CMSLC

October 15, 2014

CHAMBER MUSIC SOCIETY OF LINCOLN CENTER Shai Wosner, piano Erin Keefe, violin Alexander Sitkovetsky, violin Mark Holloway, viola Timothy Eddy, cello David Shifrin, clarinet

Gates Concert Hall Newman Center for the Performing Arts University of Denver

Johannes Brahms Trio in A minor for Clarinet, Cello, (1833-1897) and Piano, Op. 114

Allegro Adagio Andantino grazioso Allegro

Shifrin, Eddy, Wosner

Brahms Sonata in D minor for Violin and Piano, Op. 108

Allegro Adagio Un poco presto e con sentimento Presto agitato

Keefe, Wosner

INTERMISSION

Brahms Intermezzo in E-flat major for Piano, Op. 117, no. 1

Rhapsody in E-flat major for Piano, Op. 119, no. 4

Wosner

Brahms Quintet in B minor for Clarinet, Two Violins,

Viola, and Cello, Op. 115

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

Shifrin, Sitkovetsky, Keefe, Holloway, Eddy

Menlo, Ravinia, Caramoor, Banff, Cartagena, Taos, Music from Angel Fire, San Diego’s Mainly Mozart, and the Boston Chamber Music Society.

Around New York City, he frequently appears as a guest with the New York Philharmonic and Orpheus Chamber Orchestra. Mr. Holloway has been principal violist at Tanglewood and of the New York String Orchestra, and has played as guest principal of the American Symphony, the Chamber Orchestra of Philadelphia, Camerata Bern, and the St. Paul Chamber Orchestra. A former member of Chamber Music Society Two and a current Artist of the Society, Mr. Holloway was a student of Michael Tree at The Curtis Institute of Music and received his bachelor’s degree from Boston University.

ABOUT THE ARTISTS Timothy Eddy, cello Eddy, who appeared on this series last year with the Orion Quartet, has earned distinction as a recitalist, soloist with orchestra, chamber musician, recording artist, and teacher of cello and chamber music. He has performed with the Dallas, Colorado, Jacksonville, North Carolina, and Stamford symphonies, and has appeared at the Mostly Mozart, Ravinia, Aspen, Santa Fe, Marlboro, Spoleto, and Sarasota music festivals. He is a long-time member of the Orion String Quartet and is an Artist of the Chamber Music Society of Lincoln Center. A former member of the Galimir Quartet, the New York Philomusica, and the Bach Aria Group, Mr. Eddy collaborates regularly in recital with pianist Gilbert Kalish. A frequent performer of the works of Bach, he recently presented the complete six cello suites of Bach in two consecutive days at The Boulder Bach Festival and Vermont’s Brattleboro Music Center. He is currently professor of cello at The Juilliard School and Mannes College of Music, and he was frequently a faculty member at the Isaac Stern Chamber Music Workshops at Carnegie Hall. Mr. Eddy plays a Matteo Goffriller cello (1728).

Erin Keefe, violin Concertmaster of the Minnesota Orchestra, Erin Keefe has established a reputation as a compelling artist who combines exhilarating temperament and fierce integrity. She has been featured on Live From Lincoln Center three times with CMS. Her recording credits include Schoenberg’s Second String Quartet with Ida Kavafian, Paul Neubauer, Fred Sherry, and Jennifer Welch-Babidge for Robert Craft and the Naxos Label, and recordings of works by Dvorˇák with David Finckel and Wu Han for the CMS Studio Recordings label. In 2010, she released her first solo CD, recorded with pianist Anna Polonsky. She has appeared in Colorado at the Bravo! Vail Valley Music Festival. Ms. Keefe earned a master’s degree from The Juilliard

Mark Holloway, viola Holloway is a chamber musician sought after in the United States and abroad. He has appeared at prestigious festivals such as Marlboro, Music@ 2

