Missouri Chamber Music Festival Playbill 2019

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Season 9 June 17–22 2019

MOCM missouri chamber music festival program of events mochambermusic.org


The Gesher Music Festival Presents

The music of refuge, of security, and of sanctuary. GESHER PREVIEW CONCERT The World Chess Hall of Fame August 8, 7:00pm SAFE HAVEN The Missouri History Museum August 15, 7:30pm SHELTER FROM THE STORM The 560 Music Center August 17, 7:30pm SACRED SPACES The J’s Wool Studio Theater August 18, 2:00pm

geshermusicfestival.org 314.442.3283


Monday, June 17, 2019 at 7 pm First Congregational Church of Webster Groves Borodin, String Trio in G minor for 2 violins and cello Ligeti, Six Bagatelles for Woodwind Quintet Janáček, Mládí for Woodwind Sextet, JW 7/10 Smetana, String Quartet No. 1 in E minor, “From My Life” Approximate run time is 90 minutes which includes one intermission.


Wednesday, June 19, 2019 at 10:30 am The Pillsbury Theatre, 560 Music Center Debussy Petite Suite for piano, 4 hands Piano Trio in G Major (1879): Andante con molto allegro Première rhapsodie for clarinet and piano Sonata No. 1 for cello and piano Sonata No. 2 for violin and piano Approximate run time is one hour with no intermission.


Thursday, June 20, 2019 at 5 pm First Congregational Church of Webster Groves Lash, Around Dvořák, Piano Trio No. 4 in E minor, Op. 90, Dumky Approximate run time is one hour with no intermission.


Saturday, June 22, 2019 at 7 pm E. Desmond Lee Hall, 560 Music Center Lash, Frayed for String Quartet Schumann, Fantasie in C Major, Op. 17 (arranged by Lash) Lash, Folksongs for flute, percussion, and harp Lash, Start for solo snare drum Debussy, Sonata for flute, viola, and harp Approximate run time is 90 minutes which includes one intermission. mochambermusic.org / 314.882.0053 facebook.com/MOChamberMusic twitter @MOCMFestival / instagram @mochambermusicfestival Programs and artists are subject to change. Cover photography: Jennifer Lin


WELCOME TO SEASON 9 Each of the four concerts you are about to hear is a journey of life experience and a unique expression of place whether in terms of time, homeland, or identity. Marking the centennial of Debussy’s death, we present chamber music of this master throughout the Festival. The composition of his precious late works was as much about musical innovation as it was about collective identity in the face of World War I’s cultural trauma. The same could be said of Beth Denisch’s Dream Sing Dream, which the Calyx Piano Trio premiered in 2018 and will perform on Thursday. Her expression of hope comes in times of cultural unrest in our country. The week culminates in a very special Finale, which features composer and harpist, Hannah Lash. Lash’s special artistry, both as a composer and harp soloist, explores new territories. We are thrilled to present her and her unique compositions to you. We are also thrilled to welcome so many astonishing musicians to the MOCM stage. They truly bring MOCM to life each and every year! MOCM is on the cusp of a very special birthday. We have truly found a home in St. Louis and share a collective identity with our audience of classical music lovers. We celebrate this connection with you and hope you will look out for special MOCM 10th Anniversary events planned throughout the 2019–2020 Season. If you haven’t already, please consider a tax-deductible contribution to the Missouri Chamber Music Festival. Your continued support enables us to invest in creative programming, memorable concert experiences, educational programs for adults and children, and the promotion of modern musical expression through commissioning of new works. Please be sure to see us after the concert!


Nina Ferrigno & Scott Andrews, MOCM Directors

MOCM 2019 FESTIVAL ARTISTS Scott Andrews, clarinet Michael Casimir, viola Elizabeth Chung, cello Michael Compitello, percussion Andrew Cuneo, bassoon Jelena Dirks, oboe Nina Ferrigno, piano Catherine French, violin Tzuying Huang, bass clarinet Mia Hynes, piano Roger Kaza, French horn Eva Kozma, violin Hannah Lash, harp/composer Jennifer Lucht, cello Jennifer Nitchman, flute Davin Rubicz, cello Angie Smart, violin Chris Tantillo, viola


Nina Ferrigno, President, Artistic Director Scott Andrews, Secretary, Artistic Director Siroth Charnond Jennifer Lin Linda Peterson Bob Roeder Laura Roeder Janice Seele Jon Shulan Gabriel Steinbach



MO CM Youth Monday, June 17, 2019 at 7 pm First Congregational Church of Webster Groves String Trio in G minor BORODIN On a Russian Folk Song "What Have I Done to Hurt You?" Catherine French, violin Eva Kozma, violin Jennifer Lucht, cello Six Bagatelles for wind quintet LIGETI Allegro con spirito Rubato Lamentoso Allegro grazioso Presto ruvido Adagio Mesto- Bela Bartok in memoriam Molto Vivace Capriccioso Mladi (Youth), suite for wind sextet Andante (Allegro) Moderato (Andante sostenuto) Allegro (Vivace) Con moto (Allegro animato) Jennifer Nitchman, flute Jelena Dirks, oboe Scott Andrews, clarinet Tzuying Huang, bass clarinet Andrew Cuneo, bassoon Roger Kaza, French horn Intermission 6


