Lake Tahoe SummerFest

2012 Classical Music Concert Series

July 31 – August 19, 2012 INC LINE VILLAGE, LAKE TAHOE

PROGRAM 948 Incline Way, Incline Village, NV 89451 775.298.0245 | tahoesummerfest.org Cover photo: www.rickchapman.com

WELCOME MESSAGE FROM FOUNDER AND CHAIR, MADYLON MEILING Inspired by living in Lake Tahoe and surrounded by the majesty of the Sierra Nevada, I have envisioned a festival to celebrate the beauty of our landscape with superb classical music, visual and performing arts, and educational dialogue for the Lake Tahoe Basin and visitors from around the world. I imagined a festival wrapped with concurring events to enlighten children of all ages.

As the inaugural season for Lake Tahoe SummerFest evolves, I am honored to be working with our board of directors and extended team of leaders on our aligned commitment to excellence in educational, cultural, and economic development for our region.

I am humbled by the musicians and artists who have joined our team, with an abundance of appreciation for our artistic director and principal conductor, Joel Revzen, and our concertmaster, Laura Hamilton.

Lake Tahoe SummerFest is most thankful to our donors, for their commitment, trust, and generous support for our shared vision. I am very pleased to dedicate the opening orchestra concert to the Carol Franc Buck Foundation, a significant donor to Lake Tahoe SummerFest, and particularly SummerFest Concerts.

Lastly, thank you for the experience of the true joy of life.

This is the true joy of life, being used for a purpose recognized by yourself as a mighty one; being a force of nature instead of a feverish, selfish little clod of ailments and grievances, complaining that the world will not devote itself to making you happy.

I am of the opinion that my life belongs to the community, and as long as I live, it is my privilege to do for it whatever I can. I want to be thoroughly used up when I die, for the harder I work, the more I live.

Life is no “brief candle” to me. It is a sort of splendid torch, which I have got hold of for a moment, and I want to make it burn as brightly as possible before handing it on to future generations. —George Bernard Shaw See you at Lake Tahoe SummerFest, Madylon Meiling – Founder and Chair

WELCOME FROM THE ARTISTIC DIRECTOR, JOEL REVZEN Dear Patrons, Welcome to the inaugural season of Lake Tahoe SummerFest Concerts. We have assembled an orchestra and soloists of incomparable experience and artistry to present masterpieces of classical music, surrounded by Lake Tahoe’s magnificent natural beauty.

As you will see in the artist biographies section of our program book, our musicians come from the some of the finest orchestras throughout the United States, including the Metropolitan Opera Orchestra, the Los Angeles Philharmonic and the San Francisco, Seattle, Dallas, and Vancouver Symphonies.

It has been my long held belief that next to a healthy physical existence, mankind’s greatest need is to nurture the spirit. Through the dedicated efforts and vision of our Founder, Dr. Madylon Meiling, we will open the door each summer, to a world where audiences can experience the full depth of their emotions and emerge inspired with spirits renewed. I look forward to sharing music with you this summer, and to thank you for allowing our “musical voices” to be heard.

Joel Revzen – Artistic Director/Principal Conductor

TABLE OF CONTENTS 4 OPENING ORCHESTRA CONCERT – Friday, August 3 - 6:30 pm 6 CHAMBER MUSIC CONCERT – Saturday, August 4 - 6:30 pm 6 FAMILY CONCERT – Sunday, August 5 - 3pm 8 ORCHESTRA CONCERT – All about Beethoven – Friday, August 10 - 6:30 pm 10 CHAMBER MUSIC CONCERT – Saturday, August 11 - 6:30 pm 10 FAMILY CONCERT – Sunday, August 12 - 3:00 pm 12 ORCHESTRA CONCERT – Summer in Italy - Friday, August 17 - 6:30 pm 14 CHAMBER MUSIC CONCERT – Saturday, August 18 - 6:30 pm 14 FAMILY CONCERT – Sunday, August 19 - 3:00 pm 20 PERFORMERS’ BIOS

Special Thanks to our Friends and Patrons Pulver Construction Kris Moose Gallery Sh.bong EXL Media Dalia Smallwood Photography Margie Reynolds Joan Davis Rick Chapman Dress the Part(y) Incline Village Ace Hardware Pakmail Incline Village Guglielmo Winery Perennial Nursery High Sierra Gardens Incline Village Brimm’s Catering

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OPENING ORCHESTRA CONCERT FRIDAY, AUGUST 3, 6:30 PM The opening concert of the Inaugural season of Lake Tahoe SummerFest is dedicated to the Carol Franc Buck Foundation for their leadership and generosity towards Lake Tahoe SummerFest.

Dvorak: Serenade # 1 in E, Opus 22 1) Moderato 2) Tempo di Valse 3) Scherzo: Vivace 4) Larghetto 5) Finale: Allegro Vivace Dvorak: Romance Opus 11 Jaime Laredo, violinist Bragato: Graciela y Buenos Aires Tango for Cello and Orchestra Sharon Robinson, cellist

Vivaldi: Concerto for Violin and Cello RV487 1) Allegro 2) Andante 3) Allegro Jaime Laredo, violinist / Sharon Robinson, cellist

INTERMISSION Schubert: Symphony #5B flat, D485 1) Allegro 2) Andante con moto 3) Menuetto: Allegro molto 4) Allegro vivace

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ABOUT THE MUSIC Dvorak: Serenade Opus 22 In 1874, the Austrian Ministry of Education offered stipends to young, poor talented artists in the western half of the Austrian Empire. Among those who applied—and prevailed—was the butcher’s son and provincial organist Antonin Dvorak. Jury member Johannes Brahms endorsed Dvorak’s work and with this encouragement, the Czech composer experienced just the burst of creative energy he needed to embark on a remarkable musical career. The Serenade in E major, Op. 22 dates from only a year after Dvorak won the stipend. Once intended to serve as outdoor evening entertainment, the serenade had by the late 19th century evolved into a concert piece of lyrical character, hewing close to Classical form. This particular serenade displays Dvorak’s early gift for melody.

Dvorak: Romance Opus 11 As a genre, the Romance had developed from a sentimental drawing-room song in the mid-17th century to a slow piece of instrumental music with arialike themes. Beethoven’s two Romances for violin and orchestra come immediately to mind, and these no doubt served as models for a young Dvorak while composing his Romance, Op. 11.

Bragato: Tango About a century later on the other side of the globe, Argentine composer and cellist José Bragato (b. 1915) began an influential collaboration and friendship with Astor Piazzolla, the person most responsible for the mid-20th century concert revival of the tango. A sexy, syncopated 2/4 dance that first became popular in the years before World War I, the tango hadn’t typically been associated with the cello. But as a charismatic player and composer, Bragato staked a compelling claim, proof positive in his Tango for Cello and Orchestra.

Vivaldi: Concerto for Violin and Cello As one of the most prolific composers of instrumental concertos, Baroque composer Antonio Vivaldi has been disparaged for adhering too close to formula and standard effects. While it is true that the structure of these approximately 500 concertos are nearly all uniform—a three-movement fastslow—fast form with ritornello alternation between soloist and orchestra—there is nonetheless remarkable variety among these pieces, particularly in terms of scoring, texture and emotion. The Double Concerto in F major, RV 546 is one of the rare concertos for violin and cello.

