MOCM 2015 Playbill

MISSOURI CHAMBER MUSIC FESTIVAL 5th Anniversary Season June 17–21, 2015 Program of Events

MO CM 314.882.0053 | mochambermusic.org

THE DEGENERATES August 13-23

Use code SALE$5 to save $5.00 on tickets!

Take a journey with the 2015 Gesher Music Festival through the beautiful and powerful music of THE DEGENERATES whose artistic creativity thrived during one of history’s darkest eras.

MEET THE MUSICIANS Thursday, August 13

5:30pm @ The Tavern of Fine Arts

FREE!

GRIT & GLAMOUR: A NIGHT OF EUROPEAN-JEWISH KABARETT Sunday, August 16 7:30pm @ Wool Studio Theater DEGENERATE MUSIC Thursday, August 20

7:30pm @ The Missouri History Museum

FROM DEGENERATE TO HOLLYWOOD Saturday, August 22 7:30pm @ The 560 Music Center VOICES FROM IMPRISONMENT Sunday, August 23 3:00pm @ Wool Studio Theater

314-442-3283 geshermusicfestival.org

FREE!

MO CM MISSOURI CHAMBER MUSIC FESTIVAL MOCM Morning Music: Breath of fresh air Wednesday, June 17, 2015 at 10:30 Am Barber | Bermel | Nielsen First Congregational Church of Webster Groves Mozart after work Thursday, June 18, 2015 at 5 pm First Congregational Church of Webster Groves Trios of darkness and light Saturday, June 20, 2015 at 7 pm Poulenc | Ibert | Bermel | Dvorak First Congregational Church of Webster Groves Finale Sunday, June 21, 2015 at 3 pm Schubert | Bermel | Dvorak 560 Music Center, E. Desmond Lee Concert Hall mochambermusic.org | 314.882.0053 facebook.com/MOChamberMusic twitter @MOCMFestival Programs and artists are subject to change.

Cover photo: Jennifer Lin 3

welcome to season 5!

Welcome to the fifth anniversary season of the Missouri Chamber Music Festival (MOCM)! It has been five years of bringing great chamber music to our incredible audiences.

We are so honored to have the opportunity to share our passion with you season after season, and can’t wait to see where we will be five years from now.

This fifth anniversary year is an exciting one for us. Our Composer-in-Residence program has been a defining and inspiring aspect of the Festival since the beginning, and this year we are happy to present our first returning composer, Derek Bermel who was with us in our inaugural season. This June, you can hear Mr. Bermel as a performer in addition to his role as Composer-in-Residence. Also, we welcome to the MOCM family some of your favorite musicians from the St. Louis Symphony, most of whom you may have heard this year in Powell Hall as part of the 50 soloists celebration. Many of your favorite artists from past seasons have returned to the MOCM stage this year as well.

We are all energized for these performances and can’t wait to share the music with you. Please sit back and enjoy. We hope that you will have memorable experiences at our festival— hearing the concerts, learning more about the music at a pre-concert talk, meeting the artists at receptions, and talking with our dedicated Board members and volunteers. We look forward to seeing you during the week and hope that you will be left anticipating our next five seasons as eagerly as we will.

If you haven’t already, please consider a tax-deductible contribution to MOCM. Your continued enthusiasm and support mean everything to us.

Nina Ferrigno & Scott Andrews Directors, Missouri Chamber Music Festival 4

MOCM 2015 Festival Artists Scott Andrews, clarinet Derek Bermel, Composer-in-Residence/clarinet Melissa Brooks, cello Calyx Piano Trio James Czyzewski, cello Nina Ferrigno, piano Catherine French, violin Roger Kaza, french horn Joo Kim, violin Jooyeon Kong, violin Kyle Andre Lombard, violin Jennifer Lucht, cello Shawn Mouser, bassoon Jennifer Nitchman, flute Philip Ross, oboe Angie Smart, violin Chris Tantillo, viola Board of Directors Nina Ferrigno, President, Artistic Director Scott Andrews, Secretary, Artistic Director Siroth Charnond Jennifer Lin Linda Peterson Lora Reardon Bob Roeder Jon Shulan

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Advisory Council Jennifer Lucht, Director, Carolina Chamber Music Festival David Robertson, Music Director, St. Louis Symphony Gil Rose, Artistic Director, Boston Modern Orchestra Project Marc Thayer, Director of Education, American Voices Graphic DESIGN Jennifer Lin Festival intern Rachel Hill PHOTOGRAPHY Kristi Foster Photography Brandon Krepel Photography Jennifer Lin Volunteers Kalen Mayo, Manager Alan Fiddleman Aleksis Martin Ryan Mayo Correne Murphy Adele Pohl Brian Wall George Yeh Sound engineers Paul Hennerich & Boris Golynskiy of the Pan Galactic Company

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MO CM BREATh of fresh air (MOCM Morning Music) Wednesday, June 17, 2015 at 10:30 am First Congregational Church of Webster Groves

Summer Music, Op. 31

BARBER

Wanderings BERMEL

1. Gift of Life

2. Two Songs from Nandom Wind Quintet, Op. 43 NIELSEN

1. Allegretto ben moderato

2. Menuetto

3. Praeludium-Adagio-Tema con variazioni Un poco andantino

Jennifer Nitchman, flute Philip Ross, oboe/english horn Scott Andrews, clarinet Shawn Mouser, bassoon Roger Kaza, french horn

Please join us for a reception after the performance.

