MO CM MISSOURI CHAMBER MUSIC FESTIVAL Program of Events | June 18–22, 2014 mochambermusic.org | 314.882.0053
A week-long Festival building multi-cultural bridges to the Jewish experience through the intimacy of chamber music
June 22 â€“ 29 FeAturing
Matt Haimovitz Sunday, June 22 7:30pm
Detailed information regarding dates, locations and musical artists
MO CM MISSOURI CHAMBER MUSIC FESTIVAL MOCM Morning Music Wednesday, June 18, 2014 at 10:30 Am Shostakovich | Augusta Read Thomas | Prokofiev First Congregational Church of Webster Groves A Light in Sound Thursday, June 19, 2014 at 5 pm (Harp Encounter with Allegra Lilly at 4:30 pm) Mozart | Villa Lobos | Augusta Read Thomas | Ravel First Congregational Church of Webster Groves Fairy Tale Saturday, June 21, 2014 at 7 pm Schumann | Ravel | Brahms First Congregational Church of Webster Groves Souvenir at the Sheldon Sunday, June 22, 2014 at 2 pm Shostakovich | Tchaikovsky Sheldon Concert Hall mochambermusic.org | 314.882.0053 facebook.com/MOChamberMusic twitter @MOCMFestival Programs and artists are subject to change.
"Passionate performances." The St. Louis Post-Dispatch
Welcome to the Fourth Season of the Missouri Chamber Music Festival (MOCM). We are delighted to share with you our love of chamber music and hope that these MOCM concerts will continue to inspire you long after the final notes ring. We have many new and wonderful musical artists sharing their talents with us as well as some familiar faces from past seasons. Youâ€™ll again experience the sonorous viola playing of Amadi Azikiwe and the elegant musicianship of pianist Hugh Hinton alongside Festival newcomers like Allegra Lilly on the harp, and the always thrilling flutist Mark Sparks. We hope that you will enjoy the versatility of our musicians, and come get to know them up close and personally. For our artists, this time to collaborate is rewarding and we know that you will be energized by their musical voices. MOCM is a celebration of the art of chamber music, from pen to performance, a truly collaborative experience! Please sit back and enjoy the music with us. We hope that you will have memorable experiences at our festivalâ€”hearing the concerts, learning more about the music at a pre-concert talk, and meeting the artists at receptions. We look forward to seeing you during the week and hope that you will be left anticipating our Fifth Season as eagerly as we will. Thank you for your continued enthusiasm and support!
Nina Ferrigno & Scott Andrews Directors, Missouri Chamber Music Festival
MOCM 2014 Festival Artists Scott Andrews, clarinet Amadi Azikiwe, viola Kurt Baldwin, cello Shannon Farrell Williams, viola Nina Ferrigno, piano Catherine French, violin Hugh Hinton, piano Helen Kim, violin Jooyeon Kong, violin Allegra Lilly, harp Jennifer Lucht, cello Joanna Mendoza, viola Bjorn Ranheim, cello Maria Schleuning, violin Angie Smart, violin Mark Sparks, flute Calyx Piano Trio Board of Directors Nina Ferrigno, President, Artistic Director Lora Reardon, Vice President Scott Andrews, Secretary, Artistic Director Melissa Brooks Winston Calvert Jennifer Lin Linda Peterson
Advisory Council Jennifer Lucht, Director, Carolina Chamber Music Festival Anna Reinersman, Director, Carolina Chamber Music Festival David Robertson, Music Director, St. Louis Symphony Gil Rose, Music Director, Boston Modern Orchestra Project Marc Thayer, Director of Education, American Voices Festival Manager Kalen Mayo PHOTOGRAPHY Brandon Krepel Volunteers Chip Darr Alan Fiddleman Dana Hotle Ryan Mayo Correne Murphy Emily Reardon Tina Ward George Yeh
MO CM MOCM Morning Music Wednesday, June 18, 2014 at 10:30 am First Congregational Church of Webster Groves Five pieces for 2 Violins and Piano Prelude Gavotte Elegy Waltz Polka
Maria Schleuning, Angie Smart, violins Hugh Hinton, piano
Dream Catcher for Solo Violin Maria Schleuning, violin
Violin Sonata No. 2 in D Major, Op. 94a PROKOFIEV 1. Moderato 2. Presto - Poco piu mosso del - Tempo I 3. Andante 4. Allegro con brio - Poco meno mosso - Tempo I - Poco meno mosso - Allegro con brio
Angie Smart, violin Hugh Hinton, piano
Please join us for a reception after the performance.
MO CM A Light in Sound Thursday, June 19, 2014 at 5 pm First Congregational Church of Webster Groves Quartet for Flute and Strings in D major, K. 285 1. Allegro 2. Adagio, B minor 3. Rondeau: Allegro
Mark Sparks, flute Jooyeon Kong, violin Joanna Mendoza, viola Jennifer Lucht, cello
Choros No. 2 for Flute and Clarinet Mark Sparks, flute Scott Andrews, clarinet
…a circle around the sun…
Moon Jig THOMAS
Calyx Piano Trio
Introduction and Allegro RAVEL for Harp, Flute, Clarinet, and String Quartet Allegra Lilly, harp Mark Sparks, flute Scott Andrews, clarinet Catherine French, Jooyeon Kong, violins Joanna Mendoza, viola Jennifer Lucht, cello Please join us for a reception after the performance.