Schubert: Symphony #5 Composed when Franz Schubert was 19 years old, his Symphony No. 5 in Bflat major was written at the same time that another Viennese composer was forging his own creative path with the genre—Ludwig van Beethoven. What’s remarkable is how Schubert, a productive composer of songs, choral music, piano and chamber music, could find his own ways in large-scale orchestral form while in Beethoven’s towering shadow.

Schubert’s Fifth Symphony followed one of his more pioneering forays in orchestral music, the “Tragic” Fourth.

In certain ways, the Fifth is a retrenchment in musical resources and scale: it uses a smaller orchestra (minus clarinets, trumpets, and timpani) and is truly Mozartean in its more modest proportions. Nonetheless, it’s one of Schubert’s most delightful and optimistic of pieces and displays a wonderful fondness for melody.

CHAMBER MUSIC CONCERT SATURDAY, AUGUST 4, 6:30 PM Featuring: Mozart Clarinet Quintet K581 Debussy String Quartet Schubert “Trout” Quintet

FAMILY CONCERT SUNDAY, AUGUST 5, 3 PM Tchaikovsky: Serenade for Strings, Op 48 1) Andante non troppo/Allegro moderato 2) Moderato: Tempo di Valse 3) Larghetto Elegiaco 4) Finale: Andante

Mozart: Symphony #39, K543 1) Adagio/Allegro 2) Andante con moto 3) Menuetto: Allegretto 4) Finale: Allegro

INTERMISSION Beethoven: Concerto for Violin, Violoncello and Piano 1) Allegro 2) Largo 3) Rondo alla Polacca Jaime Laredo, violinist / Sharon Robinson, cellist / Joseph Kalichstein, pianist

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ABOUT THE MUSIC (FAMILY CONCERT, AUGUST 5) Tchaikovsky: Serenade for Strings Tchaikovsky composed the Serenade for Strings at about the same time as his 1812 Overture. While he continuously harbored doubts over the overture, the Russian composer felt at peace with the Serenade. “I composed the serenade from inner conviction,” he wrote. “It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.”

Tchaikovsky originally intended the Serenade as a symphony, then string quartet and finally a suite for string orchestra. He completed the work within just a couple of months. It marks Tchaikovsky’s return to a classic four-movement model that while not innovative or characteristically Romantic still allowed the composer much creative sway. Within the elegant symmetrical phrases of the first movement are melodies of great beauty and grace. After a nimble second-movement waltz comes a hauntingly beautiful Elegy. For the finale, Tchaikovsky drew on Russian folk song.

Mozart: Symphony #39 Mozart was much of the inspiration for the Serenade. And there’s little doubt that Tchaikovsky was familiar with Mozart’s Symphony No. 39 in E-flat major, the first of the Austrian composer’s last three symphonies composed in the summer of 1788. While it’s true that these final symphonies don’t quite attain the same Olympian heights as Beethoven’s later symphonies (according to Mozart biographer Alfred Einstein, the symphonies of Mozart “limited themselves to the attainment of noble mirth, to a purification of the feelings”), they are wonderful gems indeed. They’re made a little mysterious by the fact that they weren’t written for any specific immediate purpose or commission. It still remains unclear if these last three symphonies were performed during Mozart’s lifetime.

The introduction to the first movement of Symphony No. 39 foreshadows Mozart’s “Magic Flute” Overture with its portentous opening chords in the key of E-flat. The second movement features Mozart at his most melodic before concluding with a cheerful finale. Among the symphony’s novelties is the addition of an instrument that had greatly inspired Mozart during his final years— the clarinet.

Beethoven: Concerto for Violin, Violoncello and Piano For Beethoven, the piano trio always held a special place; it was this same configuration of instruments that comprised his Op. 1 set. With the Triple Concerto for Violin, Cello and Piano, Op. 56, Beethoven took the piano trio one step further with the inclusion of an orchestra. It was composed at a time when Beethoven was thinking big in terms of musical form and scale. The year 1803 also saw the completion of his “Waldstein” piano sonata (in the same key of C major), the first act of the opera “Fidelio” and the beginning of sketches of the “Appassionata” piano sonata.

The only concerto Beethoven ever wrote for more than one solo instrument, the Triple Concerto has all three soloists perform together the concerto’s virtuosic passagework and infectious dance rhythms. The overall effect is both exhilarating and entertaining. Musical highlights include the slow movement’s duet between violin and cello (all in the distant key of A-flat major) and a dramatic turn to minor in the third movement polonaise finale.

ORCHESTRA CONCERT ALL ABOUT BEETHOVEN - FRIDAY, AUGUST 10, 6:30 PM Beethoven: Overture to The Creatures of Prometheus Beethoven: Concerto #4 for Piano in G, Op 58 1) Allegro Moderato 2) Andante con moto 3) Rondo: Vivace Joseph Kalichstein, pianist

INTERMISSION Beethoven: Symphony #3 Opus 55 “Eroica” Op55 1) Allegro con brio 2) Marcia funebre: Adagio assai 3) Scherzo: Allegro vivace 4) Finale: Allegro molto

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ABOUT THE MUSIC Only five years separate the three works on tonight’s all-Beethoven concert, music that represents much of the so-called “heroic” or middle period of Beethoven’s career. The program’s crowning climax comes in the Symphony No. 3 in E-flat major (“Eroica”) a watershed achievement not just in the German composer’s total output but music history.

Beethoven: Overture to The Creatures of Prometheus Beethoven’s growing success and reputation as a composer in the early years of the 19th century were tempered by despair over his increasing deafness and feelings of social isolation. At the same time, his compositions became fueled by unprecedented ambition in size, scale and musical resources. What’s more, Beethoven also favored epic subjects, as evidenced in the ballet “The Creatures of Prometheus.” While the ballet has been largely forgotten, the work’s overture has stood the test of time as the first of Beethoven’s famous symphonic overtures. Innovations include its colorful orchestration, featuring harp and basset horn.

Beethoven: Concerto #4 for Piano Innovative also comes to mind in describing Beethoven’s lyrical Piano Concerto No. 4 in G major, Op. 58. In perhaps its most daring novelty—a direct challenge to longstanding convention—the Fourth Piano Concerto opens not with the orchestra but a sonorous statement of the theme by the piano. The resultant dialogue between soloist and orchestra builds and reaches its greatest intensity in the slow movement before settling into the propulsive rondo finale. Trumpets and timpani finally appear, thus making the martial or heroic tone of the movement seem even more pronounced.

Beethoven: Symphony #3 Opus 55 “Eroica” “Heroic” and “composed to celebrate the memory of a great man” are the subtitles now associated with Beethoven’s Third Symphony. But originally, the composer had intended this revolutionary new work for Napoleon Bonaparte. Beethoven’s assistant Ferdinand Ries authored the now famous account of Beethoven tearing the work’s dedication page at the news of Napoleon declaring himself emperor. But scholars have cast some doubt on the story, including Maynard Solomon who shrewdly concluded, “Beethoven’s passport to Viennese citizenship was the rending of the Bonaparte inscription and the consequent merging of his heroic ideal with the national outlook of the Viennese populace.”