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MO CM Mozart after work Thursday, June 18, 2015 at 5 pm First Congregational Church of Webster Groves

Piano Quartet in E-flat Major, K. 493

1. Allegro

2. Larghetto

3. Allegretto

Nina Ferrigno, piano Jooyeon Kong, violin Chris Tantillo, viola Melissa Brooks, cello

Clarinet Quintet in A Major, K. 581

1. Allegro

2. Larghetto

3. Menuetto

4. Allegretto con variazioni

MOZART

MOZART

Derek Bermel, clarinet Jooyeon Kong, violin 1 Kyle Andre-Lombard, violin 2 Chris Tantillo, viola Melissa Brooks, cello

Please join us for a reception after the performance.

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Wolfgang Amadeus Mozart received a commission for three piano quartets in 1785 from the publisher Franz Hoffmeister. The first quartet, in G Minor, was thought to be too difficult and sales were sluggish, so the publisher released Mozart from completing the set.

Nine months later, Mozart wrote the present quartet anyway. It was published in 1787 by Artaria after being premiered in Prague earlier that year. The work skillfully juxtaposes concerto-like writing for the piano with more integrated chamber textures. The first movement of Mozart’s Piano Quartet K. 493, in E-flat, is profuse with lyrical themes, which expand prolifically. Most pervasive and influential is the theme that establishes the dominant key, initiated by the piano and immediately echoed by the violin. This idea fertilizes the entire adventurously modulating development, where strings engage in close imitative dialogue against a background of rapid keyboard scales and arpeggios—a common textural device for Mozart in his piano concertos. The A-flat Larghetto is warm and chromatic, with an impassioned and dramatic development. There is an abundance of graceful melody, throughout the third movement of this mellow piece of chamber music.

The Clarinet Quintet was completed in September of 1789, a surpassingly rotten year for Mozart. The teaching jobs and commissions had dried up and self-producing subscription concerts had become a financial impossibility. His health was hardly robust, and he and Constanze, his wife, would lose their fifth child on November 16, in childbirth. How much of the unhappy circumstances of 1789 are reflected in the sublime Clarinet Quintet is difficult to say. H.C. Robbins Landon, in his Mozart: The Golden Years, describes the situation with characteristic finesse: “If there is any one work that sums up this unhappy year, K. 581 must be it—parts of it seem to reflect a state of aching despair, but the whole is clothed not in some violent minor key, but in radiant A Major. The music smiles through the tears…” The Quintet was written for the great clarinetist Anton Stadler. Already a celebrated performer by this time, Stadler was to become the first touring virtuoso on his instrument—or at any rate the first who was able to support himself without full-time employment in an orchestra. It was Stadler’s playing that inspired Mozart to create his great works for the instrument, the Kegelstatt Trio, the Concerto, K. 622, and the present Quintet, K. 581, as well as the spectacular obbligatos for clarinet and basset-horn (a related instrument) in arias from La clemenza di Tito. The Clarinet Quintet

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was given its first performance on December 22, 1789, at a concert for the benefit of musicians’ widows and orphans. Anton Stadler was the clarinetist and Mozart himself probably played the viola part.

— Notes excerpted from Herbert Glass, English language annotator for the Salzburg Festival

Photo: Brandon Krepel Photography

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MO CM Trios of darkness and light Saturday, June 20, 2015 at 7 pm First Congregational Church of Webster Groves

Trio, Op. 43 for Oboe, Bassoon, and Piano

1. Lento-Presto

2. Andante con moto

3. Rondo. Tres vif

Philip Ross, oboe Shawn Mouser, bassoon Nina Ferrigno, piano

Five Pieces for Oboe, Clarinet, and Bassoon

1. Allegro vivo

2. Andantino

3. Allegro assai

4. Andante

5. Allegro quasi marziale

POULENC

IBERT

Philip Ross, oboe Scott Andrews, clarinet Shawn Mouser, bassoon { Program listing continues on next page. }

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Death with Interruptions

BERMEL

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

Brief Intermission

Piano Trio in F Minor, Op. 65

1. Allegro ma non troppo

2. Allegretto grazioso. Meno mosso

3. Poco adagio

4. Finale: Allegro con brio

DVOĹ˜Ă K

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

Please join us for a reception after the performance.

