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Welcome To The Festival Yale School of Music Professor Paul Berry will provide context to the theme and the pieces on each Friday night concert during his Pre-Concert Conversations. These lectures, along with the introduction of boxed picnic dinners, made Friday nights quite popular with last summer’s audiences. I am proud to continue featuring our immensely talented Fellows each Friday night performing alongside their teachers and mentors. As always, we have an illustrious roster of artists visiting Norfolk this summer including debuts by clarinetist Romie de Guise-Langlois, the Shanghai Quartet, violinist Benny Kim, violist Melissa Reardon, and cellist Raman Ramakrishnan. A highlight of the summer will be the welcome return of Dawn Upshaw performing with the Brentano String Quartet, as well as appearances by perennial favorites like the Emerson Quartet, Frank Morelli, Peter Frankl, and Boris Berman. Our annual Gala will take place on July 21 with Nicholas McGegan and the Philharmonia Baroque Orchestra performing music by Handel — please join us for this special evening! Welcome back to Norfolk for another season! I am delighted to share with you what we have planned. This summer, we will celebrate the centenary of 1918, a year in which — among many other musical events — Debussy died, Leonard Bernstein was born, and Arnold Schoenberg founded his Society for Private Musical Performance. Looking back one hundred years ago provides a point of reflection, as forces of rapidly advancing technology, nationalism, and world conflict created uncertainty in what would lie ahead. At the same time, a sense of self-determinism — a belief in the ability to choose a deliberate path for the future — was apparent. The world of music faced as much turmoil as the battling nations of Europe. French musicians rebelled from the Germanic tradition. Schoenberg was in the midst of his struggle to “emancipate dissonance” which would eventually lead him to create his twelve tone system. At the same time, composers like Debussy answered atonality by going in a completely different musical direction. I hope that this theme, reflected in this summer’s concerts, will give you some insight into the musical climate of the time and allow you to reflect on these composers’ ideas.

All of us studying, performing, and working at Norfolk would like to thank Dean Blocker and the Yale School of Music, the Ellen Battell Stoeckel Trust, the families who welcome our Fellows into their homes, and everyone who has generously contributed to the Festival whether by donating time or money, or by coming to see a concert. The Norfolk Chamber Music Festival is truly “Music Among Friends” and we could not exist without the extraordinary community that comes together in support of the Festival year-round. As you browse through our program book this summer, whether a fan of Romantic, Classical, or more contemporary compositions, I’m sure you will find something you’ll like. Again, I want to wish you all a warm welcome as we enjoy another wonderful season full of concerts and friends!

Melvin Chen, Director

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Table of Contents 3 ........................ Director’s Welcome 5 ........................ Table of Contents

7 ........................ Festival Acknowledgements 9 ........................ Festival History

11 ........................ 1918 …What Was Life Like?

17 ........................ Artist Spotlight: Simon Carrington 21 ........................ Festival Artists

23 ........................ Fellowship Recipients

26 ........................ Festival Mission • Leadership Council 27 ........................ Festival Administration

28 ........................ Emerging Artist Showcase • Pre-Concert Conversations • Masterclasses • Box Picnics 29 ........................ Friday, June 29 • Emerging Artist Showcase: New Music Recital 31 ........................ Friday, July 6 • Turn of the Century Vienna 33 ........................ Saturday, July 7 • Brentano String Quartet 35 ........................ Friday, July 13 • Debussy & Mozart

37 ........................ Saturday, July 14 • Brentano & Dawn Upshaw 39 ........................ Friday, July 20 • Beethoven & Shostakovich 41 ........................ Saturday, July 21 • Norfolk Festival Gala

43 ........................ Friday, July 27 • Debussy: Enemies & Friends 45 ........................ Saturday, July 28 • Shanghai Quartet

47 ........................ Friday, August 3 • Emerson String Quartet 49 ........................ Saturday, August 4 • 1918 Soldier’s Story 51 ........................ Sunday, August 5 • Open House | Frank Vignola Trio

53 ........................ Friday, August 10 • Beach, Bernstein & the American Tradition

55 ........................ Saturday, August 11 • Four Seasons Old & New 59 ........................ Saturday, August 18 • Choral Festival 60 ........................ Artist Biographies

72 ........................ Fellow Biographies: Chamber Music Session 77 ........................ Fellow Biographies: Choral Workshop

80 ........................ Fellow Biographies: New Music Workshop 83 ........................ Cupola Society

84 ........................ Music Shed Restoration Donors

90 ........................ Paul & Susan Hawkshaw Scholarship Donors 92 ........................ Annual Fund Donors

ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: korlowski@onstagepublications.com www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A.

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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 Liz Allyn John & Astrid Baumgardner Rick & Candace Beinecke Linda Bell Berkshire Country Store, Ryan Craig Sir Tim Berners-Lee Donald & Erszebét Black Elizabeth Borden Botelle School, Lauren Valentino, Principal Ashley Bianchi, Music Educator Bill & Jennie Brown Chris & Tish Brubeck Michelle Brummitt Chamber Music America, Margaret Lioi, President Hope Childs Andrew De Rocco & Joan McNulty Perry DeAngelis Tara Deming Wood Creek Grill, Heidi & Michael Dinsmore Martina Dodd Carl & Marilee Dudash First Congregational Church, Rev. Erick Olsen Adrienne Gallagher John Garrels Barbara Gridley Hartford Symphony Orchestra, Steve Collins, Executive Director Ruth Sovronsky, Director of Development

Paul & Susan Hawkshaw Coleen Hellerman Sarah Henderson Elizabeth Hilpman & Byron Tucker Infinity Music Hall, Dan Hincks Tom Hodgkin Husky Meadows Farms, Traci Hayhurst Leila & Daniel Javitch Gregory Johnson Kathleen Kelley Doreen & Michael Kelly Matthew LeFevre Christopher & Betsy Little David Low & Dominique Lahaussois Pamela Lucas Kim & Judy Maxwell Chris Melillo Roger Mitchell & Pete Peterson WNPR, Lucy Nalpathanchil, Lydia Brown Norfolk Artists & Friends, Ruthann Olsson The Norfolk Foundation, Dawn Whalen The Norfolk Historical Society, Barry Webber The Norfolk Library, Ann Havemeyer Norfolk Lion’s Club Norfolk Volunteer Fire Department Northwest Community Bank, Gayle Moraski

Northwest Connecticut Arts Council, Amy Wynn Northwestern Regional High School, Steven Zimmerman, Music Coordinator Mark O’Connor Aldo & Elizabeth Parisot Stefanie Parkyn Linda Perkins Nancy & Jim Remis Matt Riiska, First Selectman, Norfolk, CT Karin Roffman Lily Schaeffer Julie Scharnberg Kim Scharnberg & Gwynn Griffin Maria Schneider Anne-Marie Soullière & Lindsey Kiang Pat & Kurt Steele Lynette Stoyles Lily Sutton Martin Tandler & Maura May Tents Unlimited, Brittany Sherwood Roger Tilles Patricia Torello Sukey Wagner WFCR E.B. White Elizabeth Wilford Woodridge Lake Association Yale Choral Artists, Jeffrey Douma, Director

Yale Collection of Musical Instruments, William Purvis, Director Susan Thompson, Curator Yale Dining Services, Rafi Taherian, Executive Director Christian Fischer Betty Jo Mackiewicz Yale Institute of Sacred Music, Martin Jean, Director Yale Printing & Publishing Services, Carmen Cusmano Hal Schwartz Yale School of Art, Marta Kuzma, Dean Samuel D. Messer, Director Michael Yaffe Dr. Donna Yoo 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 Emerging Artist Showcase Dean Robert Blocker and the entire Yale School of Music for their continuing and invaluable support of the Norfolk Chamber Music Festival Most of all, Ellen Battell Stoeckel, our founder and patroness

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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 Jean Sibelius in Norfolk, 1916. of the country’s most Photo courtesy Joanna Dolbey 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, a recent restoration has returned the hall to its original glory. The stunning acoustics have remained unchanged since renowned musicians such as Fritz Kreisler, Sergei Rachmaninoff, and Jean Sibelius graced its stage. Programs from the early days of the Festival (1906-1923) demonstrate that Norfolk was a dynamic center where composers, performers, poets and authors from around the world were honourary members of the Litchfield County Choral Union. A short list of artists includes Alice Longfellow in 1910 (daughter of Henry Wadsworth Longfellow and one of the founders of Radcliffe College); Henry Hadley also in Norfolk in 1910 (first conductor of the San Francisco Symphony, Associate Conductor of the New York Philharmonic, founder of the Berkshire Symphonic Music Festival in 1934 — later known as Tanglewood); and Frederick Stock in 1915 (Music Director of the Chicago Symphony for 37 years, succeeding its founder, Theodore Thomas, and preceding Fritz Reiner). Other honourary members included Vincent D’Indy, Antonín Dvořák, Edward Everett Hale, Camille Saint-Saëns and Ralph Vaughan Williams. Norfolk was an important, perhaps critical, stop on the music circuit in the early years of the 20th century. 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 77th season, the Norfolk Chamber Music — 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 Tokyo, Alexander, Brentano, Emerson and Artis String Quartets. Boris Berman, Peter Frankl, William Purvis, Frank Morelli,

Ani Kavafian and many others from around the world perform as part of a series of nearly 40 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. The Fellows who spend their summer in Norfolk participate in the intensive program of coachings, 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 who have enjoyed successful careers in music include Alan Gilbert, Richard Stoltzman, Frederica von Stade, Pamela Frank, the Claremont and Eroica Trios, Sō Percussion, eighth blackbird, and the Alexander, Calder, Cassatt, Cavani, Jasper, Miró, Saint Lawrence, Shanghai and Ying quartets, among many others. Recent Norfolk alumni, have also won many of the most prestigious chamber music prizes including the Young Artists’, Naumberg, Fischoff, M-Prize, and Banff competitions. 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 Emerging Artist Showcase series, which is offered free to the public throughout the summer, as well as join their faculty mentors on our Chamber Music Friday concert series. The community of music lovers supports the young performers and becomes their most enthusiastic advocates. 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 ( Top: Left to Right) Conductor Arthur Mees, soprano distinguished Alma Gluck, violinists Efrem Zimbalist and musical Fritz Kreisler in Alma’s new Ford, purchased on the traditions. In way to Norfolk. Photo courtesy of the Mees Family. both the school and in our concerts we work every day to honor the spirit of Ellen and Carl Stoeckel, as stated in a concert program from June, 1922: “the sole object being to honour the composer and his work, under the most elevated conditions.”

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1918...What Was Life Like? year. And the workplace was about 30 times more dangerous than it is today. Americans walked everywhere or took a horse, or a streetcar, if they lived in cities. They lived in three-generation homes that they rarely owned and spent a huge portion of their income on food. (One-third compared to half of that today.) Life was not easier. Fewer than 20 percent of the population had a stove. And while clothes washers, dryers, air-conditioning and television sets would all be common by the 1960s, in the late teens they were nowhere. The front page of " The Erie Daily Times" announcing the signing of the Armistice.

This summer’s season features a focus on the year 1918. The biggest event of the year was the close of World War I, with the signing of the Armistice with Germany on November 11, 1918. (The Armistice was signed on the 11th hour of the 11th day of the 11th month.) After several years of brutal warfare in Europe, the “war to end all wars” was finally over. (Well, mostly — military actions continued for another half a year into 1919.) Musically, 1918 saw some significant events such as the death of Claude Debussy, several major compositions from Igor Stravinsky and the founding of the Society for Private Performances, conceived and founded by Arnold Schoenberg. Were 1918 musical events in the same league as 1913 when Stravinsky premiered his Rite of Spring, or the two years in which Beethoven wrote his six last string quartets? Or 1867 when Franz von Suppé wrote Banditenstreiche (Jolly Robbers)? We think so. But what was life really like in 1918? There was widespread exhaustion from four and a half years of the Great War. Revolution was continuing in Russia. The “Spanish flu” was first seen in Kansas and over the course of the year an estimated 675,000 Americans would die. That is more than the total of combat deaths of all American servicemen and servicewomen in all wars and battles from 1775 to the present. The average life expectancy of an American dropped by twelve years in 1918 alone. Better news was that most women over the age of 30 in England were finally allowed to vote. Daylight Savings Time was approved by the United States Congress and implemented. Babe Ruth led the American League in home runs for the very first time. The term “stream of consciousness” was first used in print. K-K-K-Katy and Oh! How I Hate to Get Up in the Morning were written. Gustav Holst’s The Planets was premiered. Sam Walton (WalMart) was born. Bob Evans and Wilbur Hardee, who both went on to found fast food restaurant chains, were born. And Leonard Bernstein was born. We lived differently. Half of all families lived in rural areas, or in towns with populations under 2,500. With a population of the United States near 100 million people, more than half were under the age of 25. And ten percent of infants died within their first

To their credit, the popular entertainment of the time was the piano (player otherwise) or the phonograph. And concerts. And lectures. To bring all this closer to home, the Norfolk Festival celebrated its 12th year in the Music Shed in 1918. Ellen Battell and Carl Stoeckel hosted the 38th, 39th and 40th concerts of the Litchfield County Choral Union, with violinist Maud Powell as the featured soloist. (She had premiered Max Bruch’s Konzertstück at the Music Shed in 1911.) Works on the programs included Verdi’s Requiem, Sibelius’ Finlandia, and the premieres of four big works for chorus and orchestra: Horatio Parker’s The Dream of Mary; David Stanley Smith’s Symphony No. 2; George Chadwick’s Patriotic Ode; and Charles Villiers Stanford’s Verdun. All four were among the pre-eminent American and British composers of the time. As you make your plans for the summer, think about those concerts in this little town in rural Northwest Connecticut — with a population well under that 2,500 mentioned above. And we hope you will think about the concerts this coming summer, 100 years later. We hope these fun facts will provide a sense of the time — 1918 was a watershed year in several ways. We’ll close with our annual caveat that much of this came from the “interweb” which, although wonderful, really isn’t the most accurate source of information in every instance. You can also ‘like’ us on Facebook where we’ll post additional tidbits of information throughout the summer. We’ve got LOTS more! We find this fun. We hope you do as well. Initially written without commercial intent, “Oh! How I Hate to Get Up in the Morning” eventually appeared in three different Broadway shows, including Ziegfeld Follies of 1918.

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1918...What Was Life Like? JANUARY On January 7, Mississippi is the first state to ratify the 18th amendment to the US Constitution prohibiting the manufacture, sale and consumption of alcohol. It remains the only amendment to be repealed, by the 21st amendment in 1933.

1918 publicity poster for the silent f ilm“Tarzan of the Apes.”

Tarzan of the Apes premiered. It is the first of 48 Tarzan films, with Elmo Lincoln as the first actor to portray Tarzan.

FEBRUARY Stars and Stripes, the US Armed Forces newspaper is first published. Harold Ross, editor of the Stars and Stripes, returned home to found The New Yorker magazine. Mahler’s Symphony No. 2, “Resurrection” is performed in Boston (its second performance in America). Musical America: “It is the work of a thoughtful and skillful composer, unorthodox in his method and not too orthodox in his religious feelings. It is doubtful if the work will ever achieve popularity in America.” The symphony was premiered in Berlin in 1895 and is now one of Mahler’s most-performed symphonies.

MARCH The US Naval boat Cyclops disappears on March 4th or sometime after in the Bermuda Triangle. It was the single largest loss of life in US Naval history not directly involving combat. US Congress establishes time zones and approves Daylight Savings Time, which goes into effect on March 31.

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Manfred von Richthofen — “The Red Baron” — World War I’s most successful fighter pilot, dies in combat near the Somme river.

A 1918 picture postcard of Manfred von Richthofen.

MAY Codell, Kansas is hit for the third year in a row, on the same date, by a tornado — May 20, 1916, 1917, and 1918. Sunday baseball is made legal in Washington, D.C. on May 14. US House of Representatives passes the 19th amendment allowing women to vote. The amendment was passed by Congress in 1919 (after revisions from both the House and Senate), and adopted in 1920.

JUNE On June 22, four are arrested, and more than 100 waiters are detained as suspects in the “Chicago Restaurant Poisonings.” They used a poison called a “Mickey Finn” to poison patrons who did not tip well. The “Mickey Finn” was named after a bartender in Chicago who first was arrested for its use in 1903. US Supreme Court rules that federal child labor laws are unconstitutional.

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In 1910 Lewis Hine photographed Addie Card, age 12, a spinner at the North Pormal Cotton Mill in Vermont.

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1918...What Was Life Like? JULY

OCTOBER

The longest, errorless baseball game takes place with the Chicago Cubs besting the Philadelphia Phillies, 2 to 1, in 21 innings.

Sergeant Alvin York single-handedly kills 25 and captures 132 German soldiers in October — a month before the armistice was signed.

Lightning kills 504 sheep in Utah’s Wasatch National Park. July 15 and 16 saw the execution of the Romanov family in Russia, ending Tsarist rule in favor of the socialist system.

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A 1913 photo of Tsar Nicholas II of Russia with his family

A forest fire in Minnesota and Wisconsin destroys 25 communities and kills about 800 people.

NOVEMBER

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Sergeant Alvin York, 1919

World War I ends with the signing of the Armistice with Germany. It was signed just after 5:00 am, and went into effect on the 11th hour, of the 11th day, of the 11th month.

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LeRoy Robert Ripley

SEPTEMBER Most sports activities are cancelled due to World War I — but baseball continues. The World Series is held earlier than ever before, starting on September 2. Boston Red Sox defeat the Chicago Cubs, 4 games to 2. The Red Sox scored only nine runs in the entire Series, which is the fewest runs by the winning team in World Series history. And 1918 remains one of only three World Series where no team hit a home run.

DECEMBER Robert Ripley’s “Believe It or Not” column begins in the New York Globe. Interesting note: Peanuts creator Charles M. Schulz's first publication of artwork was published by Ripley. It was a cartoon claiming his dog was "a hunting dog who eats pins, tacks, screws, nails and razor blades." Schulz's dog Spike later became the model for Peanuts' Snoopy.

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1918...What Was Life Like? J Edgar Hoover posing with a boxer at a New York City dog show

At age 23 John E. Hoover decides to be called J Edgar Hoover. He would be named director of the FBI (and its predecessor, the Bureau of Investigation) at the age of 29 and serve under (or in some opinions, over) eight presidents.

NEW PRODUCTS DEBUTING IN 1918 The Torque wrench

US Revenue Act of 1918 established new tax rates: the bottom tax brackets were expanded but raised from 2% to 6%. Top rate was 77% on income over $1 million (up from 67% on income over $2 million). 5% of the population paid income taxes in 1918 (up from 1% in 1913). Income tax still funded 1/3 of the cost of World War I. US Population, 1918: 103,200,000 (325,700,000 today) World Population, 1910: 1,600,000,000 (7,600,000,000 today)

NOTABLE MUSIC EVENTS Worldwide sales of phonograph records is estimated at 100 million. Arnold Schoenberg conceived and founded the Society for Private Performances. Enrico Caruso, 1917

The Fortune Cookie: The fortune cookie was created by a San Francisco bakery, Benkyodo. David Jung, founder of the Hong Kong Noodle Company in Los Angeles, has made a competing claim that he invented the cookie in 1918. San Francisco's Court of Historical Review attempted to settle the dispute in 1983. The story put forth by the founder of the Hong Kong Noodle Company in Los Angeles is that he was concerned about the poor and created cookies with messages inside that had an inspirational verse written by the local Presbyterian minister.

INTERESTING FACTOIDS Average number of hours worked per week: 45.6 • Average earnings: $0.52 per hour ($9.25 an hour today) • Weekly average earnings: $25.61 ($455.28 today) … So minimum wage today was the average in 1918. The averages today are $24.57 per hour and $850.12 per week. Things have improved. 16 | 1918...WHAT WAS LIFE LIKE?

Over There with Enrico Caruso is a top hit recording. Sergei Rachmaninov gave his first concert performance in America.

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Sergei Rachmaninov


1918...What Was Life Like? • Rosa Ponselle made her Metropolitan Opera debut, playing Leonora in Verdi’s La Forza del Destino, opposite Enrico Caruso.

Rosa Ponselle, 1918, age 21

Premieres: Stravinsky’s L’histoire du Soldat and Ragtime • Holst’s The Planets — Bartók’s String Quartet No. 2 and Bluebeard’s Castle • Prokofiev’s Symphony No. 1, “Classical”

DEATHS Gustav Klimt • Henry Adams (The Education of Henry Adams) • Joyce Kilmer (“I think that I shall never see; a poem lovely as a tree” — his father invented Johnson & Johnson Baby Powder) • Egon Schiele • Gavrilo Princip (Yugoslav nationalist whose assassination of Archduke Franz Ferdinand of Austria was the defining event leading to World War I. Ask Jim about the fate of another assassin involved in the plot.) Gavrilo Princip outside the courthouse, 1914

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Howard Cosell with boxing legend Muhammad Ali

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BIRTHS Skitch Henderson • Don Pardo (announcer for Saturday Night Live) • Nelson Mandela • Howard Cosell • Sam Walton • Pearl Bailey • Jack Paar • Mike Wallace • Ted Williams • Billy Graham • Spiro Agnew • Anwar Sadat • Ann Landers and her twin sister, the other most-popular advice columnist, Pauline Phillips (a.k.a. Dear Abby) • Aleksandr Solzhenitsyn

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Advice columnists Ann Landers, left, with her twin sister Pauline Friedman Phillips

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Artist Spotlight Hailing from the United Kingdom, SIMON CARRINGTON has enjoyed a distinguished career as singer, double bass player and conductor. From 2003 to 2009 he was Professor of Choral Conducting at Yale and Director of the Yale Schola Cantorum, which he 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 US, he was a creative force for twenty–five years with the internationally acclaimed King’s Singers, which he co–founded at Cambridge University. He has given over 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. In the early days of the Singers he also had a lively career as a freelance double bass player, playing in most of the major symphony and chamber orchestras in London.

When you are away touring, do you bring anything special with you to remind you of home? A photo of my wife of 50 years and my bathrobe, or what we Brits call a “dressing gown!” When you fly what do you like to read? How do you pass the time? I am afraid most of the time on planes I am desperately learning my scores, but I do read whenever I can: The Guardian newspaper when travelling east and The New York Times on the way back — and books between times. I have just bought Zadie Smith’s new collection of essays Feel Free for my trip to New York next week. You maintain an ambitious schedule year-round; what do you do to recharge? I continue to restore our old house in southwest France and have now taken on another project in the shape of a Georgian period former pub near Bath in England. I also walk or cycle whenever the opportunity occurs. One of the many pleasures of my Norfolk week is cycling to rehearsals from the Little House! What is your favorite concert hall (aside from the Music Shed of course) to perform in and why? And it doesn’t have to be for a musical reason. My favourites vary in every life category! I have always been very bad at comparisons (I could never be a music critic). My current favourite is Birmingham Symphony Hall in the UK, Simon Rattle’s valuable legacy to the city with superb acoustics designed by the American Russell Johnson. I had the privilege to conduct my choir from Birmingham University there earlier this year in a Debussy Festival as guests of the City of Birmingham Symphony Orchestra and their amazing young conductor Mirga Gražinytė-Tyla.

What does it feel like right before you walk onto the stage? What runs through your mind? My Norfolk experience is a little different as I am only conducting a very small part of the program myself! At the Music Shed I’ll be concentrating on logistics and details: are all the chairs in the right place, will the conductors remember everything we have rehearsed, have I got all my announcements ready with a list of whom I need to acknowledge! Do you have any pre-concert traditions? In my King’s Singer days, we did have a tradition: a two hour rehearsal beginning five hours before the concert, then an “English Tea” (in the contract wherever we were in the world), back to the hotel for a shower (and to slow the breathing down!) then over to the concert hall all fired up and ready to go. I adapt that timetable nowadays as best I can! 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? My mother was a cellist and my daughter, a professional cellist/comedian, now plays on my mother’s fine old English instrument. I was a rather disappointing schoolboy cellist but subsequently had more success as a double bass player! My first LP was of the Elgar Cello Concerto which always brings back memories of my youth, my formative years and the English countryside!

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Artist Spotlight Everyone dislikes at 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? Program deadlines! I am constantly tinkering and never satisfied. Do you find that your training and skills as a musician are helpful in non-musical areas of your life? Would you share an example? I sometimes suspect that my 25-year career in a six-person ensemble running on democratic principles helped me subsequently to steer a path through the thorny thickets of faculty committees! What is one of your favorite pieces of music and why? Ever since I was a boy chorister I have loved the String Fantasias of Purcell. His handling of expressive dissonance and therefore of tension and relaxation in the language of music continues to guide my musical journey. Was there a moment or circumstance that helped you decide to move from pursuing a career as an instrumentalist (double bass) to a vocalist, and especially as a member of a small vocal ensemble? And then from that career to conducting? I suppose I had been a “professional vocalist” since the age of eight when I joined a cathedral choir which meant racing through new music every day. At school and then at Cambridge University I drifted into bass playing but discovered that my understanding of vocal lines helped my chamber and continuo playing and enabled me to carve a living as a string player even though I was never able to play virtuosic double bass concerti! My bass playing supported my family during the early years of The King’s Singers when the group was trying to find its feet (50 years ago this year!). As we became more successful I had to park the bass in a corner with much regret. The leap to conducting was a case of “as a used ensemble singer, what do I do now?” Singing in a small ensemble is highly demanding vocally and mentally. The King’s Singers silver jubilee coincided with my 51st year. To have continued would have been risky to put it mildly. I will always be grateful to the university choral fraternity in the US for giving me a chance to become a conductor (with minimum experience) and thus a teacher of conducting–and indeed the opportunity to have a “regular” job for the first time in my life–with benefits! Is there anything about the way classical music is presented to the world that you would like to see change or evolve? I am an old Luddite and am not in favour of trying to dress up classical music to popularize it. I have to admit I used to

enjoy the experience of singing a pop number on The Tonight Show with Johnny Carson on TV, then turning up to a concert hall somewhere where many of the audience had come to hear us as a result of The Tonight Show, sitting them down, “locking” the doors, and then singing them the whole of the Lamentations of Jeremiah by Thomas Tallis non-stop for 20 minutes! Getting the public through the doors is the main challenge, but then let’s present the music as is with no frills attached. We used to find that the beauty of the music was beguiling enough. What has always disappointed me in the US is the lack of easily accessible national classical radio stations available to dip into when the spirit moves. We are spoilt by BBC Radio 3 in the UK and France Musique in France–a combination of those kinds of resources plus enterprising musical education at high school level and enlightened parenting is more valuable than any spurious glitziness to brighten up the appearance of a classical concert. Is there a particular piece of advice or insight that you share with your students about being a musician? Take risks, develop your aural and sight-reading skills by challenging yourself rather than by following any particular method, sharpen your ears in all directions, always be expressive rather than methodical; never forget the importance of the texts in your choral performances. Good intonation, blend and balance are only part of the picture. 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 works would you recommend as an introduction to the choral genre? One of the reasons Arvo Pärt’s music has struck such a chord with people who have never paid much attention to classical music is it’s thoughtful and expressive simplicity. Much of this is based on the principles of so-called Early Music. To me unaccompanied Renaissance choral music is the most compelling of all if sung expressively, which is not always the case in contemporary performances. Some years ago at Norfolk the choir sang a short motet by an unknown Portuguese 16th century composer which told the story of a woman begging Christ to cure her handicapped son. Christ was on his way out of the door and this little piece ends in such a way that we are left uncertain whether he turned back to help her or went on his way. The composer achieves this heightened emotion with the simplest of means allowing the music to speak to us all, whatever our level of “understanding.” I remember a non-musician friend moved to tears, sitting in the Music Shed listening to us rehearse this obscure little piece.