In the years before he settled in Vienna, Wolfgang Amadeus Mozart (1756–1791) traveled around Europe seeking opportunity. While in Mannhein, he received a commission which resulted in three flute quartets including the D major Flute Quartet, KV. 285 completed on December 25, 1777. Like many of his early chamber compositions for a wind instrument, the flute quartet is primarily in “concertante” style in which the flute enjoys a soloistic role as the strings artfully accompany. Though a sort of a chamber concerto, the ensemble is intimate, the textures transparent, and the light brevity of the quartet places it stylistically in that charming realm of the Rococo—a brief, gallant flourish of the emerging early classical period with traces of the lingering Baroque. The quartet is compact, with only three short movements. The first movement is a clear and lively sonata with a wealth of themes, and a wonderfully elaborated recapitulation. The middle movement suspends motion and mood in a serenade with a pensive melody in the flute, evoking the Baroque with true grace and poise. The reverie is about to evaporate, when, without pause, the moment is seized by an exuberant rondo finale. As a young boy in Rio de Janeiro, Heitor Villa-Lobos (1887–1959) took up the cello, the instrument his father played. When, at the age of twelve, Heitor lost his father, his mother decided he should study medicine rather than music, but the boy rebelled and played guitar in cafes and with traveling street bands in choros, a kind of instrumental music then the rage in Rio. In his twenties, he met his first European musicians, beginning with Darius Milhaud, who encouraged him to write his own music. Armed with introductions by Milhaud, Villa-Lobos went to Paris; he stayed seven years absorbing new European musical styles and enchanting the French with his own exotic compositions. It was in Paris that Villa-Lobos composed his fourteen Choros, based on the popular Brazilian music he loved to play. In the composer’s own words, a choro “represents a new form of musical composition in which the different modalities of Brazilian, American Indian, and popular music are synthesized. The principal elements are rhythm and any sort of typically popular melody… The harmonic procedures are likewise a virtual stylization of the original. The word ‘serenade’ gives an approximate idea of what choros means.” Villa-Lobos’s Choros are highly varied pieces, ranging in length from two to sixty-some minutes, and in instrumentation from the flute and clarinet duo of Choro No. 2 as performed tonight to full orchestra and chorus.
... a circle around the sun... Program notes by the composer, August Read Thomas (b. 1964) My favorite moment in any piece of music is the moment of maximum risk and striving. Whether the venture is tiny or large, loud or soft, fragile or strong, passionate, erratic, ordinary, or eccentric! Maybe another way to say this is the moment of exquisite humanity and raw soul. All art that I cherish has an element of love and recklessness and desperation. I like music that is alive and jumps off the page and out of the instrument as if something big is at stake. This work’s title refers to Mr. George D. Kennedy, in whose honor the piece is written for his generous contributions to and support of the Children’s Hospital in Chicago. He gives energy to children in need, like a circle around the sun, giving strength and warmth. The music starts with a G (G for George) when, slowly, orbits of sonorous and fragile notes unfold and spiral outward creating a gracious and vibrant resonance. After 60 seconds, the piece bursts forth with a good deal of energy, like a sunflare or like children scattering on a playground in all directions and later returns briefly to the opening materials on the pitch G. Moon Jig Program notes by the composer, August Read Thomas (b. 1964) Traditionally, a Jig (or Gigue) has been a lively dance with leaping movements, comprised of two sections each repeated. Somewhat of a cross between “Jazz” and “Classical,” Moon Jig can be heard as a series of outgrowths and variations, which are organic and, at every level, concerned with transformations and connections. The piano serves as the protagonist as well as fulcrum point on and around which all musical force-fields rotate, bloom, and proliferate. The piano part starts with and returns four times with a low register jig, which is an earthy, punchy, rhythmic, and asymmetrical walking bass. The second, contrasting section (which is also repeated four times) is always led by the strings who play long animated, expressive lines. This very short work alternates five times total between these two sections: PIANO JIG — TUTTI — PIANO JIG — TUTTI — PIANO JIG, and so forth, yet as the repetitions proceed, the two musics eventually blend together. One clear-cut example is when the string pizzicatos blend into the low-register, jazzy piano rhythms. A multifaceted merging process finally results in one long sweep of music rushing to the end in the highest registers of the trio, as if the Jig leaped skyward and moonward. 11
Introduction and Allegro, by Maurice Ravel (1875–1937) is a brief ten-minute work for harp and a chamber ensemble of flute, clarinet, and string quartet, first performed in Paris on February 22, 1907. It features the harp prominently, but the Introduction et Allegro is not a miniature harp concerto, though it has a cadenza for that instrument near the close. The piece is a genuine chamber work that contrasts three quite different sonorities: the smooth sound of woodwinds, the soft percussiveness of the harp, and the warm resonance of strings. One of the most impressive things about the Introduction et Allegro is the range of different sounds Ravel achieves with this small ensemble—the music seems to shimmer and glow throughout. Ravel asks the strings for tremolos, pizzicatos, and harmonics; the winds are given rapidly-repeated staccatos and swirling arpeggios, while the writing for harp makes imaginative use of pedaling and harmonics. The very opening makes clear Ravel’s intention to contrast these sounds. Woodwinds introduce the opening theme, strings answer them, and the harp in turn responds to the strings. The Introduction is quite brief, and at the Allegro the music surges ahead as the harp alone introduces the playful main theme. The music builds to climax and suddenly breaks off for the harp’s beautifully idiomatic cadenza. Especially effective are its closing moments, where the left hand has the main theme in harmonics while the right hand accompanies with high and very faint glissandos. The other instruments rejoin the harp for the rush to the colorful cadence.
MO CM Fairy Tale Saturday, June 21, 2014 at 7 pm First Congregational Church of Webster Groves
Märchenerzählungen (Fairy Tales) SCHUMANN for Clarinet, Viola, and Piano, Op. 132 1. Lebhaft, nicht zu schnell 2. Lebhaft und sehr markiert 3. Ruhiges Tempo, mit zartem Ausdruck 4. Lebhaft, sehr markiert
Scott Andrews, clarinet Amadi Azikiwe, viola Hugh Hinton, piano
Ma Mère l’Oye, for piano 4 hands RAVEL cinq pièces enfantines 1. Pavane de la Belle au Bois Dormant 2. Petit Poucet 3. Laideronnette, impératrice des pagodes 4. Les Entretiens de la Belle et de la Bête 5. Le Jardin féerique
Nina Ferrigno, Hugh Hinton, piano
Piano Quartet in C minor, Op. 60 1. Allegro non troppo 2. Scherzo: Allegro 3. Andante 4. Finale: Allegro comodo
Maria Schleuning, violin Amadi Azikiwe, viola Kurt Baldwin, cello Hugh Hinton, piano
Please join us for a reception after the performance.
