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Missouri Chamber Music Festival Season 6 June 13–18, 2016 Program of Events

MO CM 314.882.0053 | mochambermusic.org


MO CM Missouri Chamber Music Festival CUSP Monday, June 13, 2016 at 7 pm Prokofiev | Gould | Copland | BartĂłk 560 Music Center, E. Desmond Lee Concert Hall MOCM Morning Music Wednesday, June 15, 2016 at 10:30 am Bottesini | Schumann 560 Music Center, Ballroom Innovation Thursday, June 16, 2016 at 5 pm Caplet | Beethoven First Congregational Church of Webster Groves Finale Saturday, June 18, 2016 at 7 pm PiernĂŠ | Currier | Brahms 560 Music Center, E. Desmond Lee Concert Hall mochambermusic.org | 314.882.0053 facebook.com/MOChamberMusic twitter @MOCMFestival Programs and artists are subject to change. Cover photo: Jennifer Lin 3


MO CM welcome to season 6! It has been a busy and productive year between Festivals—one that found us presenting chamber music of Great Britain across two Salon Sunday concerts in historic Central West End residences. It wasn’t hard to feel a connection to England and the turn of the 19th century immersed in this music. We especially enjoyed the relaxed atmosphere among Salon patrons and musicians. The year has also been exciting as we explored MOCM’s on-going partnership with the Department of Music at Washington University—a collaboration that allows us to present Festival concerts in the 560 Music Center. This spirit of musical innovation is reflected in the programming of Season 6. We think you will agree, each of our four programs seems to vibrate and shimmer with creative expression by composers, each in their own way, on the verge of something new. You will experience this “newness” in works of Brahms, Schumann, and Beethoven who extend compositional form and in pieces by Bartók and Sebastian Currier who push the boundaries of instrumental tone color. Of course outstanding performances by the superlative artists of the MOCM Festival are what we hope really shine! We are proud of the relationship we have built with you, our audience. Each year we are inspired by our patrons and look forward to sharing this beautiful music with you. We hope your experiences with MOCM are lasting – whether listening to concerts, learning more about the music, meeting the artists at a reception, or speaking with our enthusiastic Board members

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and volunteers. Please consider sharing MOCM with your family and friends—we are always looking for ways to grow our St. Louis chamber music family! If you haven’t already, please make a generous tax-deductible contribution to the Missouri Chamber Music Festival. Your continued and heartfelt support enables us to invest in creative programming and memorable concert experiences that enrich the cultural scene of St. Louis. Thank you so much for your support. Please be sure to see us after the concert!

Nina Ferrigno & Scott Andrews Directors, Missouri Chamber Music Festival

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MOCM 2016 Festival Artists Scott Andrews, clarinet Elizabeth Chung, cello Andrew Cuneo, bassoon James Czyzewski, cello David DeRiso, bass Jelena Dirks, oboe Nina Ferrigno, piano Catherine French, violin Edward Gazouleas, viola Erik Harris, bass Heidi Harris, violin Hugh Hinton, piano William J. James, percussion Thomas Jรถstlein, French horn David Kim, cello Eva Kozma, violin Allegra Lilly, harp Laura Reycraft, viola Maria Schleuning, violin Angie Smart, violin Chris Tantillo, viola Shannon Wood, percussion BOARd of directors Nina Ferrigno, President, Artistic Director Scott Andrews, Secretary, Artistic Director Siroth Charnond Jennifer Lin Linda Peterson Bob Roeder Jon Shulan Photography & Graphic Design Jennifer Lin Festival Manager Rachel Dacus Hill

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MO CM Cusp Monday, June 13, 2016 at 7 pm 560 Music Center, E. Desmond Lee Concert Hall Quintet in G Minor, Op. 39 PROKOFIEV 1. Moderato. Vivace 2. Andante energico 3. Allegro sostenuto, ma con brio 4. Adagio pesante 5. Allegro precipitato, ma non troppo presto 6. Andantino

Jelena Dirks, oboe Scott Andrews, clarinet Angie Smart, violin Laura Reycraft, viola Erik Harris, double bass

Two Pieces for Violin and Piano 1. Nocturne 2. Ukulele Serenade

COPLAND

Catherine French, violin Nina Ferrigno, piano

Brief Intermission 7


Benny’s Gig GOULD 1. Slow and nostalgic 2. Brisk, with drive 3. Very slow and hesitant 4. Brisk 5. Slowly 6. Calypso Serenade: Moderately moving 7. Lazily moving 8. Jaunty

Scott Andrews, clarinet Erik Harris, double bass

Sonata for Two Pianos and Percussion 1. Assai lento. Allegro molto 2. Lento ma non troppo 3. Allegro non troppo

BARTĂ“K

Hugh Hinton, piano Nina Ferrigno, piano Will James, percussion Shannon Wood, percussion

Please join us for a reception after the performance.

