UWM Peck School of the Arts - Fine Arts Quartet & Chamber Music Milwaukee

2013-14

FINE ARTS

QUARTET

NOV

10 Starts at 3:00pm Helen Bader Concert Hall

arts.uwm.edu/quartet

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PROGR A M String Quartet in A Major, Op.18, No.5.........................................................Ludwig van Beethoven Allegro (1770-1827) Menuetto Andante cantabile Allegro Grosse Fuge in B Flat Major, Op.133......................................................................................Beethoven -- Intermission -String Quartet in B Flat Major, Op. 130.................................................................................Beethoven Adagio ma non troppo - Allegro Presto Andante con moto, ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Allegro PROGR A M NOTES Written by Timothy Noonan, Senior Lecturer - Music History and Literature Beethoven, String Quartet in A Major, Op. 18 No. 5 In 1782-85 Mozart composed six string quartets which he dedicated to his friend Joseph Haydn. Haydn’s quartets had been important in Mozart’s own growth as a quartet composer, and the two composers truly respected one another’s work. There is little question that these two figures represented the two greatest composers active at the time; by the time of Mozart’s untimely death at age 35 in 1791, a new young genius, Ludwig van Beethoven, was coming onto the scene. Beethoven would, of course, ultimately stand with Haydn and Mozart as one of the greatest composers of string quartets in the history of the genre, writing his first quartets, a set of six, Op. 18, in 1798-99.

The fifth quartet in this set was, according to a study by musicologist Jeremy Yudkin published in 1992, modeled upon the fifth quartet by Mozart in the set dedicated to Haydn, K. 464, also in the key of A major. Beethoven copied out the slow movement of Mozart’s work—not an uncommon practice at the time—and in his own piece imitated some aspects of his model while consciously differing in others. In this period, this sort of modeling is a gesture of tribute, of homage, of acknowledgment of all that the older master has taught him.

The first movement opens with an introductory gesture, prior to a main theme in the high register of the first violin—reminiscent of Haydn’s “Lark” Quartet, Op. 64 No. 5. The second theme begins in the minor, later turning to the major. A fast-moving closing idea leads to a repeat of the exposition. The development begins by focusing on an idea from late in the exposition, then turning to the main theme, now in D major. The recapitulation, in keeping with classical tradition, is largely in parallel with the exposition, though the music that precedes the second theme is altered and shortened. The Fine Arts Quartet /Chamber Music Milwaukee

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Minuet is the second movement, beginning with a duet for the two violins (compare its opening with the “Es muss sein” idea in Beethoven’s quartet Op. 135). In the first part the repeat is written out, to allow rescoring. The trio section’s melodic activity lies in the inner voices, with accents falling on the third and final beat of the measure. Like Mozart’s K. 464, the slow movement is the third and consists of a theme and variations in D major. The singing theme is treated in a variety of approaches in the variations. The first variation begins in the solo cello, and then each instrument enters in ascending order. In the second, the first violin’s quick sixteenth notes follow the harmonic plan of the theme.

The third variation places phrases of the theme in the context of quick trill-like figures in the violins. Variation four returns to the rhythm of the theme, albeit reharmonized. The festive fifth variation is made the more so by the first violin’s trills. A striking harmonic shift taken up by the cello signals the coda, concluding the variations quietly. The finale, in sonata form, opens with an idea reminiscent of the start of the finale of Mozart’s “Prague” Symphony, perhaps another gesture of homage. The second theme again reminds us of another work, this time his own—a portion of the finale of his “Pathétique” Piano Sonata, Op. 13 The development leads us to a climactic point, treating the ideas of the exposition with expertise he may have learned from Haydn, and the recapitulation concludes with a substantial coda, ending quietly.

Beethoven, Grosse Fuge in B-Flat Major, Op. 133 In 1822, Prince Nikolai Galitzin, a cellist and music lover from St. Petersburg, commissioned Beethoven to write “one, two or three new quartets.” This came in a letter of November 9 that requested whatever fee the composer deemed appropriate and that the works be dedicated to Galitzin. Beethoven replied the following January 25, accepting the proposal and charging 50 ducats per quartet. While he promised to deliver the first work by mid-March, work on the Missa Solemnis, Op. 123, and the Ninth Symphony, Op. 125, delayed his progress. Even before the commission came, Beethoven was working on a quartet, his first since completing Op. 95 in 1810, and he completed that piece, which we call Op. 127, in February 1825. Then Beethoven turned to the second quartet for Galitzin, Op. 132, and completed it in July 1825, whereupon he began work on the third, the quartet Op. 130, written from July to December 1825 and premiered by the Schuppanzigh Quartet on March 21, 1826. With it, the Galitzin commission was fulfilled. However, only the first quartet was paid for, and Galitzin now owed Beethoven 100 ducats for the remaining two quartets plus 25 more for the dedication of the Consecration of the House Overture, Op. 124, of 1822. He acknowledged the debt, indicating that he admired the quartets but was short of funds, and the monies remained unpaid at Beethoven’s death in March 1827. Near the end of his life, Beethoven wrote two more quartets, the great Op. 131 and his last, Op. 135. The string quartet was the dominant genre of the final five years of Beethoven’s career.