Robert Schumann (1810–1856) was a quintessential Romantic. Intensely passionate about literature and music, he devoted himself to both forms of expression. Often inspired by love for his wife, Schumann wrote music for and about Clara with thematic references to her name and musical depictions of her idealized persona. Asserting that great music followed its own intrinsic demands, he produced compositions that were highly individual in form and character, striking many of his contemporaries as irregular, idiosyncratic, and even indulgent. He is especially praised for his intimate songs that interrelate piano, voice, and poetry with tremendous artistic sensitivity. Schumann also suffered the darker side of the Romantic, struggling with mania, depression, hallucinations, and a serious but unsuccessful suicide attempt. He struggled through his final two years alone in an asylum, dying when he was only forty-six. Accustomed to composing in bursts of obsessive focus, Schumann wrote the majority of his chamber music in a concentrated period of a single year that yielded his magnificent piano quintet, the highly regarded piano quartet, and three quality string quartets. Five years later, he rapidly composed three piano trios. Among the very last of his compositions was the charming cycle of four pieces for the unusual ensemble of clarinet, viola, and piano titled Märchenerzählungen, generally translated as Fairy Tales. The title Fairy Tales evokes several aspects of Schumann’s highly Romantic art including his fondness for literature, fantasy, and the colorful expression of mood, character and story in musical miniatures. If there were any, the specific topics or references in the music are unknown, as Schumann would surely have preferred. While the notion of four brief fairy tales suggests a loose collection of individual pieces, they create a balanced whole complete with a lively introduction, a march, a tender slow movement, and an animated finale with cyclic references to its predecessors. Schumann dedicated the work to a young musician, Albert Dietrich, who, along with the young Johannes Brahms, brought new friendship and fresh inspiration to Schumann during the final weeks of his artistic productivity. Maurice Ravel (1875–1937) wrote Mother Goose (Ma Mère l’Oye) in 1910 as a duet for two young piano students, siblings Mimi and Jean Godebski. Unmarried and childless, Ravel adored children, and their world of fantasy. He sought to write piano music that could be played by children, as well as reflecting the world of childhood. Subtitled “cinq pièces enfantines,” Mother Goose draws upon the fairy tales of Perrault which were as well-known in Ravel’s time as they are today. 15
The music began life in 1908 with the creation of a single movement for piano duet, Sleeping Beauty’s Pavane. Four more duets were composed in 1910, and the Suite (now named Mother Goose and given the fascinating subtitle which translates literally as “Five Childish Pieces”) was premiered in Paris almost immediately thereafter. After the moody opening Pavane, we are transported to the forest where Tom Thumb’s trail of crumbs is the victim of various songbirds. A colorful and exotic depiction of things Chinese follows, as Laideronnette (“the little ugly one”—fairy tales are not always politically correct) bathes while being entertained with musical walnut-shells and almond-shells. Then comes what British writer Gerald Larner describes as “Ravel’s first-ever love scene.” This is no Disney-ized Beauty and the Beast, though, and the transformation of the Beast leads to a hymn-like but eventually ecstatic celebration of nature in “The Enchanted Garden.” Johannes Brahms’s (1833–1897) third Piano Quartet, Op. 60 offers plenty of interpretive temptations. A young Brahms began the piece during Robert Schumann’s last illness, just after the latter completed his Fairy Tales, when Brahms was torn between despair for his friend and love for his friend’s wife, Clara. He then tabled the project for nearly two decades before picking it up again and making thorough revisions, resulting in the current work. Brahms sarcastically told his publisher, upon sending him the manuscript: “On the cover you must have a picture, namely a head with a pistol to it. Now you can form some conception of the music! I’ll send you my photograph for the purpose.” The piece was originally in C# minor, making it transparent that Brahms was working out his own growing feelings for Clara amid the tragedy of his mentor. The name of Clara appears immediately in the musical notes, based on Schumann’s own musical motto for Clara—C#-B-A-G#-A, which in Brahms reworking to C minor, becomes Eb-D-C-B-C. This motto and variations of it occur throughout the piece. A more concrete element of the work lies embedded in its harmonic construction. Strange moments seem to subvert the tonality of C minor. For instance, after the opening bars comes a suspended moment where the viola plucks E natural, a note that is as distant from C minor as possible, confusing our ear as to whether we are in C minor or C major. The E natural continues to accumulate as the movement develops, until in the recapitulation when a significant passage modulates to E minor. The third movement of the piano quartet itself moves entirely into E major. In the finale, Brahms returns to the C minor urgency of the first 16
movement. The Allegro comodo marking suggests a leisurely or moderate tempo, but the mood of the music is dark and insistent throughout. The second theme is a chorale for strings, and the development has a great deal of sweep, with the main theme returning in a grand unison for the strings. The movement stays in C minor until just before the end, when Brahms wrenches it into C major with the final two chords, as if unwilling to conclude with an ending as dark as all that has gone before. But the troubled urgency of this music that began at a difficult and confusing time for the composer remains nonetheless.
Souvenir at the Sheldon Sunday, June 22, 2014 at 2 pm Sheldon Concert Hall
Piano Quintet in G minor, Op. 57 SHOSTAKOVICH 1. Prelude: Lento 2. Fugue: Adagio 3. Scherzo: Allegretto 4. Intermezzo: Lento 5. Finale: Allegretto Catherine French, Helen Kim, violins Shannon Farrell Williams, viola Bjorn Ranheim, cello Nina Ferrigno, piano brief intermission
String Sextet in D minor, Op. 70 â€œSouvenir de Florenceâ€?
1. Allegro con spirito 2. Adagio cantabile e con moto 3. Allegretto moderato 4. Allegro con brio e vivace
Helen Kim, Catherine French, violins Amadi Azikiwe, Shannon Farrell Williams, violas Jennifer Lucht, Bjorn Ranheim, cellos
Please join us for a reception after the performance.