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Festival Artists Festival Artists & Ensembles Robert Blocker Dean Melvin Chen Director Lisa Moore piano Frank Morelli bassoon Ilya Poletaev piano / harpsichord / organ William Purvis horn Raman Ramakrishnan cello Melissa Reardon viola David Shifrin clarinet Stephen Taylor oboe Dawn Upshaw soprano Orion Weiss piano Ransom Wilson flute Jacques Lee Wood cello Wei-Yi Yang piano

Ole Akahoshi cello Atar Arad viola Boris Berman piano Robert Blocker piano Melvin Chen piano / violin Romie de Guise-Langlois clarinet Allan Dean trumpet Peter Frankl piano Scott Hartman trombone Kevin Hourigan director Ani Kavafian violin Bridget Kibbey harp Benny Kim violin Humbert Lucarelli oboe

Brentano String Quartet Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello

Emerson String Quartet

Guest Artist & Ensembles

Norfolk Contemporary Ensemble Julian Pellicano conductor Norfolk Chamber Choir and Orchestra Simon Carrington Director / conductor Bradley Sharpe counter-tenor Philharmonia Baroque Orchestra Nicholas McGegan Music Director / conductor Sherezade Panthaki soprano Amy Freston soprano DavĂłne Tines baritone Frank Vignola Trio Frank Vignola guitar Vinny Raniolo guitar Gary Mazzaroppi double bass

Shanghai Quartet

Philip Setzer violin Eugene Drucker violin Lawrence Dutton viola Paul Watkins cello

Weigang Li violin Yi-Wen Jiang violin Honggang Li viola Nicholas Tzavaras cello

Composers in Residence

Martin Bresnick Director, New Music Workshop Aaron Jay Kernis David Lang Hannah Lash Christopher Theofanidis

Guest Speakers

Astrid Baumgardner Career Planning Paul Berry Pre-Concert Conversations Daniel Rindler Feldenkrais Practitioner

Photo Credits Randi Beach Jacob Blickenstaff Deanne Chin Kelly Davidson JĂźrgen Frank Matthew Fried

Robert Handelman Paul Horton Brook Irish Hideki Isoda Oleg Kvashuk Jim Leisy Lisa Mazzucco

Claire McAdams Mark Ostow Iris Rogers Peter Serling Steve Sherman Jill Steinberg Christian Steiner

Artists and programs are subject to change without notice. FESTIVAL ARTISTS | 23


Fellowship Recipients Chamber Music Session AYA Trio

louise willson scholarship

Curtis Institute of Music Angela Sin Ying Chan violin Andres Sanchez cello Ying Li piano

Maverick Brass Quintet University of Melbourne Connor Jenkinson trumpet Hannah Rundell trumpet Natalia Edwards horn David Farrell trombone Alexander Jeantou tuba

Krists Auznieks composer

john and astrid baumgardner scholarship

Yale School of Music Luke Baker horn

clement clarke moore scholarship

Yale School of Music

Dana Brink bassoon

sponsored by james and nancy remis

Yale School of Music

Eunghee Cho cello

aldo and elizabeth parisot

scholarship in memory of

harris goldsmith

Vera Quartet

Jacobs School of Music Pedro Rodríguez violin Patricia Quintero violin Inés Picado Molares viola Justin Goldsmith cello

Viano String Quartet

Colburn School Conservatory of Music Hao Zhou violin Lucy Wang violin Aiden Kane viola Tate Zawadiuk cello

New England Conservatory of Music Ji Soo Choi violin The Juilliard School Victoria Chung oboe The Juilliard School Amelia Dietrich violin

sponsored by katherine moore

The Juilliard School

Rachyl Duffy viola

paul and susan hawkshaw scholarship

Colburn School Conservatory of Music Fjóla Evans composer

john and astrid baumgardner scholarship

Yale School of Music Steven Harmon horn Yale School of Music Abigail Hong violin New England Conservatory of Music Hilda Huang piano

sponsored by john garrels and anne garrels

Yale School of Music

Youngha Kim flute Manhattan School of Music Daniel Le piano 2006 centenary committee Manhattan School of Music

scholarship

Elliot Lichtenberg oboe Yale School of Music Clare Monfredo cello

sponsored by pat and kurt steele

The Shepherd School of Music Michael Moy clarinet Yale School of Music Noémi Sallai clarinet

clement clarke moore scholarship

The Juilliard School Lisa Sung viola The Juilliard School

Kristy Tucker bassoon

sponsored by sukey wagner

Yale School of Music

Cherry Choi Tung Yeung violin The Juilliard School Jungah Yoon flute Yale School of Music FELLOWSHIP RECIPIENTS | 25


Fellowship Recipients New Music Workshop Nabil Abad composer Baldwin Wallace College

Eli Greenhoe guitar Yale School of Music

Emil Ernstrรถm composer Yale University

Soomin Kim composer Oberlin Conservatory of Music

Tyler Eschendal composer University of Southern California

YoungKyoung Lee percussion Yale School of Music

Lucy McKnight composer University of Southern California Perry Roth saxophone The Hartt School Harriet Steinke composer Butler University

Brian Voelz trumpet Eastman School of Music Miles Walter piano Yale School of Music Ross Wightman double bass New England Conservatory of Music

Choral Workshop Louise Ashdown soprano University of Alberta

Abigail Gast mezzo soprano Pepperdine University

Xiaosha Lin alto / conductor Michigan State University

Ian Bannerman tenor University of Alberta

David Gindra bass baritone St. Olaf College

James Mauk tenor East Carolina University

Chelsea Berner mezzo soprano / conductor Michigan State University

Jabarie Glass bass baritone / conductor University of Michigan, Ann Arbor

Jessica Pierpont soprano / conductor University of Arizona

Henry Branson tenor / conductor East Carolina University Margaret Burk soprano Yale School of Music Paolo Debuque tenor / conductor University of Michigan, Ann Arbor William Duffy alto / conductor McGill University

Brandon Hollihan tenor / conductor University of Notre Dame Victoria Jackson soprano / conductor Western Michigan University Christopher Jackson bass / conductor University of North Texas

Faith Ragland bass baritone Trinity College of Music, London Shawn Roth bass baritone Oberlin Conservatory of Music Rebekah Schweitzer soprano Oberlin College Erinn Sensenig mezzo soprano Westminster Choir College

Edward Straub bass University of Missouri, Columbia Okawa Tan Tai Chuan tenor / conductor Eastman School of Music Lauren Tompkins soprano Cantor and soprano, Schola Cantorum, Cathedral of the Sacred Heart, Richmond, VA Liliya Ugay composer

john and astrid

baumgardner scholarship

Yale School of Music Jasmine Wilson mezzo soprano McGill University

FELLOWSHIP RECIPIENTS | 27


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.

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 fundraising 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

Melvin Chen, Director

Joyce Ahrens John Baumgardner Coleen Hellerman Kathleen Kelley

James Remis Byron Tucker Sukey Wagner

28 | FESTIVAL MISSION / LEADERSHIP


Festival Administration Administration & Staff Robert Blocker Melvin Chen James Nelson Deanne Chin Benjamin Schaeffer Lauren Schiffer Belinda Conrad Rob Crowson Brian Daley Joseph DiBlasi Carolyn Dodd Alisa Goz William Harold Jeff Hartley Noa Michaud Janet F. Reynolds Iris Rogers Sean Tanguay

Dean Director General Manager Associate Manager Associate Administrator Program Manager, Yale School of Music Production Coordinator Piano Curator Piano Curator Piano Tuner Facilities Manager Box Office & Administrative Assistant Piano Curator Chef Box Office & Administrative Assistant PR Consultant Librarian/Director’s Assistant Recording Engineer

Ellen Battell Stoeckel Trust David Low Benjamin Polak Anne-Marie Soullière Jack Beecher John Hester

Trustee Trustee ( Yale University) Trustee Director of Operations Estate Manager

Yale University Peter Salovey

President

Benjamin Polak

Provost

Bruce D. Alexander

Vice President for New Haven and State Affairs and Campus Development

Jack F. Callahan, Jr.

Senior Vice President for Operations

Alexander E. Dreier

Senior Vice President for Institutional Affairs, General Counsel, and Senior Counselor to the President

Susan Gibbons

University Librarian and Deputy Provost for Collections and Scholarly Communication

Kimberly M. Goff-Crews Secretary and Vice President for Student Life Pericles Lewis

Vice President for Global Strategy

Janet E. Lindner

Vice President for Human Resource and Administration

Contact the Festival

Steven C. Murphy

Vice President for Finance and Chief Financial Officer

Year Round

Eileen O'Connor

Vice President for Communications

web norfolkmusic.org

Joan E. O'Neill

Vice President for Alumni Affairs and Development

Scott A. Strobel

Vice President for West Campus Planning and Program Development

Emily P. Bakemeier

Deputy Provost

email norfolk@yale.edu

June – August mail

PO Box 545, Norfolk, CT 06058

tel / fax

860.542.3000 / 860.542.3004

street

September – May

Battell Stoeckel Estate, 20 Litchfield Road, Norfolk, CT 06058

mail

PO Box 208246, New Haven, CT 06520

tel / fax

203.432.1966 / 203.203.4542

street

98 Wall Street, New Haven, CT 06520

FESTIVAL ADMINISTRATION | 29


New Music Recital Norfolk Chamber Music Festival | Friday, June 29, 7:30 pm (world premiere)

Nabil Abad

(world premiere)

Emil Ernström

(world premiere)

Tyler Eschendal

(b. 1997)

(b. 1996)

(b.1993)

conjunctions (world premiere)

Soomin Kim (b. 1995)

(world premiere)

Lucy McKnight

(world premiere)

Harriet Steinke

(b. 1998)

(b.1994)

Martin Bresnick Director – Julian Pellicano conductor – Lisa Moore piano Norfolk Contemporary Ensemble Eli Greenhoe guitar – YoungKyoung Lee percussion – Perry Roth saxophone Brian Voelz trumpet – Miles Walter piano – Ross Wightman double bass FRIDAY, JUNE 29 | 31


Program Notes STRAUSS: Suite in B-flat Major for 13 Wind Instruments, Op 4 Strauss’ precocious compositional beginnings stemmed from a combination of the strict, conservative musical education demanded by his father (a brilliant horn player) and his emergence amidst the height of Wagnerian fanaticism. Impressed with the talent showcased in his E-flat Wind Serenade, Opus 7, conductor Hans von Bülow encouraged him to write a larger piece for the same ensemble.

The resulting Suite in B-flat was confusingly labeled as Opus 4 when it was belatedly published some thirty years later. This early and rarely heard Suite provides a glimpse into the rapid development of Strauss’ voice as well as his eagerness to please the conservative ears of his father and Maestro von Bülow. — Jacob Adams

STRAUSS, JR.: Rosen aus dem Süden, Op 388 (arr. Schoenberg) STRAUSS, JR.: Kaiser-Walzer, Op 437 (arr. Schoenberg) Johann Strauss, Jr.’s charming waltzes represent glittery snapshots of 19th century imperial Vienna’s culture of pleasure-seeking and indulgence, but also a monument to an indispensable slice of that city’s musical heritage. A master tunesmith, Strauss drew from his infinite melodic imagination to fashion endless numbers of waltzes, which he propped up on a structural sophistication and metric weightlessness that never fails to delight. The close of the First World War found Vienna in shambles, but it was there and then that Arnold Schoenberg founded his Society for Private Musical Performances as a vessel for promoting new music in an atmosphere that would be conducive to faithful first hearings. While much of the music that interested Schoenberg for this series was avant-garde and experimental, he eventually expanded his programming to include select older works that might give his Society wider popular appeal for financial reasons. Ever-mindful of

32 | FRIDAY, JULY 6

10 MINUTES 13 MINUTES

his place in the venerable Germanic musical legacy, he turned to the older Viennese “Waltz King” Strauss, and concocted colorful chamber arrangements of those celebrated orchestral waltzes. The cerebral Schoenberg was surely drawn to the structural complexity he recognized beneath the pleasing surface of waltzes like Strauss’ Kaiser-Walzer (Emperor Waltz) which Schoenberg recast for string quartet, flute, clarinet and piano. Another of his most celebrated waltzes and still performed at the Vienna Philharmonic’s New Year’s Concert, Strauss’ Rosen aus dem Süden (Roses from the South) is a waltz medley drawn from his operetta Das Spitzentuch der Königin (The Queen's Lace Handkerchief). Schoenberg drew up a slimmer orchestration of just string quartet, piano and harmonium for this arrangement, but still draws a formidably vivid color palette out of his chamber setting. — Graeme Steele Johnson

KORNGOLD: Suite for Two Violins, Cello, and Piano Left Hand, Op 23 The peculiar instrumentation of Erich Korngold’s remarkable Suite for Two Violins, Cello and Piano Left Hand is owed to the handicap of the work’s commissioner, Paul Wittgenstein. Trained as a concert pianist and on the eve of an ostensibly promising performing career, Wittgenstein commissioned a large volume of works for the left hand after losing his right arm to amputation following a gunshot wound in World War I. Korngold’s formidable company on the list of contributing composers includes Prokofiev, Britten, Strauss and most famously, Ravel, for his Concerto for the Left Hand.

25 MINUTES

37 MINUTES

Korngold’s Suite comprises five compact movements spanning a wide emotional spectrum from hot disenchantment to serenity and acceptance. The dazzling piano cadenza that opens the work sets the tone for the virtuoso piano writing that will make itself heard with equal clarity even as other instruments join the texture. The heartfelt fourth movement Lied is lifted from one of Korngold’s own art songs, Was du mir bist?, and in a clever cyclic device he later revives this melody at a quicker tempo and threads it into the last movement’s final variations. — Graeme Steele Johnson


Turn of the Century Vienna Norfolk Chamber Music Festival | Friday, July 6, 8:00 pm Suite in B-flat Major for 13 Wind Instruments, Op 4

Richard Strauss (1864 – 1949)

Praeludium (Allegretto) Romanze (Andante) Gavotte (Allegro) Introduction und Fuge (Andante cantabile – Allegro con brio) Youngha Kim,* Jungah Yoon* flute – Stephen Taylor, Victoria Chung* oboe Noémi Sallai*, Michael Moy* clarinet – Dana Brink,* Kristy Tucker* bassoon – TBA contrabassoon William Purvis, Natalia Edwards,* Steven Harmon,* Luke Baker* horn

Rosen aus dem Süden, Op 388 (arr. schoenberg)

Johann Strauss, Jr.

(1825 – 1899)

Ji Soo Choi* violin – Cherry Choi Tung Yeung* violin – Lisa Sung* viola Clare Monfredo* cello – Daniel Le* harmonium – Ying Li* piano

Kaiser-Walzer, Op 437 (arr. schoenberg)

Strauss, Jr.

Jungah Yoon* flute – Michael Moy* clarinet – Amelia Dietrich* violin – Abigail Hong* violin Rachyl Duffy* viola – Eunghee Cho* cello – Hilda Huang* piano

INTERMISSION Suite for Two Violins, Cello, and Piano Left Hand, Op 23

Erich Korngold (1897 – 1957)

Praeludium und Fuge Walzer Groteske Lied Rondo – Finale (Variationen) Orion Weiss piano – Hao Zhou* violin – Lucy Wang* violin – Tate Zawadiuk* cello

* Norfolk Festival Fellow FRIDAY, JULY 6 | 33


Program Notes BEETHOVEN: String Quartet in c-minor, Op 18, No. 4 Completed in 1800, Beethoven’s Opus 18, No. 4 quartet represents an early foray into the c minor sound world that would come to be a space of great angst and struggle for Beethoven, one that he would return to often as the backdrop for his most tortured works. Beethoven’s choice of key for this quartet is significant not only in the context of his masonic associations. For freemasons, c minor represented a symbol of death, and was reserved by earlier composers for only their very darkest works. Beethoven’s proclivity toward c minor has led some scholars to consider his stormy works in that key the most faithful to his artistic spirit, while others criticize a reflexive levity in choosing that key as a default mode of passion. The first movement opens with a worried lament in the violin while the other voices surge restlessly beneath it until slashing chords interrupt the pained lyricism. The eventual major mode does little to quell the apprehension stirred by the opening; instead

of the welcome distraction of a contrasting melody, the second theme bears an eerie resemblance to its brooding predecessor, as if to cast a shadow of malaise on the sunny E-flat Major. The unfeeling clockwork that announces the second movement flies in the face of the expected tenderness of a slow movement, which is conspicuously absent from this quartet. This alleged Scherzo feels more like a stiff minuet with the veneer of a fugue, while the actual Menuetto third movement, with its blistering tempo and angular odd-beat accents, is hardly danceable. Virtuosic gypsy fiddling dominates the Finale. Amid the scorching flames of this devilish Allegro, we might catch a glimmer of C Major that passes before we can be sure we heard it — but Beethoven never shows his hand, ending with a wink by including only the notes shared between C Major and c minor. — Graeme Steele Johnson

SHOSTAKOVICH: String Quartet No. 12 in D-flat Major, Op 133 D-flat Major is an extremely uncommon key in the string quartet repertoire. It contains five flats, and, as a result, relatively few pitches played on resonant open strings. The inherent color of D-flat Major is dark, somewhat veiled, and sombre. There is a sense of mystery built into the very sound of this twelfth quartet of Shostakovich, a completely unique work, unlike any other in either the composer’s own, or any other’s repertoire. It is also one of Shostakovich’s few ventures into the world of twelve-tone music, built not on scales, but rather on ordered sets of all 12 chromatic pitches in Western musical language. While not exclusively a twelve-tone work in the vein of Arnold Schoenberg or Anton Webern, there are subtle nods to it.

34 | SATURDAY, JULY 7

26 MINUTES

The composer was in his early sixties when he wrote the piece, and decided at this point to “tip his hat” to another compositional technique is somewhat surprising. However, he never fully adopts serialism, using it instead as a tool rather than a rule book. The twelve-pitch row presented by the solo cello in the very opening of the quartet does not dictate how the rest of the work will follow. Shostakovich, relatively free of the shackles of Soviet oppression at this point in his life, is inclined to experiment. When the cello arrives at the twelfth and final pitch of the opening row, held at length, it is the tonal center of the quartet: a shaded, ominous D-flat. — Patrick Jankowski

MENDELSSOHN: String Quartet in E-flat Major, Op 44, No. 3 Among the musical genius of his generation, Felix Mendelssohn is regarded as the traditionalist who trod the paths of his predecessors. Compared to the work of Berlioz, Schumann, Chopin, Liszt, and Wagner, Mendelssohn’s seems to have been touched only subtly by the Romantic movement. He is able to attain beauty and profundity with a completely original voice while dwelling happily within forms favored by Haydn and Mozart half a century earlier. The Romanticism in Mendelssohn is to be found in his musical characters — he was a master of pathos, and his work is full of heroic gesture. In this, he claims ties to Beethoven; he shows Beethoven’s affective influence more than any other composer of his generation. The three Opus 44 quartets date from 1838, when the composer was newly married; in fact, he was already at work on them during his honeymoon the year before. The third of these quartets in some ways recalls his celebrated and youthful Octet, sharing not only its key, but its overarching mood of triumph and exuberance. There are important differences too. The quartet is more considered, more “composerly” than the octet, and one

23 MINUTES

30 MINUTES

senses Mendelssohn’s reveling in the challenge of writing big music for the smaller, four-voice force. The first movement is among the longest opening movements in his chamber music output. Its opening gesture, which is distinguished by four rapid sixteenth notes, dominates throughout. Energetic and rarely pausing for breath, the movement is unabashedly joyful. The second movement is a minor-key world inhabited by fleet and shadowy textures. Mendelssohn was celebrated for his scherzo writing, but remarkably, no two are alike. This scherzo is light on its feet but does not have the quicksilver quality found in the Octet, for example. The movement closes with a whispered unison passage, another signature gesture. The slow third movement has the quality of an intimate love confession. It is set in the dark key of A-flat Major, but the main idea has a strong minor coloring to it, which deepens the passionate sensibility of the opening. The Finale is brilliant, percolating, and irrepressible. The mood reverts largely to that of the opening movement, festive and fun-loving. The Finale is a celebration of unambiguous form, of knowing where one stands at all times. — Norfolk Festival


Sponsored by

Brentano String Quartet Norfolk Chamber Music Festival | Saturday, July 7, 8:00 pm

String Quartet in c-minor, Op 18, No. 4

Allegro ma non tanto Andante scherzoso quasi Allegretto Menuetto: Allegretto Allegro – Prestissimo

String Quartet No. 12 in D-flat Major, Op 133

Moderato Allegro – Adagio – Moderato – Adagio – Moderato – Allegretto

Ludwig van Beethoven (1770 – 1827)

Dmitri Shostakovich (1906 – 1975)

INTERMISSION

String Quartet in E-flat Major, Op 44, No. 3

Allegro vivace Scherzo: Assai leggiero vivace Adagio non troppo Molto allegro con fuoco

Felix Mendelssohn (1809 – 1847)

Brentano String Quartet Mark Steinberg violin – Serena Canin violin – Misha Amory viola – Nina Lee cello SATURDAY, JULY 7 | 35


Program Notes DEBUSSY: Première Rhapsodie

As part of his role as conseil supérieur of the Paris Conservatory, Debussy was charged with writing two new pieces for the school’s annual Concours in 1910; the result was the whimsical miniature Petit Pièce for the sight-reading round and the otherworldly Première Rhapsodie for the prepared round. Initially, Debussy was less than enthusiastic about hearing the clarinet students all attempt his demanding new works, but was especially pleased by the way the Rhapsodie turned out and how it was received by his fellow judges. He returned to the piece the following summer when he fashioned the piano part into a lush, vividly colorful orchestration, and ultimately declared the work “one of the most pleasing [he had] ever written.” Debussy marks the Rhapsodie “rêveusement lent” (dreamily slow), and so the piano paints the opening dreamscape with three

8 MINUTES

sparse droplets of octave Fs and a triplet that drips into the clarinet’s entrance. The clarinet murmurs under its breath three evaporative notes of its own, politely vanishing in time for the piano to repeat itself. The clarinet then whispers, the same drops of Fs following with a flurry of notes and a crescendo spilling over into a splash of color. The piano lays a carpet of luxuriant harmony and gently lapping syncopations so that when the clarinet croons its faraway melody, it emanates from deep within the wash of piano. Despite its serene opening, the mercurial Rhapsodie springs to life with striking shifts between animated outbursts and time-stopping moments of suspended reality. It is a testament to Debussy’s imaginative musical language that this piece still sounds as fresh as ever today, 100 years after his death. — Graeme Steele Johnson

MOZART: Trio for Clarinet, Viola, and Piano in E-flat Major, K 498, “Kegelstatt”

21 MINUTES

DEBUSSY: FROM Préludes for Piano, Book 1

13 MINUTES

MOZART: Piano Quartet in E-flat Major, K 493

26 MINUTES

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 key of E-flat Major often elicits restrained

In 1909, when Debussy began composing his first book of Préludes, his biographer Louis Laloy wrote: “Debussy received his most profitable lessons from poets and painters, not from musicians.” At that time, the development of free verse in poetry and the disappearance of subjects and models from painting practices inspired Debussy’s concept of musical form and sonority. Living in Paris, the epicenter of the avant-garde at the turn of the century, Debussy could seize on trends as quickly as they were established. By the time he embarked on his first book of Préludes, he had written very little in the way of “traditional forms.” Debussy despised unoriginality, saying, “I would rather devote myself to cultivating pineapples, than to repeat what had already been mastered.”

In 1785, Mozart was commissioned by the Viennese publisher Franz Hoffmeister to write three piano quartets for publication. In 1785, this genre was essentially unheard of, and it is certainly due to the inspiration of Mozart’s two piano quartets that it became increasingly popular in the 19th century with composers such as Schumann, Brahms, and Dvořák. Mozart’s first piano quartet, the g minor quartet, K. 478, was initially poorly received by the Viennese public because of its technical difficulty, length, and complexity. Because of this, Hoffmeister decided to abandon 36 | FRIDAY, JULY 13

eloquence from Mozart. 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 Menuetto 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

The prelude is by no means a rigid form, but prelude collections — specifically collections of 24 preludes — come with expectations. Before Debussy, many composers wrote collections of 24 keyboard preludes, including Bach, Chopin, and Rameau. What would Debussy do in his two books of Preludes that hadn’t already been mastered? To start, Debussy’s 24 preludes were not organized by key as were Bach’s and Chopin’s. The degree to which he used modes, folk music, octatonicism, and wholetone schemes was not only groundbreaking within the lineage of prelude collections, it was also innovative musically. — Julia Clancy

the planned publication of the other two, but Mozart wrote another one anyway, the quartet in E-flat Major, K. 493, which eventually published by Artaria. The first movement opens with a bold, homophonic wash of harmony with the remainder being much more lyrical in character. In the second movement, the piano and strings are much less integrated, exchanging melodies in a conversational manner. The last movement is a virtuosic Allegretto in cut time in which the piano and strings are again set against each other in relief. — Adam Bloniarz


Debussy & Mozart Norfolk Chamber Music Festival | Friday, July 13, 8:00 pm Première Rhapsodie

Claude-Achille Debussy

(1862 – 1918) Romie de Guise-Langlois clarinet – Boris Berman piano

Trio for Clarinet, Viola, and Piano in E-flat Major, K 498, “Kegelstatt”

Wolfgang Amadeus Mozart (1756 – 1791)

Andante Menuetto Allegretto

Romie de Guise-Langlois clarinet – Boris Berman piano – Lisa Sung* viola

from

Préludes for Piano, Book 1

Debussy

La f ille aux cheveux de lin La sérénade interrompue La cathédrale engloutie Minstrels

Boris Berman piano

INTERMISSION

Piano Quartet in E-flat Major, K 493

Mozart

Allegro Larghetto Allegretto

Boris Berman piano – Serena Canin violin – Misha Amory viola – Nina Lee cello

* Norfolk Festival Fellow FRIDAY, JULY 13 | 37


Program Notes HAYDN: String Quartet in C Major, Op 20, No. 2, HOB III/32 Haydn’s landmark Opus 20 quartets represent a laboratory of sorts in which the techniques and relationships that would govern string quartet writing for centuries to come are formed. The scholar Ron Drummond asserts, “This cannot be overstated: the six string quartets of Opus 20 are as important in the history of music, and had as radically a transforming effect on the very field of musical possibility itself, as Beethoven's Third Symphony would 33 years later.” But for all his innovation in this set, Haydn is not immune to influence himself. His use in the opening bars of the C Major Quartet of the cello as a bearer of melodic material suggests the influence of Boccherini’s contemporary cello-heavy quartets. With its slow harmonic motion and delayed first violin entrance, this opening Moderato sees a leisurely

AUCOIN: Soft Power

When Mark Steinberg, the Brentano Quartet’s first violinist, approached me about composing a piece for his quartet, I felt both enthusiastic and wary: there are few musical mediums more challenging, more revealing (or, in the end, more rewarding) than the string quartet. I suggested splitting our project in two: a small-scale piece of five or six minutes, followed by a full-length quartet the following year. Soft Power is the first, smaller-scale piece, a string quartet in miniature. It is a kind of effortful meditation, premised on a simple gesture played by all four players: a single chord, played in a stuttering,

pace of musical development that lends a pastoral spaciousness, one that is enhanced by the movement’s central “bird call” motive. The second movement’s striking preponderance of unisons and octaves creates a hollow sonority that vaguely evokes music of yesteryear — chant maybe, or Greek dramatic chorus, or a recitative style of early opera. Sure enough, Haydn creates operatic character development through the contrasting textures of the cello theme muddied by sixteenth notes versus the lone violin aria without cover from the rest of the ensemble. The musette style of the Menuetto channels a folksy bagpipe, and the intricate four-subject fugue that follows snowballs elegantly until the voices erupt into sixteenth notes and chase each other to the end. — Graeme Steele Johnson 6 MINUTES

receding gesture, recurs again and again, like a wave. The gesture feels, to me, like a deep, shuddering breath, a breath taken in an effort to calm oneself down. I wanted to create both an aura of tranquility and the sense that this tranquility is hard-won. This peaceful aura is finally punctured by some outside force, and the four voices, which had existed in a fragile equilibrium, are sent scattering in a sudden landslide. I’m not sure what that outside force is; you, the listener, are free to fill in that blank for yourself. The piece ends, as many of my pieces do, with a question mark. — Matthew Aucoin

