Missouri Chamber Music Festival Season 7 June 12â€“17, 2017 Program of Events
MO CM 314.882.0053 | mochambermusic.org
In its 7th season, the Gesher Music Festival presents music and stories reflecting the Jewish experience which illuminate our common humanity even in times of conflict. Tickets on sale now. MEET THE MUSICIANS l The Vino Gallery
August 10 at 5:30pm Mingle with Gesher Artists as they perform music close to their hearts.
BEYOND THE TRENCHES l Missouri History Museum
August 17 at 7:30pm Travel back in time to hear music and stories from the Great War.
PRAYER FOR PEACE l 560 Music Center August 19 at 7:30pm Finding beauty in times of strife.
TRANSCENDING BORDERS l The Jâ€™s Wool Studio Theater August 20 at 3:00pm Building bridges through the music of Israeli and Arab composers.
Missouri Chamber Music Festival
MO CM A New View: The Calyx Piano Trio Monday, June 12, 2017 at 7 pm Graham Memorial Chapel, Washington University In Partnership with the Department of Music, Washington University in St. Louis 6475 Forsyth Boulevard, University City Introduzione e Rondo: Haydn Go Seek | William Bolcom Trio in E-Flat Major, Op. 1, No. 1 | Beethoven Trio in C Minor, Op. 66 | Mendelssohn MOCM Morning Music Wednesday, June 14, 2017 at 10:30 am First Congregational Church of Webster Groves 10 West Lockwood Avenue, Webster Groves Quartet in C Major for Woodwinds | Arthur Berger Quintet for Piano and Winds in E-Flat Major, Op. 16 | Beethoven Lâ€™Heure du Berger | Francaix Rhythms, Echoes Thursday, June 15, 2017 at 5 pm First Congregational Church of Webster Groves 10 West Lockwood Avenue, Webster Groves Duo for Violin and Viola in G Major, K. 423 | Mozart Quartet for Clarinet and Strings in C Minor, Op. 4 | Crusell Concerto a Tre for Clarinet, Violin, and Cello | Ingolf Dahl Finale Saturday, June 17, 2017 at 7 pm First Congregational Church of Webster Groves 10 West Lockwood Avenue, Webster Groves Phantasy Quintet | Vaughan Williams This is Not a Story (world premiere!) | Christopher Stark Octet for Strings in E-Flat Major, Op. 20 | Mendelssohn mochambermusic.org | 314.882.0053 facebook.com/MOChamberMusic twitter @MOCMFestival Programs and artists are subject to change. Cover photo: Jennifer Lin
welcome to season 7!
MO CM Welcome to the seventh season of the Missouri Chamber Music Festival (MOCM)! We are anticipating a special week of concerts—each filled with passion, good humor, heart, and brilliance. We are proud to present our second world premiere, This is Not a Story, by Christopher Stark. It is such a privilege to witness the creation of art! We are also pleased to welcome back many of the artists you have grown to love these last seven years and expand our musical family with some fresh faces too. Collaboration is at the heart of what we do and it is an honor to work with these tremendous musicians. We are proud of the collaboration we have built with you as well. Each year we are inspired by you and look forward to sharing this beautiful music with you. We hope your experiences with MOCM are lasting—whether listening to concerts, learning more about the music, meeting the artists at a reception, or speaking with our enthusiastic Board members and volunteers. Please consider sharing MOCM with your family and friends. We are always looking for ways to grow our St. Louis chamber music family! We believe that all of MOCM's work enriches and diversifies the cultural scene of St. Louis and creates lasting connections among people and places—strengthening our communities, for today and for tomorrow. Please be sure to see us after the concert!