Dmitri Shostakovich (1906â€“1975) has come to be regarded as one of the most important 20th century composers. Working in all the traditional genres, he is particularly known for his monumental cycles of 15 symphonies and 15 string quartets. Indeed, despite his early modernist tendencies and his distinctively contemporary and personal sound, Shostakovich primarily worked with traditional and a tonal harmonic vocabulary. This sense of a modern voice within a traditional lineage is nowhere more apparent than with his glorious Piano Quintet, Op. 57 of 1940. Impressed with his first string quartet, the Moscow-based Beethoven Quartet asked Shostakovich to write a piece for which the composer could join them at the piano. The result was an immense success earning Shostakovich the Stalin Prize and a cash award of 100,000 rubles. An early entry in his chamber music catalog, Shostakovichâ€™s quintet is one of his most popular works and has joined the small pantheon of singular piano quintets from the likes of Schumann, Brahms, and Franck. The first two movements supply a massive prelude and fugue in their finest sense. Shostakovich was a skillful and artistic contrapuntist with masterful fugues all through his body of work. Here, the prelude and fugue acquire an extra dimension due to the fact that each of the strings and piano are independently capable of multi-part textures on their own as well as combining for a unified ensemble. The third movement is a fantastic scherzo and trio, a highpoint of the work suitable for an encore all by itself. In startling contrast to the poise and grandeur of the prelude and fugue, the scherzo dances with a rustic, wild abandon teeming with colorful parody and dark sarcasm so typical of Shostakovich. Less traditional is the second slow movement, an intermezzo placed between the scherzo and finale. Here is another face of Shostakovich: an intimate sorrow that rises to a peak of anguish, a pulsing sense of fate underlying a poignant song. But it is brief, an intermezzo that quickly fades into the relaxed tone of a breezy, uplifting conclusion. The finale has a clearly articulated classical sonata form with distinctive themes and a rich development. A march-like feel is always just beneath the surface, occasionally swelling in grand gestures. A brief recollection of the intermezzo is heard before the sunny end. Throughout the quintet, Shostakovich maintains a remarkable clarity of texture avoiding the dense or quasi-orchestral grandiosity towards which piano quintets tend. This is due in particular to a concentration of a fluid, dynamic ensemble where all five instruments are expressively active, though rarely simultaneously.
Familiarity with Peter Ilyich Tchaikovsky’s (1840–1893) “big” music —the symphonies, tone poems, and operas—would lead one to venture that chamber music was not the Russian composer’s cup of tea. But he did throw his hat into the ring a few times: string quartets, a piano trio, and the present Sextet for Strings, “Souvenir de Florence,” composed in 1890. The sextet actually occupied him for several years, the first sketches having been made in 1887 with revisions dating up to 1892. But the main work was done in 1890, upon his return from a stay in Florence, thus the title. The writing of the sextet seems to have come about as a welcome change of pace from his labors on the opera Pique Dame and the ballet The Nutcracker, and also as an offering to his longtime benefactor, Nadezhda von Meck, who was ailing at the time and not able to leave her home. Tchaikovsky, wanting to please her with a work she could hear in her own salon, wrote to her: “I know you love chamber music and I am glad you will be able to hear my sextet… I wrote it with the greatest enthusiasm and with the least exertion.” Throughout the piece, the composer’s melodic muse is ever-present, providing themes in embarrassing abundance. The ease and graciousness of the sextet can be attributed in part to his enjoyment of the Italian city for which it was named, but also to other factors: the position of international celebrity which he had attained and the elation he was feeling because of having achieved something notable in Pique Dame. The sextet’s first movement begins with a vigorous main theme that is later contrasted by a theme that is possibly the single melody in the sextet whose airiness has an entirely Italian, as opposed to Russian, lyricism. The Adagio second movement opens with a kind of slow version of the first movement’s main theme, and then goes on to a gracious melody supported by a pizzicato accompaniment. In the middle section, Tchaikovsky abandons songfulness and chamber music purity to produce an episode that is sheer sound-effect, with the strings playing rapidly on the point of the bow. The third movement is all carefree brightness, with a trio section that reminds us that Tchaikovsky had The Nutcracker dancing in his head at the time. For the finale, the composer reached out for a trifling tune, probably a folk tune, sending it through all manner of activity, including a surprising fugue, just before the brilliant close.
Artist Biographies Praised as ‘’elegant’’ in the Boston Globe and ‘’extraordinary’’ by the New York Times, Scott Andrews has been critically acclaimed in solo and chamber music performances across the country. A sought-after collaborative musician and an avid proponent of new music, he has performed with organizations such as Composers in Red Sneakers, the Auros Group for New Music, the Ying String Quartet, the Calyx Piano Trio, and the Boston Symphony Chamber Players among many others. Mr. Andrews has been Principal Clarinet of the St. Louis Symphony Orchestra since 2005. In addition to his work with the Symphony, to expand upon his love of chamber music and to promote and further the art of contemporary music, Mr. Andrews founded the Missouri Chamber Music Festival (MOCM) in 2010 with his wife, pianist Nina Ferrigno. Before joining the St. Louis Symphony, Mr. Andrews had been a member of the Boston Symphony Orchestra for 11 years and has also performed with the Philadelphia Orchestra, and the Saito Kinen and Mito Chamber Orchestras in Japan. He has lectured and given classes throughout the United States as well as in Europe and Japan. Mr. Andrews was for many years the Woodwind Department Chair at Boston Conservatory and a faculty member of the Tanglewood Music Center in Lenox, Massachusetts. He has also appeared at the Aspen Music Festival and has been on faculty at the Pacific Music Festival in Sapporo, Japan. His recording of Julian Wachner’s Clarinet Concerto with the McGill Chamber Orchestra is currently available on ATMA Classique, and an upcoming project for Open G Records to record the Brahms Clarinet Sonatas is being planned. Originally from Virginia, Mr. Andrews studied piano and violin before discovering the clarinet, studying with Edward Knakal of Virginia Beach. He attended the Virginia Governor’s School for the Arts and also studied at the Interlochen Music Center in Michigan. He graduated with distinction from the New England Conservatory of Music where he was a clarinet student of Harold Wright. Amadi Azikiwe, violist and conductor, has been heard in recital in major cities throughout the United States. Mr. Azikiwe has been a guest of the Chamber Music Society of Lincoln Center at the Alice Tully Hall in New York and at the Kennedy Center in Washington D.C. He has appeared in recital all across the U.S. and in Israel, Canada, South America, Central America, India, Japan, Hong Kong, and