Alexander Sitkovetsky, violin Sitkovetsky has performed with the Netherlands Philharmonic, London’s Philharmonia, London Mozart Players, and Academy of St. Martin in the Fields. This season, he makes his debut at the Royal Albert Hall with the Royal Philharmonic Orchestra. He has shared the stage with Janine Jansen, Mischa Maisky, Julian Rachlin, and Julia Fischer, with whom he recorded the Bach Double Concerto. Together with Wu Qian and cellist Leonard Elschenbroich, he performs in the Sitkovetsky Piano Trio, regularly appearing in England at Wigmore Hall and across Europe in halls such as Amsterdam’s Concertgebouw and the Frankfurt Alte Oper. Born in Moscow into a family with an established musical tradition, he made his concerto debut at the age of eight and the same year came to study at the Menuhin School. Lord Menuhin was his inspiration throughout his school years and they performed together on several occasions including the Bach Double Concerto and Bartók Duos at St. James' Palace. He performed the Mendelssohn Concerto under Menuhin's baton. Mr. Sitkovetsky is a member of Chamber Music Society Two.

School and a bachelor’s degree from The Curtis Institute of Music. Her teachers included Ronald Copes, Ida Kavafian, Arnold Steinhardt, and Philip Setzer. A former member of CMS Two, Ms. Keefe is currently an Artist of the Society.

David Shifrin, clarinet A Yale University faculty member since 1987, Shifrin is artistic director of Yale’s Chamber Music Society series and Yale in New York, a concert series at Carnegie Hall. He is a familiar face to FCM audiences from past appearances here with CMSLC. He has been an Artist of the Chamber Music Society for 24 years and served as its artistic director from 1992 to 2004, inaugurating the CMS Two program and the annual Brandenburg Concerto concerts. Currently in his 32nd season as artistic director of Chamber Music Northwest in Portland, he has collaborated with the Guarneri, Tokyo, and Emerson string quartets and is a member of the Kavafian-Schub-Shifrin Trio. He has held principal clarinet positions in the Cleveland Orchestra and the American Symphony under Leopold Stokowski. His recordings have received three GRAMMY® nominations and his performance of Mozart’s Clarinet Concerto with the Mostly Mozart Festival Orchestra was named Record of the Year by Stereo Review. He is a Yamaha performing artist.

Shai Wosner, piano Wosner has attracted international recognition for his exceptional artistry, musical integrity, and creative insight.

With the personal recommendation of Emanuel Ax, with whom he has studied, 3

he has appeared twice previously with FCM, first with the Miro Quartet playing the Brahms Quintet, and more recently in collaboration with violinist Jennifer Koh. He has appeared with numerous major American orchestras including the Chicago Symphony, Los Angeles Philharmonic, the St. Paul Chamber Orchestra, and the symphony orchestras of Atlanta, Baltimore, and San Francisco. He has worked with many major conductors including Daniel Barenboim, James Conlon, and Alan Gilbert. Last season he performed the German premiere of Michael Hersch’s concerto Along the Ravines (a work he commissioned and premiered with the Seattle Symphony in 2012) with the Deutsche Radio Philharmonie– Saarbrücken. Mr. Wosner has been widely praised for his interpretations of Schubert’s solo works. Of his most recent solo recording, released by Onyx in October 2011, Gramophone wrote, “With this recital Shai Wosner declares himself a Schubertian of unfaltering authority and character.” Mr. Wosner’s next solo recording, featuring works by Schubert and Missy Mazzoli, is due to be released next month. This season he also performs a two-concert program of Schubert, Kurtág, and Mazzoli called The Schubert Effect at the 92nd Street Y in New York.

Originally from Israel, he lives in New York with his wife, Roni, an oncologist at New York Hospital, and their two children. He is an Artist of the Chamber Music Society and a former member of CMS Two.