RESPIGHI: Il Tramanto (The Sunset) Ottorino Respighi lifted the text from Percy Bysshe Shelley’s morbid 1816 poem The Sunset for his work for string quartet (or string orchestra) and mezzo-soprano. Written during the art world’s pivotal post-Wagner years, a century after its source material, Il Tramanto reads like a retelling of the fetishistic nocturnal fixation that gripped the star-crossed lovers Tristan and Isolde, a sort of Respighian Liebestod. Shelley’s poem chronicles a tragic romance between a lady and her youth, one that met its mortal end after the youth’s final musing, “ ‘Is it not strange…I never saw the sun? / We will

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walk here / To-morrow; thou shalt look on it with me.’ ” The echoes of Tristan are loud and clear in this image of the day as a destroyer of love, and like Wagner’s ill-fated lovers, Shelley’s pair only achieves their erotic reunion in the eternal night of death. Respighi’s creation is intensely expressive, but bound up in the delicate intimacy of chamber music and perfumed with fleeting chromaticism. A shadowy tenderness enswathes Il Tramanto and seems a faithful realization of its affective essence — chamber music instead of opera, poetry instead of dramatic libretto. — Graeme Steele Johnson

SCHOENBERG: Quartet No. 2 for Strings and Soprano in f-sharp minor, Op 10 Arnold Schoenberg’s Second String Quartet bears the dedication “to my wife,” even though it was produced in 1908 during her affair with their friend and neighbor Richard Gerstl. Although this quartet is often cited as a revolutionary work, Schoenberg’s emotional state seems to have found its way to the surface in the late-Romantic brush strokes of rich tones and generous, Mahlerian textures. But the quartet’s emotional palette was not to shackle it to forms of centuries past. Painter Wassily Kandinsky was so struck by this quartet that he began a friendship with Schoenberg. The painter, proclaimed that “the independent life of the individual voices in your compositions, is exactly what I am trying to find in my paintings.” Today’s ears will recognize this quartet as markedly tamer than the mid- and post-war works Schoenberg would compose only a few years later in his hallmark twelve-tone system. 38 | SATURDAY, JULY 14

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In many ways, the piece represents a delicate, unsustainable balance of opposing poles — at once forging ahead into the anxiety of modernism but with one foot in the tradition of old-world folk songs and Viennese waltzes, all in the context of the storied musical capital of Vienna. For the Brentano Quartet’s Mark Steinberg, it is this straddling of two centuries that forms the “central issue of the piece, familiar steps in an unfamiliar landscape.” Among these familiar steps is Schoenberg’s inclusion of poetry to be sung by soprano in the third and fourth movements, which parrots Mahler’s addition of the voice to the same movements of his Second Symphony. The ending represents a rare note of optimism and simple beauty for Schoenberg. — Graeme Steele Johnson


Brentano & Dawn Upshaw Norfolk Chamber Music Festival | Saturday, July 14, 8:00 pm String Quartet in C Major, Op 20, No. 2, HOB III/32

Franz Josef Haydn

(1732-1809) Moderato Capriccio: Adagio – Cantabile Minuet: Allegretto – Trio Fuga a quattro soggetti: Allegro Brentano String Quartet

Soft Power

Matthew Aucoin

(b. 1990) Brentano String Quartet

Il Tramanto (The Sunset)

Ottorino Respighi Brentano String Quartet – Dawn Upshaw soprano

(1879 – 1936)

INTERMISSION

Quartet No. 2 for Strings and Soprano in f-sharp minor, Op 10

Arnold Schoenberg (1874 – 1951)

Mässig Sehr rasch Litanei: Langsam Entrückung: Sehr langsam Brentano String Quartet – Dawn Upshaw soprano

Brentano String Quartet Mark Steinberg violin – Serena Canin violin – Misha Amory viola – Nina Lee cello SATURDAY, JULY 14 | 39


Program Notes BEETHOVEN: Three Marches for Piano Four Hands, Op 45 While Mozart and Schubert, his contemporaries in Vienna, composed prodigiously for four-hand piano, Beethoven was apparently uninterested in the genre. Nevertheless, he produced these marches without a trace of apathy, likely around 1803, after being commissioned by Count Johann Georg Browne. A noble dotted rhythm called out in “horn fifths” announces the first march. This C Major march is stately and joyous throughout, with a trio section that trades the martial dotted figures for more flowing triplets. The march proper of the E-flat Major second

movement introduces a flirtatious character marked by cheeky syncopations and quicksilver dynamic shifts, and sandwiches a trio section built on a rumbling, comical bass figure. The final D Major march seems the most graceful of the three, able to rebound from stomping forte dotted rhythms into coquettish, winking trills without missing a step. Beethoven develops this movement’s sense of humor through his caricature of these two roles in a kind of self-aware parody. — Graeme Steele Johnson

BEETHOVEN: Quintet in E-flat Major for Piano and Winds, Op 16 The young Beethoven was profoundly influenced by Mozart. The older master had died in 1791, just as Beethoven was coming of age as a composer, and much of his earlier work bears the imprint of Mozart’s output. Sometime a specific work of Mozart would provide the inspiration for a new composition, as is the case of the Quintet for Piano and Winds, Opus 16, which is modeled on Mozart’s great work with the same instrumentation. The two works share the same key (E-flat Major), their general construction, and overall feel. The compositional style of Beethoven’s Quintet tends much more towards a solo piano work, with themes frequently stated by the piano and answered by the

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winds. This may have been because Beethoven wrote the piano part for himself to play at the premiere on April 6, 1797. The work opens with a fanfare on the notes of the tonic chord which is answered by the piano. Each instrument is given the opportunity to introduce itself before the music launches into a sonata form. A childlike Andante is followed by a Rondo in the hunting style, which provided Beethoven with the opportunity for a practice joke during the premiere. When the music came to a pause, Beethoven improvised a surprise cadenza, laughing at his confused colleagues as they tried to guess when he would return to the main theme. — Norfolk Festival

SHOSTAKOVICH: Piano Quintet in g minor, Op 57 More than with any other composer, it is tempting to create elaborate subtexts to explain features of Shostakovich’s work. These tend to agree on a certain intensity of expression, but whether that expression conveys an acceptance of Soviet ideology or represents a sarcastic deconstruction of it remains a fiercely devoted issue. Though much of his music is grotesque and banal, making it hard not to lean towards an ironic interpretation, it is important to remember that it is virtually impossible for us to imagine how it would have felt to experience these works in the social environment that brought them forth. Contemporary reports testify to the remarkable effect many of Shostakovich’s works had among ordinary people, often involving open weeping in addition to lengthy ovations. Shostakovich was evidently highly talented at striking at the heart of public feeling, as the popularity of his Piano Quintet, written in 1940 during the uneasy calm before the Soviet Union joined World War II, demonstrates.

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The Prelude which opens this five-movement work portrays a self-consciously tragic tone. From the beginning, Shostakovich’s fondness for two-part contrapuntal textures is evident, as well as a tendency to treat the strings as a single instrument opposing the piano. The Fugue which follows is somber, and with a feeling of inevitability steadily builds to an intense climax which strikingly employs the only dotted rhythms (another favorite of Shostakovich’s) in the entire piece. Despite the major key, the Scherzo is just as dark as the previous movements, and introduces an as yet unheard violence, with the piano playing at both extremes of register, ripped-off crescendos in the strings, and hammer-blow final chords. The emotional core of the work is in the deceptively titled Intermezzo, whose plaintive opening violin melody, accompanied by a simple walking bass, is eventually transformed into a heartwrenching tutti outcry. After all this intensity, the gentle Allegretto that serves as a finale may perhaps seems a little lightweight. Genuine optimism or forced grace, overcoming the darkness or ignoring it? The question remains open. — Martin Suckling


Beethoven & Shostakovich Norfolk Chamber Music Festival | Friday, July 20, 8:00 pm Three Marches for Piano Four Hands, Op 45

Ludwig van Beethoven

(1770 – 1827) Allegro ma non troppo Vivace Vivace Peter Frankl piano – Robert Blocker piano

Quintet in E-flat Major for Piano and Winds, Op 16

Beethoven

(b. 1990) Grave – Allegro, ma non troppo Andante cantabile Rondo: Allegro, ma non troppo Elliot Lichtenberg* oboe – Noémi Sallai* clarinet – Frank Morelli bassoon Luke Baker* horn – Peter Frankl piano

INTERMISSION

Piano Quintet in g minor, Op 57

Prelude: Lento Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento Finale: Allegretto

Dmitri Shostakovich (1906 – 1975)

Peter Frankl piano – Shanghai Quartet

* Norfolk Festival Fellow Shanghai Quartet Weigang Li violin – Yi-Wen Jiang violin – Honggang Li viola – Nicholas Tzavaras cello FRIDAY, JULY 20 | 41


2018 FESTIVAL GALA Gala Chairs David Low Dominique Lahaussois

Vice-Chairs Burton & Joyce Ahrens

Gerald & Barbara Hess

Emily Bakemeier & Alain Moreaux

Michael & Doreen Kelly

Mr. & Mrs. Samuel Anderson Linda Bell

Helen Jessup

Christopher & Betsy Little

Robert & Serena Blocker

Susan MacEachron & Mike Halloran

Carolyn Childs

Stephen & Ruth Melville

Libby Borden Hope Childs

Roger Mitchell & Pete Peterson

Patricia Deans

Grant & Kristen Mudge

Robert Dance & Robert Loper Louise Chinn Ducas

Fleur Fairman & Timothy Wallach Mary Fanette & Veronica Burns

Richard & Barbara Moore Jim & Nancy Remis

Richard & Sandy Rippe

John & Barbara Rutledge

John Garrels

Anne-Marie Soullière & Lindsey Kiang

Betsy Gill

Sukey Wagner

Catherine Gevers & John Fernandez Barbara Gridley

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Kim & Judy Maxwell

Martin Tandler & Maura May Mark & Tania Walker


Norfolk Festival Gala

with the Philharmonia Baroque Orchestra & Chorale Norfolk Chamber Music Festival | Saturday, July 21, 8:00 pm Tafelmusik Suite No. 1 in e minor

Georg Philipp Telemann

(1681 – 1767) Ouverture: Lentement – Vite Rejouissance Rondeau Lourée Passepied Air un peu vivement Gigue

Fra L'ombre e Gl'orrori from Aci, Galatea e Polifemo

Davóne Tines baritone

George Frideric Handel

Water Music Suite No. 3 in G Major, HWV 350

Handel

Sarabande Rigaudon I Rigaudon II Minuet I Minuet II Gigue I Gigue II

River

Grace-Evangeline Mason

(b. 1994)

INTERMISSION Caro, Cara from Atalanta

Amy Freston soprano – Sherezade Panthaki soprano

Water Music Suite No. 2 in D Major Ouverture (Allegro) Alla Hornpipe Minuet Lentement Bourée

Handel Handel

A special thank you to Carl Dudash for providing the harpsichord for this evening's performance. Philharmonia Baroque Orchestra & Chorale – Nicholas McGegan Director / conductor Amy Freston soprano – Sherezade Panthaki soprano – Davóne Tines baritone SATURDAY, JULY 21 | 43


Program Notes SAINT-SAËNS: Sonata for Bassoon and Piano in G Major, Op 168 In 1921, at the end of his prolific career, Saint-Saëns intended to compose sonatas for each of the main woodwind instruments and piano. He only completed those for Oboe (Opus 166), Clarinet (Opus 167), and Bassoon (Opus 168). These rarely

heard chamber music gems showcase the freshness, variety, and elegance that catapulted Saint-Saëns to the forefront of 19th century French music. — Jacob Adams

DEBUSSY: String Quartet in g minor, Op 10 Debussy’s String Quartet stunned audiences at its 1893 premiere, introducing a style that would define his mature works. Its tonality is obscured by a reliance on modality, its form arises more from a stringing together of his ideas rather than traditional development. His approach to the different instruments’ roles was also revolutionary. As Paul Griffiths writes in Modern Music: A Concise History from Debussy to Boulez, the Debussyan quartet is “worlds away from the classical norms of quartet texture.” This is apparent from the outset of the piece, as the four strings seem to state four separate melodies. The opening motive is nevertheless clearly audible, and it not only recurs throughout this movement, but serves as the seed for the entire work.

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The second movement is a kind of scherzo, rife with pizzicati and driven by a stubborn ostinato that begins in the viola before spreading to the other instruments. The ensuing Andantino begins, as Debussy instructs, in a “sweetly expressive” way, and features an impassioned climax before ending as quietly as possible. The sedate mood and the key (D-flat Major) persist as the finale delicately begins. By the work’s end however, this key and mood transform. While so much of this work exhibits the dawn of Debussy’s innovative style, it closes not with the evaporation of melody and texture that characterizes the ends of his later works, but with a more traditional triumphant ending in G Major. — Jacob Cooper

CHAUSSON: Concerto in D Major for Piano, Violin and String Quartet, Op 21 Posterity seems to privilege romanticized visions of composers inspired by some unseen force to bring to life great art with effortless mastery. Oft-repeated stories abound of Mozart deftly dispensing with the Don Giovanni overture while nursing a hangover on the morning of its premiere, or seeming to spout exquisite music off the top of his head when he hadn’t had time to write out his part before a performance; Schubert’s sheer volume of songs — over 600 before his death at 31, and the equivalent of one every three days in his 18th year — is often cited as an example of the apparent ease with which he composed. Such was not the case with Ernest Chausson, for whom composing was an arduous, painful process that yielded a meager 39 opuses for the late-Romantic French composer. Chausson explored stints in law, writing and drawing before settling on a musical career at the age of 24, and spent much of his life racked with self-doubt and handicapped by the feeling of having to catch up on his late start.

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While at work on the Concerto for Piano, Violin and String Quartet, Chausson confessed in a letter to the work’s dedicatee Eugène Ysaÿe, “At the moment I am working but it doesn’t follow that my work is productive. I flounder, sink beneath the waves, struggle to the surface again, curse myself, and then, just for a moment or two, get the impression that what I have written is not quite so bad as I thought.” Completed in 1891, the Concerto marries the kind of smoky chromaticism and passionate lyricism that Chausson picked up from his teacher César Franck with certain structures and idioms of yesteryear. A subliminal religiosity latent in chant-like parallel octaves and “amen”-style plagal cadences is one such anachronism, as is the second movement’s Baroque dance form, the Sicilienne, and the finale’s gigue rhythms. — Graeme Steele Johnson


Debussy: Enemies & Friends Norfolk Chamber Music Festival | Friday, July 27, 8:00 pm Sonata for Bassoon and Piano in G Major, Op 168

Camille Saint-Saëns

(1835 – 1921) Allegro moderato Allegro scherzando Molto adagio Allegro moderato Frank Morelli bassoon – Hilda Huang* piano

String Quartet in g minor, Op 10

Claude-Achille Debussy

(1862 – 1918) Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré Vera Quartet*

INTERMISSION

Concerto in D Major for Piano, Violin and String Quartet, Op 21 Décidé – Animé Sicileinne: Pas vite Grave Finale: Très animé

Ernest Chausson (1855 – 1899)

Melvin Chen piano – Weigang Li violin – Ji Soo Choi* violin Abigail Hong* violin – Rachyl Duffy* viola – Clare Monfredo* cello

* Norfolk Festival Fellow Vera Quartet* Pedro Rodríguez violin – Patricia Quintero violin – Inés Picado Molares viola – Justin Goldsmith cello FRIDAY, JULY 27 | 45


Program Notes MENDELSSOHN: String Quartet in E-flat Major, Op 12 Mendelssohn’s first published quartet, Opus 12, was written in 1829 during an exceptional time in the twenty-year-old’s life. He was enjoying an extended post-university visit to London and Scotland, wowing audiences as both performer and composer. While the visit to Scotland directly inspired his Hebrides Overture and Scottish Symphony, there is no specific inspiration or reference in the E-flat Major Quartet — though some have

suggested the work’s opening is influenced by Beethoven’s “Harp” Quartet, which features the same key and a similar introductory gesture. While one can certainly detect the influence and admiration for Beethoven’s quartets, this music is distinctly Mendelssohn’s, especially the charming canzonetta second movement and the exciting, vibrant finale. — Jacob Adams

PENDERECKI: String Quartet No. 3, “Leaves of an Unwritten Diary” At the Shanghai Quartet’s 2008 premiere of his String Quartet No. 3 during the composer’s 75th birthday celebration, Krzysztof Penderecki announced from the stage the subtitle “Leaves of an Unwritten Diary,” suggesting an autobiographical program for the work. Written 40 years after its predecessor, the Third String Quartet represents a striking stylistic departure from Penderecki’s earlier contributions to the genre. The chilling Grave introduction sets the tone for this dark work, full of Penderecki’s characteristic bleakness and mechanical rage. A rabid, seemingly unrelenting waltz follows, but pregnant silences stop the hell-bent waltz dead in its tracks, and the dance

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grows more demented with each reiteration. Instead of being delineated by movements, this continuous quartet seems to collide head-on with different stylistic areas: the crazed waltz makes many repeat appearances between bodiless harmonic sonorities, haunting sul ponticello (on the bridge) tremolos in all four voices, and a memory of a Hutsul folk melody the composer’s father used to play on violin. As a potpourri of contrasting but always authentic styles, the single-movement quartet functions as a survey of sorts of Penderecki’s compositional activities since his previous quartet. — Graeme Steele Johnson

SCHUBERT: String Quartet in d minor, D810, “Death and the Maiden” Schubert’s String Quartet in d minor, D. 810, is one of his last pieces of chamber music. In the two years that preceded it, the composer developed symptoms of the syphilis that would trouble him until his death at 31. Keenly aware of his mortality, Schubert turned to Death and the Maiden, a song he had written six years earlier to a text by Matthias Claudius. The maiden pleads with Death to pass her by; Death assures her of quiet sleep. While thematic material from Death and the Maiden appears only in the quartet’s somber slow movement, the darkness of the song hangs over the entire work. The tempestuous sonata-form first movement opens with five severe chords, a terse theme developed both rhythmically and melodically in the driving exposition. The lyrical second theme emerges in startling sweetness. The two themes duel throughout the development, each transforming the other. After the stark recapitulation, a reflective coda closes the movement.

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In Schubert’s time, sets of variations were most often light salon pieces; not so the haunting variations of this second movement. Schubert built the theme from the piano accompaniment, rather than the melody, of his own song Death and the Maiden. The variations grow in intensity through a rich variety of means: increasing chromaticism, accompanimental figurations and angular rhythms. The coda brings the peace that Death promised in Claudius’ poem. The brusque Scherzo recalls the brutality of the first movement, with harsh chords and pessimistically descending melodic lines. A respite arrives in the gentle trio. The breathless Presto finale is a tarantella in sonata-rondo form. Several fragments and textures are derived from previous movements, helping to tie the work together. A furious coda toys with D Major before twisting back to the minor. — Dana Astmann


Shanghai Quartet Norfolk Chamber Music Festival | Saturday, July 28, 8:00 pm String Quartet in E-flat Major, Op 12

Felix Mendelssohn

(1809 – 1847) Adagio non troppo – Allegro non tardante Canzonetta: Allegretto Andante espressivo Molto allegro e vivace

String Quartet No. 3, “Leaves of an Unwritten Diary”

Krzystof Penderecki

(b. 1933)

INTERMISSION

String Quartet in d minor, D810, “Death and the Maiden” Allegro Andante con moto Scherzo: Allegro molto – Trio Presto

Franz Schubert (1797 – 1828)

Shanghai Quartet Weigang Li violin – Yi-Wen Jiang violin – Honggang Li viola – Nicholas Tzavaras cello SATURDAY, JULY 28 | 47


Program Notes BARTÓK: String Quartet No. 3 There is perhaps no more unique voice in the 20th century string quartet genre than in the music of the Béla Bartók. While most of Western Europe and the United States conceptualized Hungarian music via Brahms’ Hungarian Dances and “exotic” gypsy-inspired melodies in Romantic opera, Bartók travelled his native land, collecting folk music, and conveying the authentic Hungarian spirit through his experimental modernist language. As a result Bartók’s voice sounds almost otherworldly, as it comes from a cultural body that the West had long neglected. In his third string quartet, written in Budapest in 1926, Bartók

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combines the freedom and improvisatory feeling of Hungarian dance music within the bounds of a brilliant, tightly constructed form. Matching spirited liveliness with the cerebral, the work is in one continuous movement. There are four distinct sections, grouped into two parts: a poignant, slow section, and a livelier second half. One can trace the development of just a few gestures at the very opening throughout the entire work, as though the composer is cultivating a garden of music from a sprinkling of tiny seeds. — Patrick Jankowski

SHOSTAKOVICH: String Quartet No. 14 in F-sharp Major, Op 142 Shostakovich began his String Quartet No. 14 in the summer of 1972, while visiting his friend and fellow composer Benjamin Britten in Aldeburgh, England. No. 14 is the last of the so-called “Quartet of Quartets,” starting with No. 11. Each is dedicated to a member of the Beethoven Quartet, the group who premiered nearly all of Shostakovich’s 15 quartets. Just as No. 13 features its dedicatee, violist Vadim Vasilvevich Borisovky, with a virtuosic viola solo, No. 14 features the cellist Sergei Shirinksy. The first movement opens with an energetic cello solo that winds around an F-sharp drone in the viola. The cello continues to be featured throughout this movement but is paired with increasingly bombastic outbursts in the violins that

culminate in their eventual appropriation of the theme. When the cello does reassert its ownership of the theme, its original playful gaiety is replaced with a more subdued and sentimental affect. The second movement begins with a solo violin melody that traces the tortured, chromatic ascension of Wagner’s Prelude to Tristan und Isolde. The cello then takes over this anguished melody. Pizzicati in the violin usher in the third movement, but material from the previous movements seems to accumulate and infect the trajectory of the finale: after a rambunctious climax, the second movement theme returns in the cello. The music evaporates into a serene (if somewhat unsettled) recollection of the piece. — Katherine Balch

BEETHOVEN: String Quartet in a minor, Op 132 Beethoven’s late string quartets (Opuses 127; 130; 131; 132; the Grosse Fuge, Opus 133; and Opus 135) constitute a corpus of chamber music unsurpassed in its emotive power, compositional ingenuity and affective variety. Written in the final years of Beethoven’s life, these six works were at first widely misunderstood — the composer Louis Spohr once called them “indecipherable, uncorrected horrors” — but each of these quartets has since taken its place at the pinnacle of the chamber music repertoire. Opus 132 was actually the second of these late works to be composed, falling chronologically between the Quartet in E-flat Major, Opus 127, and the Quartet in B-flat Major, Opus 130. Together, these three quartets are known today as the Golitsïn Quartets, after the Russian Prince Nikolay Golitsïn, who commissioned them at a price of 50 ducats per work. Beethoven

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only received payment for the first quartet however, as the prince was in dire financial straits by the time the works were completed. Unfortunately, the prince’s debt remained unpaid at the time of Beethoven’s death. The Quartet in a minor is in five movements rather than the typical four. The most famous of these movements is the central slow movement. Composed after a grave illness almost took Beethoven’s life, the initial melody of the movement is inscribed Hymn of thanksgiving to the divinity, from a convalescent, in the Lydian mode, while the contrasting section in 3/8 time is entitled Feeling new strength. Beethoven’s Hymn of thanksgiving is music of sublime tenderness. As Maynard Solomon observed, “Music here appears to become an implicit agency of healing, a talisman against death.” — Jordan Kuspa


Emerson String Quartet Norfolk Chamber Music Festival | Friday, August 3, 8:00 pm String Quartet No. 3

Béla Bartók

(1881 – 1945) Prima parte Seconda Parte Ricapitulazione della prima parte Coda

String Quartet No. 14 in F-sharp Major, Op 142

Dmitri Shostakovich

(1906 – 1975) Allegretto Adagio Allegretto

INTERMISSION

String Quartet in a minor, Op 132

Ludwig van Beethoven

(1770 – 1827) Assai sostenuto – Allegro Allegro ma non tanto Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen tonart: Molto adagio – Neue Kraft fühlend: Andante (Hymn of thanksgiving to the divinity, from a convalescent, in the Lydian mode: Molto adagio – Feeling new strength: Andante) Alla marcia, assai vivace Allegro appassionato

Emerson String Quartet Eugene Drucker violin – Philip Setzer violin – Lawrence Dutton viola – Paul Watkins cello FRIDAY, AUGUST 3 | 49


Program Notes POULENC: Sonata for Flute and Piano Francis Poulenc wrote his Sonata for Flute and Piano in 1957 and it was premiered by celebrated flutist Jean-Pierre Rampal. Poulenc deftly permeates this work with a combination of sensuousness and intellectualism, making it satisfying to listen to on more than one level. The sonata takes place in a sound world that is Poulenc’s own: evocative harmonies combine with jagged leaps in the melody. This is a more modern take on the sonata, both formally and because, unlike earlier duo sonatas, the piano is overshadowed by its partner. The first movement relies quite heavily on motivic material from the

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beginning, weaving it into the fabric of the movement and giving the listener a feeling of familiarity with the music as it unfolds. The lamenting second movement showcases the flute’s lyricism and Poulenc’s languorous writing. After that, though, follows a third movement that is playful to the point of almost sounding manic. However, Poulenc never fully crosses that line and the piece comes to a jubilant conclusion. What ties the piece together is not the material in each movement, but rather the mix of playfulness and sentimentality that can be found throughout. — Levi Jones

DEBUSSY: Cello Sonata in d minor Horrified by the carnage of World War One and losing his own battle with cancer, a world-weary Debussy began work on a set of six sonatas for various instruments, though he would only finish three of these before his death cut short his plans in 1918. Ironically, the Cello Sonata from 1915, the first of the set, brims with life and energy from its first declamatory fanfare to its percussive finishing blows. Debussy’s longtime avoidance of the traditionally German symphonic and sonata genres points to his emphasis on the storied French musical legacy as a viable alternative to its “hegemonic” German counterpart, and he maintained this priority even after his late adoption of the sonata genre. The proud poise of the piano’s

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d minor opening in the Cello Sonata’s Prologue is distinguished by a harmonic clarity rare for Debussy, but redolent of the music of the 18th century French composers Rameau and Couperin. Similarly, the sighing cello theme that emerges from the ashes of the florid ornamentation in the bars before recalls the character of a Baroque operatic lament. The second movement Sérénade upends the textural status quo, trading the plodding sustain of the first movement for pointillist, walking pizzicato and vanishing wisps of bowed phrases. In the frenetic Final, the cello, marked “light and nervous,” lurches back and forth between Debussy’s 17 tempo changes, which add to the manic character of the movement. — Graeme Steele Johnson

DEBUSSY: Sonata for Flute, Viola and Harp In 1915, with World War I raging and his own health failing, Debussy embarked on a series of six sonatas for diverse instruments. These works were to be Debussy’s credo of French nationalism in music; they were an explicit rejection of what he disparagingly termed the “multicolored putty” and “heroic theatrics” of German music. Debussy only lived to complete three of these projected works: sonatas for cello and piano, and violin and piano, along with

the present Sonata for Flute, Viola and Harp. Debussy originally imagined an oboe in place of the viola, but felt that the viola would fit better with the flute and harp. Debussy often blends the distinct timbres of the three instruments into an alchemical new sonority, and the shifting tone colors mirror perfectly the mutable nature of the work’s emotional pitch, from the languid and melancholic Pastorale, to the bucolic and high-spirited Finale. — Jordan Kuspa

STRAVINSKY: Suite from L’histoire du Soldat (The Soldier’s Tale) Stravinsky’s L’histoire du Soldat (The Solder’s Tale) is a theatrical work “to be played, read, and danced” by minimal forces: seven players (clarinet, bassoon, cornet or trumpet, trombone, violin, double bass, and percussion), three speaking parts (the soldier, the devil and a narrator), and at least one dancer (the princess). Financially strapped, Stravinsky collaborated with the writer Charles-Ferdinand Ramuz and the conductor Ernest Ansermet to create this portable “pocket theater.” The Swiss philanthropist and amateur clarinetist Werner Reinhart provided vital financial support for the original production. In the Faustian story based on a Russian folk tale, a soldier sells his fiddle — representing his soul — to the devil for a magic book. Stravinsky called the piece 50 | SATURDAY, AUGUST 4

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his “final break with the Russian orchestral school”. Here Stravinsky also begins to experiment with more wide-ranging influences: ragtime and jazz, a Viennese waltz, a Protestant wedding chorale, and dances like the tango. Stravinsky had only encountered jazz through sheet music that Ansermet brought back from America; he hadn’t yet heard it but believed he could imagine its rhythms. Opening night (Lausanne, Switzerland, September 1918) was a success, but it came just when the influenza epidemic broke out in Europe. Every public hall was closed, and the work had to wait until 1924 to be performed again. — Dana Astmann


1918 Soldier’s Story Norfolk Chamber Music Festival | Saturday, August 4, 8:00 pm Sonata for Flute and Piano

Francis Poulenc

(1899 – 1963) Allegretto malinconico Cantilena Presto giocoso Ransom Wilson flute – Daniel Le* piano

Cello Sonata in d minor

Claude-Achille Debussy

(1862 – 1918) Prologue: Lent, sostenuto e molto risoluto Sérénade: Modérément animé Final: Animé, léger et nerveux Ole Akahoshi cello – Melvin Chen piano

Sonata for Flute, Viola and Harp

Debussy

Pastorale: Lento, dolce rubato Interlude: Tempo di minuetto Finale: Allegro moderato ma risoluto Ransom Wilson flute – Bridget Kibbey harp – Atar Arad viola

INTERMISSION

suite from L’histoire

du Soldat (The Soldier’s Tale)

The Soldier’s March Airs by a Stream Pastorale Royal March The Little Concert Three Dances: Tango – Waltz – Ragtime The Dance of the Devil Great Chorale Triumphal March of the Devil

Igor Stravinsky (1882 – 1971)

David Shifrin clarinet – Kristy Tucker* bassoon – Allan Dean cornet – David Farrell* trombone Ani Kavafian violin – TBA double bass – Matthew Keown percussion – Kevin Hourigan director * Norfolk Festival Fellow SATURDAY, AUGUST 4 | 51


Open House at the Festival Sunday, August 5, 2018 2:00 2:00 3:00 4:00

pm – 3:30 pm pm pm pm

Whitehouse Music Shed Music Shed Music Shed

Tours of Whitehouse Children’s Concert Ice Cream Social & Children’s Games Concert by the Frank Vignola Trio

Children’s games and activities are sponsored in part by the Battell Arts Foundation

52 | SUNDAY, AUGUST 5


Open House with the Frank Vignola Trio Norfolk Chamber Music Festival | Sunday, August 5, 4:00 pm This afternoon’s program will be announced from the stage.