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In 1924, when Sergei Prokofiev (1891–1953) was staying in Paris, a traveling troupe commissioned a chamber ballet from him. However, the ensemble that provided musical accompaniment to the troupe only contained five members. Prokofiev’s ballet Trapeze proved a bit difficult for the dancers and choreographers of the troupe, and never took off the way Stravinsky’s L’Histoire du Soldat had just a few years before. So the composer turned the work into this Quintet, Op. 39. The instrumentation was tailor-made to help inspire the idea of circus life that the ballet depicted, and makes for a particularly unblended sonority, which gives the piece a wonderful and playful harshness. The music is successfully circusy. It is also one of Prokofiev’s most radical scores, filled with clashing, even polytonal harmonies, as well as irregular rhythms. Aaron Copland (1900–1990) wrote Two Pieces for Violin and Piano in the mid 1920s for himself and violinist Samuel Dushkin to play in a Boulanger-sponsored concert in Paris. These works demonstrate Copland playing with new ideas, including a growing fascination with jazz. This is a period when Copland was writing his heavily jazzinfluenced Piano Concerto. Much of this music would be mined for later scores, but the Two Pieces do hold interest on their own. Copland was experimenting with bitonality, the trick of writing in two different keys at once, undoubtedly influenced by Darius Milhaud, whom Copland esteemed highly. The Nocturne explores a bluesinspired melody which is both sinuous and smoky, complex and moody. In the Ukulele Serenade, Copland is having a good time trying to make the fiddle sound like something it is not, and succeeds in giving us a stylized concert homage to popular vaudeville and Broadway ukulele stars of the day. Benny’s Gig is an eight-part piece for clarinet and double bass written for Benny Goodman by Morton Gould (1913–1996) for the swing clarinetist’s 1962 tour of what was then the Soviet Union. Paying homage to Goodman’s bread and butter, the piece is primarily jazz, though its sixth movement, a tricky calypso number, probably would have made it to the top of the pop charts in the days just before the Beatles took over the world. The original piece was a seven movement work. Jaunty, the eighth and now final movement, was added by Gould as a gift on the occasion of Benny Goodman’s seventieth birthday in 1979. The piece alternates between bluesy slow tunes and up-tempo

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swing, with the double bass mostly playing pizzicato, though in the fourth movement (Brisk), the bow comes out for a rhythmic dialogue between bass and clarinet that is the jazzy heart of the piece. Béla Bartók (1881–1945) wrote the Sonata for Two Pianos and Percussion in 1937, on commission from the International Society of Contemporary Music in Basel, Switzerland. Bartók gave the first performance with his pianist wife, Ditta Pásztory in 1938. Through his composition process at the time, particularly of works for piano and orchestra, Bartók realized he had a desire to showcase the percussive capabilities of the piano. He wrote in the the Basler National Zeitung, “For some time now, I have been planning to compose a work for piano and percussion. Slowly, however, I have become convinced that one piano does not sufficiently balance the frequently very sharp sounds of the percussions.” The Sonata is scored for a quartet of musicians and focuses on balance and interaction between pianists and percussionists. The work highlights with curiosity and subtlety a new vision of percussion. Relationships between pitched timpani and xylophone as well as unpitched cymbals and drums are sympathetically explored and echoed throughout the quartet, always with Bartók’s natural balance and proportion. Written in three movements, with the first lasting as long as the next two together, classic sonata form is used by Bartók to express the newest of chamber music soundscapes. The final movement, Allegro ma non troppo, is a cheerful rondo filled with good humor to the end.

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MO CM MOCM Morning Music Wednesday, June 15, 2016 at 10:30 am 560 Music Center, Ballroom Grand Duo Concertante

BOTTESINI

Heidi Harris, violin Erik Harris, double bass Hugh Hinton, piano

Quintet for Piano and Strings, Op. 44 SCHUMANN 1. Allegro brillante 2. In modo d’una marcia. Un poco largamente 3. Scherzo: Molto vivace 4. Allegro ma non troppo

Heidi Harris, violin Eva Kozma, violin Chris Tantillo, viola James Czyzewski, cello Hugh Hinton, piano

Please join us for a reception after the performance.

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As a child, Giovanni Bottesini (1821–1889) studied the violin, but when his father applied for his admission to the Milan Conservatory the only remaining scholarships available were for bassoon or double bass. So in a few weeks, just before his 14th birthday, Bottesini learned enough about the bass to enter the Conservatory. During the course of his career as a bass virtuoso, conductor, and composer, Bottesini wrote numerous pieces featuring his own instrument, including concertos and ensemble works. Many of them exist in multiple versions, such as the Gran Duo Concertante from 1880. Bottesini originally composed it as a duo concerto, for two basses and orchestra. The violin virtuoso Ernesto Camillo Sivori, (Paganini’s only student), adapted it for violin and bass. It begins in the key of A Minor with declamatory introduction and rhapsodic solos, which set up a cantabile section in A Major, again with much soloistic embellishment. The piece is a rollicking good time, and a tour-de-force showcase for the solo instruments. Much beloved and often performed, the Quintet for Piano and Strings, Op. 44 can be seen as ushering in a new genre of chamber music. In 1842, Robert Schumann (1810–1856), changed the idea of the piano quintet, ordinarily piano, violin, viola, cello, and bass, by pairing string quartet with piano. This was in response to the growing significance of the string quartet as the most regarded and prestigious chamber ensemble and recognition of advances in design of the piano which yielded more power and dynamic range. The result is a full bodied instrumentation that is capable of expressing both “public” and “private” musical thought. Throughout the four movements of the piece, the work alternates between ‘concertante’ passages in which the piano is opposite the string quartet and more interwoven or ‘conversational’ piano/string writing. Schumann dedicated the work to his wife, pianist Clara Schumann, who gave the first public performance at the Leipzig Gewandhaus in 1843.

