2011 Chestnut Hill Concerts Program Book by Vincent Oneppo

Chestnut Hill Concerts

42nd Season â&#x20AC;˘ 2011 Ronald Thomas, Artistic Director

225 Elm St.

2011 Concert Season Ronald Thomas, Artistic Director

Board of Directors Dr. Michael Ebert, President George Atkeson, Vice President Patrick Smith, Treasurer Sukey Howard, Secretary Martha Cox, Recording Secretary Judith Fisher Miriam Gardner-Frum Paulette Clark Kaufmann Mihae Lee Lisa LeMonte David Lopath Susan Norz Jeanne Guertin-Potoff David Rackey Karen Cronin Seligson Hattie Sussman J. Melvin Woody

Staff Vincent Oneppo, Managing Director Chris Melillo, Technical Manager Barbara Leish, Program Annotator Cover photo by George Atkeson With special thanks to the Connecticut Commission on Culture and Tourism. For additional information about Chestnut Hill Concerts, please call (203) 245-4736 or visit www.chestnuthillconcerts.org

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The Endowment for Chestnut Hill Concerts Before her death in late May, Dr. Shirley R. Schnitzer made a generous donation to create an endowment fund for Chestnut Hill Concerts. Gifts to this fund will ensure ongoing support of operations and presentation of the concert series. Once added to the endowment, your gift will be invested and a portion of the interest on the investment will support CHC each year. Restricted contributions can be made to the endowment and sent to Chestnut Hill Concerts Endowment Fund, P.O. Box 183, Guilford, CT 06437.

Large Print Programs Chestnut Hill Concerts is pleased to provide the program and program note pages in a large print format. Please ask an usher for a copy or call the box office to reserve a copy for next week. Kids & Teens Come Free! Chestnut Hill Concerts is pleased to introduce young people to the world of classical music by offering complimentary tickets to all children and teenagers accompanied by an adult. Bring your children, grandchildren, or perhaps a child in your neighborhood to one of this summerâ&#x20AC;&#x2122;s performances. Special opportunities for music teachers are also available. For more information, please call (203) 245-5736. Generously supported by Judith Fisher.

Chestnut Hill Concerts would like to to express its appreciation of the Connecticut Commission on Culture & Tourism for its support.

From the President of the Board Welcome to the forty-second season of Chestnut Hill Concerts. We are delighted to return to the Katharine Hepburn Cultural Arts Center for our second season in this wonderful and historic hall. Despite having presented programs in numerous venues over more than four decades â&#x20AC;&#x201D; from the original shed in Killingworth to various stages in Madison, Clinton, and Guilford â&#x20AC;&#x201D; we have never lost sight of our mission to present the finest chamber music for audiences on the Connecticut Shoreline. We are deeply grateful for the suport of our generous concert sponsors: Guilford Savings Bank, Essex Savings Bank, Bill and Loulie Canady, and a generous friend who wishes to remain anonymous. We thank the Connecticut Commission on Culture and Tourism for its continued support through the Arts Divisionâ&#x20AC;&#x2122;s grant program. We also applaud our piano sponsors and those supporting our outreach efforts, and of course all of our donors whose support makes this series possible. Artistic director Ronald Thomas has planned an exciting season of four concerts, featuring no fewer than thirteen outstanding artists, with four making their Chestnut Hill Concerts debuts. The diverse musical selections span four centuries, with baroque, classical, romantic, twentieth-century, and contemporary masterworks. I am heartened not only by the loyalty of those who have been attending our concerts year after year, but also by the interest and enthusiasm of so many new audience members. I thank all of you for joining us. Michael Ebert, M.D. President

Please Note Reserved tickets may be picked up beginning at 7:00 PM at the Katharine Hepburn Cultural Arts Center Box Office on the evening of performances. Tickets for future concerts may be purchased by calling 877-503-1286 or via ChestnutHillConcerts.org. The use of cameras and recording equipment without express written permission from Chestnut Hill Concerts is strictly prohibited. During the performance, please disengage wristwatch alarms and cell phones. Please leave beepers or paging systems with the House Manager or an usher. Lost and found articles should be reported or turned in to the House Manager. Your cooperation is greatly appreciated.

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Chestnut Hill Concerts 8:00 pm, Friday, August 5, 2011 Sponsored by A Friend Piano Sponsor: Bill & Paulette Kaufmann Kids & Teens Come Free! Sponsor: Judith Fisher

Duo for Viola and Cello (1949) Allegro risoluto Andante sereno Allegro brillante

Walter Piston (1894-1976)

Jonathan Vinocour, viola Raman Ramakrishnan, cello

Sonata for Piano and Violin in C minor, Op. 30, No. 2 Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro; Presto

Ludwig van Beethoven (1770-1827)

Harumi Rhodes, violin Steven Beck, piano

Intermission Piano Quartet No. 2 in E-flat major, Op. 87 Allegro con fuoco Lento Allegro moderato; grazioso Finale: Allegro ma non troppo

AntonĂn DvorĂĄk (1841-1904)

Harumi Rhodes, violin Jonathan Vinocour, viola Raman Ramakrishnan, cello Steven Beck, piano

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Program Notes by Barbara Leish

Piston: Duo for Viola and Cello (1949) Aaron Copland called Walter Piston “one of the most expert craftsmen American music can boast.” Given that Leonard Bernstein, Elliott Carter, and many other giants of 20th century American music studied with Piston – and given that Piston’s books Harmony, Counterpoint, and Orchestration have been bibles for legions of music students – it’s no surprise that his own music offers textbook examples of how to structure and develop a musical idea. There is nothing dryly academic about his work, though. As Elliott Carter has said, Piston excelled at “the most durable and most satisfying aspects of the art of music,” in works marked by elegance, wit, and sparkle as well as craftsmanship. Piston was born in Rockland, Maine, studied engineering and painting before entering Harvard as a music undergraduate at the age of 26, made the pilgrimage to Paris after graduation to study with Nadia Boulanger, then returned in 1926 to Harvard, where he remained as a revered and extraordinarily influential teacher and composer until his retirement in 1960. As a composer he worked slowly, once joking that he spent an hour deciding on a note, then another hour deciding to erase it. Through his teaching and his books he had a profound impact on American music, and during his lifetime his own body of work was widely admired. The Boston Symphony Orchestra under Serge Koussevitzky premiered several of his compositions, and two of his symphonies won Pulitzer Prizes. Piston was particularly pleased with the Duo for Viola and Cello, a terse, eloquent work that highlights many of his strengths as a composer: his neoclassical sense of form, mastery of counterpoint, rhythmic vitality, and ear for melodic line. Piston’s headings for each of the Duo’s movements are precise and to the point: The first movement is resolute, the second serene, the third brilliant. The compact, tightly constructed first movement, Allegro risoluto, begins with a striking series of rising fourths that launch a dialogue between the two instruments. The viola introduces a second idea, an expressive, waltz-like melody, after which cello and viola weave a contrapuntal tapestry around both themes in a short development section, before returning to the opening and a sudden, wistful ending. The second movement, marked Andante sereno, is striking for its long, expressive lines and beautiful harmonies, while the last movement, Allegro brillante, is distinguished by its high spirits and jazzy rhythms – an appealing end to a beautifully crafted work.

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Beethoven: Violin Sonata in C minor, Op. 30, No. 2 (1802) For Beethoven, 1802 was a year of crisis. For several years his hearing had been getting worse, and he was in a state of despair. On the advice of a doctor he moved to Heiligenstadt, a quiet village outside of Vienna. From there he wrote what has become known as the Heiligenstadt Testament, an anguished letter to his two brothers (never sent, but found after his death) in which he bemoans his deafness and writes, “I would have ended my life – it was only my art that held me back.” Earlier, he had struck a more defiant note in a letter to a friend: “I will seize Fate by the throat; it shall certainly not bend and crush me completely.” During this turbulent period, Beethoven continued to compose prolifically. Now, having mastered the classical tradition of Haydn and Mozart, he was on the verge of breaking new ground. “From today on I will take a new path,” he told a friend in 1802. Both of these strands – personal turmoil and musical revolution – make themselves felt in the C minor Violin Sonata, Op. 30 No. 2. It is a dramatic, tumultuous work, almost symphonic in scope, in four movements and in a key that was significant to Beethoven: he would turn to C minor in impassioned works such as the Fifth Symphony and the funeral march of the Eroica Symphony. While the first movement, Allegro con brio, is in the three parts of classical sonata form, it is clear from the outset that this work will not be confined by traditional expectations. The tone is set by the quietly ominous opening theme and the piano’s restless accompaniment when the violin takes over. A sprightly, march-like second theme in C major tempers the agitation of the opening, but the uneasiness quickly returns. From the exposition, Beethoven launches without pause into a swirling, tempestuous development section that is full of dramatic outbursts and sharp contrasts. The movement ends with a stormy coda. In the next two movements the mood brightens considerably. The warm, lyrical Adagio contabile is built around a tranquil melody, with the piano weaving arpeggios and scales around the violin’s half notes. Even here, though, the calmness is broken, briefly, by two short outbursts toward the end of the movement. The rhythmic Scherzo is marked by wit and good humor; it includes a galumphing trio that features a canon between the violin and the piano. With the Finale the tumult of the first movement returns. A rondo, it drives headlong from its rumbling opening theme, through thickets of development, to its furious coda. This is weighty, emotionally intense music — a strong suggestion of the Beethoven to come.