Op. 130 in B-flat major, the third of the quartets for Galitzin, was written in six movements. By August 1825 Beethoven could report that the quartet should be finished “in 10 or at most 12 days.” The Schuppanzigh Quartet rehearsed the work in January 1826, and found it difficult—in particular, they found the sixth and final movement, the Grosse Fuge (Great Fugue) very challenging. Upon the premiere in March, a critic in the Allgemeine musikalische Zeitung (General Music Magazine) wrote that the final movement 4

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is “incomprehensible, like Chinese” and opined that “perhaps so much would not have been written into the piece if the master could hear his own works.” More perceptive was the critic’s comment, “Perhaps there will come a time when what at first glance seems to us so turbid and confused will be seen as clear and perfectly balanced.” By around August 1826 it was becoming clear that the public could not comprehend the fugue and that it posed a great challenge for performers. Enter Karl Holz, a violinist and confidant of the composer, who was asked by the publisher to ask Beethoven for a different finale, one more accessible for listeners and players, and then they would publish the fugue separately with a different opus number and with a new fee. Beethoven agreed, and composed a replacement finale for Op. 130 from September to November of 1826.

In today’s world we have two choices with regard to the Op. 130 quartet. We can perform it, as in today’s performance, with the replacement finale, or we can play it in its original form, with the fugue as the finale. Both are equally valid because Beethoven sanctioned each. But was the second version forced upon the composer? If it was, of course we should prefer the original version. Yet that decision omits the replacement finale, a wonderful work. The concert this afternoon is the best of both worlds: we hear the Grosse Fuge, Op. 133, as the stand-alone piece it became, and we hear the second version of Op. 130, concluding with the replacement finale.

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The Grosse Fuge, while a single movement, is sectionalized, akin to the finale of the Ninth Symphony. The work begins on a strong G, though its main key proves to be B-flat major.

Beethoven labeled the opening section Overtura, and indeed, it precedes the main initial fugal section. Just prior to the fugue, the first violin softly plays single notes, and then in the fugue, much louder and in B-flat major, that instrument presents the main subject as the viola offers the line just played quietly in the first violin. (Because the subject of this fugue is a duet, it is called a “double fugue.”) This section is lengthy, complex, exhilarating for the listener. The intense forward motion abates as the tempo slows and Beethoven shifts to G-flat major. This passage contains fugal elements, but less strictly. Its ending is marked with slow, measured trill figures that give way to a shift to a faster tempo and a return to B-flat major. This passage has been called an episode; fairly brief, it moves into another double fugue, set in A-flat major, that begins with strong low notes in the cello.

Here again, two ideas of contrasting rhythm sound together and are variously treated in another large section. A passage replete with trills concludes it, and a freer section in E-flat major ensues. Playing with ideas heard earlier, it has been called a Fantasy. The next section reminds us of the slow G-flat-major passage heard earlier, and the section that follows resembles the passage that followed it; this block of returning (though rewritten) materials has been viewed as resembling sonata form. Then a section that seems to lead to a conclusion is the first of two codas. The second of them begins with a loud, unison return to ideas from the Overtura, leading to a return of the original main fugue subject and a dazzling finish.

Beethoven, String Quartet in B-Flat Major, Op. 130 The Quartet Op. 130 in its second version, with the replacement finale taking the place of the Grosse Fuge, assigned the opus number 133, was completed in November 1826 at Gneixendorf, and Beethoven delivered it to the publisher, Artaria, on November 22; he would live four more months. It is a quartet in six movements. The first movement seems initially to begin with a conventional slow introduction, which gives way to an Allegro section dominated by a long-long-short-short-long idea. But the slow tempo of the introduction recurs periodically during the movement, and the introduction is included in the repeat of the exposition. The secondary material is set in the remote key of G-flat major. The development section opens by juxtaposing brief sections of fast and slow tempo in close proximity before turning to a sighing accompaniment for the development of the Allegro’s main idea. In the recapitulation, the secondary material returns, now cast in D-flat major, and the coda returns to the alternation of tempos that began the development. The second movement, in B-flat minor, is a quick scherzolike piece in A-B-A form. A distinctive transition from B to A leads not to a traditional da capo, but rather to a new version of the opening material. The large and beautiful third movement, moderately slow in tempo, is cast in a free sonata form. After two measures of introduction, the viola announces the opening theme, and then a pizzicato transition leads to a secondary idea that features an idea handed back and forth among the instruments. The fourth movement, marked “Alla danza tedesca,” a German dance, begins with two sections, each repeated, in the manner of a minuet. A contrasting section with a written-out repeat functions like a trio section, and the return of the opening material is subjected to variation. A remarkable passage near the end of the movement isolates the eight individual measures of the opening theme and gives each 6