String Quartet No. 1 in E minor "From My Life" Allegro vivo appassionato Allegro moderato à la Polka Largo sostenuto Vivace Catherine French, violin Eva Kozma, violin Michael Casimir, viola Jennifer Lucht, cello


One of the earliest works of Alexander Borodin (1833–1887), the String Trio dates from 1855, around the time of his residence in Germany. It is relatively short and in one movement, a theme and set of eight variations. Unlike his other works from this period, it does not display the influence of Mendelssohn, largely because Borodin delves into his Russian heritage by using a once well-known Russian folk song, Chto ya Sdelal, Chtoby Prichinit' Tebe Bol'? (What Have I Done to Hurt You?), as the theme. Many people are unknowingly familiar with the music of Hungarian composer György Ligeti (1923–2006) from the unsanctioned use of his Requiem (1963–5), Atmosphères (1961), and Lux Aeterna (1966) in Stanley Kubrick’s motion picture, 2001: A Space Odyssey. His early compositional output was largely dictated by the constraints of Nazi and Stalinist regimes. During this time, he primarily produced choral works in a folk style for the public while privately composing pieces in a more complex style, including Six Bagatelles for woodwind quintet (1953). His mature style, defined by static and atmospheric textures, did not develop until after he fled Budapest for Vienna and Cologne in 1956. The Oxford Dictionary of Music defines a bagatelle as a “short, unpretentious instrumental composition, especially for piano.” The earliest known bagatelles come from French composers Marin Marais and François Couperin. Perhaps the most popular bagatelle in the Western musical tradition is Beethoven’s Bagatelle No. 25 in A minor for solo piano, WoO 59, more commonly known as Für Elise. Ligeti derived the Six Bagatelles for woodwind quintet from an earlier set of eleven short movements for solo piano, entitled Musica Ricercata (1951–53). — Program note by Dr. Amanda Cook, Between the Ledger Lines 7

Leoš Janáček (1854-1928), like Smetena and Dvořák, was a composer who worked indefatigably for the advancement of the music of his native Czechoslovakia, today the Czech Republic. Born in Hukvaldy, Moravia, on July 3, 1854, Janáček was educated at the Augustine monastery in Brno, and at the Prague, Leipzig, and Vienna Conservatories. In 1881, he was appointed director of the Brno Organ School and simultaneously assumed the conductorship of the Czech Philharmonic Orchestra. He was active as a composer throughout his long and distinguished career, producing some of his finest works during the last years of his life. He died at Morava-Ostrava on August 12, 1928. Mládí (Youth), Janáček’s delightful sextet for winds, was written in July of 1924, when the composer celebrated his 70th birthday. While collecting memories of his youth for a biography that was being written about him, his thoughts went back to his life at the Brno monastery. The work constitutes a musical reminiscence of those days. Janácek often made use of what he called “speech melody” — melody whose contours were inspired by the characteristic rhythm and cadence of the Czech language. In the jaunty first movement, which is in the form of a free rondo, the principal theme is said to have been derived from the speech melody of the sigh “Youth, golden youth.” The second movement is a theme with four free variations. The third movement is a scherzo with a perky piccolo tune taken from Janáček’s little March of the Blue Boys, who were boys at the monastery who sang and whistled as they marched along. The final movement recalls the principal theme of the first movement in combination with new material. — Program note by Jeff von der Schmidt, Southwest Chamber Music It was in 1874 that Bedrich Smetana (1824–1884) first began to hear high-pitched sounds and experience other auditory disturbances, unmistakable symptoms known as tinnitus, which, within two years, would take away his hearing entirely. It was thus as a completely deaf 52-year-old composer that he wrote his First String Quartet in 1876, which has an autobiographical program referred to in its title: From my life. Smetana’s life had been marked by a string of personal misfortunes. Three of his four daughters had died in infancy, and his wife had predeceased him as well. Despite these misfortunes, his professional life in music and his early experience of falling in love provided him with inspiring moments of real exaltation. He expressed these strongly personal emotions in a string quartet remarkable for its orchestral conception of sound and, consequently, its technical difficulty. In fact, it was initially judged to be unplayable due to his frequent use of multiple-stops. Despite its programmatic themes, this work displays the standard four-movement pattern of the traditional string quartet, with a sonata-form first movement, followed by a scherzo, a lyrical slow movement, and a rousing finale. — Program note by Donald G. Gíslason, Vancouver Recital Society 8


MO CM MOCM Morning Music Wednesday, June 19, 2019 at 10:30 am Pillsbury Theatre, 560 Music Center


Petite Suite for piano, 4 hands En bateau (Sailing): Andantino Cortège (Retinue): Moderato Menuet: Moderato Ballet: Allegro giusto Nina Ferrigno, Mia Hynes, pianos


