fang’s primary teachers include Steven Stucky and Roberto Sierra at Cornell University, where she obtained a Doctor of Musical Arts degree. She was chosen to participate in the one-year Computer Music and Composition courses at IRCAM-Paris, where she studied composition with Brian Ferneyhough, Jonathan Harvey, Yan Marez, and Tristan Murail. She also studied with Richard Toensing and Michael Theodore at the University of Colorado at Boulder. Before she moved to the United States, she obtained a Bachelor of Music degree from the Central Conservatory of Music in Beijing, where she studied with Du Ming-Xin and Ye Xiao-Gang. Fang Man is currently an Associate Professor of Composition at the University of South Carolina School of Music. She previously held positions at the Baldwin-Wallace Conservatory of Music and Duke University.

Julie Feves 47th Summer Julie Feves is a graduate of the Juilliard School of Music. She has performed extensively as soloist, chamber performer, and orchestra principal in music ranging from the baroque to the avant-garde. The New York Times has praised her “virtuosic flair” and The San Francisco Examiner admired “the sureness of her pitch and the tenderness of her phrasing.” Ms. Feves has appeared with numerous orchestras throughout the United States, including the Los Angeles Chamber Orchestra, the

Stephanie Fleischmann CMNW co-commissioned librettist Stephanie Fleischmann is a librettist and playwright whose texts serve as blueprints for intricate threedimensional sonic and visual worlds. Her “lyrical monologues” (The New York Times), “smart” opera libretti (Opera News), plays, and music-theater works have been performed internationally and across the United States. Libretti (upcoming): In a Grove (Christopher Cerrone; Pittsburgh & LA Opera); Another City (Jeremy Howard Beck; Houston Grand Opera); The Pigeon Keeper (David Hanlon; Santa Fe Opera); Arkhipov (Peter Knell; Seattle Opera/Jacaranda). Operas premiered: Poppaea (Michael Hersch; Wien Moderne, Vienna, & ZeitRäume Basel); The Long Walk (Opera Saratoga, Utah Opera, Pittsburgh Opera); After the Storm (HGOco); The Property (Chicago Lyric Unlimited). Current collaborations: Matthew Recio (COT; West Edge’s Aperture), Justine F. Chen, Christina Campanella; Julia Adolphe. Texts for voice: Anna Clyne (Scottish National Chamber Orchestra), Chris Cerrone (Yale/Northeastern), Gity Razaz (Brooklyn Youth Chorus), Olga Neuwirth (Aldeburgh, Basel, Berlin).

Selected plays/music-theater works: Dio (Daniel Kluger); Sound House (the Flea/New Georges; The Visitation, a sound walk (HERE) and Red Fly/Blue Bottle (HERE; EMPAC, Noorderzon, NL), both with Christina Campanella and Mallory Catlett; Niagara (Bobby Previte/Daniel Fish; Hudson Opera House); The Secret Lives of Coats (Red Eye, Minneapolis); The Sweetest Life (New Victory LabWorks); Eloise & Ray (New Georges); Orpheus (HERE). Performed/developed via: Roundhouse Studio (London), Exit Festival (France), MASS MoCA, Birmingham Rep (UK), Synchronicity, Roadworks, Son of Semele, Soho Rep, Mabou Mines/ SUITE, Public Theater. Grants/Fellowships: Café Royal Cultural Foundation, Virginia B. Toulmin Foundation, Venturous Theater Fund, Howard Foundation Fellowship, 3 NYSCA Individual Artist Commissions, NEA Opera/MusicTheater, 3 New York Foundation for the Arts Fellowships, Tennessee Williams Fellowship, Frederick Loewe and Whitfield Cook Awards; MAPFund, Opera America, NY State Music Fund, Greenwall Foundation, Mid-Atlantic Fund, Macdowell, Hedgebrook. Alumna: New Dramatists; New Georges Audrey Residency; American Lyric Theater; HARP; Playwrights Center Core Writer. B.F.A.: Wesleyan University; M.F.A.: Brooklyn College. She taught playwriting at Skidmore College for 9 years.

Jennifer Frautschi 10th Summer Two-time Grammynominee and Avery Fisher career grant recipient violinist Jennifer Frautschi has appeared as soloist with innumerable orchestras including the Cincinnati Symphony, Chicago Symphony, Los Angeles Philharmonic, Milwaukee Symphony, Minnesota Orchestra, and St Paul Chamber Orchestra. As chamber musician she has performed with the Boston Chamber Music Society and Chamber Music Society of Lincoln Center, and appeared at La Jolla Summerfest, Music@ Menlo, Tippet Rise Art Center, Toronto Summer Music, and the Bridgehampton, Charlottesville, Lake Champlain, Moab, Ojai, Santa Fe, Seattle, and Spoleto Music Festivals.

Her extensive discography includes several discs for Naxos: the Stravinsky Violin Concerto with the Philharmonia Orchestra of London, conducted by the legendary Robert Craft, and two GRAMMY-nominated recordings with the Fred Sherry Quartet of Schoenberg’s Concerto for String Quartet and Orchestra, and the Schoenberg Third String Quartet. Her most recent releases are with pianist John Blacklow on Albany Records: the first devoted to the three sonatas of Robert Schumann; the second, American Duos, an exploration of recent additions to the violin and piano repertoire by contemporary American composers Barbara White, Steven Mackey, Elena Ruehr, Dan Coleman, and Stephen Hartke. She also recorded three widely praised CDs for Artek: an orchestral recording of the Prokofiev concerti with Gerard Schwarz and the Seattle Symphony; the violin music of Ravel and Stravinsky; and 20thcentury works for solo violin. Other recordings include a disc of Romantic Horn Trios, with hornist Eric Ruske and pianist Stephen Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk.


American Symphony, the Los Angeles Philharmonic, and the Aspen Festival Orchestras. Currently Ms. Feves serves as principal bassoonist with the Long Beach Symphony Orchestra. She has performed contemporary music with the New Century Players, Speculum Musicae, and the Contemporary Chamber Ensemble. Performing on early bassoons, she has worked with the Philharmonia Baroque Orchestra, the Los Angeles Baroque Orchestra, the Mozartean Players, and the Pernucio Ensemble. As a chamber music artist, Ms. Feves performs with her Baroque group, Bach’s Circle. She has appeared with Chamber Music Northwest and Music from Angel Fire in Angel Fire, New Mexico. She has also appeared with the Bravo Colorado Music Festival in Vail, Colorado and as a guest artist with the Lincoln Center Chamber Music Society. She has recorded for Delos, Columbia Records, Nonesuch, Harmonia Mundi, Leonarda, Nine Winds, and the AudioQuest labels.

Born in Pasadena, California, Ms. Frautschi attended the Colburn School, Harvard, the New England Conservatory, and the Juilliard School. She performs on a 1722 Antonio Stradivarius violin known as the “exCadiz,” on generous loan from a private American foundation with support from Rare Violins In Consortium. She currently teaches in the graduate program at Stony Brook University.

Zlatomir Fung CMNW 2022 Protégé Artist The first American in four decades and youngest musician ever to win First Prize at the International Tchaikovsky Competition Cello Division, Zlatomir Fung is poised to become one of the preeminent cellists of our time. A recipient of the Borletti-Buitoni Trust Fellowship 2022 and a 2020 Avery Fisher Career Grant, Fung’s impeccable technique demonstrates a mastery of the canon and an exceptional insight into the depths of contemporary repertoire. A winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National


Auditions, Fung has taken the top prizes at numerous competitions and was selected as a 2016 U.S. Presidential Scholar for the Arts. Recent highlights include a multi-city U.S. tour culminating in a Carnegie Hall recital debut, performances with the Detroit, Kansas City, Seattle, Ann Arbor, Asheville and Aiken Symphonies, a joint recital with fellow Tchaikovsky Competition winners at Carnegie Hall, London’s Wigmore Hall with IMS Prussia Cove, ChamberFest Cleveland, Bravo! Vail, Philadelphia Chamber Music Society, debuts at the Aspen Music Festival and La Jolla Chamber Music Society, and tours of Italy, Russia, China, and Japan with orchestras and in recital. Of Bulgarian-Chinese heritage, Zlatomir Fung began playing cello at age three and earned fellowships at Ravinia’s Steans Music Institute, Heifetz International Music Institute, MusicAlp, and the Aspen Music Festival and School. Fung studied at The Juilliard School under the tutelage of Richard Aaron and Timothy Eddy. Fung has been featured on NPR’s Performance Today and has appeared on From the Top six times. In addition to music, he enjoys cinema, reading, and blitz chess.

Jeff Garza Jeff Garza is principal horn of the Oregon Symphony and the Britt Festival Orchestra. He has previously held principal positions with the San Antonio Symphony, Houston Grand Opera, Utah Festival Opera and Festival Mozaic Orchestra. Jeff has served as guest principal horn in dozens of orchestras including the Los Angeles Philharmonic, Cincinnati Symphony, Saint Paul Chamber Orchestra, Utah Symphony, New Zealand Symphony, Malaysian Philharmonic and Melbourne Symphony. He has performed, toured, and recorded extensively with the San Francisco Symphony and was an acting member of the orchestra during the 2016-17 season. Jeff has been invited to perform at festivals and chamber music series throughout the United States including the Menlo School Summer


Brass Institute, Chamber Music International, Concordia Chamber Players, Cape Cod Chamber Music Festival, Cactus Pear Music Festival, 45th Parallel, Chatter ABQ and the Texas Music Festival. Jeff was formerly the Artistic Director of Olmos Ensemble, a chamber music group comprised of San Antonio Symphony principal musicians. He has been a featured performer at national and regional horn workshops throughout the United States and has performed concertos by Mozart, Strauss, Schumann, Telemann, and Forster with the San Antonio Symphony, the Britt Festival Orchestra, and the Festival Mozaic Orchestra. Jeff earned a Bachelor of Music degree from Rice University and is an alumnus of the Interlochen Center for the Arts. He has held fellowship positions with the New World Symphony, Tanglewood Music Center and National Repertory Orchestra. Jeff is the Instructor of Horn at Oregon State University.

Joe Girard (Sinta Saxophone Quartet) Michigan native, Tenor Saxophonist Joe Girard currently resides in Columbus, Georgia where he serves as Assistant Professor of Saxophone at the Schwob School of Music at Columbus State University. He regularly engages with young musicians throughout Georgia by teaching clinics, serving on the faculty of the Schwob Summer Music Festival, and leading a statewide saxophone all-state etude day. When he’s not busy performing and teaching, he enjoys spending time outdoors training his dog, Maizey (Go Blue!), and refining his culinary skills with his fiancé, Maureen.

Dan Graser (Sinta Saxophone Quartet) Soprano Saxophonist Dan Graser, originally a New Yorker, now resides in Grand Rapids, Michigan where he is Professor of Saxophone and Assistant Department Chair at Grand

Valley State University. He teaches a full studio of undergraduate music majors of education, performance, and arts management backgrounds. When he isn’t practicing notes that only dogs can hear (and love!) he can be found reading incessantly, pretending that his coffee habits are entirely healthy, heading to the gym to work off the caffeine buzz, and seeking out the next great string quartet to improve by arranging for sax quartet!

Yoko Greeney 2nd Summer Pianist and chamber music visionary Yoko Greeney adds excellence, depth, and diversity to Portland’s music scene through a multifaceted career of performing, teaching, directing, and engagement. Celebrated for her sensitivity and style, Greeney is a passionate collaborator and has enjoyed the role of accompanist in the Aspen Music Festival, Bard Music Festival, California State University Summer Arts, and guest artist with the distinguished Alexander String Quartet of San Francisco. Since residing in Portland, Oregon, she has shared stages with the Oregon Symphony, 45th Parallel Universe, Oregon Ballet Theater, BodyVox, and Portland Piano International, with additional live radio broadcasts on All Classical Portland. Of her technically demanding 2019 collaboration with BodyVox, The Portland Tribune noted that Greeney “excelled... bringing a fantastic attack to the energetic dancing.” A dedicated music educator with a desire to modernize music platforms and increase access, Greeney is building a custom, state-of-the-art mobile venue to facilitate performance and enrichment activities in underserved communities. With the launch of this movable venue in the fall of 2022, Greeney will offer invigorating and connective performances while social distancing outdoors, providing a reimagined concert experience for maximum flexibility and access. Greeney teaches piano at Lewis and Clark College, maintains a private studio, and coaches chamber music at the Portland Summer Ensembles of the Metropolitan Youth Orchestra. Serving as a Board Member for

Originally from Osaka, Greeney finally settled in Portland, Oregon in 2010 after following career opportunities to a diverse array of cities in Japan, Mexico, and the United States. She received a Master’s Degree from the Peabody Conservatory of The Johns Hopkins University, which is where she worked vigorously as an accompanist for both instrumentalists and singers, developing what would become her lifelong love of collaboration. Alongside her husband Jon, Greeney is a gracious and devoted supporter of the arts, culture, and education. In addition to frequently performing for fundraisers and charities, the couple often hosts development events in their home in Portland’s beautiful Northwest hills.