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one to a solo player, but now out of order: 8-7-6-5 1-2-3-4. The profoundly beautiful fifth movement is identified as a Cavatina, a term borrowed from opera that underlines the expressivity of the music. A middle section, marked by repeated-note accompaniment in the three lower parts, is marked “beklemmt,” translated variously as strangled, choked, anxious, oppressed. As the first violin enters, its rhythmic hesitancy is one of the quartet’s most memorable moments. The finale begins, like the Grosse Fuge, with octave Gs, played by the viola. The attractive theme that the first violin introduces begins off key, but leads to a cadence in the home key of B-flat. A secondary idea in the traditional key of the dominant rounds out a conventional yet very satisfying exposition. The large development section introduces a new theme as well as subjecting the opening theme to development and fragmentation. The recapitulation is quite regular, though its actual beginning point is not made particularly prominent; at this point, the first violin takes the octave Gs that the viola played initially, and the theme is taken by the cello before the first violin takes it over. In the large coda that concludes the work, Beethoven builds to a powerful climax at which the first violin presents the main theme in a high register and loud dynamic level. With the conclusion of this replacement movement, we hear the last completed work of Beethoven’s extraordinary creative output.

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F I N E A R T S Q UA R T E T The Fine Arts Quartet, “one of the gold-plated names in chamber music” (Washington Post), ranks among the most distinguished ensembles of our time, with an illustrious history of performing success and an extensive recording legacy. Founded in Chicago in 1946, and based at the University of Wisconsin-Milwaukee since 1963, the Quartet is one of the elite few to have recorded and toured internationally for over half a century. Each season, violinists Ralph Evans and Efim Boico (who have been playing together nearly 30 years), guest violist Juan-Miguel Hernandez, and cellist Robert Cohen perform worldwide in such cities as New York, London, Paris, Berlin, Rome, Madrid, Moscow, Tokyo, Beijing, Istanbul, Jerusalem, Mexico City, and Toronto.

The Quartet has recorded more than 200 works. Their latest releases include the piano quintets and piano quartets of Saint-Saëns and Schumann, the world premiere recording of Efrem Zimbalist’s Quartet in its 1959 revised edition, the world premiere digital recording of Eugène Ysaÿe’s long-lost masterpiece for quartet and string orchestra, “Harmonies du Soir”; Fritz Kreisler’s String Quartet, the two Saint-Saëns String Quartets, three Beethoven String Quintets; the Franck String Quartet and Piano Quintet; Fauré Piano Quintets; complete Bruckner chamber music; complete Mendelssohn String Quintets; “Four American Quartets” by Antheil, Herrmann, Glass, Evans; complete Schumann Quartets; and the Glazunov String Quintet and Novelettes. Aulos Musikado released their complete Dohnányi String Quartets and Piano Quintets, and Lyrinx released both their complete early Beethoven Quartets and complete Mozart String Quintets in SACD format.

The Quartet’s recent recordings have received many distinctions. Their Fauré Quintets CD on Naxos with pianist Cristina Ortiz was singled out by the 2012 Gramophone Classical Music Guide as a “Gramophone award-winner and recording of legendary status”, and was among the recordings for which musical producer Steven Epstein won a 2009 Grammy® Award (“Producer of the Year, Classical”). The Quartet’s Franck CD was named “Editor’s Choice” by Gramophone Magazine in February, 2010, and their Glazunov, Mendelssohn, and Fauré CD’s were each named a “Recording of the Year” by Musicweb International (2007-2009). In addition, their “Four American Quartets” album was designated a “BBC Music Magazine Choice” in 2008, their Schumann CD was named “one of the very finest chamber music recordings of the year” by the American Record Guide in 2007, and their Mozart Quintets SACD box set was named a “Critic’s Choice 2003” by the American Record Guide. Nearly all of the Quartet’s Naxos CDs were selected for Grammy® Awards entry lists in the “Best Classical Album” and/or “Best Chamber Music Performance” categories.

Special recognition was given for the Quartet’s commitment to contemporary music: a 2003-2004 national CMA/ASCAP Award for Adventurous Programming, given jointly

by Chamber Music America and the American Society of Composers, Authors, and Publishers.

The Quartet members have helped form and nurture many of today’s top international young ensembles. They have been guest professors at the national music conservatories of Paris and Lyon, as well as at the summer music schools of Yale University and Indiana University. They also appear regularly as jury members of major competitions such as Evian, Shostakovich, and Bordeaux. Documentaries on the Fine Arts Quartet have appeared on both French and American Public Television. For more information, please visit: www.fineartsquartet.com.

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BIOGR APHIES RALPH EVANS, violinist, prizewinner in the 1982 International Tchaikovsky Competition in Moscow, concertized as soloist throughout Europe and North America before succeeding Leonard Sorkin as first violinist of the Fine Arts Quartet.

Evans has recorded over 85 solo and chamber works to date. These include the two Bartók Sonatas for violin and piano, whose performance the New York Times enthusiastically recommended for its “searching insight and idiomatic flair,” and three virtuoso violin pieces by Lukas Foss with the composer at the piano. Evans graduated cum laude from Yale University, where he also received a doctorate. While a Fulbright scholar in London, he studied with Szymon Goldberg and Nathan Milstein, and soon won the top prize in a number of major American competitions, including the Concert Artists Guild Competition in New York, and the National Federation of Music Clubs National Young Artist Competition. Evans has also received recognition for his work as a composer. His award winning composition “Nocturne” has been performed on American Public Television and his String Quartet No.1, recently released on the Naxos label, has been warmly greeted in the press (“rich and inventive” - Toronto Star; “whimsical and clever, engaging and amusing” - All Music Guide; “vigorous and tuneful” Montreal Gazette; “seductive, modern sonorities” - France Ouest; “a small masterpiece” - Gli Amici della Musica).