throughout the Caribbean. As a chamber musician, Mr. Azikiwe has appeared in concert with the Chicago Chamber Musicians, the Chester, Miro, St. Lawrence, Anderson, Arianna, Harrington, and Corigliano quartets. Among Mr. Azikiwe’s prizes and awards are those from Concert Artists Guild, the North Carolina Symphony, the National Society of Arts and Letters, and the Epstein Young Artists Award from the Boys and Girls Clubs of America, with whom he still maintains a strong artistic and mentoring association. Mr. Azikiwe was previously the conductor of the Old Dominion University Chamber Orchestra and the Atlanta University Center Orchestra. He was also a visiting faculty member of Indiana University’s Jacobs School of Music in Bloomington, IN. Currently, he is on the faculty of James Madison University and Music Director of the Harlem Symphony Orchestra. He has guest conducted for the Intercollegiate Music Association, at the Gateways Music Festival, and the Trinity Opera Company. A native of New York City, he began his formal training at the North Carolina School of the Arts as a student of Sally Peck. He continued his studies at the New England Conservatory with Marcus Thompson and conductor Pascal Verrot, receiving his Bachelor’s degree. Mr. Azikiwe was also awarded the Performer’s Certificate from Indiana University, where he served as an Associate Instructor, and received his Master’s Degree in 1994 as a student of Atar Arad. Kurt Baldwin is Associate Professor of Cello at the University of Missouri, St. Louis, where the Arianna String Quartet has been in residence since 2000. As a founding member of the Arianna String Quartet in 1992, Mr. Baldwin has been awarded the Grand Prizes at the Fischoff Competition, Coleman Competition, and Carmel Competition, and was a Laureate at the 1999 Bordeaux International String Quartet Competition. Mr. Baldwin has concertized throughout North America, South America, Asia, Europe, and in South Africa, has been heard in live radio broadcasts on over 125 stations nationwide, and in over 35 countries. He has recorded for the Albany, Centaur, and Urtext classical labels and has collaborated with members of the Tokyo, Cleveland, Juilliard, and Vermeer quartets, as well as Richard Stoltzman, Bernard Greenhouse, Gilbert Kalish, and Anton Nel. Mr. Baldwin studied with Janina Ehrlich at Augustana College, received his bachelor of music degree from the San Francisco Conservatory with Irene Sharp, and earned a master of music degree from the New England Conservatory, where he was a student of
Bernard Greenhouse. Mr. Baldwin also holds a Performer’s Certificate from Northern Illinois University, where he studied with Marc Johnson and the Vermeer Quartet. A native of Wisconsin, Shannon Farrell Williams began playing the violin at the age of five. Later she began playing viola in the Dubinsky Quartet, which was awarded several prizes during its existence, including the Junior Division of the Fischoff Chamber Music Competition and the Coleman Competition in California. Ms. Williams won first place in Indiana University’s annual viola competition in 2000, shortly after switching her major from violin to viola performance. She received her Bachelor of Music degree from Indiana in 2001 and completed her Master’s Degree at the New England Conservatory of Music in Boston in 2003. Ms. Williams performed with the viola section of the Louisville Symphony Orchestra during the 2004–05 Season and began with the St. Louis Symphony in September 2005. Since 2008, she has been the principal viola for the Colorado Music Festival in Boulder. Nina Ferrigno, described by the St. Louis Post-Dispatch as “a magnificent pianist,” has appeared in major concert venues throughout North America. She has performed with the St. Louis Symphony, Boston Symphony, Boston Pops, and the Boston Modern Orchestra Project (BMOP), with whom she has been a core member since its inception. Her festival appearances include those at Tanglewood, Banff, Norfolk, the Skaneateles Festival, and the Coastal Carolina Chamber Music Festival. Her appearance with members of the St. Louis Symphony at the Pulitzer Foundation was touted as “the high point” of the evening by the Post-Dispatch. Ms. Ferrigno is a graduate of New England Conservatory of Music, where she received Bachelor and Master of Music degrees with distinction. Her principal teachers were Wha Kyung Byun and Randall Hodgkinson. As a longtime member-director of the AUROS Group for New Music and founding member of the Boston-based Calyx Piano Trio, Ms. Ferrigno is committed to bringing classical music to new audiences and strives to commission and perform new works in a variety of settings. She founded the Missouri Chamber Music Festival (MOCM) in 2010 with her husband, clarinetist Scott Andrews to further these goals. Her chamber music recording of Lansing McLoskey’s “Tinted” is available on Albany Records, and her many recordings with the Boston Modern Orchestra Project, including Elliot Schwarz’s Chamber Concerto, are available on BMOP Sound. 23
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 (BSO) in September 1994. She can be heard in the Boston area as a member of Collage New Music and the Calyx Piano Trio, and in performance with other BSO members as part of the Prelude concerts at Symphony Hall and other local venues. Pianist Hugh Hinton has performed widely as a concerto soloist, in recitals, and as a chamber musician, with a special interest in modern and contemporary music. Mr. Hinton has been a member of the imaginative and pioneering contemporary music group Core Ensemble since its founding in 1993. The group, which has performed throughout the U.S., Russia, Ukraine, England and Australia, has received national recognition for their programs that meld chamber music with theatre, creating a style of presentation dubbed “chamber music theatre.” Hinton performs widely in Boston and New England, and has been heard on WGBH radio in Boston, and internationally on “Art of the States.” Mr. Hinton has performed throughout the Middle East as a United States Information Agency Artistic Ambassador. Mr. Hinton began to study piano at age six with an aunt in his native Louisiana and to perform in public at age eight, soon appearing with local orchestras. He studied with Constance Knox Carroll in Louisiana and Jack Roberts and Jonathan Woods in Texas before coming to New England to study. While in high school, he studied with Wha-Kyung Byun at New England Conservatory (NEC) Prep, and performed with the Boston Symphony Orchestra, Dallas Symphony, and New Orleans Philharmonic. He earned a bachelor’s degree from Harvard University, majoring in music, and a Master of Music degree from NEC in piano performance, studying with Russell Sherman. Mr. Hinton graduated with a DMA from NEC in piano performance as well. A passionate teacher, Hinton has taught piano at the Longy School of Music of Bard College since 1998. He also serves as director of campus music
