C H A M B E R M U S I C F E S T I V A L â€˘ YA L E S C H O O L O F M U S I C
Music Among Friends
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Welcome to Norfolk Among many other things, 2013 at Norfolk will be a summer of great string quartets. The world-renowned Emerson and Brentano String Quartets (of the hit film A Late Quartet) will be making their Norfolk debuts; the Artis and Keller Quartets will be returning; and the Jasper String Quartet, Norfolk alumns and winners of the 2012 Cleveland Quartet Award, will make their first appearance on our main series. And on Saturday, July 6, our beloved Tokyo String Quartet will perform its final concert ever. That will be a historic and bittersweet occasion as we congratulate and celebrate the accomplishments of these extraordinary people who have performed and taught at Norfolk for 38 years. Also making their Norfolk debuts this year are celebrated baritone Randall Scarlata, performing Schubert’s masterpiece Die Winterreise with pianist Peter Frankl, and conductor Jeffrey Douma with his superb new Yale Choral Artists in Rachmaninov’s beautiful Vespers.
Our big news on the infrastructure front is that the Battell family home, Whitehouse, is available to us again after two years of construction. Please join us for Family Day on Sunday, July 14, when the house will be open for tours. The afternoon will also include a special concert (2:00 pm) and games for children, courtesy of the Battell Arts Foundation, as well as ice cream for everyone. A second concert at 4:00 pm will feature the extraordinary and exotic sound of the Javenese gamelan – or gong orchestra – Gamelan Suprabanggo. The entire day is free and open to the public.
If you always wanted to learn to play the gong, Yale Professor Sarah Weiss, Director of Gamelan Suprabanggo, will introduce the gamelan on Wednesday, July 10, at 7:30 pm as part of our In Context lecture series. This lecture series takes place every Wednesday evening at 7:30 pm throughout the summer to introduce different aspects of our program. These free presentations are listed in the program book and on the website. I want to express our most sincere gratitude to everyone who has contributed to the ongoing campaign for the Restoration of the Music Shed. As of this writing, we are approximately 1/5 of the way toward our objective of $5,000.000. If we can reach $2,000,000 during 2013, an anonymous donor will contribute an additional million dollars. If you have not had an opportunity to make a contribution or you would like to know more about the project, please see the insert in this program or visit the display in the Music Shed. Jim Nelson and I will be more than happy to answer any questions. We will be launching a Chair Campaign for the Music Shed fund at the Emerson String Quartet concert on Saturday, August 3. That evening sculptures by 14 local artists will be sold in a Silent Auction. They will be on display throughout the summer in the Shed, and you may bid by phone, email or in person at any time up to the end of intermission on August 3. We are extremely grateful to all the artists for their generosity and their extraordinary creativity. Photographs of their beautiful pieces are included in this program as well as on our website. On behalf of the Faculty, Staff and Fellows of the 2013 Norfolk Festival, I also want to thank Dean Blocker and the Yale School of Music, the Battell Stoeckel Trust, and all the donors, patrons and volunteers who have made the season possible. I hope very much that you will enjoy our program and look forward to seeing you this summer. Bring the family (kids always come free at Norfolk), take in the spectacular natural beauty and, most of all, enjoy the wonderful music among good friends. If you have any thoughts or questions, please don’t hesitate to call or send us an email.
Paul Hawkshaw, Festival Director, June 2013.
DIRECTOR'S WELCOME | 3
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Table of Contents 3 ............................. Director’s Welcome 5 ............................. Table of Contents 7 ............................. Festival Acknowledgements 9 ............................. Festival History 11 ............................. Artist Spotlight: Herbert Kefer 12 ............................. Chair Campaign & Silent Auction 15 ............................. Tokyo String Quartet Through Time 21 ............................. Festival Artists 23 ............................. Fellowship Recipients 27 ............................. Festival Administration 28 ............................. Saturday, June 22 • Yale Choral Artists 30 ............................. Music in Context Series & Young Artists' Performance Series 31 ............................. Friday, June 28 • New Music Recital 32 ............................. Friday, July 5 • Weekend Series 34 ............................. Saturday, July 6 • Tokyo String Quartet 36 ............................. Friday, July 12 • Weekend Series
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38 ............................. Saturday, July 13 • Weekend Series 40 ............................. Sunday, July 14 • Family Day Schedule 41 ............................. Sunday, July 14 • Gamelan Suprabanggo 42 ............................. Friday, July 19 • Weekend Series 44 ............................. Saturday, July 20 • Weekend Series 46 ............................. Friday, July 26 • Weekend Series 48 ............................. Saturday, July 27 • Weekend Series 50 ............................. Friday, August 2 • Weekend Series 52 ............................. Saturday, August 3 • Weekend Series 54 ............................. Friday, August 9 • Weekend Series 56 ............................. Saturday, August 10 • Weekend Series 59 ............................. Saturday, August 17 • Choral Festival
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61 ............................. Tokyo String Quartet Through Time, continued 65 ............................. Artist Biographies 77 ............................. Music Shed Restoration Donors 81 ............................. Festival Mission & Leadership Council 82 ............................. Annual Fund Donors
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Acknowledgements The Norfolk Chamber Music Festival — Yale School of Music wishes to express its enormous gratitude to the many individuals and organizations that have helped to make this season possible Burton & Joyce Ahrens Lynne Addison Liz Allyn Dana Astmann John & Astrid Baumgardner Jack Beecher Rick & Candace Beinecke Peter & Amy Bernstein LuAnn Bishop Botelle School, Peter Michelson, Principal Sally Briggs Bill & Jennie Brown Jeffrey Brown Daysi Cardona Chamber Music America, Margaret Lioi, President Carolyn Childs Hope Childs Laura Chilton Kristina Chmelar, Senior Architect Yale University Dennis & Pamela Collins Ken Crilly Hope Dana & John Perkins Tara Deming Ed Domaney, Domaney Wines Carl & Marilee Dudash Sue Dyer, First Chairman, Town of Norfolk First Congregational Church, Rev. Erick Olsen Nicholas Fanelli Valerie Fitch Pamela Frank Adrienne Gallagher Patricia Garland Bill & Barbara Gridley
Erin Gustafson Ann Havemeyer Susan Hawkshaw Coleen & Brett Hellerman Sarah Henderson Jim & Leni Herzog Elizabeth Hilpman & Byron Tucker Evan Hughes Inf inity Music Hall, Dan Hincks Carol Jackson Leila & Daniel Javitch Martin Jean, Director, Yale Institute of Sacred Music Helen & Philip Jessup Gregory Johnson Krista Johnson Jeanne Kazzi Doreen & Michael Kelly Jenna–Claire Kemper Eugene Kimball Robert King, CPA Christopher & Betsy Little David Low & Dominique Lahaussois Litchf ield Piano Works, Joseph DiBlasi John Martin Associates, Architects Kim & Judy Maxwell Chris Melillo Cecily Mermann Samuel D. Messer, Director, Yale Summer School of Art Roger Mitchell & Pete Peterson Michael Morand Lester Morse Norfolk Artists and Friends, Ruthann Olsson
The Norfolk Historical Society, Barry Webber The Norfolk Library Norfolk Lions’ Club Norfolk Volunteer Fire Department Northwest Connecticut Arts Council, Amy Wynn Northwest Connecticut Chamber of Commerce Kevin O’Connor Monica Ong Reed Patricia Pappacoda Aldo Parisot Stefanie Parkyn Linda Perkins Drew & Sally Quale Northwest Regional High School, Steven Zimmerman, Music Coordinator Nancy & Jim Remis Rock Hall Luxe Lodging, Michael & Stella Somers Kathy & Curtis Robb Jason Robins & Laura Usiskin Arthur Rosenblatt Julie Scharnberg Kim Scharnberg Anne–Marie Soullière & Lindsey Kiang Ashley Starkins Carol Stein Robert Storr, Dean, Yale School of Art Lily Sutton Rafi Taherian, Executive Director Yale Dining Services Jerry & Roger Tilles
Select Norfolk performances are broadcast on New York City's classical music station
YA LE SCH O O L O F MUSI C
Francesca Turchiano & Bob Bumcrot Village Wine Impoerts, LLC Peter Vosburgh Sukey Wagner John G. Waite Associates, Architects, John G. Waite Clay Palazzo Matthew Scheidt Michelle Jenkins Mark & Tania Walker Elizabeth Wilford Jacques Wood Michael Yaffe, Associate Dean, Yale School of Music Yale School of Forestry Sir Peter Crance, Dean Mark Ashton Kendall Barbery Christopher Colvin Monte Kawahara Karen Petersen And ... The citizens of Norfolk who share their lovely community with our Fellows, Artists and audiences The host families who graciously open their homes to our Fellows The Battell Arts Foundation, sponsors of the Young Artists’ Performance Series Most of all, Ellen Battell Stoeckel, our founder & patroness
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FESTIVAL ACKNOWLEDGEMENTS | 7
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Festival History Music in Norfolk has a long and vibrant history, dating back to the 1890s when Ellen Battell and her husband Carl Stoeckel, son of the Yale School of Music’s first professor, founded the Litchfield County Choral Union. Chamber music and choral concerts in their 35–room mansion, Whitehouse, were the beginning of the Festival that, by the turn of the century, was already considered one of the country’s most prestigious. As audiences grew, the Stoeckels commissioned New York architect, E.K. Rossiter, to design the larger and acoustically superior Music Shed. Dedicated in 1906, to this day the hall retains all of its original glory and stunning acoustics. It has remained essentially unchanged since its stage was graced by such renowned musicians as Fritz Kreisler, Sergei Rachmaninoff and Jean Sibelius.
(Left to Right ) Conductor Arthur Mees, soprano Alma Gluck, violinists Efrem Zimbalist and Fritz Kreisler in Alma’s new Ford, purchased on the way to Norfolk
Upon her death in 1939, Ellen Battell Stoeckel left her estate in a private trust with instructions that the facilities be used for Yale University’s summer music school, ensuring an enduring artistic legacy. Now in its 71st season, the Norfolk Chamber Music Festival — Yale School of Music has a dual teaching/performance purpose. Audiences from around the country come to northwest Connecticut to hear world–class artists, such as the seven–time Grammy ® nominee Tokyo String Quartet, which has been in residence since 1976. Boris Berman, Peter Frankl, David Shifrin, William Purvis, Frank Morelli, Ani Kavafian and artists from around the world perform as part of a series of more than 30 concerts over a nine–week period. These professional musicians also serve as teachers and mentors to the Fellows who come to Norfolk each year to study.
Young instrumentalists, singers, conductors and composers are selected through a highly competitive international Photo courtesy of the Mees Family. admissions process to spend their summer participating in the intensive program of coaching, classes and performances. They are exposed to every aspect of their future profession: their colleagues, their mentors, and most importantly, their audience. Alumni of the Norfolk program include Alan Gilbert, Richard Stoltzman, Frederica von Stade, Pamela Frank, the Eroica Trio, So Percussion, eighth blackbird, and the Ying, Miró, Shanghai, Saint Lawrence, Cavani, Calder and Jasper quartets.
The Music Shed c. 1920
A strong bond exists with the community, as residents of Norfolk and the surrounding area host the Fellows throughout their summer experience. The Fellows perform on the Young Artists' Performance Series which is offered free to the public throughout the summer. The community of music lovers supports the young performers and becomes their most enthusiastic advocate. Over the years, while Norfolk has become a symbol of quality in chamber music performance and professional study, thousands have enjoyed the picturesque environment of the Ellen Battell Stoeckel Estate and the excellence of one of America’s most distinguished musical traditions.
The interior of the Music Shed c. 1906
FESTIVAL HISTORY | 9
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Artist Spotlight HERBERT KEFER was born in Eisenerz, Austria, in 1960, and began studying violin at the age of five. Subsequently he continued his studies with Prof. Karl Frischenschlager and then with Prof. Karl Stierhof at the University of Music in Vienna. In 1980, he founded, together with three colleagues, the Artis Quartet. From 1984 to 1985, the Quartet spent a year in Cincinnati, Ohio, studying with the LaSalle Quartet. Soon following, the Artis Quartet's international career began. With the Quartet, Kefer has performed at numerous well-known festivals including Salzburger Festspiele, Schubertiade Feldkirch, Wiener Festwochen and the Casals Festival to name a few. The Artis Quartet has produced more than 30 CDs, many garnering prestigious honors including the Grand Prix du Disque and the Diapason d ´Or. In addition to his work with the Quartet, Kefer is in a demand as a soloist as well as a much sought after chamber music partner. In 1991, he was appointed head of the viola department at the University of Music in Graz. Since 2005, he has been the Director of the Weinklang Festival. When you are away touring, do you bring anything special with you to remind you of home? A few photographs of my family. When you f ly what do you like to read? How do you pass the time? Newspapers, books, watch movies, sleep. What is a favorite non-musical past time? Since I can remember I´m making music, so basically there was not such a thing like a real non-musical past time. What is your favorite concert hall (aside from the Music Shed of course) to play in and why? And it doesn’t have to be for a musical reason. Wigmore Hall because of the acoustics, Brahmssaal at the Vienna Musikverein because that´s our home. What does it feel like right before you walk onto the stage? What runs through your mind? Can´t wait to get on stage and play for the people. Sometimes, if you play a piece for the first time, one might have second thoughts… Is there a work that brings to mind a particularly happy memory? For instance, is there a piece that made you want to play your chosen instrument, or one that always reminds you of home or a favorite place? Would you share the work and the memory? Mozart Piano Concerto in C Major, K 415, because this was the first piece I played on the viola, and I deeply fell in love both with the piece and the instrument immediately. Everyone dislikes as least one thing about their profession. Aside from being away from loved ones and home, what is your least favorite part about being a musician? Applying for a US visa…. What is one of your favorite pieces of music and why? There are many, but out of them the Sinfonia Concertante by Mozart. Why? – I hope you will hear… Is there anything about the way classical music is presented to the world that you would like to see change or evolve? I would like to skip the word “classical". Often we hear people say that they don’t listen to classical music or go to classical music concerts for fear of not “knowing anything about it” or “understanding it.” How would you respond to them? What three works would you recommend as an introduction to the genre? From what I´ve learned from my kids, they just got in touch with music, “classical” or otherwise; and it turned out that they started to enjoy Zemlinsky and Schoenberg as well as Beethoven, Bartók and Haydn on an instinctive basis. At the same time they listened to pop music. I think the key is the emotional content. Later on their reception of music was enriched by more knowledge, but I don´t think that it´s necessary for the first encounter.
ARTIST SPOTLIGHT | 11
Music Shed Restoration Fund Chair Campaign & Silent Auction As part of the Music Shed Restoration fund-raising effort, the Norfolk Festival is launching a Chair Campaign. Patrons will be able to name one of the historic Music Shed chairs in perpetuity for a contribution of $250. Your chair(s) will remain in place in the hall with an attractive plaque identifying the donor(s) or dedicatee(s) with a statement of up to 40 characters of the donor’s choice. This is an opportunity to permanently recognize a dear friend, a family member, or yourself. We will make every effort to accommodate specific seat requests on a first-come, first served basis. To kick-start the Chair Campaign, all summer long, we will be holding a Silent Auction of some very special chairs. Fourteen local and regional artists have each created a special work of art using actual historic chairs from the Music Shed. Photographs of their works are found on these pages and on our website. All the new works will be on display in the Shed throughout the summer, and you may bid in person at the concerts or by telephone or email. All bids must be in by the end of intermission at the Emerson String Quartet concert, Saturday evening, August 3. Winners will be announced at the conclusion of that concert. So, in addition to simply having your name on a Music Shed chair, you have the opportunity to own a brand new work created from a historic chair by one of our area’s noted artists. Please stop by the display to see these beautiful pieces. If you have any questions about the Silent Auction or the Chair Campaign, don’t hesitate to ask any of the Norfolk staff.
Sally Briggs • Natalie Burke • Adela Hubers • Wayne Jenkins • Karen Linden • West Lowe & Ruthann Olsson • Samuel D. Messer Ken Musselman • Robert Andrew Parker • Karen Rossi • Ronald J. Sloan • Joseph Stannard • John Thew
Joseph Stannard Ruthann Olsson & West Lowe
12 | MUSIC SHED CHAIR CAMPAIGN
Robert Andrew Parker
Ronald J. Sloan MUSIC SHED CHAIR CAMPAIGN | 13
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In the time of the
Tokyo String Quartet If you’re reading the 2013 Norfolk Festival Program Book, you undoubtedly know by now that the Tokyo String Quartet is retiring. After a 43-year career marked by international acclaim for their concerts, teaching and recordings, they are universally regarded as one of the finest string quartets of the last 100 years. We’re proud to have been their summer home since 1975, and even more honored they have chosen to close their illustrious career in Norfolk. We thought that a fun way to say thank you and acknowledge their extraordinary contribution to Norfolk would be to create a timeline of contemporaneous events from around the world. We hope you will find some surprises or some tidbits of personal interest, but mostly enjoyment.
It is astonishing how much has happened in our world over the last 44 years. We’ve experienced amazing discoveries in space travel with Tokyo String Quartet moon landings, the development of satellites in our own atmosphere, the Hubbell Telescope, the development of the Space Shuttle and Space Stations, and inter-planetary (unmanned so far) missions. There were 9 shuttle launches in the US alone in 1985. And we cannot ignore the cultural shifts of the last forty years in art, music, popular culture, and our moving into the “information age.” Just the last ten years have seen the emergence of social interaction unimaginable even twenty years ago - social media, the internet, and now the ubiquity of hand-held devices. These were science fiction as recently as Star Trek! In literature we’ve enjoyed Mario Puzo’s The Godfather, Philip Roth’s Portnoy’s Complaint, Kurt Vonnegut’s Slaughterhouse Five, Elmore Leonard’s crime novels (his first novel The Big Bounce was rejected eighty-four times before being sold as a film story), as well as Alex Haley’s Roots, Hunter Thompson’s Fear and Loathing in Las Vegas, Alice Sheehy’s Passages and Elizabeth Kübler-Ross’s On Death and Dying. Music is too big a topic to begin, although we will mention that Leonard Bernstein’s Mass was premiered, but his Young People’s Concerts on television were cancelled. And we won’t even start listing the movies, Broadway plays and musicals - there are far too many of note, whether or not you’re a fan. Culturally these times were turbulent as always. We have chosen to avoid most political events, but it is surprising to see how far we’ve come. So much of what we take for granted now about women’s rights, gay rights and human rights results from vicious battles over the last several decades. Some continue today. And political terror which, because of the Boston bombings is on everyone’s mind as we write this, has taken some unexpected routes over the years. Starting with “The Troubles” in Ireland, through events in the Middel East, Western Europe, South Africa, and Asia, terror attacks became part of modern life. We’ll conclude with the same “editor’s caveat” as last year: take all of the following with a grain of salt; the interweb is our source. And keep in mind it was only brought into the world in 1990 - that’s like the 29-year old high-school graduate still living in his parents basement playing video games all day. We also apologize for anything you find important that space kept us from including. Reducing 130 pages to 9 is agonizing, and lots of interesting bits had to go. What’s left reflects a choice. We sincerely hope you find it an interesting and enjoyable diversion. And if you want more, we promise to post other items on the web - so ‘friend’ us on Facebook and keep looking. We think this is fun. We hope you do as well.
— James Nelson, Festival Manager
TOKYO STRING QUARTET TIMELINE | 15
Tokyo String Quartet through time 1969 | Tokyo String Quartet forms at
the Juilliard School: Koichiro Harada and Yoshiko Nakura, violins; Kazuhide Isomura, viola; Sadao Harada, cello. American astronauts, Neil Armstrong and Buzz Aldrin, land on the Moon. Mike Collins stays behind in lunar orbit. Don Wetzel develops the Automated Teller Machine (ATM). The first models are not linked with other machines as later ones will be.
President Nixon and the crew of Apollo 11. Confined to the Mobile Quarantine Facility are (left to right) Neil A. Armstrong, Michael Collins and Edwin E. "Buzz" Aldrin Jr.
Sesame Street premieres on the National Educational Television (NET) network. Monty Python's Flying Circus first airs on BBC One. The Woodstock Festival is held in upstate New York; The Beatles give their last public performance.
The New York Times publicly takes back their ridicule of rocket scientist Robert H. Goddard published in 1920 saying spaceflight is impossible. After 147 years, the last issue of The Saturday Evening Post is published. Australian media baron Rupert Murdoch purchases the largest selling British Sunday newspaper The News of the World. Births: David Grohl; Jennifer Aniston; Hélène Grimaud; Ken Griffey, Jr.; Mariano Rivera Deaths: Ho Chi Minh; Ludwig Mies van der Rohe; Walter Gropius; Brian Jones; Judy Garland; Dwight D. Eisenhower; Ernest Ansermet; King Saud of Saudi Arabia; Conrad Hilton, Jr.; Boris Karloff
1970 | Tokyo String Quartet wins First Prize in the Coleman String Quartet Competition.
Pan American Airways offers the first commercially scheduled service on the new Boeing 747. American Motors Corporation introduces the Gremlin. The Chevrolet Vega and Ford Pinto are introduced. What a year for cars! The Dow Jones Industrial Average at year end was 838; the U.S. inflation rate was 5.84%; the average cost of a new house was $23,450; the average U.S. annual income was $9,400; and the cost of a gallon of gas was 36 cents.
16 | TOKYO STRING QUARTET TIMELINE
Births: Uma Thurman; Tina Fey; Gabrielle Giffords; Kelly Ripa; Matt Damon Deaths: Bertrand Russell; Gypsy Rose Lee; John Barbirolli; Vince Lombardi; Janis Joplin; Jimi Hendrix; Rube Goldberg
1971 | Tokyo String Quartet signs recording contract with Deutsche Grammophon Records
Texas Instruments introduces the first pocket calculator, the Pocketronic. It can only add, subtract, multiply and divide; it weighs about 2.5 pounds and costs around $150. The landmark television sitcom All In The Family, starring Carroll O'Connor as Archie Bunker, debuts on CBS. A new stock market index called the Nasdaq debuts. Births: Gil Shaham; Bobby Jindal; Pete Sampras; Lance Armstrong; Anna Netrebko; Evgeny Kissin; Midori Deaths: Coco Chanel; JC Penney; Harold Lloyd; Igor Stravinsky; Louis Armstrong
1972 | "The Troubles" in Northern Ireland begin. Atari invents Pong, a video game that is an immediate success. In the final Apollo mission (Apollo 17) Eugene Cernan is the last person to walk on the moon. The Dow Jones Industrial Average closes above 1,000 (1,003.16) for the first time. The last U.S. ground troops are withdrawn from Vietnam. Births: Shaquille O’Neal; Ben Affleck; Manny Ramirez; Andy Pettitte; Sofia Vergara; Gwyneth Paltrow Deaths: M.C. Escher; J. Edgar Hoover; Robert Casadesus; Oscar Levant; Jackie Robinson; Charles Atlas Oscar Levant flanked by (right to left) Georges Guétary and Gene Kelly in the 1951 film "An American in Paris."
1973 | OPEC doubles the price of crude oil.
Lyme disease is first recognized at Lyme, Connecticut.
The first handheld cellular phone call is made by Martin Cooper in New York City.
The Dow Jones at year end was 858; the U.S. inflation rate was 9.2%; the average cost of a new house was $39,300; the average U.S. annual income was $14,100; and a gallon of gas was 44 cents.
Federal Express officially begins operations, delivering 186 packages to 25 U.S. cities.
Dr. Martin Cooper with his 2.5-pound, 9-inch long, cell phone.
CBS sells the New York Yankees for $10 million to a 12-person syndicate led by George Steinbrenner. CBS had originally purchased the Yankees for over 13 million dollars.