What’s clear is the new musical path that Beethoven blazed for himself and succeeding generations of composers with this symphony. In terms of sheer length, the Eroica Symphony is half again the size of Beethoven’s First and Second Symphonies. An independent bass line, three French horns and the use of wind instruments for expression rather than mere color give the symphony much of its sonic depth. Harmonic inventiveness (such as the striking dissonance in the opening measures), the second movement’s funeral march and the theme and variation finale (first heard in “The Creatures of Prometheus”) add even more complexity.

Writing about the Eroica Symphony, Solomon said that, “Beethoven took music beyond what we may describe as the pleasure principle of Viennese Classicism: he permitted aggressive and disintegrative forces to enter musical form. He placed the tragic experience at the core of his heroic style.” It naturally follows that without the Eroica, Beethoven’s later achievements, including the Fifth and Ninth Symphonies and late string quartets, would not have been possible.

CHAMBER MUSIC CONCERT SATURDAY, AUGUST 11, 6:30 PM Featuring: Beethoven Trio Opus 11 Shostakovich Quartet #8 Brahms Piano Quartet in g minor

FAMILY CONCERT SUNDAY, AUGUST 12, 2012 - 3:00 PM Adams: Shaker Loops 1) “Shaking and Trembling”

Copland: Appalachian Spring Suite (Original Instrumentation) Mozart: Piano Concerto, E flat K.482 1) Allegro 2) Andante 3) Allegro Joseph Kalichstein, pianist

INTERMISSION Larsen: String Symphony 1) Elegance 2) Beauty Alone 3) Ferocious Rhythm

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ABOUT THE MUSIC (FAMILY CONCERT, AUGUST 12) So named for the frenzied, ecstatic movement engaged in during worship, the Shakers lived modestly in celibate mixed communities throughout the Northeastern U.S. Although they died out during the 20th century, one of their colonies was in Canterbury, New Hampshire, not far from where American contemporary composer John Adams grew up. Educated at Harvard, Adams moved to California in the early 1970s where he began working almost exclusively in electronic music.

Adams: Shaker Loops Along with “Phrygian Gates” for solo piano, “Shaker Loops” (1978) marks Adams’ return to pure instrumental music, although this time with an electronic music sensibility. The title refers both to the tremolo or vibrating playing of string instruments and the repeated sections of sound as heard in the splicing of electronic tape.

“Spiccato,” “sul tasto,” “flautando,” “at the point of the bow” are among the many indications in Adams’ score. Moreover, a clear dramatic arc connects the four movements and constantly shifting texture of melody and rhythm. After the pulsating energy of the opening “Shaking and Trembling” comes a lull of haunting harmonics climaxing in the third movement’s “Loops and Verses.” “A Final Shaking” is pure adrenaline.

Copland: Appalachian Spring In Aaron Copland’s “Appalachian Spring,” the homage to Shaker culture is more direct: a ballet of American frontier life integrating the Shaker tune “Simple Gifts.” Subtitled “Ballet for Martha,” Copland wrote the score for 13-piece instrumental ensemble during the height of World War II, which also happens to mark the peak of Copland’s populist style. “She’s unquestionably very American: there’s something prim and restrained, simple yet strong about her which one tends to think of as America.” That was Copland’s description of his collaborator Martha Graham who authored much of the ballet’s scenario of a pioneer wedding. Graham’s unique choreographic style is reflected in the occasional jauntiness of the music, which can also melt into great warmth and beauty, as in the score’s beginning and final pages. Although Copland authored four other versions of “Appalachian Spring,” including suite and full orchestral arrangements, he maintained a special fondness for the clarity and simplicity of the original instrumentation.

Mozart: Piano Concerto Composed during around the same time as the opera “The Marriage of Figaro,” Mozart’s Concerto in E-flat major, K. 482 recalls much of the youthful energy of the composer’s earlier “Jeunehomme” concerto in the same key. (For Mozart and his contemporaries, the key of E-flat evoked the hunt and nobility.) What’s new in this concerto is the substitution of clarinets for oboes and the insertion of a minuet section in the bubbly rondo finale. Still, the slow movement’s sophisticated sorrowful emotion and harmonic exploration are the concerto’s truest indicators of maturity. Mozart’s audience also reportedly loved this movement. During the premiere performance in 1786, the audience demanded its encore.

Larson: Spring Symphony First performed in 1999, the String Symphony by American composer Libby Larsen epitomizes much of her works lyricism, rhythmic energy and bright optimism. Born in Delaware and studied at the University of Minnesota with Dominick Argento, Larsen has long been an advocate for music education and women in music. And like her American contemporary John Adams, she has had considerable success writing for the voice. Among her female subjects in operas and song cycles has been Eleanor Roosevelt.

ORCHESTRA CONCERT SUMMER IN ITALY FRIDAY, AUGUST 17, 6:30 PM Rossini: Overture to L’Italiana in Algieri Rossini: Una voce poco fa (from Il Barbieri di Siviglia) Kate Lindsey, mezzo soprano

Rossini: In si barbera (from Semiramide) Kate Lindsey, mezzo soprano

Vivaldi: L’estate (Summer) from La Quattro Stagione (The Four Seasons) 1) Allegro ma non molto 2) Adagio 3) Presto Laura Hamilton, violinist

INTERMISSION Mendelssohn: Symphony #4 (Italian) Op 90 1) Allegro vivace 2) Andante con moto 3) Con moto moderato 4) Saltarello: Presto

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ABOUT THE MUSIC It’s difficult to imagine a composer who explored the opera buffa or comic opera genre more definitively or ingeniously as Gioachino Rossini. Born in Pesaro, Italy in 1792, Rossini experienced wide spectacular success for his 39 operas. Enough so that he was able to comfortably retire from composition at about the age of 40.

Rossini: Overture to L’Italiana in Algieri Rossini’s Overture to “L’Italiana in Algeri,” which he wrote earlier in his career, exemplifies much of his operas’ fun, zestful energy. Revolving around the story of a feisty shipwrecked Italian girl who must outwit an Algerian official to escape with her betrothed, the opera begins with rousing music that straight away announces its exotic setting and inclination for zany twists and turns.

Rossini: Una voce poco fa The aria “Una voce poca fa” from the popular “Barber of Seville” is a tour de force comparable to the opera’s other well-known and demanding showpiece “Largo al factotum.” The mezzo-soprano aria ideally portrays the indomitable nature of its heroine Rosina through its pyrotechnical vocal display and extensive range.

Rossini: In si barbera In a much more serious vein, the aria “In si barbera” from the later opera seria “Semiramide” depicts the legendary queen of Assyria through grand musical gestures. Tragedy and grave subject matter were not a challenge for a consummate man of the theater like Rossini, who can still insert a light touch, when called for, to the least frivolous of human feelings.

Vivaldi: L’estate “Beneath the blazing sun’s relentless heat, men and flocks are sweltering, pines are scorched.” So goes part of the poetic inspiration for Antonio Vivaldi’s “Summer”concerto from the “Four Seasons.” For some, it might be a little unexpected that for the Italian Baroque composer, the “Summer” concerto would sound as turbulent (if not more so) than the “Winter” concerto. Yet the restless harmonic progressions and rapid solo figurations in the outer movements echo the violent storms that could sometimes result from warm winds emanating from the Sahara desert. The slow movement’s soft lyricism is just a brief respite from the musical tempest.