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MO CM

Innovation Thursday, June 16, 2016 at 5 pm First Congregational Church of Webster Groves Conte Fantastique, CAPLET for harp and string quartet ‘Masque of the Red Death’

Allegra Lilly, harp Maria Schleuning, violin Catherine French, violin Edward Gazouleas, viola Elizabeth Chung, cello

Septet in E-Flat Major, Op. 20 BEETHOVEN 1. Adagio. Allegro con brio 2. Adagio cantabile 3. Tempo di menuetto 4. Tema con variazioni: Andante 5. Scherzo: Allegro molto e vivace 6. Andante con moto alla Marcia. Presto

Catherine French, violin Edward Gazouleas, viola Elizabeth Chung, cello David DeRiso, double bass Scott Andrews, clarinet Andrew Cuneo, bassoon Thomas Jöstlein, French horn

Please join us for a reception after the performance. 13


The Conte Fantastique for harp and strings, inspired by Edgar Allen Poe’s tale The Masque of the Red Death shows off André Caplet’s (1878–1925) determination to rethink instrumental capabilities. Caplet employs the harp as the central character of Poe’s tale in order to give the piece the feeling of a fairy tale. Most of the melodic material is set traditionally, using pentatonic or modal language. His depiction of the Red Death, by contrast, draws on the most recent melodic and harmonic sources. Caplet even toys with Schoenberg’s tonal language, using ten of the twelve chromatic notes to paint the picture of the Red Death stalking the countryside. Caplet chooses to give the harpist chimes of midnight, upon which the masked figure of the Red Death appears. The murmur of the assembled company at this apparition is expressed in string tremolos, glissandos, and harmonics that truly look forward to the textures imagined by Boulez thirty years later. In the late 18th century, the serenade was one of the most popular forms of music. Ludwig van Beethoven’s (1770–1827) homage to the genre became his most popular piece while he was alive. The Septet, Op. 20 is a lighthearted work that Beethoven premiered in 1800 on the same concert in which he unveiled his Symphony No. 1. The piece was dedicated to Archduke Rudolph’s sister-in-law, Empress Maria Theresia, an astute political move for a young composer eager to gain a solid foothold among the elite of the empire’s musical capital. The Septet was an immediate success, and the composer later expressed a certain resentment toward this work, remarking that its popularity eclipsed more deserving compositions. The Septet remains a very interesting work, filled with youthful energy and engaging attractive solos for the instrumentalists. The weight of the Septet is carried by the violin and clarinet, but the other instruments are used brilliantly throughout.

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MO CM Festival Finale Saturday, June 18, 2016 at 7 pm 560 Music Center, E. Desmond Lee Concert Hall Pièces en Trio, for string trio PIERNÉ 1. Dédicace sur le nom des frères Pasquier 2. Chanson 3. Les trios clercs de Saint-Nicholas

Maria Schleuning, violin Edward Gazouleas, viola David Kim, cello

Verge for Violin, Clarinet, and Piano 1. Almost too fast 2. Almost too slow 3. Almost too mechanical 4. Almost too dark 5. Almost too light 6. Almost too fractured 7. Almost too much 8. Almost too little 9. Almost too calm

CURRIER

Catherine French, violin Scott Andrews, clarinet Nina Ferrigno, piano

Brief Intermission 15


Piano Quartet in G Minor, Op. 25 BRAHMS 1. Allegro 2. Intermezzo: Allegro, ma non troppo 3. Andante 4. Rondo all Zingarese

Maria Schleuning, violin Edward Gazouleas, viola David Kim, cello Nina Ferrigno, piano

Photo: Jennifer Lin

Please join us for a reception after the performance.

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Gabriel Pierné (1863–1937) has been called the most complete French musician of the late Romantic/early twentieth century era. In his own music Pierné blended a seriousness of purpose with a lighter, more popular flavor. In 1890 Pierné succeeded his teacher, César Franck, as organist at St. Clotilde cathedral, a distinct honor for a young man of 27. In the late 1890s he abandoned his career as an organist and by the early 1900s, had become the principal conductor of the Concerts Colonne. His dedication to the music of his contemporary French composers earned him a reputation as a conductor of deep integrity. In addition to his activities on the podium, Pierné served on the administration of the Paris Conservatoire and composed for the Ballet Russes. Three Pieces for Trio was written just a year before his death, and represents his most mature and accomplished composing. Program note by the composer (Sebastian Currier, b. 1959): "Verge was written for and dedicated to the Verdehr Trio. The idea for the work is taken from the title of one of the pieces in Schumann’s Kinderscenen—"Almost too serious." Implicit in the title is an aesthetic boundary which, although it may be approached, should not be crossed. If the piece were too serious it would cause it to be out of balance with the simple, childlike world of Kinderscenen as a whole. On the other hand, as long as it does not cross this threshold, it may come as close as possible. It is this idea of being on the verge of some extremity or another that becomes the basis of my piece. Each of the nine movements stands on the edge of excess and I use the phrase borrowed from Schumann to describe them: almost too fast, almost too slow, almost too mechanical, almost too dark, almost too light, almost too fractured, almost too much, almost too little, almost too calm. The nine movements can be divided into cycles of three, each beginning with a pair of movements that oppose one another: fast—slow, dark—light, etc. Almost too much forms the dramatic center of the whole."

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The Piano Quartet in G Minor, Op. 25 is an important work in the compositional development of Johannes Brahms (1833–1897). Chamber music of the 19th century began to “demand” concert hall performances (one might argue, beginning with Schumann’s Piano Quintet) in that the technical difficulties of individual parts as well as the symphonic proportions of length and complexity moved chamber works out of small venues and onto the stage. These works began to share space with solo recitals and symphonic programs. Brahms began writing the G Minor Quartet in 1856. Its premiere was given in 1861 with Clara Schumann at the keyboard. Each of the four movements of the Piano Quartet in G Minor is laid out on an enormous scale and shows us a young Brahms on the cusp of refining his approach to sonata form, which became a personal trademark of his. It also shows us Brahms forging new ground by substituting the title “Intermezzo” for “Scherzo/Trio” which speaks to his innovative ideas of larger layout and subdued character for middle movements. The finale is a virtuoso showpiece and an early example of explicitly gypsy-inspired music, a style that served Brahms well throughout his career. Arnold Schoenberg was a great fan of the piece and displayed its symphonic scope by orchestrating it in 1937.