Births: Bradley Cooper; David Beckham; Jamie Oliver; Tiger Woods Deaths: Thomas Hart Benton; Larry Fine; Sir P.G. Wodehouse; Aristotle Onassis; Moe Howard; Moms Mabley; Ozzie Nelson; Dmitri Shostakovich; Richard Hollingshead (American inventor of Drive-in Theater)
Secretariat wins the Belmont Stakes, becoming the first Triple Crown winner since 1948. Lite Beer is introduced in the U.S. by the Miller Brewing Company. Births: Heidi Klum Deaths: Joseph Szigeti; Sir Noël Coward; Pablo Casals; Otto Klemperer; W.H. Auden; Walt Kelly; Pablo Picasso Heidi Klum
Nobel Peace Prize: Henry A. Kissinger; Le Duc Tho
1974 | Kikuei Ikeda replaces Yoshiko Nakura as second violin in the Tokyo Quartet
Soviet space probe, Mars 5 (launched July 25, 1973), orbits Mars. On August 5 Mars 6 (launched August 5, 1973) flies by and ejects a capsule that crashes on Mars. Mars 7, launched on August 9, 1973, launches a capsule that misses Mars entirely. Oops. In Detroit, MI, former Teamsters Union president Jimmy Hoffa is reported missing. The Fall of Saigon: the Vietnam War ends as Communist forces from North Vietnam take Saigon, resulting in mass evacuations of Americans and South Vietnamese. IBM designs a microcomputer with code name 5100; it is not distributed because IBM believes there will be no market for microcomputers. The Irish Republican Army is outlawed in the United Kingdom.
Over 400 cars attended Hollingshead’s opening night on June 6, 1933, featuring “Wives Beware.” Admission price: 25 cents.
1975 | The only things of note ...
Tokyo String Quartet. Norfolk. The First Concert.
Tokyo String Quartet starts performing on a set of Amati instruments on loan from the Corcoran Gallery in Washington, DC
1976 | In May IBM introduces its first microcomputer, the 5100, with 16 K of memory.
Stephen Wozniak designs the Apple I computer with 4K of memory. The keyboard, power supply, and cassette system are all sold separately. About 175 Apple I's are sold. The space shuttle Enterprise is rolled out of a Palmdale, CA, hangar, 2 years after President Nixon ordered its development. Live from Lincoln Center debuts on PBS. Chairman Mao Zedong, of the People's Republic of China, dies.
The name "Micro-soft" (for microcomputer software) is used by Bill Gates in a letter to Paul Allen for the first time.
TOKYO STRING QUARTET TIMELINE | 17
Tokyo String Quartet continued The French-British supersonic transport, the Concorde, goes into regular service across the Atlantic. Carrying at most 100 passengers, the Concorde fails to become economically successful even with supersonic fares. Births: Peyton Manning; Kevin Garnett Deaths: Agatha Christie; Howlin’ Wolf; Paul Robeson; Lily Pons; Busby Berkeley; Howard Hughes; J Paul Getty; Imogene Cunningham; Johnny Mercer; Gregor Piatigorsky; Lotte Lehmann; Benjamin Britten Nobel Prizes: Saul Bellow (literature); Milton Friedman (economics)
The first cable sports channel, ESPN, known as the Entertainment Sports Programming Network, is launched; the radio news program Morning Edition premieres on National Public Radio. The eradication of the smallpox virus is certified, making smallpox the first, and to date only, human disease driven to extinction. McDonald's introduces the Happy Meal. Births: Drew Brees; Hilary Hahn Deaths: Charles Mingus; John Wayne; Arthur Fiedler; Roy Harris; S.J. Perlman; Nadia Boulanger
1980 | The U.S. severs diplomatic relations with Iran and imposes
1977 | Paul Allen and Bill Gates found Microsoft, which in the
economic sanctions following the taking of American hostages on November 4, 1979.
Snow falls in Miami, FL, for the only time in its history.
Republican challenger and former Governor Ronald Reagan of CA defeats incumbent Democratic, President Jimmy Carter, on November 4, exactly 1 year after the beginning of the Iran hostage crisis.
next couple of years becomes the most important producer of software for microcomputers.
Tenor Luciano Pavarotti and the PBS opera series Live from the Met both make their American television debuts. Pavarotti stars in a complete production of Puccini's La Bohème. Deaths: Vladimir Nabokov; Groucho Marx; Zero Mostel; Ethel Waters; Maria Callas; Leopold Stokowski; Bing Crosby; Guy Lombardo; Sir Charles Chaplin
1978 | The first human baby is conceived outside the body Louise Joy Brown, called the "test-tube baby"
The Camp David Accords are signed between Israel and Egypt. Ford initiates a recall of the Pinto because of a public outcry over gas tank explosions. Births: Ashton Kutcher; Kobe Bryant Deaths: Aram Katchaturian; Jacques Brel; Norman Rockwell; Margaret Mead; Golda Meir Nobel Peace Prize: Anwar Sadat; Menachem Begin
1979 | The Sahara Desert experiences snow for 30 minutes. Philips demonstrates the Compact Disc for the first time. Margaret Thatcher becomes Britain’s first female prime minister.
18 | TOKYO STRING QUARTET TIMELINE
John Lennon is murdered in New York City. World population is 4,434,682,000; 2.6 billion are in Asia; 692 million in Europe; and 256 million in North America. A severe Summer Heat Wave in Southern U.S. causes 1,117 deaths in 20 States. 3M begins sales of its latest product Post-It Notes invented by Arthor Fry and Spencer Silver. Births: Chelsea Clinton; Venus Williams Deaths: Jimmy Durante; Oscar Kokoschka; Jean-Paul Sartre; Alfred Hitchcock; Jose Iturbi; Colonel Sanders
1981 | Peter Oundjian replaces Koichiro Harada as first violin in the Tokyo String Quartet
Iran releases the 52 Americans held for 444 days within minutes of Ronald Reagan succeeding Jimmy Carter as the President of the United States, ending the Iran hostage crisis. A jury of architects and sculptors unanimously selects Maya Lin's design for the Vietnam Veterans Memorial from 1,421 other entries. Births: Chris Thile; Justin Timberlake; Sara Watkins; Beyoncé Knowles Deaths: Samuel Barber; Bill Haley; Howard Hanson; Yip Harburg; Kiril Kondrashin; Bob Marley; Robert Moses; Karl Bohm; Edith Head; Lotte Lenya
1982 | In October compact disc (CD) players are introduced by
1984 | Births: Mark Zukerberg; Lebron James
Michael Jackson releases Thriller, the best selling album of all time.
Deaths: Ethel Merman; Mabel Mercer;Count Basie; Richard Burton; Truman Capote; Leonard Rose; Jan Peerce
CBS/Sony and Philips; the first commercial CD is 52nd Street by composer-singer Billy Joel.
The first emoticons are posted by Scott Fahlman. The Weather Channel airs on cable television for the first time. Cal Ripken, Jr. plays the first of what eventually becomes his record-breaking streak of 2,632 consecutive Major League Baseball games. Births: Ben Roethlisberger; Danica Patrick Deaths: Thelonius Monk; John Belushi; Ayn Rand; Goodman Ace; Carl Orff; William Primrose; Henry Fonda; Ingrid Bergman; Grace Kelly; Glenn Gould; Artur Rubenstein
1985 | Mikhail Gorbachev becomes Secretary of Mark Zukerberg the Soviet Communist Party and de facto leader of the Soviet Union.
British Telecom announces it is going to phase out its famous red telephone boxes. The United Kingdom has its first national Glow-worm day. DNA is first used in a criminal case.
Grace Kelly (right) and Ingrid Bergman
1983 | The first regular U.S. cellular telephone system goes into
operation. By 1987 there will be 312 cellular systems operating in 205 cities. The first testing was done in 1979 in Tokyo and Chicago. Chrysler starts production on the first minivans: the Dodge Caravan and Plymouth Voyager. Deaths: Eubie Blake; Tennessee Williams; Igor Markevitch; Sir William Walton; Alberto Ginastera; R. Buckminster Fuller Nobel Peace Prize: Lech Wałęsa
The Brown Pelican becomes the first species to be removed from the U.S. Endangered Species List.
World population is 4,830,979,000; 2.9 billion are in Asia; 706 million in Europe; and 269 million in North America.
1986 | Microsoft Corporation holds its IPO of stock shares. Geraldo Rivera opens Al Capone's secret vault on national television discovering only a bottle of moonshine. The Oprah Winfrey Show premieres in syndication. News Corporation launches the Fox Broadcasting Company. Deaths: Pierre Fournier; Donna Reed; L. Ron Hubbard; Cary Grant; Desi Arnaz
1987 | During a visit to Berlin, Germany, U.S. President Ronald
Reagan challenges Soviet Premier Mikhail Gorbachev to "tear down" the Berlin Wall. Births: Maria Sharapova; Snooki
Deaths: Liberace; Dmitri Kabalevsky; Andy Warhol; Maria Von Trapp; Andrés Segovia; Jackie Gleason; Fred Astaire; Jaco Pastorius; Jacqueline du Pré; Jascha Heifetz Continued on page 61 Fuller's U.S. Pavillion, a geodesic dome, for the 1967 World’s Fair in Montreal. TOKYO STRING QUARTET TIMELINE | 19
Over 200 concerts every year, most of them free and open to the public, many streaming live online! From early music to new music, from opera to jazz, featuring Norfolk’s favorite performers and many more in chamber music, solo recitals, orchestra, opera, and countless other concerts.
Leon Fleischer, piano
Oneppo Chamber Music Series
Featuring beloved string quartets such as the Artis, Emerson, Hagen, Miró, and Takács, plus the Finckel-Han-Setzer Trio
Horowitz Piano Series
Recitals by Leon Fleischer, Pascal Rogé, and faculty artists, plus faculty concerto performances with the Yale Philharmonia
Emerson String Quartet
Collection of Musical Instruments
Historically-informed performances by artists such as the Smithsonian Chamber Players in the Collection’s intimate space
Opera at the Shubert Theatre, plus autumn Opera Scenes, Liederabend, and a springtime production in Morse Recital Hall
Ellington Jazz Series
Bringing a rich variety of jazz performers to New Haven
Yale in New York
The School’s critically-acclaimed series at Carnegie Hall, with concerts devoted to Hindemith’s legacy, Stravinsky, and more
Philharmonia Orchestra 0f Yale
The upcoming season features conductors Shinik Hahm, Peter Oundjian, and two exciting guest conductors
Faculty Artist Series
Performances by the School of Music’s distinguished faculty
New Music New Haven
Presenting contemporary works by distinguished guest Michael Ford, award-winning faculty, and graduate composers
music.yale.edu concert office · 203 432-4158 Takács Quartet
Festival Artists Robert Blocker Dean
Paul Hawkshaw Director Artis Quartet
Peter Schuhmayer violin Johannes Meissl violin Herbert Kefer viola Othmar Müller cello
Brentano String Quartet Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello
Jasper String Quartet
Cover Image Pamela M. Rouse A childhood in the gently rolling hills of West Texas awakened an eye for nature's forms and colors and provided the inspiration for Pamela's studies at the Glassell School of Art in Houston. Her admiration of the works of Gould, Merian, Audubon and Redoute are recognizable in her landscape and ornithological watercolors. A resident of Norfolk, she created this year's program cover to highlight our current focus on the music shed and its upcoming renovation. Each year, the Festival invites submissions of cover ideas and renderings from area residents.
J Freivogel violin Sae Chonabayashi violin Sam Quintal viola Rachel Henderson Freivogel cello
András Keller violin Zsófia Környei violin Zoltán Gál viola Judith Szabó cello
Tokyo String Quartet Martin Beaver violin Kikuei Ikeda violin Kazuhide Isomura viola Clive Greensmith cello
Gamelan Suprabanggo Sarah Weiss director Norfolk Festival Chamber Orchestra and Chorus Norfolk Contemporary Ensemble
Yale Brass Trio
Allan Dean trumpet William Purvis French horn Scott Hartman trombone
Yale Choral Artists Jeffrey Douma director
Martin Bresnick Director, New Music Workshop Aaron Jay Kernis Ezra Laderman David Lang Ingram Marshall Christopher Theofanidis
Festival Artists Ole Akahoshi cello
Syoko Aki violin Scott Bean trombone Boris Berman piano
Robert Blocker piano
Dashon Burton baritone
Simon Carrington conductor Ettore Causa viola Megan Chartrand soprano Claude Frank piano Peter Frankl piano
Ani Kavafian violin
Humbert Lucarelli oboe Lisa Moore piano
Frank Morelli bassoon
Joan Panetti piano/composer Sherezade Panthaki soprano Julian Pellicano conductor Ilya Poletaev piano/harpsichord Randall Scarlata baritone
André-Michel Schub piano David Shifrin clarinet
Richard Stoltzman clarinet James Taylor tenor Stephen Taylor oboe Virginia Warnkin alto Ransom Wilson flute
Composers in Residence
Astrid Baumgardner Paul Berry Jeffrey Douma Thomas Duffy Robert Holzer Sarah Ioannides Charles Kaufmann James Nelson Ilya Poletaev Sarah Weiss
Photo Credits Marco Borggreve Deanne Chin Kelly Davidson Christian Ducasse Andrea Felvégi Bob Handelman Lisa-Marie Mazzucco Bernard Mindich Mozingo Photography James Nelson Vincent Oneppo Nina Roberts Peter Serling Peter Schaaf Christian Steiner Lynette Stoyles
For artist photo credits, please visit our website at norfolkmusic.org.
Carol Wincenc flute Wei–Yi Yang piano
Artists and programs are subject to change without notice.
FESTIVAL ARTISTS | 21
BATTELL ARTS FOUNDATION Proud to support the Norfolk Festival's Young Artists' Performance Series for the 14th Year. The Battell Arts Foundation is a philanthropic organization dedicated to supporting educational events and performances involving music, drama, and the visual arts in Norfolk, Colebrook, and the surrounding area. Projects we sponsor include:
Norfolk Chamber Music Festival’s Young Artists’ Performance Series on Thursday evenings and Saturday mornings
Community Drawing Classes and Children’s Art Camp provided by the Art Division of the Yale Summer School
Children’s Concert and post-concert field activities on Norfolk Festival Family Day
Scholarships for area young people to pursue further studies in the arts
Three-week drama workshop at the local elementary school led by a professional artist-in-residence
Two-week intensive theater arts summer camp for older students culminating in free public performances
Performances and master classes given at the local elementary school by Yale School of Music students during the school year
Arts workshops for teenagers and museum visits for school classes
We invite you to join the Battell Arts Foundation in supporting our mission to promote education and participation in the arts in our area. Please contact us for more information about our activities. All donations are tax deductible.
Battell Arts Foundation, P O Box 661, Norfolk, CT 06058
Fellowship Recipients Chamber Music Session Kubrick Quartet
Sarah Arnold violin Rice University
Wonyoung Jung violin Yale School of Music
Orin Laursen violin Alan Choo violin Dian Zhang viola Javier Iglesias Martin cello
Daniel Baer piano The Juilliard School
Cholong Kang flute Yale School of Music
Weronika Balewski flute Longy School of Music
Rachel Koeth bassoon Stony Brook University
Joseph Betts French horn Columbia University and The Juilliard School
Leah Kohn bassoon The Juilliard School
Manhattan School of Music New England Conservatory Oberlin Conservatory
Aaron Plourde trumpet Casey Tamanaha trumpet Valerie Sly French horn Zachary Guiles trombone Andrew Nowry tuba
Thalia String Quartet
L ouise Willson S chol arship Cleveland Institute of Music Michelle Abraham violin Solomon Liang violin Esther Nahm viola James Jaffe cello
Rebekah Carpio clarinet Eastman School of Music
François Laurin-Burgess clarinet Conservatoire de Musique du Québèc à Montréal
Hsuan-Fong Chen oboe Yale School of Music
Mitchell Lyon cello The Juilliard School
William Gardiner composer John and A strid Baumgardner Scholarship Yale School of Music
Paul Nemeth double bass Yale School of Music
Timothy Gocklin oboe Yale School of Music
Hannah Ross viola 2006 Centenary Committee Scholarship The Juilliard School
Juliana Han piano The Juilliard School
Haeyoon Shin cello Yale School of Music
Gergana Haralampieva violin C lement C l ark M oore S chol arship Curtis Institute of Music
Mina Um violin The Juilliard School
Lauren Hunt French horn Yale School of Music
Matthew Welch composer John and A strid Baumgardner Scholarship Yale School of Music
Oliver Jia piano Yale School of Music
Xinyi Xu viola Yale School of Music
FELLOWSHIP RECIPIENTS | 23
Stealing Base Cuba at Bat
June 6 - Sept 6 2013 www.the8thfloor.org
Harold Vázquez Ley from the series, Límites de salación , 2009 C-print
THE LITCHFIELD COUNTY CHORAL UNION, INC. Est. 1899
Jonathan F. Babbitt, Music Director with The Litchfield County Choral Union Festival Orchestra Presents
VERDI’S REQUIEM Sunday, July 28, 2013 at 3:00 p.m. The Music Shed at the Ellen Battell Stoeckel Estate The Yale Summer School of Music and Art Route 44 in Norfolk, Connecticut Tickets: Adult $25.00 Senior/Student $20.00 For ticket information or reservations call: (860) 868-0739 or (860) 542-5039
17 West 17th St New York City
Fellowship Recipients New Music Workshop Katherine Balch composition New England Conservatory and Tufts University
Lindsey Gamble violin Violin/Viola Faculty, Rutgers University Extension Division
Andrew Boss composition Kountz F und Scholarship Peabody Conservatory
Molly Joyce composition Kountz F und Scholarship The Juilliard School
Erika Dohi piano Manhattan School of Music
Brendan McMullen composition Rice University
Hilary Purrington composition Rice University
Ashley Smith clarinet Yale School of Music
Jeff Stern percussion Peabody Conservatory
Gregory Vartian-Foss double bass Yale School of Music
Hana Beloglavec trombone Yale School of Music
Chamber Choir & Choral Conducting Workshop Joel Bevington tenor/conductor Louisiana State University, Baton Rouge
Christopher Gilliam bass Director of Choral Activities, Davidson College
Ryan Brown bass baritone Westminster Choir College
Jonathan Harvey bass University of Connecticut
Min-Young Jennifer Lee soprano/conductor Eastman School of Music
Jerilyn Chou soprano University of Texas, Arlington
Maximilian Holman tenor/conductor Rutgers University
Josh Levine bass baritone University of Houston
Toran Davenport bass baritone Walnut Creek, CA
Justin Jalea tenor/conductor Calgary, AB
Blake Morgan tenor Western Michigan University
Renata Dworak alto Eastman School of Music
Liska Jetchick alto Artistic Director, Conspirato Chamber Singers, London, ON
Elizabeth Morrow alto University of Rhode Island
James Knox Sutterfield bass baritone/conductor Yale School of Music
Katherine Johnson mezzo soprano St. Luke's United Methodist Church, Houston, TX
Elizabeth NĂşĂąez soprano/conductor Associate Conductor, Young People's Chorus of New York City
Alexandra Whitfield soprano Longy School of Music
Timothy Keeler alto/conductor University of Michigan, Ann Arbor
Hallie Reed soprano Choir Director, Cy-Fair High School, Houston, TX
Sarah Frook mezzo soprano/conductor Richmond, VA Katie Gardiner alto/conductor Choral Director and Lecturer in Music, Skidmore College, Saratoga Springs, N Y
Mark Laseter tenor Westminster Choir College
Daniel Schlosberg composer John and A strid Baumgardner Scholarship Yale School of Music
Nate Widelitz tenor/conductor Yale School of Music
FELLOWSHIP RECIPIENTS | 25
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Festival Administration Norfolk Chamber Music Festival Leadership Council Robert Blocker Paul Hawkshaw Joyce Ahrens John Baumgardner Kathleen Kelley Christopher Little James Remis Byron Tucker Sukey Wagner
Administration & Staff Robert Blocker Paul Hawkshaw James Nelson Deanne Chin Donna Yoo
Dean Director General Manager Associate Manager Operations and Administrative Associate
Brian Daley Nicholas DeMaison Joseph DiBlasi Carolyn Dodd William Harold William Hunt Kenneth Mahoney Emma Terrell Jaci Wilkinson Mateusz Zechowski
Piano Curator Production Manager Piano Tuner Facilities Manager Piano Curator Box Office Assistant Head Chef Box Office Assistant Librarian/Director’s Assistant Recording Engineer
Ellen Battell Stoeckel Trust Samuel A. Anderson Benjamin Polak Anne–Marie Soullière
Trustee Trustee (Yale University) Trustee
Yale University Richard C. Levin President Peter Salovey President-Elect Benjamin Polak Provost Linda Koch Lorimer Vice President Dorothy K. Robinson Vice President & General Counsel Kimberly M. Goff-Crews Vice President for Student Life & Secretary Bruce D. Alexander Vice President & Director of New Haven and State Affairs Joan O'Neill Vice President for Development Emily P. Bakemeier Deputy Provost for the Arts and Humanities Jack Beecher Senior Director of Business Operations Regina Starolis Executive Assistant to the President
Contact the Festival Year Round Email:
June – August Mail: Street: Tel: / Fax:
PO Box 545, Norfolk, CT 06058 Ellen Battell Stoeckel Estate, 20 Litchfield Road, Norfolk, CT 06058 860.542.3000 / 860.542.3004
September – May Mail: PO Box 208246, New Haven, CT 06520 Street: 500 College St, Ste 301, New Haven, CT 06520 Tel: / Fax: 203.432.1966 / 203.432.2136
FESTIVAL ADMINISTRATION | 27
Program Notes CHESNOKOV: Spaseniye sodelal (Salvation is Created), Op 25, No. 5
Beautiful long lines infuse this short yet stirring work. Chesnokov was a contemporary of Rachmaninoff and shared his rich, late-romantic compositional st yle. He composed hundreds of sacred choral pieces until the Russian Revolution banned sacred music, at which time he turned to secular works. Written in 1912, Salvation is Created is his most famous and often performed composition. It is a communion hymn consisting of t wo verses of identical music plus a coda. Its long lines and lush, exultant harmonies radiate the joy of deliverance. | Laura Usiskin
RACHMANINOV: All -Night Vigil (The Vespers), Op 37
Sergei Rachmaninov’s Vsenoshchnoye bdeniye (All-Night Vigil), usually referred to in the United States as his “Vespers,” is one of the composer’s
most beloved creations, and has been embraced as both a pinnacle of Russian Orthodox liturgical music and one the twentieth century’s finest extended works for a cappella chorus. This evening’s performance marks the first performance of the All-Night Vigil in the Music Shed, a venue once graced by Rachmaninov himself, who visited Norfolk in 1920 to perform his Second Piano Concerto. Choral music comprises a small but important subset of Rachmaninov’s oeuvre. In addition to several early works, the All-Night Vigil is preceded by one other extended liturgical work, the Liturgy of St John Chrysostom of 1910, and by his choral symphony Kolokola of 1913, a setting of a free Russian translation of Edgar Allan Poe’s The Bells. Composed in 1915, the All-Night Vigil came at the end of a period that many consider to be the “Golden Age” of Russian Orthodox church music. It began around 1880 and continued to the revolution of 1917, with contributions by such composers as Tchaikovsky and Rimsky-Korsakov, as well as choral specialists such as Gretchaninov, Kastalsky, and Chesnokov (whose beautiful Spaseniye sodelal begins our concert this evening). The All-Night Vigil service is actually a combination of three services – Vespers, Matins, and First Hour - first introduced to Russia in the fourteenth century. Rachmaninov selected the psalms and hymns of the Resurrectional Vigil, sung on Holy Saturday evening. Many of the texts are familiar to Western audiences, including the Nunc dimittis, Magnificat, and Ave Maria. Rachmaninoff later recalled his first playing of the score on the piano for Nikolai Danilin, who conducted the first performance with the Moscow Synod Choir: Toward the end [of the Nunc dimittis] there is a passage sung by the basses – a scale descending to the lowest B-flat in a very slow pianissimo. As I played this passage, Danilin shook his head, saying, “Where on earth are we going to find such basses? They’re as rare as asparagus at Christmas!” Of course, he did find them. I knew the voices of my countrymen, and I well knew what demands I could make of Russian basses! As dictated by Russian Orthodox tradition, the All-Night Vigil is composed with no instrumental accompaniment, and compared to Rachmaninov’s instrumental works, it makes use of a rather conservative musical language. Ten of its fifteen movements are based on traditional chant melodies from the Znamenny, Greek, and Kiev chant traditions, and in the remaining five movements, Rachmaninov adopts the simple, stepwise melodic formulas of the existing chants, creating what he referred to as “a conscious counterfeit of the ritual.” Despite these apparent limitations, Rachmaninov’s setting of the All-Night Vigil never ceases to be intensely expressive, with a harmonic language that is at once deceptively simple and amazingly rich, and an affinity for the sound of the human voice that few composers could ever hope to match. | Jeffrey Douma
28 | JUNE 22, 2013
Concert Program Norfolk Chamber Music Festival | Saturday, June 22, 8:00 pm Spaseniye sodelal (Salvation is Created), Op 25, No. 5
Jeffrey Douma condcutor — Yale Choral Artists
All-Night Vigil (The Vespers), Op 37
Pavel Chesnokov (1877 - 1944)
Priidite, poklonimsya (Come, let us worship) Blagoslovi, dushe moya, Gospoda (Bless the Lord, O My Soul) Blazhen muzh (Blessed is the Man) Svete tikhiy (Gladsome Light) Nïne otpushchayeshi (Nunc dimittis) Bogoroditse Devo (Ave Maria) Shestopsalmiye (The Six Psalms) Khvalite imya Gospodne (Praise the Name of the Lord) Blagosloven yesi, Gospodi (Blessed Art Thou, O Lord) Voskreseniye Khristovo videvshe (Having Beheld the Resurrection of Christ) Velichit dusha moya Gospoda (Magnif icat) Velikoye slavosloviye (The Great Doxology) Tropar’. Dnes spaseniye (Troparion: Today Salvation is Come) Tropar’. Voskres iz groba (Troparion: Thou Didst Rise from the Tomb) Vzbrannoy voyevode (To Thee, the Victorious Leader)
(1876 - 1943)
Jeffrey Douma condcutor — Dann Coakwell tenor — Yale Choral Artists
Welcome to the families, teachers and staff of the Botelle and Northwest Regional High Schools Yale Choral Artists Jeffrey Douma conductor soprano: alto: tenor: bass:
Arianne Abela — Sara Marks — Sherezade Panthaki — Amanda Sidebottom — Sonja Tengblad — Brenna Wells Judy Bowers — Eric Brenner — Carrie Cheron — Mary Gerbi — Kate Maroney — Emily Marvosh Max Blum — Dann Coakwell — Andrew Crane — Alex Guerrero — Noah Horn — Stephen Soph Cameron Beauchamp — Dashon Burton — Bradford Gleim — Glenn Miller — Tian Hui Ng — Jason Thoms JUNE 22, 2013 | 29
Music in Context
FREE & OPEN TO THE PUBLIC!