Frank Vignola Trio Frank Vignola guitar – Vinnie Raniolo guitar – Gary Mazzaroppi double bass SUNDAY, AUGUST 5 | 53


Program Notes BERNSTEIN: Dance Suite

Bernstein completed his final opus, the Dance Suite for brass quintet, in 1989. Written in the last year of his life, Bernstein’s suite is a pastiche of popular dance styles, each presented in micromovements dedicated to a different dancer or choreographer friend. The work was originally intended to be realized in actual dance, but the choreographer abandoned the project. The first movement, Dancisa, for Anthony, and has the introductory, declamatory quality of a fanfare. A solo trumpet skates atop the rhythmic lilting of the lower voices in the second brief episode,

6 MINUTES

Waltz, for Agnes. Bi-Tango, for Mischa feels decidedly more nocturnal than the previous brighter sketches, but the untroubled optimism of before returns in Two-Step, for Mr. B, dedicated to George Balanchine. Finally, the more substantial MTV, for Jerry adds light drum set accompaniment — brushed strokes in the laid-back outer sections, and more active percussion in the upbeat groove of the middle. After an expectant build-up, the piece ends with a droll wink. — Graeme Steele Johnson

BERNSTEIN: Elegy for Mippy II Leonard Bernstein authored a collection of light brass miniatures around 1948 and finished the set with the dedication, “For my brother Burtie.” Scored for different combinations of brass instruments, each piece pays tribute to a dog of some relation to the composer: Rondo for Lifey (trumpet and piano), Elegy for Mippy I (horn and piano), Elegy for Mippy II (solo trombone), Waltz for Mippy III (tuba and piano) and Fanfare for Bima (brass quartet).

3 MINUTES

One of the longer pieces in the bunch, Elegy for Mippy II serves as a eulogy to a dog owned by Bernstein’s brother Burton. Bernstein’s deep love of jazz courses through all of these works, and in Elegy for Mippy II he even directs the solo trombonist to be his own rhythm section, accompanying himself by audibly stomping his foot while playing. — Graeme Steele Johnson

BERNSTEIN: Piano Trio Bernstein composed his Piano Trio for piano, violin, and cello in 1937, while he was attending Harvard University. It was premiered in that year at Harvard by the Madison Trio, a student group comprising pianist Mildred Spiegel, violinist Dorothy

17 MINUTES

Rosenberg and cellist Sarah Kruskall. Years later Bernstein reused some of the music from the Trio, for example, the opening of the second movement found new life in On the Town. — The Leonard Bernstein Office, Inc.

LIEBERMANN: Quintet for Piano and Strings, Op 34 The celebrated American composer Lowell Liebermann completed his compelling Piano Quintet in 1990. The piano opens the first movement Moderato alone with the dreamy quality of a music box. The addition of the violin’s disoriented melody — seemingly unrelated to the piano, as if wafting in from another room — adds to the vague sense of eeriness. As more instruments join the fabric, they seem to grab onto melodic fragments from other voices. A ricochet pattern in the first violin sets off the martial middle section, by a plucked cello. Gradually the forces amass to a wailing climax of unison string sawing and militaristic walking bass in the piano. The turmoil recedes to a more serene character that will remain until the movement’s

BEACH: Piano Quintet, Op 67 America’s first successful female composer, Amy Cheney Beach showed early musical promise in childhood. Her mother recognized her remarkable memory for music she heard, and testified that she could “improvise a perfectly correct alto to any soprano air I might sing.” Beach’s facility at the piano led to her solo debut with the Boston Symphony Orchestra at age 16, but after her marriage to Dr. Henry Harris Aubrey Beach two years later, her parents and 43-year-old husband cut short her performing career. 54 | FRIDAY, AUGUST 10

22 MINUTES

close. If the first movement could evoke a starry march to the battlefield, the menacing Presto movement, would surely be that battle. Fingers fly like artillery fire in racing pyrotechnic passages. A contemplative cello solo opens the bleak third movement. Later on, things take a turn for the tender in a familiar duet between a meditative first violin and the slowly cascading piano, which feels like a sunnier look at those instruments’ roles in the first movement’s beginning. After the peaceful settling of the slow movement, the machine-like opening of the final movement sets loose the runaway truck that races to the movement’s exultant finish. — Graeme Steele Johnson

29 MINUTES

Beach was permitted to continue composing, but had to teach herself through copious score study and exhaustive reading on harmony, counterpoint, orchestration and other musical topics. Beach’s 1907 Piano Quintet in f-sharp minor suggests that she was intimately familiar with Brahms’ compositional style; in fact, Beach adapted the melodic foundation of all three of the movements of her Quintet from a theme from the finale of Brahms’ own Piano Quintet, Opus 34. But even listeners not privy to these thematic connections will recognize the Brahmsian elements of lush textures and soaring. — Graeme Steele Johnson


Beach, Bernstein & the American Tradition Norfolk Chamber Music Festival | Friday, August 10, 8:00 pm Dance Suite

Leonard Bernstein

(1918 – 1990) Dancisca, for Anthony (Anthony Tudor) Waltz, for Agnes (Agnes de Mille) Bi-Tango, for Mischa (Mikhail Baryshnikov) Two-Step, for Mr. B (George Balanchine) MTV, for Jerry ( Jerome Robbins) Hannah Rundell* trumpet – Connor Jenkinson* trumpet – Natalia Edwards* horn Scott Hartman trombone – Alexander Jeantou* tuba

Elegy for Mippy II

Bernstein Scott Hartman trombone

Piano Trio

Bernstein

Adagio non troppo – Più mosso – Allegro vivace Tempo di marcia Largo – Allegro vivo et molto ritmico AYA Trio*

Quintet for Piano and Strings, Op 34

Lowell Liebermann

(b. 1961) Moderato Presto Molto adagio Allegro brutale Melvin Chen piano – Hao Zhou* violin – Amelia Dietrich* violin – Melissa Reardon viola – Raman Ramakrishnan cello

INTERMISSION Piano Quintet, Op 67

Adagio – Allegro moderato Adagio espressivo Allegro agitato – Adagio come prima – Presto

Amy Cheney Beach (1867 – 1944)

Wei-Yi Yang piano – Pedro Rodriguez* violin – Cherry Choi Tung Yeung* violin Melissa Reardon viola – Raman Ramakrishnan cello

* Norfolk Festival Fellow AYA Trio* Angela Sin Ying Chan violin – Andres Sanchez cello – Ying Li piano FRIDAY, AUGUST 10 | 55


Program Notes VIVALDI: The Four Seasons Antonio Vivaldi’s violin concertos known as The Four Seasons are part of a larger grouping named Il cimento dell ’armonia e dell ’invention (The Contest between Harmony and Invention) published in 1725. These four concertos soon enjoyed great popularity both within and outside Italy and have remained a favorite ever since. An early example of program music, the concertos were accompanied by both four sonnets (insert pages 56-57) — one for each season — as well as specific captions in the scores to assist performers and audiences in recognizing the many programmatic references which are found in both the solo instrument as well as the ensemble. The Winter concerto for example, conveys that season’s chill with biting dissonance and

45 MINUTES

repeated trills in the violin parts, while the solo violin in Winter is a masterful portrayal of a beginning skater — tentative at first, then growing in confidence before stumbling. Other concertos of the set include moments of a dog barking, singing birds (even to the point of identifying different species), drunken dancers, and fires providing a comfortable warmth in winter. The practice of adapting these concertos extends back to Rousseau, who wrote variations for unaccompanied flute on the Spring concerto, Piazzolla whose Four Seasons of Buenos Aires we also hear in tonight ’s performance, and most memorable, an arrangement for Koto ensemble that was an enormous recording ‘hit’ in the mid-70s. — James Nelson

PIAZZOLLA: Las Cuatro Estaciones Porteñas (arr. Leonid Desyatnikov) The tango developed as a sultry dance of brothels and back alleys in Argentina and Uruguay in the late 1800s, but Astor Piazzolla imbued his works in that style with a sense of modernity that bespeaks his cosmopolitan background. Born in Argentina, bred in New York and of Italian Blood, Piazzolla was studying in Paris with the famed composition pedagogue Nadia Boulanger when she urged him to look to the Argentinian musical heritage to develop his personal sound. Piazzolla recounted, “I had composed symphonies, chamber music, string quartets; but when Nadia Boulanger analyzed my music, she said she could find nowhere any Piazzolla. She could find Ravel and Stravinsky, also Béla Bartók and Hindemith — but never Piazzolla…Nadia made me play a tango to her and then she said, ‘You idiot! That is the real Piazzolla!’ So I threw away all the other music and, in 1954, started working on my New Tango.” Not initially conceiving of them as a set, Piazzolla penned his Four Seasons one at a time between 1965 and 1970 and originally set them for his celebrated Quintet, an eclectic assemblage of

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24 MINUTES

piano, bandoneón, violin, electric guitar and bass. To highlight the obvious relationship between the Four Seasons of Piazzolla and Vivaldi, Leonid Desyatnikov arranged Piazzolla’s suite for solo violin and string orchestra in 1999, and also injected into his version 15 quotations of that Baroque composer to further strengthen the connection. To begin, Primavera Porteña (Buenos Aires Spring) pits an incisive, feverish dance against its vocal middle section. Verano Porteño (Buenos Aires Summer), the first season Piazzolla set down, but not always the first in performance order, opens next with a smoldering, halting dance in the low strings before a breathy feminine character takes the stage in the solo violin and performs agile gymnastics about the rhythmic backdrop. The solo violin croaks a percussive, rhythmic figure to announce the Otoño Porteño (Buenos Aires Autumn), and the cello confesses an extensive soliloquy that makes up much of the movement. To end, the impassioned Inverno Porteño (Buenos Aires Winter) is distinguished by a certain luxe urbanity. — Graeme Steele Johnson


Four Seasons Old & New Norfolk Chamber Music Festival | Saturday, August 11, 8:00 pm The Four Seasons

Antonio Vivaldi (1678 – 1741)

Las Cuatro Estaciones Porteñas (arr. leonid desyatnikov)

Astor Piazzolla (1921 – 1992)

Violin Concerto No. 1 in E Major: La Primavera (Spring), Op 8, RV 269

Allegro – Largo e pianissimo – Allegro pastorale

Vivaldi

Melvin Chen violin

Primavera Porteña (Buenos Aires Spring)

Piazzolla

Ji Soo Choi* violin

Violin Concerto No. 2 in g minor: L'estate (Summer), Op 8, RV 315

Allegro con molto – Adagio e piano – Presto

Vivaldi

Abigail Hong* violin

Verano Porteño (Buenos Aires Summer)

Piazzolla Cherry Choi Tung Yeung* violin

INTERMISSION Violin Concerto No. 3 in F Major: L'autunno (Autumn), Op 8, RV 293

Allegro – Adagio molto – Allegro

Vivaldi

Amelia Dietrich* violin

Otoño Porteño (Buenos Aires Autumn)

Piazzolla Angela Sin Ying Chan* violin

Violin Concerto No. 4 in f minor: L'inverno (Winter), Op 8, RV 297

Allegro non molto – Largo – Allegro

Vivaldi

Benny Kim violin

Invierno Porteño (Buenos Aires Winter)

Piazzolla Benny Kim violin

A special thank you to Carl Dudash for providing the harpsichord for this evening's performance. * Norfolk Festival Fellow violin viola cello double bass harpsichord

Angela Sin Ying Chan* – Melvin Chen – Ji Soo Choi* – Amelia Dietrich* – Abigail Hong* – Benny Kim Patricia Quintero* – Pedro Rodríguez* – Lucy Wang* – Cherry Choi Tung Yeung* – Hao Zhou* Rachyl Duffy* – Aiden Kane* – Inés Picado Molares* – Melissa Reardon – Lisa Sung* Eunghee Cho* – Justin Goldsmith* – Raman Ramakrishnan – Andres Sanchez* – Tate Zawadiuk* TBA Hilda Huang* – Daniel Le* – Ying Li* SATURDAY, AUGUST 11 | 57


Program Notes Originally printed with The Four Seasons were four sonnets, one for each concerto. Vivaldi may have written them himself as a guide to the programmatic content of the music, and they provide a valuable key to the imagery found in the music. The author of the English translation is not known.

SPRING – CONCERTO IN E MAJOR Allegro Giunt' è la Primavera e festosetti La Salutan gl' Augei con lieto canto, E i fonti allo Spirar de' Zeffiretti Con dolce mormorio Scorrono intanto: Vengon' coprendo l' aer di nero amanto E Lampi, e tuoni ad annuntiarla eletti Indi tacendo questi, gl' Augelletti; Tornan' di nuovo al lor canoro incanto:

Allegro Springtime is upon us. The birds celebrate her return with festive song, and murmuring streams are softly caressed by the breezes. Thunderstorms, those heralds of Spring, roar, casting their dark mantle over heaven, Then they die away to silence, and the birds take up their charming songs once more.

Largo E quindi sul fiorito ameno prato Al caro mormorio di fronde e piante Dorme 'l Caprar col fido can' à lato.

Largo On the flower-strewn meadow, with leafy branches rustling overhead, the goat-herd sleeps, his faithful dog beside him.

Allegro Di pastoral Zampogna al suon festante Danzan Ninfe e Pastor nel tetto amato Di primavera all' apparir brillante.

Allegro Led by the festive sound of rustic bagpipes, nymphs and shepherds lightly dance beneath the brilliant canopy of spring.

SUMMER – CONCERTO IN G MINOR Allegro non molto Sotto dura Staggion dal Sole accesa Langue l' huom, langue 'l gregge, ed arde il Pino; Scioglie il Cucco la Voce, e tosto intesa Canta la Tortorella e 'l gardelino. Zeffiro dolce Spira, mà contesa Muove Borea improviso al Suo vicino; E piange il Pastorel, perche sospesa Teme fiera borasca, e 'l suo destino;"

Allegro non molto Beneath the blazing sun's relentless heat men and flocks are sweltering, pines are scorched. We hear the cuckoo's voice; then sweet songs of the turtle dove and finch are heard. Soft breezes stir the air… but threatening north wind sweeps them suddenly aside. The shepherd trembles, fearful of violent storm and what may lie ahead.

Adagio e piano – Presto e forte Toglie alle membra lasse il Suo riposo Il timore de' Lampi, e tuoni fieri E de mosche, e mossoni il Stuol furioso!

Adagio e piano – Presto e forte His limbs are now awakened from their repose by fear of lightning's flash and thunder's roar, as gnats and flies buzz furiously around.

Presto Ah che pur troppo i Suo timor Son veri Tuona e fulmina il Ciel e grandioso Tronca il capo alle Spiche e a' grani alteri.

Presto Alas, his worst fears were justified, as the heavens roar and great hailstones beat down upon the proudly standing corn.

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AUTUMN – CONCERTO IN F MAJOR Allegro Celebra il Vilanel con balli e Canti Del felice raccolto il bel piacere E del liquor de Bacco accesi tanti Finiscono col Sonno il lor godere

Allegro The peasant celebrates with song and dance the harvest safely gathered in. The cup of Bacchus flows freely, and many find their relief in deep slumber.

Adagio molto Fà ch' ogn' uno tralasci e balli e canti L' aria che temperata dà piacere, E la Staggion ch' invita tanti e tanti D' un dolcissimo Sonno al bel godere.

Adagio molto The singing and the dancing die away as cooling breezes fan the pleasant air, inviting all to sleep without a care.

Allegro I cacciator alla nov' alba à caccia Con corni, Schioppi, e canni escono fuore Fugge la belua, e Seguono la traccia; Già Sbigottita, e lassa al gran rumore De' Schioppi e canni, ferita minaccia Languida di fuggir, mà oppressa muore.

Allegro The hunters emerge at dawn, ready for the chase, with horns and dogs and cries. Their quarry flees while they give chase. Terrified and wounded, the prey struggles on, but, harried, dies.

AUTUMN – CONCERTO IN F MINOR Allegro non molto Aggiacciato tremar trà neri algenti Al Severo Spirar d' orrido Vento, Correr battendo i piedi ogni momento; E pel Soverchio gel batter i denti;

Allegro non molto Shivering, frozen mid the frosty snow in biting, stinging winds; running to and fro to stamp one's icy feet, teeth chattering in the bitter chill.

Largo Passar al foco i di quieti e contenti Mentre la pioggia fuor bagna ben cento

Largo To rest contentedly beside the hearth, while those outside are drenched by pouring rain.

Allegro Caminar Sopra 'l giaccio, e à passo lento Per timor di cader gersene intenti; Gir forte Sdruzziolar, cader à terra Di nuove ir Sopra 'l giaccio e correr forte Sin ch' il giaccio si rompe, e si disserra; Sentir uscir dalle ferrate porte Sirocco Borea, e tutti i Venti in guerra Quest' é 'l verno, mà tal, che gioja apporte.

Allegro We tread the icy path slowly and cautiously, for fear of tripping and falling. Then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest it cracks up. We feel the chill north winds coarse through the home despite the locked and bolted doors… this is winter, which nonetheless brings its own delights.

SATURDAY, AUGUST 11 | 59


Choral Festival

Sponsored by

Norfolk Chamber Music Festival | Saturday, August 18, 4:00 pm This afternoon’s concert is approximately 60 minutes & will be presented without intermission.

Ego Sum Panis Vivus

Pierre de Manchicourt (1510 – 1564)

Ego Sum Panis after Manchicourt (world premiere)

Daniel Knaggs (b. 1983)

O Grief, E’en on the Bud from

Thomas Morley (1557 – 1602)

Ode for the Birthday of Queen Anne

George Frideric Handel (1685 – 1759)

Eternal Source of Light Divine The Day that Gave Great Anna Birth

Bradley Sharpe counter-tenor

Harpsichord Concerto in C Major, Wq 20

III. Allegro assai

Carl Philipp Emanuel Bach (1714 – 1788) Ilya Poletaev harpsichord

Magnificat

Johann Caspar Aiblinger (1779 – 1867)

Der Gang zum Liebchen, Op 31, No. 3

Johannes Brahms (1833 – 1897)

Trois Chansons de Charles d'Orléans

Claude Debussy (1862 – 1918)

Dieu! Qu'il la fait bon regarder! Quand j'ay ouy le tabourin Yver, vous n'estes qu'un villian

Bradley Sharpe counter-tenor

Cedit Hyems

Abbie Betinis (b. 1980)

Hymne au Soleil

Lili Boulanger (1893 – 1918) Bradley Sharpe counter-tenor

Point of Entry (world premiere)

Liliya Ugay* (b. 1990) Bradley Sharpe counter-tenor

Amara (Breath of Grace)

John Rommereim (b. 1959)

Capriccio

Chen Yi (b. 1953)

A special thank you to Carl Dudash for providing the harpsichord for this evening's performance. * John & Astrid Baumgardner Scholarship Recipient Simon Carrington Director / conductor – Bradley Sharpe counter-tenor Ilya Poletaev harpsichord / piano / organ – Jacques Lee Wood cello with the Norfolk Festival Chamber Choir and Orchestra SATURDAY, AUGUST 18 | 61


Artist Biographies Cellist OLE AKAHOSHI (Norfolk ’92) performs in North and South America, 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. Akahoshi has collaborated with the Tokyo, Michelangelo, and Keller string quartets, Syoko Aki, Sarah Chang, Elmar Oliveira, Gil Shaham, Lawrence Dutton, 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 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. | 15th Season at Norfolk Violist ATAR ARAD was born in Tel Aviv where he began his early musical education and violin studies. He devoted himself to the viola in 1971, and the following year won the City of London Prize as a laureate of the Carl Flesch Competition and was also awarded First Prize at the International Viola Competition in Geneva. Arad has performed as a soloist with major orchestras and in recitals at some of Europe’s most prestigious festivals. His recordings for Telefunken are widely acclaimed, and his album with pianist Evelyne Brancart was praised by High Fidelity magazine as being “…perhaps the best-played viola recital ever recorded." During his seven years with the Cleveland Quartet, he toured internationally and collaborated with many leading musicians including Menahem Pressler, Emanuel Ax, Yo-Yo Ma, and Mstislav Rostropovich. Arad has taught at the Eastman School of Music, the Shepherd School of Music, and at Carnegie Mellon University. He currently serves as Professor of Viola at the Jacobs School of Music at Indiana University, and in the summers he teaches at music festivals including Domaine Forget Academy of the Arts and the Keshet Eilon Music Center (Israel). Arad is a frequent guest with today’s leading chamber ensembles, including the Emerson, Tokyo, Mendelssohn, and American string quartets.

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Arad began composing late in his career, and wrote his Solo Sonata for Viola in 1992. His works have been published by Hofmeister Musikverlag and can be heard on iTunes and CD Baby. | 5th Season at Norfolk | atararad.com Known to audiences in over fifty countries on six continents, pianist BORIS BERMAN regularly appears with leading orchestras and in important festivals. An active recording artist and a GRAMMY® nominee, 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®. In 1984 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 gives master classes all over the world and is frequently invited to serve as a juror of international piano competitions. In 2005 he was given the title of Honorary Professor of Shanghai Conservatory of Music, and in 2013, Honorary Professor at the Royal Danish Conservatory in Copenhagen. In 2000 Yale University Press published 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 the same publisher. An avid chamber music player, Berman has performed across the world with leading musicians and premiere chamber groups. | 25th Season at Norfolk | borisberman.com A historian of chamber music and song in nineteenth-century Germany and Austria, PAUL BERRY received his BA and PhD from Yale University and serves as Associate Professor (Adjunct) of Music History at the Yale School of Music. His first book, Brahms Among Friends: Listening, Performance, and the Rhetoric of Allusion, was published in 2014 by Oxford University Press; essays and reviews have appeared in books and scholarly journals in the US and UK. Among his awards is a fellowship from the National Endowment for the Humanities. Berry is also active as a tenor specializing in early music, German lieder, and new compositions. In recent months he has lectured on chamber music and song at Reed College in Oregon, the Royal College of Music in London, Carnegie Hall and Columbia University in New York. | Second Season at Norfolk


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. These appearances have won him critical praise: as noted in a Los Angeles Times review, he is a pianist of “… 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, the Stoeger Prize at Lincoln Center, the Gilmore Artist Advisory Board, and the Curatorium of the Liszt Ferenc Academy of Music in Budapest. Blocker appears regularly on national radio and television as an artist and commentator and is active as a consultant to several major educational institutions and government agencies. In 2000, Steinway and Sons featured him in a film commemorating the tercentennial year of the piano, and his recording of three Mozart concertos appear on the Naxos label. In 2004, Yale University Press published The Robert Shaw Reader, a collection of Shaw’s writings edited by Blocker. The volume received considerable acclaim and is now in its third printing. | 13th Season at Norfolk | robertblocker.org 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. 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 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 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. In July 2014, the Brentano Quartet began as Quartet in Residence at the Yale School of Music, departing from their 15 year residency at Princeton University. The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved.” | 6th Season at Norfolk | brentanoquartet.com MARTIN BRESNICK'S compositions, from opera, 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 and more open, 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, and always on its own terms. Besides having received many prizes and commissions, the first Charles Ives Living Award from the American Academy of Arts and Letters, The Rome Prize, The Berlin Prize, a Guggenheim Fellowship, and a Koussevitzky Commission, among many others, Bresnick is also recognized as an influential teacher of composition. Students from every part of the globe and of virtually every musical inclination have been inspired by his critical encouragement. Bresnick's compositions are published by Carl Fischer Music Publishers, New York; Bote & Bock, Berlin; CommonMuse Music Publishers, New Haven; and have been recorded by Cantaloupe Records, New World Records, Albany Records, Bridge Records, Composers Recordings Incorporated, Centaur, Starkland Records and Artifact Music. | 22nd Season at Norfolk | martinbresnick.com

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Artist Biographies SIMON CARRINGTON has enjoyed a distinguished career as singer, double bass player and conductor. From 2003 to 2009 he was Professor of Choral Conducting at Yale and Director of the Yale Schola Cantorum, which he 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 US, he was a creative force for 25 years with the internationally acclaimed 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 70 recordings, and appeared on countless television and radio programs. In the early days of the King's Singers he also had a lively career as a freelance double bass player, playing in most of the major symphony and chamber orchestras in London. Now a Yale professor emeritus and based in Europe he maintains an active schedule as a freelance conductor and choral clinician, leading workshops and master classes around the world. He has taught young conductors at the Royal Academy of Music (London), the Liszt Conservatorium (Budapest, Hungary), the University of the Andes (Bogotá, Colombia), the World Symposium (Argentina) and the Schools of Music at Eastman, Temple, and Indiana among many others in the US. In 2014 he received an honorary doctorate from New England Conservatory. | 13th Season at Norfolk | simoncarrington.com A native of Tennessee, pianist (as well as violinist and violist) MELVIN CHEN has performed as a soloist and chamber musician at major venues throughout the US, Canada and Asia. His performances have been featured on radio and television stations around the globe, including KBS television and radio in Korea, NHK television in Japan, and NPR in the US. Recordings include Beethoven’s Diabelli Variations on the Bridge label, praised as “a classic” by the American Record Guide, Joan Tower’s piano music on the Naxos label and recordings of the Shostakovich piano sonatas and Gordon’s Orpheus and Euridice. An enthusiastic chamber musician, Chen has collaborated with such artists as Ida Kavafian, David Shifrin, Pamela Frank (Norfolk ’85) and with the Shanghai, Tokyo and Miró (Norfolk ‘98) quartets. He has appeared at numerous festivals including the Bard Music Festival and Music from Angel Fire among others. Chen holds a doctorate in chemistry from Harvard University and a double master’s degree from The Juilliard School in piano and violin. Previously, he attended Yale University where he studied with Boris Berman and received a Bachelor of Science in chemistry