Photo: Brandon Krepel Photography 12

Francis Poulenc associated with the most creative and experimental figures of the 1920s that incubated the chief modernist trends of the early 20th century. He was part of the informal group of French composers known as “Les Six” whose agenda was to consciously craft a new music separate from the dominance of Germanic Romanticism. Embracing clarity, simplicity, wit, and even parody, they refined a genre influenced by Stravinsky and Satie called Neo-classicism. Poulenc had a great fondness for chamber music with winds. Color, clarity, and poise characterize the present Trio for Oboe, Bassoon, and Piano. The first movement is a sparkling presto, a compact caricature of contrasting sections, perfect execution juxtaposed with tongue in cheek pratfalls. The middle movement is a soft dream described by Poulenc himself as “sweet and melancholic.”

The final movement is a rondo whose refrain begins as a near perfect quote of a well-known Beethoven melody until it makes a surprising turn into the fresh vocabulary of Poulenc’s own distinctive language.

Jacques Ibert was among the most eclectic of 20th-century composers and resisted associating himself with any one musical style, stating, “All systems are valid, provided that one derives music from them.”

His works showcase expert craftsmanship, clever counterpoint, and a vivid use of tone color. Many of Ibert’s well-known works feature brilliant and colorful writing for wind instruments, including his concertos for flute (1934) and saxophone (1935), and Trois pièces brèves for woodwind quintet (1930). Cinq Pièces en Trio for Oboe, Clarinet, and Bassoon was composed in 1935. The trio consists of five very brief movements of alternating tempi. True to Ibert’s eclectic aesthetic, he combines impressionist and neo-classical elements in these five miniatures. The work opens with a sprightly Allegro vivo march followed by a more reflective and pastoral Andantino. The third movement is a brisk minuet with thoroughly modern harmony marked Allegro assai. A thoughtful, somewhat academic Andante leads to the good-humored finale.

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From the composer, Derek Bermel: "Death with Interruptions (2014) is a piano trio, written in variation form. The title, which comes from the novel by the Portuguese writer José Saramago, describes the chaos that ensues when one day people mysteriously stop dying. Soon afterwards Death herself enters the narrative and falls madly in love with a cellist. I was intrigued by Saramago’s portrait of death as a character, viewed through a multitude of prisms: the mysterious, the impulsive, the ridiculous, and the dispassionate. A simple melody begins the trio and it moves through a series of transformations in mood, texture, and speed.

Variations continually return to the musical heartbeat present in the opening song. Through disparate textures and tempi, the obsessive rhythm emerges as a fixed element bridging musical landscapes. I began writing the work in the months following the passing of my father Albert Bermel, to whom it is dedicated; he was a playwright, a teacher, a translator, and a great lover of farce, who never seemed to believe that Death would visit one day."

Commissioned by the Seattle Chamber Music Society Commission Club, Chamber Music Society of Lincoln Center, La Jolla Chamber Music, and La Jolla Music Society for Summerfest, in collaboration with the Bowdoin International Music Festival and the Calyx Piano Trio.

Many regard Antonin Dvořák’s Piano Trio No. 3 in F Minor as a milestone. It is uncharacteristically serious, stormy, and fraught with tragic conflict. It is supposed that Dvořák was venting his grief after recently losing his mother. But the trio also represents an effort by Dvořák to move beyond his obsession with folk-oriented Slavic nationalism in music and achieve a more cosmopolitan European style and a reputation beyond provincialism. With his fateful trip to America still a decade away, Dvořák produced his first complex chamber music masterwork, a stunning epic. For a number of years, Dvořák received support, mentorship and inspiration from Brahms who was seven years his senior. The Piano Trio in F Minor has been called Dvořák’s most “Brahmsian” work. Regardless, Dvořák’s third piano trio is a magnificent work, a hybrid of European classicism, uber-Romanticism, and Slavic nationalism tied together with the unique musical personality of Dvořák himself. The first movement Allegro is an epic sonata, elegiac in its complexity of moods, with stages of shock and restless agony to bright, aching nostalgia. The dynamic range is huge, the gestures are sweeping, and yet, by turns 14

soft and shining as well. The outer movements are Dvořák’s most “Brahmsian,” but his sense of color and ever changing rhythmic subtlety speaks to another of his great and early idols: Franz Schubert. The Allegretto grazioso is the scherzo, a masterful construction like nearly all of Dvořák’s chamber dance movements. Dvořák uses no repeats as is usual in a scherzo; instead, he thoroughly composes each section to emulate the effect of a repeat while delicately lacing the apparent recurrence with subtle variations. The slow movement is the true heart of the trio as the wild, conflicted energies of the first two movements settle into an elegy of supreme grace and radiant affection. Dvořák blends majesty and sorrow in exquisitely long and flowing. This adagio is surely some kind of final goodbye in mood if not literally in a programmatic sense. The finale begins with a powerful return of energetic darkness, the heavy textures and daunting power broken only fleetingly. But the ending holds a few surprises ultimately leading to a dashing flourish, vibrant in F Major with a fresh vitality finally and cathartically restored.