EFIM BOICO, violinist, enjoys an international career that has included solo appearances under conductors Zubin Mehta, Carlo Maria Guilini, Claudio Abbado and Erich Leinsdorf, and performances with Daniel Barenboim, Radu Lupu and

Pinchas Zuckerman. After receiving his musical training in his native Russia, he emigrated in 1967 to Israel, where he was appointed Principal Second Violin of the Israel Philharmonic - a position he held for eleven years. In 1971, he joined the Tel Aviv Quartet as second violinist, touring the world with guest artists such as André Previn and Vladimir Ashkenazy. In 1979, Boico was appointed concertmaster and soloist of the Orchestre de Paris under Daniel Barenboim, positions he held until 1983, when he joined the Fine Arts Quartet. Boico has been guest professor at the Paris and Lyons Conservatories in France, and the Yehudi Menuhin School in Switzerland. He is also a frequent juror representing the United States in the prestigious London, Evian, and Shostakovich Quartet Competitions. As music professor at the University of Wisconsin, Milwaukee, he has received numerous awards, including the Wisconsin Public Education Professional Service Award for distinguished music teaching, and the Arts Recognition and Talent Search Award from the National Foundation for Advancement in the Arts.

JUAN-MIGUEL HERNANDEZ, guest violist, was born in Montreal in 1985. He began studying the violin at the age of seven and switched to viola five years later. He received a bachelor’s degree from the Colburn Conservatory and graduate diploma from the New England Conservatory. Hernandez was a first prize winner of the 16th International Johannes Brahms Competition in Austria, as well as prize winner in both the National Canadian Music Competition and the 9th National Sphinx Competition. He has appeared as guest soloist with orchestras in Atlanta, Seattle, Colorado, Rochester, and Chicago, and has performed in the US, Canada, South America, Europe, the Middle East, and Africa. He is a founding member of the Fine Arts Quartet /Chamber Music Milwaukee

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Harlem Quartet, with whom he performed from 2006-12, as well as the Trio Virado and Boreal Trio. He has appeared on NBC’s Good Morning America, the Today Show and the Telemundo Network. His discography includes three quartet CDs as well as multiple collaborations with Chick Corea, Gary Burton and Norah Jones. In 2010 he was honored with the medal of the National Assembly of Quebec.

ROBERT COHEN, cellist, made his concerto debut at the age of twelve at the Royal Festival Hall London and throughout his distinguished international career, he has been hailed as one of the foremost cellists of our time. “It is easy to hear what the fuss is about, he plays like a God” (New York Stereo Review).

“Cohen can hold an audience in the palm

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of his hand” (The Guardian). Invited to perform concertos world-wide by conductors Claudio Abbado, Kurt Masur, Riccardo Muti, and Sir Simon Rattle, Cohen has also collaborated in chamber music with many eminent artists such as Yehudi Menuhin and the Amadeus String Quartet, with whom he recorded the Schubert Cello Quintet on Deutsche Grammophon. At age nineteen, Cohen recorded the Elgar Concerto with the London Philharmonic Orchestra for the EMI label, and since then, he has recorded much of the cello repertoire for Sony, Decca, DGG, EMI, and BIS. Cohen, who studied with the legendary artists William Pleeth, Jacqueline du Pré, and Mstislav Rostropovich, is an inspirational teacher who has given masterclasses all over the world. He is a Professor at the Royal Academy of Music in London and is director of the Charleston Manor Festival in the south of England. He joined the Fine Arts Quartet in January 2012.

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PROGR A M Quiet City (1940)................................................................................................................... Aaron Copland (1900-1990) Kevin Hartman, trumpet Greg Flint, horn Jeffry Peterson, piano Kokopeli, Op. 43 (1990)................................................................................................. Katherine Hoover (b. 1937) Jennifer Clippert, flute The Lone Prairee (Cowboy Song) 1905..........................................................................Arthur Farwell (1872-1952) Indian Lullaby (Nevin)............................................................................................................. Arthur Nevin (1862-1910) To One Unknown (Helen Dudley) 1913.......................................................... John Alden Carpenter (1876-1951) Songs My Mother Taught Me (Heyduk, trans. Ives) 1895..............................................Charles Ives (1874-1954) 12

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To Helen (Edgar Allan Poe) 1905.................................................................................... Charles Loeffler (1861-1935) The Danza (Arlo Bates) 1885........................................................................................George Chadwick (1854-1931) Kurt Ollmann, baritone Jeffry Peterson, piano - Intermission Trio (1958)............................................................................................................................. Verne Reynolds (1926-2011) Kevin Hartman, trumpet Greg Flint, horn Mark Hoelscher, trombone “Dream With Me” from Peter Pan (1950)...............................................................Leonard Bernstein 1918-1990 Jennifer Clippert, flute Scott Cook, cello Elena Abend, piano Suite (1958).....................................................................................................................................Alec Wilder Maestoso (1907-1980) Pesante In a Jazz manner Berceuse (for Carol) Alla Caccia Greg Flint, horn Matthew Gaunt, tuba Elena Abend, piano

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BIOGR APHIES ELENA ABEND, PIANO Born in Caracas, Venezuela, pianist Elena Abend is well known as a soloist and chamber musician. She has performed with all the major orchestras of her country and has recorded with the National Philharmonic Orchestra of Venezuela.