Vijay Gupta Vijay Gupta is a violinist, speaker and citizen-artist dedicated to creating spaces of wholeness through music. Hailed by The New Yorker as a “visionary violinist...one of the most radical thinkers in the unradical world of American classical music,” Vijay leads a protean career as a thought leader, performer, collaborator, and communicator. Vijay is the founder and Artistic Director of Street Symphony, a community of musicians creating connections for people in reentry from homelessness, addiction, and incarceration in Los Angeles. Vijay is also a co-founder of the Skid Row Arts Alliance, a consortium dedicated to creating art for - and with - the largest homeless community in America. For his work in “bringing beauty, respite, and purpose to those all too often ignored by society”, Vijay was the recipient of a 2018 MacArthur Fellowship. Vijay has shared his work with dozens of corporations, campuses, conferences, and communities across America over the past 10 years. Vijay delivered the 33rd annual Nancy Hanks Lecture on Arts and Public Policy for Americans for the Arts and his 2010 TED Talk, “Music is Medicine,

Music is Sanity”, has garnered millions of views. Vijay has performed as an international recitalist, soloist, chamber musician, and orchestral musician for over 20 years, and has collaborated with the Kronos Quartet, the Philharmonia Orchestra of London, Yo-Yo Ma, and appears regularly with the Strings Festival in Steamboat Springs, Colorado. Vijay recently released Breathe, as well as his solo violin album, When the Violin, which are available on Bandcamp.

Danny Hawthorne-Foss (Sinta Saxophone Quartet) Born and raised in San Francisco, Baritone Saxophonist Danny HawthorneFoss began his musical career at the age of 5, playing Bluegrass, American Old Time, and Irish folk music on the mandolin. He now lives in Ann Arbor, Michigan where he teaches a private studio of all ages, coaches young saxophone quartets, and runs sectionals at local middle and high schools. When he’s home from teaching and performing, Danny spends his free time learning riffs on electric guitar and teaching his pet cockatiel to whistle movie soundtracks.

Martin Hébert 6th Summer Martin Hébert was appointed principal oboist with the Oregon Symphony Orchestra in 2006. He has held that same position with symphony orchestras in Tampa, Mexico City, Savannah, and Honolulu. He has served as guest principal oboe with the Pittsburgh Symphony, the Atlanta Symphony, and the Seattle Symphony, among others. Hébert has participated in many summer Festivals including Aspen and Crested Butte in Colorado, Lyric Opera Cleveland, and Grant Park Festival in Chicago. As a featured soloist, Hébert has performed frequently with ensembles throughout North America. In November, 2021, he played the Bach Double Concert for Oboe and Violin with Oregon Symphony concertmaster, Sarah Kwak.

Martin has played with opera, ballet, and chamber ensembles throughout the United States. In Oregon, he has performed with Chamber Music Northwest, Portland Opera, and the Oregon Bach Festival.


several nonprofit organizations, she is also the Education and Community Engagement Committee Chair for Chamber Music Northwest.

In addition to his performing, Hébert is the Instructor of Oboe at Oregon State University in Corvallis, and also maintains a private studio of pupils. He is a founding faculty member of the chamber music camp Woodwinds @ Wallowa in Joseph, Oregon. Martin can be heard on recordings with the Oregon Symphony on the PentaTone label, the Atlanta Symphony on Telarc, and the Mexico City Philharmonic on Decca. A native of Cleveland, Ohio, Hebert attended the Cleveland Institute of Music, where he studied with John Mack, principal oboist of the Cleveland Orchestra.

Alexander Hersh Having already performed as soloist with the Houston Symphony and the Boston Pops, cellist Alexander Hersh has quickly established himself as one of the most exciting and creative talents of his generation. He has received top prizes at competitions worldwide, including Astral Artists National Auditions, Salon de Virtuosi Career grant, New York International Artists Association Competition, National Federation of Music Clubs, Friends of the Minnesota Orchestra, Ima Hogg, Schadt, Luminarts, Hellam, and the Fischoff National Chamber Music competitions. A passionate chamber musician, Hersh has performed at music festivals worldwide including: Marlboro, Caramoor, Ravinia, Music@Menlo, I-M-S Prussia Cove, Perlman Music Program, Amsterdam Cello Biennial, Kneisel Hall, Lucerne, and the New York String Orchestra Seminar. He serves as co-Artistic Director of NEXUS Chamber Music, an artist driven collective of musicians whose mission is to make classical music culturally relevant through live concerts and multimedia content.


Raised in Chicago, Alexander Hersh began playing the cello at the age of 5. He received his B.M. and M.M. from New England Conservatory where he graduated with academic honors. Later he was a recipient of the Frank Huntington Beebe fund for studies in Berlin where he studied at the Hanns Eisler Hochschule for Musik Berlin. His previous teachers have included Laurence Lesser, Hans Jørgen Jensen, Kim Kashkashian, Nicolas Altstaedt, and Paul Katz. He plays a G.B. Rogeri cello, courtesy of Guarneri Hall NFP and Darnton & Hersh Fine Violins.

Ellen Hwangbo Lauded as an “excellent pianist” (Daily Gazette) and “amazing … young talent” (Silicon Valley Insider), Ellen Hwangbo is known for her “harmony, energy and elegance” and her ability to deliver “truly potent and dramatic” experiences (Rutland Herald) that leave her audiences “wanting to hear more” (Times Union). A top-prize winner of the Music Teachers National Association’s National Young Artist Competition in 2006, she has performed to great acclaim across Asia, Europe, and North America. As a spirited chamber musician, Ellen is renowned for her “wonderful interplay” with colleagues (Rye News), and broad range of expression from “moody sobriety” (Boston Musical Intelligencer) to “bold exuberance” (Daily Gazette). She has performed with world-renowned musicians such as Anthony Marwood, Richard Lester, Soovin Kim, Roger Tapping, Colin Carr, William Sharp, Eduardo Leandro, and Lucy Shelton, among others. Ellen’s passion for sparking new and exciting connections through chamber music led her to found Constellations Chamber Concerts, a DC-based concert series, where she has served as Artistic Director since 2019. As an engaged advocate for new music, she has worked directly with composers David Ludwig, William Bolcom, Stefano Gervasoni, Jörg Widmann, Brett Dean, and many others, including for several world premieres and recordings. Ellen began her piano studies with Peter Cooper and continued with Logan Skelton at the University of Michigan, graduating summa cum


laude. She received her Master of Music and Doctor of Musical Arts degrees from SUNY Stony Brook, where she studied under luminary pedagogue Gilbert Kalish.

Braizahn Jones 2 Summer Braizahn Jones is a graduate of The Curtis Institute of Music, where he studied with Hal Robinson and Edgar Meyer. Prior to that, he spent two years working with Jeffrey Weisner at The Peabody Institute of Johns Hopkins University before transferring to Curtis in 2014. Since then, Braizahn has gone on to perform and tour with both the Philadelphia Orchestra and the Seattle Symphony, before receiving tenure as the Assistant Principal Bassist of the Oregon Symphony; where, as of 2021, he is currently their Acting Principal Bass. As a passionate teacher, Braizahn is part of the Double Bass faculty at the National Orchestral Institute at The University of Maryland - College Park, guest faculty at the Pacific Music Institute in Honolulu, and serves various other festivals and youth orchestras locally, nationally, and internationally. As a chamber musician, Braizahn has performed with world-renowned artists at Jackson Hole Chamber Music and at Chamber Music Northwest as well as with other Oregon Symphony Musicians throughout the state of Oregon including solo performances back in his hometown Las Vegas, NV. nd

Aiden Kane (Viano String Quartet) CMNW 2022 Protégé Artist American violist Aiden Kane is an award-winning musician and member of the Viano String Quartet. The ensemble won first prize at the 2019 Banff International String Quartet Competition, and has performed internationally in venues such as Die Glocke in Bremen and Wigmore Hall. Aiden is the former violist of the Calla Quartet, the Silver medalist at the 2015

Fischoff Chamber Music Competition. The Calla Quartet helped launch the Colburn Conservatory’s inaugural Musical Encounter Interactive program, where they performed for 1,500 elementary school children. As a soloist, Aiden has been featured with the Frederick Symphony Orchestra and the National Philharmonic Orchestra. She has performed solo recitals at the Alden Theater’s Young Artist Series and the Strathmore Mansion, sponsored by the Friday Morning Music Club. Aiden has participated in many festivals with the Viano Quartet, including the Norfolk Chamber Music Festival, St. Lawrence String Quartet Seminar, McGill International String Quartet Academy, and Great Lakes Chamber Music Festival. Additionally, she has attended the Perlman Music Program’s Chamber Music Workshop and Summer Music School, and Yellow Barn. Currently, Aiden is a postgraduate student at the Curtis Institute of Music, as a member of the Nina von Maltzahn String Quartet-in-Residence. Prior to attending Curtis, Aiden studied with the National Symphony Orchestra’s principal violist Daniel Foster through the orchestra’s Youth Fellowship Program, and then with Paul Coletti at the Colburn Conservatory of Music where she received a Bachelor’s and two Master’s degrees and (most importantly) an invitation to join the Vianos.

Alexi Kenney The recipient of a 2016 Avery Fisher Career Grant and a 2020 Borletti-Buitoni Trust Award, Alexi Kenney is building a career that defies categorization, by following his interests, intuition, and heart. He is equally at home creating experimental programs, commissioning new works, soloing with major orchestras in the USA and abroad, and collaborating with some of the most celebrated musicians of our time. In the 2021/22 Season, Alexi debuts as soloist with the Pittsburgh Symphony, Orchestra de la Suisse Romande, Virginia Symphony, Reno

In 2021, Alexi released his first recording, Paul Wiancko’s X Suite for Solo Violin, accompanied by a visual album that pairs each of the seven movements of X Suite with seven contemporary sculptures, filmed on location at the Donum Estate in Sonoma, California. Born in Palo Alto, California in 1994, Alexi is a graduate of the New England Conservatory in Boston, where he received his Artist Diploma as a student of Miriam Fried and Donald Weilerstein. Outside of music, Alexi enjoys hojicha, design, baking for friends, and walking for miles on end in whichever city he finds himself, listening to podcasts and Bach on repeat.

Soovin Kim

CMNW Artistic Director, YAI faculty, festival artist 4th Summer Soovin Kim enjoys a broad musical career regularly performing Bach sonatas and Paganini caprices for solo violin, sonatas for violin and piano ranging from Beethoven to Ives, Mozart and Haydn concertos and symphonies as a conductor, and new world-premiere works almost every season. When he was 20 years old, Kim received first prize at the Paganini International Violin Competition. He immersed himself in the string quartet literature for 20 years as the 1st violinist of the Johannes Quartet. Among his many commercial recordings are his “thrillingly triumphant” (Classic FM Magazine) disc of Paganini’s demanding 24 Caprices, and a two-disc set of Bach’s complete solo violin works to be released in 2022.

Kim is the founder and artistic director of the Lake Champlain Chamber Music Festival (LCCMF) in Burlington, Vermont. In addition to its explorative programming and extensive work with living composers, LCCMF created the ONE Strings program through which all 3rd through 5th grade students of the Integrated Arts Academy in Burlington study violin. The University of Vermont recognized Soovin Kim’s work by bestowing an honorary doctorate upon him in 2015. In 2020, he and his wife, pianist Gloria Chien, became Artistic Directors of Chamber Music Northwest in Portland, Oregon. He, with Chien, were awarded Chamber Music Society of Lincoln Center’s 2021 CMS Award for Extraordinary Service to Chamber Music. Kim devotes much of his time to his passion for teaching at the New England Conservatory in Boston, and the Yale School of Music in New Haven.

Sarah Kwak 4th Summer Sarah Kwak was appointed Concertmaster of the Oregon Symphony in 2012. Since then, she has performed to critical acclaim throughout Oregon. Hailed as a “worldclass soloist,” Kwak is renowned for her “lyrical depth, thoughtful phrasing, myriad shadings of tone and easy technical prowess.” After her concerto debut with the Oregon Symphony, The Oregonian said she “tore it up in a performance as dazzling as any recent star guest soloist.” Sarah joined the Oregon Symphony after serving as first Associate Concertmaster of the Minnesota Orchestra from 1988 to 2012 and Acting Concertmaster from January 2010 to September 2011. Kwak, a 2008 McKnight Artist Fellowship winner, has appeared as soloist with numerous orchestras including the Philadelphia Orchestra, Minnesota Orchestra, Houston Symphony, and Curtis Chamber Orchestra. She has served on the faculty of Princeton University and the University of Nevada at Reno. An avid chamber musician, she was a founding member of the Rosalyra String Quartet, which made its New York debut in 1996 and was awarded a McKnight Artist Fellowship in 2000. Kwak has toured with Musicians

from Marlboro and participated in the festivals of Marlboro, Chamber Music Northwest, Portland Piano International, Pittsburgh Summerfest, Bargemusic of New York, Festival Mozart in France, Siletz Bay, and Astoria. In addition, in 2014, Kwak was appointed Concertmaster of the Oregon Bach Festival and has served as guest Concertmaster with the Utah Symphony.