PROGRAM NOTES Tonight’s program is a celebration of summer holidays and friendship, for the three longer works at hand were all crafted

by Brahms while on Alpine sojourns and were designed for the specific talents of preferred colleagues. Their opus numbers stand close together and late in his catalog, which might suggest that it took the Hamburg native decades to discover the soul-stirring benefits of high country views. That all three works are rooted in minor keys ought not imply that these were summers of gloomy weather. Just because one begins in a minor key does not obligate one to remain there from first measure to last.

Brahms: Trio in A minor for Clarinet, Cello, and Piano, Op. 114 All Brahms’s works for solo clarinet were intended for clarinetist Richard Mühlfeld.

Early in 1891, Brahms attended a concert in which Mühlfeld was featured soloist for Mozart’s Clarinet Quintet and one of the Weber clarinet concertos. Brahms was fascinated. Familiar denizens of the orchestra for the better part of a century, clarinets had not often been given the spotlight, and in Mühlfeld’s artistry Brahms realized, for perhaps the first time, the instrument’s true potential. In the months that followed he devoted hours to hearing Mühlfeld play – not just in concert performances, but even in practice sessions – hoping to more fully absorb the unique timbre and varied possibilities of what he had taken to calling “Fräulein Klarinette.”

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Brahms: Sonata in D minor for Violin and Piano, Op. 108

That summer, while vacationing in the Austrian resort town of Bad Ischl, Brahms set to work, beginning with a trio for clarinet, cello, and piano. A quintet for clarinet and strings followed promptly.

Mühlfeld premiered both pieces in Berlin on December 12, 1891, and subsequently toured with them throughout Europe.

Their reception was such that Brahms, then considering himself semi-retired, picked up his pen again and produced a pair of sonatas for clarinet and piano which Mühlfeld would premiere in Vienna in January 1895. They would be Brahms’s last instrumental compositions.

In the summer of 1886, Brahms took refuge from Vienna’s heat at Hofstetten on Switzerland’s Lake Thun. It would be the first of three summers in this resort community near the Eiger and Jungfrau peaks, and productive summers they would be. Relaxing at his lakeside villa proved restorative to Brahms’s compositional energy, and perhaps the lack of urban distractions was also advantageous. This initial visit he devoted to chamber music, producing the Piano Trio No. 3, the Cello Sonata No. 2, and two violin sonatas, his second and third in the genre.

Although the trio was written for Mühlfeld, Brahms takes care not to leave the other two players in the shadows. This is immediately clear the moment the trio begins, as it is the cello that carries the first melody, which only afterward makes its way to the clarinet.

Moods are melancholy or anxious in turn, though gentler contrasting passages also make their appearance. For the second movement, the clarinet assumes the lead with music evocative of a peaceful spring morning without a cloud in sight.

Brahms’s third movement stands right where Mozart would have placed a minuet and Beethoven a scherzo. Brahms does neither, choosing instead a relaxed, sometimes playful alternative. Propulsive energy does not return until the final movement, one of almost uninterrupted exuberance charged at times with pseudo-folk dance rhythms. It makes for a spirited conclusion, one even more vibrant than one might suppose could be achieved with only three instruments.

A skilled pianist, Brahms was no violinist, but that fact gave him no difficulties when it came to writing for the instrument.

His good friend and long-time colleague, Joseph Joachim, was considered by many to be the finest violinist in Europe, and his advice was often at Brahms’s disposal.

Thus, his violin writing is ideally suited to the instrument. Yet in the Violin Sonata No. 3, Brahms may have allowed his personal leanings a bit of free rein, for demands on the pianist are frequently virtuosic, calling more attention to that instrument than might have been expected in a sonata for two players.

The Violin Sonata No. 3 premiered in Budapest on December 20, 1888, and was published the following year with a dedication to Hans von Bülow.

A prominent pianist and conductor and devoted supporter of Brahms’s compositions, Bülow had offered his famed Meiningen Court Orchestra to the composer in 1881 as what was essentially

Last performed on our series: March 1, 2006 (Spoleto Festival USA Chamber Music).