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Artist Biographies Scott Andrews, a sought-after collaborative musician and an avid proponent of new music, has performed throughout the United States and internationally with many of today's leading artists and ensembles. Appointed Principal Clarinet of the St. Louis Symphony in 2005, Mr. Andrews was previously a member of the Boston Symphony Orchestra and has also performed with the Philadelphia and the Cleveland Orchestras. He performs often with Seiji Ozawa at the Saito Kinen Festival and the Mito Chamber Orchestra in Japan. Mr. Andrews was for many years the Woodwind Department Chair at Boston Conservatory and a faculty member of the Tanglewood Music Center in Lenox, Massachusetts. He has also taught at the Pacific Music Festival and the Aspen Music Festival and School. Originally from Virginia, Mr. Andrews attended the New England Conservatory of Music in Boston, where he was a clarinet student of Harold Wright. Elizabeth Chung, cello, received her B.M. and M.M at the Juilliard School, under the tutelage of David Soyer and Timothy Eddy. She attended the Verbier, Holland, Kronberg, and Banff festivals, where she studied under Bernard Greenhouse, Gary Hoffman, Luis Claret, Rafael Wallfisch, Andreas Diaz, and Paul Katz. She has soloed with the Finnish Kuopio, Harper, and Keweena Symphony Orchestras, the Michigan Tech University and Aspen Academy Orchestras. Her chamber music experience includes performances at the Kennedy Center with renowned violinist Midori, Sarasota Music Festival, Verbier Academy, Banff Centre, and Alice Tully Hall in New York City. Andrew Cuneo is the Principal Bassoon with the St. Louis Symphony. Prior to his appointment in St. Louis, he was Principal Bassoon of the Louisville Orchestra and the Sarasota Opera. In addition, he has performed with the Philadelphia Orchestra, the Milwaukee, Boston, and Houston symphonies, as well as the Lyric Opera of Chicago and the Houston Grand Opera. He has played with the Sun Valley Summer Symphony since 2011, and has been a fellow at several summer festivals, including Tanglewood, the Music Academy of the West, and the Youth Orchestra of the Americas. Andrew Cuneo is a former student of Bernard Garfield and Daniel Matsukawa at the Curtis Institute of Music and Benjamin Kamins at Rice University.

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James Czyzewski hails from Fairbanks, Alaska, where his primary cello teachers were Peggy Swartz and Bruno DiCecco. He received his bachelor’s degree with honors from Northwestern University in the spring of 2003, studying with Hans Jorgan-Jensen. Following graduation, Czyzewski served as Co-principal Cello with the Civic Orchestra of Chicago. He joined the St. Louis Symphony in the Fall of 2004. Originally from New York City, bassist David DeRiso received his Bachelor of Music and Master of Music degrees from Rice University where he studied with Timothy Pitts and Paul Ellison. After school, Mr. DeRiso spent one year playing in the New World Symphony in Miami Beach, a training ground for young musicians, before winning his position with the St. Louis Symphony in 2005. Jelena Dirks is the third generation of professional female musicians in her family. A San Diego native, Ms. Dirks took up the piano at age 5, and at age 11, she begged her parents to let her play the oboe. She remains equally proficient on both piano and oboe, performing on both instruments to this day. She is highly sought after as both a teacher and performer and has played with virtually every major musical group in Chicago, including five years of regular performances, tours, and recordings with the Chicago Symphony Orchestra. She is a member of the critically acclaimed Prairie Winds Quintet, and perorms often with the Chicago Chamber Musicians. Having graduated Summa Cum Laude from St. Olaf College in Minnesota, Ms. Dirks went on to receive dual Masters Degrees in Piano and Oboe Performance from the University of Michigan. She studied with Alex Klein, Harry Sargous, David McGill, and Logan Skelton. Jelena was appointed to the position of Principal Oboe of the St. Louis Symphony in December of 2013.

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Nina Ferrigno, described by the St. Louis Post-Dispatch as "a magnificent pianist," has appeared in major concert venues throughout North America. She has performed with the St. Louis and Boston Symphonies, Boston Pops, and the Boston Modern Orchestra Project (BMOP). Her festival appearances include those at Tanglewood, Banff, Norfolk, Skaneateles (NY), and the Carolina Chamber Music Festival. Her appearance with members of the St. Louis Symphony at the Pulitzer Foundation was touted as "the high point" of the evening by the Post-Dispatch. Ms. Ferrigno is a graduate of New England Conservatory of Music, where she received Bachelor and Master of Music degrees with distinction. Her principal teachers were Wha Kyung Byun and Randall Hodgkinson. As a long-time memberdirector of the AUROS Group for New Music and founding member of the Boston-based Calyx Piano Trio, Ms. Ferrigno is committed to bringing classical music to new audiences and strives to commission and perform new works in a variety of settings. She has recorded for Albany Records, Nonesuch, and BMOP/Sound, on which she released the critically acclaimed recording of Elliot Schwarz’s Chamber Concerto III for Piano and Orchestra in 2009. Violinist Catherine French is a native of Victoria, British Columbia, where she began Suzuki studies on the violin at the age of four. A frequent soloist, Ms. French has appeared with orchestras and in recital throughout Canada and the United States, and made her Carnegie Hall debut in 1992. She has been a participant in the Portland, Lake Winnipesaukee, Marlboro, and Carolina Chamber Music Festivals. Ms. French is a graduate of Indiana University, where she received a Bachelor of Music degree and a Performer's Certificate, and the Juilliard School, where she earned a Master's degree. Her major teachers have included Dr. Lise Elson, Miriam Fried, Felix Galimir, and Joel Smirnoff. Ms. French joined the violin section of the Boston Symphony Orchestra in September 1994. She can be heard in the Boston area as a member of Collage New Music and the Calyx Piano Trio, and in performance with other BSO members as part of the Prelude concerts at Symphony Hall and other local venues.