Wednesdays, at 7:30 pm — All events are at Battell Recital Hall unless noted
June 19 Charles Kaufmann Artistic Director, The Longfellow Chorus Documentary Film: Samuel Coleridge-Taylor and His Music in America, 1900–1912 June 26 Jeffrey Douma Yale School of Music A Conductor's Perspective on Composing for Choirs July 3 Robert Holzer Yale School of Music Late Quartets July 10 Sarah Weiss Yale Deparment of Music Love Songs and Royal Processions: Javanese Gamelan in Norfolk July 17 Norfolk Listening Club Led by James Nelson Music of Vienna I - with live music
July 24 Norfolk Listening Club Led by James Nelson Music of Vienna II - with live music July 31 Thomas Duffy Yale School of Music Music and the Brain – Aural Illusions and Bi-lateral Conductors August 7 Paul Berry Yale School of Music Beethoven, Brahms, Bartók: The String Quartet in the Shadow of Haydn and Mozart August 14 Ilya Poletaev McGill University The diverse world of the Well-Tempered Clavier (Lecture to be held in the Music Shed)
Young Artists' Performance Series Sponsored in part by the Battell Arts Foundation Catch a rising star as the Festival presents its Young Artists' Performance Series. These casual concerts are in the Music Shed and are free of charge. Throughout the years, Norfolk audiences have heard hundreds of emerging artists who have gone on to successful professional careers. Norfolk alumni perform with the most illustrious musical organizations in the world: the Metropolitan Opera Orchestra, the Chicago Symphony, the Saint Lawrence, Muir, Miró, Ying, Brentano, Shanghai and Maia string quartets; the Claremont and Eroica trios; and new music ensembles such as eighth blackbird and SO PERCUSSION. Syoko Aki, Claude Frank, Pamela Frank, Frederica von Stade, Alan Gilbert, and Richard Stoltzman are all former students of Norfolk. Whether you are an aficionado or a chamber music novice you will enjoy the wonderful performances and casual environment these programs offer. Families with children are most welcome. Repertoire and ensembles are chosen weekly. Program details are posted on the Norfolk website as they become available. Please visit us at norfolkmusic.org
FREE & OPEN TO THE PUBLIC!
Concerts are held at the Music Shed
Performance dates: Thursday Saturday Thursday Saturday Thursday Saturday Thursday Saturday Tuesday Thursday Saturday Tuesday Thursday Saturday
• • • • • • • • • • • • • •
July 4 July 6 July 11 July 13 July 18 July 20 July 25 July 27 July 30 August 1 August 3 August 6 August 8 August 10
• • • • • • • • • • • • • •
7:30 pm 10:30 am 7:30 pm 10:30 am 7:30 pm 10:30 am 7:30 pm 10:30 am 7:30 pm 7:30 pm 10:30 am 7:30 pm 7:30 pm 10:30 am
Concert Program Norfolk Chamber Music Festival | Friday, June 28, 7:30 pm This evening's program will be announced from the stage.
with world premieres by Fellows of the Norfolk New Music Workshop Katherine Balch composer — Andrew Boss composer — Molly Joyce composer Brendan McMullen composer — Hilary Purrington composer
Norfolk Contemporary Ensemble Martin Bresnick director — Julian Pellicano conductor
Ashley Smith clarinet — Hana Beloglavec trombone — Erika Dohi piano
Jeff Stern percussion — Lindsey Gamble violin — Gregory Vartian-Foss double bass JUNE 28, 2013 | 31
Program Notes MUSIC FROM VIENNA At some point in their lives, all of the composers on this evening's programs worked, studied or taught within a few-block area of Vienna - musical capital of the world from the middle of the 18th to the beginning of the 20th century. Haydn is the father of Viennese classical style. His four "London Flute Trios" from 1794 were a gift to the Baron of Aston during one of the composer's trips to England later in his life. Haydn must have known of the flute's growing popularity in England when he chose the instrumentation for the works. Mahler's Piano Quartet in a minor (or, more precisely, Quartettsatz, a single completed movement for Quartet) most likely dates from 1875-1878 when he studied harmony with Anton Bruckner at the Vienna University. Its dense and homogeneous scoring, with much doubling between piano and string parts, is reminiscent of Schumann’s chamber style, while the virtuoso passages in the piano and a startling violin cadenza seem – strangely – almost “Lisztian.” Schubert, who spent his enire life in Vienna, wrote his Rondo Brilliante in 1826 for the young virtuoso violinist Josef Slawjk, who premiered the work to great acclaim. The work is comprised of two sections, a slow Andante that introduces much of the motivic material of the piece, and a lengthier Allegro. Bruckner's Locus iste and Christus factus es are two of the magnificent motets he composed as organist of the Vienna Court Chapel. Mozart, the quintisential Viennese composer, scored his Adagio and Rondo for winds, strings and glass harmonica, an instrument Benjamin Franklin invented that consists of a series of glass bowls of different sizes that produce varying pitches when rubbed. Somewhat common in the 19th century yet obsolete today, the glass harmonica appeared in several of Mozart’s compositions. Today most ensembles substitute piano or harp for the glass harmonica. Alban Berg lived in Hietzing, a suburb of Vienna and studied with Arnold Schoenberg. The Adagio is his own arrangement of the second movement of his Chamber Concerto from 1923-25. He intended the trio to serve as a more accessible version of the Concerto, which performers found lengthy and difficult. Like Wozzeck and other Berg compositions, the Adagio combines twelve-tone technique with atonality to create a work of stirring expressionism. Beethoven came to Vienna to study with Haydn. The opus number for Kakadu Variations follows that of another variation-form piece, the venerated Diabelli Variations, yet much of its conception came 20 years earlier. The title comes from Ich bin der Schneider Kakadu (I am the Tailor Cockatoo), a Wenzel Müller song whose melody Beethoven takes for his theme. Unlike typical variation form, the piece begins with a slow introduction that occupies 1/3 of the entire piece. The light-hearted, charming theme and ten variations that follow could not contrast more with the opening material. | Laura Usiskin
32 | JULY 5, 2013
Concert Program Norfolk Chamber Music Festival | Friday, July 5, 8:00 pm Trio for Flute, Cello and Piano in G Major, HOB IV/3 Spiritoso Andante Allegro
Franz Josef Haydn (1732 - 1809)
Ransom Wilson flute — Othmar Müller cello — Peter Frankl piano
Quartettsatz for Piano Quartet in a minor
Nicht zu schnell
Peter Schuhmayer violin — Herbert Kefer viola — Othmar Müller cello — Peter Frankl piano
Rondo Brilliant for Violin and Piano in b minor, Op 70
(1860 - 1911)
Franz Schubert (1797 - 1828)
Peter Schuhmayer violin — Peter Frankl piano
| Intermission | Locus iste Christus factus es
Anton Bruckner (1824 - 1896)
Yale Brass Trio — with Fellows of the Norfolk Festival
Adagio and Rondeau for Glass Harmonica in c minor, K 617
Wolfgang Amadeus Mozart
Ransom Wilson flute — Timothy Gocklin oboe — Herbert Kefer viola Othmar Müller cello — Peter Frankl piano
Adagio for Clarinet, Violin and Piano
Richard Stoltzman clarinet — Johannes Meissel violin — Peter Frankl piano
Ten Variations for Piano Trio, Op 121a, “Kakadu Variations”
(1756 - 1791)
(1885 - 1935)
Ludwig van Beethoven
Johannes Meissel violin — Othmar Müller cello — Peter Frankl piano
(1770 - 1827)
Welcome to the families, teachers and staff of the Botelle and Northwest Regional High Schools Yale Brass Trio
William Purvis French horn — Allan Dean trumpet — Scott Hartman trombone JULY 5, 2013 | 33
Concert Program Norfolk Chamber Music Festival | Saturday, July 6, 8:00 pm String Quartet in G Major, Op 77, No. 1
Franz Josef Haydn (1732 - 1809)
Allegro moderato Adagio Menuetto: Presto Finale: Presto Tokyo String Quartet
String Quartet No. 6
(1881 - 1945)
Mesto: Più mosso, pesante - Vivace Mesto: Marcia Mesto: Burletta: Moderato; Mesto Tokyo String Quartet
| Intermission | Claude-Achille Debussy
String Quartet in g minor, Op 10
(1862 - 1918)
Animé et très décidé Assez vif et bien rythmé Andantino, doucemente expressif Très modéré Tokyo String Quartet
TONIGHT'S CONCERT IS A BENEFIT FOR THE RESTORATION OF THE MUSIC SHED Tokyo String Quartet
Martin Beaver violin — Kikuei Ikeda violin — Kazuhide Isomura viola — Clive Greensmith cello JULY 6, 2013 | 35
Program Notes SCHUBERT: Die Winterreise, D 911
Franz Schubert created two of the most renowned, moving, and complex Song Cycles. Composed in two parts in 1827, Die Winterreise (The Winter’s Journey) came three years after his first cycle Die schöne Müllerin. Both works set poetry from collections of the German poet, Wilhelm Müller, though Schubert takes liberties on the order and inclusion of poems in both cases. Die Winterreise is one of the most often performed and recorded song cycles of all time. Unlike Die schöne Müllerin, Die Winterreise ruminates and contemplates rather than narrates and progresses. A forlorn lover travels through the winter’s night, yet the cycle is more of a nostalgic journey backwards rather than a voyage forwards. Whether the plot is simple and uncomplicated, a metaphor for the journey towards death, or any number of other interpretations is for the individual listener to resolve. While the singer pontificates, the piano provides pictorial complements and substantive reflections on the traveller’s mood and surroundings. Rustling wind, crowing birds, rushing water, frozen tears and other images appear throughout the work. The first piece sets the tone of the cycle, a somber fourverse song in d minor. Steady rhythms in the piano depict the wanderer’s footsteps, a recurring feature in the cycle. The song uses two enharmonic keys, the first of many such pairings. The famous fifth song Der Lindenbaum is the first in a major key and serves as a gentle respite after four songs of sorrow. Rippling triplets in the piano depict wind as the singer recalls fond moments beneath the Linden Tree. Yet there are moments of sadness and anger, including a tragic reference to suicide at the end: “Come – find peace with me.” The seventh song Auf dem Flusse is one of the most popular for singers to perform separate from the cycle. The second half of the cycle opens with the posthorn fanfare and clomping hooves of the mail coach. The absence of a letter from his lover brings the traveller sorrow. The thirdto-last song Das Wirtshaus features a sublime hymn in the Georges de La Tour warm key of F Major. The cycle ends with the famous Der "The Hurdy-Gurdy Player," c. 1631-1636 Leiermann (The Hurdy-Gurdy Player). The piano left hand holds a droning ostinato while the right hand and singer alternate presenting melodic material that drifts, wanders, and repeats without destination. The cycle ends with a question, the fate of the wanderer undecided: “Will you play my songs?”
| Laura Usiskin
36 | JULY 12, 2013
Concert Program Norfolk Chamber Music Festival | Friday, July 12, 8:00 pm Introduction to the Song Cycle
Peter Frankl piano — Paul Hawkshaw director
Die Winterreise (The Winter Journey), D 911
Gute Nacht (Good Night) Die Wetterfahne (The Weather-vane) Gefrorne Thränen (Frozen Tears) Erstarrung (Numbness) Der Lindenbaum (The Lime-tree) Wasserflut (Torrent) Auf dem Flusse (At the Stream) Rückblick (Retrospect) Irrlicht (Will-o’-the-Wisp) Rast (Rest) Frühlingstraum (A Dream of Springtime) Einsamkeit (Loneliness)
Die Post (The Post) Der greise Kopf (The Hoary Head) Die Krähe (The Crow) Letzte Hoffnung (A Last Hope) Im Dorfe (In the Village) Der stürmische Morgen (A Stormy Morning) Täushung (Deception) Der Wegweiser (The Signpost) Das Wirtshaus (The Inn) Mut! (Courage!) Die Nebensonnen (The Phantom Suns) Der Leiermann (The Hurdy-Gurdy Player)
Franz Schubert (1797 - 1828)
Poems by Wilhelm Müller (1794 - 1827)
Randall Scarlata baritone — Peter Frankl piano
| This concert has no intermission |
JULY 12, 2013 | 37
Program Notes HAYDN: String Quartet No. 7 in A Major, Op 2, No. 1, HOB III/7
Before settling on the four-movement form that pervaded the majority of his string quartets, Haydn used the five-movements popular for divertimentos at the time. Having five movements allows for the two outer allegros and two inner minuets to balance a central slow movement at the heart of the piece. Haydn wrote his Opus 2 quartets around the beginning of his long-term employment with the Esterhazy Court in the early 1760’s. They are among the earliest of over 80 innovative and delightful string quartets he would come to write and that would earn him the designation “Father” of the string quartet. In this quartet, a charming four-note motive runs throughout the first movement. The two minuets have distinct trio sections, the first in minor and the second with plucking in the lower voices. The middle movement features an endearing melody in the first violin as the two inner string parts pulsate triplets. The finale bubbles with excitement and brings the work to a rousing close.
KREISLER: String Quartet in a minor
Like many of the world’s greatest virtuoso performers, Fritz Kreisler was also a composer, with dozens of works to his credit. The vast majority of them are for violin, but he also wrote operettas, songs, and this single string quartet. At the time of the quartet’s composition in 1922, Kreisler’s fellow Austrian composers, among them Schoenberg and Webern, were in the throes of atonality and twelve-tone writing. Eschewing the trend, Kreisler drew inspiration from the rich textures and chromatic harmonies of late-Romantic composers including Dvořák and Debussy. He could have chosen to compose a virtuosic first violin part which he was capable of playing, and which would have put the other three voices in an accompanimental role. Instead, he strove to create equality amongst the four instruments. The first movement begins with a slow introduction featuring two cello cadenzas. The second movement contains two outer effervescent sections and a contrasting lush middle passage. The short third movement receives a special title, “Introduction and Romance.” The playful, gracious fourth movement features a folksy melody in the violins and off beat accents in the viola and cello. The piece ends with nostalgic memories of the opening movement.
BRUCKNER: String Quintet in F Major
While some composers choose to write in a myriad of genres – operas, quartets, songs, and more – Bruckner is well known for having done the opposite. Focusing his attention on symphonies and choral music, the String Quintet in F Major is one of only two chamber pieces to his name. Bruckner wrote the quintet in 1879 at the suggestion of Joseph Hellmesberger, a premiere violinist of the day and teacher at the Vienna Conservatory. The date of its composition falls between that of Bruckner’s fifth and sixth symphonies. Audiences received the work well at its premiere in 1881. One reviewer wrote, “It is entirely original music which could only be written by this composer. We hope one day to hear Bruckner's Quintet in the finest performance of which Vienna is capable. It cannot be ignored.” The Quintet resembles Bruckner's symphonies in structure. The first movement is in sonata form, though there are two main subjects instead of his usual three. The first violin presents the first warm, inviting theme. A forceful unison passage, characteristic of Bruckner, begins the development section. The second movement is a Scherzo with an off beat theme that conceals the movement’s triple meter. The trio section of the second movement presents congenial melodies and passages in pizzicato. The third movement is a sublime Adagio in the remote key of G-flat Major and serves as the emotional heart of the piece. The finale presents three contrasting themes, the third of which occurs in a fugal passage. The coda reveals Bruckner’s symphonic tendencies, bringing the work to a jubilant and bombastic finish.
| Laura Usiskin
38 | JULY 13, 2013
Concert Program Norfolk Chamber Music Festival | Saturday, July 13, 8:00 pm String Quartet No. 7 in A Major, Op 2, No. 1, HOB III/7 Allegro Menuet Adagio Menuet Finale: Allegro molto
Franz Josef Haydn (1732 - 1809)
String Quartet in a minor
(1875 - 1962)
Fantasia Scherzo Einleitung und Romanze Finale Artis Quartet
| Intermission |
String Quintet in F Major
Anton Bruckner (1824 - 1896)
Gemässig; Moderato Scherzo: Schnell Adagio Finale: Lebhaft bewegt Ettore Causa viola — Artis Quartet
Peter Schuhmayer violin — Johannes Meissl violin — Herbert Kefer viola — Othmar Müller cello JULY 13, 2013 | 39
Family Day at the Festival Sunday, July 14, 2013
All Family Day events are FREE and OPEN to the public
2:00 pm • Music Shed
Performance for Kids
2:00 pm - 3:45 pm • Whitehouse
3:00 pm - 3:45 pm • Music Shed 4:00 pm • Music Shed
Tours of Whitehouse
Ice Cream Social & Children's Games Gamelan Suprabanggo
Family Day children's games and activities are sponsored in part by the Battell Arts Foundation
Norfolk's Family Day events are part of Norfolk ArtsWave! For a complete listing of events town-wide, visit norfolkartswave.org.
40 | JULY 14, 2013
Concert Program Norfolk Chamber Music Festival | Sunday, July 14, 2:00 pm This afternoon's program will be announced from the stage.
With funds provided by the Yale Council on Southeast Asia Studies, and through the efforts of the Yale Department of Music and Yale Gamelan founding director, Dr. Sarah Weiss, this set if instruments was purchased from Ki Midiyanto Central Javanese dhalang, or puppeteer, and long time teacher at UC-Berkeley. The instruments were shipped from Wonogiri, Indonesia where they had been used regularly for wayang and klenengan performances. The ensemble was named Gamelan Suprabanggo, a singkatan formed from the names of the sons of Ki Midiyanto (Supraba and Anggo).â€¨â€¨In spring of 2007, Dr. Weiss began teaching Yale's first seminar on the history, theory, aesthetics, cultural contexts and performance of Javanese karawitan. The students in the seminar form the core of the Gamelan Suprabanggo.
JULY 14, 2013 | 41
Program Notes BEETHOVEN: String Quartet in c minor, Op 18, No. 4
Beethoven’s Opus 18, No. 4, was composed between 1798 and 1800, as one of his first set of quartets. It begins with a Allegro, driving, and intense. The second theme is almost the same as the opening only in a major key. There is no slow movement in the work. The second movement is built on a regal fugal subject comprised of three repeated notes and a scale. The third movement is a Scherzo rather than a minuet. The last movement is a Rondo whose staccato refrain contrasts with its smooth, lyrical episodes. To bring the impassioned work to a close, Beethoven indicates that the end be played as fast as possible.
WEBERN: Langsamer Satz
Webern made indelible contributions to 20th-century music through skillfully crafted, highly condensed twelve-tone works, a technique he learned from his great teacher Arnold Schoenberg. Langsamer Satz, however, is an early, unpublished work that Webern wrote in 1905 as an assignment for Schoenberg before either of them had embarked on the twelve-tone path. It demonstrates his mastery of the more traditional elements of counterpoint and harmony. The title translates as Slow Piece, and the work is an outpouring of love, full of lush chords and soulful melodies in a late-Romantic, post-Brahmsian style. A hike he took with his soon-to-be fiancée inspired the work, and a journal entry dating from that time summarizes his feelings: “To walk forever like this among the flowers, with my dearest one beside me, to feel oneself so entirely at one with the universe, without care, free as the lark in the sky above – Oh what splendor…Our love rose to infinite heights and filled the universe. Two souls were enraptured.”
WEBERN: Five Movements for String Quartet, Op 5
Webern’s Opus 5 quartet was his first venture into atonal writing and his first published string quartet. Written in 1909, it was also one of the first works he wrote after completing his studies with Arnold Schoenberg. There are many qualities characteristic of Webern in the work, such as compact, dense writing, short movements and the use of inventive, coloristic effects in the strings. Within the first two bars of the piece, the instruments must pluck, bow and hit the strings with the wood of the bow. Also characteristic of Webern is the expressivity he achieves within a compressed amount of time. The first movement is outgoing and intense. The second has a striking stillness to it. The third is scherzo-like, and the fourth recalls the night music of Bartók. The finale – long in length by Webern’s standards – closes the work on a contemplative, meditative note.