Philharmonic, Eugene Symphony, and New Haven Symphony, returns to the Indianapolis Symphony, California Symphony, and Santa Fe Symphony, and appears at Wigmore Hall, Princeton University Concerts, Philadelphia Chamber Music Society, and with the Chamber Music Society of Lincoln Center. He also performs duo concerts with harpist Bridget Kibbey, and as a member of Owls, a new quartet collective with violist Ayane Kozasa, cellist Gabe Cabezas, and cellist-composer Paul Wiancko.

Born in Boston and raised in Lawrence, Kansas, Kwak studied briefly at the Vienna Hochschule für Musik before entering the Curtis Institute of Music at the age of 12. Among her teachers were Joseph Sivo, Ivan Galamian, and Szymon Goldberg. Kwak is a founding member and Executive Director of Classical Up Close, a non-profit organization whose mission is to make classical music accessible to all by presenting free chamber music concerts in neighborhoods around the Portland metro area where people work, live and play.

Adam LaMotte Adam LaMotte is well known to audiences throughout the country as a leader of both period and modern ensembles. He has appeared as soloist, concertmaster, and conductor of numerous orchestras throughout the country, including the Northwest Sinfonietta, String Orchestra of the Rockies, Astoria Festival Orchestra, Pacific MusicWorks, Portland Baroque Orchestra, Bach Collegium San Diego, Ars Lyrica, and the Amadeus Chamber Orchestra. Adam was nominated for a 2012 Grammy Award, as part of the El Mundo Baroque Ensemble, and is now Program Director for the Berwick Academy, which guides young professionals in the art of period instrument playing. As Artistic Director of the Montana Baroque Festival, he brings world-class period instrument performances to rural Montana communities. In 2018, Adam founded the Amadeus Chamber Orchestra in Portland.


Francesco Lecce-Chong Conductor Francesco LecceChong is the Music Director of the Eugene Symphony and the Santa Rosa Symphony, performing at the Green Music Center in California. He has quickly made his mark with the two orchestras introducing a series of new initiatives, including the acclaimed “First Symphony Project,” a series of new commissions by young composers over four seasons. The press has described him as a “fast rising talent in the music world” with “the real gift” and has been recognized for his dynamic performances, fresh programming, deep commitment to commissioning and performing new music, as well as community outreach. This current season marks his subscription debuts with the Utah and the North Carolina Symphonies. With his home orchestras, Mr. LecceChong will lead the world premieres of five major orchestral works and the Santa Rosa Symphony will see its first CD recording in its history, containing works by Ellen Taafe-Zwillich who served as Artistic Partner of the Orchestra last season. Mr. Lecce-Chong has appeared with major orchestras around the world including the San Francisco Symphony, New York Philharmonic, Seattle Symphony, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic and collaborated with top soloists such as Renée Fleming and Itzhak Perlman. The San Francisco Chronicle called his conducting debut with the San Francisco Symphony “first rate” praising the “vitality and brilliance of the music-making he drew from members of the San Francisco Symphony.” In 2019, he debuted with the New York Philharmonic as part of the legendary Young People’s Concert Series.

Anna Lee CMNW 2022 Protégé Artist Delighting her listeners with “her warm, humane musicianship” and “sweet spot of grace”, Anna Lee is an active concert violinist, chamber musician, and teacher. She began violin studies at the age of four with Alexander Souptel and debuted as soloist performing the Paganini Violin Concerto No. 1 a year and a half later with the Singapore Symphony Orchestra under the baton of Lan Shui. She spent a large part of her childhood in Japan and Singapore even though she was born in South Korea, and at the age of six moved to New York after being accepted to the Juilliard School Pre-College Division under the tutelage of Masao Kawasaki. Anna Lee has appeared at CarnegieWeill, Carnegie-Zankel, Wigmore, Beethoven-Haus, Avery Fisher, Victoria, Lotte, and Esplanade concert halls, as well as Merkin Hall and Peter Jay Sharp Theater. She has claimed top prizes in the 2019 Montréal Competition, 2018 Indianapolis Competition, 2011 Sion-Valais Competition, 2011 Kronberg Violin Masterclasses, 2010 and 2012 Menuhin Competition (Junior and Senior Divisions, respectively), and Aspen Music Festival AACA Competition. Anna Lee has been the recipient of numerous awards, including the Louis Sudler Prize in the Arts, awarded by Office for the Arts at Harvard, the Bernhard and Mania Hahnloser Violin Prize at the Verbier Festival Academy, and the Jack Kent Cooke Young Artist Award. She has been featured in music festivals around the world such as the Gstaad Menuhin Festival and the Marlboro Music Festival, and on radio shows such as “From the Top” with host Christopher O’Riley and NPR Performance Today with host Fred Child. She has also been the cover page feature of the Wall Street Journal Magazine. Notable chamber music collaborations include Gidon Kremer, Yuri Bashmet and Steven Isserlis in the Kronberg Academy’s “Chamber Music Connects the World” festival. Anna Lee was also presented by Sir András Schiff at the BeethovenFest in Bonn. As a


soloist, Anna Lee made her New York Philharmonic debut in April 2011, as well as her Frankfurt debut in 2016 with maestro Christoph Eschenbach and the Hessische Rundfunk Radio Orchestra. She has also appeared with the Singapore, Indianapolis, Park Avenue Chamber, and Montreal Symphony Orchestras.​ Anna Lee’s teachers were Masao Kawasaki and Cho-Liang Lin at the Juilliard School Pre-College Division, Ana Chumachenco at the Kronberg Academy, and Miriam Fried and Don Weilerstein in Boston, where she recently completed her Comparative Literature degree at Harvard College. Currently, she is studying with Ani Kavafian at the Yale School of Music. She has also taught as a chamber music teacher, most notably at the Kronberg Academy’s Mit Musik—Miteinander festival and Festival MusicAlp in France.

Jessica Lee YAI faculty, festival artist Violinist Jessica Lee has built a multi-faceted career as soloist, chamber musician, and now as Assistant Concertmaster of the Cleveland Orchestra since 2016. She was the Grand Prize Winner of the 2005 Concert Artists Guild International Competition and has been hailed as “a soloist which one should make a special effort to hear, wherever she plays.” Her international appearances include solo performances with the Plzen Philharmonic, Gangnam Symphony, Malaysia Festival Orchestra, and at the Rudolfinum in Prague. At home, she has appeared with orchestras such as the Houston, Grand Rapids, and Spokane symphonies. Jessica has performed in recital at venues including Weill, Center. A long-time member of the Johannes Quartet as well as of the The Bowers Program (formerly the Chamber Music Society of Lincoln Center Two), Jessica has also toured frequently with ‘Musicians from Marlboro,’ including appearances at the Metropolitan Museum of Art and Boston’s Gardner Museum. Her chamber music festival appearances include Bridgehampton, Santa Fe, Seoul Spring, Caramoor, Olympic, and Music@Menlo.

Nina Lee (Brentano String Quartet) 8th Summer An active chamber musician, Nina Lee has collaborated with many artists such as Felix Galimir, Jaime Laredo, David Soyer, Nobuko Imai, Isidore Cohen, and Mitsuko Uchida, and has performed at the Marlboro and Tanglewood Music Festivals. She has toured with Musicians from Marlboro and has participated in the El Paso International Chamber Music Festival. She is the recipient of a Music Certificate from the Curtis Institute of Music, and Bachelor’s and Master’s degrees in music from the Juilliard School, where her teacher was Joel Krosnick. Ms. Lee teaches at Princeton University and Columbia University.

George Li Praised by The Washington Post for combining “staggering technical prowess, a sense of command and depth of expression,” pianist George Li possesses an effortless grace, poised authority, and brilliant virtuosity far beyond his years. Since winning the Silver Medal at the 2015 International Tchaikovsky Competition, Li has rapidly established a major international reputation and performs regularly with some of the world’s leading orchestras and conductors. Recent and upcoming concerto highlights include performances with the Los Angeles, New York, London, Rotterdam, Oslo, and St. Petersburg Philharmonics; the San Francisco,

Tokyo, Frankfurt Radio, Sydney, and Montreal Symphonies; as well as the Philharmonia, DSO Berlin, and Orchestra National de Lyon. He frequently appears with Valery Gergiev and the Mariinsky Orchestra.

with the LA Phil, Toronto Symphony, National Chamber Orchestra, the Santa Rosa Symphony, Munich Chamber Orchestra, Haddonfield Symphony, Shanghai Opera Orchestra, Canadian Sinfonietta, and Esprit Orchestra.

In recital, Li performs at venues including Carnegie Hall, Davies Hall in San Francisco, the Mariinsky Theatre, Elbphilharmonie, Munich’s Gasteig, the Louvre, Seoul Arts Center, Tokyo’s Asahi Hall and Musashino Hall, NCPA Beijing, Shanghai Poly Theater, and Amici della Musica Firenze, as well as appearances at major festivals including the Edinburgh International Festival, Verbier Festival, Ravinia Festival, Festival de Pâques in Aixen-Provence Festival, and Montreux Festival.

Her discography includes a solo album entitled 1939 with violinist Benjamin Bowman and pianist Meng-Chieh Liu (for Azica), along with many LA Phil and Toronto Symphony credits. The Toronto Symphony’s Vaughan Williams disc featuring Teng Li performing Flos Campi (for Chandos) won the Juno award for the classical album of the year in 2019. Teng is a graduate of the Central Conservatory in Beijing, China, and the Curtis Institute of Music in Philadelphia.

Li is an exclusive Warner Classics recording artist, with his debut recital album released in October 2017 and was recorded live from the Mariinsky. His second recording for the label features Liszt solo works and Tchaikovsky Piano Concerto No.1, was recorded live with Vasily Petrenko and the London Philharmonic, and was released in October 2019.

Teng Li Teng Li is a diverse and dynamic performer internationally. Recently, she was appointed Principal Violist of the Los Angeles Philharmonic after more than a decade as Principal with the Toronto Symphony Orchestra. A passionate teacher, Teng Li teaches at the Music Academy of the Colburn School and continues to give masterclasses at conservatories worldwide. Teng Li is also an active recitalist and chamber musician participating in the festivals of Marlboro, Santa Fe, Cleveland Chamber Fest, Mostly Mozart, Music from Angel Fire, Rome, Moritzburg (Germany), and the Rising Stars Festival in Caramoor. Teng was featured with the Guarneri Quartet in their last season (2009) and was also a member of Lincoln Center Chamber Music Society Two program. She is a member of the Rosamunde Quartet, together with Noah Bendix-Balgley, Shanshan Yao, and Nathan Vickery. Teng Li has been featured as soloist


Jessica has always had a passion for teaching and has served on the faculties of Vassar College and Oberlin College, and now is on violin faculty at the Cleveland Institute of Music. She was accepted to the Curtis Institute of Music at age fourteen following studies with Weigang Li, and graduated with a Bachelor’s Degree under Robert Mann and Ida Kavafian. She completed her studies for a Master’s Degree at the Juilliard School.

Amelia Lukas 3rd Summer Known for her pure tone, flexible technique, and passionate interpretations, flutist Amelia Lukas performs with “a fine balance of virtuosity and poetry,” (The New York Times) and “a buoyancy of spirit that comes out in the flute, a just beautiful sound.” (Boston Globe). A Powell Flutes artist and Portland resident, Lukas’ recent engagements include solo appearances with Fear No Music, March Music Moderne, Portland Taiko, the Astoria Music Festival, Music in the Woods, Cascadia Composers, and for All Classical Portland’s live radio broadcasts, with additional chamber and orchestral performances for the Eugene Symphony, Willamette Valley Chamber Music Festival, Oregon Bach Festival, Portland Piano International, Friends of Chamber Music, 45th Parallel, Oregon Music Festival, and Bridgetown Orchestra. While in New York, Lukas’ career included membership in the American Modern Ensemble and afforded her performances at Carnegie Hall (Main Stage, Zankel Hall, and Weill Recital Hall), Lincoln Center, The Stone, Bargemusic, (Le) Poisson Rouge, Roulette, and New Music New York Festival. Lauded for her skilled interpretation of new music, Ms. Lukas is a member of Fear No Music and “excels at bringing drama and fire to hyper-modernist works with challenging extended


techniques.” (Oregon ArtsWatch) She holds degrees from the Manhattan School of Music and the Royal Academy of Music (London) where she received three prizes for musical excellence. Her greatest mentors include John Heiss, Trevor Wye, and Tara Helen O’Connor. Amelia is a Board Member for Chamber Music Northwest and is the Principal and Founder of Aligned Artistry.