Nina Ferrigno & Scott Andrews Directors, Missouri Chamber Music Festival
MOCM 2017 Festival Artists Scott Andrews, clarinet Melissa Brooks, cello The Calyx Piano Trio Andrew Cuneo, bassoon Jelena Dirks, oboe Nina Ferrigno, piano Catherine French, violin Edward Gazouleas, viola Rebecca Boyer Hall, violin Thomas Jรถstlein, French horn Eva Kozma, violin Ken Kulosa, cello Jennifer Lucht, cello Jennifer Nitchman, flute Jane Price, violin Angie Smart, violin Christopher Stark, composer Chris Tantillo, viola BOARd of directors Nina Ferrigno, President, Artistic Director Scott Andrews, Secretary, Artistic Director Siroth Charnond Jennifer Lin Linda Peterson Bob Roeder Jon Shulan Photography & Graphic Design Jennifer Lin Festival Manager James Brian Wall Festival ASSOCIATE Pax Baker
MO CM A New View Monday, June 12, 2017 at 7 pm Graham Chapel, Washington University The Calyx Piano Trio Catherine French, violin Jennifer Lucht, cello Nina Ferrigno, piano Introduzione e Rondo: Haydn Go Seek
Trio in E-flat Major, Op. 1, No. 1 1. Allegro 2. Adagio cantabile 3. Scherzo: Allegro assai 4. Final: Presto
Brief Intermission Trio in C Minor, Op. 66 1. Allegro energico e con fuoco 2. Andante espressivo 3. Scherzo: Molto allegro quasi presto 4. Finale: Allegro appassionato
Pulitzer Prize-winning composer William Bolcom (b. 1938), working on a commission from the Haydn Trio Eisenstadt, created tonight’s concert opener. The piece is a response to Haydn's many rondos, in which the composer took delight in surprising audiences. Bolcom said that his aim with Haydn Go Seek was "to play a constant game of surprise throughout, in as Haydnesque a manner as I could muster from two centuries removed." The E-flat Major Piano Trio, Op. 1, No. 1 sounds like it ought to be the beginning of the composer’s works list, but Ludwig van Beethoven (1770–1827) had composed dozens of pieces before this, including an earlier piano trio. Opus numbers are not reliable chronological guides to Beethoven’s music. The three piano trios of Op. 1 are “statement” pieces, a compositional debut carefully calculated for maximum return. Probably much of this music had been refined during the composer’s time studying with Haydn, who wrote many piano trios himself. Beethoven took this popular form of musical entertainment and enlarged its dimensions into a symphonic four movement form, and enlarged its technical and expressive demands, particularly for the string players, who had traditionally been limited to modest accompaniment of the pianist. The earliest works by the godfather of the piano trio, Joseph Haydn, were called: “Sonatas for pianoforte with accompaniment of violin and violoncello.” Beethoven is credited with first effecting a proper balance for the instruments, and creating the idea of the piano trio as a technically demanding showpiece for three. This description of showpiece applies to the piano trios by Felix Mendelssohn (1809–1847). Both of his trios are compositions in which superior musicality is joined effortlessly with technical sparkle. The Trio in C Minor, Op. 66 gives further evidence that Mendelssohn was a wonderfully gifted composer. He began very early to reveal a true distinction as a composer for small instrumental forces: at the tender age of 16 he produced a masterpiece—the incomparable Octet for Strings (return for our Finale concert on Saturday, June 17 to hear the Octet performed live). Composed in 1845, the C-Minor Trio represents a fully formed composer, late in his short career. It does not begin with a fully fledged melody, but with a swirling pattern rising up from the bass. Melody does not elude us for long, as the piano becomes more agitated while the string voices soar above it. The slow movement is really a ‘Song without Words,' and the Scherzo is a very quick presto which reminds us of the fairy world Mendelssohn created in his Midsummer Night’s Dream music. The finale pays homage to J.S. Bach, and proceeds like a sturdy Barogue gigue akin to something from one of the great composer’s English Suites. The secondary theme is a Lutheran-style chorale, returning at the end as a mighty climax to the work. Mendelssohn approaches such ancient quotation as the Romantic he was. What he offers is his own contemplation of this old sacred music as personal experience. 7
MO CM MOCM Morning Music Wednesday, June 14, 2017 at 10:30 am First Congregational Church of Webster Groves
Jennifer Nitchman, flute Jelena Dirks, oboe Scott Andrews, clarinet Andrew Cuneo, bassoon Thomas JĂśstlein, french horn Nina Ferrigno, piano
Quartet in C major for Woodwinds 1. Allegro moderato 2. Andante 3. Allegro vivace e leggermente
Quintet for Piano and Winds, Op. 16 1. Grave. Allegro ma non troppo 2. Andante cantabile 3. Rondo: Allegro, ma non troppo
Lâ€™Heure de berger for Piano and Winds 1. Les Vieux Beaux 2. Pin-up Girls 3. Les Petits Nerveux
MO CM Rhythms, Echoes Thursday, June 15, 2017 at 5 pm First Congregational Church of Webster Groves Quartet for Clarinet and Strings in C Minor, Op. 4 1. Allegro molto agitato 2. Menuetto â€“ Trio 3. Pastorale 4. Rondo: Allegro Scott Andrews, clarinet Angie Smart, violin Edward Gazouleas, viola Jennifer Lucht, cello