BEETHOVEN: String Quartet in c-sharp minor, Op 131
The epic Opus 131 string quartet was the last of three Beethoven wrote for a commission from Prince Nikolai Golitzin. Within the seven movements, there is both a strong sense of unity and a wide spectrum of forms, keys and moods. Thematic rhythmic elements and transitions linking the movements provide cohesiveness. Forms ranging from fugue to variation, as well as disparate keys – six over the course of the seven movements – and contrasts in mood give the work continuous variety. The first contains a bleak fugue. In the second movement, all seriousness fades in a carefree melody. The third movement is less than a minute long and acts as an interlude to the fourth which is the lengthiest of all the movements and the heart of the piece. It consists of a simple theme followed by six variations. Each variation has the unusual feature of being marked in a different tempo. The third variation highlights a viola/ cello duet that harkens back to the conversation of the fugue. The fourth variation contains whimsical plucking; the fifth sustained chords; and the sixth jarring rumblings from the cello. A coda brings the movement to a gentle, Schubertian close. The fifth movement is youthful and droll, with entertaining plucking, comical starting and stopping, and a closing passage played sulponticello (on the bridge). The sixth movement is a brief sad expression that leads into the finale where, after five distinct keys, the piece returns to tonic c-sharp minor. A strident, march-like first theme contrasts with a cascading second theme. The piece ends with thrilling vigor.
| Laura Usiskin
42 | JULY 19, 2013
Concert Program Norfolk Chamber Music Festival | Friday, July 19, 8:00 pm String Quartet in c minor, Op 18, No. 4 Allegro ma non tanto Andante scherzoso quasi Allegretto Menuetto: Allegretto Allegro-Prestissimo
Ludwig van Beethoven
Jasper String Quartet
Langsam mit bewegtem Ausdruck
(1770 - 1820)
Jasper String Quartet
(1883 - 1945)
Five Movements for String Quartet, Op 5
Heftig bewegt Sehr langsam Sehr bewegt Sehr langsam In zarter Bewegung
Jasper String Quartet
| Intermission | String Quartet in c-sharp minor, Op 131
Adagio, ma non troppo e molto espressivo - attacca Allegro motlo vivace - attacca; Allegro moderato - attacca Andante, ma non troppo e molto cantabile - Piu mosso - Andante moderato e lusinghiero - Adagio Allegretto - Adagio ma non troppo e semplice - Allegretto - attacca Presto - attacca Adagio quasi un poco andante - attacca Allegro
Jasper String Quartet
Welcome to the families, teachers and staff of the Botelle and Northwest Regional High Schools Jasper String Quartet
J Freivogel violin — Sae Chonabayashi violin — Sam Quintal viola — Rachel Henderson Freivogel cello JULY 19, 2013 | 43
Program Notes HANDEL: Sinfonia: The Arrival of the Queen of Sheba from “Solomon”
Handel’s famous Arrival of the Queen of Sheeba comes from the opening Sinfonia to Act III of his oratorio Solomon (1749). In Act III Solomon presents the Queen of Sheeba with the wonders of his kingdom in the form of a musical masque. Though the oratorio as a whole is not his most acclaimed, the Sinfonia is one of Handel’s most famous and recognizable works. It features charming duets between the two oboes and an overall spirited character. | Laura Usiskin
MOZART: Sinfonia Concertante in E-flat Major, K 364
It was during his travels to Paris in the late 1770s that Mozart learned of popular “sinfonie concertante,” a genre propagated by Johann Christian Bach that combines elements of the symphony and concerto. Mozart wrote no fewer than six works in the style for varying instrument combinations. During the same trip, he traveled to Mannheim, where Carl Stamitz and others inspired him with their stylistic developments, among them the “Mannheim crescendo.” In this technique, the entire orchestral swells together to create drama and excitement. The Sinfonia Concertante for Violin and Viola is one of Mozart’s most beloved works. Endearing melodies, surprising turns, and poignant exchanges between the soloists infuse the work from start to finish. After an orchestral introduction reminiscent of an opera overture, the two soloists sneak into the texture rather than announce their arrival. The soloists present new melodies instead of recalling those that the orchestra played. The first movement ends with a double cadenza that Mozart wrote rather than allow the soloists to improvise. The second movement presents a profound, compelling exchange between the soloists as well as another double cadenza at the end. The third movement propels forward via an orchestral introduction, and again, the soloists introduce new melodies. Instead of cadenzas, the piece ends with the soloists flying through fast passagework that takes them to the uppermost tessitura of their instruments. | Laura Usiskin
BRAHMS: Piano Quartet in c minor, Op 60, “Werther”
The Opus 60 Piano Quartet of Brahms had its origins early in the composer’s life, in the year 1855, as a brooding work in c-sharp minor. The project never materialized in this incarnation, as his attention gave way to the d minor piano concerto and other important early preoccupations, but nonetheless came to fruition in c minor two decades later. It is difficult to imagine a more serious work than this one, with its dark opening and a Schubertian second theme that wanders between parallel major and minor keys. According to Jan Swafford’s entertaining and painstaking biography of the composer, Brahms’ note to his publisher accompanying the finished work made obvious reference to the hero of Goethe’s era-defining novel, The Sorrows of Young Werther. This story, about a young man who kills himself over an unattainable love, was arguably the impetus of the entire German Romantic movement. It legitimized or inspired the Empfindsamkeit feelings among young men of the day, and spawned a host of copycat suicides. His yellow and blue outfit was to the nineteenth century what James Dean’s jeans, T-shirt and cigarette were to the twentieth. Brahms’ note reads as follows: 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. Since you seem to like color printing, you can use blue coat, yellow britches and top-boots. While Brahms vehemently criticized most program music, this clear reference to the most famous of unrequited loves contextualizes the musical representations of Clara Schumann that occur in the Quartet. According to Swafford: “In the opening of the Quartet, Brahms names the object of his despair by means of Robert Schumann’s ‘Clara theme’ – C-B-A-G#-A – disguised in another key.” Brahms’ relationship with the great pianist was famously ambiguous, but there is no doubt that he loved her passionately, and this work undoubtedly owes some of its brooding character to the pain associated with these emotions. | Robinson McClellan
44 | JULY 20, 2013
Concert Program Norfolk Chamber Music Festival | Saturday, July 20, 8:00 pm Sinfonia: The Arrival of the Queen of Sheba from “Solomon”
George Frideric Handel
Stephen Taylor, Timothy Gocklin oboe — François Laurin-Burgess, Rebekah Carpio clarinet Rachel Koeth, Leah Kohn bassoon — Joseph Betts, Lauren Hunt French horn
Sinfonia Concertante in E-flat Major, K 364
(1685 - 1759)
Wolfgang Amadeus Mozart (1756 - 1791)
Allegro maestoso Andante Presto
Stephen Taylor, Hsuan-Fong Chen oboe — Lauren Hunt, Joseph Betts French horn Peter Schuhmayer, Gergana Haralampieva, Orin Laursen, Alan Choo, Wonyoung Jung violin I Michelle Abraham, Solomon Liang, Mina Um, Sarah Arnold violin II Hannah Ross, Xinyi Xu, Esther Nahm, Dian Zhang viola — Othmar Müller, James Jaffe, Javier Iglesias Martin cello
| Intermission |
Piano Quartet in c minor, Op 60, “Werther”
Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo
(1833 - 1897)
Peter Schuhmayer violin — Herbert Kefer viola — Othmar Müller cello — Boris Berman piano
This evening's concert is dedicated to William G. Gridley, Jr. with thanks for his dedication as a Trustee of the Ellen Battell Stoeckel Estate, 1992 - 2012 JULY 20, 2013 | 45
Program Notes PAGANINI: Duetto No. 3 for Bassoon and Violin, MS 130
As one of history’s greatest violinists, Paganini infused his compositions with profuse technical difficulty for the instrument. In his three duets for violin and bassoon, both instruments have their share of technical obstacles. The title of the first movement of Duetto No. 3 includes the word “tempesta,” yet the work begins with an innocent melody in the bassoon. The tempestuous part occurs later as the instruments tackle difficult passagework. The brief short movement leads into the third movement, where again the bassoon presents the opening melody, a Polacchina or little Polish tune. | Laura Usiskin
CASELLA: Serenata for Clarinet, Bassoon, Trumpet, Violin and Cello, Op 46
Alfredo Casella enjoyed an international, multi-faceted career as pianist, conductor, teacher, and composer. Born in Italy, he studied music at the Paris Conservatory under Gabriel Fauré. His piano skills won him numerous competitions and his conducting earned him engagements with the world’s major orchestras, including the Philadelphia Orchestra and the Boston Pops. In composition, he both championed modernity and revered the past. His writing style is best characterized as neo-classical, Stravinsky serving as notable inspiration. Composed in 1927, the Serenata Opus 46 won him First Prize from the Musical Fund Society of Philadelphia. Casella uses the unique instrumentation of the work to his benefit, distributing the melodic material amongst the instruments and using the individual timbres in creative ways. The instruments enter one by one in the delightful opening March which comes to a humorous close. The Minuet is gentler in mood. The Nocturne opens in unison and includes a drone in the violin as well as the unique combination of the trumpet and bassoon in octaves. The gavotte has a light, lilting quality and features the bassoon. The Cavatina is a touching, heartfelt duet between the violin and cello. The Finale, a tarantella, brings the work to a rousing close. | Laura Usiskin
BRAHMS: Piano Quintet in f minor, Op 34
The f-minor Piano Quintet, Opus 34, is one of three or four of the most admired and performed works in its genre, along with quintets by Schumann, Dvořák and Franck. Even among other works by Brahms, who was by nature a slow composer, its gestation period was particularly long. It was conceived first as a string quintet (discarded by Brahms), then for a full string orchestra, and eventually published as a Sonata for two pianos before finally becoming this quintet for piano and strings. The degree of thematic unity, even across four movements, is striking. The opening ascending motive (do-fa-sol-la) is a favorite of the composer, appearing in the second theme and third movement of the d minor Piano Concerto (Opus 15), and in the slow movement of the c-minor Piano Quartet (Opus 60). The first movement begins with the motive in three guises: as a foreboding introduction with all voices in unison, then rhythmically compressed (in diminution, as musicians say) as a virtuosic flourish in the piano, and eventually as the soaring them in the strings above the piano. The second movement’s tranquil melody could easily be scored for a pair of horns, floating above a dance in the strings with a characteristic Viennese “lift,” or emphasis, on the second beat (think waltz). This texture of warm sounding horns returns in the middle section, or Trio, of the third movement. The last movement appears to grow out of the pipes of an organ, calling to mind the slow introduction of Schumann’s Piano Quartet Opus 47. Breaking out of the spell, the cello opens with just the sort of simple, rhythmic, and folk-like theme that typifies Brahms’ characteristic chamber music finale, in which Hungarian folk elements are stylized into sonata rondo form. | David A. Kaplan
46 | JULY 26, 2013
Concert Program Norfolk Chamber Music Festival | Friday, July 26, 8:00 pm Duetto No. 3 for Bassoon and Violin, MS 130
Allegro con brio poco scherzando Petite Romance (Larghetto) Polacchina (Andantino con graza)
Niccolò Paganini (1782 - 1840)
Frank Morelli bassoon — Zsófia Környei violin
Serenata for Clarinet, Bassoon, Trumpet, Violin and Cello, Op 46 Marcia Minuetto Notturno Gavotta Cavatina Finale
Alfredo Casella (1883 - 1947)
Rebekah Carpio clarinet — Frank Morelli bassoon — Allan Dean trumpet — Kikuei Ikeda violin — Ole Akahoshi cello
| Intermission |
Piano Quintet in f minor, Op 34 Allegro non troppo Andante, un poco Adagio Schrezo Finale: Poco sostenuto; Allegro non troppo
Johannes Brahms (1833 - 1897)
André-Michel Schub piano — Keller Quartet
András Keller violin — Zsófia Környei violin — Zoltán Gál viola — Judith Szabó cello JULY 26, 2013 | 47
Program Notes RUBINSTEIN: String Quartet in c minor, Op 17, No. 2
Founder of the St. Petersburg Conservatory, instructor of Tchaikovsky, virtuoso pianist akin to Liszt - Anton Rubinstein was a 19th-century musician of highest acclaim. As a composer, he eschewed both the nationalist trends of his Russian counterparts and the chromatic tendencies of his German colleagues, choosing to write in the style of early German Romantics such as Schumann and Mendelssohn. Despite his large output, most of Rubinstein’s compositions have not remained in the mainstream repertoire. The first movement of his String Quartet in c minor looks back to the Baroque period, opening with a four-part fugue. The second movement, a lightning-fast scherzo, reveals his reverence to Mendelssohn, with whom he associated during his early career. In the trio section, Rubinstein inserts surprising outbursts, first from the cello, then from the other voices. The third movement is a short, pleasing Lento that also shows influences of Mendelssohn. Symphonic and grand, the finale features impressive passagework in the first violin and a stormy accompaniment in the lower strings. | Laura Usiskin
SCHNITTKE: String Quartet No. 3
By the time of his death in 1998, Alfred Schnittke was one of the most renowned composers of his generation. While his early music shows the strong influence of his Russian contemporary Shostakovich, String Quartet No. 3 (1983) is representative of Schnittke’s later polystylistic period, a term the composer embraced and propagated. Polystylism involves the contrast of two or more styles evoked by allusion or direct quotation. The technique so enamored Schnittke that he imagined a utopian music where all musical styles would co-exist. His use of polystylism renders his music engaging, dramatic, and unpredictable, making him a favorite for audiences. In the third quartet, Schnittke borrows explicit material from three contrasting composers, going as far as labeling the quotations in the musical score. The first three bars of the piece are from Renaissance composer Orlando di Lasso’s Stabat Mater, the second three bars from Beethoven’s Quartet No. 16, and the next two bars contain Shostakovich’s signature four-note motive outlining his name. These three quotes appear throughout work in a myriad of altered yet recognizable guises. Schnittke also juxtaposes tonality, atonality, and extended string techniques throughout the work. The second movement features an opening melody in the style of Beethoven. The third movement dons the label Pesante (heavy) and recalls the opening three quotations. | Laura Usiskin
TCHAIKOVSKY: Souvenir de Florence, Sextet for Strings, Op 70
Tchaikovsky’s last chamber work, the Souvenir de Florence, Opus 70, was composed between 1887 and 1890 and revised in 1892, well after the composer’s last symphony had been completed. Brahms’s sextets were extremely influential to Tchaikovsky, and one can hear the German composer’s special treatment of the second violin and viola as a driving harmonic unit often throughout. A wonderful moment in the first movement is the arrival of the recapitulation, or return of the main theme, in which Tchaikovsky begins with a sudden pianissimo and crescendos to a climax in fff. The Adagio contains an astounding middle section of sheer sound effects, in which all the strings play together in block chords, but with the most sudden changes of dynamic and color. The Allegretto moderato introduces a pulsing folk dance with a beautiful song and before long, crescendos from its innocent beginnings to a raging intensity. The Allegro vivace begins with a faster dance and accelerates into the racing coda. | David A Kaplan
48 | JULY 27, 2013
Concert Program Norfolk Chamber Music Festival | Saturday, July 27, 8:00 pm String Quartet in c minor, Op 17, No. 2
Anton Rubinstein (1829 - 1894)
Moderato Allegro molto vivace Molto lento Moderato Keller Quartet
String Quartet No. 3
Alfred Schnittke (1934 - 1998)
Andante Agitato Pesante Keller Quartet
| Intermission |
Souvenir de Florence, Sextet for Strings, Op 70
Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro vivace
Peter Ilyich Tchaikovsky (1840 - 1893)
Kikuei Ikeda violin — Ole Akahoshi cello — Keller Quartet
András Keller violin — Zsófia Környei violin — Zoltán Gál viola — Judith Szabó cello JULY 27, 2013 | 49
Program Notes CHERUBINI: Two Sonatas for French Horn and String Quartet
Italian-born Luigi Cherubini enjoyed a long career in France as a composer, teacher, and Director of the Paris Conservatory. Beethoven regarded him as “the greatest of his contemporaries.” Cherubini focused his early career on the composition of dozens of operas and then turned to sacred works and chamber pieces around the turn of the century. Written in 1802, Two Sonatas for Horn and String Quartet – which Cherubini called “Etudes” instead of “Sonatas” – were among the first pieces in this second phase. The first Sonata is a warm larghetto with melodic material in the horn and pulsating accompaniment in the strings. The second Sonata begins with a slow section and then livens in a spirited, syncopated allegro. The strings play a more equal role in the second Sonata while the horn displays virtuosic leaps and fast passagework. | Laura Usiskin
GOUNOD: Petite Symphonie for Wind Instruments, Op 216
The Petite Symphonie was written for wind nonet in 1885 and exemplifies Gounod’s compositional style – precision, taste and formal density. For the work, Gounod took a classical wind octet and added a flute part for his friend, virtuoso Paul Taffanel. While this led to a significant flute role, the second oboe part is by contrast minimal. There is speculation that the second oboist who premiered the work was an important benefactor but inadequate performer. The title suggests Gounod’s intention: a miniature classical symphony structure. It is abundant with lyrical melodies and immediate charm, making it a worthy and popular contribution to the chamber wind repertoire. | Jacob Adams
MOZART: Flute Quartet in D Major, K 285
With the exception of the one in A Major, K. 298, Mozart’s quartets for flute and strings were composed between December, 1777, and June, 1778, while the twenty-three year old was staying in Mannheim, then home to one of Europe’s most famous orchestras. Mozart’s stay in Mannheim was his first serious attempt to escape the dead-end internship to which he was bound with his family employer, the Archbishop of Salzburg. He was unsuccessful in attaining any permanent employment in Mannheim; nor did he succeed in his attempt to marry Aloysia Weber, the daughter of the highly musical family who took him in. What he did gain in Mannheim was a more dramatic style, influenced by the city’s great orchestra. When he sent the K. 309 piano sonata home to his sister Nannerl, she wrote, “one can see from its style that you composed it in Mannheim.” This heightened dramatic style especially influenced the first of the flute quartets, which was commissioned by a Dutch doctor and amateur flutist named Ferdinand Dejean. Mozart never finished the complete commission, and bemoaned being paid 96 Gulden instead of the stipulated 200. Presumably, Mozart resented composing “to order” for an amateur, when he was then surrounded by some of Europe’s finest professionals. The D Major Quartet is a gem, however, and remains the most frequently performed of these works. The Allegro’s development displays all the boldness the flute has to offer; the poignant Adagio places the flute in relief against the pizzicato strings, with a meltingly beautiful melody that has the sorrowful affect of an Italian lament aria. One should appreciate that the key of this movement, b minor, is an extreme rarity in Mozart’s work. Exemplifying the dramatic moodshifts he gleaned from the Mannheim ensemble, the Adagio leads directly to the witty and brilliant Rondo. | Robinson McClellan
FOOTE: Nocturne and Scherzo for Flute and String Quartet
Arthur Foote was an early American composer who achieved success as a composer, teacher, and church organist. He evaded the modernist tendencies of his contemporaries, taking inspiration from German Romantics such as Brahms and Mendelssohn. He wrote Nocturne and Scherzo in 1919 and dedicated it to the Chamber Music Society of San Francisco. The Nocturne movement has a sultry French ballade feeling while the Scherzo is light and lilting to contrast. | Laura Usiskin
BERNARD: Divertissement in F Major for Double Woodwind Quintet, Op 36
In the 18th and 19th centuries, composers used the term “Divertissement” to indicate music of a lighter fare. Though Bernard titled his own work, the label does not do justice to this subtle, reflective wind ensembles piece crafted in 1894. The first movement begins with a warm, brief introduction that leads into an Allegro section. The instruments act in pairs and share the melodic material. The second movement continues the high spirit of the first movement, with a more legato second theme. The third movement contains the only extended slow section in the work, an opening Andante that begins with a melancholy bassoon solo. A faster section occurs midway through the movement, and after a brief return of the movement’s opening section, the work ends with vivacity. | Laura Usiskin
50 | AUGUST 2, 2013
Concert Program Norfolk Chamber Music Festival | Friday, August 2, 8:00 pm Two Sonatas for French Horn and String Quartet Largo Allegro moderato
Luigi Cherubini (1760 - 1842)
William Purvis French horn — Kubrick Quartet
Petite Symphonie for Wind Instruments, Op 216 Adagio et Allegretto Andante cantabile Scherzo Finale
Charles Gounod (1818 - 1893)
Carol Wincenc flute — Hsuan-Fong Chen, Timothy Gocklin oboe Rebekah Carpio, François Laurin-Burgess clarinet — Leah Kohn, Rachel Koeth bassoon — William Purvis, Joseph Betts French horn
| Intermission | Flute Quartet in D Major, K 285 Allegro Adagio Rondo
Wolfgang Amadeus Mozart (1756 - 1791)
Carol Wincenc flute — Michelle Abraham violin — Esther Nahm viola — Javier Iglesias Martin cello
Nocturne and Scherzo for Flute and String Quartet
Nocturne (A Night Piece): Andantino languido Scherzo: Vivace
Arthur Foote (1853 - 1937)
Carol Wincenc flute — Thalia String Quartet
Divertissement in F Major for Double Woodwind Quintet, Op 36 Andante sostenuto Allegro vivace Andante - Premier tempo: Allegro non troppo
Émile Bernard (1843 - 1902)
Carol Wincenc, Cholong Kang flute — Timothy Gocklin, Hsuan-Fong Chen oboe François Laurin-Burgess, Rebekah Carpio clarinet — Rachel Koeth, Leah Kohn bassoon — William Purvis, Lauren Hunt French horn
The Faculty, Fellows and Staff of the Festival would like to welcome the many volunteers from throughout the Norfolk community to this evening's concert. Kubrick Quartet Thalia String Quartet
Orin Laursen violin — Alan Choo violin — Dian Zhang viola — Javier Iglesias Martin cello Michelle Abraham violin — Solomon Liang violin — Esther Nahm viola — James Jaffe cello AUGUST 2, 2013 | 51
Program Notes HAYDN: String Quartet No. 26 in g minor, Op 20, No. 3, HOB III/33
Haydn’s Opus 20 quartets were so groundbreaking that Sir Donald Tovey declared, "Every page of the six quartets of Opus 20 is of historic and aesthetic importance... there is perhaps no single or sextuple opus in the history of instrumental music which has achieved so much.” Haydn had composed dozens of quartets by the time of their composition in 1772 and had developed fluency with the genre that allowed him to experiment and innovate. One of the most important novelties in Opus 20, No. 3 is the use of irregular rhythmic motives and phrase lengths: the first movement’s opening theme is seven bars long, and the second movement’s theme is five. Another innovation is the raised prominence of the cello, lifting it from an accompaniment role to a more equal role with the other instruments. Putting the work in a minor key was also unusual at the time for the quartet genre. The first movement features a chromatic theme in minor and abrupt pauses in the development section. The second movement is also in g minor with a gentle Trio section in the enharmonic major key. The beautiful third movement gives the cello meandering passagework beneath sustained chords in the upper voices. The finale juxtaposes quick outbursts with smooth, legato sections and contains abrupt pauses similar to those in the first movement. | Laura Usiskin
BRITTEN: String Quartet No. 3, Op 94
Benjamin Britten was one of England’s most celebrated composers and a pillar of 20th century music. The United Kingdom awarded him life peerage a few months before his death in 1976, the first composer to receive the honor. While renowned for his operas and songs, Britten infused all of his compositions with drama and tunefulness, rendering them favorites among audiences and performers alike. The String Quartet No. 3 was his final major composition, written in 1975 but not premiered until after his death. Despite its title, the work is the eighth piece for string quartet Britten wrote, many of the rest not receiving the “String Quartet” designation. The first movement, Duets, divides the four instruments into various two-part combinations, one player syncopated and the other on the beat. Ostinato begins with a four-note motive that returns throughout the movement. The cello takes the four notes as an ostinato at multiple points, hence the movement’s title. In Solo, Very Calm, the lower three voices take turns accompanying the solo first violin. A playful middle section using all four instruments stands in stark contrast to the serenity of outer sections. Burlesque. Fast - con fuoco is a short, sardonic movement containing a fugal passage. The piece ends with Recitative and Passacaglia. La Serenissima, a movement that borrows material from his final opera Death in Venice. Britten wrote the last movement in Venice, a place near to his heart. Its reflective quality, unlike anything else in the quartet, suggests a man who knew he was at the end of his days. | Laura Usiskin
BEETHOVEN: String Quartet in F Major, Op 59. No 1