As the recipient of a scholarship from the Venezuelan Council for the Arts, Ms Abend studied at the Juilliard School, where she received her Bachelor and Master degrees. She was awarded the William Schuman Prize for outstanding achievement given to a single graduate student of her class. She has performed at the Purcell Room in London’s Royal Festival Hall, Avery Fisher Hall in New York’s Lincoln Center, Weill Recital Hall at Carnegie Hall and the Academy of Music with the Philadelphia Orchestra. Other engagements have included the Wigmore Hall in London, the Toulouse Conservatoire and the Theatre Luxembourg in France, the Corcoran Gallery in Washington D.C., the United Nations, Merkin Concert Hall in New York, Chicago Cultural Center, Pabst Theater in Milwaukee, Atlanta Historical Society, and the Teresa Carreno Cultural Center in Caracas. Other chamber music collaborations include, performances at the Ravinia and Marlboro Music Festivals, as well as live broadcasts on Philadelphia’s WFLN, The Dame Myra Hess Concert Series on Chicago’s WFMT and Wisconsin Public Radio at the Elvehjem Museum in Madison.

Ms Abend has been on the Faculty of the Wisconsin Conservatory of Music, Indiana University’s String Academy summer program and the Milwaukee Chamber Music Festival. An active performer in the Milwaukee area, Ms Abend has performed on the Milwaukee Chamber Orchestra Series at Schwan Concert Hall, Piano Chamber, New Generations, Music from almost Yesterday, and the Yolanda Marculescu Vocal Art Series at the UWM. She has performed with “Present Music Now” and the “Frankly Music” Series, as well as being an invited guest on several occasions to perform with the Fine Arts Quartet. She recorded a CD with clarinetist 14

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Todd Levy performing music of Brahms and Schumann for the Avie Label, as well as numerous CD projects for the Hal Leonard Corporation. She is currently on the Faculty at the University of WisconsinMilwaukee where she teaches piano and chamber music.

JENNIFER CLIPPER, FLUTE Flutist Jennifer Clippert’s performance career clearly reflects her passionate knowledge of music from Baroque to present day. Equally comfortable as a soloist, chamber musician and orchestral player, she has performed throughout Chicago with groups such as the Chicago Symphony Orchestra, Grant Park Orchestra, Music of the Baroque, Chicago Opera Theater and the Chicago Symphony’s MUSICNOW series among others. Through these performances she’s had the opportunity to work with today’s prominent conductors including Daniel Barenboim, Pierre Boulez, Cliff Colnot, Sir Andrew Davis, William Eddins, Christoph Eschenbach, Carlos Kalmar, Oliver Knussen, Lorin Maazel, Zubin Mehta, Kent Nagano, David Robertson, Esa-Pekka Salonen, Leonard Slatkin, Georg Solti, Robert Spano, Michael Tilson-Thomas, Christopher Wilkins, John Williams and Pinchas Zukerman.

Jennifer Clippert is a member of Quintet Attacca, the second woodwind quintet to have won the Grand Prize in the thirty-nine year history of the Fischoff National Chamber Music Competition.

Since winning both the Senior Wind Division and the Grand Prize at the 2002 Fischoff National Chamber Music Festival, the group has maintained an active performance schedule including tours of both Italy and the United States. Quintet Attacca is known for its versatile and unique performances, creating diverse programs comprised of music both traditional and cutting-edge.

Ms. Clippert is especially interested in exploring and promoting the music of today. Through her performances with the Chicago Symphony’s MUSICNOW series,

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she has had the privilege of premiering works by some of today’s leading composers including Oliver Knussen, Shulamit Ran and Augusta Read Thomas.

She has also been fortunate to work closely with many composers on performances of their works.

She is the winner of several competitions including the Musicians Club of Women Farwell Award and the Flute Talk Competition. Ms. Clippert has been a finalist and prize winner in several competitions including the National Flute Association Young Artist, Piccolo Masterclass and Performers Masterclass Competitions.

An avid pedagogue, Ms. Clippert began her teaching career as an undergraduate student and has always maintained an active studio. She served on the National Flute Association’s Pedagogy committee from 2005-2008, and has presented at several conventions. She is also a frequent guest artist, clinician and adjudicator for various flute festivals. Ms. Clippert was on faculty at DePaul University from 2006-12.