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and physics. Chen was on the piano faculty and served as associate director of the Bard College Conservatory of Music. In 2012 he rejoined the faculty of the Yale School of Music, where he serves as Associate Professor (Adjunct) of Piano and Deputy Dean. In September of 2016 Chen began as Director of the Norfolk Chamber Music Festival. | 9th Season at Norfolk | melvinchen.com Praised as “…extraordinary…” and “…a formidable clarinetist…” by The New York Times, clarinetist ROMIE DE GUISELANGLOIS has appeared as soloist and chamber musician on major concert stages throughout the United States, Canada, Europe, and Asia. de GuiseLanglois performed as soloist with the Houston Symphony, Ensemble ACJW, the Burlington Chamber Orchestra, the Yale Philharmonia, McGill University Symphony Orchestra, at Music@Menlo and at the Banff Center for the Arts. She is a winner of the Astral Artists’ National Auditions and was awarded the First Prize in the Houston Symphony Ima Hogg Competition. She was additionally a First Prize winner of the Woolsey Hall Competition at Yale University, the McGill University Classical Concerto Competition, the Canadian Music Competition, and was the recipient of the Canadian Broadcasting Corporation Award. An avid chamber musician, de Guise-Langlois joined the roster of Chamber Music Society Two in 2012 and has toured with Musicians from Marlboro. She has appeared at the Metropolitan Museum of Art, the Philadelphia and Boston Chamber Music Societies, 92nd Street Y, and Chamber Music Northwest among many others. She has performed as Principal Clarinetist for the Orpheus Chamber Orchestra, the Orchestra of St. Luke’s, and the New Haven and Stamford symphony orchestras. A native of Montreal, she earned degrees from McGill University and the Yale School of Music, where she studied under David Shifrin. She is currently Adjunct Professor of clarinet at Montclair University. | First Season at Norfolk | deguise-langlois.com ALLAN DEAN is Professor in the Practice of Trumpet at the Yale School of Music and performs with St. Louis Brass, Berkshire Bach Society 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 Sacbut 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 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. On early instruments he has recorded with Calliope, the Waverly Consort and the Smithsonian Chamber Players. Before joining the Yale School of Music in 1988, Dean served on the faculties of Indiana University, the Manhattan School of Music, the Hartt School and the Eastman School of Music. He lives in the Berkshire Mountains with his wife Julie Shapiro, an artist, and his daughter Essy, a writer and recent graduate of the Susquehanna University Writer’s Institute. Dean is an avid tennis player and practices hatha yoga daily. | 34th Season at Norfolk | allanjdean.com The EMERSON STRING QUARTET (Philip Setzer violin, Eugene Drucker violin, Lawrence Dutton viola, Paul Watkins cello) has an unparalleled list of achievements spanning four decades: more than 30 acclaimed recordings, nine GRAMMYS® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, and Musical America’s "Ensemble of the Year. Having celebrated its 40th Anniversary during the 20162017 season, Emerson looks towards the future by collaborating with today’s most esteemed composers and premiering new works, thus proving their commitment to keeping the art form of the string quartet alive and more relevant than ever. In 2016, Universal Music Group reissued their entire Deutsche Grammophon discography in a 52-CD boxed set, and in April 2017, the Quartet released its latest album, Chaconnes and Fantasias: Music of Britten and Purcell, the first release on Universal Music Classics’ new US classical record label, Decca Gold. The 2017-2018 season reflects all aspects of the Emerson’s venerable artistry. In Fall 2017, the Emerson continues its series at the Smithsonian Institution in Washington, DC for its 39th season. Other North American highlights of the season include a performance of Shostakovich and The Black Monk: A Russian Fantasy, the new theatrical production co-created by acclaimed theater director James Glossman and the Quartet’s violinist, Philip Setzer; and collaborations with the Calidore and Dover quartets. In April 2018, pianist Evgeny Kissin joined the Emerson for three performances at New York’s Carnegie Hall, Chicago’s Symphony Hall and Boston’s Jordan Hall, and appears with the Quartet in France, Germany and Austria. Throughout the season, Emerson has embarked on multiple tours in South America, Asia and Europe. Formed in 1976 and based in New York City, the Emerson was one of the first quartets whose violinists alternated in the first chair position. The Emerson Quartet, which took its name from the American poet and philosopher Ralph Waldo Emerson, is Quartet-in-Residence at Stony Brook University. | 6th Season at Norfolk | emersonquartet.com

Pianist PETER FRANKL has concertized on the international circuit since the 1960s, performing with many of the world's greatest orchestras and conductors, such as Abbado, Boulez, Haitink, Maazel, Masur, Solti, and Szell. He has appeared on five continents and has been a regular participant at international festivals at Edinburgh, Aldeburgh, Verbier, Kuhmo, Prades (Casals), Naantali and in London at the BBC Promenade Concerts. In the USA his numerous festival appearances include Marlboro, Ravinia, Aspen, Norfolk, Yellow Barn and Chautauqua. His vast recording output includes the complete piano works by Schumann and Debussy; Brahms piano concertos, violin sonatas, and trios; Mozart piano concertos; Schumann, Brahms, Dohnányi, Dvořák, and Martinů piano quintets; Hungarian violin sonatas, and many solo albums. Frankl is Honorary Professor of the Liszt Academy in Budapest and in December 2017, retired from the faculty of the Yale School of Music. He has been on many jury panels of international piano competitions, including the Van Cliburn, Rubinstein, Leeds, Santander, Hilton Head, William Kappell, Hong Kong, Clara Haskil, Paderewski, Marguerite Long, Queen Elizabeth in Brussels, Manchester, Shanghai and as chairman, Cleveland. | 25th Season at Norfolk | peterfrankl.co.uk Soprano AMY FRESTON was born in London and trained as a classical dancer before studying singing at the Royal Northern College of Music with Sandra Dugdale. She went on to the National Opera Studio in London where she was sponsored by Glyndebourne. The combination of her acting ability and vocal qualities have singled her out as one of the most compelling performers of her generation‚ much in demand on the operatic stage and concert platform. Recent highlights include Agilea in Handel’s Teseo with Philharmonia Baroque Orchestra and Chorale at Tanglewood, the Mostly Mozart Festival, and in San Francisco; Frasquita in Bizet’s Carmen for the Welsh National Opera; the Plaintiff in Gilbert and Sullivan’s operetta Trial by Jury, Valencienne in The Merry Widow, and the Dew Fairy in Hansel and Gretel all for Opera North. Amy has worked with many notable directors and conductors‚ including: Phyllida Lloyd‚ Robert Carsen‚ Sir Peter Hall‚ Laurent Pelly‚ Richard Jones‚ Christopher Alden‚ Stephen Langridge, Giles Havergal, Tim Albery, Vladimir Jurowski, Martyn Brabbins, Louis Langrée, and Edward Gardner. Future operatic engagements include a revival of Valencienne in The Merry Widow, and Papagena in The Magic Flute for Opera North. Amy Freston was a winner of the prestigious Joaninha Trust Award‚ and was generously supported in her studies by the Countess of Munster Musical Trust and the Peter Moores Foundation. She was also winner of the Glyndebourne on Tour Promise Award in 2005. | First Season at Norfolk | 65 ARTIST BIOGRAPHIES


Artist Biographies SCOTT HARTMAN is one of the preeminent trombonists of today, performing throughout the US, Europe and Asia as a soloist and chamber musician. Hartman is presently a member of the Yale Brass Trio, Proteus7, the Summit Brass, the Millennium Brass, the Brass Band of Battle Creek and the trombone quartet Four of a Kind. He began his chamber music career as a member of the famed Empire Brass. You can hear recordings of these groups on the Telarc, Angel / EMI, Sony Classical, Dorian, Summit Brass and Leaping Frog labels. As a chamber musician, Scott has performed in all of the 50 United States. He has been a featured performer with many major US symphony orchestras–including the Chicago Symphony, Boston Symphony, St Louis Symphony, Cincinnati Symphony, Philadelphia Symphony, Detroit Symphony, San Francisco Symphony and many more. Abroad, Hartman has been a soloist with the BBC Orchestra, the New Japan Philharmonic, the Caracas Symphony, the Simone Bolivar Symphony, Bursa State Symphony Orchestra (Turkey), the National Symphony of Taiwan, the Daejeon Philharmonic (South Korea) and the Korean Orchestra (Seoul, South Korea). Hartman heads the trombone department at Yale University. Each summer, Hartman performs and coaches brass chamber music at the Norfolk Chamber Festival, the Raphael Mendez Brass Institute and the Chautauqua Music Festival. | 18th Season at Norfolk | slushpump.com Violinist ANI KAVAFIAN enjoys a prolific career as a soloist and chamber musician. She has performed with virtually all of America’s leading orchestras, including the New York Philharmonic, Philadelphia, Cleveland, San Francisco and Detroit Symphony Orchestras among many others. As a renowned chamber musician, she has performed with the Chamber Music Society of Lincoln Center since 1979. Kavafian appears frequently with her sister, violinist and violist Ida Kavafian. Together they have performed with the symphonies of Detroit, Colorado, Tucson, San Antonio, and Cincinnati, and have recorded on the Nonesuch label. Kavafian is a member of Trio da Salo, and has teamed with clarinetist David Shifrin and pianist André-Michel Schub to form the Kavafian-Schub-Shifrin Trio, with whom she tours frequently as violinist and violist. Kavafian has received the Avery Fisher Career Grant and the Young Concert Artists International Auditions award, has appeared at the White House on three separate occasions, and has been featured on many network and PBS television music specials. Her recordings can be heard on the Nonesuch, RCA, Columbia, Arabesque, and Delos labels. Born in Istanbul, Turkey of Armenian heritage, Kavafian began piano lessons at the age of three. At age nine, in the US, she began the

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study of the violin with Ara Zerounian and Mischa Mischakoff, eventually she went on to study at The Juilliard School. Kavafian is on the faculty of Yale University and plays a 1736 Muir McKenzie Stradivarius violin. She lives in Westchester County, NY with her husband, artist, Bernard Mindich. | 10th Season at Norfolk A winner of the coveted 2002 Grawemeyer Award for Music Composition and one of the youngest composers ever awarded the Pulitzer Prize, AARON JAY KERNIS has taught composition at the Yale School of Music since 2003. His music appears on orchestral, chamber, and recital programs worldwide and he has been commissioned for many of the world's foremost performing artists and ensembles, including sopranos Renée Fleming and Dawn Upshaw, violinist Joshua Bell, guitarist Sharon Isbin, the New York Philharmonic, San Francisco Symphony, Saint Paul Chamber Orchestra, the Walt Disney Company and the Chamber Music Society of Lincoln Center. He was awarded the Nemmers Prize from Northwestern University, 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. He is Workshop Director of the Nashville Symphony Composer Lab and previously served as the Minnesota Orchestra's New Music Adviser and cofounded and directed the Minnesota Orchestra Composer Institute for 11 years. He is a member of the American Academy of Arts and Letters. His music is available on Nonesuch, Phoenix, New Albion, Argo, New World, CRI, Naxos, Virgin, Arabesque and other labels. He lives in New York City with his wife and two children. | 10th Season at Norfolk In demand as a soloist and chamber musician, harpist BRIDGET KIBBEY is a recipient of the prestigious Avery Fisher Career Grant, the Classical Recording Foundation's Young Artist Award, and is the only harpist to win a position with the Chamber Music Society of Lincoln Center’s Chamber Music Society Two. Kibbey’s solo performances have been broadcast on NPR's Performance Today, on New York's WQXR and Q2 Radio, WNYC's Soundcheck, WETA’s Front Row Washington, and A&E's Breakfast with the Arts. She has toured and recorded with Dawn Upshaw and Plácido Domingo for SONY Records and Deutsche Grammaphon. Her solo debut album, Love is Come Again, was named one of the “Top Ten Releases” by Time Out New York. She is featured annually with the Chamber Music Society of Lincoln Center and has appeared as featured soloist and chamber artist at the Bravo!Vail, Santa Fe, Spoleto, Chamber Music Northwest, Aspen, and Music@Menlo Festivals, among others.


With a passion for expanding the scope and platform of the harp, this season Bridget presents Bach’s most iconic keyboard works adapted on the harp alongside the Sebastians (“New York’s leading early music ensemble,” New York Times). She also travels across the country with a new trio exploring the cross-pollination of folk music in South America, alongside Colombian clarinetist Benito Meza, and percussionist Samuel Torres. Kibbey maintains harp studios at Bard Conservatory, The Juilliard School Pre-College Program, and The Curtis Young Artist Institute. | First Season at Norfolk | bridgetkibbey.com Violinist BENNY KIM is known for his versatility as soloist, chamber musician, and teacher. A proud product of the Suzuki Method–which he began at age 10–Kim went on to graduate with a BM and MM degree from The Juilliard School, where he studied with legendary pedagogue Dorothy DeLay. In 1983, Kim won the Young Concert Artists International Auditions at age 20. Collaborating with long-time friends is important in Kim’s musical career and has resulted in two EMI recordings with Nadja Salerno-Sonnenberg and many engagements with his brother, cellist Eric Kim. Benny has performed with the symphony orchestras of Chicago, Boston, St. Louis, Cincinnati and Detroit, and internationally with the Hong Kong Philharmonic, the Orquésta Sinfonica Nacional de México, and the BBC National Orchestra of Wales. As first violinist of the Miami String Quartet he has recently appeared at Carnegie Hall and the Kennedy Center. Kim spends most summers playing chamber music with friends at festivals around the world, including the Santa Fe, Chamber Music Northwest, Schleswig – Holstein (Germany) Festivals, and the Bristol Festival (England). While at Juilliard, the residents of Macomb, IL, Benny’s hometown, heard that he was trying to purchase a violin. The small community, along with faculty members of Western Illinois University, began a fundraising campaign to contribute to the purchase. In 1987 he acquired a 1732 Stradivarius violin. Kim is on the faculty of the University of Missouri. He and his golden retriever, Cubby, make their home outside Kansas City on the Falcon Ridge Golf Course. | First 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. Lang was Musical America's 2013 Composer of the Year, and held Carnegie Hall's Deb's Composer Chair for the 20132014 season. David Lang holds degrees from Stanford University and the University of Iowa, and received a DMA 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. | 8th Season at Norfolk | davidlangmusic.com Prize-winning composer HANNAH LASH (Norfolk ‘12) received the ASCAP Morton Gould Young Composer Award, a Charles Ives Scholarship from the American Academy of Arts and Letters, a Fromm Foundation Commission, a fellowship from Yaddo Artist Colony, the Naumburg Prize, the Barnard Rogers Prize and the Bernard and Rose Sernoffsky Prize. She has received commissions from the Fromm Foundation, the Naumburg Foundation, the Great Lakes Chamber Music Festival, Aspen Music Festival, Duo, Case Western Reserve’s University Circle Wind Ensemble and the Aspen Contemporary Ensemble among others. Her orchestral music has been singled out by the American Composers Orchestra for the 2010 Underwood New Music Readings with Furthermore, and by the Minnesota Orchestra which selected her work God Music, Bug Music for performance in January 2012 as part of the Minnesota Composers Institute. Her chamber opera, Blood Rose, was presented by NYC Opera’s VOX in the spring of 2011, and in 2015, the American Composers Orchestra premiered her Concerto for Harp and Chamber Orchestra. Lash’s music has also been performed at Carnegie Hall, the Chelsea Art Museum, Harvard University, Tanglewood Music Center and the Chicago Art Institute. Her primary teachers include Martin Bresnick, Bernard Rands, Julian Anderson, and Robert Morris. Her music is published by Schott. Lash serves on the composition faculty at Yale School of Music. | 5th Season at Norfolk | hannahlash.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 (Norfolk ‘77) and Philadelphia string quartets. In the summer of 2002, Lucarelli was the first American oboist to be invited to perform and teach at the Central Conservatory of

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Artist Biographies 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. Lucarelli has recorded for Koch International, Lyrichord, MCA Classics, Musical Heritage Society, Pantheon and Stradivari. Former 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. | 11th Season at Norfolk Embarking on his fifth decade on the podium, NICHOLAS MCGEGAN is hailed as “one of the finest baroque conductors of his generation” (London Independent). The 2017-2018 season marks his 32nd year as music director of Philharmonia Baroque Orchestra and Chorale. McGegan has established the San Francisco-based Philharmonia as one of the world’s leading periodperformance ensembles, with regular appearances at Carnegie Hall, Lincoln Center, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival. Throughout his career, he has defined an approach to period style that sets the current standard: intelligent, infused with joy, and never dogmatic. McGegan’s ability to engage players and audiences has made him a pioneer in broadening the reach of historically informed practice beyond the world of period ensembles to conventional symphonic forces. Among McGegan’s many guest-conducting appearances across the globe include the New York, Los Angeles, and Hong Kong Philharmonics; the Chicago, Milwaukee, Indianapolis, Toronto, Sydney, and New Zealand Symphonies; the Cleveland and the Philadelphia Orchestras; and the Royal Northern Sinfonia and Scottish Chamber Orchestra. In summer 2017, he conducted the Royal Northern Sinfonia for the BBC Proms , marking 300 years since Handel’s Water Music was first famously performed on the River Thames. McGegan’s prolific discography includes more than 100 releases spanning five decades. Born in England, Nicholas McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in 2010 “for services to music overseas.” | 4th Season at Norfolk
| philharmonia.org

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Australian pianist LISA MOORE has been described as "brilliant and searching" (The New York Times) and "New York's queen of avant-garde piano" (The New Yorker). She has released eight solo discs and over 30 collaborative discs. Moore has collaborated with a large and diverse range of ensembles including the London Sinfonietta, New York City Ballet, Chamber Music Society of Lincoln Center, American Composers Orchestra, Steve Reich Ensemble and Sō Percussion. From 1992 through 2008 she was the founding pianist for the Bang on a Can All-Stars, winning Musical America's 2005 Ensemble of the Year Award. Moore is a member of TwoSense, Grand Band, Ensemble Signal and the Paul Dresher Double Duo. Festival appearances include BAM, Lincoln Center, Graz, Tanglewood, Aspen, Paris d'Automne, BBC Proms, Israel and Warsaw. Moore won the Silver Medal in the 1981 Carnegie Hall International American Music Competition. She has collaborated with composers ranging from Elliot Carter, Iannis Xenakis and Frederic Rzewski to Ornette Coleman, Meredith Monk and Martin Bresnick. As an artistic curator Moore directed Australia's Canberra International Music Festival 2008 Sounds Alive series. Moore teaches at Wesleyan University and is a regular guest at the Australian National Academy of Music in Melbourne. | 13th Season at Norfolk | lisamoore.org FRANK MORELLI, the first bassoonist awarded a doctorate by The Juilliard School, studied with Stephen Maxym at the Manhattan School of Music (MSM) and Juilliard. With over 160 recordings for major labels to his credit, the Orpheus Chamber Orchestra CD Shadow Dances featuring him won a 2001 GRAMMY® Award. He has made nine appearances as soloist in New York’s Carnegie Hall and 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. He is a member of Windscape, woodwind ensemble in residence at MSM. Chosen to succeed his teacher, he serves on the faculties of the Yale School of Music, Juilliard, MSM, SUNY Stony Brook and the Glenn Gould School in Toronto. He is principal bassoonist of Orpheus and has released four solo recordings on MSR Classics: From the Heart and Romance and Caprice with pianist Gilbert Kalish; Bassoon Brasileiro with Ben Verdery and Orpheus and Baroque Fireworks with Kenneth Cooper, of which American Record Guide stated: “the bassoon playing on this recording is a good as it gets.” Gramophone magazine proclaimed his playing “a joy to behold.” He has published several transcriptions for bassoon and various ensembles and compiled the landmark excerpt book of Stravinsky’s music for the bassoon, entitled Stravinsky: Difficult Passages. | 25th Season at Norfolk | morellibassoon.com


Soprano SHEREZADE PANTHAKI'S (Norfolk ‘10) international success has been fueled by superbly honed musicianship; a “radiant” voice (The Washington Post); and vividly passionate interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Panthaki has ongoing collaborations with leading early music interpreters including Nicholas McGegan, Simon Carrington, Matthew Halls, and Masaaki Suzuki, with whom she made her New York Philharmonic debut. Panthaki’s recent performance with Philharmonia Baroque Orchestra and conductor Nicholas McGegan was named one of the “Top 10 Classical Music Events of 2015” and described as “a breathtaking combination of expressive ardor, tonal clarity, technical mastery and dramatic vividness” by The San Francisco Chronicle. Panthaki’s 2017-18 season features performances of Vivaldi’s Gloria with the Los Angeles Philharmonic and the St. Louis Symphony (Nicholas McGegan conducting), the Milwaukee Symphony, Philharmonia Baroque Orchestra, Music of the Baroque, her return to Ars Lyrica, Pasadena Symphony Orchestra, Orlando Philharmonic, and a United States Christmas Oratorio tour with Bach Collegium Japan. Her repertoire extends well beyond the music of the Renaissance and Baroque to works such as Orff’s Carmina Burana with the Houston Symphony, John Tavener’s The Last Discourse with Orchestra of St. Luke’s, Beethoven’s Symphony No. 9 with American Classical Orchestra, and Rachmaninoff’s Vocalise and Strauss lieder at the Bari International Music Festival. Panthaki holds an Artist Diploma from the Yale School of Music and a master’s degree from the University of Illinois. | Third Season at Norfolk | sherezadepanthaki.com JULIAN PELLICANO is currently the Resident Conductor of the Winnipeg Symphony Orchestra, where he leads the orchestra in a wide variety of programs throughout the year. A musician with a penchant for collaboration, Pellicano regularly works with a variety of different ensembles, orchestras and world class artists. He has toured Turkey conducting new pieces that blend both western and Turkish classical instruments, collaborated with Soprano/Director Susan Narucki and the Kallisti Ensemble conducting Pascal Dusapin's opera To Be Sung, worked with Dr. Paul Lehrman to create a new performance edition for the original 1923 version of George Antheil's Ballet Mécanique, and has performed with many world-class soloists including pianist Ann Schein, baritone Thomas Meglioranza, composer/pianist Timo Andres (Norfolk ‘04), and electric guitarist

Andy Summers (The Police). In addition, Pellicano led the premiere of Martin Bresnick’s critically acclaimed opera My Friend's Story at the International Festival of Arts and Ideas and conducted at Carnegie Hall with members of the Yale Philharmonia Orchestra. Pellicano has worked in masterclasses with Kurt Masur, Peter Eötvös, Zsolt Nagy, Martyn Brabbins, Carl St. Clair, L’Orchestre Philharmonique du Luxembourg and the Royal Scottish National Orchestra. He holds degrees from the Peabody Conservatory, the Royal College of Music (Stockholm), and the Yale School of Music where he was awarded the 2008 Presser Music Award and the Philip F. Nelson Award. | 9th Season at Norfolk | julianpellicano.com PHILHARMONIA BAROQUE ORCHESTRA has been dedicated to historicallyinformed performance of Baroque, Classical and early-Romantic music on original instruments since its inception in 1981. Under Music Director Nicholas McGegan, Philharmonia Baroque has been named Ensemble of the Year by Musical America. The Orchestra performs an annual subscription series in the San Francisco Bay Area and is regularly heard on tour in the US and internationally. The Orchestra has its own professional chorus, the Philharmonia Chorale, directed by Bruce Lamott and welcomes talented guest artists such as mezzosoprano Susan Graham, countertenor David Daniels, conductor Jordi Savall, fortepianist Emmanuel Ax, conductor Masaaki Suzuki and violinist Rachel Podger. Among the most-recorded periodinstrument orchestras in the US or in Europe, Philharmonia Baroque has made 34 highly praised recordings — including its Gramophone award-winning recording of Handel’s Susanna — for Harmonia Mundi, Reference Recordings and BMG. In 2011, Philharmonia launched its own label, Philharmonia Baroque Productions, with an acclaimed recording of Berlioz’s Les Nuits d’été and Handel arias featuring mezzo-soprano Lorraine Hunt Lieberson. The second CD release, Haydn Symphonies No. 104 “London”, No. 88, No. 101, was nominated for a GRAMMY® Award for Best Orchestral Performance. Philharmonia Baroque Orchestra was founded by harpsichordist and early music pioneer Laurette Goldberg. | 4th Season at Norfolk | philharmonia.org

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Artist Biographies Pianist, harpsichordist and fortepianist ILYA POLETAEV (Norfolk ‘04) 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 holds an MM and a DMA from Yale, which he completed under the guidance of Boris Berman. | 6th Season at Norfolk | ilyapoletaev.com A native of Pennsylvania, horn player WILLIAM PURVIS enjoys a career in the US 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. 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. Purvis is currently a faculty member at the Yale School of Music. At Yale, he is coordinator of winds and brass and is the director of the Yale Collection of Musical Instruments. | 33rd Season at Norfolk

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RAMAN RAMAKRISHNAN is a founding member and current cellist of the Horszowski Trio. As a former founding member of the Daedalus Quartet, Ramakrishnan won the grand prize at the 2001 Banff International String Quartet Competition and has performed coast-to-coast in the US and Canada, Asia and across Europe. The Quartet has been in residence at the Chamber Music Society of Lincoln Center, the University of Pennsylvania, and Columbia University, where Ramakrishnan maintains a teaching studio. He has given solo recitals in New York, Boston, Seattle, and Washington, D.C., and has performed at Caramoor and Bargemusic, with the Boston Chamber Music Society, and at the Aspen, Charlottesville, Lincolnshire (UK), Marlboro, Mehli Mehta (India), and Vail Music Festivals. He is a member of the East Coast Chamber Orchestra, and has performed, as guest principal cellist, with the Saint Paul Chamber Orchestra. As a guest member of Yo-Yo Ma’s Silk Road Ensemble, he has collaborated with musicians from the Iraqi National Symphony Orchestra and performed in New Delhi and Agra, India and in Cairo, Egypt. Ramakrishnan was born in Athens, Ohio and grew up in East Patchogue, New York. His father is a molecular biologist and his mother is the children’s book author and illustrator Vera Rosenberry. He holds a bachelor’s degree in physics from Harvard University and a master’s degree in music from The Juilliard School. He lives in New York City with his wife, the violist Melissa Reardon. Ramakrishnan plays a Neapolitan cello made by Vincenzo Jorio in 1837. | First Season at Norfolk GRAMMY®-nominated violist MELISSA REARDON (Norfolk ’97) is a versatile performer whose playing spans all genres of the viola literature. A First Prize Winner of the Washington International Competition, and the only violist to win top prizes in consecutive HAMS International Viola Competitions, Reardon’s playing has been described as “elegant” and “virtuosic” (Classical Voice). Solo engagements have included performances at the Stevens Center, Kennedy Center, Symphony Hall, and Jordan Hall. She has performed as soloist with Camerata Notturna, the Boston Symphony and, most recently, the East Carolina Symphony. She has given recitals in North Carolina, New York, Boston, and Philadelphia, and maintains an international performing schedule as a member of the Enso String Quartet. Reardon is also a founding member of the East Coast Chamber Orchestra (ECCO) and a soughtafter collaborative musician. She has performed with the Miami, Miró, Daedalus, and Borromeo Quartets, and with members of the Guarneri, Mendelssohn, Brentano, St. Lawrence and Shanghai


Quartets as well as the Beaux Arts Trio. In addition to numerous festival appearances, Reardon has toured with Yo-Yo Ma's Silk Road Ensemble and Musicians from Marlboro. In 2006, she was one of four violists internationally to participate in Chamber Music Connects the World with Gidon Kremer and Yuri Bashmet in Kronberg, Germany. Reardon holds degrees from the Curtis Institute of Music and the New England Conservatory. Assistant Professor of Viola at East Carolina University from 2006-2013, Reardon will begin as the Portland Chamber Music Festival’s next Artistic Director following the conclusion of the Festival’s 25th anniversary season in August 2018. She is married to the cellist Raman Ramakrishnan. | First Season at Norfolk Renowned for passionate musicality, impressive technique, and multicultural innovations, the SHANGHAI QUARTET (Norfolk ’86, ’92) (Weigang Li violin, Yi-Wen Jiang violin, Honggang Li viola, Nicholas Tzavaras cello) has become one of the world’s foremost chamber ensembles. The Quartet’s elegant style melds the delicacy of Eastern music with the emotional breadth of Western repertoire, allowing it to traverse musical genres including traditional Chinese folk music, masterpieces of Western music and cutting-edge contemporary works. Formed at the Shanghai Conservatory in 1983, they have performed throughout Europe, Asia, North and South America, from the Beijing International Music Festival to Carnegie Hall and the Beethoven Festival in Prague. Among innumerable collaborations with noted artists, they have performed with the Tokyo, Juilliard and Guarneri Quartets, cellists Yo-Yo Ma and Lynn Harrell, pianists Menahem Pressler, Yuja Wang, Peter Serkin and Jean-Yves Thibaudet, pipa virtuosa Wu Man and the male vocal ensemble Chanticleer. With a long history of championing new music, the Quartet has premiered new works by Bright Sheng, Carl Vine, David Del Tredici, and Zhao Ji-Ping–China’s most renowned film composer (Farewell My Concubine, Raise the Red Lantern.) Their extensive discography includes more than 30 recordings including the complete string quartets of Beethoven as well as the Schumann and Dvořák piano quintets. A diverse array of media projects includes a cameo appearance playing Bartók’s String Quartet No. 4 in Woody Allen’s film Melinda and Melinda to PBS’ Great Performance series. Violinist Weigang Li appeared in the documentary From Mao to Mozart: Isaac Stern in China, and the family of cellist Nicholas Tzavaras was the subject of the film Music of the Heart, starring Meryl Streep. | First Season at Norfolk | shanghaiquartet.com