In 1806, a time of rapid creative energy despite his encroaching deafness, Beethoven composed three string quartets for Count Razumovsky, Russia’s ambassador to Vienna. This triptych of works ripped through musical convention. Accused that they were not even music, Beethoven returned: “Not for you, but for a later age.” The compositions are epic in scale, challenging both performer and listener with their complexity. Count Razumovsky was a proficient cellist, and the cello plays a prominent role from the beginning. The allegro strains the borders of Classical sonata form, moving from a grand-scale exposition into an even deeper development section. Just as he suggests a return to familiar territory, Beethoven opens a new door, further exploring the main theme and offering a dark fugato. Only then does the opening warmth return, wrapped up with a lovely coda. The cello opens the second movement, too, with a curious one-note rhythmic theme that launches the violin into a staccato countermelody. The movement entwines its virtuosic writing, and jagged rhythms heighten the conflict. Beethoven puzzled generations to follow with the cryptic phrase he wrote on the score of the third movement: “A weeping willow or acacia tree upon my brother’s grave.” The movement, marked “with melancholy,” is suffused with both sadness and light. Its construction is simple, with transparent textures. The allegro finale follows seamlessly; nearly symphonic in conception, it brings back the quartet’s earlier intensity with its careening Russian theme. | Dana Astmann
52 | AUGUST 3, 2013
Concert Program Norfolk Chamber Music Festival | Saturday, August 3, 8:00 pm String Quartet No. 26 in g minor, Op 20, No. 3, HOB III/33
Allegro con spirito Menuetto: Allegretto Poco adagio Allegro molto
Franz Josef Haydn (1732 - 1809)
Emerson String Quartet
String Quartet No. 3, Op 94
Benjamin Britten (1913 - 1976)
Duets: With Moderate Movement Ostinato: Very Fast Solo: Very Calm Burlesque: Fast - con fuoco Recitative and Passacaglia (La serenissima) Emerson String Quartet
| Intermission | String Quartet in F Major, Op 59. No 1 Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto - attacca Thème russe: Allegro
Ludwig van Beethoven (1770 - 1827)
Emerson String Quartet
Emerson String Quartet
Philip Setzer violin — Eugene Drucker violin — Lawrence Dutton viola — Paul Watkins cello AUGUST 3, 2013 | 53
Program Notes MOZART: Trio for Clarinet, Viola and Piano in E-flat Major, K 498, “Kegelstatt”
Mozart’s uniquely scored trio for Viola, Clarinet, and Pianoforte was composed in August, 1786, just after the composer had produced Le Nozze di Figaro. It has the name Kegelstatt, a popular game of the period, because Mozart is said to have written the work after one such game in the garden of his friends, the von Jacquin family. Francesca Jacquin originally played the piano part, while Anton Stadler played clarinet, with the composer himself playing the viola. The trio achieves a mellow blend of the three instruments and is notable for its avoidance of empty virtuosity. The key of E-flat often elicits this sort of restrained eloquence from Mozart, also exemplified by the Quintet for Piano and Winds, K. 452, Die Zauberflöte, the Symphony No. 39, and the Piano Concerto K. 458. Unusually, the first movement is a stately Andante, which feels almost as though it were a slow introduction that forgets the way to its Allegro, but which instead develops contentedly within its own bounds. The Minuet and Trio take on a far more serious emotional range than is associated with the traditional stylized dance movement, and the Allegretto warms the listener with unusually long phrases for a rondo form. | David A. Kaplan
SCHUBERT: Notturno for Violin, Cello and Piano in E-flat Major, Op 148, D 897
Also called Adagio, Schubert’s Notturno in E-flat Major, Opus 148, is a beautiful but brief nocturne for piano trio, composed one year before his death. It is believed that this nocturne was initially meant to be the slow movement of his Piano Trio in B-flat major D. 898, which he was working on at the same time. Why the composer did not include it in the larger work is not known. Because this work stands so well on its own, it was published separately with the editor’s title Notturno twenty years after. Opus 148 shares characteristics with some of Schubert’s most celebrated works, such as the C Major string quintet and ‘Unfinished’ Symphony No. 8. The entire movement has three sections which include a beautiful slow introduction that gives way to the main melodic idea – a three-note, dotted march. It has been thought that this tune comes from a folk song Schubert heard while vacationing near Salzburg. | Micahla Cohen
SCHUBERT: Der Hirt auf dem Felsen (Shepherd on the Rock), D 965
Shepherd on the Rock has many elements common to Schubert lieder – pictorial imagery, pastoral themes, a tuneful melody – yet contains distinct characteristics that make it exceptional. Out of Schubert’s 600+ lieder, it is one of two with an additional instrument. It contains three sections that tell the story of a shepherd singing to a lover, wallowing in despair, then rejuvenating at the hope of spring. The work is, in his words, a “show-stopper” for the singer, with virtuosities including a high ‘B’ at the word ‘heaven’ and a stream of thrilling passagework at the end. Schubert wrote the work within months of his premature death at age 31 and would never hear it performed. | Laura Usiskin
BRAHMS: Liebslieder (Love Songs) Waltzes, Op 52
Brahms was not nearly doing justice to his Liebeslieder Waltzes when he called them a “trif le.” Like many of his more imposing compositions – the symphonies, sonatas, and large-scale vocal works – these waltzes draw together many strands of his life and music in complex ways. On a personal level, it is likely that he wrote them in part for the sake of Julie Schumann, Robert and Clara’s ethereal daughter with whom Brahms had quietly fallen in love over the course of almost 10 years (and who soon after married someone else). On a practical level, Brahms intended the waltzes for publication as Hausmusik a broad category of chamber music for amateurs which was widely played around the family piano in living rooms throughout the 19th century, and which had political importance for the rising middle class in Vienna. His use of relatively light and sentimental texts by Daumer – as opposed to more serious literature by Goethe and others – is something Brahms has been criticized for, but his choice ties these waltzes into the Hausmusik tradition. Stylistically, these waltzes go beyond their immediate association with the famous Viennese tradition of Brahms’ friend Johann Strauss Jr. and his father. These songs also strongly evoke Schubert both in mood and musical device (such as the major 3rd modulation in Sie, Wie Ist die Welle Klar). The Liebeslieder or “Love Songs” also show the inf luence of German part-song, folk tunes and popular songs Brahms knew. In his use of hemiola (three two-note pulses against two three-note pulses) in Wenn so lind dein Auge mir and elsewhere, Brahms pays his respects to earlier composers he admired such as Palestrina and Schutz. | Robinson McClellan
54 | AUGUST 9, 2013
Concert Program Norfolk Chamber Music Festival | Friday, August 9, 8:00 pm Trio for Clarinet, Viola and Piano in E-flat Major, K 498, “Kegelstatt” Andante Menuetto Allegretto
Wolfgang Amadeus Mozart
David Shifrin clarinet — Wei-Yi Yang piano — Kazuhide Isomura viola
Notturno for Violin, Cello and Piano, in E-flat Major, Op 148, D 897
(1756 - 1791)
Wei-Yi Yang piano — Mark Steinberg violin — Nina Lee cello
Franz Schubert (1797 - 1828)
Der Hirt auf dem Felsen (Shepherd on the Rock), D 965 David Shifrin clarinet — Robert Blocker piano — Sherezade Panthaki soprano
| Intermission | Liebslieder (Love Songs) Waltzes, Op 52
Rede, Mädchen, allzu liebes (Speak, maiden, whom I love all too much) Am Gesteine rauscht die Flut (Against the stones the stream rushes) O die Frauen (O women) Wie des Abends schöne Röte (Like the evening's lovely red) Die grüne Hopfenranke (The evergreen ivy) Ein kleiner, hübsche Vogel nahm den Flug (One day a pretty little bird flew) Wohl schön bewandt (Every day was wonderful) Wenn so lind dein Augen mir ( When your eyes look at me) Am Donaustrande (On the banks of the Danube) O wie sanft die Quelle (O how gently the stream) Nein, es ist nicht auszukommen (No, there's just no getting along) Schlosser auf, und mache Schlösser (Locksmith - get up and make your locks) Vögelein durchrauscht die Luft (The little bird rushes through the air) Sieh, wie ist die Welle klar (See how clear the waves are) Nachtigall, sie singt so schön (The nightingale, it sings so beautifully) Ein dunkeler Schacht ist Liebe (Love is a dark shaft) Nicht wandle, mein Licht, dort außen (Do not wander, my light, out there) Es bebet das Gesträuche (The bushes are trembling)
Johannes Brahms (1833 - 1897)
Robert Blocker piano — Wei-Yi Yang piano Sherezade Panthaki soprano — Virginia Warnken alto — James Taylor tenor — Dashon Burton bass
AUGUST 9, 2013 | 55
Program Notes BEETHOVEN: String Quartet in D Major, Op 18, No. 3
The Opus 18 string quartets were the first works in the genre that Beethoven deemed worthy of publication. Despite having been commissioned by Prince Lobkowitz in 1797, the set did not appear in print until 1801. In many ways, No. 3 is the most classical of the six. The Allegro that begins the quartet is solidly in the string instrument-friendly key of D Major. The opening melody is quite lyrical, propelled forward by chord progressions and/or off beats in the accompanying instruments. Here Beethoven genially trades melodic lines between instruments in an almost polite and conversational manner. This gracious attitude transitions the listener to the second theme, whose rustic, almost folk-like character might very well be an homage to Haydn. The movement concludes with several renditions of both melodies and final chords reasserting the home key. The following Andante is a beautiful chorale sung by the entire quartet which opens into a dialogue between the instruments. The development in this movement is particularly noteworthy, as it demonstrates Beethoven’s considerable skills in intricate counterpoint and voice-leading before coming to a resolution. The third movement Allegro is a fairly traditional Minuet setting in three. Beethoven seems to open up a bit in this section, inserting playful sforzandi to temporarily displace the meter. The middle section is a short Trio in minor that quickly reverts to the more upbeat and genteel major first theme. The last movement is the most Beethovenian, achieving a grandeur with sudden dynamic changes and a symphonic accumulation of sound. Before the end, Beethoven introduces a brief fugal section that fades away as the quartet comes to a close. | Anna Pelzcer
BARTÓK: String Quartet No. 4
Among his many and varied contributions to music, Bartók ’s six string quartets span his entire career and represent some of the greatest achievements of the twentieth century. The fourth quartet was written in 1928, only one year after the third. In all his quartets, Bartók explores extraordinary contrapuntal possibilities as well as the unique timbres achievable by string instruments. He utilizes such “extended” techniques as putting the bow right next to the bridge to create a scratchy sound; plucking the string so that it snaps against the fingerboard; sliding the fingers of the left hand along the fingerboard in a glissando; hitting the strings with the wood of the bow; and more. In his quartets Bartók also experiments with ways of creating overall unity in the piece as a whole. His solution in the Quartet No. 4 is to create an “arch” from of the five movements so that the first mirrors the fifth, the second mirrors the fourth, and the third acts as the focal point. The first movement is intense, dissonant, and dense in texture. The second is lightning fast and calls for all of the instruments to be muted. The third movement is a classic example of Bartók ’s “night music,” which is intended to evoke the sounds and atmosphere of a nocturnal nature scene. The fourth movement is entirely pizzicato and has the most obvious folk elements in the piece. The finale, with its many off beat accents, has a raucous atmosphere and ends with a direct quote from the opening of the piece. | Laura Usiskin
BRAHMS: String Quartet in a minor, Op 51, No. 2
Johannes Brahms exemplifies Harold Bloom’s concept of “the anxiety of influence.” Feeling that he lived and wrote in the shadows of Mozart and Beethoven, Brahms wrote and destroyed twenty string quartets (by his own count) before finally sending two to his publisher, writing: “I give myself the greatest trouble and keep on hoping that something really great and difficult will occur to me, and they turn out mean and paltry!” Hardly. In the Quartet in A minor, Brahms exposes his struggles to reconcile Classicism and Romanticism, while reaching back to the baroque with complex polyphonic structures. The first movement opens with the motto F – A – E, which stands for “frei, aber einsam (free, but lonely).” Beneath the lyrical surface of the second movement lies a wealth of structural invention and melodic development. The third movement demonstrates more intellectual acrobatics, with an unusual multipart structure that comes together in a double canon of previous themes. The Hungarian flavor of the Finale comes from the uptempo czardas (a Hungarian dance), which alternates with a more mellow waltz. The quartet closes with a coda that echoes the main theme in canon and then accelerates to a sparkling finish. | Dana Astmann
56 | AUGUST 10, 2013
Concert Program Norfolk Chamber Music Festival | Saturday, August 10, 8:00 pm String Quartet in D Major, Op 18, No. 3 Allegro Andante con moto Allegro Presto
Ludwig van Beethoven (1770 - 1827)
Brentano String Quartet
String Quartet No. 4
(1881 - 1945)
Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto Brentano String Quartet
| Intermission | String Quartet in a minor, Op 51, No. 2
Allegro non troppo Andante moderato Quasi Minuetto, moderato Finale: Allegro non assai
Johannes Brahms (1833 - 1897)
Brentano String Quartet
This concert is sponsored by Brentano String Quartet
Mark Steinberg violin — Serena Canin violin — Misha Amory viola — Nina Lee cello AUGUST 10, 2013 | 57
Concert Program Norfolk Chamber Music Festival | Saturday, August 17, 4:00 pm Vidi Aquam
Filipe Magalhaes (c. 1571 - 1653)
Claudio Monteverdi (c. 1567 - 1643)
Thou tun’st this world from Ode to St. Cecilia Magnificat in B-flat, Op 5, No. 8
Gallus Zeiler (1705 - 1755)
Missa Brevis St. Joannis De Deo (Little Organ Mass)
Henry Purcell (1659 - 1695)
Gott is mein Hirt
Franz Josef Haydn (1732 - 1809) Franz Schubert (1797 - 1828)
Nochevála túchka zolotáya
Peter Tchaikovsky (1840 - 1893)
Jubilate Deo (2007/10) (arr. Moreira) The Nightingale and the Rose (World Premiere ) O Inexpressible Mystery (2009)
Tarik O'Regan (b. 1978) Daniel Schlosberg (b. 1987) Tawnie Olson (b. 1974)
I lov’d alas
Benjamin Britten (1913 - 1976)
Night Flight (2012)
Cecilia McDowell (b. 1951)
The Vine (from Invitations 1995)
Jean Ford Belmont (b. 1939)
This concert is co-sponsored by the Yale Institute of Sacred Music. A special thank you to Carl Dudash for providing the harpsichord for today's performance. Norfolk Festival Chamber Orchestra
Simon Carrington conductor — Ilya Poletaev organ/piano Caroline Ross oboe — Garrett Arney percussion — Daniel S. Lee violin — Nayeon Kim violin Xinyi Xu viola — Jurrian van der Zanden cello — Samuel Suggs double bass AUGUST 17, 2013 | 59
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Tokyo String Quartet continued 1988 | Tokyo String Quartet begins a cycle of performing and recording the complete Beethoven String Quartets for the RCA label.
Manfred Padberg and Giovanni Rinaldi solve the traveling salesman problem for 2392 cities, setting a new world's record.
1989 | At CERN (European Organization for Nuclear Research), Tim Berners-Lee presents a paper called "Information Management: A Proposal," which becomes the theoretical basis for links used on the Internet and the World Wide Web.
Nobel Peace Prize: Tenzin Gyatso, the 14th Dalai LamaÂ
1990 | A head-on crash in
Culpepper, Virginia, on March 12 is the first test of driver's side air bags in the field. Both drivers have air bags, which both deploy, and both drivers walk away.
U.S. President George H. W. Bush bans the importation of certain guns deemed assault weapons into the United States.
Saddam Hussein orders the Iraqi invasion of neighboring Kuwait; Operation Desert Shield Begins as the US and UK send troops to Kuwait.
The Corcoran Gallery of Art removes Robert Mapplethorpe's photography exhibition.
Nelson Mandella is released from prison in South Africa after 28 years.
The Polish United Workers' Party votes to legalize Solidarity.
Margaret Thatcher announces her resignation as British PM after John Major is chosen to lead the country and conservative party.
The television show Seinfeld premieres on NBC. The first full-length episode of The Simpsons is shown on Fox. In what was the largest prison sentence to date, Thai financial scammer Mae Chamoy Thipyaso and her accomplices were each sentenced to 141,078 years in prison.
Tenzin Gyatso, the 14th Dalai Lama
Art thieves steal 12 works from Boston's Isabella Stewart Gardner Museum. Boris N. Yeltsin becomes president of the Russian republic.
1991 | Tim Berners-Lee announces the World Wide Web project and software on the alt.hypertext newsgroup. The first website, "info.cern.ch" is created.
After six years of testing, the New York Times begins to use an ink that does not rub off on readers' hands. The U.S. Senate Judiciary Committee interviews both Supreme Court candidate Clarence Thomas and his former aide Anita Hill, who alleges that Thomas sexually harassed her while she worked for him. President Bush declares victory over Iraq and orders a cease-fire. Pan American World Airways ends operations.
"Tank Man" is the nickname of the anonymous man who stood in front of a column of Chinese tanks the morning after the Chinese military forcibly removed protesters from Beijing's Tiananmen Square on June 5, 1989. The man stopped tanks, climed aboard and spoke briefly with the soliders before climbing down and being whisked away by two members of the crowd - all covered on live TV. What happened to him afterwards is not known.
The U.S. Senate Judiciary Committee interviews both Supreme Court candidate, Clarence Thomas, and his former aide, Anita Hill, who alleges that Thomas sexually harassed her while she worked for him. Deaths: Leo Fender; Arthur Murray; Martha Graham; Rudolph Serkin; Stan Getz; Dr. Suess; Miles Davis
TOKYO STRING QUARTET TIMELINE | 61
Tokyo String Quartet 1992 | The Maastricht Treaty is signed, founding the European Union.
Births: Justin Bieber - ok, so one birth after 1990 is notable. Deaths: Witold Lutosławski; John Candy; Emil Gilels; Jacqueline Kennedy Onassis; Antonio Carlos Jobim
The Folies Bergère music hall in Paris closes.
Nobel Peace Prize: Yasser Arafat; Shimon Peres; Yitzhak Rabin
Pope John Paul II issues an apology and lifts the edict of the Inquisition against Galileo Galilei.
1995 | Andrew Dawes substitutes for Peter Oundjian,
violin, and the Tokyo Quartet Tokyo Quartet starts performing on the set of Stradivarius instruments on loan from the Nippon Music Foundation (purchased from the Corcoran Gallery in Washington, DC).
The first websites make their appearance on the World Wide Web. Macy's files for bankruptcy. This is not necessarily related to the new web sites. Deaths: Bert Parks; Sam Walton; Olivier Messiaen; Lawrence Welk; Astor Piazzolla; John Cage; Nathan Milstein
For the first time in 26 years, no British soldiers patrol the streets of Belfast, Northern Ireland. An advertising poster for The Folies Bergèr
The Nasdaq Composite index closes above the 1,000 mark for the first time. I move to Connecticut is founded.
1993 | Apple introduces the Newton, Lawrence Welk
the first personal digital assistant (PDA). It is not very successful.
Deaths: Dizzy Gillespie; Rudolph Nureyev; Ferruccio Lamborghini: Audrey Hepburn; Kobo Abe; Arthur Ashe; Marian Anderson; Arleen Auger; Spanky McFarland; Vincent Price; Federico Fellini; Leon Theremin Nobel Peace Prize: Nelson Mandela; Frederik Willem de Klerk
1994 | Tokyo Quartet performs the entire Beethoven
cycle of string quartets at La Scala in Milan, Italy - the first time the entire cycle is presented in that theater Edvard Munch's painting The Scream is stolen in Oslo (and is recovered on May 7). Nelson Mandela is inaugurated as South Africa's first black president.
World population is 5,674,380,000; 3.4 billion are in Asia; 825 million in Europe; and 299 million in North America. Deaths: Ginger Rogers; Mickey Mantle; Orville Redenbacher; Nicolas Slonimsky; Butterfly McQueen
1996 | Tokyo String Quartet releases set of six Bartok String Quartets on the RCA Label.
Firm evidence is collected that indicates a massive black hole exists at the center of the Milky Way Galaxy. Chess computer "Deep Blue" defeats world chess champion Garry Kasparov for the first time. Garry Kasparov later beats "Deep Blue" in a second chess match.
The Channel Tunnel, which took 15,000 workers over 7 years to complete, opens between England and France, enabling passengers to travel between the 2 countries in 35 minutes. Ice hockey becomes Canada's official winter sport. The Provisional Irish Republican Army announces a "complete cessation of military operations."
62 | TOKYO STRING QUARTET TIMELINE
On the same day as the opening of the 1994 Winter Olympics in Lillehammer, two men broke into the National Gallery and stole its version of "The Scream" and left a note reading: "Thanks for the poor security."
After a three year old boy falls into the 20-foot deep gorilla enclosure at the Brookfield Zoo, Chicago, Binti Jua, a female silverback gorilla sits with the injured boy until his rescue. Video of the ape's actions make her world famous.
The euro is established. For the first time, the Dow Jones Industrial Average closes above the 10,000 mark, at 10,006.78, on March 29. The Dow Jones Industrial Average closes above 11,000 for the first time, at 11,014.70, on April 8. Bill Gates personal fortune exceeds 100 Billion U.S. dollars, due to the increased value of Microsoft stock. Coincidence?? Deaths: Robert Shaw; Stanley Kubrick; Yehudi Menuhin; Joe DiMaggio; Boxcar Willie; Mel Tormé
Deaths: Gene Kelly; Tiny Tim; Morton Gould; Carl Sagan; Toru Takemitsu; Rafael Kubelik; Bill Monroe
1997 | Mikhail Kopelman
becomes first violin in the Tokyo Quartet.
Binti Jua's baby, Koola, clutched to her as she consoled the fallen child and kept the other animals at bay.
Divorce becomes legal in the Republic of Ireland. The F.W. Woolworth Company closes after 117 years in business. Microsoft buys a $150 million share of financially troubled Apple Computer. Steve Jobs had just returned to Apple. In the U.S., the Dow Jones Industrial Average drops -554.26 points (-7.18%), closing at 7,161.14 on October 27. Ooops!
2000 | We wake up on New Year’s Day, and the world as we know it didn't stop on 12/31/99 - the world’s most famous computer glitch wasn't…
The Dow Jones Industrial Average closes at 11,722.98 (at the peak of the Dot-com bubble). America Online announces an agreement to purchase Time Warner for $162 billion (the largest-ever corporate merger). World population is 6,070,581,000; 3.7 billion are in Asia; 728 million in Europe; and 316 million in North America. Deaths: Charles Schultz; Edward Gorey; Alan Hohvaness; Walter Matthau; Sir Alec Guiness; Victor Borge
Deaths: Curt Flood; Colonel Tom Parker; Herb Caen; James Stewart; Sviatoslav Richter; Rudolf Bing; Sir Georg Solti; Mother Theresa; Red Skelton; Walter Trampler; Roy Lichtenstein; Stéphan Grapelli
2001 | Enron files for Chapter 11 bankruptcy
1998 | Pfizer introduces Viagra.
The iPod is first introduced by Apple on October 23; Microsoft releases Windows XP on October 25
is founded by Stanford University PhD candidates Larry Page and Sergey Brin Deaths: Klaus Tennstedt; Carl Perkins; Benjamin Spock; Frank Sinatra; Hermann Prey; Alfred Schnittke
protection 5 days after a US$8.4 billion buyout bid is cancelled - to that point, it is the largest bankruptcy in U.S. history.
Deaths: Jack Lemmon; Isaac Stern; Ken Kesey; Dale Earnhardt; Iannis Xenakis; George Harrison
First Generation iPod
2002 | Martin Beaver replaces Mikhail Kopelman as first violin 1999 | Clive Greensmith replaces Sadao Harada as cellist in the Tokyo String Quartet.
The last Checker taxi cab is retired in New York City and auctioned off for approximately $135,000. The ExxonMobil merger is completed, forming the largest corporation in the world. Heidi Schulz discovers an ooze off the coast of Namibia; it's the largest bacterium known. Thiomargarita manibiensis is about the size of the period at the end of this sentence.
in the Tokyo String Quartet.
Deaths: Waylon Jennings; Milton Berle; Dudley Moore; Billy Wilder; Sam Snead; John Entwistle; Ted Williams Nobel Peace Prize: Jimmy Carter
2003 | The Iraq War begins with the invasion of Iraq by the U.S. and allied forces.
Air France and British Airways' Concord flies for the last time. TOKYO STRING QUARTET TIMELINE | 63
Tokyo String Quartet
SARS is first identified in February creating havoc in international travel, but is declared to be contained by World Health Organization in July.
2009 | Nobel Peace Prize: Barack Obama
Deaths: Al Hirschfield; Lou Harrison; Daniel Patrick Moynihan; Luciano Berio; Gregory Peck; Lester Maddox; Strom Thurmond; Katharine Hepburn; Bob Hope; Johnny Cash; George Plimpton
Pablo Picasso sells in New York for $106.5 million, setting a new world record for a work of art sold at auction.
Deaths: Peter Ustinov; Tony Randall; Ray Charles; Marlon Brando; Carlos Kleiber; Fay Wray; Julia Child
2005 | The Kyoto Protocol goes into effect without the support of the U.S. and Australia.
North Korea announces that it possesses nuclear weapons as a protection against the hostility it feels from the United States. , the most popular video sharing website, is founded. World population is 6,453,628,000; 3.9 billion are in Asia; 724 million in Europe (a decrease); and 332 million in North America. Deaths: Shirley Chisholm; Rosa Parks; Bobby Short; Myron Floren; Johnny Carson; Philip Johnson; Arthur Miller; Hunter S. Thompson; Victoria de los Angeles; Joseph Zawinul
2010 | Nude, Green Leaves and Bust by
The tallest man-made structure to date, the Burj Khalifa in Dubai, is officially opened. Thirty-three miners near Copiapó, Chile, trapped 700 meters underground in a mining accident in San José Mine, are brought back to the surface after surviving for a record 69 days. Deaths: JD Salinger; Sir John Dankworth; Lena Horne; Manute Bol; Sir Charles Mackerras; Joan Sutherland; Henryk GÓrecki
2011 | Space Shuttle Atlantis lands successfully at Kennedy Space Center, concluding the space shuttle program.