Mendelssohn: Symphony #4 In contrast, Mendelssohn’s Symphony No. 4 in A major, known as the “Italian,” radiates the kind of warm, inviting atmosphere that the composer experienced during his 1830-31 tour of the country. Italy had long been a favorite destination for German artists. The great Romantic writer Goethe, a mentor to Mendelssohn, fueled the composer’s curiosity and interest in Italian landscapes, Roman ruins and Renaissance art. In the middle of visits to the Vatican where he studied Renaissance-era polyphony, meetings with fellow artists (including French composer Hector Berlioz) and other Roman sightseeing, Mendelssohn began work on an “Italian” symphony. “The ‘Italian’ symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement,” Mendelssohn wrote to his sister Fanny in February 1831.

The first movement’s boisterous string melody, thumping woodwind accompaniment and dance-like 6/8 compound meter suggest an exuberant Roman carnival. Quite the opposite, the symphony’s sobering slow movement, with its strict church-like counterpoint and modal inflections, evokes a Lenten religious procession. The popular Saltarello finale is named after the same Italian folk dance (literally “little hop”) that Mendelssohn observed and described while in Rome. True to its origins, Mendelssohn’s saltarello leaps with almost wild abandon, all the while remaining in the key of A minor. The movement also features a contrasting triplet theme that recalls yet another lively folk dance, the Neapolitan tarantella.

CHAMBER MUSIC CONCERT SATURDAY, AUGUST 18, 6:30 PM Featuring: Prokofiev Sonata for Flute and Piano Poulenc Sextet Mendelssohn Octet

FAMILY CONCERT SUNDAY, AUGUST 19, 3:00 PM Mozart: Overture to Le Nozze di Figaro Mozart: Voi che sapete (from Le Nozze di Figaro) Kate Lindsey, mezzo soprano

Mozart: Non so piu cosa son (from Le Nozze di Figaro) Kate Lindsey, mezzo soprano

Mozart: Eine Kleine Nachtmusik KV 525 1) Allegro 2) Romance: Andante 3) Menuetto: Allegretto 4) Rondo: Allegro

INTERMISSION Mozart: Symphony #40 in G minor, KV 550 1) Molto Allegro 2) Andante 3) Menuetto: Allegretto 4) Allegro Assai

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ABOUT THE MUSIC (FAMILY CONCERT, AUGUST 19) Mozart: Overture to Le Nozze di Figaro With its cutting satire of the aristocracy, Beaumarchais’ play “The Marriage of Figaro” struck a political nerve after its 1784 premiere. While retaining much of the commentary and comedy in the 1786 operatic adaptation, Mozart and librettist Lorenzo da Ponte were able to introduce a brilliant humanizing dimension, what Mozart biographer Alfred Einstein aptly called a contribution to “the world’s understanding of people and to its lightness of spirit.”

Immediately starting from the overture’s famous Prestissimo measures, the listener tunes in to the opera’s madcap spirit—a perfect introduction to the story’s “folle giornata ” or “crazy day.” The ensuing arias and ensembles are beautifully sensitive character studies: the imperfect lovers Figaro and Susannah, for instance, as heard in the opera’s opening duet, the Countess as lovelorn victim in the cavatina “Porgi amor” and the Count as petty bully in “Vedro mentr’io sospiro.”

Mozart: Voi che sapete; Non so piu cosa son And then there is the young page Cherubino who is profiled in two of the opera’s most memorable arias.

A so-called “trouser role,” intended for a mezzo-soprano playing a young adolescent male, Cherubino personifies much of the archetypal hormonal teenager. The breathless Act I aria “Non so più cosa son” (“I don’t know anymore what I am”) is a survey in infatuation with its musical swells. The serenading Act II aria “Voi che sapete che cosa è amor” (“You ladies who know what love is, is it what I’m suffering from?”) reflects a youthful yearning. For Danish philosopher Soren Kierkegaard, Cherubino called to mind Don Juan as a boy, with all his unbridled feelings for women compressed in these two arias.

Mozart: Eine Kleine Nachtmusik Mozart was working on the second act of his next opera “Don Giovanni” while writing the popular “Eine Kleine Nachtmusik” (“A Little Night Music”) or Serenade in G major. During Mozart’s time, serenades were meant to add to an evening’s entertainment and could be written for outdoor wind ensembles or indoors.

Here was a serenade intended for a smaller contingent of double string quartet and bass, although the work can also be performed by string orchestra. What’s remarkable is how well constructed and concise all four movements are without there seeming to be one superfluous note.

Mozart: Symphony #40 The Symphony No. 40 in G minor came a year later. As Mozart’s penultimate symphony, the G minor symphony lacks in trumpets and timpani (instruments featured in the other two symphonies that make up this three-part set) but certainly not in gravitas. It sticks to the minor mode for three of the four movements, plunging at times into the very depths of the tragic levels of experience. Through sometimes daring harmonic modulations, Mozart evokes rich shades of dark and light reminiscent of the chiaroscuro of a Caravaggio painting.

On the other hand, the great 20th-century English writer Donald Tovey heard opera buffa or comic opera in this Symphony No. 40, which makes it an intriguing complement to the music heard earlier in this allMozart program.

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PERFORMERS

Maestro Joel Revzen Artistic Director and Principal Conductor Maestro Joel Revzen, Artistic Director and Principal Conductor of SummerFest Concerts, along with musicians of international renown, will present a variety of orchestral and chamber music programs that will inspire audiences of all ages as well as talented musicians of the future.

Laura Hamilton Concertmaster Born and raised in the San Francisco Bay Area, violinist Laura Hamilton has been appointed Concertmaster for SummerFest Concerts. Principal Associate Concertmaster of the Metropolitan Opera Orchestra since 1999, Ms. Hamilton has led many of the acclaimed MET “live in HD� transmissions, including Carmen, Turandot, Salome, Faust, and Madama Butterfly. She has performed frequently on the Met Chamber Ensemble series at Carnegie Hall with James Levine and colleagues. Previously a member of the Chicago Symphony, she has also appeared as guest concertmaster for the Seattle Symphony, the American Symphony Orchestra, the Welsh National Opera, Opera Australia in the Sydney Opera House, and the Adelaide Symphony.

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GUEST ARTISTS Jaime Laredo - Violinist: Performing for over five decades before audiences across the globe, Jaime Laredo has excelled in the multiple roles of soloist, conductor, recitalist, pedagogue, and chamber musician. Mr. Laredo has held the position of Music Director of the Vermont Symphony Orchestra since 1999. As Artistic Director of New York’s Chamber Music at the Y series, Mr. Laredo has created an important forum for chamber music performances. He has recorded close to one hundred albums and has won a Grammy Award for a disc of Brahms Piano Quartets. Laredo also holds a prestigious chair position at the Indiana University Jacobs School of Music.

Joseph Kalichstein - Pianist: Acclaimed for the heartfelt intensity and technical mastery of his playing, pianist Joseph Kalichstein enthralls audiences throughout the United States and Europe, winning equal praise as orchestral soloist, recitalist and chamber musician.

Mr. Kalichstein has collaborated with such celebrated conductors as Daniel Barenboim, Pierre Boulez, Christoph von Dohnányi, Charles Dutoit, Zubin Mehta, Andre Previn, and the late George Szell and Erich Leinsdorf and has performed with the world’s greatest orchestras. Born in Tel Aviv, Mr. Kalichstein came to the United States in 1962. He is a founding member of the famed Kalichstein-Laredo-Robinson piano trio, celebrating its 35th anniversary in 2012.