Ms. Clippert began her studies at an early age in Wisconsin, studying first the piccolo and later the flute. She attended the University of Wisconsin-Milwaukee where she received her BFA while studying with Robert Goodberg. While playing two seasons in the Civic Orchestra of Chicago, she had the privilege of studying with Donald Peck. Ms. Clippert is also a graduate of Northwestern University, where she received both her MM and DM under Walfrid Kujala.

SCOTT COOK, CELLO Nebraska native Scott Cook is well known as a teacher, chamber and orchestral musician. He was described in the Greenville News as “a cellist who plays with the depth and intensity of Pablo Casals.”

As soloist, recitalist and chamber and orchestral musician, he has performed around the world as principal cellist of many orchestras in the Southeast and Wisconsin, as member of the AIMS Orchestra in Graz, Austria and the Grand

Teton Festival. He was cellist with the Belle Terre Piano Quartet and the Cezanne String Quartet and has appeared on major recital series in Toronto, Chicago and Milwaukee. He has made numerous recordings including those with members of the Swingle Singers, jazz recordings with Chuck Hedges and for Hal Leonard. Other chamber music collaborations include live broadcasts in Saint Louis, Greenville, SC, Wisconsin Public Radio and “Live at the Elvehjem Museum.” He has appeared as concerto soloist with orchestras in Cleveland, Saint Louis, Greenville (SC), Asheville (NC), and Beloit (WI). He is the artistic director of the Swannanoa Chamber Music Festival Workshop and the director of the international teaching workshop, Teaching Cello to Children at the String Academy of Wisconsin at the University of Wisconsin-Milwaukee.

Cook has taught a virtually every level and in every possible teaching environment.

At the college level with positions at the University of Wisconsin-Milwaukee, Converse College, Carroll University, Alverno College and Limestone College.

At the pre-college level at the String Academy of Wisconsin at the University of Wisconsin-Milwaukee converse College and the Greenville County Schools in South Carolina. In 2008 he was honored to be named the Studio Teacher of the Year by the Civic Music Association of Milwaukee.

As the recipient of a full scholarship he received his Bachelor of Music from the Saint Louis Conservatory and a Master of Music degree from The University of Akron.

His major cello teachers were Savely Schuster, Steven Schumway and Michael Haber.

GREGORY FLINT, HORN Flint is associate professor of horn at the University of Wisconsin-Milwaukee and co-director of the Chamber Music Milwaukee concert series. As a performer, he is currently principal horn with the Elgin Symphony, the Chicago Jazz Orchestra, Present Music of Milwaukee and the Fulcrum Point New Music Project. He often Fine Arts Quartet /Chamber Music Milwaukee

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performs with the Milwaukee Symphony, and has also appeared with the Chicago Symphony, Colorado Symphony Orchestra, Lyric Opera of Chicago, Honolulu Symphony, the Florida Orchestra, and the Ravinia Festival Orchestra. A busy chamber musician, Flint is a founding member of the critically acclaimed Asbury Brass Quintet, hornist with the Tower Brass of Chicago, and has also toured regularly with the Prairie Winds and the Chicago Brass Quintet.

Past summers have included solo appearances in Spain, Costa Rica and South America. Gregory currently spends his summer months in New Mexico as a member of the Santa Fe Opera orchestra.

MATTHEW GAUNT, TUBA Tubist Matthew Gaunt currently performs and records as a member of Burning River Brass and Proteus 7. An active chamber musician, he has also performed with Chicago Chamber Musicians, Millar Brass

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Ensemble, Rhythm & Brass, Center City Brass Quintet, Empire Brass, and is a former member of Majestic Brass, Boston Brass, Paramount Brass, and Epic Brass Quintets.

As an orchestral musician Mr. Gaunt has performed with the Chicago Symphony Orchestra, Boston Symphony Orchestra, Milwaukee Symphony Orchestra, Cincinnati Pops, Boston Pops Esplanade Orchestra, Boston Lyric Opera, Boston Ballet, Boston Philharmonic Orchestra, Portland Symphony, Vermont Symphony, Springfield Symphony, Rhode Island Philharmonic, and the Sarasota Opera. Mr. Gaunt has also held principal positions with the Albany Symphony Orchestra, Berkshire Symphony Orchestra, and Indian Hill Symphony Orchestra. As a soloist, he has performed with groups such as the Boston University Tanglewood Institute Wind Ensemble, Harvard University Wind Ensemble, Springfield Symphony Orchestra, Massachusetts Wind Orchestra as well as solo recitals. Formerly Visiting

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Assistant Professor of Tuba and Euphonium at the University of Massachusetts at Amherst, Mr. Gaunt also has served on the faculties of the Boston University Tanglewood Institute, South Shore Conservatory, and Greater Boston Youth Symphony Orchestras as well as presented master classes for every age and ability level all across the country. He received the Bachelor of Music in Tuba Performance from Boston University and has studied with J. Samuel Pilafian, Gary Ofenloch, and Chester Schmitz. Mr. Gaunt also served as the Massachusetts State Representative of the International Tuba and Euphonium Association.