BRADLEY SHARPE, counter-tenor, is a native of Southern California and graduate of the California State University, Fullerton School of Music, where he earned a BM in vocal performance under the direction of Mark Goodrich. Sharpe has studied countertenor through oratorio, chamber and operatic works and has been a featured soloist with Yale Schola Cantorum among conductors such as Masaaki Suzuki, Simon Carrington and David Hill. Sharpe is a recent graduate of the Yale Institute of Sacred Music, earning a master's in the performance of oratorio, early music and art song. In the coming years, he hopes to pursue a career in primarily Baroque music, based in Southern California. | First Season at Norfolk DAVID 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, 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. Shifrin also serves as Artistic Director of the Yale School of Music’s Chamber Music Society and Yale in New York series. | 17th Season at Norfolk | davidshifrin.com 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,

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Artist Biographies 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 Taylor received a GRAMMY® nomination. Taylor is 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. Taylor joined the faculty of the Yale School of Music in the fall of 2005. | 12th 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. 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 No. 1 has been released on disc by the Atlanta Symphony. 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 large-scale piece The Here and Now, for soloists, chorus, and orchestra was nominated for a GRAMMY® award in 2007. Theofanidis is currently on the faculty of Yale University, has taught at the Peabody Conservatory and The Juilliard School, and is a fellow of the US-Japan’s Leadership Program. | 10th Season at Norfolk | theofanidismusic.com Baritone DAVÓNE TINES, deemed a "…singer of immense power and fervor…” by The Los Angeles Times and a “...charismatic, full-voiced bassbaritone...” by The New York Times, commands a broad spectrum of opera and concert performance as a singer and creator. Highlights from last season include performances with the Dutch National Opera, Ojai Music Festival, London Symphony, and Los Angeles Philharmonic in collaborations with Kaija Saariaho, John Adams, Matthew Aucoin, Caroline Shaw and Peter Sellars. Upcoming performances include engagements with the Finnish National Opera, San Francisco Opera, San Francisco Symphony, Paris Opera, Orchestre National de France, BAM and the American Repertory Theater. Tines performed with the Boston Pops in Symphony Hall and at Tanglewood where he was

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a Tanglewood Music Center Fellow. He has given performances of Puccini’s La Bohème at the Royal Opera House Oman, La Fanciulla del West with the Castelton Festival and on tour in Spain, as well as Verdi’s Otello all under the baton of Lorin Maazel. | First Season at Norfolk | alsoanoperasinger.com Joining a rare natural warmth with a fierce commitment to the transforming communicative power of music, DAWN UPSHAW has achieved worldwide celebrity as a singer of opera and concert repertoire ranging from the sacred works of Bach to the freshest sounds of today. Her ability to reach to the heart of music and text has earned her both the devotion of an exceptionally diverse audience, and the awards and distinctions accorded to only the most distinguished of artists. In 2007, she was named a Fellow of the MacArthur Foundation, the first vocal artist to be awarded the five-year “genius” prize, and in 2008 she was named a Fellow of the American Academy of Arts & Sciences. Her acclaimed performances on the opera stage comprise the great Mozart roles (Susanna, Ilia, Pamina, Despina, and Zerlina) as well as modern works by Stravinsky, Poulenc, and Messiaen. From Salzburg, Paris and Glyndebourne to the Metropolitan Opera, where she began her career in 1984 and has since made nearly 300 appearances, Upshaw has also championed numerous new works created for her including the Grawemeyer Award-winning opera, L’Amour de Loin and John Adams’s oratorio El Niño. A five-time GRAMMY ®Award winner, including in 2014, for “Best Classical Vocal Soloist” for her performance of Maria Schneider’s GRAMMY ®-winning Winter Morning Walks (Best Classical Composition), Upshaw is featured on more than 50 recordings. She may be heard on Nonesuch, Angel / EMI, BMG, Deutsche Grammophon, London, Sony Classical, Telarc, and on Erato and Teldec. Upshaw holds honorary doctorate degrees from Yale, Manhattan School of Music, The Juilliard School, Allegheny College, and Illinois Wesleyan University. | Second Season at Norfolk The VIGNOLA TRIO’S Frank Vignola and Vinny Raniolo are some of the most extraordinary guitarists performing before the public today. Vignola’s stunning virtuosity has made him the guitarist of choice for many of the world’s top musicians, including Ringo Starr, Madonna, Donald Fagen, Wynton Marsalis, Tommy Emmanuel, Mark O’Connor, the Boston Pops and the New York Pops. Guitar legend Les Paul, named Vignola to his “Five Most Admired Guitarists List” for the Wall Street Journal. Vinny Raniolo, at the age of 28, has already proved himself to be among the elite having performed and recorded with Bucky


Pizzareli, Tommy Emmanuel and David Grisman just to name a few. Since Frank and Vinny teamed up in 2008 they have performed over 1,000 shows at some of the most prestigious concert halls and festivals in the world including the Sydney Opera House, Lincoln Center, Liverpool Philharmonic, Quebec Music Festival and Italy’s Teatro Olimpico. Their jaw dropping technique and incredible showmanship explains why The New York Times deemed them, “….stars of guitar.” Rounding out the Trio, Gary Mazzaroppi has toured extensively with the Lionel Hampton Big Band, and has accompanied many jazz artists including Red Norvo, Herb Ellis, Stan Getz, Joe Morello, Buddy Rich, Jim Hall, Barney Kessel, Clark Terry, Charlie Byrd, and Mark O’Connor. He is also a frequent performing guest on the twenty five-year-old PBS radio show, Marian Mcpartland's Piano Jazz. Mazzaroppi has also accompanied the diverse styles of Renée Fleming, Willie Nelson, Alicia Keyes, Béla Fleck, and Chuck Mangione among others. | First Season at Norfolk | frankvignola.com | vinnyraniolo.com Pianist ORION WEISS’ deeply felt and exceptionally crafted performances go beyond his technical mastery and have won him worldwide acclaim. As of the most sought-after soloists in his generation of young American musicians, Weiss has performed with the major American orchestras, including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic. He has also toured Israel with the Israel Philharmonic Orchestra under the baton of Itzhak Perlman. 2017-18 sees him opening the season for the Saint Paul Chamber Orchestra performing Beethoven's Triple Concerto and ending his season with the Colorado Symphony and Mozart’s majestic Concerto in C Major, K. 467. In between, Weiss will play with eleven orchestras, go on a recital tour with violinist James Ehnes, and perform recitals around the country. Known for his affinity and enthusiasm for chamber music, Weiss performs regularly with his wife, the pianist Anna Polonsky, violinists James Ehnes and Arnaud Sussman, and cellist Julie Albers. As chamber musician, Weiss has appeared across the US at venues and festivals including Lincoln Center, the Ravinia Festival, Chamber Music Northwest, the Bard Music Festival, and the Kennedy Center. Named the Classical Recording Foundation’s 2010 Young Artist of the Year, Weiss made his debut with the Boston Symphony Orchestra at Tanglewood in 2011, as a lastminute replacement for Leon Fleisher. A native of Lyndhurst, OH, Weiss holds degrees from the Cleveland Institute of Music and The Julliard School. Among his teachers are Daniel Shapiro, Sergei Babayan, Kathryn Brown, and Emanuel Ax. | First Season at Norfolk | orionweiss.com

RANSOM WILSON has long been recognized internationally as one of the greatest flutists of his generation. After graduation from the Juilliard School, he spent a year in Paris as a private student of Jean-Pierre Rampal. In 1976 he gave his official debut concert in New York City, with Rampal as his guest artist. An exclusive recording contract with Angel/ EMI followed soon thereafter, along with extensive performances all over the world. As flute soloist, he has appeared in concert with some of the greatest orchestras and artists of our time, including the Chicago Symphony, Philadelphia Orchestra, San Francisco Symphony, London Symphony, Frederica von Stade, Jessye Norman, Nadja Salerno-Sonnenberg, Jean-Pierre Rampal, Sir James Galway and Robin Sutherland. Turning increasingly to a career in orchestral and operatic conducting, Wilson founded Solisti New York orchestra in 1981, with which he has appeared as conductor in hundreds of concerts and recordings. More recently he has conducted two productions at the New York City Opera, and has been a member of the musical staff at the Metropolitan Opera since 2006. He has appeared as guest conductor with England’s London Symphony Orchestra and Hallé Orchestra, the Hermitage State Orchestra in Russia, the Saint Paul Chamber Orchestra, San Francisco Chamber Symphony, and Orchestra of St. Luke’s among many others. Wilson hails from Tuscaloosa, Alabama, and is an Artist of the Chamber Music Society of Lincoln Center, Professor of Flute at Yale University, Assistant Conductor at the Metropolitan Opera, and Artistic Director of Le Train Bleu ensemble. | 17th Season at Norfolk | ransomwilson.com Noted for his fluency of playing, and expressive warmth (Boston Musical Intelligencer, Melrose Free Press), cellist JACQUES LEE WOOD (Norfolk ’08) enjoys an active and varied musical career. His passion for teaching and research complements a performance career that explores a broad range of interests: from historically informed performance on baroque cello to commissioning and performing new works on modern and electric cello. Wood is a founding member of the Boston-based Antico Moderno, a period chamber ensemble that commissions new works for period instruments, StringLab, a duo with guitarist Simon Powis (Norfolk ‘07), and the NYC-based bluegrass band Cathedral. An avid chamber musician, Wood is currently a member of the Pedroia String Quartet, resident musician and cellist of the Sumner Quartet, and recent member of Trio Klaritas. He often appears with A Far Cry, Yale Schola Cantorum, Trinity Baroque Orchestra, Bachsolisten Seoul, Bach Collegium Japan, Firebird Ensemble, and Handel and Haydn Society. Wood has been a visiting artist at the Norfolk Chamber Music Festival,

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Artist Biographies the Great Mountains Festival (South Korea) and Korea Strings Research Institute among others. His has recorded on the Hyperion and Parma labels, and is currently recording with the Pedroia Quartet under the Parma/Naxos labels. Wood completed his BM at the New England Conservatory of Music under Laurence Lesser, and holds an MM and DMA from Yale University, where he studied with Aldo Parisot. | 5th Season at Norfolk | jacquesleewood.com Pianist WEI-YI YANG (Norfolk ‘94) has earned worldwide acclaim for his captivating performances and imaginative programming. Winner of the gold medal in the San Antonio International Piano Competition, he has appeared on the stages of Lincoln Center, the Kennedy Center, and major venues across America, Asia, Europe and Australia. Most recently, he was praised by The New York

Fellow Biographies

Times in a “sensational” performance of Messiaen’s TurangalîlaSymphonie at Carnegie Hall. Born in Taiwan of Chinese and Japanese heritage, Yang studied first in the United Kingdom, and then in the US with renowned Russian pianists Arkady Aronov at the Manhattan School of Music and Boris Berman at Yale. Yang’s performances have been featured on NPR, PBS, Association Relative à la Télévision Européenne, the Australian Broadcasting Company, and on recordings by Ovation, Albany Records, Renegade Classics, and the Holland-America Music Society. A dynamic chamber musician, Yang is a frequent guest artist at festivals across the US from Norfolk to Napa Valley and abroad, including Germany, Serbia, Montenegro, and Mexico. He has adjudicated at the Isidor Bajic Piano Memorial Competition, the San Antonio International Piano Competition, and the Concert Artists Guild auditions. In 2004, Yang received his doctorate from Yale, where he joined the faculty in 2005. | 11th Season at Norfolk

Chamber Music Session

KRISTS AUZNIEKS’ Piano was featured in The New York Times as one of the week’s best classical music moments. Performed at The Walt Disney Concert Hall, The Royal Danish Theatre, Beijing National Arts Centre, Shanghai City Theatre, London Southbank Centre, Amsterdam’s Muziekgebouw, The National Sawdust (NYC), The Kitchen (NYC), MATA (NYC), and Gaudeamus Muziekweek (Holland), his music has been commissioned by Aspen Music Festival, Latvian Radio Choir, Contemporaneous, and Sinfonietta Riga. A winner of the Latvian Grand Music Award and Aspen’s Jacob Druckman Prize, he is currently pursuing a doctoral degree at the Yale School of Music with David Lang. | John and Astrid Baumgardner Scholarship | auznieks.com

Meadows Undergraduate Concerto Competition. When Baker is not playing the horn, he enjoys skiing, rock climbing, and social dancing. | Clement Clarke Moore Scholarship | lukebakerhorn.com

Horn player LUKE BAKER, from Houston, TX, recently received his MM degree from the Yale School of Music under the tutelage of William Purvis. His previous teachers include Greg Hustis, Haley Hoops, Gavin Reed and Holley Linder. He performs regularly with the Allentown Symphony and has served as guest principal with the Fort Wayne Philharmonic. While Baker enjoys orchestral performance, he also has a passion for solo performance, and won the university division 2017 International Horn Competition of America and the 2014

ANGELA SIN YING CHAN, violinist with the AYA Trio, was born in Hong Kong in 1997. She is currently studying with Shmuel Ashkenasi and Aaron Rosand at the Curtis Institute of Music. Chan has taken part in numerous numbers of international and domestic violin competitions. Some highlights among her awards are the First Prize and Concerto Performance Award of the 8th International Louis Spohr Competition for Young Violinists and the third prize of the Andrea Postacchini Competition. In her spare time, Chan enjoys running, cooking, baking, and reading. | Louise Willson Scholarship

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Bassoonist DANA BRINK, a native of Tempe, AZ, is currently studying at the Yale School of Music with Frank Morelli. She earned her BM in bassoon performance at the Eastman School of Music, where she studied with George Sakakeeny and John Hunt. She also has a BA degree in political science from the University of Rochester, from which she graduated magna cum laude. Outside of music, Brink is a total news junkie who enjoys keeping up with current events, as well as hiking and sewing. | Sponsored By James and Nancy Remis


Fellow Biographies A native of Yolo County, CA, EUNGHEE CHO first experienced music at the piano but the overwhelming quantity of notes per page convinced him to explore another vehicle of artistic expression — the cello. Cho is currently studying with Paul Katz at the New England Conservatory of Music. Outside of the practice room, he can be found enjoying pick-up soccer, shadowing medical procedures, collaborating within clinical research, or walking dogs for the MSPCA-Angell animal shelter. Had he never discovered the joys of music, he would likely be pursuing a full-time career either as a professional dog walker or a taste tester for a major candy company. | Aldo And Elizabeth Parisot Scholarship In Memory Of Harris Goldsmith Violinist JI SOO CHOI appeared with the Toronto Symphony in 2011. She was the 2013 Grand prize winner of the Canadian Music competition in the 19-to-30-year-old category. In 2013, she was featured in the Canadian Broadcasting Corporation blog 30 Hot Canadian Classical Musicians Under 30. Choi premiered Jaehyuck Choi’s Nocturne IV in New York, in April 2018. She has been participating in the New Juilliard Ensemble and the Historical Performance Orchestra for the past three years expanding her musical languages. Choi is currently pursuing her MM degree at The Juilliard School studying with Ida Kavafian and Daniel Phillips. Oboist VICTORIA CHUNG is completing her BM degree at The Juilliard School, studying with Nathan Hughes. As an enthusiastic ensemble player, Chung enriched her orchestral experiences during summer, including at the Pacific Music Festival, National Repertory Orchestra, National Orchestral Institute, NSO Summer Music Institute, and the 28th Annual Young Musicians program of CMS of Lincoln Center. Her ambitious spirit extends beyond the orchestral performances, to active solo performances. Following her debut with the Hankook Symphony Orchestra in Seoul in 2008, Chung won opportunities to perform with the National Orchestral Institute in 2015 and the Livingston Symphony Orchestra in May of 2016. Violinist AMELIA DIETRICH is currently an MM student at The Juilliard School studying with Ida Kavafian. An avid chamber musician, Dietrich was a founding member of the Calla Quartet (silver medalists of the 2015 Fischoff Chamber Music Competition). She has performed throughout the US and Australia, including The Four Seasons Music Festival, Alice Tully Hall’s Wednesdays at One, New York’s National Sawdust, the Guggenheim, and Melbourne’s Mimir Festival. She has performed alongside artists Robert McDonald, Alessio Bax, Ida Kavafian, Ani Kavafian, Steven Tenenbom, Roger Tapping, and Marc Coppey.

Chamber Music Session Dietrich is a graduate of the Colburn Conservatory of Music where she studied with Robert Lipsett. | Sponsored By Katherine Moore | ameliadietrich.com Violist RACHYL DUFFY burst onto the classical music scene on both coasts in 2015 when she won both the prestigious Pasadena Showcase House Instrumental Competition and the Hugo Kauder International Competition for Viola. She then went on to join the San Diego Symphony while completing her MM degree at the Colburn Conservatory with Paul Coletti. She now lives out her dreams of making a difference teaching at the Brooklyn Music School, and is jumping into the New York chamber music scene. Duffy enjoys social latte drinking, inhaling novels, and casual dabbling in arts and crafts of all sorts. | Paul And Susan Hawkshaw Scholarship NATALIA EDWARDS, horn with the Maverick Brass Quintet, first began her instrument at age 13 and is currently in her third year studying with Saul Lewis. In 2016, she received a scholarship to pursue a BM at the University of Melbourne and has since been awarded a number of scholarships and prizes, most recently the Eric and Linda Jullyan Memorial Scholarship. In December of 2016, Edwards was invited to play in Stuart Greenbaum’s 50th Birthday concert and was also selected to travel to Korea, in December 2017, for joint performances with students from the Music College at the University of Ulsan in South Korea. FJÓLA EVANS is a Canadian / Icelandic composer and cellist. Her work explores the visceral physicality of sound while drawing inspiration from patterns of natural phenomena. Commissions and performances have come from musicians such as pianist Vicky Chow, Quince Contemporary Vocal Ensemble, and the Winnipeg Symphony Orchestra. Her music has been featured on the MATA Festival, Ung Nordisk Musik, and the American Composers Orchestra's SONiC Festival. Evans is currently pursuing graduate studies at the Yale School of Music, where she has been a student of Martin Bresnick, David Lang, Hannah Lash, and Christopher Theofanidis. Cumin is her favourite spice. | John and Astrid Baumgardner Scholarship | fjolaevans.com Australian trombonist DAVID FARRELL has performed as a soloist and chamber musician throughout North America, Europe, Asia, and Australia. Two-time finalist in the Melbourne Conservatorium of Music Concerto Competition, he enjoys a varied career performing solo, chamber, and orchestral music. He is a founding member of the awardwinning Maverick Brass Quintet, an exciting group of young FELLOW BIOGRAPHIES | 75


Fellow Biographies musicians who combine high-quality brass chamber music with community engagement. After initially pursuing a Bachelor of Science he transferred to music and holds a BM (with Honours) and an MM from the University of Melbourne studying with Don Immel. JUSTIN GOLDSMITH started studying cello at age nine, and in high school studied with Julia Lichten and David Geber. After receiving a bachelor’s degree from Vanderbilt University with Felix Wang, he then did his master’s at Indiana University with Peter Stumpf and is currently finishing a Performer Diploma in Chamber Music as cellist of the Vera Quartet. The Quartet will move to Philadelphia this fall to become quartet-in-residence at The Curtis Institute. Outside of music, Goldsmith has worked as a barista and someday hopes to own an espresso machine. He dreams of one day entering a latte art competition. | veraquartet.com STEVEN HARMON is currently the most sought after horn player in his apartment complex — frequently receiving thunderous applause against his walls from neighboring units during his practice. Praise from neighbors can often be found. "I can't get anything done while you're practicing" says Carol in 2A, captivated by Harmon’s performance. "When will you move out?" questions Bill in 3B, excited about Harmon’s prospects of a promising career. Harmon can often be found obsessing over the most inconsequential details of his playing in practice rooms around the Yale School of Music, and hopes to one day own as many mutes as his professor William Purvis. | stevenharmonhorn.wixsite.com/stevenharmon Violinist ABIGAIL HONG is currently in her third year at the New England Conservatory studying with Soovin Kim. She began her musical journey on the piano at age two (told this by her mother, Hong does not remember and is still unsure of how this was possible) and began the violin at age three. She enjoys all aspects of performing, especially traveling to both big and obscure cities all over the world. Hong also enjoys her illustrious career as an international page-turner for renowned artists including Itamar Golan, Jean-Yves Thibaudet, Leon Fleisher, and Thomas Ades. Pianist HILDA HUANG came to international attention after being awarded first prize in the 2014 Leipzig International Bach Competition. Her performances of the music of Johann Sebastian Bach and more recently Ludwig van Beethoven have been hailed for plumbing “philosophical depths” (West-Allgemeine Zeitung) and for possessing an “alluring 76 | FELLOW BIOGRAPHIES

extroversion” (New York Concert Review). Huang studies with Melvin Chen at the Yale School of Music where she now pursues an MM. She graduated magna cum laude from Yale College in 2017, receiving a Bachelor of Science in chemistry with distinction and the Wrexham and Sharp prizes from the department of music. | Sponsored By John Garrels And Anne Garrels Australian tuba player ALEXANDER JEANTOU grew up in the small town of Drysdale, near Geelong, Victoria. It was during his school years, that he found his love for music through the guidance of Andrew Dunlop, Stewart Armitage, and Paul Gunning. Jeantou is currently undertaking his third year at the Melbourne Conservatorium of Music, and has studied with professionals such as Timothy Buzbee, Mike Szabo and Dr. Aaron Tindall. When not playing with the Maverick Brass Quintet, Alex enjoys going to the gym, concerts, and entertaining friends with a traditional Aussie Barbeque. Alex is very excited to be back at the Norfolk Festival playing music amongst friends. CONNOR JENKINS is a Melbourne based trumpeter currently undertaking an MM in performance at the University of Melbourne having completed his BM with Honours in 2017. He is currently being taught by Rosie Turner. Inspired by his parents’ love for music, Connor grew up in rural Australia where he joined the Francis and Latrobe Community Orchestra and quickly became enamoured with the trumpet. He is a prominent trumpet player in and around Melbourne, performing in many orchestral projects. Jenkins is a founding member of the award-winning Maverick Brass Quintet, a group of young musicians creating high-quality chamber music. Violist AIDEN KANE is an MM student (and BM alumnus) at the Colburn Conservatory of Music where she studies with Mr. Paul Coletti. Prior to attending the Colburn Conservatory, she studied with the National Symphony Orchestra’s principal violist Daniel Foster through the orchestra’s Youth Fellowship Program. Kane is the current violist of the Viano String Quartet, and former violist of the Calla Quartet. With the Calla Quartet, Kane was awarded the silver medal at the 2015 Fischoff Chamber Music Competition, and worked with Colburn’s theater director Debbie Devine to produce Colburn’s first Musical Encounters outreach concert. Flutist YOUNGHA KIM, born in South Korea, is currently pursuing her MM degree at the Manhattan School of Music where she studies with Linda Chesis. She earned her BM degree from Yonsei University in South Korea under the tutelage of Myung Joo Ahn. During her undergraduate studies


Chamber Music Session she won her university’s concerto competition as well as top prizes in numerous competitions in South Korea and the US. Kim was selected as a Fellow at Bowdoin International Festival in summer 2017. She is thrilled to attend the Norfolk Chamber Music Festival this summer. Hailed by Arts Review for his “show stopping virtuoso piano rendering,” Australian pianist DANIEL LE has enjoyed an international career spanning four continents. Currently based in New York City, he is pursuing his MM degree at the Manhattan School of Music as the Ruby Fae Ellenger Overstreet Scholar. Previously, he received his bachelor’s degree from the Yong Siew Toh Conservatory of Music in Singapore, where he was the two-time recipient of the Stephen Baxter Memorial Scholarship. Primary teachers have included André-Michel Schub, Thomas Hecht, Stephen McIntyre, and Rita Reichman. Recently, Le was one of 10 semi-finalists in the prestigious 2017 Naumburg International Piano Award. | 2006 Centenary Committee Scholarship | danieltangle.com Pianist YING LI, AYA Trio, entered the Curtis Institute of Music in Philadelphia in 2012, and currently studies with professor Jonathan Biss. Li attends on a merit-based, full-tuition scholarship, and holds the Harold and Helene Schonberg Fellowship. Born into a Korean family in China, Li grew up in a culture mixed with both Chinese and Korean traditions. In her spare time, she enjoys cooking Asian cuisines, doing yoga, and traveling. She finds meditations and yoga especially helpful with releasing tensions and stresses in her piano playing and daily life. | Louise Willson Scholarship ELLIOT LICHTENBERG is entering his second year as a master’s student in oboe at the Yale School of Music, studying with Stephen Taylor. He recently earned his bachelor’s degree from the Eastman School of Music, studying with Richard Killmer. Lichtenberg has performed with the New World Symphony, Battle Creek Symphony, and over recent summers has participated in music festivals such as the National Repertory Orchestra and Round Top Festival Institute. In his free time, Elliot enjoys folding origami, playing with his dog Mozie, arranging music, climbing, and wandering through the forest. CLARE MONFREDO is a New York City-based cellist committed to chamber music and collaboration across the arts. She has performed extensively abroad, most recently as a guest with Ensemble Intercontemporain. As a fellow at the Tanglewood Music Center, Clare was the recipient of the Karl Zeise Memorial Cello Award and worked closely with artists such

as Yo-Yo Ma and Emanuel Ax. In 2016-17 she studied in Leipzig, Germany on a Fulbright Scholarship. Monfredo received her MM from Rice University and is a recipient of the Jack Kent Cooke Foundation’s Graduate Artist Award. Clare is currently a doctoral candidate at the CUNY Graduate Center. | Sponsored By Pat And Kurt Steele MICHAEL MOY is a clarinetist and MM candidate at the Yale School of Music, where he studies with David Shifrin. He previously studied with Daniel Silver at the University of Colorado at Boulder and attended the Aspen Music Festival and School in the summers of 2014 and 2015. As an undergraduate, he held positions in two regional orchestras in northern Colorado. In 2017, he placed second in the International Clarinet Association Young Artist Competition after being named a finalist in 2016. Outside of music, Moy has an interest in math and enjoys running and hiking. Violist and member of the Vera Quartet, INÉS PICADO MOLARES received a Master of Arts in music performance in Switzerland and a Performers Diploma and an Artist Diploma from the Jacobs School of Music. She has studied with Atar Arad, Diemut Poppen, Yuval Gotlibovich and Mauricio Fuks. Her awards include most outstanding viola student of the Reina Sofía School of Music, first prize at the III Menorca-Fidah Competition, and the third prize and special prize at the V Intercentros Competition. As a soloist, she has performed with the Galicia Symphony Orchestra, the Menorca Chamber Orchestra and IU Philharmonic Orchestra as a winner of the Schnittke Viola Concerto Competition. | veraquartet.com Violinist and member of the Vera Quartet, PATRICIA QUINTERO was born in Havana, Cuba and began studying at age eight. She graduated from The Superior Institute of Arts in Havana. In Cuba, she was Concertmaster at the Opera and Ballet Symphony Orchestra, Chamber Orchestra of Havana and played in orchestras conducted by renowned conductors such as Claudio Abbado and Gustavo Dudamel. Patricia holds an MM degree from the University of Southern Mississippi, and a Performance Diploma from the Jacobs School of Music where she studied with Mauricio Fuks, and a Performance Diploma in chamber music with the Pacifica Quartet. | veraquartet.com Violinist and member of the Vera Quartet, PEDRO RODRÍGUEZ hails from A Coruña, Spain. He holds degrees from the Hochschule für Musik und Theater in Munich, the ESMUC in Barcelona, and the Jacobs School of Music, studying with Ingolf Turban, Raquel Castro and Mauricio Fuks. Rodríguez FELLOW BIOGRAPHIES | 77


Fellow Biographies has participated in masterclasses around the world with musicians such as Vadim Repin and Koichiro Harada. He has received scholarships from Diputación de A Coruña, Juventudes Musicales and the La Caixa Foundation. He has received awards from the Intercentros, Llanes, and Forum Musikae competitions. As a soloist he has performed with the Orquesta Chamartín and Real Filharmonía among others. | veraquartet.com

International Music Competitions, and is a winner of the Australian States Concerto Competition. Festival appearances include Music@ Menlo (International Program), Taos Chamber Music Festival, Perlman Music Program (Chamber Workshop), and IMS Prussia Cove. She has recently graduated from The Juilliard School where she was a proud recipient of the inaugural Kovner Fellowship scholarship under the tutelage of Paul Neubauer.