Duo for Violin and Viola in G Major, K. 423 1. Allegro 2. Adagio 3. Rondo: Allegro
Angie Smart, violin Edward Gazouleas, viola
Concerto a tre DAHL Scott Andrews, clarinet Catherine French, violin Jennifer Lucht, cello 9
Bernhard Crusell (1775–1838) was born in Finland in the largely Swedish speaking town of Nystad. Though he was talented and interested in music, his parents discouraged him. He was able, secretly, to teach himself to play the clarinet by ear. At age 13, he was finally allowed to take lessons from a military band officer in Helsinki. Soon after, he moved to Stockholm and established himself as a soloist, and served as First Clarinet in the Royal Swedish Court Orchestra. Virtually all of his compositions include the clarinet. His second Clarinet Quartet, Op. 4 in C Minor dates from 1804 and is on the fence, stylistically, between the late classical and the early romantic. As one might expect, the clarinet part is quite prominent with several sections designed to showcase the clarinetist's skill. However, the strings are not ignored. The music is full of appealing melodies, and wonderful colors. Wolfgang Amadeus Mozart (1756–1791) thought highly of his good friend Michael Haydn. Court composer to the Archbishop of Salzburg, Michael fell ill while working on a commission to the Archbishop for a set of six duos for violin and viola. To avert serious financial problems, his friend Mozart agreed to complete the project writing the two as yet unwritten pieces in a matter of days. The first of the pair was the Duo No. 1 in G Major, K. 423, and Mozart took great pains to compose in his friend’s style in order to camouflage authorship. The ruse worked and Mozart was not discovered. The music Mozart wrote for this pairing of violin and viola sounds fuller than one might expect. In the G Major Duo, Mozart clearly set the two instruments as equals, and the ample counterpoint and conversational nature of the music are strongly defined. Ingolf Dahl (1912–1970) was born in Hamburg, Germany. He fled the Nazis, and came to the United States in 1938. Dahl joined the faculty of USC in 1945 and taught there until his death. As a composer, Dahl received several important commissions, among them from the Louisville Symphony Orchestra and the Los Angeles Philharmonic and his friend Zubin Mehta. Dahl provided the following note about his Concerto a Tre, composed in 1946: “The basic thematic idea consists of six notes: E-flat, B-flat, B-flat, C, F, F. The character of the work is concertante and playful but at the same time very strictly organized on the basis of the previously stated ‘thematic germ.’ These notes are almost ever-present in harmonic and melodic guises too numerous to mention: they are contracted or expanded. They are transposed, inverted, telescoped, and also hidden under elaborate melodic designs. It is not the intention of the composer that the manipulations of the ‘thematic germ’ be consciously experienced by the listener. They form the inner-musical mechanism, which is a means to an end: the expressive and intellectual musical whole.” Although written in one continuous movement, the Concerto clearly falls into three symmetric sections, includes a brilliant cadenza for the clarinet, and ends in a flourish with a Presto coda. 10
MO CM Festival Finale Saturday, June 17, 2017 at 7 pm First Congregational Church of Webster Groves Phantasy Quintet 1. Prelude: Lento ma non troppo 2. Scherzo: Prestissimo 3. Alla Sarabanda: Lento 4. Burlesca: Allegro moderato
Eva Kozma, violin Rebecca Boyer Hall, violin Chris Tantillo, viola Edward Gazouleas, viola Ken Kulosa, cello
This is Not a Story for Violin, Cello, Clarinet, and Piano
Jane Price, violin Melissa Brooks, cello Scott Andrews, clarinet Nina Ferrigno, piano
String Octet in E-flat Major, Op. 20 1. Allegro moderato, ma con fuoco 2. Andante 3. Scherzo: Allegro leggierissimo 4. Presto
Catherine French, violin Eva Kozma, violin Rebecca Boyer Hall, violin Jane Price, violin Edward Gazouleas, viola Chris Tantillo, viola Melissa Brooks, cello Ken Kulosa, cello
MO CM Ralph Vaughan Williams (1872â€“1958) is one of England's most important 20th century composers. Educated at Cambridge and the Royal College of Music, he subsequently studied with Max Bruch in Berlin and Ravel in Paris. Vaughan Williams was able to establish his own distinctive voice early on and this quintet is unmistakably recognizable as coming from him. His Phantasy Quintet dates from 1912 and was dedicated to William Wilson Cobbett, a great British music philanthropist. The opening Prelude begins with a lovely viola solo eventually answered by the first violin. The second movement, a Scherzo, starts with the cello and is quite unusual with its asymmetrical rhythm and ostinato. You may notice here a vague aura of Ravel. Next comes a Sarabande. It is slow and played entirely muted and without the cello who rejoins the proceedings in the finale, Burlesca, which is based on folk song and hints at echoes of the first movement.