Carin Miller 4th Summer Carin Miller is principal bassoon of the Oregon Symphony, and she previously held principal bassoon positions with the Jacksonville and Shreveport symphonies. Ms. Miller has performed recently as guest principal bassoon with the St. Paul Chamber Orchestra, as well as the Grant Park Festival Orchestra, Portland Opera and Oregon Ballet Theater. She enjoys collaborating with local chamber groups such as Chamber Music Northwest, Amadeus Chamber Orchestra, Third Angle New Music Ensemble, 45th Parallel Universe, Classical up Close, and the Orca Concert series in Seattle. Under the umbrella of the Oregon Symphony Sounds of Home series, Carin recently curated and performed in a chamber music program with commissions from local composers and in conjunction with the Audubon Society of Portland to raise awareness of the impact of climate change. She has had the immense pleasure of performing duets with jazz sensation Wycliffe Gordon as part of her residency coaching with the National Youth Orchestra of Carnegie Hall. A native of Queens, NY, Ms. Miller holds a BM from the Juilliard School, an MM from Rice University, and an Advanced Certificate from the University of Southern California. Her teachers include Whitney Crockett, Frank Morelli, Stephen Maxym, and Benjamin Kamins. A passionate educator, Ms. Miller is the founder and executive director for the international virtual symposium Bassoons Without Borders. In addition to curating a robust private teaching studio, she is currently adjunct associate professor of bassoon at Indiana University, as well as adjunct


private instructor at Portland State University and Reed College, and serves on the Board of Directors for the Portland Youth Philharmonic.

Oliver Neubauer Violinist Oliver Neubauer attends the Juilliard School where he is a proud recipient of the Kovner Fellowship and a student of Itzhak Perlman and Li Lin. Prior to his studies at Juilliard, Oliver took part in the Perlman Music Program and attended the Juilliard Pre College Division and the Dalton School in NYC. Oliver has performed as soloist with numerous orchestras, including the National Repertory Orchestra, the Sound Symphony Orchestra, and the Symphony of Westchester. Oliver was the first prize winner of the 2020 Adelphi Competition, recipient of the Gold Award at the 2018 National YoungArts Competition, winner of the 2017 Young Musicians Competition at the Chamber Music Society of Lincoln Center, and winner of the Artist in You Competition sponsored by the Doublestop Foundation. He has participated in masterclasses with Ana Chumachenco (at the 2019 Kronberg Violin Masterclasses), Ani Kavafian, Edward Aaron, Jorja Fleezanis, Daniel Phillips, and others. He has also performed and worked with Carter Brey, Fred Sherry, Ani Kavafian, Michael Kannen, Ara Gregorian, the Dover Quartet, and Steve Tenenbom. Oliver’s festival appearances have included the Four Seasons Winter Workshop, Mostly Music Series, Summerfest La Jolla, Music@Menlo, Lake Champlain Music Festival, Chamber Music Northwest, Music in the Vineyards, Art in Avila in Curaçao, and Music from Angel Fire. This summer, Oliver will attend the Music@Menlo International Program and perform at Music from Angel Fire and Chamber Music Northwest. Oliver plays on a 1780 J.B. Guadagnini violin, generously on loan to him from the Juilliard String Instrument Collection.

Paul Neubauer 38th Summer Violist Paul Neubauer’s exceptional musicality and effortless playing led The New York Times to call him “a master musician.” He recently made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the U.S. Premiere of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia, was released on Signum Records and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles, and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, MüllerSiemens, Ott, Penderecki, Picker, Suter, and Tower and has been featured on CBS’s Sunday Morning, A Prairie Home Companion, and in Strad, Strings, and People magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical. Mr. Neubauer performs with the Chamber Music Society of Lincoln Center and is the artistic director of the Mostly Music series in New Jersey. He is on the faculty of The Juilliard School and Mannes College.

Tara Helen O’Connor 21st Summer 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-

Tara is a member of the woodwind quintet Windscape, the legendary Bach Aria Group and is a founding member of the Naumburg Award-winning New Millennium Ensemble. She has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet and Emerson Quartet. Tara has appeared on A&E’s Breakfast for the Arts, 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. Tara 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. Additionally, Tara is on the faculty of Bard College Conservatory of Music, the Contemporary Performance Program at Manhattan School of Music and is a visiting artist, teacher and coach at the Royal Conservatory of Music in Toronto. She lives with her husband, violinist Daniel Phillips and their two miniature dachshunds, Chloé and Ava on the Upper West Side of Manhattan.

Monica Ohuchi 2nd Summer Japanese-American pianist Monica Ohuchi performs “with beauty, clarity and drive... [offering a] warmth... and

expressiveness [that’s] irresistible and deeply moving.” (The Times Argus) Filled with purpose, Ohuchi exudes a “commanding pianism.” (The New York Times) “Dutifully and gracefully” (San Francisco Classical Voice) attentive to musical depth and detail, Ohuchi offers uniquely generous and engaging performances. Since capturing first prize at the Chinese International Piano Competition at age five, Ohuchi has won top prizes in over twenty national and international piano competitions. Her solo, chamber, and teaching career includes appearances across the US, Canada, Japan, and Europe at such venues as Lincoln Center’s Alice Tully Hall, Meany Hall (Seattle), the Canadian Opera Company’s Richard Bradshaw Amphitheater, and Hakuju Concert Hall (Tokyo). Recent performing engagements include soloing with the Colorado Symphony, Marin Symphony, and Newport Symphony. A gracious and polished chamber musician, Ohuchi is a member of Fear No Music and performs with the Chintimini Chamber Music Festival (Oregon) and Craftsbury Chamber Players (Vermont). With a passion for equity and diversity, Ohuchi serves as Executive Director of Fear No Music alongside her violist and composer husband, Kenji Bunch who is the group’s Artistic Director. “Fear No Music’s husband-and-wife leadership team… have spent the past five years making FNM the best kind of Portland hybrid: a classical ensemble with unimpeachable performance credentials, a love for local and contemporary composers, and a mature sense of social justice and responsibility.” (Oregon ArtsWatch) Ohuchi is a Program Director at Reed College, where she also teaches piano and chamber music, and has previously taught at the Juilliard School.

Kenneth Overton Kenneth Overton is lauded for blending his opulent baritone with magnetic, varied portrayals that seemingly “emanate from deep within body and soul.” Kenneth Overton’s symphonious baritone voice has sent him around the globe, making him one of the most sought-after opera singers of his generation. Kenneth is a

2020 Grammy Award-Winner for Best Choral Performance in the title role of Richard Danielpour’s The Passion of Yeshua with the Buffalo Philharmonic Orchestra and Chorus, conducted by JoAnn Falletta.


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, Tara regularly participates in the Santa Fe Chamber Music Festival, Music@ Menlo, Chamber Music Festival of the Bluegrass, Spoleto Festival USA, Chamber Music Northwest, Mainly Mozart Festival, Music from Angel Fire, the Banff Centre, Rockport Music, Bay Chamber Concerts, Manchester Music Festival, the Great Mountains Music Festival, Chesapeake Music Festival and the Bravo! Vail Valley Music Festival. Along with her husband Daniel Phillips, she is the newly appointed Co-Artstic Director of the Music From Angel Fire Festival in New Mexico.

This season, engagements for Kenneth include his Metropolitan Opera debut in the fall of 2021 as Lawyer Frazier in Porgy and Bess, a reprisal of the role of Ralph Abernathy in I Dream with Opera Carolina, The Homecoming Soldier in Zach Redler’s The Falling and The Rising with Opera Carolina, and Germont in La Traviata for Fort Worth Opera. He will also appear with the National Philharmonic as a soloist for Mozart’s Requiem as well as Hailstork’s A Knee on the Neck, Nathaniel Dett’s The Ordering of Moses with the Harlem Chamber Players, Handel’s Messiah with the Hudson Valley Philharmonic, Mozart’s Requiem with the National Chorale, a solo recital at The Quick Center for the Arts at St. Bonaventure University, a recital with the American Composers Orchestra, and debuted Damien Geter’s An African American Requiem with the Oregon Symphony with subsequent performances at the Kennedy Center with the Choral Arts Society of Washington. Future seasons include a return to the title role of Porgy and Bess with Opera Carolina, North Carolina Opera, and in concert with the NDR Elbphilharmonie Orchestra Hamburg. He will also sing the role of Mr. Maguire in Tobias Picker’s Emmeline for Tulsa Opera.

Deborah Pae Praised by critics for her “extraordinary musicianship” (San Diego Union Tribune), “superb tone,” and “high level of interpretative intelligence” (Transcentury), cellist Deborah Pae has received international acclaim for her powerful performances and devotion to the arts. Pae’s career launched in 2003 when she made her debut at the 45th Grammy Awards and the Recording Academy’s Seventh Annual Salute to Classical Music. Shortly thereafter, she was invited to the Auditorium du Louvre in Paris where she gave her European recital debut in 2005. Over the span of 25


years, Ms. Pae has enjoyed a career as a soloist and chamber musician whose performances throughout the world have garnered critical acclaim. She has performed at venues including Carnegie Hall, Wigmore Hall in London, the National Concert Hall in Taipei, and the Berliner Philharmonie. Cellist of the award-winning Formosa Quartet (First Prize and Amadeus Prize; 2006Wigmore Hall International String Quartet Competition), and Namirovsky-Lark-Pae Trio (2020 German Record Critics Award), she has been a featured artist at Marlboro and Ravinia festivals, and recorded numerous works for radio and television broadcast, as well as for labels including New World, TYXarts, Bridge, and Outhere Records. A dedicated educator and arts advocate, Ms. Pae is Professor of Cello at Eastern Michigan University and Governor of the Recording Academy® Chicago Chapter Board. She works with young professionals and educational institutions throughout the country on career development, financial literacy, and team building. Ms. Pae performs with her trusty companion, a Vincenzo Postiglione cello (c. 1885) from Naples, Italy.

Vali Phillips Vali Phillips joined the Oregon Symphony in 2012. A member of the Minnesota Orchestra since 1997, he served as Principal Second Violin for his first 11 seasons, and in September 2008 joined the Orchestra’s first violin section. He made his solo debut with the Orchestra performing Bruch’s First Violin Concerto in 2001, and he has since performed Dvořák’s Romance, the Summer concerto from Vivaldi’s The Four Seasons and, in 2007, Bach’s Double Violin Concerto with First Associate Concertmaster Sarah Kwak. During Sommerfest 2004 he played Shostakovich’s Trio in E minor with André Watts. Before coming to Minnesota, Phillips served as Concertmaster of the Savannah Symphony Orchestra and Associate Concertmaster of both the Erie Philharmonic and the Charleston Symphony. He has appeared as


soloist with the Boston Pops Esplanade Orchestra and the Buffalo Philharmonic Orchestra, as well as in recital at Carnegie Hall. He spent two summers at the Tanglewood Festival and has performed at the Grand Teton Music Festival. Phillips is a graduate of the Eastman School of Music, where he studied under Charles Castleman. He began his musical training at Project STEP (String Training and Education Program), a non-profit program for minority children in his native Boston. Joining the program in its first year, Phillips studied with the project’s artistic director, Farhoud Moshfegh. Phillips gave a benefit recital for the project several years ago at the New England Conservatory. With three colleagues from the Minnesota Orchestra, Phillips was a founding member of the Minneapolis Quartet which won a McKnight Artist Fellowship in 2016.

William Purvis 19th Summer William Purvis pursues a multifaceted career both in the U.S. and abroad as horn soloist, chamber musician, and educator. A passionate advocate of new music, he has participated in numerous premieres including horn concerti by Peter Lieberson, Bayan Northcott, Krzysztof Penderecki (New York premiere), and Paul Lansky; horn trios by Poul Ruders and Paul Lansky; Sonate en Forme de Préludes by Steven Stucky; and recent premieres by Elliott Carter, Retracing II for Solo Horn and Nine by Five with the New York Woodwind Quintet. He is a member of the New York Woodwind Quintet, the Yale Brass Trio, and the Triton Horn Trio, and is an emeritus member of the Orpheus Chamber Orchestra and the Orchestra of St. Luke’s. Mr. Purvis has been a frequent guest artist with the Chamber Music Society of Lincoln Center and the Boston Chamber Music Society, and has collaborated with many of the world’s most esteemed string quartets, including the Brentano, Juilliard, Tokyo, Orion, Mendelssohn, Sibelius, Daedalus, and Fine Arts string quartets. Recent Festival appearances have included Chamber Music Northwest, Sarasota, Norfolk,

Sebago Long Lake, Chestnut Hill, and Phoenix Chamber music festivals in the U.S., the Great Mountain, Busan and Gimhae Chamber music festivals in South Korea, and the Kitakaruizawa Festival in Japan. He has participated in performances on historical instruments with the Smithsonian Chamber Players, and his recording of the Quintets for Piano and Winds by Mozart and Beethoven will be released in 2022. He has recorded extensively on numerous labels including Deutsche Grammophon, Sony Classical, Naxos, Koch, and Bridge. Mr. Purvis is currently Professor in the Practice of Horn and Chamber Music at the Yale School of Music, where he is also Coordinator of Winds and Brass, and serves as Director of the Morris Steinert Collection of Musical Instruments.