Kate Lindsey - Mezzo Soprano: This season, rising star mezzo-soprano Kate Lindsey returns to both the Metropolitan Opera as Nicklausse in Les Contes d’Hoffmann and the Seattle Opera as Rosina in Il Barbiere si Siviglia, makes her debut at the Los Angeles Opera as Zaida in Il Turco in Italia, and appears at the Théâtre des Champs-Élysées as Idamante in Idomeneo. She has already appeared in many of the world’s prestigious opera houses, including the Metropolitan Opera, Santa Fe Opera, Seattle Opera, Bayerische Staatsoper, Lille Opera, and the Théâtre des Champs-Élysées.

Sharon Robinson - Cellist: A winner of the Avery Fisher Recital Award, the Piatigorsky Memorial Award and a Grammy nominee, Sharon Robinson has appeared with major orchestras and in recital halls world-wide. She has been soloist with orchestras such as the Boston and National symphonies, the London Symphony and Zürich’s Tonhalle Orchestra, and appeared at festivals such as Spoleto, Aspen, Edinburgh and Prague’s Autumn Festival.

She has recorded extensively as both soloist and with the Kalichstein-Laredo-Robinson Trio. As educator, she serves on the faculty of both Indiana University and the Cleveland Institute of Music. A favorite of TV audiences, she has appeared on The Tonight Show, the Today Show and been profiled on CBS Sunday Morning, among others.

PERFORMERS Aaron McDonald - Timpanist: Aaron McDonald has been Principal Timpanist with the Vancouver Symphony Orchestra since 2007. Prior to joining the VSO he was timpanist with the West Virginia Symphony and performed and toured with the Cleveland Orchestra, Los Angeles Philharmonic, Indianapolis Symphony, and the Buffalo Philharmonic. As a chamber musician he performs with the Turning Point Ensemble, Standing Wave, National Broadcast Orchestra of Canada, and was a member of the percussion group Timetable. He has recorded several film and video game soundtracks for Disney, Dreamworks, and EA Sports.

Allan Santos - Double Bassist: Allan Santos has been a member of the Toledo Symphony Orchestra since 1999. He has also been a member of the acclaimed chamber orchestra CityMusic Cleveland. In taking every opportunity to play in the pit for ballet and opera productions, he’s performed with Michigan Opera Theater, Opera Vivente, Toledo Opera and for the Ballet series in Cleveland’s Playhouse Square. As a recitalist, he’s given recent performances in Cleveland and Bar Harbor, Maine.

Amy Hiraga - Violinist: Amy Hiraga is currently a member of the San Francisco Symphony. Amy has performed as soloist with the Aspen Philharmonia, Solisti of New York, Northwest Chamber Orchestra, and the St Luke’s Chamber Ensemble. In addition she has performed chamber at the Caramoor, Bard, Olympic, Chamber Music West, and Santa Fe Chamber Music Festivals, as well as with the St. Luke’s Chamber Ensemble, Chelsea Ensemble, and the Partita Ensemble.

Amy Kauffman - Violinist: Amy Kauffman has been a member of the Metropolitan Opera Orchestra since 2002. A frequent performer of chamber music, Ms. Kauffman has performed with the MET chamber ensemble at Carnegie Hall, and has been heard numerous times on NPR’s Performance Today. Festival appearances include New York’s Mostly Mozart Festival Orchestra, Cactus Pear Music Festival, Texas Music Festival, and Aspen Music Festival. An accomplished baroque violinist as well, Ms. Kauffman is a founding member of Trio la Popliniere and has performed and recorded with ensembles in New York, Boston, Rochester, and Houston.

Anna Stoytcheva - Pianist: Critically acclaimed pianist and winner of “Ettore Pozzoli” International Piano Competition in Italy, Anna Stoytcheva has performed throughout North America, Europe and Japan and has recorded two solo albums. A Juilliard School graduate, she was a fellow at the New World Symphony and attended the festivals Marlboro, Music Academy of the West, Banff, Pianofest, Bowdoin aNd Kneisel Hall. Currently the chair of the “Bulgarian Concert Evenings in New York” series, she is also a member of the American Chamber Players ensemble.

Anton Jivaev - Violist: Anton Jivaev is from Tashkent, Uzbekistan. He comes from a family of generations of professional musicians ranging from Classical to Jazz. He studied with Roberto Diaz at the Curtis Institute in Philadelphia. For five years Mr. Jivaev was Principal Violist of the NC Symphony Orchestra. 2011–12 concert season Mr. Jivaev performed with the legendary Munich Philharmonic Orchestra and in September 2012 he will join the famed Gewandhaus Orchestra as its newest member. Anton plays a viola made for him in 2008 by Hiroshi Iizuka of Philadelphia.

Barbara Bogatin - Cellist: Barbara Bogatin has been a member of the San Francisco Symphony since 1994. Prior to that she lived in New York City where she received Bachelor and Master of Music degrees from The Juilliard School, and played with New York Chamber Soloists, the New York Philharmonic, the Metropolitan Opera and the Classical Band. She has also served as principal cellist and soloist with the Milwaukee and New Jersey Symphonies, and has played at Chamber Music Northwest, Tiburon Music Festival and the Casals Festival. As a Baroque cellist and viola da gambist, Barbara has performed and recorded with Aston Magna, the Amati Trio, and Connecticut Early Music Festival.

Ben Hausmann - Oboist: Ben Hausmann has been Principal Oboist of the Seattle Symphony since 2006, and has held that position in L’Orcheste Symphonique de Quebec, the Savannah Symphony, the Florida Philharmonic, and the Hollywood Bowl Orchestra, and has served as Principal Keyboard of the Hilton Head Orchesta. An avid composer, Hausmann’s works have been performed and recorded by the Seattle Symphony and Michigan State University Symphony Orchestra; his chamber music premiered in Europe and North America by such artists as Joshua Roman, Nathan Hughes, Katherine Needleman, and Elaine Douvas.

PERFORMERS Billy Hunter - Trumpeter: Billy Hunter is currently Principal trumpet of the Metropolitan Opera in New York and Assistant Principal trumpet of the Grant Park Symphony Orchestra in Chicago. Before this he was Co-Principal with the New World Symphony and Spoleto Festival Italy orchestras and has performed as guest Principal with the Frankfurt Radio Symphony in Germany, Malaysian Philharmonic in Kuala Lumpur and the Charleston Symphony Orchestra. His honors and awards include first prize in the Kingsville International Competition Brass and Non-string divisions, second prize in the National Trumpet Competition, winner of the Roger Voisin Trumpet award as a fellow of the Tanglewood Music Center, and most recently the recipient of the University of Texas Exes Alumni Award for outstanding achievement.

Cornelius Dufallo - Violinist: Cornelius Dufallo (composer/violinist) is an innovator at the forefront of the American contemporary music scene. The New York Times praises his “alluring” performances and “imaginative” compositions. Dufallo plays acoustic and electric violin and moves seamlessly from classical to pop and jazz styles. Dufallo was a founder of the ensemble Ne(x)tworks and performed for seven years with the string quartet ETHEL. He has toured throughout the US, Europe, Asia, and Australia, and recorded for Mode, Tzadik, Cantaloupe and Innova.