Deaths: Milton Babbitt; Elizabeth Taylor; Betty Ford; Lucian Freud; Steve Jobs; Vaclav Havel
2012 | Tokyo String Quartet completes its newest Beethoven 2006 | No. 5, 1948 by Jackson Pollock becomes the most expensive painting after it was sold privately at $140 million.
Al Gore, Jr. publishes An Inconvenient Truth
cycle on the Harmonia Mundi label.
A pastel version of The Scream, by Norwegian painter Edvard Munch, sells for $120 million in a New York City auction, setting a new world record for an auctioned work of art.
Deaths: Lou Rawls; Wilson Pickett; György Ligeti; James Brown; Elizabeth Schwarzkopf; Sir Malcolm Arnold; Milton Friedman
Lonesome George, the last known individual of the Pinta Island 2007 | iPhones introduced; Britney Spears and Paris Hilton are hot. Tortoise subspecies, dies at a Galapagos National Park, Nobel Peace Prize: Intergovernmental Panel on Climate Change; thus making the Al Gore, Jr. subspecies extinct.
Barack Obama is elected the 44th President of the U.S., and becomes the first African-American President-elect.
India suffers the worst power outage in Lonesome George world history leaving 620 million people without power. That's twice the population of the U.S.
Deaths: Bobby Fischer; William F. Buckley, Jr.; George Carlin; Paul Newman; Miriam Makeba; Odetta; Eartha Kitt
Deaths: Maurice André; Dick Clark; Andy Griffith; Neil Armstrong; Andy Williams; Dave Brubeck; Ravi Shankar; Jack Klugman
2008 | The price of oil hits $100 per barrel for the first time.
64 | TOKYO STRING QUARTET TIMELINE
Artist Biographies Cellist OLE AKAHOSHI performs in North and South Americas, Asia and Europe in recitals, chamber concerts and as a soloist with orchestras such as the Orchestra of St. Luke’s, Symphonisches Orchester Berlin and Czech Radio Orchestra. His performances have been featured on CNN, NPR, BBC, major German radio stations, Korean Broadcasting Station and WQXR. He has made numerous recordings for labels such as Naxos. Most recent releases include the string quartet by Ranjbaran, and Mendelssohn’s Octet with Gil Shaham. Akahoshi has collaborated with the Tokyo, Michelangelo, and Keller String Quartets, Syoko Aki, Sarah Chang, Ani Kavafian, Elmar Oliveira, Gil Shaham, Lawrence Dutton, Nobuko Imai, Myung Wha Chung, Franz Helmerson, Edgar Meyer, Leon Fleisher, Garrick Ohlsson and André-Michel Schub among many others. He has performed and taught at festivals in Banff, Norfolk, Aspen and Korea, and has given master classes most recently at Central Conservatory Beijing, Sichuan Conservatory and Korean National University of Arts. At age eleven, Akahoshi was the youngest student to be accepted by Pierre Fournier. He studied with Aldo Parisot at Juilliard and Yale, and with Janos Starker at Indiana University. Akahoshi was teaching assistant for both Aldo Parisot and Janos Starker. Akahoshi is the principal cellist of the Sejong Soloists and a faculty member at the Manhattan School of Music. He joined the faculty of the Yale School of Music in 1997 where he is Assistant Professor of Cello. | 10th Season at Norfolk SYOKO AKI, violinist, studied the Toho Academy of Music (Japan), Hartt College and the Yale School of Music. She has taught at the Eastman School and the State University of New York at Purchase. She has appeared as soloist with leading conductors such as Seiji Ozawa and Krzysztof Penderecki. As concertmaster and soloist with the New York Chamber Symphony, Miss Aki has recorded extensively on several major labels including Delos and Pro Arte. She has served as concertmaster of the New Japan Philharmonic, Waterloo Festival Orchestra and the New Haven and Syracuse symphonies. Miss Aki joined the Yale faculty in 1968 and became a member of the Yale String Quartet which earned international praise. With her long–time faculty colleague, pianist Joan Panetti, she has recorded on the Epson label. A highlight of their collaboration was a complete performance of Mozart’s violin sonatas over two seasons as part of Yale’s celebration of the 250th anniversary of the composer’s birth. Bernard Holland of the New York Times wrote: “What a pleasure it was to hear this great music portrayed with such calm and exquisite thoughtfulness.” | 36th Season at Norfolk Founded in Vienna in 1980, the ARTIS QUARTET (Peter Schuhmayer, violin – Johannes Meissl, violin – Herbert Kefer, viola – Othmar Müller, cello) began their international career in 1985 with concerts at Carnegie Hall, Kennedy Center, Suntory Hall (Tokyo), the Concertgebouw (Amsterdam), Théatre des Champs-Elysées (Paris), Santa Caecilia (Rome) and many others. In Vienna they have performed an annual cycle of concerts at the Wiener Musikverein since 1988. Notable moments in their history have included an invitation to play all twenty-three Mozart quartets in both Tokyo and Vienna during the Mozart Year 1991. In 1997 they performed the complete Schubert quartets at the Concertgebouw, De Doelen (Rotterdam) and the Musikverein. They have appeared at many of the world’s major music festivals including Salzburg, Schleswig Holstein, the Berliner Festwochen, Ravinia, Bournemouth, Hong Kong and Paris. Their more than 30 CDs have won awards such as the Echo Klassik, Indie Award, Grand Prix du Disque and the Diapason d´Or. Their most recent recording of quartets by Egon Wellesz, was awarded the 2009 Midem Classical Award in Cannes. Permanently resident in Vienna, the members of the Artis Quartet teach at the Universities of Vienna and Graz. Peter Schuhmayer plays on a violin by Johann Rombach (2001). Johannes Meissl's violin (Guarneri, 1690), Herbert Kefer's viola, (Guadagnini, 1784) and Othmar Müller's cello (Amati 1573) are on loan from the Austrian National Bank's collection of musical instruments. | 3rd Season at Norfolk | artis-quartett.at SCOTT BEAN, trombone, has performed in venues around the world from New York's The Knitting Factory and Seattle's Benaroya Hall to Beijing's Forbidden City Hall. He enjoys a busy playing schedule as a freelance musician on the east coast and throughout the Mid West performing with the Goodspeed Opera House, Orchestra New England, the Hartford and Springfield Symphony Orchestras, the Connecticut Opera and the Coast Guard Academy Band. He has toured internationally with the New Sousa Band for over twelve years. A highly sought after interpreter of new music, Mr. Bean has premièred new works at festivals and concerts nationwide including the Kennedy Center in Washington, DC. He has been guest soloist for many University Wind Ensembles and Orchestras, and will be featured at the National Band Association Convention in 2013. As a member of the Talcot Brass Quintet, he has performed and given masterclasses at many major music schools. Mr. Bean has served on faculties of Central Connecticut State University and at The Hartt School at the University of Hartford. He is currently Professor of Low Brass and Music History at the University of Wisconsin-La Crosse. | First Season at Norfolk
ARTIST BIOGRAPHIES | 65
Artist Biographies continued Known to audiences on six continents, pianist BORIS BERMAN regularly appears with leading orchestras and in important festivals. An active recording artist and Grammy ® nominee, Mr. Berman was the first pianist to record the complete solo works of Prokofiev (Chandos), and his recital of Shostakovich piano works (Ottavo) received the Edison Classic Award in Holland, the Dutch equivalent of the Grammy ®. The recording of three Prokofiev concertos with the Royal Concertgebouw Orchestra (Chandos), was named the Compact Disc of the Month by CD Review. In 1984 Mr. Berman joined the faculty of the Yale School of Music, where he chairs the Piano department and serves as music director of the Horowitz Piano Series. He was the founding director of the Yale Summer Piano Institute and of the International Summer Piano Institute in Hong Kong. In 2005 he was given the title of honorary professor of Shanghai Conservatory of Music. In 2000 Yale University Press published Mr. Berman’s Notes from the Pianist’s Bench, which has been translated into several languages. His newest book, Prokofiev’s Piano Sonatas, has been published by Yale University Press. | 21st Season at Norfolk | pantheon.yale.edu/%7Ebb25 ROBERT BLOCKER is internationally regarded as a pianist, for his leadership as an advocate for the arts and for his extraordinary contributions to music education. A native of Charleston, South Carolina, he debuted at historic Dock Street Theater (now home to the Spoleto Chamber Music Series). He studied under the tutelage of the eminent American pianist, Richard Cass and later with Jorge Bolet. Today, he concertizes throughout the world. Recent orchestral engagements include the Beijing and Shanghai Symphony orchestras, the Korean and Daejon Symphony orchestras, the Prague and Moscow chamber orchestras, the Monterrey Philharmonic and the Houston Symphony. His appearances at the Beethoven Festival (Warsaw) and the Great Mountains International Music Festival (Korea, with Sejong) add to his acclaim as noted in the Los Angeles Times: “…great skill and accomplishment, a measurable virtuoso bent and considerable musical sensitivity...” In 1995, Blocker was appointed the Henry and Lucy Moses Dean of Music and Professor of Piano at Yale University and in 2006, he was named honorary Professor of Piano at the Central Conservatory of Music in Beijing. His many contributions to the music community include service on the advisory boards for the Avery Fisher Artist Program and the Stoeger Prize at Lincoln Center, the Gilmore Artist Advisory Board and the Curatorium of the Liszt Ferenc Academy of Music in Budapest. He is a member of the Van Cliburn Board of Directors. Robert Blocker appears regularly on national radio and television as an artist and commentator and is active as a consultant to major educational institutions and government agencies. In 2000, Steinway and Sons featured him in a film commemorating the tercentennial year of the piano. His recent recording of three Mozart concerti appear on the Naxos label. In 2004, Yale University Press published The Robert Shaw Reader, a collection of Shaw’s writings edited by Robert Blocker. The volume received considerable acclaim and is now in its third printing. | 7th Season at Norfolk Since its inception in 1992, the BRENTANO STRING QUARTET (Mark Steinberg, violin – Serena Canin, violin – Misha Amory, viola – Nina Lee, cello) has appeared throughout the world to popular and critical acclaim. Within a few years of its formation, the Quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of Chamber Music Society Two, a program which was to become a coveted distinction for chamber groups and individuals. In recent seasons the Quartet has traveled widely appearing all over the world and had performed in some of the the world’s most prestigious venues, including Carnegie Hall (New York), the Concertgebouw (Amsterdam); the Konzerthaus (Vienna) and Suntory Hall (Tokyo) . The Quartet has participated in summer festivals such as Aspen, the Edinburgh Festival and the Kuhmo Festival in Finland among many others. The Brentano Quartet has a strong interest in both very old and very new music. It has performed many musical works pre-dating the string quartet, among them works of Gesualdo and Josquin, and has worked closely with some of the most important composers of our time including Elliott Carter and Steven Mackey. The Quartet has released numerous recordings and most recently can be heard in the 2012 film A Late Quartet. Since 1999 the Quartet has been the first Resident String Quartet at Princeton University. The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved.” | First Season at Norfolk | brentanostringquartet.com MARTIN BRESNICK'S compositions, from chamber and symphonic music to film scores and computer music, are performed throughout the world. Bresnick delights in reconciling the seemingly irreconcilable, bringing together repetitive gestures derived from minimalism with a harmonic palette that encompasses both highly chromatic sounds, consonant harmonies, and a raw power reminiscent of rock. At times his musical ideas spring from hardscrabble sources, often with a very real political import. But his compositions never descend into agitprop; one gains their meaning by the way the music itself unfolds. Bresnick received, the first Charles Ives Living Award from the American Academy of Arts and Letters, as well as the Rome Prize, the Berlin Prize, a Guggenheim Fellowship and a Koussevitzky Commission. Martin Bresnick’s compositions are published by Carl Fischer Music Publishers, New York; CommonMuse Music Publishers, New Haven; Böte & Bock, Berlin; and have been recorded by Cantaloupe Records, New World Records, Albany Records, Bridge Records, Composers Recordings Incorporated, Centaur and Artifact Music. | 17th Season at Norfolk | martinbresnick.com
66 | ARTIST BIOGRAPHIES
Bass-baritone DASHON BURTON is a native of Bronx, NY. Praised for his "enormous, thrilling voice seemingly capable ... [of] raising the dead;" and “nobility and rich tone” (New York Times), he is active in a wide range of repertoire and feels privileged to have worked with artists and ensembles all across the U.S. as well as in Cameroon, Canada, Italy and Germany. Prominent collaborations include Pierre Boulez, Masaaki Suzuki and Steven Smith. He began his studies at Case Western Reserve University and graduated from the Oberlin College Conservatory of Music. Upon graduation, he was invited to join Cantus, a professional men's classical vocal ensemble based in Minneapolis. With the nine member ensemble, he collaborated with renowned organizations and artists including the Saint Paul Chamber Orchestra, the Minnesota Orchestra, the Boston Pops, James Sewell Ballet and Bobby McFerrin. He appears on albums recorded with the ensemble, including the eponymous album, Cantus, which was singled out by National Public Radio as a top ten recording of 2007. After completing his tenure with Cantus in 2009, Dashon completed his Master of Music at Yale University's Institute of Sacred Music, having studied with Professor James Taylor. His solo repertoire includes such diverse roles as Jesus in Bach's St. Matthew Passion, Mendelssohn's Elijah, Superintendent Bud in Britten's opera Albert Herring and Ned Rorem's song cycle, War Scenes. | Second Season at Norfolk | dashonburton.com. SIMON CARRINGTON has enjoyed a distinguished career as singer, double bass player and conductor, beginning in the UK where he was born. From 2003 to 2009 he was professor of choral conducting at Yale University and director of the Yale Schola Cantorum, a chamber choir which he has brought to international prominence. Previous positions include director of choral activities at the New England Conservatory, Boston and at the University of Kansas. Prior to coming to the United States, he was a creative force for twenty–five years with the internationally acclaimed The King’s Singers, which he co–founded at Cambridge University. He gave 3,000 performances at many of the world’s most prestigious festivals and concert halls, made more than seventy recordings and appeared on countless television and radio programs, including nine appearances on the Tonight Show. He had a lively career as a double bass player, first as sub–principal of the BBC Philharmonic Orchestra and then as a freelance player in London. He has played with all the major symphony and chamber orchestras under Daniel Barenboim, Pierre Boulez and Georg Solti among others. Now a Yale professor emeritus he is active as a freelance conductor and choral clinician. | 8th Season at Norfolk | simoncarrington.com Since 2001, ETTORE CAUSA has served as professor of viola and chamber music at the International Menuhin Music Academy (Switzerland), and he regularly presents master classes throughout Europe and South America. Additionally, he is a member of the Aria Quartet, with whom he performs throughout the world. Mr. Causa studied at the International Menuhin Academy with Sir Yehudi Menuhin, Johannes Eskar, and Alberto Lysy as well as with Michael Tree at the Manhattan School of Music. Following his studies, Mr. Causa was appointed First Solo Viola of the Carl Nielsen Philharmonic in Denmark and was also leader of the Copenhagen Chamber Soloists. In 2000, he was awarded both the Schidlof Prize and the J. Barbirolli Prize. Since then, he has concertized in major artistic capitals of the world and performed in notable venues such as Victoria Hall (Geneva), Salle Cortot (Paris), Teatro Colón (Buenos Aires), and Tokyo Hall. He regularly performs at major festivals, including Salzburg, Tivolli, Perth and Festival de Estorial (Portugal). He joined the Yale School of Music faculty in1 2009. | 4th Season at Norfolk | ettorecausa.com Soprano MEGAN CH ARTR AND feels equally at home singing early music, art song, chamber music and concert repertoire. Highlights from her 2012/13 season include Delilah in Handel's Samson with conductor Nicholas McGegan, Bach's Mass in b-minor and Cantata 198 under the baton of Masaaki Suzuki, and soloist in residence at the Staunton Music Festival in Virginia. Previous seasons have included Handel and Mozart arias with the Edmonton Symphony Orchestra, Handel's Crudel Tiranno Amor with The Alberta Baroque Ensemble and Eve in Haydn's Die Schöpfung with Yale Schola Cantorum. In May, she graduated with a Masters of Music specializing in early music, oratorio and chamber ensemble singing from the Yale University Institute of Sacred Music and School of Music where she studied with James Taylor. She also holds a Bachelor of Music from the University of Alberta where she studied with Jolaine Kerley. | First Season at Norfolk
ARTIST BIOGRAPHIES | 67
Artist Biographies continued ALLAN DEAN is Professor in the Practice of Trumpet at the Yale School of Music and performs with Summit Brass, St. Louis Brass and the Yale Brass Trio. In the early music field he was a founding member of Calliope: A Renaissance Band and the New York Cornet and Sackbut Ensemble. Dean was a member of the New York Brass Quintet for 18 years and freelanced in the New York City concert and recording field for over 20 years. Dean performs and teaches each summer at the Mendez Brass Institute and the Norfolk Chamber Music Festival. He is a frequent soloist with Keith Brion’s New Sousa Band and has appeared at the Spoleto and Casals festivals, Musiki Blekinge (Sweden) and the Curitiba Music Festival (Brazil) among others. He can be heard playing both modern trumpet and early brass on over 80 recordings on most major labels including RCA, Columbia, Nonesuch and others. On early instruments he has recorded with Calliope, the Waverly Consort, and the Smithsonian Chamber Players. Dean served on the faculties of Indiana University, the Manhattan School of Music, The Hartt School and the Eastman School. He lives in the Berkshire Mountains with his wife, Julie Shapiro, an artist, and his daughter, Eloisa. He is an avid tennis player and practices hatha yoga daily. | 29th Season at Norfolk JEFFREY DOUMA, director of the Yale Glee Club, is also founding director of the Yale Choral Artists and Associate Professor of Conducting at the Yale School of Music. Douma has appeared as guest conductor with choruses and orchestras on six continents, and has prepared choruses for performances under such eminent conductors as Valery Gergiev, Sir Neville Marriner, Sir David Willcocks, Krzysztof Penderecki and Helmuth Rilling. An advocate of new music, Douma has premiered many new works by leading and emerging composers, and serves as editor of the Yale Glee Club New Classics Choral Series, published by Boosey & Hawkes. His own compositions are published by G. Schirmer. A tenor, Douma has appeared as an ensemble member and frequent soloist with the nation's leading professional choirs, including the Dale Warland Singers, the Oregon Bach Festival Chorus, and the Robert Shaw Festival Singers. Douma served previously on the conducting faculties of Carroll College, Smith College, and the Interlochen Center for the Arts. He holds the Bachelor of Music Degree from Concordia College (Moorhead, MN) and the Doctor of Musical Arts degree in conducting from the University of Michigan. | First Season at Norfolk The EMERSON STRING QUARTET (Philip Setzer, violin – Eugene Drucker, violin – Lawrence Dutton, viola – Paul Watkins, cello) stands alone in the history of string quartets with an unparalleled list of achievements over three decades: more than thirty acclaimed recordings since 1987, nine Grammy® Awards (including an unprecedented two for Best Classical Album); three Gramophone Awards; the coveted Avery Fisher Prize; cycles of the complete Beethoven, Bartók, Mendelssohn and Shostakovich string quartets in the world’s musical capitals; and collaborations with many of the greatest artists of our time. In 2000, the Emerson was named "Ensemble of the Year" by Musical America, and, in March 2004, became the 18th recipient of the Avery Fisher Prize. In March 2011, Sony Classical announced an exclusive agreement with the Emerson String Quartet with its debut album for the label released in October 2011. In 2012-2013, its 36th season, the Emerson performs extensively throughout North America and Europe. The Quartet continues its series at the Smithsonian Institution in Washington, DC, for its 33rd season and an album of Tchaikovsky’s Souvenir de Florence and Schoenberg’s Verklaerte Nacht is slated for release by Sony in March 2013. Formed in 1976 and based in New York City, the Quartet took its name from the American poet and philosopher Ralph Waldo Emerson. The Emerson is Quartet-in-Residence at Stony Brook University. The ensemble recently announced what will be its first member change in 34 years, when cellist Paul Watkins replaces David Finckel at the end of the 2012-2013 concert season. Mr. Finckel, who joined the Emerson Quartet in 1979, will leave the group to devote more time to his personal artistic endeavors. | First Season at Norfolk | emersonquartet.com Having enjoyed one of the most distinguished careers of any pianist, CLAUDE FRANK has repeatedly appeared with the world’s foremost orchestras, chamber ensembles, major festivals and at its most prestigious universities since his debut with Leonard Bernstein and the New York Philharmonic in 1959. During recent seasons, Claude Frank has given joint recitals with his daughter, violinist Pamela Frank, throughout the United States and abroad. He also appeared with his late wife, pianist Lilian Kallir. A milestone in Claude Frank’s career was RCA’s release of his recordings of the 32 Beethoven sonatas and his worldwide performances of the cycle. Time Magazine proclaimed it as one of the year’s “10 Best,” and High Fidelity and Stereo Review recommended it above other renditions. A renowned teacher as well as performer, Claude Frank has been professor of piano at the Yale School of Music since 1973 and is on the faculty at the Curtis Institute of Music in Philadelphia. Claude Frank lived in Nuremberg until the age of 12, when he joined his father in Brussels. Shortly thereafter he went to live in Paris, where he studied in the Paris Conservatoire. The German occupation forced Mr. Frank to leave France. While in Spain illegally, he was invited to perform at a party given by the Brazilian ambassador. There, he won his first “fee”—a visa to come to the United States granted by the American Consul, who attended the party. | 27th Season at Norfolk
68 | ARTIST BIOGRAPHIES