Photo: Richard Bowditch

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MO CM FINALE Sunday, June 21, 2015 at 3 pm 560 Music Center, E. Desmond Lee Concert Hall Washington University

String Quartet in C Minor, D. 703 (Quartett-Satz)

Angie Smart, violin 1 Catherine French, violin 2 Chris Tantillo, viola James Czyzewski, cello

A Short History of the Universe (as related by Nima Arkani-Hamed)

Derek Bermel, clarinet Joo Kim, violin 1 Angie Smart, violin 2 Chris Tantillo, viola James Czyzewski, cello

brief intermission

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SCHUBERT

BERMEL

String Quartet No. 12 in F Major, Op. 96 (American)

1. Allegro ma non troppo

2. Lento

3. Molto vivace

4. Finale: Vivace ma non troppo

DVOĹ˜Ă K

Catherine French, violin 1 Joo Kim, violin 2 Chris Tantillo, viola Jennifer Lucht, cello

Please join us for a reception after the performance.

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After penning a series of string quartets between 1813–16, Franz Schubert left the genre for a few years, making a brief return at the end of 1820, in a manner that showed his ambition to produce a work more intense and dramatic than anything he had attempted in the genre before. But just as his first serious efforts to master the piano sonata had resulted in several aborted projects, so, too, was the string quartet of 1820 destined to remain unfinished. In terms of its actual material the one portion of the work Schubert did manage to complete—the so-called ‘Quartettsatz‘ (or ‘Quartet Movement’) D. 703—is of the highest quality, though he abandoned the score after having composed no more than forty bars of an additional movement. The Allegro was published for the first time in 1870, more than forty years after Schubert’s death. Schubert’s Allegro begins in an atmosphere of tension and agitation, with continual tremolos forming a crescendo that reaches its climax on the in the distant key of D-flat. These opening bars are not heard again until the very end of the piece, where the same chord is absorbed into the forceful concluding cadence. Meanwhile, the recapitulation starts with the reappearance of the warmly expressive second subject—noting the home key, but in another comparatively distant tonality. Only in the closing pages does the music at last make its way homewards, with the return of the work’s third theme, now in a gentle C Major. That theme is, however, brushed aside in dramatic fashion by the reprise of the opening subject. There is mastery and growth here that would usher in Schubert’s mature compositional style.

From the composer, Derek Bermel: "During my tenure at the Institute for Advanced Study in Princeton, I have attended several lectures on the subject of space-time, gravity, and the multiverse by the renowned theoretical physicist Nima Arkani-Hamed. Nima’s talks—always expansive, extroverted, and inspiring—describe phenomena at both tiny and enormous ends of the cosmic scale. His depictions (and diagrams) of gravity are exciting and dynamic, and I wondered how they might be expressed in musical terms. As I had been discussing with the phenomenal JACK quartet the possibility of writing a clarinet quintet for them + me, it seemed like the perfect opportunity. Inspired by Nima’s powerful sense of cosmological narrative, A Short History of the Universe presents musical depictions of our constant companion gravity, expressed both horizontally (in time, i.e. duration/speed) and vertically (in space, i.e. pitch/contour). Glissandi on the clarinet 18

and in the strings spring away from and bounce back to the original notes. By exploring various ways of stretching and compacting, or 'curving' musical spacetime, I hope to evince a sort of general relativity for the ears."

When Antonin Dvořák arrived in America in September 1892 to assume a three-year residency as the Director of the National Conservatory of Music in New York City, he was already a mature composer with a distinct style. Since his arrival coincided with the 400th anniversary of Columbus’s voyage to the New World, he heard numerous musical bands that exposed him to American popular music; later encounters with Negro spirituals and the music of Native Americans also stimulated his imagination. The subsequent development of his “American” style was no doubt most influenced by his 1893 visit to the small Bohemian town of Spillville, Iowa, where he composed the String Quartet in F Major in just fifteen days, from June 8–23. In New York, Dvořák had been homesick, and the stay in Spillville buoyed his spirits. The first movement of the quartet reflects his joy; its jaunty first and second themes are based on the pentatonic scale, a common feature of folk songs around the world. An elaborate development of the first theme and a fugato based on the second theme lead to a restatement of both themes, bringing the movement to an exultant conclusion. In the Lento second movement, the drone-like syncopations in the inner voices and the percussive cello pizzicato provide a primitive accompaniment not unlike the drums and rattles used by Plains Indians to complement their melodies.

Although his accompanying aide notated the melodies of a party of Kickapoo and Sioux that visited Spillville, Dvořák claimed never to have quoted American melodies directly. At just four minutes, the Scherzo with its two trios is the shortest movement. The second trio is famous for its musical idea, played in the high register of the violins and associated with the song of the scarlet tanager, a bird indigenous to the Iowa plains. Dvořák often heard the bird in his walks around Spillville and notated its song. The Finale of the American quartet is a sonata-rondo animated by a pervasive rhythmic pattern that has been supposed to be an adaptation of Native American drumming.