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Brahms: Intermezzo in E-flat major for Piano, Op. 117, no. 1

a rehearsal orchestra, available for playing through his works-in-progress. It was a gift of inestimable value: how better to sense if a new composition is taking flight than to hear fine players set it to wing?

Brahms accepted the offer gratefully and would make many visits to Meiningen in the years that followed. With this sonata, he offered his thanks to the man who had helped him to bring his symphonies to first light.

Rhapsody in E-flat major for Piano, Op. 119, no. 4 Arguably, the piano was Brahms’s first love. He learned the instrument as a boy in Hamburg, and before long had progressed well enough on the instrument to be playing in Hamburg’s dock-side taverns for spending money.

By his late teens, he had progressed to more formal venues, usually as the piano accompanist to better known soloists.

As for composing, that too began with the piano. His first two opus numbers, published when he was barely twenty, are piano sonatas. Some forty years later, four of his last six published scores were also solo piano works, and the two short pieces on tonight’s program are drawn from those works. The opus 117 was published in 1892, the opus 119 in 1893.

The sonata opens in plaintive mood, though with much forward drive.

Even when using the key with which Beethoven opened his Symphony No. 9, one need not break down in tears. The two players share the spotlight in turn, and Brahms ensures that there is much interplay between the parts. For contrast, the second movement is peacefully songlike, with the violin largely playing low in its range. Lively moods return for the third movement, in which both players face occasional bursts of rapid passagework. The final movement is even more dramatically charged. Determined in its energy, it sends melodic fragments bouncing from one player to the other, and its last pages are a powerful torrent of perpetual motion, propelling the sonata into its final chords.

The Intermezzo contrasts the sweetly nocturnal moods of its opening pages with the more cautious, almost fearful character of the middle pages. Some composers might have stopped at that point, feeling that there was sufficient contrast in these two ideas. Brahms, however, seems to have preferred a happy ending, or at least a peaceful one, as the closing pages return to the gentle spirit of the opening.

Last performed on our series: November 29, 2000 (Cho-Liang Lin, violin, and AndréMichel Schub, piano).

Even more contrast is found in the Rhapsody, with boldly heroic passages, strongly confirming the E-flat major key, alternating with others more haunted in mood and yet others that are nimbly pert and playful. Fewer than ten minutes have passed, but Brahms has ensured 6

that diverse colors and atmospheres have been communicated to the listeners, requiring that the performer bring varied interpretive approaches to the music. One player and one keyboard, but distinctly different spirits: that’s what Brahms has crafted here.

direct confrontation, writing for the same five instruments and on about the same breadth Mozart had so famously used.

Like many of Brahms’s compositions, his Clarinet Quintet abounds with lovely and lyrical themes. Sometimes these appear first in the clarinet, though even when that is the case they will soon make their way into the string ensemble. Despite the minor key, the opening movement is more wistful than somber, and the second movement – a nocturne in all but name – is so little devoted to wistfulness that, at one point, the clarinet is given a lively, Hungarian-style passage. With the third movement, Brahms chooses at first to evoke a gentle pastoral mood, as if he were gazing out across the landscape of Bad Ischl. Nimbler passages appear midway, making a nice contrast to the opening and closing pages. The final movement – recalling its Mozartian model – presents a set of increasingly determined variations upon what seems at first to be a new theme. Yet Brahms cleverly makes his way back to a restatement of the opening theme of the initial movement, first heard some thirty minutes previously. It is the sort of fine craftsmanship one only finds in the hands of a master, but such was Brahms at this late date in his career.

Intermezzo in E-flat major last performed on our series: January 14, 1998 (Héle`ne Grimaud, piano).

Tonight marks the first performance of the Rhapsody in E-flat major on our series.

Brahms: Quintet in B minor for Clarinet, Two Violins, Viola, and Cello, Op. 115 Brahms’s Clarinet Quintet followed close on the heels of the Trio, both from the same summer at Bad Ischl. In comparing the two works, the composer said of the Quintet that it was “a far greater piece of foolishness,” though many would settle merely for the phrase “far greater.”