Trio for violin, cello, and piano Andantino con moto allegro Angie Smart, violin Elizabeth Chung, cello Mia Hynes, piano


Première rhapsodie for clarinet and piano Scott Andrews, clarinet Nina Ferrigno, piano


Sonata for cello and piano DEBUSSY Prologue: Lent, sostenuto e molto risoluto Serenade: Modérément animé Finale: Animé, léger et nerveux Elizabeth Chung, cello Mia Hynes, piano Sonata for violin and piano Allegro vivo Intermède: Fantasque et léger Finale: Très animé Angie Smart, violin Nina Ferrigno, piano



MO CM Around with the Calyx Piano Trio Thursday, June 20, 2019 at 5 pm First Congregational Church of Webster Groves Around, for piano trio


Factor Fiction DENISCH 2. Dream Sing Dream Piano Trio No. 4, Op. 90 - “Dumky” DVOŘÁK Lento maestoso — Allegro quasi doppio movimento Poco adagio — Vivace non troppo — Vivace Andante — Vivace non troppo — Allegretto Andante moderato — Allegretto scherzando — Quasi tempo di marcia Allegro Lento maestoso


Calyx Piano Trio Catherine French, violin Jennifer Lucht, cello Nina Ferrigno, piano

“Hannah Lash's (b. 1981) compact sequence of pale brush strokes, ghostly keening and punchy outbursts was striking and resourceful; you hoped to hear it again...” — Steve Smith, The New York Times Around was written in 2015. The composer will speak about the piece from the stage. Beth Denisch (b. 1958) is Professor of Composition at Berklee College of Music, where she teaches music composition and theory. Her book, Contemporary Counterpoint, is published by Berklee Press, available through Hal Leonard (and on Amazon). Factor Fiction was commissioned by the Calyx Piano Trio and premiered in 2018 at Ventfort Hall, (Lenox, MA). The composer writes of the piece: Factor Fiction began in the middle of a night when the moonlight illuminated everything; and so much so that each object’s shadow – leaf, fence, house, grass, stone – popped with precision. Colors appeared wax-coated and shadows were exact in their blackness, as if drawn with the blackest ink. Ensuing thoughts obsessed firstly on this surreal moment of clarity and that led to wonderings about the antipodal lunar associations of obfuscation and deception. Dream Sing Dream models the Minuet Trio Minuet form. Dream was written before any of the other sections, inspired by the moon scene described above. Clusters spread out to chords and then back again; pointillistic textures speed up and slow down while gradually transforming into something else, and the evocative melody is not answered. Sing came later during such a happy moment when one becomes unconcerned about anything other than the love of a lushly harmonized romantic melody. In the "Dumky" Trio, Antonin Dvořák (1841–1904) was more strongly and more exclusively influenced by folk music than in any of his other major works. This folk music influence, however, did much more than simply providing "local color" or affirming and celebrating the composer's national identity. Rather, it brought forth one of the most profound artistic utterances in Dvořák's entire output. In Ukrainian folk music, the name dumka (plural: dumky) was given to a certain type of song with a nostalgic, elegiac character. Yet Dvořák did not use any original dumka melodies. He preferred to invent his own, and had first done so in a solo piano work as early as 1876. Dumky served as slow movements in several of Dvořák's chamber compositions, the most famous example being the Piano Quintet, Op.81. The idea of stringing together six dumky to form a piano trio was a rather novel 13

one, as the traditional four-movement scheme (opening-slow-scherzofinale) seemed inalterable in 19th century chamber music. Yet here it is, a suite of six movements, all of which, at least nominally, have the same general character. How is it possible to avoid monotony in such a work? Each of the six dumky incorporates a contrast between slower and faster tempos—the former often coming across as sad and the latter as cheerful. The contrasts generally involve changes between the major and minor modes as well. But there are innumerable shades and gradations between those emotional states in the music, just as there are in life. This is what prevents monotony in Dvořák's trio: each movement has a different personality, or rather, if we consider the fast and slow parts separately as we should, a different pair of personalities. Each of the six movements is also in a different key (E minor/major, C-sharp minor, A major/minor, D minor-major, E-flat major, and C minor, respectively); therefore, it is not correct to refer to the entire work as the "Trio in E minor" as is frequently done. — Program note by Peter Laki – Bard College Berlin


MO CM Festival Finale Saturday, June 22, 2019 at 7 pm E. Desmond Lee Concert Hall, 560 Music Center Frayed, for string quartet LASH Angie Smart, violin Eva Kozma, violin Chris Tantillo, viola Davin Rubicz, cello Fantasie in C Major, Op. 17 SCHUMANN for solo harp (orig. piano) Durchaus fantastisch MäĂ&#x;ig. Durchaus energisch Langsam getragen. Durchweg leise zu halten Hannah Lash, harp Folksongs for flute, percussion, and harp LASH Folksongs I Folksongs II Folksongs III Folksongs IV Jennifer Nitchman, flute Michael Compitello, percussion Hannah Lash, harp Intermission


Start LASH for solo snare drum (written for Michael Compitello) Michael Compitello, snare drum Sonata for flute, viola, and harp DEBUSSY Pastorale: Lento, dolce rubato Interlude: Tempo di Minuetto Final: Allegro moderato ma risoluto Jennifer Nitchman, flute Chris Tantillo, viola Hannah Lash, harp Start, for solo snare drum, was written in 2018 for Michael Compitello by Hannah Lash. Tonight’s performance is its St. Louis premiere.