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Edward Gazouleas is professor of viola at the Indiana University Jacobs School of Music. He previously held the Lois and Harlan Anderson Chair in the Boston Symphony viola section and was on the faculties of Boston University College of Fine Arts, the New England Conservatory of Music, and the Tanglewood Music Center. An active recitalist and chamber musician, Gazouleas performs frequently with pianist Pei-Shan Lee. He was a prize winner at the International String Quartet Competition in Evian, France, and has performed with members of the Borromeo, Muir, Lydian, and Audubon string quartets. He has held teaching positions at Boston Conservatory, Wellesley College, and Temple University and was a member of the Pittsburgh Symphony under Lorin Maazel. Mr. Gazouleas attended Yale and received a Bachelor of Music degree from the Curtis Institute, where he studied with Michael Tree and Karen Tuttle. Born in New York City and raised in Fort Lauderdale, Florida, Erik Harris began his musical studies on guitar at age five and switched to double bass at age 13. Mr. Harris attended the Juilliard School, where he studied with noted double bass pedagogue Homer Mensch. He received both his bachelors and master’s degrees from Juilliard, and, in 2005, was recognized as one their 100 most notable alumni in honor of the school’s 100th anniversary. Upon graduation, Mr. Harris served as Principal Bass with the New World Symphony during its inaugural season. At age 23, he was invited by Sir Georg Solti to join the Chicago Symphony. In 1993, Mr. Harris was appointed Principal Double Bass of the St. Louis Symphony. An avid teacher, Mr. Harris has taught master classes at the Manhattan School of Music, New World Symphony, and the Juilliard School, and currently serves on the faculty of Webster University. He performs on a double bass made by Johannes Gagliano in 1804.

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Violinist Heidi Harris won her first orchestra job in the St. Louis Symphony during her senior year of college. After three seasons with the Chicago Symphony Orchestra, Ms. Harris returned to St. Louis in 1998 as Assistant Concertmaster, shortly thereafter earning her current position as Associate Concertmaster. Ms. Harris began her musical studies on the piano at age three, and began studying the violin at age four. At 13 she made her solo debut with the Utah Symphony under the baton of Joseph Silverstein, returning again to solo with the same orchestra at ages 15 and 19. After graduating high school from the Interlochen Arts Academy, Ms. Harris went on to earn her Bachelor of Music degree from the New England Conservatory. Ms. Harris also served as an extra in the Boston Symphony Orchestra under Seiji Ozawa, participating in recordings with Bernard Haitink, as well as touring with the BSO while still in school. Ms. Harris has soloed extensively, as well as given recitals in the U.S. and Europe in such venues as the Isabella Stewart Gardner Museum in Boston, and the Mozarteum in Germany. She performs on a G.B. Guadagnini violin, dated 1753. Pianist Hugh Hinton has performed widely as a concerto soloist, in recitals, and as a chamber musician, with a special interest in modern and contemporary music. Mr. Hinton has been a member of the imaginative and pioneering contemporary music group Core Ensemble since its founding in 1993. The group, which has performed throughout the US, Russia, Ukraine, England, and Australia, has received national recognition for their programs that meld chamber music with theatre. Mr. Hinton performs widely in Boston and around New England. Mr. Hinton toured the Middle East as a United States Information Agency Artistic Ambassador, playing in Syria, Kuwait, Saudi Arabia, and Oman. He has performed as soloist with the Boston and Dallas Symphony Orchestras, and the New Orleans Philharmonic. He earned a bachelor’s degree from Harvard University, majoring in music, and a Master of Music and DMA from New England Conservatory in piano performance, studying with Russell Sherman, Lev Vlassenko, and Mykola Suk. Mr. Hinton has earned awards and prizes from the Washington and the Robert Casadesus International Piano Competitions, and the Harvard Musical Association. Mr. Hinton has taught piano at the Longy School of Music of Bard College since 1998 and currently serves as director of campus music activities at Merrimack College in North Andover, MA.