The chorale-like central episode has been associated with an image of Dvořák improvising for mass on the little organ at the St. Wenceslaus Church in Spillville, which he and his wife attended. The movement’s opening melodies return in shortened form to end the quartet happily.

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Washington University Department of Music The Washington University Department of Music is proud to present over thirty-Ăžve free musical events every semester. These events feature internationally acclaimed musicians and lecturers as well as the talented students of Washington University.

We are thrilled to welcome the Missouri Chamber Music Festival to our home at the 560 Music Center on June 21, 2015.

Receive information about events like this by joining our mailing list at

music.wustl.edu

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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, Mr. Andrews has performed throughout the United States and internationally with many of today’s leading artists and ensembles.

Appointed Principal Clarinet of the St. Louis Symphony in 2005, Mr. Andrews was previously a member of the Boston Symphony Orchestra for 11 years and has also performed with the Philadelphia and the Cleveland Orchestras. He performs often with the Saito Kinen Orchestra and the Mito Chamber Orchestra in Japan. Mr. Andrews was for many years the Woodwind Department Chair at Boston Conservatory and a faculty member of the Tanglewood Music Center in Lenox, Massachusetts. He collaborates regularly with Seiji Ozawa at the Saito Kinen Festival, and has also taught at the Pacific Music Festival and the Aspen Music Festival and School. Originally from Virginia, Mr. Andrews 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.

Grammy-nominated composer and clarinetist Derek Bermel has been widely hailed for his creativity, theatricality, and virtuosity. Artistic Director of the American Composers Orchestra at Carnegie Hall, Mr. Bermel is also Director of Copland House’s emerging composers institute Cultivate, served as Composer-in-Residence at the Mannes College of Music, and enjoyed a four-year tenure as artist-in-residence at the Institute for Advanced Study (IAS) in Princeton. Mr. Bermel has become recognized as a dynamic and unconventional curator of concert series that spotlight the composer as performer. Alongside his international studies of ethnomusicology and orchestration, an ongoing engagement with other musical cultures has become part of the fabric and force of his compositional language, in which the human voice and its myriad inflections play a primary role. He has received commissions from the Pittsburgh, National, St. Louis, and Pacific Symphonies, Los Angeles Philharmonic, Chamber Music Society of Lincoln Center, WNYC Radio, La Jolla Music Society, Seattle Chamber Music Festival, eighth blackbird, Guarneri String Quartet, Music from Copland House and Music from China, De Ereprijs

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(Netherlands), violinist Midori, and electric guitarist Wiek Hijmans among others. The Boston Globe wrote, “There doesn’t seem to be anything that Bermel can’t do with the clarinet.” His many honors include the Alpert Award in the Arts, Rome Prize, Guggenheim and Fulbright Fellowships, American Music Center’s Trailblazer Award, and an Academy Award from the American Academy of Arts and Letters; commissions from the Koussevitzky and Fromm Foundations, Meet the Composer, and Cary Trust; and residencies at Yaddo, Tanglewood, Aspen, Banff, Bellagio, Copland House, Sacatar, and Civitella Ranieri. His discography features three critically-acclaimed discs: an all-Bermel orchestral recording that includes the Grammynominated performance of his clarinet concerto Voices, (BMOP/ sound); Soul Garden, his small ensemble/solo music (New World/ CRI); and his most recent disc, Canzonas Americanas, with Alarm Will Sound (Cantaloupe). Mr. Bermel recently made his Cabrillo Festival debut, conducting his Dust Dances, and served as composer-inresidence at the Bowdoin Festival. Recent and upcoming are appearances or premieres include the Intimacy of Creativity Festival in Hong Kong; the Seattle Chamber Music Festival; Hyllos, his evening-length collaboration with The Veenfabriek and Asko | Schönberg Ensemble, which premiered the Netherlands; performances and recordings with the JACK quartet and Music from Copland House ensemble; and as soloist with the New Century Chamber Orchestra.

Melissa Brooks has been a member of the St. Louis Symphony since 1992. She is a native of New York City where she attended the pre-college division of the Juilliard School. Ms. Brooks received her undergraduate degree from the New England Conservatory where she studied with Laurence Lesser. Ms. Brooks has performed chamber and solo concerts throughout the country, including a duo concert with cellist Janos Starker. She has won numerous awards and honors and was nominated by Leonard Bernstein for an Avery Fisher career grant in 1988. Ms. Brooks has participated in summer festivals such as Marlboro, Tanglewood, Aspen, the Portland Chamber Music Festival, Concert Artists Guild Summer Festival, and the Sun Valley Summer Festival, among others. Ms. Brooks appeared twice as soloist with the St. Louis Symphony under former Music Director Hans Vonk, and also performed Pierre Boulez’s demanding Messagesquisse, scored for solo cello and six other cellos, under the direction of David Robertson.