Chris Rogerson CMNW commissioned composer 3rd Summer Hailed as a “confident new musical voice” (The New York Times), a “big discovery” (The Philadelphia Inquirer) and a “fully-grown composing talent” (The Washington Post), Chris Rogerson’s music has been praised for its “haunting beauty” and “virtuosic exuberance” (The New York Times). Recent notable works include Of Simple Grace, for cellist Yo-Yo Ma; Four Autumn Landscapes, a clarinet concerto written for Anthony McGill, and String Quartet No. 4, for the Escher Quartet. Rogerson’s music has been programmed at venues around the world including Carnegie Hall, the Library of Congress, the Kennedy Center, Wigmore Hall in London, and the Musikverein in Vienna. The 2021-22 season brings several major orchestral premieres: a new piano concerto for Anne-Marie McDermott, commissioned by the Bravo! Vail Festival; a new violin concerto for Benjamin Beilman, commissioned by the Kansas City Symphony; and Sacred Earth, for mezzo-soprano J’Nai Bridges with video by Emmy-nominated director and National Geographic photographer Keith Ladzinski. Other recent commissions and performances have come from the Atlanta, Houston, Indianapolis, Milwaukee, New Jersey, New World, and San Francisco symphonies, the Buffalo Philharmonic,

Ian Rosenbaum (Sandbox Percussion) 4th Summer Praised for his “spectacular performances” (Wall Street Journal), and his “unfailing virtuosity” (Chicago Tribune), Grammy-nominated percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. As a passionate advocate for contemporary music, Mr. Rosenbaum has premiered over one hundred new chamber and solo works, and was nominated for three Grammy Awards in 2021 for his performances on albums by Andy Akiho and Christopher Cerrone. In 2012, Mr. Rosenbaum joined the Chamber Music Society of Lincoln Center’s Bowers Program (formerly CMS Two) as only the second percussionist they have selected in their history. Mr. Rosenbaum is a founding member of Sandbox Percussion, and is on faculty at the Mannes School of Music and the University of Missouri-Kansas City. Mr. Rosenbaum endorses Pearl/Adams instruments, Vic Firth mallets, and Remo drumheads.

Sandbox Percussion

Described as “exhilarating” VICTOR CACCESE by The New York Times, and “utterly IAN ROSENBAUM mesmerizing” by TERRY SWEENEY The Guardian, Grammynominated ensemble Sandbox Percussion has established themselves as a leading proponent of contemporary percussion chamber music. Brought together by the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning. Through compelling collaborations with composers and performers, Jonathan Allen, Victor Caccese, Ian Rosenbaum, and Terry Sweeney seek to engage a wider audience for classical music. Sandbox Percussion’s 2021 album Seven Pillars was nominated for two Grammy awards. This evening-length work by Andy Akiho, with stage direction and lighting design by Michael Joseph McQuilken, is Sandbox’s largest commission to date.


In addition to the world premiere of Seven Pillars at Emerald City Music in Seattle, the 2021/2022 season includes many highlights - Sandbox Percussion will perform concertos with the Albany Symphony and UMKC Conservatory Orchestra, travel to Northern Ireland, Lithuania, and many cities across the United States, perform at the Percussive Arts Society International Convention, and premiere new works by David Crowell, Molly Joyce, Loren Loiacono, Jessica Meyer, Tawnie Olson, and Tyshawn Sorey. Sandbox was appointed ensemble-in-residence and percussion faculty at the University of Missouri-Kansas City in 2021, has led masterclasses and coachings all around the United States, and in 2016, founded the annual NYU Sandbox Percussion Seminar. Sandbox Percussion endorses Pearl/Adams musical instruments, Zildjian cymbals, Vic Firth sticks and mallets, Remo drumheads, and Black Swamp accessories.

Sophie Shao 11th Summer Cellist Sophie Shao, winner of the prestigious Avery Fisher Career Grant and top prizes at the Rostropovich and Tchaikovsky competitions, is a versatile and passionate artist whose performances The New York Times has described as “eloquent, powerful,” “beautifully phrased and interestingly textured,” The LA Times noted as “impressive” and The Washington Post called “deeply satisfying.”Shao has appeared as soloist to critical acclaim throughout the United States, and has premiered Howard Shore’s cello concerto Mythic Gardens with Leon Botstein and the American Symphony Orchestra, the UK premiere with Keith Lockhart and the BBC Concert Orchestra, and European premiere with Ludwig Wicki and the 21st Century Orchestra at the KKL in Lucerne. She also premiered Richard Wilson’s The Cello Has Many Secrets with the American Symphony Orchestra.


and the Orchestra of St. Luke’s.Born in 1988, Mr. Rogerson studied at the Curtis Institute of Music, Yale School of Music, and Princeton University. He is represented by Young Concert Artists, Inc. and served as YCA Composer-inResidence from 2010-2012. In 2016, Mr. Rogerson joined the Musical Studies Faculty at the Curtis Institute of Music in Philadelphia, where he lives fulltime.

Ms. Shao has given recitals in Suntory Hall in Tokyo, the Philadelphia Chamber Music Society, Middlebury College, Phillips Collection, Walter Reade Theater and Rose Studio in Lincoln Center, the complete Bach Suites at Union College and in New York City. Her dedication to chamber music has conceived her popular “Sophie Shao and Friends” groups. She was a member of Chamber Music Society Two/Bowers Program, a young artist residency of the Chamber Music Society of Lincoln Center. Ms. Shao’s recordings include the Complete Bach Suites, Andre Previn’s Reflections for Cello and English Horn and Orchestra on EMI Classics, Richard Wilson’s Diablerie and Brash Attacks and Barbara White’s My Barn Having Burned to the Ground, I Can Now See the Moon on Albany Records, Howard Shore’s original score for the movie, The Betrayal, on Howe Records, Marlboro Music Festival’s 50th Anniversary on Bridge Records, and Howard Shore’s Mythic Gardens on Sony Classical. A native of Houston, Texas, Ms. Shao began playing the cello at age six, and was a student of Shirley Trepel, the former principal cellist of the Houston Symphony. At age thirteen she enrolled at the Curtis Institute


of Music in Philadelphia, studying cello with David Soyer and chamber music with Felix Galimir. After graduating from the Curtis Institute, she continued her cello studies with Aldo Parisot at Yale University, receiving a B.A. in Religious Studies from Yale College and an M.M. from the Yale School of Music, where she was enrolled as a Paul and Daisy Soros Fellow. She is on the faculty of University of Connecticut and is playing an Hieronymus Amati cello c.1700 on a generous loan.

Virginia Symphony in October 2001; Singing in the Dark, for Alto Saxophone and String Quartet premiered at Chamber Music Northwest in July 2002 by Marty Ehrlich and the Miami String Quartet; All About Love, a song cycle for mezzo-soprano, tenor and chamber ensemble which premiered at Chamber Music Northwest in July 2004; and Canzona for brass, percussion and strings commissioned by the Seattle Symphony and premiered by them in January 2005 conducted by Gerard Schwarz.

David Schiff

Three of his compositions, Divertimento from Gimpel the Fool, Suite from the Sacred Service, and Scenes from Adolescence may be heard on Delos CD #3058 performed by artists of Chamber Music Northwest and the composer’s wife Cantor Judith Schiff. Shtik, written for David Taylor, appears on the album Past Tells on the New World label. Schiff is the R.P. Wollenberg Professor of Music at Reed College in Portland, Oregon. He is the author of The Music of Elliott Carter (Cornell University Press) and George Gershwin: Rhapsody in Blue (Cambridge University Press) as well as many articles on music for The New York Times, The Atlantic Monthly, Opera News, and Tempo.

CMNW commissioned composer Composer and author David Schiff was born in New York City on August 30, 1945. He studied composition with John Corigliano and Ursula Mamlok at the Manhattan School of Music, and with Elliott Carter at the Juilliard School where he received his D.M.A. He holds degrees in English literature from Columbia and Cambridge Universities. His major works include the opera Gimpel the Fool, with libretto by I. B. Singer; the Sacred Service, written for the 125th anniversary of Congregation Beth Israel of Portland; Slow Dance, commissioned by the Oregon Symphony; Stomp, commissioned by Marin Alsop for Concordia, and recorded by the Baltimore Symphony conducted by David Zinman; Solus Rex, for bass trombone and chamber ensemble commissioned by the Chamber Music Society of Lincoln Center and premiered by David Taylor; Speaking in Drums, a concerto for timpani and string orchestra commissioned by the Minnesota Orchestra for its timpanist, Peter Kogan; Vashti, a retelling of the Book of Esther for mezzo-soprano, clarinet and piano commissioned by the Gold Coast Chamber Music Festival; 4 Sisters, a concerto for jazz violin and orchestra which premiered in Cambridge, England in 1997 and received its American premiere with Regina Carter and the Detroit Symphony in January 2004; New York Nocturnes, a piano trio written for Chamber Music Northwest; Pepper Pieces, arrangements of songs by Jim Pepper for jazz violinist Hollis Taylor and strings; Canti di Davide, a concerto for clarinet and orchestra premiered by David Shifrin and the


Fred Sherry 43rd Summer Fred Sherry has introduced audiences on five continents and all fifty United States to the music of our time for over five decades. He was a founding member of TASHI and Speculum Musicae, Artistic Director of the Chamber Music Society of Lincoln Center, and has been a member of the Group for Contemporary Music, Berio’s Juilliard Ensemble and the Galimir String Quartet. He has also enjoyed a close collaboration with jazz pianist and composer Chick Corea. Elliott Carter, Mario Davidovsky, Steve Mackey, David Rakowski, Somei Satoh, Charles Wuorinen and John Zorn have written concertos for Sherry, and he has premiered solo and chamber works dedicated to him by Milton Babbitt, Derek Bermel, Jason Eckardt, Lukas Foss, Oliver Knussen, Peter Lieberson, Donald Martino, and Toru Takemitsu among others.

Fred Sherry’s vast discography encompasses a wide range of classic and modern repertoire; he has been soloist and “sideman” on hundreds of commercial and esoteric recordings. Mr. Sherry was the organizer for Robert Craft’s New York recording sessions from 1995-2012. Their longstanding collaboration produced celebrated performances of the Schoenberg Cello Concerto, all four String Quartets and the String Quartet Concerto as well as major works by Stravinsky and Webern. Mr. Sherry’s book 25 Bach Duets from the Cantatas was published by Boosey & Hawkes in 2011, the revised edition was released in 2019. C.F. Peters unveiled his treatise on contemporary string playing, A Grand Tour of Cello Technique in 2018. He is a member of the cello faculty of The Juilliard School, The Mannes School of Music and The Manhattan School of Music.

David Shifrin CMNW Artistic Director Emeritus 45th Summer David Shifrin, began performing with Chamber Music Northwest in 1978 and served as its artistic director from 1981 to 2020. He has performed with the Chamber Music Society of Lincoln Center since 1982 and served as its artistic director from 1992 to 2004. Shifrin received Lincoln Center’s Avery Fisher Career Grant and the Avery Fisher Prize, as well as numerous awards and prizes competitions and organizations worldwide. David Shifrin is the Samuel S. Sanford Professor in the Practice of Clarinet at the Yale School of Music where he teaches a studio of graduate-level clarinetists and coaches chamber music ensembles. He is also the artistic director of Yale’s Oneppo Chamber Music Society and the Yale in New York concert series. Previously, Shifrin served on the faculties of the Juilliard School, the University of Southern California, the University of Michigan, the Cleveland Institute of Music, and the University of Hawaii. 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, Los Angeles Chamber

Shifrin is represented by CM Artists in New York and performs on Backun clarinets and Légère reeds.