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William J. James is Principal Percussion of the St. Louis Symphony. He is a graduate of the New England Conservatory where he earned a Master of Music degree in 2006 as a student of Will Hudgins, and Northwestern University where he received his Bachelor of Music Degree in 2004 studying with Michael Burritt and James Ross. Mr. James has played with many outstanding ensembles including the Boston Symphony Orchestra, and Chicago Symphony Orchestra. In addition to his experience as an orchestral player, he performs solo recitals across the country and has appeared as soloist with the St. Louis Symphony and the New World Symphony. Mr. James continues an active career as a chamber musician in St. Louis, performing at the Pulitzer Foundation and playing in a Percussion and Piano Duo with pianist Peter Henderson. Mr. James is a very active educator in the percussion community. His book The Modern Concert Snare Drum Roll has been met with critical acclaim as a resource for both teachers and students. Mr. James is also very active in the Percussive Arts Society (PAS), currently serving on the PAS Symphonic Committee. You can find out more about Will James at williamjamespercussion. com. Thomas Jöstlein, Associate Principal Horn with the St. Louis Symphony since 2010, enjoys an active and varied musical life. From 2007–09, Mr. Jöstlein was the New York Philharmonic's Assistant Principal Horn. Previously, he held positions with the Honolulu, Omaha, Richmond, and Kansas City symphony orchestras, and performed in summer festivals in Oregon, Ohio, Colorado, and North Carolina. He has served as Assistant Professor of Horn at the University of Illinois, teaching horn and orchestral repertoire. He taught several weeks at Indiana University in 2014 in both natural and un-natural (i.e. valved) horn, and has held adjunct positions at the University of Hawaii and at Virginia Commonwealth University. An active soloist, Mr. Jöstlein has appeared in recital at Merkin Concert Hall in New York City, and recently performed with his hornist colleagues in the St. Louis Symphony as a soloist on Schumann's Concertstück for Four Horns and Orchestra, Op. 86.

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A native of Dallas, Texas, David Kim started playing the cello at the age of four. After deciding to pursue a career in music, he went on to receive his Bachelors & Masters degrees from The Juilliard School. While at Juilliard on full scholarship, he studied with Harvey Shapiro. During his time in New York, Mr. Kim performed various solo and chamber concerts at Alice Tully Hall, Merkin Hall, and at the Kosciusko Foundation for the Violoncello Society of New York. He also served as Principal Cellist of the Juilliard Orchestra and with the New York String Orchestra under Jaime Laredo. Mr. Kim joined the St. Louis Symphony in 1999, appointed by the late Hans Vonk. He was named Assistant Principal Cellist of the St. Louis Symphony in 2014. Recent chamber music performances outside of Powell Hall include concerts at the Pulitzer Foundation, Saint Louis Art Museum, Innsbrook Institute, and Sheldon Concert Hall. Mr. Kim also works extensively with the Community Music School of Webster University and the St. Louis Symphony Youth Orchestra. A St. Louisan for 14 years, he enjoys golfing, following baseball, grilling steaks, and spending time with his son, Alexander and his wife, flutist Nadine Hur. Mr. Kim plays on an 1810 Joseph Panormo cello. Born in 1978 in Targu Mures, Romania, Eva Kozma began violin lessons at the age of seven. Ms. Kozma won Second Prize in 1993 and Third Prize in 1994 in the Romanian National Competition. Ms. Kozma studied at Gheorghe Dima Music Academy in Cluj-Napoca, and later at McGill University under Ani Kavafian and Denise Lupien. She served as Concertmaster of the McGill University Orchestra from 2001 to 2003 and won first place in the university concerto competition in 2003. She has performed with the Targu Mures Philharmonic and with the Societe Philharmonique de Montreal, under conductor Takacs Miklos. Additionally, she received a Fellowship to the Tanglewood Music Center and performed with the New World Symphony in Miami Beach during the 2003–04 Season. Ms. Kozma began her tenure as the Assistant Principal Second Violin with the St. Louis Symphony in September 2004.

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Allegra Lilly was appointed Principal Harpist of the St. Louis Symphony at the start of the 2013–14 season. She has also performed with the New York Philharmonic; the Boston, Chicago, Pittsburgh, Toronto, and Charlotte Symphonies; and the St. Paul Chamber Orchestra. Equally at home as a chamber musician, Ms. Lilly has performed with the Missouri Chamber Music Festival, Chamber Music Festival of Lexington (KY), Argento Chamber Ensemble, AXIOM Ensemble, and Carnegie Hall’s Ensemble ACJW. An avid promoter of new music, she gave the New York premiere of Augusta Read Thomas’s Absolute Ocean for soprano, harp, and chamber orchestra with soprano Amelia Watkins and Camerata Notturna. Since making her solo debut at the age of 12 with the Detroit Symphony, Ms. Lilly has appeared as soloist with the St. Louis Symphony, Juilliard Orchestra, National Repertory Orchestra, International Symphony, Metro Chamber Orchestra, and numerous orchestras throughout her home state of Michigan. Born in Detroit, Ms. Lilly began her study of the harp with Ruth Myers at age seven. She moved to New York at eighteen to join the studio of New York Philharmonic Principal Harpist Nancy Allen at The Juilliard School, where she earned her Bachelor’s and Master’s Degrees. Laura Reycraft, viola, received her Bachelor of Music in Viola Performance from The Cleveland Institute of Music in 2003 as a student of Jeffrey Irvine and Lynne Ramsey. In 2005 she earned her Master of Music diploma from the University of Maryland College Park where she studied viola with Daniel Foster and Michael Tree and Suzuki Violin Pedagogy with Ronda Cole. Ms. Reycraft has participated in a number of music festivals including Tanglewood Music Center, Spoleto Festival USA, Sarasota Music Festival, Aspen Music Festival and School, and the New York String Orchestra Seminar. She has played as substitute with National Symphony Orchestra and is currently a regular substitute with the St. Louis Symphony and an active freelancer in the St. Louis area. Ms. Reycraft is a string faculty member of the Community Music School of Webster University and City Academy and maintains a private teaching studio. Ms. Reycraft is an Artistic Director of Chamber Project Saint Louis.