activities at Merrimack College in North Andover, MA. Mr. Hinton has also developed an interest in arranging and composition, arranging many jazz and popular pieces for Core Ensemble and composing original music, such as the incidental music for Kirsten Greenidge’s play Hinges Keep a City. His many recordings of contemporary and chamber music can be found on the Naxos, Etcetera, CRI, Newport Classics, New World, and MMC labels. Helen Kim began her violin studies at the age of six and made her solo debut with an orchestra three years later. An avid chamber musician, she garnered first prize in the strings division at the 2010 Coleman Competition with her trio and also at the 2011 Yale Chamber Music Society Competition. She was Associate Concertmaster of the New York String Orchestra during the 2009–10 series, and served as Concertmaster for three consecutive years of the symphony and chamber orchestras at the University of Southern California, where she earned her bachelor’s degree. Ms. Kim received her master’s degree at Yale University in May 2011 and joined the St. Louis Symphony as a full-time member in September 2012. Jooyeon Kong was born in Seoul, Korea where she began playing the violin at the age of seven, studying first with her aunt. She continued violin studies at the Yewon School, the Seoul High School for the Arts, and the preparatory division of the Peabody Institute of Johns Hopkins University. She earned her bachelor’s degree in music performance from the Shepherd School of Music at Rice University where she studied with Kathleen Winkler. Ms. Kong was the winner of the Shepherd School’s concert competition during her second year and performed the Tchaikovsky Violin Concerto with the school’s orchestra. In 2005 and 2006, she received a master’s degree and Artist Diploma from the Yale School of Music under the tutelage of Peter Oundjian, formerly the first violin of the Tokyo String Quartet and currently the Music Director of the Toronto Symphony Orchestra. Ms. Kong was awarded “The Yale School of Music Alumni Association Prize” upon graduation. Ms. Kong has performed concerts throughout the United States and Europe at notable music festivals, including the Bellingham Festival of Music, Yellow Barn Festival, Banff Summer Arts Festival, and the Encuentro de Musica y Academia de Santander in Spain. As an avid chamber musician, she has collaborated with the world’s leading concert artists, including Boris Berman, Vivian Weilerstein, and Franz Helmerson. She has served as a Concertmaster
of both the Yale Philharmonia under Sir Neville Marriner and of the New Music New Haven Orchestra alongside Andy Summers, lead guitarist of the Police, on Ingram Marshall’s guitar concerto Dark Florescence. She is a founding member of the Hindemith Ensemble at Yale and toured with them throughout Germany during the summer of 2006. She has been a member of New Haven Symphony Orchestra, and is currently a regular member of the St. Louis Symphony under the baton of David Robertson. Allegra Lilly was appointed Principal Harpist of the St. Louis Symphony in April 2013 and joined the orchestra at the start of the 2013–14 Season. Since making her solo debut with the Detroit Symphony Orchestra in 1997, she has earned distinction as an awardwinning and versatile performer of solo, chamber, and orchestral repertoire. An experienced orchestral harpist, Ms. Lilly has appeared with the New York Philharmonic; the Boston, Chicago, Pittsburgh, Toronto, and Charlotte Symphonies; and the St. Paul Chamber Orchestra. In 2005, she was selected as harpist for the inaugural performances at Lorin Maazel’s opera house in Virginia—an endeavor which ultimately led to the formation of the Castleton Festival, where she has since enjoyed four summers as principal harpist. As a chamber musician, Ms. Lilly has performed with the Argento Chamber Ensemble, AXIOM Ensemble, and the Washington Square Ensemble, and is a frequent guest artist with Carnegie Hall’s Ensemble ACJW. An avid promoter of new music, she gave the New York premiere of Augusta Read Thomas’s Absolute Ocean for soprano, harp, and chamber orchestra with soprano Amelia Watkins and Camerata Notturna. Ms. Lilly’s appearances as soloist include concerto performances with the Juilliard Orchestra, National Repertory Orchestra, International Symphony, Metro Chamber Orchestra, and numerous orchestras throughout Southeast Michigan. As a solo competitor, Ms. Lilly has taken third place in the Concours International de Harp in Nice and second place in the American String Teachers Association National Solo Competition. Other awards include first place in the Juilliard Harp Concerto Competition, the Detroit Symphony Civic Orchestra Concerto Competition, and the Anne Adams Award at the American Harp Society National Conference. Born in Detroit, Michigan, Ms. Lilly began her study of the harp with Ruth Myers at age seven. She moved to New York at
eighteen to join the studio of New York Philharmonic Principal Harpist Nancy Allen at The Juilliard School, where she earned both Bachelor’s and Master’s Degrees. Ms. Lilly performs primarily on a 2001 Lyon & Healy Salzedo. Jennifer Lucht, cellist, is a native of North Carolina. As a chamber musician, she has been heard in chamber music performances at the Kennedy Center, Weill Recital Hall, Tanglewood, the Ravinia and Bravo! Vail Festivals, and on the Greater Philadelphia Performing Artists Series and NPR’s live broadcast “Performance Today.” Praised for “superb” playing by the Boston Globe and “beautiful, finely detailed sound” by the Boston Herald, 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 and Masters degrees with a Performer’s Certificate from Indiana University and continued her education with 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. Cellist Bjorn Ranheim was appointed to the St. Louis Symphony in September of 2005, holds the principal chair of the Colorado Music Festival in Boulder, Colorado, and is a member of the Sun Valley Summer Symphony in Idaho. Prior to these appointments, Mr. Ranheim served as associate principal cellist of the Fort Worth Symphony. He has performed and toured with the orchestras of Atlanta, Baltimore, Cleveland, and Detroit. Mr. Ranheim has held principal and assistant principal cello positions with the New World Symphony, National Repertory Orchestra, Aspen Festival Orchestra and, at the invitation of the music director, Quebec City’s critically acclaimed Le Violons du Roy. Mr. Ranheim made his concerto debut with the Minnesota Orchestra in 1996 as winner of the Young Peoples Symphony Concert Association Competition and has since appeared as soloist on multiple occasions with the Colorado Music Festival, New World Symphony, Columbia Civic Orchestra, and the National