Composer-in-Residence Christopher Stark (b. 1980) will introduce the World Premiere performance of This is Not a Story, written for the Missouri Chamber Music Festival. Felix Mendelssohn (1809–1847) was a prodigy. The child of an educated family that fully supported his talent, Mendelssohn had, by age 9, written works that were performed professionally in Berlin, and by 17, he had created the magnificent Overture to A Midsummer Night’s Dream. He completed his Octet in at the age of 16. One of the finest of his early works, the Octet is remarkable for its polished technique, its sweep, and its sheer exhilaration. Mendelssohn’s decision to write for a string octet is an interesting one, for such an ensemble approaches chamber-orchestra size. Mendelssohn handles this problem easily, and the Octet remains true chamber music—each of the eight voices is distinct and important. The first movement has a fire in the very beginning, where the first violin rises and falls back through a range of three octaves. Longest by far of the movements, the first is marked by energy, sweep, and an easy exchange among all eight voices before rising to a grand climax derived from the opening theme. By contrast, the Andante is based on the simple melody announced by the lower strings and quickly taken up by the four violins. The Scherzo is the most famous part of the Octet. This music zips along brilliantly. Mendelssohn marked it Allegro leggierissimo— “as light as possible”— and it does seem like woodland sprite music, sparkling, trilling, and swirling right up to the end, where it vanishes into thin air. The energetic Presto demonstrates the young composer’s contrapuntal skill. A quality is in the writing which is well beyond his 16 years. It is a masterpiece that would be a brilliant achievement by a composer of any age.
SEASON 2017/18TEN Cel eb ra ti n g Sa i n t L o u i s Join us as we present our 10th Season of unique chamber music concerts. Enjoy seven thematic programs that celebrate our wonderful city. Bringing together the music of the old masters, featuring the work of six women and three world premieres, our 10th Season is a vibrant expression of music and community.
photo: Jennifer Lin
Artist Biographies A sought-after collaborative musician and an avid proponent of new music, clarinetist Scott 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 has also taught at the Pacific Music Festival and the Aspen Music Festival and School. 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. Melissa 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 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. Andrew Cuneo is the Principal Bassoon with the St. Louis Symphony. Prior to his appointment in St. Louis, he was Principal Bassoon of the Louisville Orchestra and the Sarasota Opera. In addition, he has performed with the Philadelphia Orchestra, the Milwaukee, Boston, and Houston symphonies, as well as the Lyric Opera of Chicago and the Houston Grand Opera. He has played with the Sun Valley Summer Symphony since 2011, and has been a fellow at several summer festivals, including Tanglewood, the Music Academy of the West, and the Youth Orchestra of the Americas. Mr. Cuneo is a former student of Bernard Garfield and Daniel Matsukawa at the Curtis Institute of Music and Benjamin Kamins at Rice University. 15
Jelena Dirks is the third generation of professional female musicians in her family. A San Diego native, she grew up listening to her mother, retired Chicago Symphony violist Karen Dirks, as well as her grandmother who was a cellist in the San Diego Symphony. She began studying the piano at age 5, and took up the oboe at 11. After graduating Summa Cum Laude from St. Olaf College in Minnesota, Ms. Dirks went on to receive dual Masters Degrees in Piano and Oboe Performance from the University of Michigan. Ms. Dirks was on the faculty of DePaul University where she taught both piano and oboe and was the woodwind coordinator. She is highly sought after as both a teacher and performer and has performed with virtually every major musical group in the Chicago area, including Lyric Opera, the Chicago Philharmonic, and five years of regular performances, tours, and recordings with the Chicago Symphony Orchestra. She plays chamber music whenever possible, most often as the oboist for the critically acclaimed Prairie Winds Quintet. She was appointed to the position of Principal Oboe of the St. Louis Symphony by Music director David Robertson in December of 2013. Nina Ferrigno, 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 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 Schwarzâ€™s Chamber Concerto III for Piano and Orchestra in 2009.