NEW! Please donate to MOCM's $10K for 10 fundraiser on Facebook June 17–23! We're excited to celebrate our upcoming 10th anniversary season with you. The funds raised this week will make an enormous impact and will help MOCM bring you inspiring artists, innovative programming, accessible ticket pricing, the Pro-Am Chamber Music Workshop, house concerts, and special events (did someone say trivia night?) throughout our 10th anniversary season. Thank you for your passionate and thoughtful support of live chamber music in St. Louis! facebook.com/MOChamberMusic


Frayed, written in 2009 by Hannah Lash, is a work about contrast and breath. Its almost inaudible opening, like a succession of inhales, builds tension that begs for release. The inevitable exhale that follows screams with all the momentum and force that was denied in the opening. Throughout the piece, the sense of tension and contrast pervades: forces pulling away until they can pull no further, and then careening towards each other again. The Fantasie in C major, Op. 17, was written by Robert Schumann (1810–1856) in 1836. It is generally described as one of Schumann's greatest works for solo piano, and is one of the central works of the early Romantic period. Frustration played a substantial role in Schumann’s piano compositions of the 1830s. The source of that frustration was Clara Wieck, the teenaged piano prodigy with whom Robert was deeply in love, but whose father opposed their union. It all came to naught when Clara reached the age of consent and the two were married on September 12, 1840. They were to become the First Couple of European music, lauded and admired, but as of the writing of the Fantasie in C major that destiny was still a good ways off. On March 17, 1838 Robert wrote Clara: “I think it is more impassioned than anything I have ever written—a deep lament for you.” He was referring to Ruines, a single-movement piece from 1836 bewailing his enforced separation from Clara. Ruines might have gone no further, but later in 1836 Schumann conceived of adding two more movements as a fundraising strategy for a Beethoven monument in Bonn. Whatever its sources and inspirations, the completed Fantasie stands as a landmark of Romantic piano literature. Not really a sonata, but tolerably masquerading as one, it follows its own private blueprint, in some places seemingly stream-of-consciousness, in others relatively structured and planned through. To be sure, there is more than a hint of classical sonata-allegro form in the first movement, but no sonata movement before or since has shown such a freewheeling disregard for the niceties of established key centers, structural modulations, and developmental gambits. The Fantasie was not an immediate success. Dedicatee Franz Liszt, one of the few pianists of the day with the technique to handle the second movement’s daunting challenges, declined to play the work in public although he did teach it to his students, thereby ensuring its persistence down the generations. Even Clara Schumann refrained from playing the Fantasie until well after Robert’s death. — Program note by Scott Foglesong, San Francisco Conservatory


The transcription of the Fantasie for harp was made by Hannah Lash. Says Lash, “I think of this very much not as transcription, because I’m not changing any part of the music… I think of it as a different voice bringing this music to life. For me, the harp has a much more expressive, colorful, polyphonic and flexible character than we think of.” Folksongs, written in 2011 by Hannah Lash, is a piece about transformation and dichotomy. Its premise is to use very simple, almost homely materials, and to transform and manipulate them in complex ways. The first movement uses a melody that sounds like a traditional Celtic or English pennywhistle tune, with a rhythmic pattern of non-metrically placed accents in the Doumbek, underneath all of which non-tonal and lush harmonies are spun out in the harp. These three strata change places instrumentally throughout the movement. The second movement draws inspiration from a choir singing homophonic music — the collective force of rhythmic unison. Here, the two patterns are rhythmic and melodic: a color and a talea of differing lengths, so that the movement’s completion is not reached until these elements’ ends coincide. The third movement is a piccolo solo, with three punctuating notes at various points from the harp and gong. It is a simple, songful melody: a shepherd playing for himself on a lonely hill. The fourth and final movement is similar to the first in the non-metrically placed accents in the rhythmic patterns of the harp and tongue-drum. The melodic material is drawn from a simple 9-note scale in an E-based mode. The melodic pattern is stated three times at varying speeds in the piccolo, which is joined by a mensuration canon in the harp in the middle of the movement. This piece was premiered by the MAYA trio, for whom it was commissioned and written. Apprehensive about his health and tormented by the increasing military conflict in 1914, Claude Debussy’s (1862–1918) creative production came to a virtual halt. In the summer of 1915, he submitted some new compositions to his publisher, and projected a series of six sonatas for various instrumental combinations inspired by the old baroque school of French clavecinists. The first of the sonatas, for Cello and Piano, was completed quickly in the summer of 1915 during a holiday at Pourville; the second one, for Flute, Viola, and Harp, before Debussy returned to Paris in October. The Violin sonata, completed in 1917, had been delayed due to illness, and the remainder of the projected six sonata set was left uncompleted.