Dvorák: Piano Quartet in E-flat major, Op. 87 (1889) If Beethoven’s music at times reflects his inner turmoil, Dvorák’s reflects a much more benign disposition. Warmth, joy, and vivacity infuse his music. So do a devotion to Bohemian folk music, as well as a mastery of Classical form and technique. Like his friend Brahms, Dvorak was a Romantic composer who grounded his work within the Classical tradition. Like his fellow Bohemian composer Smetana, whose 13

folk-inspired music he greatly admired, Dvorák filled his compositions with the melodic sounds and the rhythms of Czech nationalism. By 1889, the year he wrote the Piano Quartet in E-Flat major, his music was being performed and admired throughout Europe. For several years his German publisher, Simrock, had been urging him to write a piano quartet. Finally, in August 1889, Dvorák set to work. He wrote quickly, telling a friend, “As I expected, it came easily, and the melodies just surged upon me, Thank God!” The result is a work marked by melodic invention, structural mastery, harmonic richness, and irresistible high spirits. The first movement, Allegro con fuoco, is dramatic from its opening measures. The strings begin somberly, in unison; the piano responds in a lighter mood, as if unwilling to take the strings too seriously, and eventually coaxes them into a buoyant restatement of the first theme. These contrasting moods, plus the addition of a tender second theme introduced by the viola, lay the ground for a fiery development section. Working within the Classical framework of development and recapitulation, Dvorák builds a movement rich in harmonic and emotional contrasts. The second movement, a melodically fertile, tightly structured Lento, begins with the cello singing a soulful melody. The solo line passes to the violin, which introduces a second, tranquil theme. The piano takes over with an ardent melody, then all join together in a brief, passionate outburst. The piano restores calm with a return to the mood of the opening, after which the entire pattern is repeated. An entirely different feeling pervades the lilting third movement — the section of the quartet with the most specifically Bohemian references. It begins with a waltz-like peasant dance, then introduces a theme that sounds Middle Eastern, with the piano at one point mimicking a cimbalom, or hammered dulcimer, a popular folk instrument. The tempo increases in the movement’s middle section, providing a spirited contrast to the opening section and its repeat. In the virtuosic Finale, Dvorák comes full circle, in a movement marked by themes that range from vivacious to lyrical, adventurous modulations, graceful interactions among the four instruments, and an exuberant conclusion.

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Chestnut Hill Concerts Pianist Mihae Lee, cellist Ronald Thomas, and violinist Ida Levin return with chamber music by the masters. Concert begins at 5 PM. Admission is $25. Call Congregation Beth Shalom Rodfe Zedek at 860-526-8920 or visit www.cbsrz.org for more details and tickets.

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InvitesInvites you toyou its December Concerts to its Spring2011 Concert

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Chestnut Hill Concerts 8:00 pm, Friday, August 12, 2011 Sponsored by Guilford Savings Bank Piano Sponsor: George & Janice Atkeson Kids & Teens Come Free! Sponsor: Judith Fisher

Three Pieces for Solo Clarinet (1918) Igor Stravinsky Sempre piano e molto tranquillo (1882-1971) mm = 168 mm = 160 Romie de Guise-Langlois, clarinet Chaconne Johann Sebastian Bach from Partita in D minor for Solo Violin, bwv 1004 (1720) (1685-1750) Jennifer Frautschi, violin

Contrasts for Violin, Clarinet and Piano (1938) Béla Bartók Verbunkos – recruiting dance (1881-1945) Pihenõ – relaxation Sebes – fast dance Romie de Guise-Langlois, clarinet Jennifer Frautschi, violin Mihae Lee, piano

Intermission Piano Trio in E minor, Op. 90, “Dumky” (1890-91) Antonín Dvorák Lento Maestoso (1841-1904) Poco Adagio Andante Andante moderato (quasi tempo di marcia) Allegro Lento maestoso Jennifer Frautschi, violin Julie Albers, cello Mihae Lee, piano

Stravinsky: Three Pieces for Clarinet Solo (1918) In 1918 Stravinsky was living with his family in Switzerland, stranded there by World War I and the Russian Revolution. In need of income, he decided to write a work for small ensemble that would travel easily and be inexpensive to perform. This new composition, L’histoire du soldat, was underwritten by the Swiss amateur clarinetist and patron of the arts Werner Reinhart. The original production of L’histoire du soldat was performed just once before it was shut down by the Spanish flu pandemic. But Stravinsky, grateful to Reinhart for his support, thanked him by writing Three Pieces for Clarinet Solo for him. Stravinsky composed these engaging little pieces at the end of his period of absorption with Russian folklore, and as he was about to set out in the new direction of Neoclassicism, a more restrained style inspired by the music of Mozart and especially Bach. He had also recently developed a passion for ragtime and jazz, after the Swiss conductor Ernest Ansermet brought back from America a pile of jazz sheet music and recordings. Stravinsky was enchanted with what he described as the music’s “truly popular appeal, its freshness, and the novel rhythm.” Although the Three Pieces are brief – a minute or two each – they incorporate all of these musical strands: the folk songs of Russia, the unaccompanied melodic lines of Bach, and the rhythms of jazz. The opening of the first piece suggests a traditional Russian folk song — Nadia Boulanger once called it “Variations on the Volga Boatmen.” Despite its constantly shifting time signatures (almost every measure has a new one), the mood of this melodic opener is lyrical and tranquil. The second piece – which has no bar lines at all – is a mercurial, light romp that skitters and leaps from high register to low. The bright third piece is pitched higher; Stravinsky preferred that it be played on a B flat clarinet, unlike the first two, which are written for the clarinet in A. Marked “forte from beginning to end,” it features insistent jazz rhythms and a playful wit, ending with a final, amusing little leap. “Too many pieces of music finish too long after the end,” Stravinsky once said. Three Pieces for Clarinet Solo is the proof that short can be sweet.

Bach: “Chaconne” from Partita in D minor for Solo Violin, bwv 1004 (1720) Stravinsky could well have been thinking of the pure melodic lines of Bach’s violin partitas and sonatas when he wrote his Three Pieces for Clarinet Solo. Bach spent the years 1717-1723 at the court of Prince Leopold of Anhalt-Cöthen, during which time he composed scores of secular works for the music-loving prince. Among them were three sonatas and three partitas for unaccompanied violin – demanding works that present daunting technical problems, such as how to project harmony and counterpoint with an instrument that most easily produces single melodic lines. The second Partita in D minor, like the other two, is constructed around a sequence of dances Allemande, Courante, Sarabande, and Gigue —whose order 21

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would have been familiar to Bach’s listeners. This second partita, though, contains a surprise: Bach ends it with a majestic Chaconne, a work of technical complexity and great profundity, twice as long as the other four movements combined. It is one of Bach’s most sublime creations. The traditional chaconne was a slow dance, in triple meter and in a minor key, consisting of a series of melodic variations over a repeating bass line. Following traditional form, Bach begins with a four-measure thematic statement: a harmonized phrase over a descending four-note ground bass. This first statement is followed by 64 continuous variations on the original melody, each four measures long, each anchored by the ground bass. About halfway through, Bach shifts from D minor to D major, introducing a more tranquil section before returning to the minor for the last several sets of variations and a final restatement of the original theme. The marvel is that on this strict structure Bach erected an architecturally intricate, richly expressive masterpiece. The work is a showcase of variation techniques. With its harmonies built from chords, its multiple voices, and the need to project both melody and ground bass simultaneously, it is a supreme technical challenge for the violinist. More, it is an intense intellectual and emotional journey. Bach’s biographer Philipp Spitta called it “a triumph of spirit over matter.” Describing its impact, Brahms, after finishing his piano transcription of the Chaconne for the left hand alone, wrote memorably to Clara Schumann: “The Chaconne is in my opinion one of the most wonderful and incomprehensible pieces of music. Using the technique adapted to a small instrument the man writes a whole world of the deepest thoughts and most powerful feelings. If I could picture myself writing, or even conceiving, such a piece, I am certain that the extreme excitement and emotional tension would have driven me mad.”