Sinta Saxophone Quartet

“Virtuosic to the core” (Textura) and hailed as “a ZACH STERN Alto Saxophone tight-knit ensemble exploding with JOE GIRARD power and Tenor Saxophone virtuosity” DANNY HAWTHORNE-FOSS (Boston Musical Baritone Saxophone Intelligencer), the Sinta Quartet is on a mission to bring the versatility, homogeneity, and excitement of the saxophone to audiences everywhere. Strengthening an already palpable connection with its audience by performing entirely from memory, the quartet provides a fresh take on chamber music that is at once beautiful, virtuosic, and a completely interactive experience. DAN GRASER Soprano Saxophone

The Sinta Quartet injects music and fun into the air for unsuspecting passersby by appearing in nontraditional venues such as grocery stores, bars, and other public places, but they have also performed in venues such as Carnegie Hall, Walt Disney Hall, and the Beijing Center for the Performing Arts. Since forming in 2010 as soloists for a tour of China with the University of Michigan Symphony Band, the quartet has concertized in 9 countries, 31 states, and 2 Canadian provinces, giving diverse audiences a chance to experience a classical saxophone quartet for the first time. The Sinta Quartet made history in 2013 as the first saxophone ensemble to win the Victor Elmaleh First Prize from the Concert Artists Guild Competition,

and continued to achieve success on the competition circuit, winning the Gold Medal at the 2018 Fischoff Chamber Music Competition, First Prize at the 2017 M-Prize Chamber Arts Competition, the Alice Coleman Grand Prize at the 2013 Coleman Chamber Music Competition, and 1st Prize at the 2012 North American Saxophone Alliance Competition. The quartet’s programming takes the audience on an adventure through time, geography, and genre, often mixing classics from the 18th, 19th, and 20th centuries with commissions by today’s composers and rollicking in-house arrangements from various folk traditions. In addition to their live performances, the quartet recently released two albums featuring predominantly recent commissions and winning pieces from Sinta Quartet’s annual National Composition Competition. The first, Collider, hailed as, “An exciting ride! The ensemble, intonation, and technique in this recording are beyond question” (The Saxophonist Magazine), was released in 2019, and the second, Ex Machina, which was praised as “tightly performed and flawlessly recorded in generous, in-your-face sound” (Musical America), was released in 2020. All four members of SQ are also passionate and dedicated teachers and relish the opportunity to play for and work with students of all ages. They carefully craft and curate programs designed for all levels of public school students and every type of community venue. While Dan, Zach, Joe, and Danny all grew up in drastically different parts of the country (NY, TX, MI, and CA), they met at the University of Michigan where they studied with the legendary saxophone professor, Donald Sinta, and decided to name the group after him for the profound influence he had on each member and the inspired coaching he gave to the group during their student years. Managed by General Arts Touring, Inc., Sinta Quartet’s members are all Selmer-Paris Artists and perform exclusively on Selmer saxophones.

Mark Steinberg (Brentano String Quartet) 8th Summer Mark Steinberg is an active chamber musician and recitalist. He has been heard in chamber music festivals in Holland, Germany, Austria, and France and participated for four summers in the Marlboro Music Festival, with which he has toured extensively. He has also appeared in the El Paso Festival, on the Bargemusic series in New York, at Chamber Music Northwest, with the Chamber Music Society of Lincoln Center, and in trio and duo concerts with pianist Mitsuko Uchida, with whom he presented the complete Mozart sonata cycle in London’s Wigmore Hall in 2001, with additional recitals in other cities, a project that continues for the next few years. Mr. Steinberg has been soloist with the London Philharmonia, the Los Angeles Philharmonic, the Kansas City Camerata, the Auckland Philharmonia, and the Philadelphia Concerto Soloists, with conductors such as Kurt Sanderling, Esa-Pekka Salonen and Miguel Harth-Bedoya. Mark Steinberg holds degrees from Indiana University and The Juilliard School and has studied with Louise Behrend, Josef Gingold, and Robert Mann. An advocate of contemporary music, Mr. Steinberg has worked closely with many composers and has performed with 20th century music ensembles including the Guild of Composers, the Da Capo Chamber Players, Speculum Musicae, and Continuum, with which he has recorded and toured extensively in the U.S. and Europe. He has also performed and recorded chamber music on period instruments with the Helicon Ensemble, the Four Nations Ensemble, and the Smithsonian Institute. He has taught at Juilliard’s Pre-College division, at Princeton University, and New York University, and is currently on the violin faculty of the Mannes College of Music.


Orchestra, and the Symphony Orchestras of New Haven, Honolulu, and Dallas. Shifrin also continues to broaden the clarinet repertoire by commissioning and championing more than 100 works of 20th and 21st century American composers. Shifrin’s recordings have consistently garnered praise and awards including three Grammy nominations and “Record of the Year” from Stereo Review.


Zach Stern (Sinta Saxophone Quartet) Alto saxophonist Zach Stern enjoys a career as a saxophone soloist, chamber musician, and educator. A native of Houston, Texas, Zach currently resides in Cape Girardeau, Missouri where he serves on the faculty at Southeast Missouri State University, and is in demand in the region as a saxophone clinician and adjudicator. During the summer he teaches at the South Shore Conservatory’s Summer Music Festival in Hingham, MA. Aside from his musical activities, Zach thoroughly enjoys both eating and cooking (albeit very amateurishly), and spending time with his lovely wife and objectively adorable puppy.

Peter Stumpf YAI faculty, festival artist Peter Stumpf is professor of cello at the Indiana University Jacobs School of Music. Prior to his appointment, he was principal cellist of the Los Angeles Philharmonic. Stumpf’s tenure in Los Angeles followed 12 years as associate principal cellist of the Philadelphia Orchestra. His professional orchestral career began at the age of 16 when he joined the cello section of the Hartford Symphony Orchestra. He received a bachelor’s degree from the Curtis Institute of Music and an Artist’s Diploma from the New England Conservatory. A dedicated chamber music musician, he is a member of the Johannes String Quartet and has appeared on the chamber music series at Carnegie Hall, Kennedy Center, the Boston Celebrity Series, the Da Camera Society in Los Angeles, Walt Disney Concert Hall, Concertgebouw in Amsterdam, Casals Hall in Tokyo, and at the concert halls of Cologne. He has performed with the chamber music societies of Boston and Philadelphia and at the Casals Festival in Puerto Rico as well as the Festivals of Marlboro, Santa Fe, Bridgehampton, Ottawa, Great Lakes, Ojai, Spoleto,


and Aspen. He has toured with Music from Marlboro, the Casals Hall Ensemble in Japan, and with pianist Mitsuko Uchida in performances of the complete Mozart Piano Trios. He has collaborated with pianists Leif Ove Andsnes, Emmanuel Ax, Jorge Bolet, Yefim Bronfman, Radu Lupu, Wolfgang Sawallisch, Andras Schiff, Jean Yves Thibaudet, Mitsuko Uchida, and with the Emerson and Guarneri String Quartets. Most recently, the Johannes Quartet has collaborated with the Guarneri Quartet on tour in performances including commissions from composers William Bolcom and Esa Pekka Salonen. Concerto appearances have been with the Boston Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Philharmonic, the Virginia Symphony, the Vermont Symphony, the Connecticut String Orchestra, the Chamber Orchestra of the South Bay, the American Youth Symphony, and at the Aspen Music Festival. As a recitalist, he has performed at the Universities of Hartford, Syracuse, and Delaware, at Jordan Hall in Boston, and at the Philips and Corcoran Galleries in Washington, D.C. Most recently, he performed the Six Suites for Solo Cello by J. S. Bach on the Philadelphia Chamber Music Society Series and on the Chamber Music in Historic Sites Series in Los Angeles. His awards include first prize in the Washington International Competition, the Graham-Stahl Competition, and the Aspen Concerto Competition and second prize in the Evian International String Quartet Competition. As a former member of the Boston Musica Viva, he has explored extended techniques, including microtonal compositions and numerous premieres. As a teacher, he has served on the cello faculty of the University of Southern California, Hartt School of Music at the University of Hartford, the New England Conservatory, and guest artist faculty at the Curtis Institute of Music as well as at the Yellow Barn Music Festival and the Musicorda Summer String Program. He has conducted master classes at the Hong Kong Academy of Performing Arts, Manhattan and Mannes Schools of Music, Iowa and Pennsylvania State Universities, the Royal Conservatory of Music in Toronto, Seoul National University, Temple University, and at the Universities of Delaware and Michigan.

Terry Sweeney (Sandbox Percussion) Terry Sweeney is an avid chamber musician and collaborator. In addition to Sandbox Percussion, Terry is a member of quaquaqua, and The Percussion Collective, and has performed over 250 concerts across the United States. Recent projects include a world premiere of Seven Pillars, a percussion quartet by Andy Akiho, QUIXOTE – a multi-year collaboration with the theatrical ensemble HOWL, and a world premiere piano/percussion quintet by Chris Cerrone. Terry’s 2021/2022 season will feature world premieres by composers: Jessica Meyer, Tawnie Olson, Loren Loiacono, Molly Joyce, Tyshawn Sorey, and David Crowell.Sandbox released their debut album And That One Too on Coviello Classics in 2020. In 2021, Sandbox released Seven Pillars which was subsequently nominated for two Grammy awards. As an educator, Terry directs the percussion studies for the Yellow Barn Young Artist Program, is a faculty member at the University of Missouri Kansas City, co-directs the NYUSandbox Seminar, and during the 2019 Spring semester was a visiting artist at the University of Massachusetts. Terry holds degrees from the Peabody Conservatory and the Yale School of Music and endorses Pearl/ Adams musical instruments, Zildjian cymbals, Vic Firth sticks and mallets, Remo drumheads, and Black Swamp accessories.

Dawn Upshaw 2nd Summer Joining a rare natural warmth with a fierce commitment to the transforming communicative power of music, Dawn Upshaw has achieved worldwide celebrity as a singer of opera and concert repertoire ranging from the sacred works of Bach to the freshest sounds of today. Her ability to reach to the heart of music and text has earned her both the devotion of an exceptionally diverse audience, and the awards and

Her acclaimed performances on the opera stage comprise the great Mozart roles as well as modern works by Stravinsky, Poulenc, and Messiaen. From Salzburg, Paris and Glyndebourne to the Metropolitan Opera, where she began her career in 1984 and has since made nearly 300 appearances, Dawn Upshaw has also championed numerous new works created for her including The Great Gatsby by John Harbison; the Gramemeyer Award-winning opera, L’Amour de Loin and oratorio La Passion de Simone by Kaija Saariaho; John Adams’s Nativity oratorio El Niño; and Osvaldo Golijov’s chamber opera Ainadamar and song cycle Ayre. She is the Head of the Vocal Arts Program at the Tanglewood Music Center and was the founding Artistic Director of the Vocal Arts Program at the Bard College Conservatory of Music. A five-time Grammy Award winner, Dawn Upshaw is featured on more than 50 recordings, including the million-selling Symphony No. 3 by Henryk Gorecki for Nonesuch Records. Dawn Upshaw holds honorary doctorate degrees from Yale, the Manhattan School of Music, the Juilliard School, Allegheny College, and Illinois Wesleyan University. She began her career as a 1984 winner of the Young Concert Artists Auditions and the 1985 Walter W. Naumburg Competition, and was a member of the Metropolitan Opera Young Artists Development Program. Ms. Upshaw has recorded extensively for the Nonesuch label in addition to other labels.

Viano String Quartet CMNW 2022 Protégé Artists

individual instruments in a string quartet interacting as one. Each of the four instruments begins with the letter “v”, and like a piano, all four string instruments together play both harmony and melody, creating a unified instrument called the “Viano.”


distinctions accorded to only the most distinguished of artists. In 2007, she was named a Fellow of the MacArthur Foundation, the first vocal artist to be awarded the five-year “genius” prize, and in 2008 she was named a Fellow of the American Academy of Arts & Sciences.

Allan Vogel


Praised for their “huge range HAO ZHOU of dynamics, Violin massive sound and spontaneity” AIDEN KANE Viola (American Record Guide), the Viano TATE ZAWADIUK String Quartet Cello are First Prize winners of the 2019 Banff International String Quartet Competition. Formed in 2015 at the Colburn Conservatory of Music in Los Angeles, where they were Ensemble-in-Residence through the 2020-21 season, the quartet has performed in venues such as Wigmore Hall, Place Flagey, Konzerthaus Berlin, and Segerstrom Center for the Arts. The quartet is in residence at the Curtis Institute of Music as well as Meadows School of Music at the Southern Methodist University through the 2022-23 season. Summer of 2021 brought debuts at Bravo! Vail and Rockport Music Festival, a return visit to Great Lakes Chamber Music Festival followed by extensive touring throughout Europe, Canada and the United States. Since the Covid-19 pandemic started, the Viano String Quartet actively presented virtual and socially distanced live concerts for various organizations, including Friends of Chamber Music of Troy, Salt Lake Chamber Music Society, Dallas Chamber Music Society, Schneider Series at the New School, and the Banff International String Quartet Festival.

35th Summer Allan Vogel, former principal oboist of the Los Angeles Chamber Orchestra, has been a guest artist with the Chamber Music Society of Lincoln Center, and with the Santa Fe, Mostly Mozart, Marlboro, Aspen, SummerFest, Sarasota, and Oregon Bach festivals. He also performed with the Academy of St. Martin in the Fields, the Orpheus Chamber Orchestra, and the Berlin Philharmonic, and has been guest principal oboist with the Boston Symphony Orchestra for concerts in the major European capitals, Carnegie Hall, the Kennedy Center, and Boston’s Symphony Hall. He has served as judge for the Sony Oboe Competition and the Fischoff Chamber Music Competition. A member of the Baroque group Bach’s Circle, he is on the music faculties of the California Institute for the Arts, the University of Southern California, and the Colburn School. He can be heard on the labels of Delos, Nonesuch, RCA, and Dorian, and served on the advisory board of the American Bach Society.