For the inspiration, style, and temperament of the Sonata for Flute, Viola, and Harp, Debussy looked back far beyond the impressionism of his earlier works to the elegance, emotional reserve and textural clarity of the music of the French baroque. In its revival of old techniques and modes of expression enfolded in 20th-century harmonic garb, the piece is one of the harbingers of the Neo-Classical movement that touched so many composers during the following decades. Indeed, with its ambiguous harmonies, austere textures, and meticulously carved instrumental sonorities, it is one of Debussy's most uncompromisingly modern creations, about which the composer himself expressed some uncertainty regarding its emotional effect: "[The music is] so terribly melancholy," he wrote to his friend, Swiss journalist Robert Godet, "that I can't say whether one should laugh or cry. Perhaps both at the same time?" The Sonata's ethereal opening movement, titled Pastorale, unfolds as a series of episodes based on themes that at first encounter seem like little more than wispy arabesques. There are, however, five fragmentary but distinct thematic entities here, which are later recapitulated in a different order to round out the movement's form. Though the Interlude, a reminiscence in pastels of the durable old form of the minuet, is Debussy's most obvious tribute here to the music of the baroque, its whole-tone theme, parallel chord streams and modal harmonies plainly mark this as a product of the 20th century. The Finale brilliantly grounds its apparent evanescence of expression in a carefully crafted development of its themes. Most of the movement grows from mutations of the three motives that are presented in quick succession at the outset: snapping viola pizzicatos, quicksilver falling arpeggios from the flute, and a longer viola melody anxiously juxtaposing duple and triple rhythms. As the movement nears its end, the tempo slows to admit a brief recall of the flute theme that opened the first movement before a short, animated coda closes the Sonata. — Program note by Richard Rodda, Musical World


ARTIST BIOGRAPHIES Scott Andrews has been Principal Clarinet of the St. Louis Symphony since 2005. Prior to joining the SLSO, he was a member of the Boston Symphony Orchestra. He collaborates regularly with Seiji Ozawa in Japan at the Matsumoto Festival and as Solo Clarinet of the Mito Chamber Orchestra. Scott 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. He is a founder and director of the Missouri Chamber Music Festival. Michael Casimir was a winner of the Laureate Award in the 2008, 2011, and 2015 International Sphinx Competitions, and winner of the grand prize at the Hudson Valley Philharmonic Competition in 2013. He has been guest Principal and Co-Principal of the London Philharmonic, and is one of the newest members of the viola section in the St. Louis Symphony. While studying at The Curtis Institute, Mr. Casimir performed regularly with the New York Philharmonic, Philadelphia Orchestra, and Orpheus Chamber Orchestra. Mr. Casimir acquired his undergraduate degree from the Juilliard School as a student of Heidi Castleman and Misha Amory, and his postbaccalaureate degree from The Curtis Institute of Music in May of 2018 under the tutelage of Roberto Diaz, Hsin-Yun Huang, and Ed Gazouleas. Elizabeth Chung, cello, received both her B.M. and M.M degrees at the Juilliard School, under the tutelage of David Soyer and Timothy Eddy. She attended Verbier Academy, Holland Music Sessions, Kronberg Academy, and Banff masterclasses, where she studied under Bernard Greenhouse, Gary Hoffman, Luis Claret, Rafael Wallfisch, Andres Diaz, and Paul Katz. She has soloed with the Finnish Kuopio Symphony Orchestra, Harper Symphony Orchestra, Michigan Tech University Orchestra, Keweena Symphony Orchestra, and Aspen Academy Orchestra. Her chamber music experience includes performances at the Kennedy Center in Washington, D.C. with renowned violinist Midori, Sarasota Music Festival, Verbier Academy, Banff Centre, and Alice Tully Hall in New York City.


Michael Compitello is a dynamic, “fast rising” (WQXR) percussionist active as a chamber musician, soloist, and teaching artist. With cellist Hannah Collins as New Morse Code, Dr. Compitello has created a singular and personal repertoire through long-term collaboration with some of America’s most esteemed young composers. Dr. Compitello is Assistant Professor of Percussion at the University of Kansas. He earned a D.M.A. and M.M. from the Yale School of Music, and a B.M. from the Peabody Conservatory, where he studied with renowned percussionist Robert Van Sice. 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. Mr. Cuneo is a former student of Bernard Garfield and Daniel Matsukawa at the Curtis Institute of Music and Benjamin Kamins at Rice University. Jelena Dirks began studying the piano at age 5 and took up the oboe at 11. After graduating Summa Cum Laude from St. Olaf College in Minnesota, Ms. Dirks went on to receive dual Master’s Degrees in Piano and Oboe Performance from the University of Michigan. Ms. Dirks was on the faculty of DePaul University where she taught both piano and oboe and was the woodwind coordinator. She is highly sought after as both teacher and performer and has performed with Lyric Opera, the Chicago Philharmonic, and five years of regular performances, tours, and recordings with the Chicago Symphony Orchestra. She plays chamber music whenever possible, most often as the oboist for the critically acclaimed Prairie Winds Quintet. She was appointed to the position of Principal Oboe of the St. Louis Symphony by Music Director David Robertson in December of 2013.