KEVIN HARTMAN, TRUMPET Kevin Hartman maintains a very active performance schedule in addition to his teaching duties. He performs frequently with the Lyric Opera of Chicago, the Milwaukee Symphony Orchestra and has played on numerous concerts, recordings and tours with the Chicago Symphony Orchestra, including two Grammy winning recordings. Conductors he has worked for include Sir Georg Solti, Pierre Boulez, Bernard Haitink, Daniel Barenboim, Claudio Abbado, Zubin Mehta, Christoph Eschenbach, Michael Tilson Thomas, and many others. He has served as principal trumpet with the Wichita Symphony Orchestra, the Fort Wayne Philharmonic, the Ravinia Festival Orchestra, the Lancaster Festival Orchestra, and assistant principal with the Grant Park Symphony Orchestra. He has also performed with the Atlanta Symphony Orchestra and the Pittsburgh Symphony Orchestra. He is a member of the Fulcrum Point New Music Project, a founding member of the Asbury Brass Quintet and was formerly a member of the Chicago Brass Quintet.

On the commercial side, he has spent countless hours in the theater pits of Chicago during runs of Billy Elliot, Mary Poppins, Showboat, Beauty and the Beast, Miss Saigon, West Side Story, and has performed with Doc Severinsen, Arturo Sandoval, Celine Dion, Peter Cetera, Josh

Groban, Andrea Bocelli, Enrique Eglasias, Dennis DeYoung, Yes, the Temptations, the Manhattan Transfer and many others.

MARK HOELSCHER, TROMBONE Bass trombonist Mark Hoelscher is a member of the Chicago-based Millar Brass Ensemble and is an Edwards artist/clinician.

He freelances with groups in the Chicago, Milwaukee, and Madison areas and is an active teacher and coach. Mark holds a Master’s Degree in trombone performance from Kent State University and an undergraduate degree in trombone from Wichita State University. As a fellowship recipient at the Aspen Music Festival, he performed with the Festival Jazz Ensemble, Chamber Symphony and Festival Orchestra and studied chamber music with American Brass Quintet. He is an active studio musician and has toured nationally and internationally with classical and pops orchestras, as well as big bands and touring shows. Hoelscher has performed with the Hamilton Philharmonic and Symphony Hamilton (Hamilton Ontario, Canada), the Canton Symphony, and was a member of the Wichita Symphony.

Since moving to Milwaukee in 1993, he has performed with such groups as the Chicago Sinfonietta, Milwaukee Symphony, Elgin Symphony, Chicago Civic Orchestra, Milwaukee Ballet Orchestra, Present Music, Madison Symphony Orchestra, and the Wisconsin Chamber Orchestra.

KURT OLLMANN, BARITONE Kurt Ollmann has established a wideranging international career in recital, concert and opera. He first came to prominence singing Riff on the Deutsche Grammophon recording of West Side Story under Leonard Bernstein. He sang Pelléas at La Scala, Milan under Abbado and Don Giovanni in the original Peters Sellars production at Pepsico Summerfare and also appeared with the opera companies in Vienna, Rome, Brussels, Wexford, Santa Fe, Seattle, Washington, Los Angeles and with New York City Opera.

His operatic repertoire has ranged from Fine Arts Quartet /Chamber Music Milwaukee

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BIOGR APHIES

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Papageno (The Magic Flute) and Harlekin (Ariadne auf Naxos) to Valentin (Faust) and Orin Mannon (Mourning Becomes Electra). A distinguished orchestral soloist, Mr. Ollmann has sung with the London Symphony Orchestra, L’Orchestre de Paris, Rome’s Accademia de Santa Cecilia, the New York Philharmonic, the St. Paul Chamber Orchestra and with the orchestras of Boston, Baltimore, Philadelphia and San Francisco, among many others. Recent oratorio engagements have included the Faure, Brahms and Durufle Requiems, Britten’s War Requiem, the title role in Elijah and the role of Jesus in both the St. Matthew Passion of Bach and the St. Luke Passion of Penderecki. Kurt Ollmann has presented song recitals at London’s Wigmore Hall and in Paris, Milan,Geneva, Stuttgart, Barcelona, Montreal, New York, Washington D.C., Chicago, Cleveland and at Tanglewood as well as various other European and North American cities and festivals. He has also sung in Lebanon, Kuwait, El Salvador, Honduras and Bolivia. Among his many recordings are Gounod’s Roméo et Juliette with Placido Domingo on BMG, Gershwin’s Oh, Kay! With Dawn Upshaw on Nonesuch, Bernstein’s Candide and West Side Story, and Ravel’s L’Heure Espagnole under Previn on DG. He has also been featured in several PBS specials. A champion of new American music, Kurt Ollmann has collaborated with such composers as Leonard Bernstein, Ned Rorem, Michael Torke, Richard Danielpour, Peter Lieberson, Ricky Ian Gordon, John Musto, Jerome Kitzke and William Bolcom and was one of the original performers of THE AIDS QUILT SONGBOOK. Upcoming projects include a return to The New York Festival of Song at Carnegie Hall in

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UWM Peck School of the Arts

April, a concert of music of Jerome Kitzke in Brooklyn in May and a recording of music of French composer Thérèse Brenet with the National Orchestra of Poland in June. Since 2002 Mr. Ollmann has been a member of the voice faculty at the University of Wisconsin-Milwaukee.