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Maria Schleuning has been violinist for the Dallas-based contemporary music ensemble Voices of Change since 1996, and was appointed Artistic Director in 2009. An advocate of new music, she has worked with many of the leading composers of our day, and has premiered many new works, recently “Dream Catcher,” a solo violin work written especially for her by Augusta Read Thomas. An active chamber musician, Ms. Schleuning has performed in venues such as New York’s Alice Tully Hall, Weill Hall, Merkin Hall, and the Museum of Modern Art, as well as numerous festivals throughout the United States and Europe. She has recorded with Continuum in New York, as well as in Dallas with the grammy-nominated Voices of Change and the Walden Piano Quartet. A member of the Dallas Symphony since 1994, she has been featured as soloist with the orchestra on many occasions. She studied with Josef Gingold at Indiana University, where she was awarded the prestigious Performer’s Certificate; with Yfrah Neaman at the Guildhall School in London, with a grant from the Myra Hess Foundation; and with Joel Smirnoff at the Juilliard School, where she received her Master’s Degree. Angie Smart has been a First Violinist with the St. Louis Symphony since 1998. Originally from England, she began violin lessons at the age of six and won a scholarship to study at Chetham’s School of Music at the age of 13. She continued her studies in the U.S. in 1990 where she attended the University of Miami, Lamar University in Texas, and completed her Masters degree at Rice University in Houston. Ms. Smart has performed extensively in Europe and the U.S. with representation by Encore Concerts, and has appeared as soloist with the St. Louis Symphony, Alhambra Chamber Orchestra, Gorton Philharmonic, Lamar Chamber Orchestra, and both Chethams’ Chamber and Classical Orchestras. Her television appearances have included masterclasses with Yehudi Menuhin and as the subject of a documentary profiling “A Day in the Life of a Young Musician at Chetham’s School of Music.” Ms. Smart competed in the 10th International Tchaikovsky Competition and the Yehudi Menuhin Competition, and has been a prizewinner in many other competitions, including the British Violin Recital Prize, Elizabeth Harper Vaughn Concerto Competition, and the William C. Byrd Young Artists Competition. Ms. Smart has participated in summer festivals such as the Sun Valley Summer Festival and the Missouri River Festival of the Arts, among others. She has been a Pro-Am Coach and performing artist for MOCM since the inaugural season.

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Chris Tantillo, a native of Long Island, New York, began playing the violin at the age of seven. He switched to viola while attending the Interlochen Arts Academy, where he completed his high school degree. Mr. Tantillo received both his Bachelor's of Music degree from the Cleveland Institute of Music in 2002, where he studied with Stanley Konopka, and his Master’s of Music degree while studying with Robert Vernon, Principal Viola of the Cleveland Orchestra. He has previously performed with the San Diego Symphony and the New World Symphony in Miami Beach, Florida. Shannon Wood was named Principal Timpanist of the St. Louis Symphony in 2013. He received a Bachelor’s degree from the University of Michigan studying under Michael Udow and Salvatore Rabbio, and a Master of Music from Temple University studying with Alan Abel. Mr. Wood is a New World Symphony Fellow alumnus where he focused on orchestral studies under the musical direction of Michael Tilson Thomas. As an orchestral and chamber musician he has toured extensively throughout Europe, New Zealand, South America, Asia, and the United States. Mr. Wood has served on the faculty of the University of Miami and Interlochen Arts Centre and summer engagements have included those with the Aspen Music Festival, Colorado Music Festival, Grand Tetons, Spoleto USA/Italy, Tanglewood, and GRAZ. Also a composer, his 2012 commission by the Grand Rapids Symphony, Concerto for Section Percussion, won 1st place in the classical music genre at ArtPrize. His chamber work, Oort Cloud, has been programmed locally at Powell Hall with David Robertson conducting.

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WUSTLMUSIC

proudly announces

Jonathan

BISS

Thursday, Feb 9, 2017

Yefim

Bronfman

Sunday, April 23, 2017

Nathan

Gunn

Friday, May 5, 2017 Subscriptions available June 1 Single tickets available September 1 For more information visit music.wustl.edu daniels@wustl.edu - (314) 935-5566

!

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Missouri Chamber Music Festival Donors This list reflects gifts received May 1, 2015 through May 7, 2016. The Missouri Chamber Music Festival gratefully acknowledges the financial assistance of the Regional Arts Commission.

Brahms & Beyond Circle Sponsor ($1,000 to $2,999) Drs. Siroth Charnond and Cami Watkins Crofton Industries Dr. and Mrs. Kenneth Smith Members Circle Associate ($750 to $999) Anonymous Mr. and Mrs. Ian Cruikshank Jennifer Lin and Tom Osborn Ms. Barbara Ottolini Patron ($500 to $749) Ms. Sharla Anderson Mr. and Mrs. Barry Beracha Mr. and Mrs. Dana Gobrecht Drs. Linda Peterson & Clark McKenzie Ms. Orli Shaham & Mr. David Robertson Friend ($250 to $499) Mr. Harold A. Ellis Mr. and Mrs. Maurice Ferrigno Ms. Ellen Post Laura and Bob Roeder Mr. and Mrs. Walter Shifrin Mr. and Mrs. Jonathan Shulan Ms. Angie Smart 30