Nina Ferrigno, piano, is a founding member of the Boston-based Calyx Piano Trio which has excited audiences throughout the United States with expressive ensemble playing and brilliant virtuosity. As a member of the trio, she is committed to bringing classical music to new audiences and expanding the repertoire. She has performed with such ensembles as the St. Louis Symphony Orchestra, Boston Symphony, Chicago Symphony, Boston Pops, and the Boston Modern Orchestra Project (BMOP). Ms. Ferrigno is a graduate of New England Conservatory of Music, where she received B.M. and M.M. degrees with distinction. Her principal teachers were Wha Kyung Byun and Randall Hodgkinson. Nina is a founder and director of the Missouri Chamber Music Festival in St. Louis. 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. Tzuying Huang, originally from Taipei, Taiwan, was appointed Bass Clarinet of the St. Louis Symphony in February 2015. Prior to this, she was Bass Clarinet of the Kansas City Symphony. She moved to the United States in 2007 to study at the Jacobs School of Music at Indiana University-Bloomington, studying with James Campbell. She then pursued her Doctorate at the University of Texas-Austin.


Mia Hynes, piano, made her professional debut with the Indianapolis Symphony at the age of twelve. A winner of the NFMC Young Artist Auditions, Dr. Hynes has performed as soloist and chamber musician throughout the United States, with appearances on NPR’s “Performance Today,” the Chautauqua Music Festival, the Rocky Ridge Music Festival (Estes Park, Colorado), the Library of Congress Coolidge Recital Series (Washington, D.C.), the Dag Hammerskjold Library at the United Nations, Steinway Hall (New York), the Summerfest Chamber Music Festival (Kansas City), and Missouri River Festival of the Arts (Boonville). She also serves as one of the keyboardists for the Kansas City Symphony. Recent concert and teaching travels have taken her to Thessaloniki, Greece and Granada, Spain. Dr. Hynes received her Doctoral degree from the Eastman School of Music where she studied with (and served as teaching assistant to) Nelita True. She holds Bachelor of Music and Master of Music degrees from Indiana University where she was a student of Menahem Pressler. Deeply devoted to supporting the musical culture of her community, Dr. Hynes served as the director of the Warrensburg Area Youth Symphony, is a former state president of the Missouri Federation of Music Clubs, and is the founder and current president of the Warrensburg Friends of Music. She currently serves as Professor of Piano at the University of Central Missouri. Roger Kaza is Principal Horn for the St. Louis Symphony and a frequent guest performer with the Los Angeles Philharmonic. Mr. Kaza has also appeared as a soloist with many orchestras, including the Vancouver Symphony and Houston Symphony, as well as the Carlos Chavez Chamber Orchestra in Mexico City. A frequent chamber musician, Mr. Kaza has performed at numerous venues, including the Bravo! Vail Valley Festival, Chamber Music Northwest, Mainly Mozart, and the Aspen and Marrowstone Festivals. During the summer months, he serves as instructor of horn at the Chautauqua Institution’s Music School, where he is Principal Horn of the Chautauqua Symphony. In January of 2019, he joined the faculty of Youth Music Culture Guangdong in Guangzhou, China, hosted by artistic director Yo-Yo Ma.


Born 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. She studied at Gheorghe Dima Music Academy in Cluj-Napoca, and later at McGill University under Ani Kavafian and Denise Lupien. Ms. Kozma 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. She is an ardent chamber music performer and shares her talents with the St. Louis community performing frequently in area schools, churches, hospitals, and retirement homes. She lives with her husband, Laszlo, who is a sculptor, and their three children, Laszlo, Gergo, and Anna. As a soloist, Hannah Lash has been presented by Carnegie Hall, the Cabrillo Festival, Miller Theatre, the Alabama Symphony, the Yale School of Music, and the Bennington Chamber Music Conference. She recently premiered her first harp concerto at Zankel Hall with the American Composers Orchestra under the direction of George Manahan. Dr. Lash’s playing has been praised for its virtuosity, described by critic Michael Huebner as “technical wizardry,” as well as for her musical depth of expression. Her music has been commissioned and performed by the L.A. Philharmonic, Carnegie Hall, the L.A. Chamber Orchestra, the Alabama Symphony, the JACK Quartet, the Boston Symphony Orchestra, the Cabrillo Festival of Contemporary Music, the Naumberg Foundation, and others. She has received numerous honors and prizes, including the ASCAP Morton Gould Young Composers Award, a Charles Ives Scholarship and a Charles Ives Fellowship from the American Academy of Arts and Letters, a Fromm Foundation Commission, a fellowship from Yaddo Artist Colony, a Copland House Residency, a Copland Recording Grant, and others. She was the 2015 winner of the CLICK! Commission from the Colorado Music Festival, which will commission her second harp concerto. Dr. Lash obtained her Ph.D. in composition from Harvard University. She also holds degrees from the Cleveland Institute of Music in harp, the Eastman School of Music in composition, and an Artist Diploma in composition from the Yale School of Music. She currently serves full-time on the composition faculty of the Yale School of Music. 24