Bartók: Contrasts (1938) Contrasts was the outcome of an idea hatched by the Hungarian violinist Joseph Szigeti, Bartók’s good friend and frequent concert partner, and the jazz clarinetist Benny Goodman: Goodman would commission Bartók to write a work for clarinet, violin, and piano, in the lassú-friss (slow-fast) format that Bartok had used in an earlier Hungarian-style rhapsody for violin and piano. Szigeti sent Bartok the specifications in a letter: “If possible, the composition should consist of two independent parts (with the possibility of playing them separately – like the First Rhapsody for violin) and, of course, we hope that it will also contain brilliant clarinet and violin cadenzas.” Goodman added that each of the two parts should be just a few minutes long – short enough to fit on the sides of a 78 rpm record. As it turned out, the new work had three parts and ran around seventeen minutes. However, Bartók withheld the middle section, Pihenõ, when he delivered the finished composition. The 1939 Carnegie Hall premiere of the two outer movements – called “Rhapsody – Two Dances” — was enthusiastically received. A year later Bartók added the middle movement, renamed the work Contrasts, and joined Szigeti and Goodman in another Carnegie Hall premiere. 23

Contrasts is aptly named. The very different timbres of the instruments make for a striking contrast, although not a unique one – this particular combination is one that composers from Mozart to Stravinsky have used. The performers themselves come from the two different worlds of classical and jazz. Contrasting tempos shape the movements, which overflow with contrasting meters, moods, and styles. The first movement (Verbunkos – recruiting dance) is based on a stately eighteenth-century Hungarian dance performed by uniformed officers to entice young men in villages to join the army. Bartók’s ingratiating verbunkos is introduced by the clarinet after some opening violin pizzicatos — an idea borrowed, according to Szigeti, from the blues movement of Ravel’s Violin Sonata. The movement includes a texturally dense second theme. It also includes, as requested, a clarinet cadenza near the end; the violin gets its cadenza in the middle of the last movement. The nocturne-like second movement (Pihenõ – relaxation) is a slow, atmospheric interlude, with a piano part that at times suggests a gamelan. The folk-inspired third movement (Sebes — fast dance) opens with an attention-getter: a second violin, retuned so that the violinist can play diminished fifths on open strings. These intervals — which were considered sinister in western music but found frequently in central European folk music as well as in jazz and blues — set the tone for a bouncy, jazz-inflected movement that includes a rhythmically complex middle section and ends flamboyantly with a raucous series of outbursts from the clarinet.

Dvorák: Piano Trio in E minor, Op. 90, “Dumky” (1890-91) The folk music of Bohemia was part of Dvorák’s life from the time he was a small boy, when he would listen to his father, a butcher and innkeeper, play the zither at weddings and other celebrations in their village. Later young Antonín joined in, playing along on a fiddle. Later still, when he was on his way to becoming a highly regarded, classically-trained composer, he was inspired by the Czech independence movement to return to the music of his youth and incorporate its sounds and rhythms into his own music. He had no interest in a literal transcription of folk tunes; rather, he wrote original melodies and rhythms that perfectly captured the spirit of native Czech music. One of his favorite folk forms was the dumka (Czech plural dumky), a pensive, often brooding lament, originally Ukranian, that was popular throughout the Slavic world. Dvorák gave the name to several of his works, including two piano pieces, the second movement of the A major Piano Quintet, and of course this unconventional trio – unconventional because instead of three or four traditional movements, it is composed of six short dumky. In Dvorák’s hands, the dumka becomes a work of sharply contrasting parts, from plaintive melodies to gay dances, and of rapidly changing moods that range from melancholy to jubilant. While the Trio’s six dumky are linked structurally – each is written with alternating slow and fast sections – and while all shift between major and minor modes, thematically and tonally each has its own character. Dvorák marked the first three attaca subito, meaning that they are to be played as a unit, without pause. The first dumka, Lento maestoso, establishes the pattern: an impassioned melody, stated first 24

by the cello, is followed by a rollicking dance, then a return to the original mood. The opening mood of the second, Poco adagio, is more doleful than the first, while that of the Andante third is lyrical and tranquil. Interestingly, in this third dumka it is the slower opening that is in a major key, with the dance that follows in the minor. A sense of sadness pervades the somber, Russian-sounding fourth dumka, Andante moderato quasi tempo di Marcia, with its melancholy march rhythms. That mood is banished by the capricious, rhythmically driven fifth dumka, the only one marked Allegro. Here, in another reversal of pattern, the outer sections are faster than the middle. With the final dumka, Lento maestoso, Dvorák returns to the sentiments of the first, alternating darker passages with vigorous dances before ending with a spirited outburst. Dvorák was the pianist at the Trio’s premiere in Prague in April, 1891, where the work was enthusiastically received, as it has been ever since.

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Chestnut Hill Concerts 8:00 pm, Friday, August 19, 2011 Sponsored by Essex Savings Bank Kids & Teens Come Free! Sponsor: Judith Fisher

Sonata for Violin and Piano in F major, K. 376 Wolfgang Amadeus Mozart Allegro (1756-1791) Andante Rondo: Allegretto grazioso Ida Levin, violin Mihae Lee, piano

Sonata in F major for Cello and Piano, Op. 6 Richard Strauss Allegro con brio (1864-1949) Andante ma non troppo Finale: Allegro vivo Ronald Thomas, cello Mihae Lee, piano

Intermission Trio No. 1 for Violin, Cello, and Piano in B-flat major, Op. 99 Franz Schubert Allegro moderato (1797-1828) Andante, un poco mosso Scherzo: Allegro Rondo: Allegro vivace Ida Levin, violin Ronald Thomas, cello Mihae Lee, piano

Mozart: Violin Sonata in F major, K. 376 (1781) Mozart took one of his most decisive, life-changing steps in the spring of 1781. He had just arrived in Vienna from Munich, where he had spent several months writing his first operatic masterpiece, Idomeneo. He had been summoned to Vienna by his patron, Salzburg’s Archbishop Colloredo, a man whom Mozart believed treated him badly. Against the wishes of his father Leopold, and after an ugly series of confrontations with the archbishop and his staff, Mozart broke with his employer and struck out on his own as a freelance composer, performer, and teacher in Vienna. Leopold was furious, and father and son never fully reconciled. But Wolfgang, finally independent at the age of 25, was exhilarated. He remained in Vienna for the rest of his life – a decade during which his genius flourished and he wrote his most important works. Eager to prove he could support himself, Mozart plunged into Vienna’s musical life. He immediately began performing for aristocratic patrons and teaching their children. One of his clavier students was Josepha Auernhammer, a young woman who was clearly smitten with him. Mozart’s description of her in a letter to his father was far from flattering: “The young lady is a fright, but plays enchantingly….She is nothing but an amorous fool….If a painter wanted to portray the devil to the life, he would have to choose her face.” Still, after Mozart completed the six Violin Sonatas that were published that year as Opus 2, he dedicated them to her. The set includes the Sonata in F major, K. 376, which Mozart composed soon after he had settled into his new life. This is a graceful sonata, in three movements: Allegro, Andante, and Rondo — Allegretto grazioso. Three attention-getting chords open and set the tone for the relatively short, energetic first movement, which is written in conventional ABA structure. The Andante is lyrical and melodic, with both instruments contributing colorful embellishments. The last movement begins with a cheerful theme, introduced by the piano, that launches a graceful and good-natured Rondo. In contrast to earlier Mozart works in which the violin played a secondary role, this sonata moves in the direction of a greater balance between violin and piano. While the piano introduces the main themes in each of the movements, and while it has solo stretches, there is also significant give-and-take. As a reviewer of Opus 2 later observed in a Hamburg magazine: “The violin part is so ingeniously combined with the clavier part that both instruments are constantly kept in equal prominence; so that these sonatas call for as skilled a violinist as a clavier player.”