For though the Trio has its charms, the Quintet is a spacious composition deeply worthy of comparison with its famed predecessor, Mozart’s own quintet for the same set of instruments. Perhaps that is the reason behind Brahms’s remark. He revered Mozart above all other composers, saying of his predecessor, “If we cannot write with the beauty of Mozart, let us at least try to write with his purity.” Anyone possessing such views would be wisely hesitant to take on Mozart in such a

Last performed on our series: October 6, 2010 (Chamber Music Society of Lincoln Center, David Shifrin, clarinet).

Program notes © by Betsy Schwarm

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You’re Invited!

Found Sound with the Playground

Join us for a family-friendly afternoon of music-making featuring musicians from the Playground Ensemble. You’ll hear a new work by a young composer from Kunsmiller Creative Arts Academy, get a sneak peek at several FCM education offerings for Denver Public School students, and an opportunity to play on unique instruments made from found objects. Plus, you won’t want to miss your chance to “soundpaint” with the musicians!

Free to FCM subscribers. Bring your children and/or grandchildren to enjoy this fun afternoon!

Sunday, November 16, 2014, 2:00 - 3:30 p.m.

Auditorium, Denver School of the Arts 7111 Montview Blvd, Denver 80220

Please RSVP by November 10th to 303-388-9839 or

friendsofchambermusic@comcast.net

Curious to Hear Denk on Ives? of Charles Ives Take Me Home. This event is offered in collaboration with Curious Theatre Company and attendees will have the opportunity to purchase discounted tickets to Charles Ives Take Me Home. Our thanks to Onofrio Piano for donating a piano for this event. For more information, visit our website at www.friendsofchambermusic.com in the coming weeks.

Join us at Curious Theatre Company, 6 p.m. on Monday, January 19, 2015, for an unforgettable evening with pianist Jeremy Denk as he talks about the world and works of American composer Charles Ives. One of the foremost interpreters of Ives’ piano music, Denk will speak about the composer and his influences with Christy Montour-Larson, director of Curious Theatre Company’s production

Don't miss our upcoming Piano Series Recitals $35 each/$10 students 25 and under Tickets available through our website, www.friendsofchambermusic.com, or contact the Newman Center Box Office, 303-871-7720, www.newmantix.com

Jeremy Denk

January 21, 2015 7:30 p.m.

Jonathan Biss

May 6, 2015 7:30 p.m.

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Building New Audiences through Educational Outreach Friends of Chamber Music's education programs are an essential part of our mission. FCM recently received this letter from Luke Wachter, the music teacher at Kunsmiller Creative Arts Academy, a K-12 public magnet school serving students in southwest Denver.

I try to ensure that my students are engaged not in just what I think is valuable, but also in what is actually happening in the musical community of the city. This means exposing them to working artists in the world of chamber music, and more importantly giving them the chance to work directly in making music with those professionals.

Dear Friends of Chamber Music,

As anyone who has run a school music program can tell you, it is impossible for even a masterful teacher to be successful on their own. Support from parents, schools, co-teachers, and outside organizations bringing musical opportunities to students are all vital parts of comprehensive 21st-century music education. The latter two things can be particularly difficult for innercity schools without a lot of financial resources. However, due to the work being done by groups like the Friends of Chamber Music, it has been possible for me to expose my students at Kunsmiller Creative Arts Academy in Denver Public Schools to an expanding landscape of musical experiences and opportunities.

Bridging the achievement gap in the arts is a difficult prospect, but I know the support of organizations such as FCM have a real impact on student growth and achievement. After our Spring 2014 Young Composers Project, which FCM helped make possible, I had two high school students come to the realization that not only did they want careers in music, but that it was something that was actually possible for them to do in a very real way. This is how new audiences are built, new artists' voices found, and lives changed.