Australian trumpet player and member of the Maverick Brass Quintet, HANNAH RUNDELL is currently completing a BM (Honours) at the Melbourne Conservatorium of Music studying with Joel Brennan and Rosie Turner. She was awarded the Ormond Exhibition Scholarship and is principal trumpet of the University Symphony Orchestra. Rundell is committed to using her music to serve the community and in 2018 won the IgniteLAB Chamber Challenge with a vision to create an outreach program to encourage and inspire girls to play brass instruments in secondary school. Rundell is also passionate about early music, and is in high-demand as a natural trumpet player.

Canadian bassoonist KRISTY TUCKER is currently studying with Frank Morelli at the Yale School of Music, and holds degrees from McGill University and the University of Manitoba. She is the recipient of many awards, including winning the University of Manitoba concerto competition, and receiving a Manitoba Arts Council Grant, WMC scholarships, and National Youth Orchestra Canada’s Award of Excellence. In addition, she has been a semi-finalist in the Meg Quigley Vivaldi competition, the WMC Mclellan Competition, and finalist in the McGill Concerto Competition. In her spare time, Tucker enjoys watching cooking shows and attempting (and usually failing) to recreate recipes with the limited ingredients found in her cupboard. | Sponsored Sukey Wagner

Aspiring Hungarian clarinetist NOÉMI SALLAI has been the winner of several international clarinet competitions and has played with the Moscow Symphony Orchestra and the Budapest Festival Orchestra conducted by Iván Fischer. She is pursuing her MM at The Juilliard School, studying with Jon Manasse and is a recipient of the Irene Diamond Scholarship. Sallai received BM and BA degrees from Bard College, studying with Laura Flax, David Krakauer and Anthony McGill. She is not only a passionate interpreter of orchestral, chamber and solo repertoire but also an enthusiast of klezmer music and drawing. | Clement Clarke Moore Scholarship | noemisallaiclarinet.com Cellist ANDRES SANCHEZ, AYA Trio, was accepted to the Curtis Institute of Music in 2013, where he studies with cellists Peter Wiley and Carter Brey (Norfolk Alumnus). In the 2016-17 season, Sanchez served as the associate principle cellist of the Curtis Symphony Orchestra and as principle of the Curtis Opera Orchestra. He has attended the Banff Center Master Class Program where he studied with cellist Andres Díaz, Raphael Walfisch, Denis Brott, and Colin Carr, and he has also participated in Music From Angel Fire where he performed side by side with artists such as Ida Kavafian, Peter Wiley, Steve Tenenbom, and Ani Kavafian. | Louise Willson Scholarship Hailed by the Australian Daily Telegraph as a “viola prodigy,” LISA SUNG is a special prize winner of the 2016 Lionel Tertis Viola International Competition, silver prize winner of the 2017 Manhattan International and 2017 Vivo 78 | FELLOW BIOGRAPHIES

Violinist LUCY WANG is a member of the Viano String Quartet, a major prize winning ensemble at the 9th Osaka International Chamber Music Competition & Festa in May 2017. Wang was featured as a soloist with the Vancouver Symphony Orchestra in past seasons and has been a prize winner in numerous competitions, including the Isabel Overton Bader Canadian Violin Competition, the Shean Competition, and the OSM Manulife Competition. She has collaborated in concert with artists including Emanuel Ax, Robert Chen, Paul Coletti, Peter Lloyd, and Avan Yu. Wang studies with Martin Beaver at the Colburn Conservatory. CHERRY CHOI TUNG YEUNG, violin, was born in Hong Kong and studies with Ida Kavafian at The Juilliard School. Yeung has been admitted to the highly selective accelerated program, where she will finish both the bachelor’s and master’s program in four years. Yeung is a laureate of the Hudson Valley Philharmonic String Competition, The Juilliard Violin Competition, New York Philharmonic Global Academy, Alice & Eleonore Schoenfeld International String Competition, Hong Kong Youth String Competition, and the Hong Kong Academy for the Performing Arts Concerto Competition. Apart from music, she enjoys swimming and exploring New York City.


Chamber Music Session South Korean flutist, JUNGAH YOON, began playing flute at age 10. In 2006, she was selected as Kumho Prodigy and gave her debut recital in Kumho Arts Hall. She has received numerous awards including the Espoir Prize at the Osaka International Music Competition, the first prize at the Herald Music Competition, and the Sungjung Music Competition.She has performed in masterclasses for distinguished pedagogues such as Julien Beaudiment, Mathieu Dufour, Carol Wincenc and Silvia Careddu. Yoon received her bachelor’s degree from Korea National University of Arts and is currently pursuing her MM at the Yale School of Music studying with Ransom Wilson.

winners at the Osaka International String Quartet Competition. He has collaborated with world class musicians such as Emanuel Ax, Ida Kavafian, Steven Tenenbom, and Johannes Moser. In 2016, he attended the Academie de Villecroze where he worked with Colin Carr. Currently, he studies with Clive Greensmith at the Colburn Conservatory of Music. | tatezawadiuk.com

Twenty-year-old Canadian cellist TATE ZAWADIUK performs as a soloist and chamber musician. At twelve, he made his debut as a soloist with the Vancouver Symphony Orchestra. Zawadiuk is part of the Viano String Quartet – third prize

Violinist HAO ZHOU, 20, has received awards in numerous competitions, such as the American String Teachers Association National Solo Competition, the Edith Knox Performance Competition, and the Downey Young Artists Concerto Competition. As a violinist of the Viano Quartet, Zhou was a prize winner in the 9th International Osaka Chamber Music Competition and Festa, held in 2017. He was named “Artist of the Year in Instrumental Music” by the Orange County Register in 2014 and was included in their article “These Orange County Kids Have What It Takes to Succeed.” Mr. Zhou currently studies with Martin Beaver at the Colburn Conservatory of Music.

Fellow Biographies

Choral Workshop

Hailing from Edmonton, Alberta, Canadian soprano LOUISE ASHDOWN completed her BM in vocal performance at the University of Alberta in 2017 under the instruction of internationally acclaimed tenor John Tessier. Ashdown has performed with the University of Alberta Madrigal Singers since 2013, and through her studies, has gained a keen interest in early and contemporary music, art song, and chamber music. She has performed in operatic, concert, and choral settings with solo highlights including Handel’s Messiah, Vaughan Williams’ Serenade to Music, and Brahms’ Neue Liebeslieder. Louise is passionate about the outdoors and loves travelling, photography, and dancing. At home as a soloist or an ensemble member, tenor IAN BANNERMAN gets his hands on as much vocal music as possible. Specifically passionate about German Renaissance and Baroque music, as well as contemporary English and Canadian music, Ian often forms and performs in small one-on-apart vocal ensembles. Aiming to engage in even more choral music Ian began a MM degree with Leonard Ratzlaff at the University of Alberta in the fall of 2017. CHELSEA BERNER, mezzo-soprano and conductor, holds a master’s degree in choral conducting from Michigan State University and a bachelor’s degree in Music Education from Baylor University.

Prior to attending Michigan State, she taught high school choral music in Texas while singing in the Houston Symphony Chorus and Chamber Choir. In the future, she hopes to continue teaching high school choir, sing professionally in choral ensembles, and eventually pursue a doctoral degree in conducting. HENRY BRANSON, tenor and conductor, began his musical education at the age of nine, singing with the North Carolina Boys Choir. He received a BM in music education from Furman University, and recently completed his MM in choral conducting from East Carolina University. Branson’s primary interests lie in early music. While at Furman, he directed The Twelve Peers, an ensemble dedicated to the performance of early and contemporary music. At ECU, his master’s project consisted of editing and performing Charpentier’s Messe pour les trépassés with a period orchestra. Beyond music, Branson is a baseball enthusiast and an avid fan of Carolina basketball. Soprano MARGARET BURK is currently pursuing an MM degree in choral conducting at the Yale School of Music/Institute of Sacred Music, where she studies with Marguerite Brooks, Jeffrey Douma, and David Hill. Burk received her BM degree summa cum laude in 2013 from St. Olaf College, where she was a section leader in the St. Olaf Choir and conducting student of Anton Armstrong. Most recently, she taught choral music at Free State High School in her hometown FELLOW BIOGRAPHIES | 79


Fellow Biographies of Lawrence, KS. In her spare time, Burk enjoys cooking, hiking, composing Anglican chant, and spending time with her fluffy orange cat, Leo. PAOLO DEBUQUE, tenor and conductor, is a recent graduate of the University of Michigan, where he earned his MM in choral conducting. Active as a conductor, singer, and educator, he splits his time between the Detroit Children’s Choir, Commerce United Methodist Church, and meridian, a professional vocal ensemble dedicated to the performance of works by local young composers. When not studying, he can be found curating his podcast library and practicing pouring lattes. WILLIAM DUFFY is a Californiaborn, Montréal-based countertenor and conductor. Duffy first encountered music as a young Suzuki violinist, though he often faced stern disapproval from his teacher for improvising alternative endings to classic violin repertoire. This propensity for variation persisted as he grew, and re-directed his musical focus, in turn, towards piano, viola, singing, conducting, and teaching. As a countertenor / conductor, Duffy naturally specializes in Early Music, however he has worked with choirs of all types, including the San Francisco-based Chanticleer Skills / LAB Choir and the awardwinning Cantabella Children’s Chorus. He currently studies choral conducting at McGill University with Dr. Jean-Sébastien Vallée. ABIGAIL GAST is a mezzo-soprano from Kansas City, Missouri. She is entering her junior year at Pepperdine University this fall, where she studies vocal performance and music education. Gast has performed in many stage productions and choirs in Kansas City, as well as in Pepperdine’s opera and choir programs. Apart from singing, Gast has played percussion for many years and enjoys her time playing in Pepperdine’s instrumental ensembles. When she isn’t performing or studying, she loves spending time at the beach and exploring downtown Los Angeles. Gast is incredibly excited to be at Norfolk! Bass-baritone DAVID GINDRA, a recent graduate of St. Olaf College with a degree in vocal performance, is returning to the Norfolk Festival for a second year. Gindra has spent the last three years singing in the St. Olaf Choir, touring domestically and internationally. He has spent the past two months at Brevard Music Center as a member of the Janiec Opera Company, singing roles in Madame Butterfly, La Cenerentola, Candide, and as a member of the Street Chorus and soloist in Bernstein’s MASS. Gindra will spend the coming year living in Minneapolis-St. Paul singing professionally and preparing to audition for graduate school.

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JABARIE GLASS, conductor and baritone, is a doctoral student at the University of Michigan School of Music, Theatre & Dance, studying conducting under the mentorship of Dr. Jerry Blackstone and voice with Professor George Shirley. Prior to attending the University of Michigan, he conducted choral ensembles at the high school and middle school levels in Mississippi. Ensembles under his direction have received numerous honors and awards, most notably performing at the 2014 ACDA Southern Division Conference. Glass is a graduate of the University of Mississippi and the Florida State University College of Music, holding both the BME and MME in choral music education. Tenor and conductor BRANDON HOLLIHAN is currently a doctoral student in choral conducting in the Sacred Music Program at the University of Notre Dame. Prior to this he was a high school vocal music educator and the music director for a Methodist church in Columbus, Ohio. Brandon has dual master’s degrees in vocal pedagogy and choral conducting from The Ohio State University and a bachelor’s in voice from Notre Dame. Major works recently conducted include Bach’s BWV 80, Ein Feste Burg ist unser Gott (2017), Haydn’s The Creation (2017), and Bernstein’s Chichester Psalms (2016). | brandonhollihan.com Dr. CHRISTOPHER JACKSON, bass-baritone and condcutor, serves as the Director of Choral and Vocal Activities at Muhlenberg College in Allentown, Pennsylvania. He is in frequent demand as a guest conductor for Honor Choirs and festivals, and has sung professionally with ensembles across the nation, including Roomful of Teeth, Skylark, South Dakota Chorale, and more. Christopher has directed and co-founded numerous community and semi-professional groups, including Bricolage Project based in the Lehigh Valley area of Pennsylvania. A native of Stillwater, Oklahoma, he received degrees from Oklahoma State University, Westminster Choir College, and the University of North Texas. VICTORIA JACKSON, soprano and conductor, received her BM in vocal performance from Western Michigan University, and is currently pursuing an MM in choral conducting from the same institution. In addition to her conducting engagements, Jackson freelances and teaches a private voice studio. She has previously been selected to conduct in masterclasses with Dr. Andrew Clark, Dr. Eph Ehly, and Dr. André Thomas. Jackson currently resides in Kalamazoo, MI with her husband and toddler son. Reading, exploring new places, and playing are a few of the activities they enjoy together as a family.


XIAOSHA LIN, alto and conductor, is currently studying for her DMA in choral conducting at Michigan State University. She also earned her MM in choral conducting at Westminster Choir College. Besides conducting, Lin has extensive experience as a choral singer that she performed with world-renowned orchestras like the Berlin Philharmonic, New York Philharmonic, and Philadelphia Orchestra. She toured with the Westminster Choir to the Spoleto Festival USA and World Symposium on Choral Music. Outside of music, Lin loves travelling around the world to learn different cultures. She is also passionate for photography, capturing conductors’ music making moments on the podium is her favorite. JAMES MAUK, tenor, has served as a guest conductor, clinician, and soloist throughout North Carolina and Missouri. He holds a master’s degree in choral conducting from Missouri State University and a bachelor’s degree in music education from East Carolina University. Mauk is founder and artistic director of Carolina Choral Artists, and has performed with Kantorei KC, Springfield Chamber Chorus, Te Deum Antiqua, Missouri Choral Artists, KC VITAs, Cardinalis, and the GKCAGO Schola Cantorum and is former associate choral director at Lee’s Summit High School. Currently, Mauk is pursuing a second master’s degree in vocal pedagogy at ECU. Soprano and conductor JESSIE PIERPONT is the current artistic director and founder of the Vermont Chamber Artists, a select singing ensemble in Sharon, Vermont. She holds a position as a music educator at Thetford Elementary School and the Newton School. When Pierpont is not conducting, singing or teaching music she is spending time with her horse, dog and cat. Pierpont received her MM degree in choral conducting at the University of Arizona and she holds a bachelor's degree in music with a concentration in piano from Castleton University in Vermont. Bass baritone FAITH RAGLAN is from Coimbatore, an industrial city in the southern state of Tamilnadu, India. After a career as sports physiotherapist, he has recently changed directions and is now editor for a book company publishing health reference books for US audiences. In 2011, Raglan created, and still conducts, the Coimbatore Chamber Chorale (CCC) which focuses on promoting choral music among the younger generation. CCC had the privilege of performing Verdi’s Requiem with the Vienna University Chorus and Orchestra in June 2016. This is the first time Raglan is travelling to the US, and he is honored to be part of this workshop. | coimbatorechamberchorale.blogspot.com

Choral Workshop SHAWN ROTH, baritone, will be a third year voice performance student at Oberlin Conservatory under the tutelage of Salvatore Champagne. He has most recently performed the roles of Il Conte in Le Nozze di Figaro, as well as the title role of Don Giovanni at the Vivace Summer Opera Workshops in Vancouver and Portland. Previous roles include Mr. X.E. (Angel's Bone), Don Bartolo (Le Nozze di Figaro), and Le Superintendent (Cendrillon), all at Oberlin. Roth has participated in masterclasses taught by George Shirley, Roger Vignoles, and Lawrence Brownlee. In addition to singing, he enjoys skiing and playing the harpsichord. REBEKAH SCHWEITZER, soprano, was raised by two avid music-lovers. As a child, her bedtime ritual always culminated in a song sung by her mother. Schweitzer began her study of music with the neighborhood piano teacher. She studied cello soon after and also sang in choirs. As an undergrad in Comparative Literature at Oberlin College, Schweitzer studied voice at the Conservatory and participated in several ensembles as well. As a lyric soprano, she has participated in many prestigious summer programs, including Oberlin in Italy, SongFest and Opera North. This is her second time as a fellow at the Norfolk Chamber Music Festival. ERINN SENSENIG, mezzo-soprano, completed her undergraduate in music education at Westminster Choir College. As a student, she toured with Westminster Choir and performed at the Spoleto Festival in Charleston, SC. She can be heard on Westminster Choir’s album The Heart’s Reflection. Currently based in Dallas, she has performed with Vox Humana, sings with Highland Park Chorale and Orpheus Chamber Singers, and is a founding member of Verdigris Ensemble, an emerging Dallas professional choir focused on creative performance. Sensenig is a staff singer at Church of the Incarnation and teaches a private voice studio of middle and high school students. EDWARD STRAUB, bass, grew up in Kansas City, Missouri and graduated from the University of Missouri. Straub sang with the acclaimed Simon Carrington Chamber Singers for four seasons, and was also a member of the Kansas City Collegium Vocale and Cerulean chamber ensembles, both under the direction of Dr. Ryan Board. He currently sings with the ensemble Prometheus, under the direction of Dr. Paul Crabb, and in many freelance roles around the Kansas City area. Straub is also a design engineer in the Aviation division of Garmin International. He lives in Kansas City and Santa Barbara, California.

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Fellow Biographies A native from Sarawak, Malaysia, tenor and conductor OKAWA TAN TAI CHUN is a vocal performer and a second year MM candidate in choral conducting at the Eastman School of Music, under the tutelage of Dr. William Weinert. Influenced by his choral conductor father’s passion and dedication to choral music, Tai Chun has always been drawn to choral music, especially its beauty of a group of people singing together and creating one united voice. He hopes to bring the professional music training back to Malaysia and help cultivate the choral music environment in the future. Soprano LAUREN TOMPKINS is a cantor and section leader at the Cathedral of the Sacred Heart in Richmond, VA. She has performed as a soloist for the Richmond AGO and is a member of several professional vocal ensembles, including the Schola Cantorum at the Cathedral of the Sacred Heart, and the Virginia Chorale of Norfolk, VA. In 2017, Tomkins won 2nd Prize at the Virginia NATS Competition. Her interests are wide-ranging: from studying voice with Nancy Zylstra and Penelope Jensen at Oberlin’s Baroque Performance Institute to being a birth doula. Tomkins is a mom to three spectacular kids.

Fellow Biographies NABIL ABAD is a composer of large ensemble and chamber music from Cleveland, Ohio. He is currently a student at the Baldwin Wallace Conservatory working towards his bachelor’s degree in composition. His principal teachers in composition have been Clint Needham and Jonathan Sokol. Abad’s music has been performed by a number of ensembles including the Cleveland Chamber Symphony, the Baldwin Wallace Symphony Orchestra, the Kenari Quartet and multiple chamber ensembles made up of various Baldwin Wallace Conservatory students. In 2018, Abad’s Seven Miniatures for Strings was awarded second place in the Cleveland Composers Guild collegiate competition. EMIL ERNSTRÖM is a SwedishAmerican composer who writes music with instruments, computers, and found sounds. His work has been performed by Sō Percussion, the Yale Symphony 82 | FELLOW BIOGRAPHIES

Choral Workshop Described as "particularly evocative," "fluid and theatrical... the music [that] makes its case with immediacy" (The Arts Fuse) as well as both "assertive and steely," and "lovely, subtle writing" (Wall Street Journal) the music by the award-winning composer and pianist LILIYA UGAY has been performed in many countries around the globe. Recipient of a 2016 Charles Ives Scholarship from the American Academy of Arts and Letters, and a 2017 Horatio Parker Memorial prize from the Yale School of Music, Ugay has collaborated with the Nashville Symphony, New England Philharmonic, Yale Philharmonia, Aspen Contemporary Ensemble, Molinari Quartet, Antico Moderno, and Paul Neubauer among others. JASMINE WILSON is an American mezzo-soprano, producer, and educator based in New York. She trained at McGill University in Montreal, Canada, where she hosted and produced several Canadian radio programs. Wilson enjoys combining her international experience in music and media production into thoughtful educational exchanges in the arts. In New York, Wilson regularly performs classical works by underrepresented female composers and composers of color. Through The Dream Unfinished (TDU), an activist orchestra, she has collaborated with Lincoln Center, Carnegie Hall, and the DiMenna Center. She currently is an Associate Producer at WNET, New York's PBS station.

New Music Workshop Orchestra, and The Copland House Ensemble, among others. Besides concert music, he also creates music and sound for film and theatre, working on productions of Endgame, Rhinoceros, and 4.48 Psychosis. He is a senior at Yale College where he studies composition with Konrad Kaczmarek and Kathryn Alexander. | emilernstrom.com TYLER ESCHENDAL is a composer and percussionist originally from the suburbs of Detroit and now resides in Los Angeles, CA. A love for rhythm, pulse, and layering heavily influences his music, as well as an interest in introducing electronic sample-based procedures to acoustic and live instrumentations. He holds a BM in composition from the CollegeConservatory of Music at the University of Cincinnati and an MM in composition at the University of Southern California studying with Ted Hearne, Sean Friar (Norfolk ’06) and Don Crockett. | tyler-eschendal.com


New Music Workshop

ELI GREENHOE is a composer, guitarist, and songwriter from Brooklyn, New York. Fluent in a variety of different musical styles, and has performed with such performers as Suzanne Vega, Duncan Sheik, India Carney, and Lee Konitz. Recently, at the invitation of guitarist and pedagogue Benjamin Verdery, he was a featured performer-clinician at the 2018 New York Guitar Festival, an event held annually at the 92nd Street Y in New York City. He recently completed his MM in composition from the Yale School of Music, where he studied primarily with Martin Bresnick. Composer SOOMIN KIM is currently in her third year at the Oberlin Conservatory of Music studying under the tutelage of Jesse Jones. Kim was composer-in-residence with the Northern Ohio Youth Orchestra during their 201718 concert season, for whom she wrote the 9-minute orchestra piece titled The Blue Marble. Her work has also been featured at the 2017 Alba Music Festival and the 2018 Young and Emerging Composers Project of the Cleveland Chamber Symphony. In addition to the 2018 Norfolk New Music Workshop, she will be participating in the 2018 soundSCAPE Festival in Cesena, Italy. YOUNGKYOUNG LEE is a young percussionist who specializes in solo and chamber music performance. She received a BM degree while studying with Tom Freer and world-renowned contemporary musician Robert van Sice at the Peabody Conservatory in Baltimore, MD. Lee is currently continuing her studies with van Sice at the Yale School of Music pursuing an MM degree. LUCY MCKNIGHT studies composition with Andrew Norman (Norfolk ’08) and Ted Hearne at USC Thornton School of Music, but studied at Sibelius Academy in Helsinki, Finland in spring of 2018. In 2017, McNight’s choral piece Wir Juden was performed by the Los Angeles Master Chorale at Walt Disney Concert Hall, and she was Young Composer in Residence for Sunset ChamberFest. Transient Canvas, a bass clarinet and marimba duo, performed her wine-dark sea at the First Church of Boston in June 3, 2018. When not composing and studying, McNight enjoys hanging out with her cats Kaija and Arvo, and swimming in the ocean. Saxophonist PERRY ROTH is an accomplished solo artist, chamber musician and educator. Roth holds the tenor saxophone chair in the Barkada Quartet, which he joined in the spring of 2017. Perry has performed with

the Baton Rouge Symphony, Hartt Orchestra, JACK Quartet, American Modern Ensemble, and Third Coast Percussion. As an educator, Roth is on the faculty at The Hartt School Community Division where he teaches a full studio of pre-college students. Roth is currently a doctoral candidate at The Hartt School studying with Carrie Koffman and has earned degrees from University of South Carolina and Louisiana State University. HARRIET STEINKE is a composer currently based in Detroit, Michigan. Her work has received performances throughout the US as well as recent international premieres in Ireland and Brazil. She has earned recognition by the American Prize and American Composers’ Forum as well as publication with Colla Voce Music and Hal Leonard. Steinke received a BM in composition from Butler University where she studied with Frank Felice, Ronald Caltabiano, and Michael Schelle. She pursued additional study at the European American Musical Alliance–Nadia Boulanger Institute in Paris, France, as well as German language studies at the Freie Universität in Berlin, Germany. | harrietsteinke.com BRIAN VOELZ is a trumpet performer and educator from Boston. He directs ensembles and teaches private lessons at several public schools. In addition to teaching, Voelz is an active freelancer and is especially passionate about volunteering his services to play “ Taps” for military funerals. Voelz graduated from the Eastman School of Music, where he studied with James Thompson. He will continue his studies at Boston Conservatory at Berklee with Tom Siders in the Fall. Aside from music, he is interested in fitness and nutrition and has two cats. MILES WALTER, a pianist and composer from New Hampshire, is finishing a finishing a BA in music at Yale College. Next year he'll start an MM in composition at the Yale School of Music, where he presently studies piano with Wei-Yi Yang and composition with Hannah Lash (Norfolk ’12). Walter is an eager collaborator, and an active performer of new music, old music, classical music, cabaret music, showtunes, jazz, and all the rest. ROSS WIGHTMAN is a double bassist and electronic musician from New Jersey whose interests include integration of electronic preparations and adaptations to double bass in live settings. He was the recipient of the Robert Black Fellowship for Double Bass at the 2017 Bang on a Can Summer Music Festival. Wightman holds an MM degree from the New England Conservatory and is currently studying at the Yale School of Music with Donald Palma. FELLOW BIOGRAPHIES | 83


Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are:

• • • • •

4 times more likely to be recognized for academic achievement 3 times more likely to be elected to class office within their schools 4 times more likely to participate in a math and science fair 3 times more likely to win an award for school attendance 4 times more likely to win an award for writing an essay or poem


Cupola Society The following are named as members of the Cupola Society for their leadership gifts to the Music Shed Restoration and will be recognized in perpetuity in the base of the restored cupola. To join the Society or to make a contribution to the Restoration Fund, please visit norfolkmusic.org or call 860-542-3000. (as of may 17, 2018)

anonymous

David N. Low & Dominique Lahaussois

anonymous

Judith & Kim Maxwell

Molly Ackerly & Michael Sconyers

David & Katherine Moore Family Foundation

Burton & Joyce Ahrens AKC Fund, Inc. Astrid & John Baumgardner Marlene Childs Hope Childs Perry DeAngelis Andrew De Rocco & Joan McNulty Rohit & Katharine Desai Family Foundation Fleur Fairman & Timothy Wallach John Garrels The William & Mary Greve Foundation Susan & Paul Hawkshaw Brett & Coleen Hellerman Leila & Daniel Javitch Robert Loper & Robert Dance

Richard & Barbara Moore Adrienne Gallagher & James Nelson The Netter Foundation Dr. William C. Popik Drew & Sally Quale James & Nancy Remis The Smart Family Foundation, Inc. Anne-Marie Soullière & Lindsey C.Y. Kiang State of Connecticut Historic Preservation Office Pat & Kurt Steele Byron Tucker & Elzabeth R. Hilpman Alex & Patricia Vance Sukey Wagner

CUPOLA SOCIETY | 85


Music Shed Restoration Fund Thank you to the many generous donors who have been part of the Music Shed Restoration. You have made a world of difference with your gifts. (as of may 17, 2018)

The Ellen Battell Stoeckel Circle anonymous anonymous anonymous Burton & Joyce Ahrens Perry DeAngelis David N. Low & Dominique Lahaussois State of Connecticut, Department of Community Development: Office of Historic Preservation

The Jean Sibelius Circle AKC Fund, Inc.