PETER FR ANKL, piano, made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since that time he has performed with some of the world’s finest orchestras including the Royal Concertgebouw, Israel Philharmonic, Orchestre de Paris, all the London orchestras and the major American orchestras. He has collaborated with such eminent conductors as Ashkenazy, Boulez, Maazel, Muti and Solti. World tours have taken him to Japan, Australia, New Zealand and South Africa, and he has appeared at many European and American festivals. His many chamber music partners have included the Tokyo, Takacs and Guarneri quartets. Among his recordings are the complete works for piano by Schumann, Debussy, a Hungarian Anthology, Concerti and four–hand works by Mozart. In recognition of his artistic achievements, he was awarded the Officer’s Cross and Middle Cross by the Hungarian Republic. He is Honorary Professor at the Liszt Academy. He joined the Yale faculty in 1987. | 27th Season at Norfolk SCOTT HARTMAN, trombone, began his chamber music career by joining the Empire Brass Quintet and the Boston University faculty in 1984. His performing career has been primarily as a chamber musician and soloist. Mr. Hartman has taught and played concerts throughout the world and in all fifty states. He now performs and records regularly with numerous ensembles including Proteus 7, Millennium Brass, the Brass Band of Battle Creek, the Yale Brass Trio and Four of a Kind. He has recorded for the Angel/EMI, Sony, Telarc, Summit and Dorian labels. Mr. Hartman is a clinician for the Bach instrument company and has served as a member of the faculties of Indiana University and the New England Conservatory. He grew up in Elmira, New York, and attended the Eastman School of Music where he received his bachelor and master’s degrees. Mr. Hartman joined the faculty of the Yale School of Music in 2001. | 13th Season at Norfolk | slushpump.com PAUL HAWKSHAW is Professor in the Practice of Music History and Director of the Norfolk Chamber Music Festival. An authority on the music of Anton Bruckner he has edited seven volumes of the composer's Collected Works (Vienna) which are performed by major orchestras and choruses throughout the world. His articles have appeared in The Musical Quarterly, Nineteenth-Century Music and the Oesterreichische Musikzeitschrift, and he wrote the Bruckner Biography for Grove's Dictionary of Music and Musicians. In 1996 he was awarded the special honor of an invitation from the Austrian National Library, Vienna, to give the commemorative address celebrating the centenary of the composer's death. Since coming to Yale in 1984, Professor Hawkshaw has taken an active interest in community affairs and public education in New Haven. He was co-founder of a program involving Yale Music Faculty and students in the curriculum at the local Co-operative High School for the Arts. In 1998 the program was recognized by Secretary of Education Richard W. Riley as a model of how music plays an integral role in improving overall education standards. Dr. Hawkshaw has also helped organize and participated in a number of teacher training initiatives for New Haven Public School teachers on the Yale Campus. He worked with the local Board of Education and the Yale University Class of '57 to establish an experimental music and literacy program at the Lincoln Bassett School, an elementary inner city public school in New Haven, Connecticut. In May 2007 the Class announced the establishment of an endowment of $6,000,000 at the Yale School of Music to support Music Education and public school music education. Professor Hawkshaw has been publicly recognized for his contribution to the New Haven Schools by an official proclamation of Mayor John DeStefano and, in the spring of 2000, he was awarded the Yale School of Music's highest honor, the Simon Sanford Medal, for his scholarship and community service. Born in Toronto, Canada, Professor Hawkshaw received his Ph. D. in Musicology from Columbia University in 1984. He has recently been appointed to the Editorial Boards of both the new Bruckner Edition published by the International Bruckner Society, and Wiener Bruckner Studien published under the auspices of the Austrian Academy of Sciences. In the spring of 2011 he was awarded the Kilenyi Medal of Honor by the American Bruckner Society. Past recipients have included Karl Böhm, Bernhard Haitink, Paul Hindemith, Serge Koussevitzky, Robert Simpson, Georg Solti, Georg Tintner, Arturo Toscanini and Bruno Walter. Dr. Hawkshaw has been Director of the Norfolk Chamber Music Festival since 2004. | 10th Season at Norfolk
ARTIST BIOGRAPHIES | 69
Artist Biographies continued Formed at Oberlin Conservatory, the JASPER QUARTET (J Freivogel, violin – Sae Chonabayashi, violin – Sam Quintal, viola – Rachel Henderson Freivogel, cello) has studied with James Dunham, Norman Fischer, and Kenneth Goldsmith as Rice University’s Graduate Quartet-in-Residence and with the Tokyo String Quartet as Yale University’s Graduate Quartet-in-Residence. They have garnered many prestigious awards including the 2012 CMA Cleveland Quartet Award; the Grand Prize and the Audience Prize in the 2008 Plowman Chamber Music Competition; the Grand Prize at the 2008 Coleman Competition; and the Silver Medal at both the 2008 and 2009 Fischoff Chamber Music Competitions. They were a winner of Astral Artists’ 2010 National Auditions and they were the first ensemble to win the Yale School of Music’s Horatio Parker Memorial Prize, an award estabished in 1945. In addition, they recently completed their 2010-2012 position as Ensemble-in-Residence at Oberlin Conservatory. The Quartet performs works emotionally significant to its members and have commissioned works from some of today's best emerging composers. As proponents for music education, the Quartet has brought well over 100 outreach programs into schools and enjoys educational work of all kinds. Recently, they have worked with the Caramoor Center for Music and Arts and Astral Artists to bring outreach activities to schools. The Jasper Quartet is named after Jasper National Park in Alberta, Canada. Dispeker Artists represents the quartet throughout the world and Astral Artists represents the quartet in Pennsylvania. | First Season at Norfolk | jasperquartet.com Violinist ANI KAVAFIAN enjoys a very busy career as soloist, chamber musician, and teacher. As concertmaster of the New Haven Symphony Orchestra, she performs with them as soloist has started a project to perform the complete Mozart Concertos. With clarinetist David Shifrin and pianist André-Michel Schub, the Kavafian-Schub-Shifrin Trio tours the US as well. She has conducted workshops in Taiwan alongside David Finckel, Wu Han and Leon Fleisher. She appears with her sister, violinist, Ida Kavafian; they celebrated the 25th anniversary of their Carnegie Hall debut as a duo in November 2008 with a concert dedicated to them presented by the Chamber Music Society. Together with cellist Carter Brey, she is artistic director of Mostly Music whis is celebrating its 34th anniversary this year. She has appeared as soloist with the New York Philharmonic, Philadelphia Orchestra and San Francisco Symphony among many others. Among her recordings are the Mozart sonatas with Jorge Federico Osorio and a piano trio of Justin Dello Joio with Jeremy Denk and Carter Brey. An Avery Fisher Career Grant recipient and winner of the Young Concert Artist International Auditions, she is a full professor at Yale University. Ms. Kavafian, who plays a 1736 Stradivarius, has been an Artist of The Chamber Music Society of Lincoln Center since 1979. She lives in Westchester County, NY with her husband, artist, Bernard Mindich. | 6th Season at Norfolk The KELLER QUARTET (András Keller, violin – Zsófia Környei, violin – Zoltán Gál, viola – Judit Szabó, cello) was founded in 1987 at the Liszt Academy of Music in Budapest. Three of the Conservatory’s most renowned professors can be regarded as their mentors to this very day: Sandór Devich, András Mihály and György Kurtág, who has composed for the Quartet. The Keller Quartet achieved its international breakthrough in 1990 by winning all prizes and special awards at both the Evian and Borciani Competitions. Throughout its history, the Quartet has exhibited extraordinary musical curiosity: curiosity about encounters with musicians and composers of all genres; curiosity about unknown works; and curiosity about new forms of programming, where unusual combinations develop their own dramatic tension. Examples include their famous Bach/Kurtág program, where selections from Bach’s Art of Fugue are intertwined with works of György Kurtág, and their performance of Zwiegespräch for string quartet and synthesizer by Kurtág father and son. The Süddeutsche Zeitung has written, "They have courage and they take their time for profound mourning. They never fall into an abyss of sentimentality." The Keller Quartet has recorded on the ECM, Erato, and Euro Arts labels. | 6th Season at Norfolk Composer INGRAM MARSHALL lived and worked in the San Francisco Bay Area from 1973 to 1985 and in Washington State, where he taught at Evergreen State College, until 1989. Currently he serves as Visiting Lecturer in Composition at the Yale School of Music. He studied at Columbia University and California Institute of the Arts, where he received an M.F.A., and has been a student of Indonesian gamelan music, the influence of which may be heard in the slowed–down sense of time and use of melodic repetition found in many of his pieces. His music has been performed by ensembles and orchestras including Kronos Quartet, Los Angeles Philharmonic and San Francisco Symphony. He has received awards from the National Endowment for the Arts, Rockefeller Foundation, Fromm Foundation, Guggenheim Foundation and the American Academy of Arts and Letters. Recent recordings are on Nonesuch (Kingdom Come) and New Albion (Savage Waters). | 6th Season at Norfolk | ingrammarshall.com
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A winner of the coveted 2002 Grawemeyer Award for Music Composition and one of the youngest composers ever awarded the Pulitzer Prize, A ARON KERNIS has taught composition at the Yale School of Music since 2003. His music figures prominently on orchestral, chamber, and recital programs worldwide and he has been commissioned by many of America‘s foremost performing artists, including sopranos Renée Fleming and Dawn Upshaw, violinists Joshua Bell and Nadja Salerno–Sonnenberg, and guitarist Sharon Isbin, and by institutions including the New York Philharmonic, San Francisco Symphony, Minnesota Orchestra, Saint Paul chamber orchestras, the Walt Disney Company and the Chamber Music Society of Lincoln Center. He was awarded the Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, the Rome Prize, and he received Grammy ® nominations for Air and his Second Symphony. Since 1998, he has served as new music adviser to the Minnesota Orchestra and is chairman and co–director of the Minnesota Orchestra Composer Institute. His music is available on Nonesuch, Phoenix, New Albion, Argo and CRI. | 6th Season at Norfolk EZR A LADERMAN is a distinguished and widely performed composer. His commissions have included works for the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra and Pittsburgh Symphony. He has written works for numerous chamber ensembles, and for soloists including Yo–Yo Ma, Jean–Pierre Rampal, Emanuel Ax and Ronald Roseman among many others. In February 2003, the Pittsburgh Symphony, with Gunter Herbig conducting and Richard Page as soloist, premiered Mr. Laderman’s Concerto for Bass Clarinet and Orchestra. Mr. Laderman is the recipient of three Guggenheim Fellowships, the Prix de Rome, and Rockefeller and Ford Foundation grants. He has served as president of the National Music Council, chair of the American Composers Orchestra, director of the NEA Music Program and president of the American Music Center. Mr. Laderman was elected to the American Academy of Arts and Letters in 1989, and became its president in 2006. From 1989 to 1995 he served as Dean of the Yale School of Music, where he is currently professor of composition. | 10th Season at Norfolk The music of DAVID LANG has been performed by major music, dance, and theater organizations throughout the world, and has been performed in the most renowned concert halls and festivals in the United States and Europe. He is the co–founder and co–artistic director of New York’s legendary music festival Bang on a Can. In 2008 Lang was awarded the Pulitzer Prize in Music for The Little Match Girl Passion, commissioned by Carnegie Hall. His many other honors include the Rome Prize, the Revson Fellowship with the New York Philharmonic, and grants from the Guggenheim Foundation, the National Endowment for the Arts and the American Academy of Arts and Letters. His work is recorded on the Sony Classical, Teldec, BMG, Point, Chandos, Argo/Decca, Caprice, Koch, Albany, CRI and Cantaloupe labels. David Lang holds degrees from Stanford University and the University of Iowa, and received the D.M.A. from the Yale School of Music. His music is published by Red Poppy (ASCAP) and is distributed worldwide by G. Schirmer, Inc. Lang joined the Yale School of Music faculty in 2008. | 5th Season at Norfolk | davidlangmusic.com HUMBERT LUCARELLI, hailed as “America’s leading oboe recitalist” by The New York Times, has performed extensively throughout the United States, Canada, Mexico, South America, Europe, Japan, Australia and Asia. Chamber music collaborations have included the Original Bach Aria Group and the American, Emerson, Leontovich, Manhattan, Muir, Panocha and Philadelphia string quartets. In the summer of 2002, Mr. Lucarelli was the first American oboist to be invited to perform and teach at the Central Conservatory of Music in Beijing, China. He has performed and recorded with some of the world’s leading conductors including Leonard Bernstein, Arthur Fiedler, James Levine, Georg Solti, Leopold Stokowski and Igor Stravinsky among others. Mr. Lucarelli has recorded for Koch International, Lyrichord, MCA Classics, Musical Heritage Society, Pantheon and Stradivari. Professor of Oboe at The Hartt School and the Conservatory of Music at SUNY–Purchase, he has been the recipient of a Solo Recitalists Fellowship, Consortium Commissioning and Music Recording grants from the National Endowment for the Arts. | 8th Season at Norfolk
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Artist Biographies continued Australian pianist LISA MOORE has been described as "New York's queen of avant-garde piano" (The New Yorker). She has collaborated with a large and diverse range of musicians and artists - the London Sinfonietta, Bang on a Can, New York City Ballet, Chamber Music Society of Lincoln Center, American Composers Orchestra, So Percussion, and Signal among others. Among her festival appearances are BAM, Crash, Graz, Tanglewood, Paris d'Automne, Shanghai, BBC Proms, Sydney, Spoleto, Israel and Warsaw. Moore has released six solo discs (Cantaloupe Music and Tall Poppies) and over 30 collaborative discs (Sony, Nonesuch, DG, BMG, New World, ABC Classics, Albany and New Albion). Lisa Moore won the Silver Medal in the 1981 Carnegie Hall International American Music Competition. From 1992 through 2008 she was the founding pianist for the Bang On A Can All-Stars and winner of Musical America's 2005 Ensemble of the Year Award. She has collaborated with composers ranging from Elliot Carter and Frederic Rzewski to Ornette Coleman and Martin Bresnick. As an artistic curator Moore directed Australia's Canberra International Music Festival 2008 Sounds Alive series. Lisa Moore teaches at Wesleyan University and as a regular guest at the Australian National Academy of Music in Melbourne. | 8th Season at Norfolk | lisamoore.org FRANK MORELLI, was the first bassoonist awarded a doctorate by The Juilliard School. With over 150 recordings for major labels to his credit, the Orpheus CD Shadow Dances, featuring Frank Morelli, won a 2001 Grammy ® Award. He has made nine appearances as a soloist in New York’s Carnegie Hall and has appeared with the Chamber Music Society of Lincoln Center on numerous occasions, including at the White House for the final state dinner of the Clinton presidency. A member of Windscape, an ensemble in residence at the Manhattan School of Music, he also serves on the faculties of The Juilliard School, Yale School of Music and SUNY Stony Brook. He is co-principal bassoonist of the Orpheus Chamber Orchestra. Frank Morelli has released three solo recordings on MSR Classics: Romance and Caprice; Bassoon Brasileiro and Baroque Fireworks. Gramophone Magazine has said that “Morelli’s playing is a joy to behold.” He has published several transcriptions for bassoon and woodwind quintet, and compiled the first collection of Stravinsky’s music for the bassoon, entitled Stravinsky: Difficult Passages. | 20th Season at Norfolk | morellibassoon.com JOAN PANETTI, pianist and composer, garnered first prizes at the Peabody Conservatory and the Conservatoire de Musique in Paris. She holds degrees from Smith College and the Yale School of Music. She taught at Swarthmore College, Princeton University and the Department of Music at Yale University before joining the faculty of the Yale School of Music. Among her principal mentors were Olivier Messiaen, Alvin Etler, Mel Powell and Donald Currier. She has toured extensively in the United States and Europe and performs frequently in chamber music ensembles. She has recently recorded a disc of works (Epson) with violinist Syoko Aki. Among her most recent compositions are a piano quintet, commissioned by Music Accord, which she performed with the Tokyo String Quartet; a piano trio, commissioned by the St. Luke’s Chamber Ensemble, and performed by members of the ensemble with the composer at the piano. A renowned teacher, Ms. Panetti has developed a nationally recognized course, that emphasizes the interaction between performers and composers. In 2007, she conducted an interactive workshop at the National Conference of Chamber Music America and taught and coached at the Central Conservatory in Beijing, China. She is the recipient of the Luise Voschergian Award from Harvard University, the Nadia Boulanger Award from the Longy School of Music, and the Ian Minninberg Distinguished Alumni Award from the Yale School of Music. She was named the Sylvia and Leonard Marx Professor of Music at Yale University in 2004 and served as Director of the Norfolk Chamber Music Festival from 1981 to 2003. | 33rd Season at Norfolk In constant demand as an opera and oratorio soloist, SHEREZADE PANTHAKI is an acknowledged star in the early-music field. Her ongoing collaborations with many of the world’s leading interpreters include Nicholas McGegan and Masaaki Suzuki, with whom she made her New York Philharmonic debut in the 2012–13 season. Recent engagements have included a program of cantatas with Philharmonia Baroque Orchestra (San Francisco) and featured roles in Handel’s Solomon with the Radio Kamer Filharmonie (Utrecht) and Mendelssohn's Christus with the New York Philharmonic as well as appeances with the Portland Baroque Orchestra (Oregon), the COGE Choir and Orchestra (Paris), Ars Musica (Chicago) and the Boston Early Music Festival. In New York city she is a frequent soloist with the Orchestra of St. Luke's and the choir and orchestra of Trinity Church Wall Street (with whom she performed on a Grammy nominated recording). A frequent performer with the Boston-based La Donna Musicale, Ms. Panthaki has championed the works of women Baroque composers in concert at numerous international festivals from the Utrecht Early Music Festival (Holland) to the Banco de la Republica series (Colombia). She has recorded with the Gravitacion Early Music Ensemble, and her discography includes recordings of 17th- and 18th-century music by women composers with La Donna Musicale. | Third Season at Norfolk | sherezadepanthaki.com
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Conductor JULIAN PELLICANO earned Bachelor’s degrees in percussion and philosophy from the Peabody Conservatory and Johns Hopkins University and a Graduate Performance Diploma in percussion from the Royal College of Music in Stockholm, Sweden. He then entered the Yale School of Music as a percussion major and was simultaneously appointed Assistant Conductor of the Yale Philharmonia. Upon earning his Master of Music degree in percussion, Pellicano became an orchestral conducting fellow. His additional training includes a Fellowship in Conducting at the Centre Acanthes. His honors include the 2008 Presser Music Award and the Yale School of Music’s Philip F. Nelson Prize. Pellicano has also participated in the Kurt Masur Conducting Seminar, as one of thirteen conductors selected from around the world. He has served as assistant conductor of the Daejeon Philharmonic Orchestra of South Korea, assistant conductor of the New Britain (CT) Symphony, and appeared as guest conductor of the Tuscaloosa Symphony Orchestra. In September 2013, Mr. Pellicano begins an appointment as Resident Conductor with the Winnipeg Symphony Orchestra. | 4th Season at Norfolk | julianpellicano.com ILYA POLETAEV, pianist, harpsichordist and fortepianist Ilya Poletaev took First Prize at the 2010 International Johann Sebastian Bach Competition in Leipzig. A prize winner at the 2011 George Enescu competition, he also won First Prize at the 2008 XX Concorso Sala Gallo Piano Competition in Monza, Italy, as well as the Audience, Bach and Orchestra Prizes. He is also the winner of the 2009 Astral artists auditions. A musician with an inquisitive mind, who explores repertoire from the sixteenth to the present century, Poletaev has performed extensively in Europe, Canada, Russia, Israel and the United States both as a soloist and a chamber musician. Engagements include appearances at the Leipzig Gewandhaus, Klavier-Festival Ruhr, Dresdner Musikfesttaege, Accademia Filarmonica Romana, the Weill Hall in Carnegie Hall, Caramoor Festival, Chamber Music Northwest, and many other prestigious venues. In 2011 he was appointed Professor of Piano at the Schulich School of Music of McGill University. He previously served on the faculty of Yale University. Born in Moscow, he moved to Israel and then to Canada, where he studied with Marietta Orlov, a student of the legendary Florica Musicescu, and harpsichordist Colin Tilney. Poletaev also holds a Masters and a DMA from Yale, which he completed under the guidance of Boris Berman. | Second Season at Norfolk A native of Pennsylvania, WILLI A M PURV IS, French horn, enjoys a career in the U.S. and abroad as soloist, chamber musician, conductor, and educator. A passionate advocate of new music, he has participated in numerous premieres as hornist and conductor. Mr. Purvis is a member of the New York Woodwind Quintet, Orchestra of St. Luke’s, Yale Brass Trio and Triton Horn Trio, and is an emeritus member of Orpheus. A frequent guest artist with the Chamber Music Society of Lincoln Center, he has also collaborated with the Tokyo, Juilliard and Orion string quartets. His extensive list of recordings spans from original instrument performance and standard repertoire through contemporary solo and chamber music to recordings of contemporary music as conductor. His recent recording of Peter Lieberson's Horn Concerto (Bridge) received a Grammy® and a WQXR Gramophone Award. Mr. Purvis is currently a faculty member at the Yale School of Music and The Juilliard School. At Yale, he is coordinator of winds and brass and is the director of the Yale Collection of Musical Instruments. | 28th Season at Norfolk Hailed for his warm, expressive sound and winning way with the audience, baritone R ANDALL SCARLATA enjoys an unusually diverse career. He is equally comfortable in Bach and Handel oratorio, Mozart and Verdi operas, the great song cycles, works from Tin Pan Alley, and the newest new music. He has appeared as soloist with many of the world’s finest orchestras, and at international music festivals on five continents. Mr. Scarlata has given world premieres of works by Ned Rorem, Lori Laitman, George Crumb, Daron Hagen, Samuel Adler, Mohammed Fairouz, Paul Moravec, Christopher Theofanidis, Wolfram Wagner and Thea Musgrave. He has been the winner of many competitions, including the International Schubert Competition in Vienna (das Schubert Lied), the Joy in Singing Competition, the Brahms Competition, The Young Concert Artists Competition, the Naumburg Competition, and the Alice Tully Debut Recital Award. In addition, he has recorded for the Naxos, Arabesque, Albany, Chandos, CRI and Gasparo labels. Mr. Scarlata holds degrees from the Eastman School of Music, the Juilliard School, and also attended Vienna’s Hochschule für Musik as a Fulbright Scholar. He is on the faculty of the School of Music of West Chester University and regularly gives masterclasses in the United States and abroad. | First Season at Norfolk | randallscarlata.com