Violinist Catherine French is a native of Victoria, British Columbia, where she began Suzuki studies on the violin at the age of four. A frequent soloist, Ms. French has appeared with orchestras and in recital throughout Canada and the United States, and made her Carnegie Hall debut in 1992. She has been a participant in the Portland, Lake Winnipesaukee, Marlboro, and Carolina Chamber Music Festivals. Ms. French is a graduate of Indiana University, where she received a Bachelor of Music degree and a Performer's Certificate, and the Juilliard School, where she earned a Master's degree. Her major teachers have included Dr. Lise Elson, Miriam Fried, Felix Galimir and Joel Smirnoff. Ms. French joined the violin section of the Boston Symphony Orchestra in September 1994. She can be heard in the Boston area as a member of Collage New Music and the Calyx Piano Trio, and in performance with other BSO members as part of the Prelude concerts at Symphony Hall and other local venues. Edward Gazouleas is professor of viola at the Indiana University Jacobs School of Music. He previously held the Lois and Harlan Anderson Chair in the Boston Symphony viola section and was on the faculties of Boston University College of Fine Arts, the New England Conservatory of Music, and the Tanglewood Music Center. An active recitalist and chamber music player, Mr. Gazouleas performs frequently as a viola and piano duo with Pei-Shan Lee. He was a prize winner at the International String Quartet Competition in Evian, France, and has performed with members of the Borromeo, Muir, Lydian, and Audubon string quartets. He has held teaching positions at Boston Conservatory, Wellesley College, and Temple University and was a member of the Pittsburgh Symphony under Lorin Maazel. Gazouleas attended Yale and received a Bachelor of Music degree from the Curtis Institute, where he studied with Michael Tree and Karen Tuttle.
Rebecca (Becky) Boyer Hall came to the St. Louis Symphony in 1993, but she has a long history in St. Louis. Born and reared in Kirkwood, Missouri, she received her first musical influences within her family and community. Ms. Hall’s great-grandfather, George Sullivan, emigrated from Ireland and brought with him a rich tradition of folk music, which was carried on through Ms. Hall’s mother, Janet, and her uncle, Robert Beers. The Boyer family performed as a musical group throughout the 1960s and ’70s bringing traditional American folk music out of the home and onto the stage. She studied violin with Fredryck Sadowski and Jaime Laredo. She also had the opportunity to participate in the master classes with such distinguished violinists as Isaac Stern, Henryk Szering, Michael Tree, and Alexander Schneider to whose famed Christmas Seminar at Carnegie Hall she was invited. Before coming to the St. Louis Symphony, she was Associate Concertmaster with the Alabama Symphony. Thomas Jöstlein, Associate Principal Horn with the St. Louis Symphony since 2010, enjoys an active and varied musical life. From 2007–09, Mr. Jöstlein was the New York Philharmonic's Assistant Principal Horn. Previously, he held positions with the Honolulu, Omaha, Richmond, and Kansas City symphony orchestras, and performed in summer festivals in Oregon, Ohio, Colorado, and North Carolina. He has served as Assistant Professor of Horn at the University of Illinois, and has held adjunct positions at the University of Hawaii and at Virginia Commonwealth University. An active soloist, Mr. Jöstlein won First Prize in the professional division of the American Horn Competition in 2003, and the Grand Prize at the Hugo Kauder Music Competition at Yale University in 2005, earning a recital at Merkin Concert Hall in New York City. Born in Targu Mures, Romania, Eva Kozma began violin lessons at the age of seven. Ms. Kozma won Second Prize in 1993 and Third Prize in 1994 in the Romanian National Competition. She studied at Gheorghe Dima Music Academy in Cluj-Napoca, and later at McGill University under Ani Kavafian and Denise Lupien. Ms. Kozma has performed with the Targu Mures Philharmonic, and with the Societe Philharmonique de Montreal, under conductor Takacs Miklos. Additionally, she received a Fellowship to the Tanglewood Music Center and performed with the New World Symphony in Miami Beach during the 2003–04 season. Ms. Kozma began her tenure as the Assistant Principal Second Violin with the St. Louis Symphony in September 2004. 18
A native of Albuquerque, Ken Kulosa came to St. Louis from Chicago where he played with the Chicago Symphony, the Grant Park Symphony, and the Chicago Chamber Musicians. At the same time, he held the post of principal cellist for both the South Bend and Northwest Indiana Symphonies. He now performs frequently with the St. Louis Symphony. A graduate of the New England Conservatory and the University of Houston, Mr. Kulsoa studied with Laurence Lesser and Hans Jorgen Jensen, later becoming Mr. Jensen's assistant at Northwestern University. He is active as a chamber musician throughout the St. Louis area with the St. Louis Symphony's Community Partnership program, the Pulitzer Foundation, and as a member of the Sheldon Concert Hall's education series resident piano trio. Passionate about period performance, Mr. Kulosa is currently a member of the Kingsbury Early Music Ensemble and frequently performs music from the baroque and classical period on period instruments. 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.