They have collaborated with worldclass musicians such as pianists Emanuel Ax, Elisso Virsaladze, Inon Barnatan and Marc-Andre Hamelin, violists Paul Coletti and Paul Neubauer, violinist Noah BendixBalgley, and vocalist Hila Plitmann. The quartet achieved incredible success in their formative years, with an unbroken streak of top prizes at Osaka, Fischoff, Wigmore Hall, Yellow Springs and ENKOR chamber music competitions.The name “Viano” was created to describe the four


Gilles Vonsattel 4th Summer Swiss-born American pianist Gilles Vonsattel is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, and winner of the Naumburg and Geneva competitions. He has appeared with the Munich Philharmonic, Orchestre Symphonique de Montréal, Boston Symphony, and San Francisco Symphony. Recent performances include appearances with the Chicago Symphony, Gothenburg Symphony, Orchestra della Svizzera Italiana, Vancouver Symphony, Florida Orchestra, as well as multiple appearances in New York and on tour with the Chamber Music Society of Lincoln Center. A deeply committed chamber musician, he appears regularly at festivals such as Santa Fe Chamber, Music@Menlo, Chamber Music Northwest, Spoleto USA, and has performed with the Emerson, Escher, Miró, Danish, Ebène, Calidore, Pacifica, St. Lawrence, Doric, and Borromeo Quartets. Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School. He serves on the faculties of the University of Massachusetts Amherst and Bard College Conservatory.

Melinda Wagner CMNW co-commissioned composer Hailed as an “...eloquent, poetic voice in contemporary music...” (American Record Guide), Melinda Wagner achieved widespread attention when her colorful Concerto for Flute, Strings and Percussion was awarded the Pulitzer Prize in Music in 1999. Since then, major compositions have included Concerto for Trombone and Orchestra, for Joseph Alessi and the New York Philharmonic, and a piano concerto, Extremity of Sky, commissioned by the Chicago Symphony for Emanuel Ax, who has also performed it with the National Symphony Orchestra, the Toronto Symphony, the Staatskapelle Berlin,


and the Kansas City Symphony. In all, the Chicago Symphony Orchestra has commissioned three works by Wagner: Falling Angels, Extremity of Sky, and a new work, Proceed, Moon, which received its premiere under the baton of Susanna Mälkki in 2017. Other recent commissions include Elegy Flywheel, composed for the New York Philharmonic’s Project 19 series, and Dido Reimagined, for Dawn Upshaw and the Brentano String Quartet. Wagner’s works have been performed by many other leading ensembles, including the Philadelphia Orchestra, American Brass Quintet, the American Composers Orchestra, the Boston Modern Orchestra Project, and the Philadelphia Chamber Music Society. Among honors Wagner has received are a Guggenheim Fellowship, and awards from the American Academy of Arts and Letters and ASCAP. In 2001, Wagner received an honorary doctorate from Hamilton College, and she was elected to the American Academy of Arts and Letters in 2017. Project support has come from the Barlow Endowment, the Fromm and Koussevitzky Foundations, and the Mary Flagler Cary Charitable Trust. A passionate and inspiring teacher, Melinda Wagner is currently Chair of the Department of Composition at The Juilliard School. She has presented master classes at many institutions including Harvard, Yale, Cornell, the Cleveland Institute, and Eastman. She recently served as Master Artist at the Atlantic Center for the Arts and Distinguished Visiting Professor at the Frost School of Music, University of Miami. Ms. Wagner has been a mentor composer at the Wellesley Composers Conference (2010, 2012, 2013) and the American Composers Orchestra Underwood Readings and Earshot programs. Other residencies include the Bowdoin, Yellow Barn, Monadnock, and Vail Valley Music Festivals, the MacDowell Colony, and in 2021, the Atlantic Music Festival.

Lucy Wang (Viano String Quartet) CMNW 2022 Protégé Artist Canadian violinist Lucy Wang has garnered praise as an artist whose “technical prowess, tonal mastery and stage presence can come as no surprise to anyone who has seen her work” (Peace Arch News). She is a founding member of the Viano String Quartet, First Prize Laureates of the 2019 Banff International String Quartet Competition and the Graduate String Quartet-in-Residence at the Curtis Institute of Music. Lucy has performed as soloist, chamber, and orchestral musician in venues such as Walt Disney Concert Hall, Wigmore Hall, Izumi Hall, Carnegie Hall, and Konzerthaus Berlin. A native of Vancouver, BC, Lucy has soloed with the Vancouver Symphony Orchestra in past seasons and collaborated in performance with artists such as Emanuel Ax, Noah Bendix-Balgley, Michelle Cann, James Ehnes, and Paul Neubauer. Lucy studied with Martin Beaver at the Colburn Conservatory, Carla Birston at the VSO School of Music, and Gerald Stanick. She performs on a 1715 Dominicus Montagnana violin, generously on loan from the Canada Council Instrument Bank.

Ransom Wilson 25th Summer Flutist/conductor Ransom Wilson has performed in concert with major orchestras the world over. As a flutist, he has recently launched an ongoing series of solo recordings on the Nimbus label in Europe. He has appeared as soloist with the Chicago Symphony, Philadelphia Orchestra, San Francisco Symphony, and many others. As a conductor, he is starting his sixth season as Music Director of the Redlands Symphony in Southern California, and he continues his positions with the Lar Lubovitch Dance Company and Le Train Bleu ensemble in New York. He has led opera performances at the New York City Opera, and was for ten years an assistant conductor

As an educator, he regularly leads master classes at the Paris Conservatory, The Juilliard School, Moscow Conservatory, Cambridge University, and others. A graduate of The Juilliard School, he was an Atlantique Foundation scholar in Paris, where he studied privately with JeanPierre Rampal. His recording career, which includes three Grammy Award nominations, began in 1973 with JeanPierre Rampal and I Solisti Veneti. Since then he has recorded over 35 albums as flutist and/or conductor. Mr. Wilson is professor of flute at the Yale University School of Music, and has performed with The Chamber Music Society of Lincoln Center since 1991.

Tate Zawadiuk (Viano String Quartet) CMNW 2022 Protégé Artist Canadian cellist, Tate Zawadiuk, is both an engaging soloist and founding member of the Viano String Quartet. The ensemble won first prize at the 2019 Banff International String Quartet Competition and has performed internationally in venues such as Wigmore Hall, Berlin Konzerthaus, Flagey, and Bremen Die Glocke. As a soloist, Tate has performed with the Vancouver Symphony Orchestra, the Calgary Philharmonic Orchestra, the Vancouver Philharmonic, New Westminster Symphony, Richmond Symphony Orchestra, and Vancouver Youth Symphony Orchestra. He has collaborated with world renowned artists such as Emanuel Ax, James Ehnes, Marc-André Hamelin, Inon Barnatan, Clive Greensmith, Scott St. John, Noah Bendix-Balgley, Ida Kavafian, Steven Tenenbom, and Johannes Moser.

Tate has attended many festivals, including Ravinia’s Steans Music Institute, Norfolk Chamber Music Festival, St. Lawrence String Quartet Seminar, McGill International String Quartet Academy, Great Lakes Chamber Music Festival, ENCORE Chamber Music Festival, and the Académie de Villecroze where he worked with Colin Carr. In 2016, Tate received an Award of Excellence from the National Youth Orchestra of Canada. Currently, Tate is in his first year of postgraduate studies at the Curtis Institute of Music, as a member of the Nina von Maltzahn String Quartetin-Residence. He holds a Bachelor’s and Master’s degree from the Colburn Conservatory of Music, where he studied with Clive Greensmith and Ronald Leonard. Tate plays on a 1701 David Tecchler on loan from David Kerr’s Violin Shop in Portland, Oregon.

Hao Zhou (Viano String Quartet) CMNW 2022 Protégé Artist “Personal, impassioned, courageous, and unostentatiously brilliant” (Musical America), American violinist Hao Zhou rose to international acclaim as both the Grand Laureate of the 2019 Montreal International Violin Competition and a First Prize winner of the 2019 Banff International String Quartet Competition. An accomplished soloist and chamber musician, Hao made his Carnegie Hall debut at the age of 12. He made solo appearances with the Orchestre Symphonique de Montréal, Downey Symphony Orchestra, and Peninsula Symphony Orchestra alongside conductors such as Esa-Pekka Salonen, Alexander Shelley, and Thierry Fischer. A founding member of the awardwinning Viano String Quartet, Hao has also performed worldwide in venues including Konzerthaus Berlin, Izumi Hall, Place Flagey, and Wigmore Hall with such internationally distinguished artists as Emanuel Ax, Roberto Diaz, Noah BendixBalgley, Orion Weiss, and Marc André-Hamelin. He was invited to the Kronberg Academy Festival in 2019

and has spent past summers at the Ravinia’s Steans Institute for Young Artists and the Norfolk Chamber Music Festival. Currently, Hao is pursuing postgraduate studies at the Curtis Institute of Music with the Viano String Quartet as the Nina von Maltzahn Graduate String Quartet in Residence. He was the first recipient of the Frances Rosen Violin Prize at the Colburn Conservatory, where he studied with Martin Beaver and received his Bachelor’s and Master’s degrees. Hao plays on a 1783 Joseph and Antonio Gagliano violin, on generous loan from the Aftergood Family.


at the Metropolitan Opera. He has been a guest conductor of the London, Houston, KBS, Kraków, Denver, New Jersey, Hartford, and Berkeley symphonies; the Orchestra of St. Luke’s; the Philadelphia Chamber Orchestra; the Hallé Orchestra; and the chamber orchestras of St. Paul and Los Angeles. He has also appeared with the Glimmerglass Opera, Minnesota Opera, and the Opera of La Quinzena Musical in Spain.

Carmit Zori 9th Summer Violinist Carmit Zori is the recipient of a Leventritt Foundation Award, a Pro Musicis International Award, and the top prize in the Walter W. Naumburg International Violin Competition. She has appeared as a soloist with the New York Philharmonic, the Rochester Philharmonic, and the Philadelphia Orchestra, among many others, and has given solo recitals at Lincoln Center, the Los Angeles County Museum of Art, the Isabella Stewart Gardener Museum in Boston, the Phillips Collection in Washington D.C., the Tel Aviv Museum and the Jerusalem Center for the Performing Arts. Her performances have taken her throughout Latin America and Europe, as well as Israel, Japan, Taiwan and Australia, where she premiered the Violin Concerto by Marc Neikrug. Ms. Zori appeared with the Chamber Music Society of Lincoln Center, and has been a guest at chamber music festivals and concert series around the world, including the Chamber Music Festival, Bard Music Festival, Chamber Music Northwest, Santa Fe Chamber Music Festival, La Jolla Chamber Music Festival, Seattle Chamber Music Festival, Cape Cod Chamber Music Festival, BDDS Chamber Music Festival (Wisconsin),Orcas Summer Music Festival, Peasmarsh Music Festival (UK), Philadelphia Chamber Music Society, as well as many other venues. Carmit Zori is a regular participant at the Marlboro Chamber Music Festival in Vermont.


Ms Zori has participated in concerts “Music for Food,” an organization that leads initiatives with music for local hunger relief. She also participated in concerts for Project Music Heals Us a nonprofit organization that interacts through the communities with focus on elderly, and disabled. Carmit is a member of the “Israeli Chamber Project”, an ensemble that performs chamber concerts in Israel and abroad as well as participates in educational outreach. Ms. Zori, who for ten years was an artistic director at Bargemusic, founded the Brooklyn Chamber Music Society in 2002.

After hearing the fifteen-year-old Ms. Zori, Isaac Stern arranged for her to come to the United States from her native Israel to study at the Curtis Institute of Music in Philadelphia, where her teachers included Ivan Galamian, Jaime Laredo and Arnold Steinhardt. She has recorded on the Arabesque, Koch International, and Elektra-Nonesuch labels. Ms. Zori is professor of violin at Bard college conservatory of music, Rutgers University and at SUNY Purchase.

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Soovin Kim, violin, faculty Jessica Lee, violin, faculty Nicholas Cords, viola, faculty Peter Stumpf, cello, faculty Please see their bios in Festival Artist & Composer Bio section

Institute Staff Alyssa Tong

Institute Manager Alyssa Tong is the Executive Director and Founder of String Insiders, an educational nonprofit that focuses on providing access for pre-professional string students to teachers, resources, and information. String Insiders hosts the Online Solo Strings Intensive (OSSI), which is hosted every summer and gives over 100 students the opportunity to work closely with the top professors and teachers from around the country. OSSI was the first online music festival, created in response to the COVID-19 pandemic. She also directs the InPerson Strings Intensive, as part of String Insiders, and Quest Concerts, an intimate chamber concert series in Dallas, TX. She formerly hosted the Strings Virtual Summit, which was an online conference with over 1,000 attendees at each iteration and provided access to interviews with top professionals in the music field to viewers, free of charge. Through her work with String Insiders, she has worked with faculty members such as Clive Greensmith, Soovin Kim, Paul Kantor, Ani Kavafian, Paul Katz, and many others. In addition to her administrative work, she is also a master’s student, studying violin under Simon James at the San Francisco Conservatory of Music. She formerly studied under Nelson Lee of the Jupiter String Quartet as a full scholarship student, recipient of the Doris Vance Harmon Music Scholarship, at the University of Illinois at UrbanaChampaign School of Music. When she’s not working or practicing, you can find her spending time with her six siblings or cooking something new.