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Artist Biographies continued Pianist ANDRÉ–MICHEL SCHUB’S recent appearances have included orchestras in Memphis, Santa Barbara, and Williamsburg, Virginia, and solo recitals in Washington and Phoenix. He has also performed joint recitals with violinist Cho–Liang Lin and trio concerts with David Shifrin and Ani Kavafian and completed a recording project of Mozart’s music to commemorate the tenth season of the Virginia Arts Festival. Winner of the 1974 Naumburg International Piano Competition, recipient of the 1977 Avery Fisher Career Grant, and grand prize winner of the 1981 Van Cliburn International Piano Competition, Mr. Schub has been the Artistic Director of the Virginia Arts Festival Chamber Music Series since 1997. He appears as guest artist at Mostly Mozart, Tanglewood, Ravinia, the Blossom Festival, Wolf Trap and the Casals Festival in Puerto Rico. He has performed with the Boston, Chicago, Cincinnati, Dallas, Detroit, St. Louis and Milwaukee symphonies; the Cleveland and Philadelphia orchestras; the Los Angeles, New York, and Rochester philharmonics; the Royal Concertgebouw; the Bournemouth Symphony and the New York Pops in Carnegie Hall. | 7th Season at Norfolk DAV ID SHIFRIN, clarinet, has appeared as soloist with the Philadelphia, Pittsburgh, Houston, Dallas, Denver, Kansas City, Milwaukee, Calgary, and Edmonton symphony orchestras, l’Orchestre de la Suisse Romande, the Los Angeles Chamber Orchestra and the New York Chamber Symphony. Currently music director of Chamber Music Northwest, Mr. Shifrin was awarded an Avery Fisher Career Grant in May 1987. He is also the recipient of a Solo Recitalist Fellowship from the NEA. His recording for Delos of the Mozart Clarinet Concerto received a 1987 Record–of–the–Year award from Stereo Review, and he was nominated for a Grammy ® as Best Classical Soloist with Orchestra for his 1989 recording of the Copland Clarinet Concerto on Angel/EMI. Since 1989, he has been an artist member of the Chamber Music Society of Lincoln Center and from 1992–2004 he was its Artistic Director. Mr. Shifrin also serves as Artistic Director of the Yale School of Music’s Chamber Music Society and Yale in New York series. | 13th Season at Norfolk Clarinetist RICHARD STOLTZMAN’S virtuosity, musicianship and sheer personal magnetism have made this two–time Grammy ® Award winner one of today’s most sought-after concert artists. As soloist with more than 100 orchestras, as a captivating recitalist and chamber music performer (performing the first clarinet recitals in the histories of both the Hollywood Bowl and Carnegie Hall), and as an innovative jazz artist, Stoltzman has defied categorization, dazzling critics and audiences alike while bringing the clarinet to the forefront as a solo instrument. A prolific recording artist, Stoltzman’s acclaimed releases can be heard on BMG/RCA, SONY Classical, MMC, Naxos and other labels, and include the Grammy ® winning recordings of Brahms’ sonatas with Richard Goode; and trios of Beethoven, Brahms and Mozart with Emanuel Ax and Yo–Yo Ma; as well as Hartke’s Landscapes with Blues, The New York Times “Best of 2003.” He performed Rautavaara’s Clarinet Concerto (which was written for him) at the Norfolk Festival in 2008. | 7th Season at Norfolk | richardstoltzman.com The American lyric tenor, JAMES TAYLOR, is one of the most sought after singers of his generation, appearing worldwide with such conductors as Christophe Eschenbach, Nikolaus Harnoncourt, Christoph von Dohányi, Herbert Blomstedt, Daniel Harding, Harry Christophers, Osmo Vänskä, Phillipe Herreweghe and Franz Welser-Möst. He tours extensively with Helmuth Rilling. Important guest appearances have included concerts with the Bavarian Radio Symphony Orchestra, the Vienna Philharmonic, the Cleveland Orchestra, the Berlin Philharmonic, the Concentus Musicus of Vienna, the Toronto Symphony, Tafelmusik, the Gewandhaus Orchestra, Leipzig, the Orchestra of St. Luke's, the St. Paul Chamber Orchestra, the Israel Philharmonic and the San Francisco Symphony. He has recorded Dvořák's Stabat Mater, Mendelssohn's Paulus, Beethoven's Missa Solemnis, Handel's Messiah, Bach's Mass in b-minor, and the songs of John Duke. Mr. Taylor is one of the founders of Liedertafel, a vocal ensemble which has appeared in major European music festivals and recorded for the Orfeo label. Mr. Taylor is on the faculties of the Musikhochschule Augsburg, Germany, and the Institute of Sacred Music at Yale University. | 4th Season at Norfolk
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Oboist STEPHEN TAYLOR holds the Mrs. John D. Rockefeller III solo oboe chair with the Chamber Music Society of Lincoln Center. He is also solo oboe with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St. Luke’s Chamber Ensemble (where he is co-director of chamber music) and the American Composers Orchestra among others. He also plays as co-principal oboe with the Orpheus Chamber Orchestra. He appears regularly as soloist and chamber musician at such major festivals as Spoleto, Chamber Music Northwest, and Schleswig–Holstein. Stereo Review named his recording on Deutsche Grammophon with Orpheus of Mozart’s Sinfonia Concertante for winds as the Best New Classical Recording. Included among his more than 200 other recordings is the premiere of Elliott Carter’s Oboe Quartet, for which Mr. Taylor received a Grammy ® nomination. Mr. Taylor a faculty member of The Juilliard School. He also teaches at SUNY Stony Brook and the Manhattan School of Music. The Fromm Music Foundation at Harvard University awarded him a performer’s grant in 1981. Mr. Taylor joined the faculty of the Yale School of Music in the fall of 2005. | 7th Season at Norfolk CHRISTOPHER THEOFANIDIS is one of the more widely performed American composers of his generation. He regularly writes for a variety of musical genres, from orchestral and chamber music to opera and ballet. His work, Rainbow Body, loosely based on a melodic fragment of Hildegard of Bingen, has been programmed by over 120 orchestras internationally. Mr. Theofanidis’ works have been performed by such groups as the New York Philharmonic, the London Symphony, the Philadelphia Orchestra, the Orpheus Chamber Orchestra and the Moscow Soloists. His Symphony #1 has been released on disc by the Atlanta Symphony. Mr. Theofanidis has written widely for the stage, from a work for the American Ballet Theatre, to multiple dramatic pieces, including The Refuge for the Houston Grand Opera and Heart of a Soldier with Donna DiNovelli for the San Francisco Opera. His largescale piece The Here and Now, for soloists, chorus, and orchestra was nominated for a Grammy award in 2007. Mr. Theofanidis is currently on the faculty of Yale University, has taught at the Peabody Conservatory and the Juilliard School, and is also a fellow of the US-Japan’s Leadership Program. | 5th Season at Norfolk | theofanidismusic.com Since its founding over 40 years ago the TOKYO STRING QUARTET (Martin Beaver, violin – Kikuei Ikeda, violin – Kazuhide Isomura, viola – Clive Greensmith, cello) has collaborated with a remarkable array of artists and composers, built a comprehensive catalogue of critically acclaimed recordings and established a distinguished teaching record. Performing well over a hundred concerts worldwide each season, the Tokyo String Quartet has a devoted international following that not only includes the major capitals of the world but also reaches all four of its corners. Deeply committed to teaching young string quartets, they devote a considerable amount of time to the Yale School of Music during the academic year, where they have served on the faculty since 1976 as quartet–in–residence, and to the Norfolk Chamber Music Festival in the summer. An exclusive contract with Deutsche Grammophon firmly established the Quartet as one of the world’s leading chamber music ensembles, and it has since released more than 30 landmark recordings on DG, BMG/RCA Victor Red Seal, Angel\EMI, CBS Masterworks and Vox Cum Laude. The Quartet’s recordings have earned such honors as the Grand Prix du Disque and Montreux, “Best Chamber Music Recording of the Year” awards from Stereo Review and Gramophone magazines, as well as seven Grammy ® nominations. The Tokyo String Quartet performs on “The Paganini Quartet,” a group of renowned Stradivarius instruments named for legendary virtuoso Niccolò Paganini, who acquired and played them during the 19th-century. The instruments have been loaned to the ensemble by the Nippon Music Foundation since 1995, when they were purchased from the Corcoran Gallery of Art in Washington. Officially formed in 1969 at The Juilliard School of Music, the Tokyo String Quartet traces its origins to the Toho School of Music in Tokyo, where the founding members were profoundly influenced by Professor Hideo Saito. | 38th Season at Norfolk | tokyoquartet.com V IRGINIA WARNKIN, mezzo-soprano, has been hailed by the New York Times as an "elegant, rich-toned alto" with "riveting presence," and is becoming known throughout the American Early Music community for her heartfelt interpretations of the sacred works of Bach and Handel. A lifelong lover of both solo and chamber ensemble repertoire in the Early Music genre, Ms. Warnken can be heard as soloist and ensemble member with the Carmel Bach Festival, Trinity Wall Street Choir, TENET, Clarion Music Society, Musica Sacra, Oratorio Society of New York, Green Mountain Project, and Vox Vocal Ensemble. In recent seasons, she has appeared as a soloist numerous times on the stages of Carnegie Hall, Lincoln Center, and various venues in New York City, performing large scale works such as Bach's Passions of St. John and St. Matthew and the b-minor Mass, Handel's Messiah and Monteverdi's Vespers of 1610. | First Season at Norfolk
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Artist Biographies continued R ANSOM WILSON, flute/condcutor, studied at the North Carolina School of the Arts and The Juilliard School, before working with Jean–Pierre Rampal. As soloist he has appeared with the Israel Philharmonic, the English Chamber Orchestra, the London Symphony Orchestra, I Solisti Veneti, the Prague Chamber Orchestra and the Orpheus Chamber Orchestra, among others. He is an Artist Member of the Chamber Music Society of Lincoln Center. An active conductor, Mr. Wilson is Music Director of Solisti New York and has held that position with Opera Omaha, the San Francisco Chamber Symphony, and the OK Mozart Festival in Oklahoma. He founded the Mozart Festival at Sea, and received the Republic of Austria’s Award of Merit in Gold for his efforts on behalf of Mozart’s music in America. More recently he has conducted at the Metropolitan Opera and the New York City Opera. A supporter of contemporary music, he has had works composed for him by Steve Reich, Peter Schickele, Joseph Schwantner, John Harbison, Jean Françaix, Jean–Michel Damase, George Tsontakis, Tania Léon and Deborah Drattel. | 13th Season at Norfolk | ransomwilson.com CAROL WINCENC, flute, was First Prize Winner of the Walter W. Naumburg Solo Flute Competition. She has appeared as a soloist with such ensembles as the Chicago and London symphonies; the BBC and Buffalo philharmonics; the Saint Paul and Stuttgart chamber orchestras; and the New York Woodwind Quintet. She has performed in the Mostly Mozart Festival and music festivals in Aldeburgh, Budapest, Frankfurt, Santa Fe, Spoleto and Marlboro. Ms. Wincenc has premiered numerous works written for her by many of today’s most prominent composers including Christopher Rouse, Henryk Gorecki and Joan Tower. In great demand as a chamber musician, Ms. Wincenc has collaborated with the Guarneri, Emerson, and Tokyo string quartets, and performed with Jessye Norman, Emanuel Ax and Yo–Yo Ma. She has recorded for Nonesuch, London/Decca, Deutsche Grammophon and Telarc. Ms. Wincenc created and directed a series of International Flute Festivals in St. Paul, Minnesota, featuring such diverse artists as Jean–Pierre Rampal, Herbie Mann and the American Indian flutist, R. Carlos Nakai. Ms. Wincenc is currently teaching at The Juilliard School. | 12th Season at Norfolk Acclaimed pianist WEI-YI YANG enjoys a flourishing concert career, appearing on four continents, in solo recitals, chamber music concerts and with symphony orchestras. Most recently, Mr. Yang was praised by the New York Times as the soloist in a "sensational" performance of Messiaen's Turangalîla-Symphonie at Carnegie Hall. Winner of the San Antonio International Piano Competition, Mr. Yang has performed in such prestigious venues as Lincoln Center, Merkin Hall and the Kennedy Center, in addition to concert halls throughtout Korea, England, Scotland, Hong Kong and Australia among many others. An avid chamber musician, Mr. Yang has performed with members of the Cleveland, Philadelphia and Minnesota Orchestras; the New York Philharmonic; the Chicago, San Francisco, Pittsburgh, Singapore and London Symphonies; Orpheus and Saint Paul Chamber Orchestras; and Orquestra do Estado de São Paulo, among others. Born in Taiwan of Chinese and Japanese heritage, Mr. Yang received his early education in the United Kingdom, and at New York's Manhattan School of Music. Mr. Yang has worked with such artists as Claude Frank, Peter Frankl, Vera Gornostaeva, and the late Hans Graf. Under the guidance of Boris Berman, Mr. Yang received his DMA from Yale in 2004. A Yale faculty member since 2005, Mr. Yang is in demand for master classes and lectures, as well as diverse recording projects. | 6th Season at Norfolk The YALE CHORAL ARTISTS is a professional choir recently founded by the Yale School of Music and the Yale Glee Club to enhance and enrich Yale's strong commitment to the choral arts. The choir is a project-based ensemble comprised of leading singers from around the country and is directed by School of Music faculty member Jeffrey Douma. Current members of the Choral Artists also perform in the ranks of such acclaimed ensembles as the Trinity Wall Street Choir, Chanticleer, the Handel and Haydn Society Chorus, the Oregon Bach Festival Chorus, Voices of Ascension, Conspirare, and many others, and are also leading concert soloists, particularly in the area of early music. The Yale Choral Artists made their debut in an all-Handel program led by guest conductor William Christie at Yale and in Zankel Hall in February of 2012 . In June of 2012, the Choral Artists performed a program of contemporary American music as a featured ensemble at the first Yale International Choral Festival. During their residence at the festival, they also mentored current Yale undergraduate singers and the festival's Conducting Fellows, and collaborated on a performance of Bach and Vivaldi with the renowned Mark Morris Dance Group. | First Season at Norfolk | music.yale.edu/ensembles/yca.html
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Music Shed Restoration Fund (As of May 10, 2013)
The Ellen Battell Stoeckel Circle anonymous anonymous
Burton and Joyce Ahrens
Byron Tucker and Elizabeth R. Hilpman
The Rachmaninov Circle
anonymous in Memory of Wm. Hale Charch and Ruth Heidrick Charch anonymous in honor of Paul Hawkshaw
anonymous in memory of Luther and Osea Noss Astrid and John Baumgardner Marlene Childs
Robert Loper and Robert Dance
Fleur Fairman and Timothy Wallach Susan and Paul Hawkshaw Leila and Daniel Javitch
Adrienne Gallagher and James Nelson Dr. William C. Popik
James and Nancy Remis
The Smart Family Foundation, Inc. Pat and Kurt Steele
Alex and Patricia Vance Sukey Wagner
MUSIC SHED RESTORATION FUND | 77
Music Shed Restoration Fund continued The Samuel Coleridge Taylor Circle Robert and Serena Blocker Hope Childs
Michael Emont and Margo Rappoport Valerie Fitch
Lester and Dinny Morse
John Perkins and Hope Dana Curtis and Kathy Robb
Anne-Marie SoulliĂ¨re and Lindsey C.Y. Kiang
Music Shed rendering by Vladislav Yeliseyev, John G. Waite Associates, Architects
78 | MUSIC SHED RESTOR ATION FUND
Percy Grainger Circle Syoko Aki Erle
Billy and Mary Gridley
Frank and Bethany Morelli
Linda and Frank Bell
Suzanne M. Hertel
Grant and Kristin Mudge
Mr. and Mrs. Samuel A. Anderson, III Amy and Peter Bernstein Bertha R. Betts
Constantin R. Boden
Annette McEvoy Bronheim and Harold Bronheim Jennie and Bill Brown Mary Beth Buck
Robert and Ann Buxbaum
Drew S. Days, III and Ann R. Langdon Andrew G. De Rocco Perry DeAngelis
Rohit and Katharine Desai
Prof. Michael Friedmann and Ms. Deborah Davis Barbara and Bill Gridley
Peter S. Heller
Philip and Helen Jessup
Doreen and Michael Kelly Susan and Peter Kelly Peter L. Kennard
Stuart C. H. Kiang and Grace Wiersma
Kevin and Hatice Morrissey Leroy and Jane Perkins
Ned and Karen Peterson Drew and Sally Quale
Sandy and Dick Rippe
The Felix and Elizabeth Rohatyn Foundation
John and Duff Lambros
Shirley and Ben Sanders
Raymond and Yong Sook Kwok Starling Lawrence
Christopher and Betsy Little James B. Lyon
The J.D. and C.T. MacArthur Foundation Merck Partnership for Giving Katherine Moore
Richard and Barbara Moore
John and Barbara Rutledge The Selz Foundation Cameron O. Smith
Schuyler and Heather Thompson Alexandra Walcott Abby N. Wells
Sally and William Charitable Fund
Fritz Kreisler Circle Caroline Andrus
The Asen Foundation, Scott Asen, Trustee Joanna Aversa
Bret and Lori Black
Abbie and Zoe Falk
Colta and Gary Ives
George K Fenn, Sr.
Catherine Gevers and John Fernandez
John and Denise Buchanan
The William and Mary Greve Foundation, Inc.
Mr. and Mrs. Gerald Hess
Blake and Elizabeth Cabot Carolyn Childs
Ruah Donnelly and Steven Dinkelaker
Brett and Coleen Hellerman
Tom Hodgkin and Barbara Spiegel
Daphne Hurford and Sandy Padwe
Janine King and Steven Paganuzzi Judith and Kim Maxwell
Ingrid and Michael Morley
Howard Sobel and Ileene Smith Kathleen SoulliĂŠre Graham Taylor
Dr. Steven Wernick Wei-Yi Yang
MUSIC SHED RESTORATION FUND | 79
Music Shed Restoration Fund continued Maude Powell Circle anonymous
Louise L. Chinn Ducas
Ed and Reva Potter
anonymous, in honor of Michael Emont
Mary Fanette and Veronica Burns
Mr. and Mrs. Hugh M. Ravenscroft
Rick and Nurit Amdur
Ivan A. Backer and Paula Fisher
Johanna Barnhart and Caridad Caro Francis and Christianne Baudry Barbara and Malcolm Bayliss Barbara and Jack Beecher
Warren and Joanne Bender
ErzsĂŠbet and Donald Black Libby Borden
Gerry and Bill Brodnitzky Francesca Turchiano
and Bob Bumcrot
Nicholas L. Campbell Jane and Oscar Chase
Mr. and Mrs. Starling W. Childs Dennis and Pamela Collins Hilda Collins
Phyllis and Joseph Crowley
Peter and Kristine Dobbeck
Howard and Sally Estock Susan L. Fish and
Robert W. Richardson
Dr. Richard J. Gard
Judith and Arthur Gurtman Jim and Lois Harris
Peter L. and Mary H. Hess
Theodore and Nancy Johnson
Mr. and Mrs. Abraham Kaufman Robert King
Robert N. Kitchen
Sheila Camera Kotur
Dr. and Mrs. Robert Lapkin Judith and Michael Lesch Vicky MacLean
Elizabeth and Frank Martignetti
Stephen J. McGruder Family Fund Gwen E. Melvin
Dr. and Mrs. Ira Mickenberg Jim and Jeanne Moye Ingegerd Mundheim
Jerry and DeVere Oakes Ted and Iris Phillips
Donna and Dennis Randall Belle K. Ribicoff
Marvin and Joyce S. Schwartz Anthony and Helen Scoville Chris and Frank Silvestri Cornelia and Jon Small
Janet and Ronald Spencer
Peter and Abbe Steinglass Dr. J. W. Streett
Michael and Suzanne Stringer G and R Swibold
Sally and Nicholas Thacher
Alyson and Tony Thomson
Richard and Sandra Tombaugh anonymous
Nancy R. Wadhams
Charles and Barbara Perrow
Robert F. Wechsler and Emily Aber Joemy Wilson and Jon Harvey Werner and Elizabeth Wolf Beatrice and Edgar Wolf
Susannah and Wiley Wood
Victor Herbert Circle Anne Marie and Jonathan Berger
Jack Grossman and Diane Cohen
Robert and Andrea Milstein
Awilda Guerrero-Buchholz and
Dean and Bob Inglis
Jay and Elizabeth Nyczak
Gayle H. Blakeslee
Margaret E. Burnett Susan M. Dyer
Susan A. and Jon Eisenhandler Steven Fraade
80 | MUSIC SHED RESTOR ATION FUND
Steve and Amy Hatfield Valerie Jones
Sara and William Lavner
Anne Garrels and Vint Lawrence Lenore Mand
Carlos E. and Alda Neumann Helen and Avi Elnekave
Marcia and Robert E. Sparrow Peter Vosburgh
Bonnie Watkins Jeppy Yarensky
Festival Mission TO PROVIDE artistic and academic preparation for the most gifted graduate–level performers and composers from around the world under the tutelage of an international faculty TO SUPPORT and extend the Yale School of Music’s internationally recognized music programs by serving as a pedagogical and performance venue for faculty and fellows as well as provide opportunities for the development of special projects consistent with YSM activities
TO FOSTER the creation of new chamber music through commissions, concerts, workshops, competitions and residencies for established and student composers from around the world
TO SEEK new possibilities for the international cultivation of chamber music through exchange programs as well as by developing new media and performance venues TO INVITE audiences to discover, explore and appreciate chamber music through concerts, lectures, listening clubs, school programs and creative outreach activities
Festival Leadership Council The Leadership Council is an advisory board which works with the Director to advance the mission of the Norfolk Chamber Music Festival through support, advocacy, participation in its educational activities and fundraising. Council members contribute in a variety of ways including helping to develop new audiences, implementing fund–raising initiatives and providing advice and counsel. The Dean of the Yale School of Music serves on the Leadership Council ex officio.
COUNCIL MEMBERS Robert Blocker, Dean Paul Hawkshaw, Director Joyce Ahrens John Baumgardner Kathleen Kelley Christopher Little James Remis Byron Tucker Sukey Wagner
FESTIVAL MISSION AND LEADERSHIP COUNCIL | 81
We wish to thank the many individuals and organizations who, through their support, have made this season possible. (As of May 10, 2013)
Leading Contributors anonymous anonymous
Burton and Joyce Ahrens
Local Area Fund of the Community Foundation of Northwest Connecticut Battell Arts Foundation
Astrid and John Baumgardner Centenary Scholarship Fund
State of Connecticut Department of Economic and Community Developoment, Office of the Arts Ellen Battell Stoeckel Trust
Clement Clarke Moore Scholarship Fund Jim and Nancy Remis
Roger and Jerry Tilles Tokyo String Quartet
Louise Willson Scholarship Fund
82 | ANNUAL FUND CONTRIBUTORS
Musicians' Circle anonymous
Mr. and Mrs. Gardner
Mary Beth Buck
Ronald and Susan Netter
Robert and Ann Buxbaum
Rohit and Katharine Desai
John Perkins and Hope Dana
Mary and Don Roberts
The Walter and Phyllis
Leila and Daniel Javitch Philip and Helen Jessup
David Low and Dominique Lahaussois
Richard and Sandy Rippe Salisbury Trust Wealth
Lindsey C. Y. Kiang
Anne-Marie SoulliĂ¨re and Pat and Kurt Steele
Eliot and Annick Wadsworth
Associate Members Hope Childs
John and Helen Davis
Herbert and Jeanine Coyne Carl and Marilee Dudash Bill and Barbara Gridley
Judith and Morton Grosz Daphne Hurford and
Tom Martin and Susan Spiggle
Adrienne Gallagher and James Nelson
Aldo and Elizabeth Parisot Sally and Andrew Quale Richard and Marilyn Schatzberg
David and Roxanne Shifrin Mark and Tania Walker
Sustaining Members anonymous
Mr. and Mrs. Patrick Crossman
Ingrid and Michael Morley
Susan A. and Jon Eisenhandler
Edna H. Travis Fund
Richard and Lois Pace Charitable and Cultural Fund
Molly Ackerly and
Bernard R. Adams and
Michael Allen and Jane Wooten Joanna Aversa
Barbara and Malcolm Bayliss ErzsĂŠbet and Donald Black Pamela and Dennis Collins
Andrew G. De Rocco George K. Fenn, Jr.
Carol Camper and John Hartje Jim and Leni Herzog
Jane and Leroy Perkins
Eileen and Edgar Koerner
Pete Peterson and Roger Mitchell
John and Barbara Rutledge
Michael and Doreen Kelly Caitlin Macy and
Pepe Lopez and Paul Provost
Marvin and Joyce S. Schwartz Fund
Thomas R. Shachtman and Harriet Shelare Cameron O. Smith
Linda Bland Sonnenblick
and Henry Zachs
Alyson and Tony Thomson Abby Wells
ANNUAL FUND CONTRIBUTORS | 83
Annual Fund continued Supporting Members anonymous
Bank of America Matching Gift Program
Francis and Christianne Baudry Linda and Frank Bell
Warren and Joanne Bender Donald A. Bickford Libby Borden
Joann and Wes Boyd
Everett and Sally Briggs
Eileen Fitzgibbons, LMT Steven Fraade and
Genevieve Fraiman John T. Gillespie
Ellen D. Glass, M.D. Paul Gottsegen Alysson Green
Jerald and Madelon Grobman
Lewis I. Haber and Carmen Dubroc
Cynthia and Burton Budick
Suzanne M. Hertel
Mr. and Mrs. David Burgin Anders P. Boland and
Steven B. Callahan
Randall R. Dwenger and Linda and Walter Censor
Anne Hall and Philip Cohen Joe and Phyllis Crowley
Allan Dean and Julie Shapiro John V. H. Dippel
Dennis and Penny Dix Mrs. Henry F. Dodd
Judith and Paul Dorphley The Dwyer Family
Robert and Eiko Engling Susan Fish and
84 | ANNUAL FUND CONTRIBUTORS
Rev. Mary N. Hawkes Jerry and Barbara Hess Elaine and Jon Hyman
Ken and Judith Kalmanson Shun-Ichiro Karato
Marsha Keskinen and
Amy Kessler and
Roger and Holly Ketron
Lincoln Financial Foundation Douglas and Susan Lint Gerald and Selma Lotenberg Maija Lutz and Peter Tassia Lenore Mand
Dr. and Mrs. Ronald Match
Zdenek and Zuzana Meistrick
in Memory of Jack Crockett
Merck Partnership for Giving Alan and Cecily Mermann
James R. and Joanne W. Miller Mary Jane Minkin and
Jim and Jeanne Moye Martha Mullins
Carlos E. and Alda Neumann Diane L. Northrop
Kevin M. O'Connor
J. and T. Papachristou
Susan and Michael Poskus Anitra Powers
Christopher and Elizabeth Reinhart
Carlene and Henry Laughlin
Andrew Ricci, Jr., MD and
Larry S. King
Vint Lawrence and
Jacqueline Ann Muschiano
Judith and Aaron Rosenberg Naomi Rosenblum
R. D. and Linda Sahl
Jacqueline and Frank Samuel Chris and Frank Silvestri Harvey and Rita Simon
Walter and Mary Simons
Brian and Catherine Skinner Thomas Sliney and Jan Weaton Gordon W. Smith
Barbara Spiegel and Tom Hodgkin
Gretchen and Richard Swibold Graham Taylor
Linda and Bill Terry
Sally and Nicholas Thacher
Bill Tilles and Kathy Berliner Sheldon and Florence Toder
Richard and Sandra Tombaugh Mr. and Mrs. Courtland
Sandra and David Van Buren Nancy Wadelton
Bill Warner-Prouty Bonnie Watkins
Myra Leffel and Joel Stein
Betty J. Robbins
John Weikart and Jennifer Chu
Victor and Roz Leviatin
Beatrice and Edgar Wolf
Peter and Suzanna Lengyel
The Robbins Family
Kate Wenner and Gil Eisner
p l e d g e
s u p p o r t
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v o l u n t e e r
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Norfolk Festival 2013 Program Book