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. Jane Price, violin, grew up in West Lafayette, Indiana. She holds a Bachelor of Music degree from Indiana University and a Master of Music degree from the New England Conservatory. Her principal teachers have included James Buswell, Paul Biss, and Yuval Yaron. Ms. Price has been a fellow at the Tanglewood Institute, the Norfolk Festival, the Spoleto festival in Italy and the United States, and spent one year as a member of the New World Symphony. Since 1994 she has been an extra member of the Chicago Symphony with whom she has toured the United States, Europe, and South America. Ms. Price has performed with the Mark Morris Dance Company, the Tulsa Opera Orchestra, and has been an extra member the St. Louis Symphony since 1996. Ms. Price is an adjunct violin instructor at Washington University in St. Louis, and for the past several years, has been a featured performer at the Festival of Music (FEMUSC) in Santa Catarina, Brazil. 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 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. Christopher Stark, whose music The New York Times has called, "fetching and colorful," has been awarded prizes and commissions from organizations such as the Fromm Foundation at Harvard, Chamber Music America, the Orléans International Piano Competition, and ASCAP. His music has been performed by such ensembles as Alarm Will Sound, American Composers Orchestra, Arctic Philharmonic, Buffalo Philharmonic, Los Angeles Piano Quartet, Left Coast Chamber Ensemble, Oberlin Contemporary Music Ensemble, Momenta Quartet, New Morse Code, FLUX Quartet, and the Aspen Contemporary Ensemble. In 2012, he was a resident composer at Civitella Ranieri, a fifteenth-century castle in Umbria, Italy, and in June of 2016 he was awarded a residency at Copland House. Recent highlights included performances at the 2016 Santa Fe Chamber Music Festival and at the Whitney Museum of American Art as part of the 2016 NY Phil Biennial. His score for the feature-length film, “Novitiate,” premiered at the Sundance Film Festival in January of 2017 and will be theatrically released later this year by Sony Pictures Classics. Stark completed his doctorate at Cornell University where he studied with Roberto Sierra and Steven Stucky. He previously studied
at the Cincinnati Conservatory and the University of Montana, and he is currently Assistant Professor of Music Composition at Washington University in St. Louis. In the fall of 2017, he will be a Faculty Fellow at Wash U's Center for the Humanities. 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 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 Trio presents dynamic programs featuring master works of the repertoire and fresh pieces by living composers. Committed to expanding the trio repertoire, the Calyx Trio has worked with organizations including the Barlow Foundation to commission and premiere new works. Their world premiere recording of Amy Beth Kirstenâ€™s kiss to the earth will soon be released on Bad Wolf Records.