Strauss: Cello Sonata in F major, Op. 6 (1883) Like Mozart, Strauss was a musical prodigy. He began studying the piano at four and composed his first work when he was six, an introduction and trio for piano that he played while his father wrote it down. The next year he wrote his first lieder. His father, a virtuoso horn player who had firm ideas about what was and wasn’t good music, raised his son on a diet of Mozart, Haydn, Beethoven, Schubert, and 28

Mendelssohn – composers who greatly influenced young Richard’s developing style. (“Under my father’s strict tutelage,” Strauss would later reminisce, “I heard nothing but classical music until I was sixteen, and I owe it to this discipline that my love and adoration for the classical masters of music has remained untainted to this day.”) Richard studied composition privately for a few years beginning when he was eleven, but his father insisted that he go to a traditional school rather than a conservatory. At seventeen, he began to be well known to musical audiences in Munich when several of his works were performed in public, including a string quartet, several lieder, and his first symphony. By the time he left school a year later, he had nearly 150 compositions to his credit. With school behind him, he began to devote himself full time to composing. One of his first new compositions was the Cello Sonata in F major, a youthfully exuberant and charmingly romantic work with big, juicy parts for both instruments. Strauss dedicated the Cello Sonata to the cellist Hanus Wihan, who gave the first performance in Nuremberg in December 1883. Early the next year, Strauss performed it in Dresden with Ferdinand Böckmann, principal cellist of the Dresden Court Orchestra. “It got colossal applause,” Strauss reported to his mother afterward; “Böckmann was blissfully happy with it.” The vivacious first movement, Allegro con brio, faithfully follows sonata form, from the two opening themes – the cello’s is brash, the piano’s darkly melodious — through a spirited development and recapitulation. Among the highlights of the movement are a four-part fugato at the end of the development section, and a rousing coda. The second movement, Andante ma non troppo, is a soulful romance, suggestive of a Mendelssohn Song Without Words. The Allegro vivo finale begins humorously, with an impish theme that is rhythmically offbeat and punctuated with silences. The movement features a big, intense central section that is preceded, surprisingly, by a cadence that could be straight out of Wagner (Papa Strauss, who hated Wagner, could not have been pleased). After that, the sonata draws to a close in the same high spirits with which it began, and with hints of the tone poems and operas Strauss would go on to write.

Schubert: Trio No. 1 in B Flat major, Opus 99 (1827) As hard as it is to imagine today, Schubert had great difficulty getting his music played and published during his lifetime. Just as hard to imagine is that he wrote some of his sunniest works while suffering from a debilitating and ultimately fatal illness. Among those works was the B Flat major Piano Trio, the first of the two great piano trios that Schubert wrote during the last year of his life. It is one of his most radiant compositions, overflowing with the rich harmonies and ingratiating melodies that make Schubert’s work instantly recognizable. Schumann later said of it, “One glance at Schubert’s Trio and all the troubles of our human existence disappear, and all the world is fresh and bright again.” Yet it wasn’t published until eight years after Schubert’s death, and during his lifetime it was performed only once, privately, at the apartment of a friend who was celebrating his recent engagement. Today it is one of his best-loved works. 29

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The first movement, Allegro moderato, opens warmly and convivially, with an airy first theme introduced by the strings playing in unison. After the piano joins in, this first theme is expanded before the cello introduces an expansive second theme. A typically leisurely development section ends with a striking example of Schubert’s adventurous harmonies: In a surprising modulation, he begins the apparent recapitulation with the violin playing not in the expected key of B flat major, but in the unexpected key of G flat major. Eventually the music winds its way back to a real recapitulation in the opening key. Schubert’s melodies don’t get any more beguiling than the one with which the cello begins the Andante second movement. The violin and the cello trade this melody back and forth before the piano introduces a second theme at the start of a more agitated middle section, after which the three instruments recapture the enchantment of the opening with restatements of the first melody. Like the second movement, the playful, contrapuntal third is vintage Schubert, a witty Scherzo built on two of Vienna’s most popular dances, the ländler and the waltz. Schubert called the Finale a rondo, but it doesn’t follow strict rondo form. Instead of the first theme being repeated between contrasting episodes, it is “put through a variety of hoops,” as Schubert biographer Brian Newbould puts it – including a wonderful moment when Schubert shifts from 2/4 time to a three-beat bar, a shift that reappears in the exuberant coda. Alfred Einstein pointed out that the opening theme of the Finale recalls an earlier Schubert song, “Skolie,” which includes the verse, “Let us, in the bright May morning, take delight in the brief life of the flower, before its fragrance disappears.” It’s a fitting sentiment for this joyful trio.

Chestnut Hill Concerts 8:00 pm, Friday, August 26, 2011 Sponsored by Bill and Loulie Canady Kids & Teens Come Free! Sponsor: Judith Fisher

Knickknacks for Violin and Viola (2001) 1. Shuffling 2. Goodnight Lullaby (Tomorrow, much sweeter) 3. Fandango FaĂ§ade 4. Lilting 5. Bumpkinesque; relentlessly wacky

George Tsontakis (b. 1951)

Steven Copes, violin Maiya Papach, viola

Sonata for Piano and Cello in E minor, Op. 38 (1862-65) Allegro non troppo Allegretto quasi Menuetto Allegro Ronald Thomas, cello Benjamin Hochman, piano

Johannes Brahms (1833-1897)

Intermission Piano Quartet No. 1 in C minor, Op. 15 (1879) Allegro molto moderato Scherzo Adagio Allegro molto

Gabriel FaurĂŠ (1845-1924)

Steven Copes, violin Maiya Papach, viola Ronald Thomas, cello Benjamin Hochman, piano 35

Tsontakis (1951): Knickknacks for Violin and Viola “I have always listened to George Tsontakis’ music with a mixture of admiration and envy, constantly wishing that a bit of his fecundity of imagination might rub off on me,” the composer Christopher Rouse has said. If the number of prestigious awards a composer has won is an indication of his importance and his appeal, then a lot of people agree with Rouse. Tsontakis ha won many, including two of the biggest: In 2005 he won the University of Louisville Grawemeyer Award for his Violin Concerto No. 2 (past recipients have included Ligeti, Boulez, Lutoslawski, Takemitsu, and Adams). And in 2006 the American Academy of Arts and Letters awarded him the Charles Ives Living Grant, a three-year monetary award. Tsontakis has also won two Kennedy Center Awards, for his String Quartet No. 4 and the orchestral work Perpetual Angelus. His large-scale work Ghost Variations for piano and orchestra was nominated for a 2006 Grammy for best composition. Born in Astoria, New York, Tsontakis studied at Juilliard with Roger Sessions, whose style influenced his early compositions. Eventually he turned toward a more tonal language and a highly personal mix of techniques and styles, ranging from classicism to jazz to minimalism. He likes to invoke the past in his music, through fragments from various composers in various periods; a particular favorite is Beethoven. Knickknacks is his overall title for a series of short duos for violin and viola. Tsontakis has written seven of these duos so far and plans to add more from time to time. The five Knickknacks on tonight’s program are filled with the striking colors, rhythmic vigor, and deft instrumental writing that mark his work. “In each piece,” the composer has said, “it was important to me to create an equilibrium between the two instruments, and to have the two share solo and accompaniment duties.” Each piece has its own character, from the tenderness of “Goodnight Lullaby,” to the darker undercurrents of “Lilting,” to the raucous fiddling of “Bumkinesque.” Some of the pieces are, as Tsontakis put it, “more than trifles, flirting with extended forms.” In “Shuffling,” after the introduction first of minimalist rhythms and patterns, then of melody, Tsontakis develops both rhythmic and melodic motifs in a middle section of increasing intensity, before ending with the playful rhythm with which the piece began. In “Fandango Façade,” an edgy dance over a stuttering, rhythmic base elides into a soulful meditation, after which the dance reasserts itself. When Tsontakis was awarded the Charles Ives Living Grant, the composer Ezra Laderman, president of the American Academy of Arts and Letters, described his music as “both intellectually demanding and highly accessible, a rare and wonderful combination if you can pull it off.” Tsontakis has.

Brahms: Sonata for Piano and Cello in E minor, Op. 38 (1862-65) Throughout the second half of the nineteenth century, Brahms feuded bitterly with Liszt and Wagner over the future direction of music. While Liszt in particular argued that music should be free-flowing and programmatic, Brahms was a proponent of the traditional forms and compositional techniques of Bach, Mozart, Haydn, and Beethoven. For several years in the late 1850s, Brahms and his close friend the violinist Josef Joachim exchanged and critiqued exercises in counterpoint, sending canons and fugues back and forth for each other’s comments. But for Brahms, like the predecessors he studied, form was never a mechanical end; rather, it was a framework for the dynamic flow of his ideas. The Sonata for Piano and Cello No. 1 in E minor reflects both Brahms’s commitment to classical forms and his distinctive romantic expressiveness. Brahms began the sonata in 1862, but he discarded several of the original movements before returning to and finishing the sonata in the summer of 1865, the same summer in which he composed the Horn Trio. The sonata is marked by what had already become recognizable Brahmsian techniques, including intricate thematic transformations and metrical innovations. The first movement is in classical sonata form – exposition, development, recapitulation – but from the beginning several lyrical themes evolve and develop, modulating to unexpected keys and marked by rich colorations. A dark, brooding mood is established through long, arching melodies that pass from cello to piano and back, in a collaboration of two equal instruments. (Brahms called the work “Sonata for Piano and Violoncello,“ a clear indication that the piano was to be an equal partner.) The music rises to a dramatic peak in the development section. As the movement winds down, the somber mood lightens. The second movement, a wistful Allegretto quasi Menuetto, has the dance-like rhythm of a classical minuet; but as in the first movement, Brahms puts his own stamp on the form with an un-minuet-like stress on the first beat of each measure. In the fugal last movement Brahms pays homage to Bach, including what might be a reference to The Art of the Fugue. While fugal in spirit, the movement actually maintains the sonata form – a difficult composing challenge even for a master craftsman like Brahms. Brahms regularly discarded works that didn’t come up to his own high standards. The Cello Sonata was his first work for two instruments that he allowed to be published.