Repertory Orchestra. He recently performed Brahms’s Double Concerto with St. Louis Symphony violinist, Shawn Weil and the Washington University Orchestra as well as Saint-Saens’s Cello Concerto with the St. Louis Symphony in a special event performance in May 2014. Actively performing in chamber music, Mr. Ranheim has toured extensively in the United States, Europe, and Central America. He has participated in the Isaac Stern Chamber Music Seminar, Costa Rica International Chamber Music Festival, Amelia Island Chamber Music Festival, Audubon Quartet Seminar, and has been a frequent guest artist at the National Flute Association Convention. Mr. Ranheim is highly visible throughout the St. Louis region presenting recitals, chamber music performances, and educational concerts, and is a member of Washington University’s Eliot Piano Trio with St. Louis Symphony Concertmaster David Halen and pianist Seth Carlin. In the spring of 2011, Mr. Ranheim was featured on the famed radio program A Prairie Home Companion with Garrison Keillor, performing alongside jazz vocalist Erin Bode, with whom he tours regularly. Mr. Ranheim has shared the stage with jazz greats Branford Marsalis, Christian McBride, and Peter Martin, and is a founding member of the 442’s, an exciting acoustic string group exploring the boundaries of jazz, folk, and classical styles. As a mentor, coach, and performer, Mr. Ranheim has been invited to work with the New World Symphony, Indiana University Summer Music Festival, and the St. Louis Symphony Youth Orchestra. Mr. Ranheim studied at The Cleveland Institute of Music under the tutelage of Stephen Geber, retired principal cellist of the Cleveland Orchestra. Maria Schleuning has been violinist for the Dallas-based contemporary music ensemble Voices of Change since 1996, and was appointed Artistic Director in 2009. An advocate of new music, she has worked with many of the leading composers of our day, and has premiered many new works, the most recent being “Dream Catcher,” a solo violin work written especially for her as a gift by Augusta Read Thomas. The world premiere performance was on May 3, 2009 in Dallas, TX. 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. Since 1993 she has been a faculty member at the Bowdoin International Music Festival in Maine, and has served in the same capacity at Idyllwild Arts in
California since 2007. She has recorded with Continuum in New York, as well as in Dallas with the grammy-nominated Voices of Change, and the Walden Piano Quartet. A member of the Dallas Symphony since 1994, she has been featured as soloist with the orchestra on many occasions. Other solo highlights include appearances with the Oregon Symphony, Seattle Symphony, and with the Greater Dallas Youth Orchestra on a tour of Eastern Europe including concerts at the Gewandhaus in Leipzig and the Rudolfinum in Prague. She studied with Josef Gingold at Indiana University, where she was awarded the prestigious Performer’s Certificate; with Yfrah Neaman at the Guildhall School in London, with a grant from the Myra Hess Foundation; and with Joel Smirnoff at the Juilliard School, where she received her Master’s Degree. Angie Smart has been a First Violinist with the St. Louis Symphony since 1998. Originally from England, she began violin lessons at the age of six and won a scholarship to study at Chetham’s School of Music at the age of 13. She continued her studies in the U.S. in 1990 where she attended the University of Miami, Lamar University in Texas, and completed her masters degree at Rice University in Houston. Ms. Smart has performed extensively in Europe and the U.S. with representation by Encore Concerts, and has appeared as soloist with the St. Louis Symphony, Alhambra Chamber Orchestra, Gorton Philharmonic, Lamar Chamber Orchestra, and both Chethams’ Chamber and Classical Orchestras. Her television appearances have included masterclasses with Yehudi Menuhin and as the subject of a documentary profiling “A Day in the Life of a Young Musician at Chetham’s School of Music.” Among other masterclasses, she has played for Midori and Zachar Bron. Ms. Smart has participated in summer festivals such as the Sun Valley Summer Festival and the Missouri River Festival of the Arts, among others. She has been a Pro-Am Coach and performing artist for MOCM since the inaugural season. Ms. Smart has competed in the 10th International Tchaikovsky Competition and the Yehudi Menuhin Competition, and has been a prizewinner in many other competitions, including the British Violin Recital Prize, Elizabeth Harper Vaughn Concerto Competition, and the William C. Byrd Young Artists Competition. Mark Sparks was appointed Principal Flute of the St. Louis Symphony by the late Hans Vonk in 2000. He is a frequent soloist with the Symphony and other orchestras and has performed in the United States, Europe, Scandinavia, South America, and Asia. He has 29
appeared as Guest Principal Flutist with many ensembles, including the New York Philharmonic, Chicago Symphony, Pittsburgh Symphony, Detroit Symphony, and the Bergen (Norway) Philharmonic. Prior to his appointment in St. Louis, Mr. Sparks was Associate Principal Flute with the Baltimore Symphony under David Zinman, and Principal Flute of the San Antonio Symphony and the Memphis Symphony. He began his career as Principal in the Canton Ohio Symphony and in Venezuela with the Caracas Philharmonic. In the summer of 2013, Mr. Sparks returned to the Aspen Music Festival and School where he is an artist-faculty member and Principal Flute of the Aspen Chamber Symphony. He also taught his fourth annual master class at Missouri’s Innsbrook Institute, and joined the faculty of the Pacific Music Festival in Sapporo, Japan. Mr. Sparks is an enthusiastic teacher and maintains a private studio in St. Louis. He is a former full-time faculty member of the Peabody Institute and frequently presents clinics and recitals in the U.S. and abroad. Mr. Sparks has recorded several solo albums, appearing on the Summit and AAM labels, including a new recording of French repertoire for flute and piano. Mr. Sparks is also an avid writer about flute playing, and is a regular contributor to Flute Talk magazine’s feature “From the Principal’s Chair.” Born in 1960 and raised in Cleveland and St. Louis, Mr. Sparks graduated Pi Kappa Lambda from the Oberlin Conservatory as a student of Robert Willoughby, winning the 1982 Oberlin Concerto Prize. The critically acclaimed Calyx Piano Trio features Nina Ferrigno, piano, Catherine French, violin, and Jennifer Lucht, cello. All seasoned chamber musicians, the members of the Calyx Piano Trio have given chamber music concerts throughout the United States and abroad, exciting audiences with their expressive ensemble playing and brilliant virtuosity. As individuals, they have performed with leading national ensembles including the Boston Symphony, the Boston Pops, the St. Louis Symphony Orchestra, and have been heard in chamber music performances at major festivals including Marlboro, the Banff Centre, Ravinia, and Tanglewood. In addition to being Trio in Residence at the Carolina Chamber Music Festival (2008, 2009), recent appearances include those at the Sheldon Concert Hall (MO), the James Library (MA), and the Skaneatales Festival (NY). The Calyx Piano Trio presents dynamic programs featuring master works of the repertoire and fresh pieces by living composers. Committed to expanding the trio repertoire, the Calyx Piano Trio has worked with organizations including the Barlow Foundation to commission and premiere new works. 30
Missouri Chamber Music Festival Donors This list reflects gifts received June 2, 2013 through May 1, 2014. The Missouri Chamber Music Festival gratefully acknowledges the financial assistance of the Regional Arts Commission and The Missouri Arts Council, a state agency.