Supporter ($50 to $249) Anonymous (2) Mr. Derek Bermel Michael Biggers Ms. Deborah Bloom Ms. Mary Reid Brunstrom Mr. Robert Burns Ms. Elaine Coe Mr. Alan Fiddleman Bruce and Susan Creditor Mr. Byron Fleming Ms. Felicia Foland Ms. Catherine French Ms. Jeanine Garesche Mr. and Mrs. Mark Gilje Ms. Barbara Harris Ms. Anne Hetlage Ms. Luise Hoffman Ms. Jennifer Lucht Christi and Dennis Maginn Ms. Ann Mandelstamm Mr. and Mrs. Brian McKenna Mr. Michael J. Montague Jennifer Nitchman and Nick del Grazia Mr. William Paul Ms. Helen Pearl Dr. Marshall Poger Ms. Linda Seibert Ms. Susan Sontag Mr. and Mrs. Daniel Steinmeyer Mary and Derrick Stiebler Molly Strassner Ms. Peggy Symes Jason and Julie Weber Mr. Paul Wentzien Dr. Christian Wessling Mr. George Yeh Suzanne and Ted Zorn Matching Gifts The Boeing Company Monsanto 31


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In-Kind contributions Reverend David Denoon, Dr. Ray Landis and the staff of the First Congregational Church of Webster Groves The Community Music School of Webster University with special thanks to Leigh Anne Huckaby Jennifer Gartley, the Faculty and Staff of the Washington University Department of Music Jennifer Lin, Marketing & Public Relations The Tavern of Fine Arts Pan Galactic Company Christi & Dennis Maginn, Festival Housing Laura & Bob Roeder, Festival Housing Janice and Steven Seele, Festival Housing Jelena Dirks & Aaron Sherman, Salon Sunday Hosts Mr. and Mrs. Larry Katzenstein, Salon Sunday Hosts Radio Arts Foundation

special thanks Hands on Volunteer Staffing Correne Murphy George Yeh Interested in volunteering or sponsorship opportunities? Please call 314.882.0053 or email us at feedback@mochambermusic.org.

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The MOCM Festival Fund Our primary goal in developing the Missouri Chamber Music Festival is the contribution we are making to the musical life of St. Louis and the state of Missouri. Part of our mission is to present concerts in smaller venues to keep the excitement and immediacy of live performance visceral for our audiences. As a result, ticket revenue only covers a fraction of the cost of MOCM concerts, visiting artists, commissioning projects, and the MOCM Pro-Am Intensive. We depend on the Festival Fund to make up the difference. The Festival Fund is maintained by area arts councils and generous individuals like you. The MOCM Festival Fund supports program expenses including: * artists fees * visiting artist travel and housing expenses * new music commissioning fees * visiting composer residency and lecture fees * concert space rental * instrument rental * recording engineers

Members Circle Your generous donation enables MOCM realize its mission and continue its musical activities. Your tax-deductible gift helps secure our future as an important thread in the cultural fabric of Missouri. Supporter ($50 to $249) * advance notice of special events * recognition in the MOCM Festival playbill Friend ($250 to $499) * the benefits above * invitation to a MOCM dress rehearsal Patron ($500 to $749) * the benefits above * two complimentary tickets to any Festival concert Associate ($750 to $999) * the benefits above * invitation to a private event 34


The Brahms & Beyond Circle Become a member of The Brahms & Beyond Circle to support the commissioning of new works, fund recording projects, and sponsor visiting artists and composers. Benefits include all preceding plus invitations to private events with festival artists and directors. Sponsor ($1,000 to $2,999) Partner ($3,000 to $4,999) Leader ($5,000 to $9,999) Angel ($10,000 and above)

Photo: Jennifer Lin

For more information about donating to MOCM, visit www.mochambermusic.org/support.html or call 314.882.0053. Thank you for your generous support!

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Yes! I would like to contribute to MOCM. Here is my tax-deductible donation. Complete the information below and mail your check payable to Missouri Chamber Music, Inc. and this form to MOCM, Inc., 211 South Elm Avenue, St. Louis, MO 63119. Donations can also be made online at mochambermusic.org. Questions? Call 314.882.0053 or feedback@mochambermusic.org.

m m m m m

Supporter $50 to $249 Friend $250 to $499 Patron $500 to $749 Associate $750 to $999 Brahms & Beyond Circle $1,000+

m I have enclosed a check for $ m I would like my donation to be anonymous. m I have requested that my donation be matched by my company. Company name Name Address City

State

Phone Email Name(s) to appear in playbill

Thank you for your generous support!

Zip


Playbill advertising is available for the 2017 Season! Ads start at $40. Call 314.882.0053 or email us at feedback@mochambermusic.org. Thank you for your support!

Photo: Jennifer Lin 37


Engaging Music, Intimate Settings Presenting our ninth season of unique programs in intimate settings. Two world premieres, hidden gems and fan favorites come together for six programs of exciting chamber music.

photo: Jennifer Lin

chamberprojectstl.org 38


Experience MOCM throughout the year! + The Salon Series in October 2016 and April 2017: Join MOCM and ModernSTL to celebrate the unique arts and culture of Mid-Century America! + Composer Insights in Spring 2017: Hear MOCM musicians and Composer-inResidence, Christopher Stark, explore and rehearse our newly commissioned work. + MOCM Season 7 Festival, June 12–19, 2017 + Pro-Jam Chamber Music Parties: Play with the pros in a fun & casual setting in October 2016 and January 2017. mochambermusic.org | 314.882.0053

Photo: Jennifer Lin 39


Take the glorious sound of art everywhere you go with the RAF-STL mobile app. Available free on the iTunes app store, it’s your way to connect with the St. Louis arts scene from anywhere in the world.

Donate on-line today at rafstl.org/support-raf.

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Profile for Jennifer Lin

MOCM 2016 Playbill  

Graphic Design, Photography, Editing: Jennifer Lin

MOCM 2016 Playbill  

Graphic Design, Photography, Editing: Jennifer Lin

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