GREAT ARTISTS SERIES classical music on the Loop
2017 - 2018
Sundays at 7 P.M. E. Desmond Lee Concert Hall 560 Music Center
Katia & Marielle LabĂ¨que, pianos January 28, 2018
Susan Graham, mezzo-soprano March 25, 2018
Calidore String Quartet April 22, 2018
Missouri Chamber Music Festival Donors This list reflects gifts received May 8, 2016 through May 18, 2017. Brahms & Beyond Circle Sponsor ($1,000 to $2,999) Drs. Siroth Charnond and Cami Watkins Crofton Diving Industries Orli Shaham and David Robertson Dr. and Mrs. Kenneth Smith Members Circle Associate ($750 to $999) Anonymous Nina Ferrigno and Scott Andrews Patron ($500 to $749) Ms. Sharla Anderson Mr. and Mrs. Barry Beracha Mr. and Mrs. Dana Gobrecht Drs. Linda Peterson & Clark McKenzie Friend ($250 to $499) Mr. Edward Gazouleas and Ms. Kazuko Matsusaka Kim Eberlein Mr. and Mrs. Maurice Ferrigno Jennifer Lin and Tom Osborn Laura and Bob Roeder Mr. and Mrs. Walter Shifrin Mr. and Mrs. Jonathan Shulan Ms. Angie Smart
Supporter ($50 to $249) Anonymous (2) Mr. and Mrs. Stephen Trampe Marie-Helene Bernard Jason and Julie Weber Mr. Iver Bernstein Mr. and Mrs. Pat Welch Michael Biggers Dr. Christian Wessling Ms. Susan Blain Mr. George Yeh Deborah Bloom and Chris Carson Suzanne and Ted Zorn Ms. Mary Reid Brunstrom Mr. Alan Fiddleman Bruce and Susan Creditor Matching Gifts Ms. Jill Cumming The Boeing Company Mr. and Mrs. Douglas Dirks Monsanto Ms. Elizabeth Enslin Ms. Catherine French Ms. Jeanine Garesche Ms. Jennifer Gartley Mr. and Mrs. Mark Gilleo Mr. and Mrs. Wayne Hanebrink Ms. Anne Hetlage Jason and Laura Jordan Mr. and Mrs. Jeffrey Kaplan Ms. Ann Mandelstamm Ms. Helen McCallie Mr. and Mrs. Brian McKenna Mr. and Mrs. Robert Moody Mr. Bill Moriarty Jennifer Nitchman and Nick del Grazia Ms. Barbara Ottolini Mr. William Paul Ms. Kitty Pearl Dr. Marshall Poger Wendy Plank Rosen Ms. Mary Kathleen Rundell Ms. Maria Schleuning Mr. and Mrs. Walter Schuster Steve and Janice Seele Gabriel and Simon Steinbach Ms. Sylvia Steinert in memory of Ellen E. Post Mr. and Mrs. Daniel Steinmeyer Mary and Derrick Stiebler Ms. Peggy Symes
In-Kind contributions Reverend David Denoon, Dr. Ray Landis and the staff of the First Congregational Church of Webster Groves The Community Music School of Webster University with special thanks to Leigh Anne Huckaby Jennifer Gartley, the Faculty and Staff of the Washington University Department of Music Jennifer Lin, Marketing & Public Relations Pan Galactic Company Laura & Bob Roeder, Festival Housing Radio Arts Foundation Chamber Project St. Louis
special thanks Hands on Volunteer Staffing Annette Nicole Moeller Correne Murphy George Yeh
Photo: Jennifer Lin
Interested in volunteering or sponsorship opportunities? Please call 314.882.0053 or email us at email@example.com.
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 27
The Brahms & Beyond Circle Become a member of The Brahms & Beyond Circle to support the commissioning of new works, fund recording projects, and sponsor visiting artists and composers. Benefits include all preceding plus invitations to private events with festival artists and directors. Sponsor ($1,000 to $2,999) Partner ($3,000 to $4,999) Leader ($5,000 to $9,999) Angel ($10,000 and above)
Photo: Jennifer Lin
For more information about donating to MOCM, visit www.mochambermusic.org/support.html or call 314.882.0053. Thank you for your generous support!
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.
m m m m m
Supporter $50 to $249 Friend $250 to $499 Patron $500 to $749 Associate $750 to $999 Brahms & Beyond Circle $1,000+
m I have enclosed a check for $ m I would like my donation to be anonymous. m I have requested that my donation be matched by my company. Company name Name Address City
Phone Email Name(s) to appear in playbill
Thank you for your generous support!
Playbill advertising is available for the 2018 Season! Call 314.882.0053 or email us at email@example.com.
Photo: Jennifer Lin
Thank you for your support!
SAVE THE DATE! MOCM SEASON 9 + MOCM Season 9: June 11–16, 2018 + Pro-Am Chamber Music Workshop for adult amateur musicians: May 30–June 3 mochambermusic.org 314.882.0053
Photo: Jennifer Lin 31
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