Fauré: Piano Quartet No. 1 in C minor, Op. 15 (1879) When it comes to discussing Gabriel Fauré, ironies abound. In his lifetime – and even today – he was revered at home but largely neglected abroad. Many have thought of him as a composer of charming but not particularly deep music, even though his music teems with harmonic and melodious innovation; the musicologist Rey Longyear called him “one of the most revolutionary harmonists of the 37

century.” And while the scale of most of his compositions – songs, works for solo instruments, and chamber music – is relatively small and intimate, his ideas had an outsized impact on musical development in the first part of the twentieth century, especially through his students Maurice Ravel and Nadia Boulanger. All of Fauré’s great strengths and the sources of his enormous appeal are on display in his early Piano Quartet in C minor. Fauré wrote the quartet at a moment of crisis in his life. After a five-year courtship, he had become engaged to Marianne Viardot, the beautiful daughter of a prominent musical family. Shortly after, Marianne ended the engagement, perhaps because the family was displeased that Gabriel wanted to write chamber music instead of grand opera. “Perhaps the break was not a bad thing for me,” Fauré would later write. “The Viardot family might have deflected me from my proper path.” This quartet is proof that he took the right path. It is graceful and elegant, featuring long, sinuous melodic lines, supple rhythms, rapid but nuanced modulations, colorful textures, and subtle, often modal harmonies. The tripartite first movement, Allegro molto moderato, opens vigorously, with strings playing the robust first theme in unison while the piano adds an off-the-beat rhythm. At once the character of this first theme softens, after which a lyrical second theme is introduced by the viola. In a characteristic technique, Fauré modulates these themes in subtle steps, up and down. The first theme provides the material for a gentle, flowing development that ends with a brief stormy passage and a return to the forceful character of the opening. After another transformation, the more delicate character prevails, and the movement appears to waft away. It’s a perfect lead-in to the second-movement Scherzo, a merry, gossamer, very French confection, featuring syncopated and dotted rhythms and an airy trio. With the elegiac Adagio, Fauré turns from playful to melancholy. The movement is built around two themes, both constructed from rising figures over a dotted-rhythm pattern. The first theme is dark and burdened, the second more expansive and serene. While it is this pensive second subject that is elaborated upon, it is the mood of the first that begins and ends this deeply expressive and emotional movement. Fauré brings the quartet to a close with an electric Allegro molto finale that melds inexhaustible energy with lyrical grace as it rushes to a triumphant conclusion.

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Artist biographies RONALD THOMAS, cello, has been Artistic Director of Chestnut Hill Concerts since 1989. He sustains one of the most active and varied careers in todayâ&#x20AC;&#x2122;s music world as performer, teacher and artistic administrator. His solo appearances include performing with the Philadelphia Orchestra, the St. Louis, Baltimore and Seattle Symphony Orchestras, the Hong Kong Philharmonic, the Handel and Haydn Society and Pro Arte Chamber Orchestras of Boston and the Blossom Festival Orchestra, among many others. Mr. Thomas has played recitals in virtually every state in the United States as well as New York City, Washington, D.C., Boston and Los Angeles, and numerous concerts in Europe and Asia. In great demand as a chamber music collaborator, Mr. Thomas is also co-founder and artistic director emeritus of the Boston Chamber Music Society with which he appears regularly and which has produced a number of highly acclaimed recordings. He has also appeared with the Chamber Music Society of Lincoln Center both at Alice Tully Hall and on tour. Other chamber music appearances include the Seattle, Bravo! Colorado and Portland Chamber Music Festivals, and the Spoleto, Blossom and Yale at Norfolk Festivals, as well as the festivals of Dubrovnik, Edinburgh and Amsterdam. Mr. Thomas was a member of the Players in Residence committee and the Board of Overseers at Bargemusic in New York. While he was member of the Boston Musica Viva and the Aeolian Chamber Players he premiered countless new works, including compositions by Gunther Schuller, Michael Colgrass, Ellen Zwillich, Donald Erb, William Bolco and William Thomas McKinley. Mr. Thomas is the principal cellist with the St. Paul Chamber Orchestra in St. Paul, Minnesota. Before winning the Young Concert Artists auditions at 19, Mr. Thomas attended the New England Conservatory and the Curtis Institute. His principal teachers were Lorne Munroe, David Soyer and Mary Canberg.

Cellist Julie Albers made her major orchestral debut with the Cleveland Orchestra in 1998, and thereafter has performed in recital and with orchestras in the U.S., Europe, Korea, Taiwan and New Zealand. In 2001 she won Second Prize in Munich’s Internationalen Musikwettbewerbes der ARD, at which time she was also awarded the Wilhelm-Weichsler-Musikpreis der Stadt Osnabruch 2001. While in Germany, she recorded solo and chamber music of Kodaly for the Bavarian Radio, performances that have been heard throughout Europe. In November 2003, Miss Albers was named the first Gold Medal Laureate of South Korea’s Gyeongnam International Music Competition, winning the Grand Prize. Her current and upcoming engagements include performances with the Chamber Music Society of Lincoln Center, the Utah Symphony, the Munich Chamber Orchestra, the Moritzburg Festival in Germany, the Colorado Symphony, the Chautauqua Festival, the Rochester Philharmonic, the Charlotte Symphony, the Arkansas Symphony, the Spokane Symphony, the Syracuse Symphony, the Reno Philharmonic, and the Grand Rapids Symphony. In the fall of 2006 she began a three-year residency with the Chamber Music Society of Lincoln Center Two. She is currently active with the Albers String Trio and the cello quartet, CELLO. Miss Albers is also on the faculty of Kean University as a member of the Concert Artist program.

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Steven Beck, piano, is a graduate of the Juilliard School, where his teachers were Seymour Lipkin, Peter Serkin, and Bruce Brubaker. Mr. Beck made his debut with the National Symphony Orchestra and toured Japan as a soloist with the New York Symphonic Ensemble, and has appeared with the New Juilliard Ensemble, Sequitur, and the Virginia Symphony. Beck has performed as soloist and chamber musician at the Kennedy Center, Alice Tully Hall, Merkin Hall, Miller Theater, Steinway Hall, and Tonic, as well as on WNYC. Summer appearances have been at the Aspen Music Festival, Lincoln Center Out of Doors, and the Woodstock Mozart Festival. He is an Artist Presenter and regular performer at Bargemusic, and performs frequently as a musician with the Mark Morris Dance Group. He has worked with Elliott Carter, Henri Dutilleux, and George Perle, and has appeared with ensembles such as Speculum Musicae, New York Philomusica, the New York New Music Ensemble, and the Omega Ensemble. His recordings are on the Albany, Monument, and Annemarie Classics labels.

Violinist STEVEN COPES leads a diverse life as soloist, chamber musician and orchestral leader. A native of Los Angeles, he became SPCO concertmaster in 1998, and since then has performed concertos by Berg, Brahms, Hindemith, Kirchner, Lutoslawski, Mozart, Prokofiev and Weill. A zealous advocate of today’s music, he gave the world premiere of George Tsontakis’ Grammynominated Violin Concerto No. 2 (2003), which won the 2005 Grawemeyer Award and has been recorded for KOCH Records. Copes was co-founder and director of Colorado’s Alpenglow Chamber Music Festival and is a member of Accordo, a new chamber group in residence at the Southern Theater in Minneapolis. He has performed at festivals and concert series including the Boston Chamber Music Society, Caramoor, Chamber Music Northwest, Marlboro, Music in the Vineyards, Norfolk, Mozaic, and Seattle Chamber Music Society, among others. A frequent guest leader with the Chamber Orchestra of Europe, Copes has served in the same capacity with the Royal Concertgebouw Orchestra, San Francisco Symphony, Pittsburgh Symphony, London Philharmonic and Baltimore Symphony. He holds degrees from the Curtis Institute and Juilliard, and studied with Robert Lipsett, Aaron Rosand, Robert Mann and Felix Galimir for chamber music.