She is an active chamber musician, was a co-founder of the St. Louis based arts organization, Crossings Concerts, and is also a member of Cortango.

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James Czyzewski hails from Fairbanks, Alaska, where his primary cello teachers were Peggy Swartz and Bruno DiCecco. He received his bachelor’s degree with honors from Northwestern University in the spring of 2003, studying with Hans Jorgan-Jensen. Following graduation, Czyzewski served as Co-principal Cello with the Civic Orchestra of Chicago. He joined the St. Louis Symphony in the Fall of 2004.

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 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 St. Louis Post-Dispatch. Ms. Ferrigno is a graduate of New England Conservatory of Music, where she received Bachelor and Master of Music degrees with distinction. Her principal teachers were Wha Kyung Byun and Randall Hodgkinson. As a long-time 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 has recorded for Albany Records, Nonesuch and BMOP/Sound, on which she released the critically acclaimed recording of Elliot Schwarz’s Chamber Concerto III for Piano and Orchestra in 2009.

Violinist Catherine French is a native of Victoria, British Columbia, where she began Suzuki studies on the violin at the age of four. A frequent soloist, Ms. French has appeared with orchestras and in recital throughout Canada and the United States, and made her Carnegie Hall debut in 1992. She has been a participant in the Portland, Lake Winnipesaukee, Marlboro, and Carolina Chamber Music Festivals. Ms. French is a graduate of Indiana University, where she received a Bachelor of Music degree and a Performer’s Certificate, and the Juilliard School, where she earned a Master’s degree. Her major teachers have included Dr. Lise Elson, Miriam Fried, Felix Galimir, and Joel Smirnoff. Ms. French joined the violin section of the Boston Symphony Orchestra in September 1994. She can be heard in

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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.

Roger Kaza rejoined the St. Louis Symphony as Principal Horn in the Fall of 2009, after 14 years with the Houston Symphony. He was previously a member of the St. Louis Symphony horn section from 1983–95, and prior to that held positions in the Vancouver Symphony, Boston Symphony, and the Boston Pops, where he was solo horn under John Williams. A native of Portland, Oregon, he attended Portland State University, studying with Christopher Leuba, and later transferred to the New England Conservatory in Boston, where he received a Bachelor of Music with Honors in 1977 under the tutelage of Thomas E. Newell, Jr. Mr. Kaza’s musical activities are wide-ranging.

The son of two musicians, growing up in a musical family, he received his early training on piano, giving two solo recitals on that instrument before concentrating on horn. He has studied composition and conducting as well. Mr. Kaza has appeared as soloist with many orchestras, including the St. Louis, Vancouver, and Houston symphonies, and the Carlos Chavez Chamber Orchestra in Mexico City. A frequent chamber musician as well, he has performed at numerous summer venues, including the Bravo! Vail Valley Festival, Chamber Music Northwest, Mainly Mozart, and the Aspen and Marrowstone festivals. He presently serves as instructor of horn at the Chautauqua Institution’s Music School, where he is also Principal Horn of the Chautauqua Symphony.

Joo Kim completed the Master of Music program in May 2006 at the Juilliard School, where she also received her Bachelor’s degree. She has served as Concertmaster of the SpoletoUSA Orchestra in Charleston, South Carolina, and the Pacific Music Festival Orchestra in Japan, as well as Principal Second Violin with the Jerusalem International Symphony Orchestra in Israel. She has also toured with the Orpheus Chamber Orchestra. Ms. Kim’s solo and chamber music appearances include those at Encore, Aspen, Sun Valley, Taos, and Zephyr music festivals. She has also performed as a soloist with the St. Louis Symphony, SpoletoUSA Orchestra, New World School of the Arts Orchestra in Miami, Florida, and the Sebastian Chamber Ensemble in Korea. Her teachers include Naoko Tanaka, Dorothy DeLay, Todd Phillips, Felicia Moye, and Ivan Chan. Ms. Kim joined the first violin section of the St. Louis Symphony in 2004.

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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. She received a master’s degree and Artist Diploma from the Yale School of Music under the tutelage of Peter Oundjian, and 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 is a founding member of the Hindemith Ensemble at Yale and has toured with them throughout Germany. 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.

Kyle Andre Lombard, violinist, is a native of Kansas City, Missouri.