Daniel Gilbert - Clarinetist: Daniel Gilbert joined the faculty at the University of Michigan as Associate Professor of Clarinet in 2007. Previously, he held the position of Second Clarinet in the Cleveland Orchestra from 1995 to 2007. He also serves as principal clarinet of the chamber orchestra, CityMusic Cleveland. A native of New York City, Mr. Gilbert received a Bachelor of Arts degree from Yale University and a Master of Music degree from The Juilliard School. Mr. Gilbert is an artist/Clinician for the Buffet Group USA and the Vandoren Corporation and he has traveled throughout the United States, Canada and Europe appearing as a soloist and clinician. Mr. Gilbert plays exclusively on Buffet clarinets.

Daniel Khalikov - Violinist: From Tashkent, Uzbekistan, Daniel attended the Uspenskiy Music School (Tashkent, Uzbekistan), Curtis Institute of Music, Toulouse National Conservatory and the Manhattan School of Music. He has performed with the Metropolitan Opera Orchestra 1st violin section, Co-Concertmaster of the Chamber Orchestra of New York. Chamber music at Tanglewood, Norfolk, Santa Fe, Barge Music, Music Mountain, the MET Chamber Ensemble and made appearances with the Reno Philharmonic orchestra, BBC Concert Orchestra, Brighton Philharmonic, Uzbekistan National Symphony as well as recitals in Europe, Asia, USA, and Canada.

David Calhoun - Cellist: Mr. Calhoun has appeared in all of New York’s major concert venues as principal cellist with many of its fine ensembles including the American Symphony, American Ballet Theatre, New York Virtuosi, SONYC, the Brooklyn Philharmonic, Musica Sacra etc.; as chamber musician on series such as Bargemusic, the Bard Music Festival, and the St. Andrews series. Orchestrally, Mr. Calhoun has toured with Orpheus, the Metropolitan Opera, and as principal cellist with New York City Opera. In the popular vein David has been principal cellist for Broadway productions of “Showboat” and “Kiss of the Spider Woman” and performed on tour as solo cellist for popular artists as diverse as Liza Minnelli, Rod Stewart and Willie Nelson.

David Cerutti - Violist: Mr. Cerutti is principal violist of the Orchestra of St. Luke’s and member of the St. Luke’s Chamber Ensemble. He appears regularly with The Metropolitan Opera Orchestra, The Orpheus Chamber Orchestra, has been a guest soloist at Lincoln Center for The Chamber Music Society and is a regular participant in the Helicon Concert Series, founded by the late Albert Fuller. Mr. Cerutti has collaborated with members of Ensemble Archibudelli on a recording of the Mendelssohn and Gade String Octets, performed on Stradivarius instruments for the Sony Classical label, and his unedited performance of J.S. Bach’s Sixth Brandenburg Concerto was chosen by National Public Radio as one of seven best live recordings of Bach from Performance Today.

Demarre McGill - Flutist: Currently principal flutist of the Seattle Symphony, Demarre McGill has held the same position with the San Diego Symphony, the Florida Orchestra and the Santa Fe Opera Orchestra. Winner of a 2003 Avery Fisher Career Grant, he has performed concerti with the Chicago Symphony, Philadelphia Orchestra, Pittsburgh Symphony, San Diego Symphony, Baltimore Symphony and Milwaukee Symphony, among others. Mr. McGill has participated in the Music from Angel Fire, Santa Fe, Kingston, Cape Cod, Music@Menlo, Bay Chamber Concerts, Mainly Mozart, La Jolla and Marlboro music festivals.

Désirée Elsevier - Violist: A New York native, Désirée Elsevier has been a regular member of the Metropolitan Opera Orchestra since 1987. An avid chamber musician, she appears frequently in the New York area, and has been a coach at the Chamber Music Conference and Composer’s Forum of the East in Bennington, VT since 2004. In 1998, she joined the World Orchestra for Peace (founded by Sir Georg Solti, now conducted

by Valery Gergiev) and has been a member from that time on, performing concerts in Germany, England, Holland, Belgium, the Hungary, Russia, China, Israel, Poland, Sweden, Austria, and most recently the United Arab Emirates.

PERFORMERS Edward Burns - Bassoonist: Edward Burns, originally from Santa Rosa in California’s wine country, received his B.M. from the Manhattan School of Music as a student of Frank Morelli and his M.M from the Juilliard School as a student of Whitney Crockett. In addition to being an active member of The Knights chamber orchestra, he freelances with ensembles which include the Philadelphia Orchestra, Seattle Symphony, Seattle Opera, and New Jersey Symphony. Recent engagements have taken him on tours throughout the US, Europe, Asia, and Central America.

Erik Ralske - French Horn: Currently Principal Horn of the Metropolitan Opera Orchestra. Previously he was a member of the New York Philharmonic for 17 seasons—12 years as Third Horn and later, approximately 5 years as Acting Associate Principal Horn.

During his tenure with the New York Philharmonic, Mr. Ralske has been a soloist with the orchestra over a dozen times with Music Directors Kurt Masur and Lorin Maazel, in New York as well as on tour in Europe and South America. In May 2013, he is scheduled to make his solo debut with the MET Orchestra at Carnegie Hall.

Erin James - Flutist: Erin James is well known in the Pacific Northwest having played regularly with the Seattle Symphony and the Seattle Opera. As a soloist and chamber musician she has appeared with the Northwest Chamber Orchestra and the Governor’s Chamber Music Festival. She is a former affiliate faculty member at Western Washington University and former board member of the Seattle Youth Symphony Orchestras. She has played with Lincoln Center’s Mostly Mozart Festival Orchestra both in New York and Tokyo and has toured as soloist with orchestras to the UK, France, Israel, Egypt, India, Pakistan, Nepal, Japan, and China.

Gennady Fillimonov - Violinist: Gennady Fillmonov has been a member of the Seattle Symphony since 1994. He is a co-founding member of Opus One Chamber Ensemble in New York and Seattle’s ODEONQUARTET. Solo appearances include the Seattle Symphony, Carmel Bach Festival, and Odessa Philharmonic at the Philharmonic Hall in Odessa, Ukraine. Recent tours include a quartet tour to Odessa, Ukraine, as well as “Bridging the Cultural Gap” tour to Moscow, Russia in June 2010, where he appeared at Rachmaninoff Hall of the Tchaikovsky Conservatory, as well as an appearance at “DOM MUSIKI”. A highly sought after musician, Gennady has been soloist/concertmaster in collaboration with Rod Stewart, Linda Rondstatt, “Music of Andrew Lloyd Webber” , “Heart” and many others.

Guy Piddington - Trumpeter: Guy Piddington has performed with prestigious orchestras and ensembles throughout the United States, Europe, Asia, and Canada. Mr. Piddington has held one-year positions as Second Trumpet with both The Metropolitan Opera and the Syracuse Symphony Orchestra and just won Second Trumpet for San Francisco Symphony.

He performs regularly with The Metropolitan Opera, the New York Philharmonic, the Colorado Symphony, and the Rochester Philharmonic Orchestra, and has also recorded with these ensembles. Additionally, he has performed with the New York City Opera, and the Mariinsky Orchestra.