Jennifer Lucht, cellist, is a native of North Carolina. As a chamber musician, she has been heard in performances at the Kennedy Center, Weill Recital Hall, Tanglewood, and the Ravinia and Bravo! Vail Festivals. She has been concert soloist with orchestras including the Metamorphosen Chamber Orchestra and Vermont Symphony. Ms. Lucht is currently a member of the Calyx Piano Trio and performs with the Boston Pops Esplanade Orchestra in Boston and on tours throughout the U.S., Canada, and Japan. She is Co-Director and a founder of the Carolina Chamber Music Festival in New Bern, North Carolina, and can be heard in chamber music recordings on the New World, Albany, and Archetype labels. Ms. Lucht received her Bachelor’s and Master’s degrees from Indiana University and continued post-graduate studies at the New England Conservatory of Music. Her major teachers include Janos Starker, Tsuyoshi Tsutsumi, Laurence Lesser, Colin Carr, and Carter Brey. Jennifer Nitchman has been described by critics as giving performances that are “deeply felt” with “a tone like spun gold” (St. Louis Post-Dispatch). She was appointed to the position of Second Flute with the St Louis Symphony in 2003. An active teacher, Ms. Nitchman is a member of the faculty of Saint Louis University and maintains a private teaching studio in her home. Previously, she has been on the faculty at the Brevard Music Center and Southern Illinois University at Edwardsville, and is a frequent guest for master classes and recitals at flute festivals and universities. Ms. Nitchman has also performed with the Boston Symphony Orchestra, Baltimore Symphony Orchestra, Fort Wayne Philharmonic, the Britt Festival, and the Brevard Music Festival. Previously a member of the United States Army Field Band in Washington, DC, she holds a M.M. from the University of Wisconsin-Madison, and a B.M. from Ithaca College.


Born in Seattle, Washington, cellist Davin Rubicz began playing at the age of two. He has attended the ENCORE School for Strings, Indiana String Academy, Spoleto Music Festival (Italy), Taos School of Music, Music Academy of the West, and the Aspen Music Festival as a fellowship recipient. Other summer performances include the Amelia Island Chamber Music Festival and La Jolla Summerfest. Mr. Rubicz received a Bachelor of Music degree at the Cleveland Institute of Music, studying with Richard Aaron, and a Master's degree at Rice University under the instruction of Norman Fischer. As a chamber musician, he has studied with members of the Emerson, Takacs, Tokyo, Cleveland, and Guarneri Quartets. As an orchestral musician, Davin has performed with the Houston Grand Opera, Houston Ballet, and the Chicago Symphony Orchestra. He has also been a part of the cello section in the Canton Symphony Orchestra, Kansas City Symphony, Atlanta Symphony, and the St. Louis Symphony. 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 Master’s 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. 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 its inaugural season. 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 and Master’s degrees from the Cleveland Institute of Music in 2002, where he studied with Stanley Konopka and Robert Vernon, who was Principal Viola of the Cleveland Orchestra. He has previously performed with the San Diego Symphony and the New World Symphony in Miami Beach, Florida.


GREAT ARTISTS SERIES classical music on the Loop 2019-2020

ERIC OWENS, bass-baritone & JEREMY DENK, piano Sunday @ 7 P.M. December 8, 2019

JUPITER STRING QUARTET Friday @ 7:30 P.M. February 21, 2020

Sponsored by David and Melanie Alpers

JEAN-YVES THIBAUDET, piano with members of the SLSO Friday @ 7:30 P.M. January 17, 2020

ALISA WEILERSTEIN, cello & INON BARNATAN, piano Sunday @ 7 P.M. March 29, 2020



MISSOURI CHAMBER MUSIC FESTIVAL DONORS This list reflects gifts received May 26, 2018 through May 22, 2019.