He graduated with honors from Indiana University, and received his master’s degree from Yale University. Mr. Lombard enjoys a variety of musical activities. As a chamber musician, Mr. Lombard has performed throughout Europe, the Middle East and the U.S. He has recently performed on chamber music programs at Carnegie Hall and at the Ravinia Festival’s “Rising Stars” series. As part of the Ritz Chamber Players, he was featured in the University of Washington’s esteemed “World Series of Chamber Music,” which included radio broadcast on Seattle’s KING FM classical music station. As a member of the Goffriller Piano Trio, Mr. Lombard’s performances were broadcast on Israeli Public Radio during Isaac Stern’s 3rd International Chamber Music Encounters in Jerusalem. As a soloist, he made his debut with the Kansas City Symphony at age sixteen. He has also concertized with the Savannah Symphony and the Sphinx Symphony. Mr. Lombard was featured in “Young Heroes of Music,” a live radio broadcast for Classic 99 FM of St. Louis. He completed at two-year fellowship with the St. Louis Symphony in 2001, and has been performing with the orchestra regularly ever since.

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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 US, 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.

Shawn Mouser was appointed associate principal bassoonist of the Los Angeles Philharmonic by Esa-Pekka Salonen in 2003. Prior to joining the Philharmonic, he served for 10 years as assistant principal bassoonist of the Milwaukee Symphony Orchestra. A native of Louisiana, Mr. Mouser received a bachelor of music from Louisiana State University, where he was a student of John Patterson and William Ludwig. He then continued his studies with Richard Svoboda at the New England Conservatory of Music in Boston where he was awarded a master of music and a graduate diploma—both with Distinction in Performance. Mr. Mouser can be heard on numerous Los Angeles Philharmonic recordings as well as in regular live performances with the Philharmonic at Walt Disney Concert Hall. He is also an active performer on the Los Angeles Philharmonic Chamber Music Series and the Philharmonic’s Green Umbrella new music series.

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Jennifer Nitchman holds the position of Second Flute with the St. Louis Symphony. Ms. Nitchman is the winner of numerous competitions, including First Prize in both the 2001 National Flute Association Young Artist Competition and the 1999 Flute Society of Washington Young Artist Competition. Prior to her appointment with the St. Louis Symphony, Ms. Nitchman was pursuing a Doctor of Music degree at Indiana University. She has formerly held summer positions as Principal Flute of the Britt Festival Orchestra and member of the artist faculty at the Brevard Music Center. She previously held the position of Assistant Principal Flute with the United States Army Field Band in Washington, D.C., the Army’s official touring organization. Her teachers include Thomas Robertello, Alice Weinreb, Stephanie Jutt, and Wendy Mehne.

Philip Ross grew up surrounded by world-class oboists. His father, Dan, is a well-known oboist and maker of gouging machines, sought after by oboists around the country. Many of these oboists, visiting the shop in Jonesboro, Arkansas, shaped Mr. Ross’s developing skills and understanding of the instrument. Mr. Ross holds degrees from the Eastman School of Music and the Chicago College of Performing Arts where he studied with Richard Killmer and Alex Klein respectively. He has made repeat appearances as guest principal oboe of the San Francisco Symphony, toured with the Chicago Symphony, and recorded with the Cincinnati Symphony Orchestras. Mr. Ross has stepped out of his regular role of second oboe with the St. Louis Symphony on many occasions, including his solo debut with the orchestra in 2008, and serving two seasons as Acting Co-Principal Oboe. He also takes part in the St. Bart’s Music Festival.

Angie Smart has been a First Violinist with the St. Louis Symphony since 1998. Originally from England, she began violin lessons at the age of six and won a scholarship to study at Chetham’s School of Music at the age of 13. She continued her studies in the U.S. in 1990 where she attended the University of Miami, Lamar University in Texas, and completed her master’s degree at Rice University in Houston. Ms. Smart has performed extensively in Europe and the U.S. with representation by Encore Concerts, and has appeared as soloist with the St. Louis Symphony, Alhambra Chamber Orchestra, Gorton Philharmonic, Lamar Chamber Orchestra, and both Chethams’ Chamber and Classical Orchestras. Her television appearances have included masterclasses with Yehudi Menuhin and as the subject of a

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documentary profiling “A Day in the Life of a Young Musician at Chetham’s School of Music.” 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.

Chris Tantillo, a native of Long Island, New York, began playing the violin at the age of seven. He switched to viola while attending the Interlochen Arts Academy, where he completed his high school degree.

Mr. Tantillo received both his Bachelor’s of Music degree from the Cleveland Institute of Music in 2002, where he studied with Stanley Konopka, and his Master’s of Music degree while studying with Robert Vernon, Principal Viola of the Cleveland Orchestra. Mr. Tantillo has previously performed with the San Diego Symphony and the New World Symphony in Miami Beach, Florida.

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, 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. Their world premiere recording of Amy Beth Kirsten’s kiss to the earth will soon be released on Bad Wolf Records.

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Photo: Jennifer Lin

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Missouri Chamber Music Festival Donors This list reflects gifts received June 1, 2014 through May 30, 2015.

The Missouri Chamber Music Festival gratefully acknowledges the financial assistance of the Regional Arts Commission.