Jeehae Lee - Violinist: Jeehae Lee has been a member of the Metropolitan Opera Orchestra since 2008. She played with New Jersey Symphony Orchestra prior to joining the MET, and has served as concertmaster and principal second violin of SchleswigHolstein Music Festival Orchestra, Juilliard Pre-College Symphony and Pre-College Orchestra. She also has appeared in chamber performances at Lincoln Center’s Alice Tully Hall and Weill Hall at Carnegie Hall.

Jenny Chen Ralske - French Horn: a New York-based freelance horn player. Career highlights have included performing for “The Grammy Awards” at Radio City Music Hall, recording Mahler’s Symphony #2 with Neeme Jarvi, for a PBS broadcast and a DVD release, as well as working with conductor/composer Pierre Boulez at the Aix-en-Provence Music Festival. In addition to performing and teaching, Ms. Ralske enjoys organizing and performing fundraising concerts for humanitarian causes through the International Buddhist Progressive Society and she is an official representative for the I.B.P.S., a nongovernmental organization, at the United Nations.

Jill Jaffe - Violist: Jill Jaffe has performed in virtually all of the concert venues in New York City with all of the major free lance orchestras including Orch of St.Lukes, NYC Ballet, NYC Opera, American Composers Orchestra and Mostly Mozart. A veteran of the downtown music scene—the Lounge Lizards, John Zorn, Evan Lurie, etc.—she is one of the early crossover artists. She has concertized and recorded throughout much of Europe, Japan, and Mexico. An avid chamber musician, Jill is a founding member of the Crescent String Quartet. As a composer of theatre music Jill is the recipient of numerous ASCAP awards, her ballets in response to the tragedies of 911 have been performed with profound effect.

PERFORMERS Joel Pitchon - Violinist: Joel Pitchon, soloist, concertmaster, chamber music player, and associate professor of violin and chamber music at Smith College. Pitchon has served as the concertmaster for numerous orchestras; including the Orquestra Ciutat de Barcelona (Spain), and the New York Virtuosi Chamber Orchestra. As a soloist Pitchon has performed with many groups such as the Orquestra Ciutat de Barcelona, Philharmonia Virtuosi, and the EOS Orchestra. The New York Times noted his playing in the EOS production of Stravinsky’s L’Histoire du Soldat as “superb.”

John Wetherill - Bassoonist: John Wetherill, Principal Bassoonist of the Indianapolis Symphony Orchestra, came to Indianapolis in 1989 from the Denver Symphony Orchestra where he was principal bassoon. He has also performed as solo bassoon with the Honolulu Symphony and the Ensemble Intercontemporain in Paris, France, and as guest principal bassoon with the Pittsburgh Symphony. Wetherill has also appeared with the Orchestre de Paris, the Orchestra of Radio France and the Metropolitan Opera. He has recorded chamber music works of Schoenberg and Stravinsky for CBS and Deutsche Grammaphone and various works for Pro Arte with the Denver Symphony Orchestra.

Kelly Hall-Tompkins - Violinist: One of New York City’s most in-demand violinists, Kelly Hall-Tompkins’ dynamic career spans solo, chamber, and orchestral performance. Ms. Hall-Tompkins joined the roster of Columbia Artists Management in 2010 and is a major new collaborator with violinist/composer Mark O’Connor in his Double Violin Concerto and as first violinist of the O’Connor String Quartet. Ms. Hall-Tompkins is winner of a 2003 Naumburg International Violin Competition Honorarium Prize, Concert Artists Guild Career Grant, and has been soloist with Dallas, Greenville, Chamber Orchestra of New York, and Evansville Philharmonic, among others.

Kingsley Wood - Double Bassist: Kingsley Wood has been a member of the Metropolitan Opera Orchestra since 2001. Prior to joining the Met he was a member of the Louisville Orchestra. Kingsley began playing the bass at the age of 13 and was soon performing with local Jazz musicians in the San Francisco Bay Area. After a brief detour studying chemistry, Kingsley attended the Peabody Conservatory of Music of Johns Hopkins University where he studied with John Hood of the Philadelphia Orchestra.

Kristi Helberg - Violinist: Kristi Helberg, enjoys spanning many musical and cultural settings, from performing in the Salzburg Festival under the patronage of the Vienna Philharmonic to the context of living and performing on a biodynamic farm in Ontario, Canada. With a tendency toward the experimental, she has premiered over thirty compositions and has performed in contexts such as BAM’s Next Wave Festival, Alarm Will Sound, Wet Ink Ensemble, and MATA’s NOW! Festival in New York City. As a member of The Knights, a New York-based chamber orchestra, she has toured internationally and recorded multiple albums for Sony Classical and Ancalagon labels.

Lanny Paykin - Cellist: Mr. Paykin earned a Master of Music in Cello Performance from the Juilliard School. Mr. Paykin maintains a diverse career in the New York area, appearing regularly with the New York City Ballet and the Metropolitan Opera, in recording studios, and in solo and chamber music concerts. He is a member of the American Composers’ Orchestra, Brooklyn Philharmonic, and the Westchester Philharmonic. He has performed as principal of the New York City Opera, Brooklyn Philharmonic, Long Island Philharmonic, Westchester Philharmonic, American Composers’ Orchestra, and American Symphony Orchestra.

Laura Lutzke - Violinist: Laura Lutzke enjoys a musically versatile career, with a passion for solo playing, chamber music and new ways of making music. Her playing has been described as “liquid, radiant, and shimmering, with beautifully played solo lines” by “The New York Times”. As an avid chamber musician, Laura was one of the “Rising Stars” at the Caramoor International Music Festival, collaborating with artists such as Atar Arad, Pamela Frank and Arnold Steinhardt. She is a current member of the American Contemporary Music Ensemble (ACME), performing regularly at well-respected venues such as Le Poisson Rouge, St. Ann’s Warehouse and Galapagos Art Space.

Maria Schleuning - Violinist: Maria has been violinist for the Dallas-based contemporary music ensemble Voices of Change since 1996, and was appointed Artistic Director in 2009. A member of the Dallas Symphony since 1994, she has been featured as soloist with the orchestra on many occasions. 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.

PERFORMERS Marina Sturm - Clarinetist: Grew up in a musical family outside Chicago and Milwaukee. She is currently a member of the American Symphony Orchestra and performs with many orchestras and ensembles in New York including the New York City Opera, Orchestra of St. Ignatius Loyola, Orchestra of St. Luke’s, American Ballet Theater Orchestra, and Columbia Sinfonietta. Sturm played with other orchestras including: The Hong Kong Philharmonic, Frankfurt Radio Orchestra, Washington Opera/Kennedy Center Orchestra, San Francisco Symphony, New Zealand Symphony, and American Symphony Orchestra.

Maron Anis Khoury - Flutist: Maron Anis Khoury has recently been appointed to the second flute position with the Metropolitan Opera orchestra in New York City.

Khoury started playing the flute at the age of 11; three years later, he was admitted to the Curtis Institute of Music in Philadelphia to study with renowned flutist Jeffrey Khaner, and graduated in 2009. Khoury has performed under the direction of Maestro Daniel Barenboim, Otto Werner Mueller, Christoph Eschenbach, and Michael Stern. Prior to enrollment at Curtis, Khoury studied with Eyal Ein-Habar and Uri Shoham (Israel Philharmonic), Sara Andon (Idyllwild Arts Academy), and David Shostak (Los Angeles Chamber Orchestra).