JEFFRY PETERSON, PIANO Jeffry Peterson is best known for his work in the field of collaborative piano and has performed throughout the United States with such celebrated singers as Yolanda Marculescu, Erie Mills, Evelyn Lear and Kurt Ollmann. Peterson performs regularly on UWM’s Chamber Music Milwaukee series; other notable performances include a recital with soprano Mary Elizabeth Williams at the Mateus Festival in Portugal and performances with Erie Mills, soprano, and James Tocco, pianist, at the John Downey Festival in London. Recording credits include collaborations with Yolanda Marculescu-Stern, an album of American flute music with Robert Goodberg, and the Something to Sing About choral anthology for G. Schirmer. His CD with the renowned soprano Erie Mills, Always It’s Spring (VAI audio), includes three songs by John Downey. Songs of Love and Longing, with soprano Valerie Errante, was released on Albany Classics in 2008, and Skyborn Music, with the Milwaukee Choral Artists, will be released on the Gothic label in fall 2009.

Peterson is professor of piano at UWM and often performs with the UWM voice faculty. He founded UWM’s Vocal Arts Series. He chairs the graduate program in vocal accompanying and recently introduced a new Bachelor’s degree in Collaborative Piano at UWM.

D E PA R TM E N T O F M U S I C Ensembles John Climer, Band Scott Corley, Bands Margery Deutsch, Community Orchestra Curt Hanrahan, Jazz Band Gloria Hansen, Choirs Sharon Hansen, Choirs Jun Kim, Orchestras David Nunley, Choirs Paul Thompson, Choirs Guitar Peter Baime Beverly Belfer Pete Billmann Elina Chekan René Izquierdo Andrew Lardner Don Linke John Stropes Harp Ann Lobotzke+ Jazz Studies Curt Hanrahan, Jazz Ensemble/ Jazz Arranging Steve Nelson-Raney, Jazz Theory and History Randall Ruback Music Education Jill Kuespert Anderson Wolfgang Calnin Scott Emmons Sheila Feay-Shaw Jeffrey Garthee Catherine Robertson Beth Sacharski Bonnie Scholz

Musicology and Ethnomusicology Mitchell Brauner Judith Kuhn Timothy Noonan Gillian Rodger Martin Jack Rosenblum Music Theory, Composition and Technology James Burmeister Christopher Burns Lou Cucunato William Heinrichs Jonathan Monhardt Steve Nelson-Raney Kevin Schlei Stephen Schlei Amanda Schoofs Jon Welstead* Piano Elena Abend Judit Jaimes Leslie Krueger Peggy Otwell Jeffry Peterson María Valentina Schlei Strings Scott Cook, String Pedagogy^ Darcy Drexler, String Pedagogy^ Stefan Kartman, Cello Thomas McGirr, Jazz Bass Lewis Rosove, Viola Laura Snyder, String Bass+ Bernard Zinck, Violin

Voice Kerry Bieneman Valerie Errante Jenny Gettel Tanya Kruse Ruck Kurt Ollmann Winds, Brass and Percussion Dave Bayles, Percussion Dean Borghesani, Percussion+ Margaret Butler, Oboe+ Jennifer Clippert, Flute Gregory Flint, Horn Matthew Gaunt, Tuba/ Euphonium Beth Giacobassi, Bassoon+ Curt Hanrahan, Saxophone Kevin Hartman, Trumpet Mark Hoelscher, Trombone Todd Levy, Clarinet+ Ted Soluri, Bassoon+ Carl Storniolo, Percussion Thomas Wetzel, Percussion+ *Department Chair +Milwaukee Symphony Orchestra ^String Academy of Wisconsin

Fine Arts Quartet Ralph Evans, Violin Efim Boico, Violin Nicolò Eugelmi, Viola Robert Cohen, Cello

Fine Arts Quartet /Chamber Music Milwaukee

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P E C K S C H O O L O F T H E A R T S A D M I N I S T R AT I O N Scott Emmons...........................................................................................................................................Dean Kim Cosier...............................................................................................................Interim Associate Dean Administrative Staff Mary McCoy................................................................................................................Assistant to the Dean Sue Thomas.............................................................................................................. Administrative Officer Randall Trumbull-Holper............................................................................................. Facilities Manager Marketing and Development Ellen Friebert Schupper................................................ Director, Marketing and Communications Diane Grace............................................................................................................. Development Director Nicole Schanen...........................................................................................................Marketing Specialist Justin Kunesh............................................................................................Graphic Designer/Webmaster Box Office Christine Barclay..........................................................................................................Box Office Manager Maria Del Carmen Corpus, Charlie Ewert, ...................................................................Box Office Staff Alycia Griesi, Katie Henry, Aaron Kuczmarski, Marissa Milano, Alyse Page, Liz Parsons, Sam Pavel, Marina Rebellato, Bob Schaab, Veronica Thornton and Patrick Wilson.

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UWM Peck School of the Arts