Brahms & Beyond Circle Sponsor ($1,000 to $2,999) Mr. and Mrs. Dana Gobrecht Drs. Linda Peterson and Clark McKenzie Kenneth and Marjorie Smith Members Circle Associate ($750 to $999) Anonymous Jennifer Lin and Tom Osborn Patron ($500 to $749) Mr. and Mrs. Barry Beracha Barbara Ottolini Mark Thiel Phoebe Dent Weil Friend ($250 to $499) Sharla Anderson Dr. & Mrs. Tim Eberlein Harold A. Ellis Laura & Bob Roeder Supporter ($50 to $249) Anonymous Suzanne Baetz Mr. & Mrs. Karl R. Barnickol

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[ Supporter, $50 to $249, Continued ] Anita Bauer Mr. Derek Bermel Mr. Michael Biggers Marilynne Bradley Ms. Mary Reid Brunstrom Ms. Elaine Coe Bruce & Susan Creditor Ms. Jill Cumming Ms. Mimi Fargo Ms. Cathy French Ms. Barbara Harris Ms. Anne Hetlage Ms. Luise Hoffman Jason & Laura Jordan Paul & Martha LaFata Christi & Dennis Maginn Mr. & Mrs. Brian McKenna Mr. & Mrs. Robert Moody Mr. & Mrs. Joe Mulligan Jennifer Nitchman & Nick del Grazia Mr. William Paul Mr. & Mrs. John A. Pierce Dr. Marshall Poger Wendy Plank Rosen Ms. Suzanne Schoomer Mr. & Ms. Stephen Seele Mr. & Mrs. Walter Shifrin Mr. Daniel Steinmeyer Mary & Derrick Stiebler Molly Strassner Ms. Peggy Symes Mr. & Mrs. Jason Weber Mr. & Mrs. Pat Welch Mr. George Yeh Suzanne & Ted Zorn Matching Gifts The Boeing Company Monsanto

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In-Kind contributions Reverend David Denoon, Dr. Ray Landis and the staff of the

First Congregational Church of Webster Groves The Community Music School of Webster Groves

with special thanks to Leigh Anne Huckaby Jennifer Gartley, the Faculty and Staff of the

Washington University Music Department Jennifer Lin, Marketing & Public Relations The Tavern of Fine Arts Pan Galactic Company Christy and Dennis Maginn Mr. and Mrs. Bob Roeder Drs. Linda Peterson and Clark McKenzie Richard and Eliot Tao Radio Arts Foundation Adam Maness Jooyeon Kong Shawn Weil Laura Reycraft Alvin McCall Erin Shulan

special thanks The Fabulous Women of Chamber Project St. Louis Correne Murphy George Yeh Interested in volunteering or sponsorship opportunities? Please call 314.882.0053 or email us at feedback@mochambermusic.org.

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

Members Circle Your generous donation enables MOCM realize its mission and continue its musical activities. Your tax-deductible gift helps secure our future as an important thread in the cultural fabric of Missouri.

Supporter ($50 to $249) * advance notice of special events * recognition in the MOCM Festival playbill Friend ($250 to $499) * the benefits above * invitation to a MOCM dress rehearsal Patron ($500 to $749) * the benefits above * two complimentary tickets to any Festival concert Associate ($750 to $999) * the benefits above * invitation to a private event 34

The Brahms & Beyond Circle Become a member of The Brahms & Beyond Circle to support the commissioning of new works, fund recording projects, and sponsor visiting artists and composers. Benefits include all preceding plus invitations to private events with festival artists and directors.

Sponsor ($1,000 to $2,999) Partner ($3,000 to $4,999) Leader ($5,000 to $9,999) Angel ($10,000 and above) For more information about donating to MOCM, visit www.mochambermusic.org/contribute.html or call 314.882.0053. Thank you for your generous support!

Photo: Brandon Krepel Photography

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Yes! I would like to contribute to MOCM. Here is my tax-deductible donation.

Complete the information below and mail your check payable to Missouri Chamber Music, Inc. and this form to MOCM, Inc., 211 South Elm Avenue, St. Louis, MO 63119.

Donations can also be made online at mochambermusic.org.

Questions? Call 314.882.0053 or feedback@mochambermusic.org.

m m m m m

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

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

Company name Name Address City

State

Phone Email Name(s) to appear in playbill

Thank you for your generous support!

Zip

Playbill advertising is available for the 201 6 season .

CALL 314.882.0053 or Email feedback@mochambermusic.org Photo: Brandon Krepel Photography 37

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JOIN US FOR OUR NEXT SEASON! June 12–19, 2016 Missouri Chamber Music Festival 211 South Elm Avenue | St. Louis, MO 63119 mochambermusic.org | 314.882.0053 facebook.com/MOChamberMusic twitter @MOCMFestival

Photo: Jennifer Lin

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Providing a showcase for the St. Louis arts to thrive and flourish for years to come is the mission of RAF-STL. Join us in supporting the local St. Louis arts scene with your gift to our non-profit station today.

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