Praised as “…extraordinary...” and “…a formidable clarinetist...” by the New York Times, Romie de Guise-Langlois has appeared as soloist and chamber musician on major concert stages throughout the United States, Canada, Europe, and Asia. Ms. de Guise-Langlois performed as soloist with the Houston Symphony, the Chamber Music Society of Lincoln Center, Ensemble ACJW, the Yale Philharmonia, McGill University Symphony Orchestra, at Music@Menlo and at Banff Center for the Arts. She was a winner of the 2011 Astral Artists’ National Audition and First Prize in the 2009 Houston Symphony Ima Hogg competition; she was additionally a winner of the Woolsey Hall Competition at Yale University, the McGill University Classical Concerto Competition, the Canadian Music Competition, and was the recipient of the Canadian Broadcasting Company award. Ms. de Guise-Langlois toured with Musicians from Marlboro, and has appeared at the Metropolitan Museum of Art, the Philadelphia Chamber Music Society, Chamber Music Society of Lincoln Center and Chamber Music Northwest, among many others. She has performed as principal clarinetist of the Orpheus Chamber Orchestra, the Orchestra of St. Luke’s, the New Haven and Stamford Symphony Orchestras and she is a member of The Knights. A native of Montreal, Ms. de Guise-Langlois earned her B.M. degree from McGill University and her M.M. and Artist Diploma from the Yale School of Music, where she studied under David Shifrin. Ms. de Guise-Langlois completed her fellowship at The Academy-A Program of Carnegie Hall, The Juilliard School, and The Weill Music Institute, and was recently appointed Adjunct Professor of clarinet and Concert Artist at The Kean University Conservatory of Music.

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Aver y Fisher Career Grant recipient violinist Jennifer Frautschi has won acclaim as an adventurous performer with a wide-ranging repertoire. Equally at home in the classic and contemporary repertoire, she has appeared as soloist with Pierre Boulez and the Los Angeles Philharmonic, Christoph Eschenbach the Chicago Symphony and Lincoln Center’s Mostly Mozart Festival. Selected by Carnegie Hall for its Distinctive Debuts series, she made her New York recital debut in 2004. As part of the European Concert Hall Organization’s Rising Stars series, she also made debuts that year at ten European concert venues, including London’s Wigmore Hall, Salzburg’s Mozarteum, Amsterdam’s Concertgebouw, Vienna’s Konzerthaus, and La Cité de la Musique in Paris. She has been heard in recital at the Ravinia Festival, La Jolla Chamber Music Society, Washington’s Phillips Collection, Boston’s Gardner Museum, Beijing’s Imperial Garden, Theatre de la Monnaie in Brussels, La Chaux des Fonds in Switzerland, and San Miguel de Allende Festival in Mexico. As a chamber artist, she has been heard world-wide, while her growing discography presently offers the Prokofiev concerti, Stravinsky Concerto, the music of Ravel and Stravinsky, and two GRAMMY-nominated recordings of Schoenberg. Ms. Frautschi attended Harvard University, the New England Conservatory of Music, and The Juilliard School. She performs on a 1722 Antonio Stradivarius violin known as the “ex-Cadiz”.

Pianist Benjamin Hochman has earned widespread acclaim for his performances with the New York and Israel Philharmonics and the Chicago, Cincinnati, New Jersey, Pittsburgh and Vancouver Symphonies, among others. He has collaborated with the Tokyo, Mendelssohn, Casals, Pražák and Daedalus Quartets, the Zukerman ChamberPlayers, members of the Guarneri and Orion Quartets and with Miklós Perényi, Jaime Laredo, Cho-Liang Lin and Ani Kavafian. Highlights of Hochman’s 2010-2011 season include orchestral appearances with San Francisco Symphony, National Arts Centre Orchestra and Prague Philharmonia on tour in Spain; performances at the chamber music societies of Lincoln Center, Philadelphia and Boston; a solo recital at New York’s 92nd Street Y, and concerts at Carnegie Hall and Ravinia. He also joins Efe Baltacigil for complete cycles of Beethoven’s Cello Sonatas in Istanbul and Philadelphia. Born in Jerusalem, Hochman is a graduate of the Curtis Institute of Music and the Mannes College of Music, where his principal teachers were Claude Frank and Richard Goode. His studies were supported by the America-Israel Cultural Foundation. Benjamin Hochman is a Steinway Artist.

Memories Made Here A visit to the Florence Griswold Museum and Old Lyme is a day to remember. Memories of inspired paintings, historic gardens, a lovely river, and the famed boardinghouse where artists lived and painted will last a lifetime. Local restaurants, art galleries, and antique shops make the visit complete. American Landscapes: Treasures from the Parrish Art Museum through September 18 FlorenceGriswoldMuseum.org

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2011 Benefit Concert at “The Castle” This year’s annual fund raising event took place at seaside home of Wayne and Maria Foss Rand. Formerly The Castle Inn, the home proved to be the perfect setting for cocktails, a concert with nearly a hundred in the audience, and dinner. Sponsors for the afternoon were MJP Associates and Ohio Financial Servies, Nationwide Financial Services, and Paulette and Bill Kaufmann. The honoree for the event was Martha Cox, long-time member and former president of the board of Chestnut Hill Concerts. The concert of music by Mendelssohn and Brahms was performed by violinist Ani Kavafian, cellist and Chestnut Hill Concerts artistic director Ronald Thomas, hornist William Purvis, and pianist Mihae Lee.

Left: Our hosts, Wayne and Maria Foss Rand. Right: Benefit Concert Committee co-chairs Jeanne Potoff and Lisa LeMonte.

Above: The audience awaits the start of the concert. Right: Cellist and artistic director Ronald Thomas, violinist Ani Kavafian, pianist Mihae Lee, and hornist William Purvis

Sponsors Paulette and Bill Kaufmann Honoree Martha Cox

Board president Dr. Michael Ebert with his wife, Ellen.

Praised by Boston Globe as “simply dazzling,” Koreanborn pianist Mihae Lee has been captivating audiences throughout North America, Europe, and Asia in solo recitals and chamber music concerts with her poetic lyricism and scintillating virtuosity. She has performed in such venues as Lincoln Center, the Kennedy Center, Jordan Hall, Berlin Philharmonie, Academia Nationale de Santa Cecilia in Rome, Warsaw National Philharmonic Hall, and Taipei National Hall. An active chamber musician, Ms. Lee is an artist member of the Boston Chamber Music Society and is a founding member of the Triton Horn Trio with violinist Ani Kavafian and hornist William Purvis. She has appeared frequently at numerous international chamber music festivals including Dubrovnik, Amsterdam, Groningen, Great Woods, Seattle, OK Mozart, Mainly Mozart, Music from Angel Fire, Chamber Music Northwest, Mostly Music, Rockport, Sebago-Long Lake, Bard, Norfolk, Music Mountain, and Chestnut Hill Concerts. She has been a guest artist with the Chamber Music Society of Lincoln Center, St. Paul Chamber Orchestra, Bargemusic, and Speculum Musicae; has collaborated with the Muir, Cassatt, and Manhattan string quartets; and has premiered and recorded works by such composers as Gunther Schuller, Ned Rorem, Paul Lansky, Henri Lazarof, Michael Daugherty, and Ezra Laderman. A first-prize winner of the Kosciuszko Foundation Chopin Competition, Ms. Lee received her bachelor’s and master’s degrees from The Juilliard School and her artist diploma from the New England Conservatory, studying with Martin Canin and Russell Sherman. She is the Artistic Director of the Essex Winter Series in Connecticut and has released compact discs on the Bridge, Etcetera, EDI, Northeastern, and BCM labels.

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Ida Levin, violin, has performed at Carnegie Hall as soloist with the American Symphony Orchestra and the New York String Orchestra and with the orchestras of St. Louis, Utah, Toulouse, Kammerphilharmonie Berlin, the Prague Symphony and the Edinburgh Chamber Orchestra, among others. As a recitalist, she has appeared at the 92nd Street Y, the Kennedy Center, London’s Wigmore Hall and throughout the United States, Italy, France, the Netherlands, Mexico and numerous other countries. Ms. Levin is a senior artist at the Marlboro Festival and the Open Chamber Music in Cornwall, England, and appears regularly at festivals from Santa Fe and Montreal to Cremona (Italy), West Cork (Ireland), and Mondsee (Austria). She is a member of the Boston Chamber Music Society, the Philadelphia Chamber Music Society Players and a frequent guest with the Chamber Music Society of Lincoln Center and Houston Da Camera. Ms. Levin’s world premiere recording of Leon Kirchner’s Duo for Violin and Piano with Jeremy Denk was recently released on Bridge Records. Additionally, she has recorded for Philips, EMI, Dynamic, Music Masters, Nonesuch, BCMS and Stereophile. Ms. Levin began her violin studies at age three in her native Santa Monica, California, and made her professional debut with the Los Angeles Philharmonic at age ten. The recipient of both the Leventritt Award and an Avery Fisher Career Grant, she was invited by Rudolf Serkin to appear with him in a joint recital for President and Mrs. Reagan, broadcast by PBS as “In Performance at the White House”. She has given master classes worldwide and has been on the faculties of Harvard University, UCLA, the European Mozart Academy and the Sandor Vegh Academy in Prague.