Luke Wachter Kunsmiller Creative Arts Academy

Excerpt from a letter to oxygen users from FCM subscriber, Dr. Bonnie Camp:

disturbing anyone with my Spirit 600 nestled beneath my seat, smoothly and silently delivering oxygen.”

“When the Pacifica Quartet opened its recent performance of the cycle of Beethoven String Quartets, I sat comfortably in the second row without

For more information on quiet oxygen delivery systems that Bonnie has shared with us, please pick up the complete text of her letter at the ticket table in the lobby. Thank you Bonnie!

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Joan & Bennie Bub Thomas Butler Elizabeth & John Carver Richard & Gwen Chanzit Gini Chrisco Marion Colliander Jane Cooper Janet Dampeer Garth Englund, Jr. Nancy & Mike Farley John & Debora Freed Martha Fulford Robert C. Fullerton Sandra Goodman Sanders Graham Barbara Inama Suzanne Kaller Leonard & Abbey Kapelovitz William & Martha Keister Shana Kirk Edward Karg & Richard Kress Linda Levin Marilyn Lindenbaum Roy & Esther Lowenstein Bill and Lisa Maury Loris McGavran Estelle Meskin Joanna Moldow James & Karin Mote Betty Murphy Mary Murphy Carolyn & Garry Patterson Barbara Pelter Georgina Pierce Mary Platt Candice & Scott Posner, in memory of Lisl Penzias Sarah Przekwas Marcia Ragonetti, in memory of Allen Young Robert Rasmussen Margaret Roberts Suzanne Ryan Jo Shannon Artis Silverman Lois Sollenberger Steve Susman Carol Trotter Suzanne Walters Barbara Walton James Williams Ruth Wolff Jaclyn Yelich Yoni Zaluski S S Gift made to the Piano Fund + Gift made to the FCM Endowment

UPCOMING CONCERTS CHAMBER SERIES

PIANO SERIES

LEONIDAS KAVAKOS AND YUJA WANG WEDNESDAY, NOVEMBER 19, 7:30 PM

JEREMY DENK WEDNESDAY, JANUARY 21, 7:30 PM

DOVER QUARTET WEDNESDAY, DECEMBER 3, 7:30 PM

JONATHAN BISS WEDNESDAY, May 6, 7:30 PM

CALDER QUARTET WEDNESDAY, FEBRUARY 25, 7:30 PM

SPECIAL EVENTS SUBSCRIBER APPRECIATION EVENT SUNDAY, NOVEMBER 16, 2:00 PM Denver School of the Arts

LES VIOLONS DU ROY WITH MARC-ANDRÉ HAMELIN THURSDAY, MARCH 19, 7:30 PM

JEREMY DENK/CURIOUS THEATRE EVENT JANUARY 19, 2015, 6:00 PM

TRIO CON BRIO COPENHAGEN WEDNESDAY, APRIL 1, 7:30 PM

YO-YO MA, SOLO RECITAL APRIL 29, 2015, 7:30 PM Advance single tickets are available for all concerts.

Returned tickets are also available at the door.

Visit www.friendsofchambermusic.com or contact the Newman Center Box Office, 303-871-7720, www.newmantix.com

SPECIAL THANKS SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (Tier III) for supporting FCM’s outreach efforts through school residencies and master classes

COLORADO PUBLIC RADIO (KVOD 88.1 FM) for broadcasting FCM concerts on its “Colorado Spotlight” programs ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHEL for providing lead gifts to the FCM Endowment Fund

BONFILS-STANTON FOUNDATION for sponsorship of FCM’s Piano Series in memory of Lewis Story

Lyn Loewi for coordinating program notes

COLORADO CREATIVE INDUSTRIES providing general operating support for our season BOARD OF DIRECTORS Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer PROJECT ADMINISTRATOR Desiree Parrott-Alcorn

BOARD MEMBERS Patsy Aronstein Kate Bermingham Julanna Gilbert John Lebsack Rosemarie Murane Kathy Newman

Mary Park Richard Replin Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld

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