Pualina Lim Mei En

Collaborative Piano Fellow Hometown: Singapore Degrees from previous schools: Bachelor of Music in Piano Performance (Yong Siew Toh Conservatory of Music, National University of Singapore) Current program: Master of Music in Collaborative Piano (New England Conservatory) My favorite piece of music: Elgar’s Cello Concerto in E Minor, Op. 85

Yandi Chen

Collaborative Piano Fellow Hometown: Shanghai, China Degrees from previous schools: Bachelor of Music in Piano Performance, Juilliard School; Master of Music in Piano Performance, Yale School of Music Current program: DMA in Chamber Music Piano, New England Conservatory My favorite piece of music: Brahms Piano Quartet No. 3 in C Minor, Op. 60

Katie Danforth Young Artist Mentor

Katie Danforth currently attends the Shepherd School of Music at Rice University where she is pursuing a Master of Music degree in Oboe Performance under the tutelage of Robert Atherholt. Previously, she studied with Robert Walters at the Oberlin Conservatory of Music and graduated with a Bachelor’s degree in Oboe Performance in 2021. As an orchestral musician, Katie has performed with the Indianapolis Symphony Orchestra, and Akron Symphony Orchestra. She was also a member of the 2020 National Academy Orchestra of Canada, and the 2022 Spoleto Festival USA Orchestra. Outside of performance, Katie teaches private lessons and masterclasses in the greater Houston area and is passionate about creating a comfortable and accessible environment for students to cultivate a love for music.

Paul Kim

Young Artist Mentor Colorado-native Paul Kim is a recent transplant to the Bay Area where he is an active performer and teacher. He has just recently finished his master’s degree with Cordula Merks at the San Francisco Conservatory of Music and is pursuing a Performance Certificate with Ms. Merks next fall. Previously, he studied with Charles Wetherbee of the Carpe Diem String Quartet at the University of Colorado Boulder College of Music. In his free time, Paul enjoys baking bread and hiking with friends.

Corina Deng

Joshua Kovác Cello


Hometown: Vancouver, Canada My favorite piece of music: Schubert’s Grand Duo What I do when not playing music: Visit museums

Fiona Huang

Ella Saputra


Young Artists

Violin Hometown: Johnson City, Tennessee

Hometown: Schaumburg, Illinois

My favorite piece of music: Dvořák Cello Concerto

My favorite piece of music: Tchaikovsky Symphony No 5.

What I do when not playing music: swim, play chess, solve Rubik’s cubes, compose music, watch hockey

What I do when not playing music: Chilling with my friends and dog

Sarah Kave


Nazeeh Shahid



My favorite piece of music: Dvořák Piano Quintet No. 2

My favorite piece of music: Silent Woods by Dvořák

What I do when not playing music: playing tennis and soccer, watching Chinese dramas

What I do when not playing music: Write poetry, read, watch films, go on long walks

Emily Hwang

Eleanor Markey Violin


Hometown: Palo Alto, California

Hometown: Wayland, Massachusetts

My favorite piece of music: Schubert Piano Sonata in Bb Major, D. 960

My favorite piece of music: Barber Adagio for Strings

What I do when not playing music: Reading and writing

Hanna Jang Viola

Hometown: Seoul, South Korea My favorite piece of music: Chopin Ballade No.4 What I do when not playing music: Netflix, listen to music, play with friends, video editing

Hometown: Chicago, Illinois

Hometown: Los Angeles

Hometown: Saratoga, California

What I do when not playing music: Reading, writing, singing, listening to my favorite playlists, daydreaming, and chilling with my little brothers!

Jiyu Oh Violin

Hometown: Seoul, South Korea My favorite piece of music: Schumann Piano Quartet 3rd mvt, Rachmaninoff Symphony no.2 3rd mvt What I do when not playing music: reading, visiting bookstores, DIYs, watching musical movies, collecting pins

My favorite piece of music: None, I like most music What I do when not playing music: Running, birdwatching, composing, swimming, playing basketball, watching movies and talking with my family

Nate Strothkamp Violin

Hometown: Portland, Oregon My favorite piece of music: Richard Strauss - Der Rosenkavalier Suite What I do when not playing music: Hiking, working out, coffee shop hopping, spending time downtown (most notably eating at restaurants and going to Powell’s Books), reading, watching my favorite Netflix shows

Moshi Tang Violin

Hometown: Cleveland, Ohio My favorite piece of music: Mozart Requiem What I do when not playing music: Play/watch soccer, exercise, solve Rubik’s cubes YAI continues on next page...


Hana Taylor Violin

Hometown: Brookline, Massachusetts My favorite piece of music: Variations on Nel cor più non mi sento (Paganini) What I do when not playing music: video games, long car rides with my uncle, drinking slushies, watching anime, and shopping at outlets or Gamestop

JOIN US for our 2022-23 Season!

Maanas Varma Viola

Hometown: Flower Mound, Texas My favorite piece of music: Lotus Land by Cyril Scott What I do when not playing music: watching basketball, hockey, or soccer; hanging out with family and friends; reading, playing table tennis

Kira Wang Cello

Hometown: Portland, Oregon My favorite piece of music: Après un rêve, Gabriel Fauré What I do when not playing music: running with my dog, boba or trying new restaurants, studying at cafes, talking with friends

Marina Ziegler Violin

Hometown: Akron, Ohio My favorite piece of music: Prokofiev Symphony No. 5 What I do when not playing music: Listen to music, go on drives, hike (with my dog Yoshi!), and try new types of food

Creating powerful programs promoting meaningful social change resonancechoral.org




2022-23 31st Annual Season Highlights Chamber music based on Byzantine chant with 45th Parallel • A Ukrainian Village Wedding with the women of Cappella Romana, directed by Nadia Tarnawsky • 2 world premieres and 3 recording releases • Gesualdo Six from England & more ! CAPPELLAROMANA.ORG


World class chamber music in Oregon wine country

August 6-21, 2022 Dynamic & exciting programming featuring iconic favorites by Beethoven, Mozart & Schumann, alongside the cutting edge from Osvaldo Golijov, Kevin Day & Kareem Roustom. Plus a new work by

2022 Composer-in-Residence Reena Esmail. Featuring live performances at Archery Summit, Sokol Blosser & J. Christopher Wineries





of adventurous chamber music! "One of the state’s

most valuable

performing arts ensembles" - Oregon ArtsWatch

Fear No Music is an industry leader, leveraging music as a form of social activism, and connecting Portlanders to the international movement of restorative justice.

PERSPECTIVES July 16 – November 13, 2022

Kenji Bunch & Monica Ohuchi Artistic & Executive Directors

Annual Concerts Series

relevant, responsive, & compelling featuring some of Oregon's most talented performers

Young Composers Project groundbreaking youth mentorship

Emery Barnes, Solidarity, 2020, pigment print, courtesy of the artist, ©Emery Barnes



A Message from Barbara Brooks, Lead House & Volunteer Manager …who is on to her next adventure after 10 years with Chamber Music Northwest To Chamber Music Northwest audiences, Summer Festival 2013 was my first step into the world of chamber music as I became one of your house managers. Little did I know that, what I thought would be a “one summer pit stop’’ on my career path, would become a 10-year journey filled with love, music, and friendships. Greeting every one of your faces over the years, masked or unmasked, has invigorated me with joy. Our volunteers, house managers and I welcomed you to our concert venues and prepared you for the best listening experience possible. Come rain or shine, snow or 116 degree days, it was our goal to make you comfortable, with room for exploring the anticipation that each concert brings. As my 10th festival approaches, I find the time has come for me to hang up my black and white “penguin suit,” as we fondly call it, and move into the next phase of my life. I am lacing up some new shoes to take me on some new adventures.

“From one change to another splendid new doors swing wide open and welcome you in”

I leave you in the caring and capable hands of Jen McIntosh, our new Patron Services Coordinator who will be responsible for house management and your patron experience beginning with the 2022/23 season. She is a gem and will take exceptional care of you. As my stellar CMNW experience comes to a close at the end of this festival, I send an enormous hug that bears thanks and good wishes for many more years of our music to fill your hearts.

Truly yours,


Bon Voyage, Barb! We thank you for your keen attention to the needs of our audiences, and the cultivation and care of our volunteers all these many years!


ABOUT CMNW Now in its 52nd season, Chamber Music Northwest serves more than 50,000 people in Oregon and SW Washington with exceptional chamber music through over 100 events annually, including our flagship Summer Festival, year-round concerts, community activities, educational programs, broadcasts, and innovative collaborations with other arts groups. CMNW is the only chamber music festival of its kind in the Northwest and one of the most diverse classical music experiences in the nation, virtually unparalleled in comparable communities.

Board of Directors Davida Wilson

Peter van Bever

Carl Abbott


Immediate Past President

Evelyn Brzezinski

Ravi Vedanayagam

Dan Boyce


Member at Large

Marc Therrien

Karen Deveney


Member at Large

Ronnie-Gail Emden Howard Greisler Ivan Inger

Yoko Greeney

Amelia Lukas


Kate Lyons


As one of the leading chamber music producers in the country, CMNW enriches our community by showcasing the world’s greatest musicians and composers. From world-renowned artists and exceptional local musicians to the rising young stars of our Protégé Project, they perform beloved classics and hidden masterpieces, contemporary works, and collaborations with other artists. Committed to sharing their music in fun and accessible ways, our artists participate in extensive community outreach, including free concerts, conversations, and education programs.

Gloria Chien & Soovin Kim

Nicole Lane

Shayla Keating

Artistic Directors

Marketing & Communictions Director

Marketing & Communications Associate

Peter J. Bilotta

Barbara Bailey

Benjamin Rosenthal

Executive Director

Finance & Administration Director

Ticketing & Data Manager

Development Director

Lauren Watt

Patron Services Coordinator

Jaren Hillard

Artistic & Community Programs Coordinator

Barbara Brooks

CMNW also invests in the future of chamber music. Our Protégé Project artists perform and learn from veteran festival artists and work with young musicians in our community. 2022 launches CMNW’s Young Artist Institute (YAI), an intensive education program for 16 talented string players from around the world, ages 14-18. CMNW commissions and presents 4–6 new works annually, primarily by American composers. A recipient of the Governor’s Arts Award, Chamber Music Northwest is among our region’s most acclaimed arts organizations, and is proud to have balanced its budget in each of the past 42 years.

Happiness Yi

Sammie Calkins

Production Manager

Development Intern

Megan Thorpe

Emmett VanVactor-Lee

Video Producer

Stage Manager

Audience Relations Assistant

Steph Landtiser

Kate Rafter

Ian Stout, Invisible Harness

Stage Manager

Audience Relations Assistant

Jonathan Villegas

Micki Selvitella

Production Assistant

House Manager

Grace Wenzel

Branic Howard

Artistic Operations Intern

Recording Engineer

Eric Leatha

Rod Evenson

Piano Tuner

Recording Engineer

Raina Parsons

Barry Stewart

Marketing & Merchandise Intern

Audio/Visual Engineer (Kaul Auditorium)

Leslie Tuomi

Artistic Operations Director

Jen McIntosh

Lead House & Volunteer Manager

Festival Staff Tim Neighbors, Invisible Harness

Video Producer

Jeff Hayes Festival Brand & Graphic Designer

Elizabeth Schwartz Chief Program Annotator

Tom Emerson Photographer, Education Videographer

Shawnte Sims Photographer

This program book was produced by Chamber Music Northwest. Graphic Design: Jeff Hayes | Printing: B&B Print Source | Editor-in-Chief: Nicole Lane




Architecture Art + Design Music & Theater Film





30% OFF



Embrace exciting contemporary and classical works performed by world renowned artists. Visit cmnw.org for tickets, special events, and full concert listings.

SUMMER HAS A PLAYLIST Oregon voices Oregon stories

Oregon Humanities is a magazine about the experiences, ideas, and beliefs of Oregonians. In each issue, Oregon writers, artists, and readers explore diverse perspectives and challenging questions relating to the place we live and the people who live here. Get your free subscription at oregonhumanities.org/subscribe



Spring 2022

Pain, attentio n, and the ethics of car egiving Writing obi tuaries to honor the live of Eugene’s unh s oused What are our obligati to wild animal ons s? s? The isolatio illness and the n of necessity of connection $8


Check in on a friend. Share your lunch. Offer to carry that. Grow a garden and give it away. Ask the tough questions. Then listen. Stand up for someone. Give someone a chance. Give yourself a break. Give to the arts. Start a movement. Start a scholarship. Welcome the new neighbors. Be patient. Walk a mile in their shoes. Donate shoes. Drop off dinner. Leave the last donut. Leave no trace. Take responsibility. Hold the door and your mind open. Endeavor to understand. RSVP. Smile. Hope for nothing more than kindness in return.