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Maiya Papach is acting co-principal viola of The Saint Paul Chamber Orchestra and served as acting principal Violinist, SHERYL STAPLES, wasnational appointed last year. She has made frequent andPrincipal internaAssociate Concertmaster the Newand York Philharmonic tional appearances as a of chamber orchestral musiin 1998. A great lover of chamber music, Ms.contemporary Staples steps cian, performing both traditional and out of the orchestra often to perform colleagues such repertoire. This past fall, Papach with performed Mozart’s as Cynthia Concertante Phelps and Carter in the New York and Sinfonia withBrey Concertmaster Steven tri-state area,the and she has participated in the Copes and SPCO. Sherecently is a founding member ofLa the Jolla Summerfest and the Strings Festival(ICE), in Steamboat International Contemporary Ensemble which is Springs, CO. While on astour Philharmonic, rapidly establishing itself onewith of thethe leading new music she has performed chamber music for Ambassadors ensembles in the United States. She is also a memberinof London, andensemble Hong Kong. her Accordo, Paris, a newBeijing chamber in the During Twin Cities. tenure in New York, she has also been featured with the Papach has performed across the former Soviet Union Philharmonic as soloist in concertos of Tchaikovsky, with the Da Capo Chamber Players and toured the Philippines with Cultures in HarMendelssohn, Mozart, Haydn and Bach, collaborating mony. Prior to joining the SPCO, she performed regularly with the IRIS Orchestra with conductors Kurt Masur, Lorin Maazel and Alan Gilbert. In addition, Ms. Staples and the New York Philharmonic. In New York, Papach has performed in chamber has appeared as soloist with over 40 orchestras nationwide including the Cleveland concerts at Bargemusic, Alice Tully Hall, Merkin Concert Hall, and Miller Theater, Orchestra, Los Angeles Philharmonic and San Diego Symphony. Enjoying and among others. As a former member of the Andros and Rothko string quartets, she juggling a very full life with percussionist husband, Barry Centanni, and children, was a finalist prizewinner a number competitions, including thestudents Fischoff Michael and and Laura, Ms. Staplesinalso makes of time to work at Juilliard with National Chamber Music Competition and Concert Artists Guild. Papach has aspiring toward orchestral careers. This season Sheryl particularly looks forward to participated in such festivals as Kneisel Hall, Yellow Barn, and the Marlboro Music performances of Vivaldi’s Concerto for Four Violins with Alan Gilbert and the New Festival. In addition, performs Musicians York Philharmonic on she Decemeber 28,with 29 and 30, 2010from and Marlboro, a premier ofthe thetouring Black extension of the festival. Papach is a graduate of the Oberlin Conservatory and River Concerto for Violin, Percussion and Orchestra by David Sampson, written for the Juilliard School and has studied with Roland Vamos, Karen Tuttle, Benny Kim, her and husband, Barry, on April 25, 2011 at Montclair State University. Staples and Huang. andHsin-Yun Centanni also premiered and recorded the Concerto a Tre by William Kraft with pianist, Dolores Stevens, at the Martha’s Vineyard Chamber Music Festival in 2005.

Samuel P. Sprotzer, M.D. Martin R. Shapiro, M.D. Philip J. Silverstone, M.D. Darron A. Bacal, M.D. Seth W. Meskin, M.D. Joseph D. Benevento, M.D. Thera A. Bowen, O.D. Sonia Kalia, O.D.

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Cellist Raman Ramakrishnan is a member of the Daedalus Quartet, winner of the 2001 Banff International String Quartet Competition. With the quartet, he has performed coast-to-coast in the United States and Canada, in Japan and Panama, and across Europe on a tour developed by the European Concert Halls Organization, which also provided for a Carnegie Hall debut. The quartet was in residence at the Chamber Music Society of Lincoln Center from 2005 until 2007, and is currently in residence at Columbia University and at the University of Pennsylvania. Raman has given solo recitals in New York, Boston, Seattle, and Washington, D.C., and has performed chamber music on Caramoor’s “Rising Stars” series, at Bargemusic, and at the Marlboro, Bravo! Vail, Charlottesville, Lincolnshire (UK), Mehli Mehta (India), OK Mozart, and Four Seasons Chamber Music Festivals. He has toured with Musicians from Marlboro and has performed frequently with the Zankel Band, the East Coast Chamber Orchestra, and the contemporary chamber group Proteus, which made its Carnegie Hall debut in 2001. As a member of Yo-Yo Ma’s Silk Road Ensemble, he has collaborated with musicians from the Iraqi National Symphony Orchestra and performed in New Delhi and Agra, India and in Cairo, Egypt. Raman was born in Athens, Ohio and grew up in East Patchogue, New York. His father is a molecular biologist and his mother is the children’s book author and illustrator Vera Rosenberry. He holds a Bachelor’s degree in physics from Harvard University and a Master’s from The Juilliard School. His principal teachers have been Fred Sherry, Andrés Díaz, and André Emelianoff. His cello was made in Naples, Italy in 1837 by Vincenzo Jorio. He lives in New York City with his wife, the violist Melissa Reardon.

One of today’s leading young artists, violinist Harumi Rhodes has been performing extensively with some of the most prestigious musicians worldwide. Having just completed her residency at Lincoln Center Chamber Music Society II, she has also joined the Boston, Philadelphia, Minnesota, and Seattle Chamber Music Societies. Some of her recent solo engagements include performances in the 2007 Vermont Mozart Festival featuring Beethoven’s Violin Concerto and Vivaldi’s “Four Seasons.” Harumi has also participated in several Musicians from Marlboro tours. As an avid supporter of contemporary music, Harumi had a solo violin piece dedicated to her by composer Benjamin Lees. She has also recorded Milton Babbitt’s Sixth String Quartet and most recently performed at Zankel Hall in a tribute to George Perle. Harumi received degrees from the Juilliard School studying with Ronald Copes and Earl Carylss, and the New England Conservatory studying with Donald Weilerstein where she received the Gunther Schuller Award.

ROBBIE COLLOMORE 2011-2012 CONCERT SERIES TRIO SOLISTI Oct. 16, 2011 Violin, cello and piano virtuosi crowned by the New Yorker Magazine as "the most exciting piano trio in America".

BILL CHARLAP Nov. 20, 2011 One of the world’s premier jazz pianists, Charlap has done it all. He is the great performer of the American Popular Songbook.

IVA BITTOVA April 22, 2012

Please join us Sunday evenings at 5 pm for extraordinary music and informal receptions at the charming Chester Meeting House. For Tickets, Season Subscriptions or more information, call (860)526-5162 or write to: Robbie Collomore Music Series PO Box 614, Chester, CT 06412

Bittova creates unique, avant-garde vocal and violin sounds that are described as thrilling and impossible to categorize.

ASHU, KUANG-HAO HUANG May 6, 2012 ASHU, a classical saxophone virtuoso, enthralls audiences with phenomenal technique and exquisite tone.

www.collomoreconcerts.org 53

Principal violist of the Saint Louis Symphony since 2007, Jonathan Vinocour has previously served as guest Principal of the Gewandhaus Orchestra of Leipzig and the Orchestra Ensemble Kanazawa in Japan. Jonathan is also an active solo performer having recently received First Prize in the Holland America Music Society Competition. As a result of this award, he has been featured on the Dame Myra Hess Recital Series and “Live from WFMT”, a recital program on Chicago’s classical radio station. He has also performed as soloist with the Saint Louis Symphony Orchestra with conductors Nicholas McGegan and Hans Graf. In addition to his orchestral and solo pursuits, Jonathan is an avid and passionate chamber musician. He has been a regular participant at the Marlboro Music Festival and has toured extensively with Musicians from Marlboro in past seasons. Other festival credits include the Steans Institute at the Ravinia Festival, Open Chamber Music at Prussia Cove, the Aspen Music Festival and the Tanglewood Music Center where he was awarded the Henri Kohn Memorial Prize. Jonathan is a regular guest of the Boston and Andover Chamber Music Societies and has toured with the International Sejong Soloists and collaborated with artists such as Paula Robison, Gilbert Kalish, Miriam Fried, Kim Kashkashian, Jaime Laredo, and members of the Amadeus, Arditti, Borromeo, Chicago, Cleveland, Guarneri, Juilliard, Mendelssohn, Orion, and Shanghai String Quartets. Originally form Rochester, NY, Jonathan graduated magna cum laude from Princeton University in 2001 with a degree in Chemistry and was awarded the university’s Sudler Prize in the Arts. Jonathan then completed his Master’s Degree at the New England Conservatory of Music in 2003, where he studied with Kim Kashkashian.