With support from the Regional Arts Commission Brahms & Beyond Circle Sponsor ($1,000 to $2,999) Drs. Siroth Charnond and Cami Watkins Mr. and Mrs. Douglas Dirks Steve and Janice Seele Mr. Mark Thiel Members Circle Associate ($750 to $999) Anonymous Nina Ferrigno and Scott Andrews Mr. and Mrs. Jonathan Shulan Patron ($500 to $749) Mr. and Mrs. Shawn Albin Mr. and Mrs. Ian Cruikshank Mr. Harold A. Ellis Mr. and Mrs. Dana Gobrecht Mr. Leslie Goodman Mr. and Mrs. Lynn Hague Larry and Cheryl Katzenstein Jennifer Lin and Tom Osborn Dr. Linda Peterson Laura and Bob Roeder


Friend ($250 to $499) Ms. Wendy Dyer Mr. and Mrs. Maurice Ferrigno Ms. Judith Little Mr. and Mrs. Robert Moody Dr. and Mrs. Kenneth Smith Supporter ($50 to $249) Anonymous (3) Dr. and Mrs. David Alpers Mr. Michael Biggers Ms. Susan Blain Ms. Deborah Bloom and Mr. Chris Carson Ms. Celeste Golden Boyer & Mr. Brandon Boyer Ms. Mary Reid Brunstrom Mr. Robert Burns Mr. Alan Fiddleman Bruce and Susan Creditor Ms. Nancy Daby and Ms. Donna Coffman M.M. Constantin Ms. Connie Emge Mr. Alan Fiddleman Mr. and Mrs. Erik Finley Ms. Catherine French Ms. Jennifer Gartley Ms. Margaret Gilleo Mr. and Mrs. Wayne Hanebrink Ms. Anne Hetlage Ms. Luise Hoffman Jason and Laura Jordan Ms. Jooyeon Kong Mr. and Mrs. James Lin Ms. Jennifer Lucht Ms. Ann Mandelstamm Mr. and Mrs. James Miller Ms. Janet Miller Mr. Bill Moriarty Ms. Dana Myers and Mr. Timothy Myers Jennifer Nitchman and Nick del Grazia Ms. Barbara Ottolini


(Supporter continued) Mr. William Paul Marshall Poger & Mariaanna Riley Wendy Plank Rosen Kathleen Rundell Ms. Maria Schleuning Ms. Linda Seibert Dr. and Mrs. Robert Senor Ms. Barbara Shrauner Ms. Susan Sontag Christopher Stark Mr. and Mrs. Gabriel Steinbach Mr. and Mrs. Daniel Steinmeyer Mary and Derrick Stiebler Ms. Mary Tipton Ms. Barbara Uhlemann Jason and Julie Weber Mr. George Yeh Suzanne and Ted Zorn Contributor (Up to $49) Mr. James Blinn Ms. Inge Bretherton Ms. Beth Denisch Mr. Byron Fleming Ms. Jeanine Garesche Mr. and Mrs. John Gerdes Mr. Thomas Jostlein Mr. and Mrs. Walter Schuster Corporate Donors Crofton Diving Industries Matching Gifts The Boeing Company Bayer


IN-KIND CONTRIBUTIONS Reverend David Denoon and the staff of the First Congregational Church of Webster Groves The Community Music School of Webster University with special thanks to Carol Commerford, Cooper Minnis, and Leigh Anne Huckaby Jennifer Gartley, the Faculty and Staff of the Washington University Department of Music Jennifer Lin, Marketing & Public Relations Pan Galactic Company Laura & Bob Roeder, Festival Housing Janice & Stephen Seele, Festival Housing Christopher Stark & Jenalie Auth, Festival Housing Radio Arts Foundation Chamber Project St. Louis

SPECIAL THANKS Siroth Charnond Kristi Foster Hands on Volunteer Staffing Correne Murphy Jan Stokes George Yeh Interested in volunteering or sponsorship opportunities? It can be volunteering time at a concert event, placing a playbill ad, sponsoring your favorite performer’s appearance at the Festival, and more. Do you want in on the creation of new works? Considering sponsoring a future commission! Call 314.882.0053 or email us at feedback@mochambermusic.org to get involved!

Please donate to MOCM's $10K for 10 fundraiser on Facebook: celebrating our 10th anniversary season during the week of the Festival, June 17–23! Thank you for your support! facebook.com/MOChamberMusic 31

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: * artist's 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


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


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



Phone Email

Photo: Jennifer Lin

Name(s) to appear in playbill

Did you know that our entire administrative staff is completely volunteer-powered? Thank you for your generous support! 34

SAVE THE DATES! MOCM @ 10 The Tenth Anniversary Festival Impart: June 15, 2020 MOCM Morning Music: June 17, 2020 Cantabile Opulence: June 19, 2020 Partita Finale: June 20, 2020 Featured music includes Mozart's Gran Partita, Brahms's Clarinet Quintet, Faure's Piano Quartet, Steven Stucky's Partita Pastorale after J.S.B., and a MOCM Festival premiere of a new work by composer Peter Askim! MOCM Composer Spotlight, Peter Askim: Fall 2019 Pro-Am Chamber Music Workshop in partnership with the Community Music School of Webster Groves: June 2020 mochambermusic.org 314.882.0053 facebook.com/MOChamberMusic Photo: Jennifer Lin twitter.com/mocmfestival instagram.com/mochambermusicfestival

Leonard Slatkin shares music from his eclectic collection in shuffle mode. You don't know what's playing next— and neither does he! You'll learn about the pieces, discover why Mr. Slatkin likes them and hear his behind-the-scenes stories.

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