Brahms & Beyond Circle Sponsor ($1,000 to $2,999) Mr. & Mrs. Barry Beracha Kenneth & Marjorie Smith Crofton Industries, Portsmouth, VA Members Circle Associate ($750 to $999) Anonymous Patron ($500 to $749) Ian & Joanne Cruickshank Mr. & Mrs. Dana Gobrecht Mr. Eugene Kornblum Drs. Linda Peterson & Clark McKenzie Friend ($250 to $499) Dr. & Mrs. Timothy Eberlein Harold A. Ellis Helen & Maurice Ferrigno Jennifer Lin & Tom Osborn Mr. & Mrs. Bill Martin Mr. & Mrs. Robert Moody Ms. Barbara Ottolini Molly Strassner
Supporter ($50 to $249) Anonymous (3) Derek Bermel Marilynne Bradley Jerry & Mary Brunstrom Rodney & Elaine Coe Ms. Jill Cumming Catherine French Ms. Anne Hetlage David & Barbara Hirst Luise N. Hoffman Alvah Levine Jennifer Lucht Ms. Ann Mandelstamm Brian & Beverly McKenna Lois Orchard Helena O’Reilly & Dick Ulett Laura & Bob Roeder Dr. Jean Schaffer Ms. Suzanne Schoomer Mr. & Mrs. Robert Sheena Susan Sontag Mr. & Mrs. Daniel Steinmeyer Peggy Symes Steve & Jenny Trampe The Webers George Yeh Mr. & Mrs. Ted Zorn Matching Gifts The Boeing Company Monsanto
A special thanks to the Webster Groves community and to the people who made this Festival possible: Dr. Ray Landis and the staff at First Congregational Church of Webster Groves The Fabulous Women of Chamber Project St. Louis Jennifer Lin, Marketing/Public Relations Manager Madeline and Rob Longstreet Christy and Denny Maginn Mr. and Mrs. Kevin Reardon Mr. and Mrs. Bob Roeder Janice and Steve Seele The Community Music School of Webster Groves with special thanks to Leigh Anne Huckaby George Yeh
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The MOCM Festival Fund Our primary goal in developing the Missouri Chamber Music Festival is the contribution we are making to the musical life of St. Louis and the state of Missouri. Part of our mission is to present concerts in smaller venues to keep the excitement and immediacy of live performance visceral for our audiences. As a result, ticket revenue only covers a fraction of the cost of MOCM concerts, visiting artists, commissioning projects, and the MOCM Pro-Am Intensive. We depend on the Festival Fund to make up the difference. The Festival Fund is maintained by area arts councils and generous individuals like you. The MOCM Festival Fund supports program expenses including: * artists fees * visiting artist travel and housing expenses * new music commissioning fees * visiting composer residency and lecture fees * concert space rental * instrument rental * recording engineers
Members Circle Your generous donation enables MOCM realize its mission and continue its musical activities. Your tax-deductible gift helps secure our future as an important thread in the cultural fabric of Missouri. Supporter ($50 to $249) * advance notice of special events * recognition in the MOCM Festival playbill Friend ($250 to $499) * the benefits above * invitation to a MOCM dress rehearsal Patron ($500 to $749) * the benefits above * two complimentary tickets to any Festival concert Associate ($750 to $999) * the benefits above * invitation to a private event 34
The Brahms & Beyond Circle Become a member of The Brahms & Beyond Circle to support the commissioning of new works, fund recording projects, and sponsor visiting artists and composers. Benefits include all preceding plus invitations to private events with festival artists and directors. Sponsor ($1,000 to $2,999) Partner ($3,000 to $4,999) Leader ($5,000 to $9,999) Angel ($10,000 and above) For more information about donating to MOCM, visit www.mochambermusic.org/contribute.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 firstname.lastname@example.org.
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Supporter $50 to $249 Friend $250 to $499 Patron $500 to $749 Associate $750 to $999 Brahms & Beyond Circle $1,000+
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2014-2015 Season 7 Bringing together the best of St. Louis: engaging musicians, unique venues, local breweries and social organizations, we create a community through great music making - join us!
The chapel Series
Our popular home venue located near Forest Park. Enjoy a glass of wine and great music!
CHAMBER PROJECT ON TAP
Taking music to where the people are - the vibrant local breweries in St. Louis, these concerts do double duty as donation drives for local social charities.
chamberprojectstl.org Engaging Music, Intimate Settings
The quality of the performances was extraordinary, absolutely beautiful. — Lois Orchard, MOCM audience member
JOIN US FOR OUR NEXT SEASON! June 15–21, 2015 Missouri Chamber Music Festival 211 South Elm Avenue St. Louis, MO 63119 mochambermusic.org | 314.882.0053 facebook.com/MOChamberMusic twitter @MOCMFestival
MOCM Playbill 2014