Milan Milisavljevic - Violist: Milan Milisavljevic is currently Assistant Principal Violist with the Metropolitan Opera and a former member of the Royal Concertgebouw Orchestra.

He has won numerous awards at competitions worldwide and has appeared as soloist with the Munich Chamber Orchestra, the Aspen Sinfonia, the Belgrade Philharmonic and others. As a chamber musician, he has collaborated with members of the Guarneri, Mendelssohn, St. Petersburg and Brentano String Quartets. Milan has performed at festivals such as Marlboro, Grand Teton, and Cascade Head and is a viola coach of the Verbier Festival Orchestra in Switzerland alongside other principal players of the Metropolitan Opera Orchestra.

Nathan Hughes - Oboist: Nathan Hughes is Principal Oboe of the Metropolitan Opera and a member of the oboe faculty at The Juilliard School. He previously served as Principal Oboe of the Seattle Symphony and Associate Principal Oboe of the San Francisco Symphony. In addition, he has made guest appearances as Principal Oboe with the New York and Los Angeles Philharmonics, as well as the Chicago, Dallas, Atlanta, and Baltimore Symphony Orchestras. He also has made appearances with the Philadelphia and Seattle Chamber Music Societies, at the Aspen, Bridgehampton, Lucerne, Mainly Mozart, Marlboro, Salzburg, Santa Fe, Sarasota, Spoleto, Tanglewood, and Verbier Festivals.

Patrick Milando - French Horn: Patrick has played extensively with major musical groups the world over. Formerly Principal Horn of L’Orchestra del Teatro San Carlo, in Italy, he has toured and performed on Live Broadcasts with the Metropolitan Opera, as well as on numerous tours and recordings with the New York Philharmonic. He has also performed with the Philadelphia Orchestra, the Vienna Philharmonic, the Orchestra of Paris, the Mariinsky of Russia, the New Jersey Symphony, the American Symphony Orchestra, and the American Composers Orchestra. A member of ASCAP, Mr. Milando has premiered several compositions both in Asia and at Lincoln Center.

Peter Wyrick - Cellist: Peter Wyrick served as San Francisco Symphony Assistant Principal Cellist from 1986 to 1990, returned to the Orchestra in 2000, and is now Associate Principal Cellist. He has also served as principal cellist of the Mostly Mozart Festival Orchestra and associate principal cellist of the New York City Opera Orchestra. As a member of the Ridge String Quartet, he performed throughout the world and recorded the Dvorák piano quintets with pianist Rudolf Firkusny, an RCA recording that won France’s Diapason d’Or and a Grammy nomination.

Rachel Golub - Violinist: performs and records with Sting, Elton John, Jay-Z, Andrea Bocelli, Elliott Sharp and Florence + The Machine. In New York, Rachel frequents Orchestra of St. Luke’s, New Jersey Symphony, and engagements from Star Wars in Concert and Fiddler on the Roof to art by Pierre Hughye and Christian Marclay. 2011 saw two solo releases: an album of Judaica; and an album of original music with her band, Go-Ray & Duke.

Saeunn Thorsteinsdottir - Cellist: A passionate cellist, chamber musician, teaching artist, and new music advocate, Saeunn Thorsteinsdottir has performed across the U.S., Germany, Poland, Italy, France and her native Iceland and has appeared as soloist with the Iceland Symphony, Des Moines Symphony, Colombian National Youth Orchestra among others in Europe and the U.S. She has garnered numerous top prizes, including the Antonio Janigro International Cello Competition in Zagreb, Croatia, and Naumburg International Cello Competition in New York City.

PERFORMERS Samantha Duckworth - Bassoonist and Contrabassoonist: Samantha Duckworth, a native of Montreal, completed her B.M. at McGill University as a student of Nadina Mackie in 1991. She performed for the next two years as second bassoon with the Montreal Symphony Orchestra. After holding the same position with the Orchestre Symphonique de Quebec for three seasons, she returned to the Montreal Symphony to play contrabassoon for two years before moving to New York City with her husband Whitney Crockett in 1998. Samantha spent the next thirteen years freelancing in the New York City area, with such orchestras as the Metropolitan Opera Orchestra, Orpheus, The New Jersey Symphony, and the Orchestra of St. Lukes.

Sarah Crocker - Violinist: Violinist Sarah Crocker is a member of the Metropolitan Opera Orchestra. She has previously held positions in the Detroit Symphony Orchestra and the Colorado Symphony and has performed with Orpheus Chamber Orchestra, the St. Paul Chamber Orchestra the Santa Fe Opera Orchestra and has appeared as soloist with the musicians of the Detroit Symphony Orchestra, the Syracuse Symphony, and the Cleveland Institute of Music Orchestra, among others. A founding member of the Verklärte Quartet, Ms. Crocker was a Grand Prize Winner of the 2003 Fischoff National Chamber Music Competition, touring U.S. and Italy with this ensemble. She has appeared at festivals around the world.

Simon James - Violinist: Simon James performed around the world as a soloist and chamber musician. He has been a member of the Melbourne Symphony Orchestra, Mostly Mozart Orchestra, and is currently the Second Assistant Concertmaster of the Seattle Symphony Orchestra. In addition, he serves as concertmaster of the Seattle Chamber Orchestra and has performed as guest concertmaster of the Vancouver Symphony, the Bolshoi Theatre Orchestra and the Western Australia Symphony in Perth.

Stewart Rose - French Horn: member of the Orpheus Chamber Orchestra, has played Principal Horn with the Orchestra of St. Luke’s since 1983 and in 1989 became Principal Horn with the New York City Opera Orchestra. Since the 2010–11 season Mr. Rose has been performing as Guest Associate Principal Horn with the New York Philharmonic.

He has recently been guest Principal with the Metropolitan Opera Orchestra, the St. Paul Chamber Orchestra, the Saito Kinen Festival Orchestra, and has performed with the Chamber Music Society of Lincoln Center, the Ensemble Wein-Berlin and the Met Chamber Ensemble with James Levine.

Whitney Crockett - Bassoonist: Whitney joined the Los Angeles Philharmonic as Principal Bassoon in 2010 as one of Gustavo Dudamel’s first appointments. He came to Los Angeles after 12 years as Principal Bassoon of the Metropolitan Opera Orchestra under James Levine. Prior to his work in New York, Crockett held the same position with the Montreal Symphony Orchestra. Earlier in his career, he held Principal Bassoon positions with the Florida Orchestra, the South Florida Symphony, and the Orquesta Sinfónica Nacionál of the Dominican Republic. A respected pedagogue, Crockett has served on the faculties of the Juilliard and Manhattan schools of music, as well as the Académie de Verbier in Switzerland.

Yurika Mok - Violinist: Yurika Mok has been a violinist in the Metropolitan Opera Orchestra since 1998. She was also a member of the St. Louis Symphony from 1996–1998.

A native of Los Angeles, she studied violin with Michael Tseitlin and Stuart Canin. She received her Bachelor’s Degree in Psychology from University of Oregon and Master of Music Degree at Manhattan School of Music, where she studied with Burton Kaplan.

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Gentlemen OF Verona

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