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Index of Advertisers Alforno......................................................15

Homeworks.............................................. 56

Aspen Restaurant..................................... 20

Ideal Cleaners........................................... 58

Basil R. Duncan........................................57

Katharine Hepburn Cultural

Dr. Steven Guy Barasz............................. 58

Arts Center.......................................... 49

Cartier Optical......................................... 48

Kebabian’s.................................................. 4

Community Music School.......................57

Kitchings & Potter, LLC........................... 50

Con Brio Choral Society..........................16

Michael H. Ebert, M.D............................ 38

Congregation Beth Shalom

MJP Associates......................................... 10

Rodfe Zedek.........................................16 Connecticut Commission on

Musical Masterworks............................... 25 North Cove Outfitters............................. 25

Culture and Tourism............................6

Pasta Vita.........................Inside front cover

Copper Beech Inn...................... Back cover

Periodontics, PC...................................... 43

Cummings & Good Apparel................... 58

Reynold’s Garage & Marine.................... 22

Edwin C. Ahlberg Antiques.....................40

Robbie Collomore Concert Series...........53

Ellen Ebert Photography......................... 48

Robert’s Food Center................................33

Essex House of Framing............................ 5

Salt Marsh Opera......................................31

Essex Meadows.........................................12

Saybrook Point Inn...................................17

Essex Savings Bank.................................. 26

Secor Subaru-Volvo-Saab........................ 32

Essex Vision Center .................................15

Shore Discount Liquors.......................... 56

Essex Winter Series.................................. 42

Shoreline Financial Advisors................... 30

Eye Physicians & Surgeons.......................51

Shoreline Piano.........................................55

Florence Griswold Museum.................... 45

Stone House Restaurant.......................... 39

Frank’s Package Store...............................57

Tia Smith Studio.......................................41

Fromage Fine Foods & Coffees............... 48

VW of Old Saybrook............................... 44

Miriam Gardner-Frum.............................15

Wendy Rieder Designs..............................14

Guilford Savings Bank..............................18

William Pitt - Sotheby’s Realty............... 22

Guilford Sportsmen’s Assoc.................... 56

Write With Style........................................15

Hideaway Restaurant & Pub................... 54

WSHU Public Radio Group.................... 34

Home Instead........................................... 49

Donors As it is with most arts organizations, the annual operating expenses of Chestnut Hill Concerts exceed our ticket income. Each concert season is made possible by the generous special gifts to our annual fund from individuals, foundations and corporations. We would like to acknowledge those who have contributed to our success this season. Concert Sponsors A Friend of CHC Guilford Savings Bank Essex Savings Bank Loulie & Bill Canady

Patrons Anonymous Linda & Jeff Freeman Dennis Noe & Karen Kumor Philip & Thea Putnam Susanna & Patrick Smith Thomas & Joan Steitz

Foundations & Grants Connecticut Commission on Culture & Tourism Supporters Robert & Margaret Patricelli Marilyn & Richard Buel Foundation Michael & Ellen Ebert Alice N. Griffin & Piano Sponsors Charles J. Pfau Bill & Paulette Kaufmann Lisa & Lamar LeMonte George and Janice Atkeson Phyllis M. McDowell Jeanne & Mort Potoff Kids & Teens Come Free Jean Richards and Boynton Sponsor Schmitt Judith Fisher Lorraine Siggins & Braxton McKee Benefactors Joan & Bugs Baer JS & Martha Cox Sukey & Peter Howard David A. Rackey

Contributors Donald & Saundra Bialos Mimi & John Cole Mary Ellen & John H. Doyle George P. Drenga Miriam Gardner-Frum Heather & Michael Greenaway Joan Hammeal Alton & Elizabeth Hollingsworth Marc & Margaret Mann Laura & Alan Moss Marilyn & Robert Regan Jo-Ann Soules Donna B. Stamm Melvin Woody & Nissa Simon Hope L. Whitehead Friends Dr. & Mrs. Harold D. Bornstein, Jr. Dr. Michael Bracken Mary Culver & Howard Hebel Patricia Hurley Loretta & John James Colin & Suki McLaren Ms. Marcia Myhre Anne B. Pierson, M.D. Susan Reichenbach Mr. & Mrs. O.P. Robinson Carol Ryland Shoreline Financial Advisors, in honor of Martha Cox Pat & Damon Smith Joseph & Magdalena Souhrada

Benefit Concert Sponsors Bill & Paulette Kaufmann Nationwide Financial Services MJP Associates & Ohio National Financial Services Patrons Robin Andreoli George & Janice Atkeson Richard & Kathy Berluti Barbara & Richard Booth Randi Bradbury & William Childress Diana & Jerry Brophy Cynthia & Randy Clegg Mr. & Mrs. John K. Copelin Barbara David Constance Dickinson Robert Donahue III Mary Ellen & John H. Doyle Michael & Ellen Ebert Miriam Gardner-Frum Alva Greenberg Alice N. Griffin & Charles J. Pfau Irmtraud Hermanson Sukey & Peter Howard Susan Howe Suzanne & Brooks Kelley Lisa & Lamar LeMonte Mr. & Mrs. Jerry Litner David & Susan Lopath Phyllis M. McDowell Dennis Noe & Karen Kumor Susan Norz Lori & Guy Pendleton Dr. & Mrs. Michael Perl Jeanne & Mort Potoff Ernst & Rosemarie Prelinger Philip & Thea Putnam David A. Rackey & Emily Eisenlohr Marilyn & Robert Regan Jean Richards & Boynton Schmitt Karen & Raymond Seligson Chris & Chuck Shivery Chuck Still, Jr. Melvin Woody & Nissa Simon Fred & Carol Wright

Donors Anonymous Katherine & Steve Axilrod Joan & Bugs Baer Richard & Kathy Berluti Marilyn & Richard Buel Mimi & John Cole Mary Culver & Howard Hebel Barbara David Judith Fisher Linda & Jeff Freeman Edith Gengras Brendan Glynn Helen Greene Alexandra Isles & Dr. Alfred Jaretski III Dennis Noe & Karen Kumor State Senator Edward Meyer Anne B. Pierson, M.D. Ernst & Rosemarie Prelinger Jean Richards & Boynton Schmitt Jane Siris & Peter Coombs In-Kind Donations Josh Chalmers, Earth2 Michael & Ellen Ebert Lisa & Lamar LeMonte Miriam Gardner-Frum David Lopath Wayne & Maria Foss Rand Pam Meier Eric Murray, Shoreline Piano Bob Oâ&#x20AC;&#x2122;Brien David A. Rackey Rand Construction Ken Schneider, Homeworks Linda Sample, A Thyme to Cook Shore Discount Liquor Susanna & Patrick Smith

Restaurant Partners Whether you’re interested in a casual dinner or the finest fare, Chestnut Hill’s Restaurant Partners are happy to serve you. Present your Chestnut Hill ticket on a concert night at the following establishments and receive a complimentary glass of wine or dessert with the purchase of an entrée, as indicated. *

Aspen Restaurant & Bar 2 Main Street Old Saybrook, CT 06475 860.395.5888 www.aspenct.com Wine

Liv’s Oyster Bar 166 Main Street Old Saybrook, CT 06475 860.395.5577 www.livsoysterbar.com Dessert

Bee and Thistle Inn and Spa 100 Lyme Street Old Lyme, CT 06371 860.434-1667 www.beeandthistleinn.com Dessert with entrée purchase from Chestnut Grille Menu

Alforno 1654 Boston Post Road Old Saybrook, CT 06475 860-399-4166 www.alforno.net Dessert

Copper Beech Inn 46 Main Street Ivoryton, CT 06442 888-809-2056 www.copperbeechinn.com Dessert

*offers are subject to change.

Fresh Salt Restaurant Saybrook Point Inn Two Bridget Street Old Saybrook, CT 06475 860-388-1111 www. freshsalt.net Dessert

Superb food. Skilled service. A truly romantic and rich setting.

Dine at The Copper Beech Inn... the highly acclaimed Pips at the Copper Beech inn, promises chic, intimate, world-class dining. experience Chef tyler anderson’s sustainable approach to food and passion for locally harvested ingredients.

For reservations call toll free at 860.767.0330. Connecticut Magazine “Best Overall” 2010 Andrew Harper’s Hideaway Report “Top 10 New England Inn” AAA Four-Diamond Award 2011 46 Main Street • ivoryton, Ct

copperbeechinn.com 64

USA Today/Zagat “America’s Top 100 Hotel Restaurants”