Leila & Daniel Javitch

Anne-Marie Soullière & Lindsey C.Y. Kiang Alex & Patricia Vance

86 | MUSIC SHED RESTORATION FUND


Music Shed Restoration Fund The Sergei Rachmaninov Circle anonymous anonymous anonymous, in memory of Wm. Hale Charch & Ruth Heidrick Charch anonymous, in honor of Paul Hawkshaw anonymous, in memory of Luther & Osea Noss Molly Ackerly & Michael Sconyers Astrid & John Baumgardner

Rohit & Katharine Desai Family Foundation

Adrienne Gallagher & James Nelson

Fleur Fairman & Timothy Wallach

The Netter Foundation

John Garrels Brett & Coleen Hellerman William & Mary Greve Foundation, Inc. Robert Loper & Robert Dance Judith & Kim Maxwell

Dr. William C. Popik Drew & Sally Quale James & Nancy Remis Gift of Susan E. Thompson (MMus '79), in memory of Richard T. Rephann (MMus '64) The Smart Family Foundation, Inc.

Hope Childs

David & Katherine Moore Family Foundation

Pat & Kurt Steele

Marlene Childs

Richard & Barbara Moore

Sukey Wagner

Andrew G. De Rocco

The Samuel Coleridge-Taylor Circle anonymous

Peter Kennard

Theo & Lisa Melas-Kyriazi

Robert & Serena Blocker

Lakeridge Association

Lester & Dinny Morse

Robert & Ann Buxbaum

Xingping Zuo, Jianmei Li, & Scarlett Tong Zuo Family

Norfolk Artists & Friends

Michael Emont & Margo Rappoport Valerie Fitch

Elizabeth Kittredge & Christopher Little

John Perkins & Hope Dana Belle K. Ribicoff Curtis & Kathy Robb

MUSIC SHED RESTORATION FUND | 87


Music Shed Restoration Fund The Percy Grainger Circle Syoko Aki Erle

Mary Fanette & Veronica Burns

James B. Lyon

Jeff & Joan Beal

Linda & Frank Bell

Prof. Michael Friedmann & Ms. Deborah Davis

Frank & Bethany Morelli

Constantin R. Boden

Dr. Richard J. Gard

Elizabeth Borden

Lionel & Dotty Goldfrank

Mr. & Mrs. Samuel A. Anderson, III

Claudia & Eliot Feldman

Bertha R. Betts

Mrs. John T. Gallagher

The Katharine Bradford Foundation

Stacey McG. Gemmill

Bill & Jennie Brown

Mireille Gousseland, in honor of David Low & Dominique Lahaussois

John & Denise Buchanan

Mr. & Mrs. Andrew D. Hart, Sr., in honor of Bill Gridley

Walter & Mary Beth Buck David Budries

Peter S. Heller

Roy Camblin, III

Anne & John A. Herrmann, Jr.

Carolyn Childs

Suzanne M. Hertel

Peter N. Coffeen & Stephen J. Getz

Peter & Mary Hess

Ron Cohen, in honor of David Low & Dominique Lahaussois

Helen I. Jessup

Herbert & Jeanine Coyne

Ani Kavafian

Charlotte Currier, in memory of Keith & Rachel Wilson

Janine King & Stephen Paganuzzi, Jr.

IBM Matching Gift Program

John & Duff Lambros

Madeline Falk

Starling Lawrence

Michael & Doreen Kelly

George Cronin

Martha Klein

Mr. & Mrs. Robert Dionne

Raymond & Yong Sook Kwok

Louise L. Chinn Ducas

Carlene Laughlin

David & Leni Moore Family Foundation Ingrid & Michael Morley

Christian & Alfreda Murck Thomas Murray

Sandy & Dick Rippe

The Felix & Elizabeth Rohatyn Foundation Jacqueline & Frank Samuel Shirley & Ben Sanders

Adrian & Maggie Selby Cornelia & Jon Small Cameron O. Smith

Linda Bland Sonnenblick & Henry Zachs Schuyler & Heather Thomson Jerry & Roger Tilles

Mr. & Mrs. Eliot Wadsworth Alexandra Walcott

Apple Pickers Foundation Abby N. Wells

Sally & William Charitable Fund Joemy Wilson & Jon Harvey Michael & Gail Yaffe Wei-Yi Yang

The Fritz Kreisler Circle The Asen Foundation, Scott Asen, Trustee

Robert & Eiko Engling

Robert F. & Jo Ann D. Austin

George K. Fenn, Sr.

Christine & Phillippe Gousseland, in honor of David Low & Dominique Lahaussois

Sally Barrett & Robin Landis

Virginia Flynn

William W. Gridley

Genevieve Fraiman

Tom Hodgkin & Barbara Spiegel

Lloyd Garrison

Daphne Hurford & Sandy Padwe

Catherine Gevers & John Fernandez

Paul E. Jagger

Roger & Linda Astmann

Emily P. Bakemeier & Alain G. Moureaux David Belt

Warren & Joanne Bender Bret & Lori Black

Mr. & Mrs. Starling W. Childs Phyllis & Joseph Crowley

Dr. & Mrs. Burton Cunin John & Helen Davis

Drew Days, III & Ann Langdon

Abbie & Zoe Falk

Carole & Michael Fleisher

Felix & Janice Graham-Jones

Jamie Brooke Forseth

Gerald & Barbara Hess

Martina Gago

Sallie Craig Huber

In memory of Lloyd Garrison

Colta & Gary Ives

Eulalie Glaser, in honor of Kim & Gwynn Scharnberg

Kathleen Kelley

Tauck, in memory of Keith Wilson

Robert N. Kitchen, M.D.

Susan & Peter Kelly

Gordon Douglas

Roberto Goizueta

Anthony Kiser

Bonner & David Elwell

Joan & Gerry Gorman

Susan MacEachron

Susan A. & Jon Eisenhandler

88 | MUSIC SHED RESTORATION FUND


Music Shed Restoration Fund Jack & Ingrid Manning

Sylvia & Leonard Marx

Dr. Andrew Ricci, Jr., M.D. & Jacqueline Ann Muschiano

Annette McEvoy & Harold Bronheim

Cristin & David Rich

Carolyn Monaco

Lee Ronnel

Jim & Jeanne Moye

John & Barbara Rutledge

Patricia Nooy & Roger Miller

Bernard & Lisa Selz

Roger Mitchell & Pete Peterson

Ernest Sinclair

Merck Partnership for Giving

Nina Ritson

Kevin & Hatice Morrissey

Karen Rossi

Michaela Murphy

Richard & Marilyn Schatzberg

Leroy & Jane Perkins

David Shifrin & Family

Ted & Iris Phillips

Ileene Smith & Howard Sobel Joseph Stannard

Regina Starolis

Ronald & Marion Stein Martin Tandler Graham Taylor Paul Tetreault

Christopher Tunnard Sally S. Vaun

Mark & Tania Walker Dr. Steven Wernick

Rita & Sandy Wilson

Mr. & Mrs. Richard Woods Laura Zweig

The Maude Powell Circle anonymous anonymous

Robert & Serena Blocker, in honor of Anne-Marie Soullière's birthday

Mahlon Craft

anonymous

Martin Braid

Roslyn Allison

Joyce C. Briggs

Anthony DiBartolo

Sandy An

Karen & Trip Brizell

Peter & Kristine Dobbeck

Paul R. Archaski

Christopher & Tish Brubeck

Judith & Paul Dorphley

Mr. & Mrs. Herbert A. Arnold

Francesca Turchiano & Bob Bumcrot

Howard & Sally Estock

Joanna Aversa

Margaret E. Burnett

Susan L. Fish & Robert W. Richardson

Ivan A. Backer & Paula Fisher

Steven Callahan & Randall Dwenger

Woody & Mary Kay Flowers

Stephen Barden

Carol Camper & John Hartje

Roz Forman

Mr. & Mrs. Jeremy Barnum

Sally Carr & Laurence Hannafin

Allan J. Dean, in honor of Kim & Gwynn Scharnberg

anonymous

Mr. & Mrs. Edward H. Boehner

Simon Aldridge & Lisa Tanno

Amb. & Mrs. Everett Briggs

The Hospital of Central CT Dialysis Unit, in honor of Dr. Robert Lapkin

Rick & Nurit Amdur

David Bright

Phyllis Diggle

Caroline Andrus

Gerry & Bill Brodnitzky

Ruah Donnelly & Steven Dinkelaker

Steven J. Archaski

Beth & Peter Brunone

Dr. & Mrs. Paul D. Ellner

Mrs. Lois Clark Atkinson

Karen Burlingame & Anders Bolang

Roselee & Nick Fanelli

Toten & Nadja Bacardi

Claire Burson

Mary Ann & Joseph Fitzpatrick

Joel Bard & Sayuri Miyamoto

Nicholas L. Campbell

Walter Foery & Ransom Wilson

Johanna Barnhart & Caridad Caro

Susan E. Carpenter

Florence Fowlkes, in memory of Tim Childs

Sonia & John Batten, in honor of Kim & Gwynn Scharnberg

Linda & Walter Censor

Francis & Christianne Baudry Barbara & Malcolm Bayliss

Virginia Russ Chalmers

Dr. & Mrs. B. Charipper Jane & Oscar Chase

Barbara & Jack Beecher

Ted & Victory Chase

Peter & Amy Bernstein

Marvin Chin

Anne Marie & Jonathan Berger Amy & Peter Bernstein, in memory of Bill Gridley ErzsĂŠbet & Donald Black Christopher Blair

Deanne Chin

Dennis & Pamela Collins Charles Collins Hilda Collins

Suzanne & Edward Colt

Kristin Fox-Siegmund, in honor of Kim & Gwynn Scharnberg Robert Frear, in honor of Kim & Gwynn Scharnberg Larry & Rita Freedman Judith Friedlander Bruce Frisch

John G. & Susanne Funchion Barbara Garside

Elisabeth Childs Gill Pedro Gneiting

MUSIC SHED RESTORATION FUND | 89


Music Shed Restoration Fund The Maude Powell Circle (continued) Carolyn Gould

Christine Melchinger

Judith & Arthur Gurtman

Cecily Mermann

Stuart & Helaine Smith, in honor of Michael Emont

Timothy & Deborah Moore

Nicolette Smith

Jeffrey Guimond

Rosamond Hamlin Jim & Lois Harris Ann Havemeyer

Richard Hellesen Tom Hlas

Anita Holmes

David Hosford Adela Hubers

Maureen Hurd Hause, in memory of Keith Wilson

Maureen Hurd Hause & Evan Hause Wayne Jenkins

Nancy & Blair Jensen

Michele Jerison

Theodore & Nancy Johnson

Elisabeth Kaestner & Paul de Angelis, in honor of Frank Bell Jenny Kalick

Mr. & Mrs. Abraham Kaufman Leland Kelson, in honor of Kim & Gwynn Scharnberg Galene & Richard Kessin Robert King

Sheila Camera Kotur

Roberta & Lawrence Krakoff Kate & Tom Kush

Sarita Kwok & Alexandre Lecarme Dr. & Mrs. Robert Lapkin Kathrin Lassila

Joseph L. Lavieri

Suzanna & Peter Lengyel Judith & Michael Lesch Nena Donovan Levine

Carole & Lance Liebman Douglas & Susan Lint David Longmire

Maija Lutz & Peter Tassia Vicky MacLean

Paul Madore & Tom Hlas Janet Marks

Elizabeth & Frank Martignetti

Stephen J. McGruder Family Fund 90 | MUSIC SHED RESTORATION FUND

Gwen E. Melvin

Ron Sloan

Dr. & Mrs. Ira Mickenberg

Gordon Smith & Joanna Vincent

Ingegerd Mundheim

Pamela & Julian Nichols

John & Judith Sneath, in honor of David Low & Dominique Lahaussois

Faye O'Meara

Marcia & Robert E. Sparrow

Ruthann Olsson

Pamela Stebbins

Mrs. Jose W. Noyes

Joseph B. Solodow

Jerry & DeVere Oakes

Janet & Ronald Spencer

James & Jean Palmer, in honor of Bill Gridley

Peter & Abbe Steinglass

Jill Pellett Levine

Frederica M. Sulzbacher

Barbara Perkins

G & R Swibold

Karen DiYanni Peterson & Ned Peterson

Dr. Timothy D. Taylor

Ed & Reva Potter

John Thew

Mr. & Mrs. Hugh M. Ravenscroft

William Tilles

Edward Reid & Shu Ching Cheng

Richard & Sandra Tombaugh

Susan Rood

Allen Trousdale

Edward & Karen Rosen

Marc Rosen & Susan Pinsky

Christina Vanderlip, in memory of Bill Gridley

Naomi Rosenblum

Nancy R. Wadhams

Paul D. Rust, in honor of William Gridley

Charles & Barbara Perrow

Martha Saxton

Virginia T. Wilkinson

Marvin & Joyce S. Schwartz

Kathleen S. Wilson

Anthony & Helen Scoville

Werner & Elizabeth Wolf

Shoreline Village CT

Margot Woodwell, in memory of Frank B. Bell

Dr. J.W. Streett

Steven Pearlstein & Wendy Gray

Michael & Suzanne Stringer

Catherine Perga

Elizabeth C. Sussman

James Perlotto & Thomas Masse

Bridget Taylor

Rev. Dr. Wayne Pokorny

Sally & Nicholas Thacher

Donna & Dennis Randall

Alyson & Tony Thomson

Susan & Joe Ray

Sheldon & Florence Toder

Carol & Harold Rolfe

Caryn Trager

Caren & Barry Roseman

Nicholas Valkenburg

Aaron & Judith Rosenberg

Peter Vosburgh

Turi Rostad

Nancy Wadleton

Mr. & Mrs. Alain C. Saman

Kate Wenner & Gil Eisner

Norman Schnayer

Joan Wilson, in memory of Bill Gridley

Stefania Scotti

Beatrice & Edgar Wolf

Wendy Sharp

Susannah & Wiley Wood

Jonathan & Faye Silberman Chris & Frank Silvestri

Dr. Donna Yoo Toby Young


Music Shed Restoration Fund The Victor Herbert Circle Craig Baker

Anita Holmes

Eileen E. Reed & C.A. Polnitsky, M.D.

Mr. & Mrs. Gordon Bischoff, in memory of Michael J. Poskus

Robert & Lise Howe, in memory of Michael Poskus

Peter A. Rogers & Paige Carter

Alice & David Belgray

Gayle H. Blakeslee

Awilda Guerrero-Buchholz & Bernard Buchholz Ivan & Frances Capella

Chevron Humankind Direct Contribution Justine & Hakki Cinel Maggie Clarke

Joan W. Cox, in loving memory of Bill Gridley Robert & Dianne Dinnean Susan M. Dyer

Alison & Mark Foley, in memory of Michael Poskus Steven Fraade Sara Frischer Jane Glover

KC K. Gonzalez

Swadesh S. Grant

Jack Grossman & Diane Cohen Joe & Pat Grynbaum Neal Hampton

Steve & Amy Hatfield Sarah R. Hewitt

Philip Hoskins

Hartford County 4-H Fair, in memory of Michael Poskus Alysson D. Iceton Green Dean & Bob Inglis Valerie Jones

Sun-Ichiro Karato

Diane & David Kopp Laura Lasker

Evelyn & Marcel Laufer Jennifer Laursen

Sara & William Lavner

Anne Garrels & Vint Lawrence Cheng-hua Lee Karen Linden Lenore Mand

Dr. & Mrs. Ronald Match

Zdenek & Zuzana Meistrick Robert & Andrea Milstein

Carlos E. & Alda Neumann Jay & Elizabeth Nyczak

Sheryl Payton, in honor of Kim & Gwynn Scharnberg

Jen Perga & Mike DeClement

Helen & Avi Elnekave Arthur S. Rosenblatt

Edward & Lynn Russell James M. Self

Mark & Tema Silk Edward F. Steblay

Mr. & Mrs. Henry Stern

Clarice N. Stevens

Paul Stranieri & Kathy Albano John & Sanda Ursone

Mr. & Mrs. Dolph Van Laanen, in memory of Bill Gridley

William & Sally Vaun, in memory of Bill Gridley

William & Sally Vaun, in memory of Frank Bell

Daniel Villanueva, in honor of Kim & Gwynn Scharnberg

John & Shirley Warn, in memory of Michael J. Poskus Bonnie Watkins

Fred & Edith Wilhelm, in honor of Michael J. Poskus

PreSchool Family & Young Fives, in memory of Keith Wilson Jeppy Yarensky

MUSIC SHED RESTORATION FUND | 91


Paul & Susan Hawkshaw Scholarship Fund (as of may 17, 2018)

Leading Contributors anonymous

The AKC Fund, Inc.

Astrid & John Baumgardner Rohit & Katharine Desai John C. Garrels

James & Nancy Taggart Remis

Musicians’ Circle anonymous

Daniel & Leila Javitch

Christian & Alfreda Murck

Joyce & Burton Ahrens

Robert Loper & Robert Dance

Roger Mitchell & Pete Peterson

anonymous

Donald & Erszébet Black

Helen I. Jessup

Hope Childs

David N. Low, Jr. & Dominique Lahaussois

Brett & Coleen Hellerman

Frank & Bethany Morelli

Barbara G. Gridley

Kim & Judy Maxwell

Adrienne Gallagher & James Nelson Sally & Andrew Quale

Sandra & Richard Rippe Mary & Don Roberts

Anne-Marie Soullière & Lindsey Kiang

Associate Members Mr. & Mrs. Samuel A. Anderson

Michael & Doreen Kelly

Barbara & John Rutledge

Louise L. Ducas

Stephen & Ruth Melville

Jon & Nealie Small

Sally & Ted Briggs

Jean Crutchfield & Robert Hobbs

Fleur Fairman & Timothy Wallach Claudia & Eliot Feldman

92 | HAWKSHAW SCHOLARSHIP FUND

Susan MacEachron & Michael Halloran Katherine Moore

Jim & Jeanne Moye

John Perkins & Hope Dana

Adrian & Maggie Selby

John G. Waite Associates, Architects PLLC


Paul & Susan Hawkshaw Scholarship Fund Sustaining Members Graham & Elizabeth Allyn

Susan A. & Jon Eisenhandler

Curtis & Kathy Robb

Barbara & Jack Beecher

Christine & Philippe Gousseland

Anthony & Helen Scoville

Roger & Linda Astmann

Peter & Amy Bernstein Elizabeth Borden

Sally Carr & Larry Hannafin

Peter Coffeen & Stephen Getz

Dr. Joe W. Crow & Virginia Flynn

Dotty & Lionel Goldfrank, III Gerald & Barbara Hess Myron Kwast

David Kurtz & Candace Bowes Zdenek & Zuzana Meistrick

Patricia Nooy & Roger Miller

Nini & Alain Saman Pat & Kurt Steele

Richard & Sandra Tombaugh Mr. & Mrs. John Troyer

Byron Tucker & Elizabeth Hilpman

Supporting Members Erica Barden

Mary Fanette & Veronica Burns

Naomi Rosenblum

Marcia & Peter Chesler

Sara Frischer

Ben & Lily Schaeffer

Boris & Zina Berman Carolyn Childs Deanne Chin

Karen DiYanni

The Emerson String Quartet Roselee & Nicholas Fanelli

Kevin R. Flach & Merideth McGregor Joseph Gordon

Cecily Mermann Susan Narucki

The Norfolk Facilities Team Dorothy & Robert Pam

Phillida Rosnick

Barbara Spiegel & Tom Hodgkin Bryan Stanton & Barry Webber Alexandra Walcott

Susannah & Willard Wood Dr. Donna Yoo

Members anonymous

Ralph W. Franklin

Harvey Simon

Simon Carrington

Colette Hurst

Beverly & Robert Vail

Peter Andrighetti Richard Davis Katelyn Egan

Janelle Francisco

Maureen Hurd Hause & Evan Hause Stefanie Parkyn

Benjamin Schiff Lauren Schiffer

Patricia & Paul Tenthorey Sally Vaun

Abby N. Wells

Carol Wincenc

HAWKSHAW SCHOLARSHIP FUND | 93


Annual Fund We wish to thank the many individuals and organizations who, through their support, have made this season possible. (as of may 17, 2018)

Leading Contributors anonymous

Battell Arts Foundation, Inc. John & Astrid Baumgardner Centenary Scholarship fund

Rohit & Katherine Desai Family Emerson String Quartet

Ellen Battell Stoeckel Trust John C. Garrels

Paul & Susan Hawkshaw Scholarship Fund

Evan Hughes & Peter Ermacora Special Projects Fund David N. Low & Dominique Lahaussois

Clement Clarke Moore Scholarship fund Katherine Moore

Aldo & Elizabeth Parisot, in honor of Harris Goldsmith Jim & Nancy Remis

Anne-Marie Soullière & Lindsey Kiang Pat & Kurt Steele Roger Tilles

Louise Willson Scholarship Fund Yale Summer Music Fund

Musicians’ Circle

Molly Ackerly & Michael Sconyers

Serena & Robert Blocker

Andrew De Rocco & Joan McNulty

The AKC Fund, Inc.

Fu-Ming Katherine Chen

Fleur Fairman & Tim Wallach

Burton & Joyce Ahrens

Samuel & Allie Anderson

Emily P. Bakemeier & Alain G. Moreaux Battell Arts Foundation

Erzsébet & Donald Black 94 | ANNUAL FUND

The Katherine Bradford Foundation Melvin Chen & Karen Roffman Hope Childs

Marlene Childs

Louise L. Ducas

Michael Emont & Margo Rappoport Anne Garrels

Barbara G. Gridley Coleen Hellerman

Gerald & Barbara Hess


Annual Fund Helen I. Jessup

Michael & Doreen Kelly

Barbara F. & Richard W. Moore Fund, The New York Community Trust

Christopher Little & Elizabeth Kittredge

Adrienne Gallagher & James Nelson

Judy & Kim Maxwell

Roger Mitchell & Pete Peterson

Tony Kiser & Lisa Atkin

Grant & Kristin Mudge

Robert Loper & Robert Dance

Northwest Community Bank

Steve & Ruth Melville

Andrew & Sally Quale

Associate Members

Sandy & Dick Rippe

John & Barbara Rutledge Joyce S. Schwartz

Martin Tandler & Maura May

Richard K. Torbert, in memory of John K. Torbert The Walcott Family Fund

Laura & Victor Atshul

Paul & Susan Hawkshaw

Deborah & Timothy Moore

Les Bluestone

Daphne Hurford & Sandy Padwe

Catherine H. Perga

Linda Dupree Bell Elizabeth Borden

Mary Beth & Walter Buck

Mary Fanette & Veronica Burns Claudia & Eliot Feldman

Betsy Childs Gill

Morton & Judith Grosz

Linda & Roger Astmann

Douglas & Sallie Craig Huber Colta & Gary Ives Paul E. Jagger

Starling Lawrence & Jenny Preston Nathan Liverant & Son, LLC

Susan MacEachron & Mike Halloran Tom Martin & Susan Spiggle

Sustaining Members

Sonia & John J. Batten

Florence Bryan Fowlkes, in honor of Hope Childs

Peter & Amy Bernstein

Sally Williams & William Fuller

Jennie & Bill Brown

Dotty & Lionel Goldfrank, III

Sally Carr & Larry Hannafin

Carol Camper & John Hartje

Peter Coffeen & Stephen Getz

John A. Herrmann, Jr.

Allan Dean & Julie Shapiro

Jean Crutchfield & Robert Hobbs

Drs. William & Marcia Eckerd

Leila & Daniel Javitch

Hon. Bonnie Eisler

David Levin & Kim Welch

Barbara & Jack Beecher

Sara Frischer

Contantin Boden

Catherine Gevers

John & Denise Buchanan

Elyse Harney

Carolyn Childs

Peter S. Heller

George Cronin

Elizabeth Hilpman & Byron Tucker

Patricia Deans

Stevie Holland & Gary William Friedman

Susan A. & Jon Eisenhandler

Marlene & Myron Kwast

Caitlin Macy & Jeremy Barnum Paul Madore & Tom Hlas

anonymous

Supporting Members

Alfreda & Christian Murck Jane Perkins

Adrian & Maggie Selby Jon & Nealie Small

Ileene Smith & Howard Sobel Keith & Catherine Stevenson Eliot & Annick Wadsworth

Zdenek & Zuzana Meistrick Lisa & Theo Melas-Kyriazi Ingrid & Michael Morley

Patricia Nooy & Roger Miller Mrs. J.W. Noyes

John Perkins & Hope Dana Phillida Rosnick

Nini & Alain Saman

Richard & Marilyn Schatzberg Janet & Ron Spencer

Humphrey Tonkin & Jane Edwards Alex & Patricia Vance

Mark & Tania Walker

Emily Aber & Robert Wechsler Abby Wells

Susannah & Willard Wood Donna Yoo

Ed & Jennie Boehner

Steven B. Callahan & Randall R. Dwenger

Jonathan & Anne Marie Berger

Awilda Guerrero-Buchholz & Bernard Buchholz

Jane & Oscar Chase

Gayle Blakeslee

Margaret Burnett

Richard & Jane Andrias

Warren & Joanne Bender

Charles & Estelle Berthiaume

Joyce G. Briggs

Mrs. David Burgin

Susan E. Carpenter Marvin Chin

Charles Chromow

Mr. & Mrs. Roger S. Clarke ANNUAL FUND | 95


Annual Fund Philip Cohen & Anne Hall

Supporting Members (continued)

Lewis G. Cole

Edward & Suzy Colt

Betty Cordellos, ConneCTions Tours Karen DiYanni

Martina C. Dodd

Paul & Judith Dorphley

Thomas & Elizabeth Dubbs

Dalton & Roshanak Dwyer Robert & Eiko Engling

Roselee & Nicholas Fanelli

Narsha Keskinen & George Weichun

Marc Rosen

Martha Klein

Naomi Rosenblum

Galene & Richard Kessin Nancy Kriegel

Dr. & Mrs. Robert A. Lapkin Joseph L. Lavieri Ian Lindsey

Douglas & Susan Lint

Gerald & Selma Lotenberg Maija Lutz & Peter Tassia

Joseph & Mary Ann Fitzpatrick

Thomas Gilmore Masse & James M. Perlotto, M.D.

Mary Kay & Woody Flowers

Phyllis Nauts

Gerry Freedman

Jerry & Devere Oakes

John & Susanne Funchion

Judith & Tician Papachristou

Gerry Goodrich & Susan Caughman

Forence Persons

Suzanne M. Hertel

Holly & Joe Poindexter

IBM Matching Grants Program

Susan & Peter Restler

Carole & Michael Fleisher

Jim & Jeanne Moye

Rita & Lawrence Freedman

Mr. & Mrs. Michael Nicastro

Michael Friedmann & Deborah Davis

Dorothy & Robert Pam

Kerry Garside

Jennifer Perga & Michael DeClement

Ann Havemeyer & Tom Strumolo

Ted & Iris Phillips

Daniel & Sarah Hincks

Eileen E. Reed & C.A. Polnitsky, M.D.

Nancy & Blair Jensen

Dr. Andrew Ricci, Jr., M.D. & Jacqueline Ann Muschiano

Ted & Nancy Johnson

David & Cristin Rich

Members

anonymous

Ellen Glass

anonymous

Janis & Felix Graham-Jones

anonymous Peter & Julia Anstey

Mr. & Mrs. Herbert A. Arnold

Carolyn Gould

Maureen Hurd Hause & Evan Hause

Joanna Aversa & Christopher M. Ursini, Sr.

Ms. W. Alison Huszar & Mr. William J. Huffer, Jr.

Donald A. Bickford

Bernadette Kinsman

Cynthia & Burton Budick

Ernest Malecki

Dr. Burton & Carol Cunin

John Martin

Steven Fraade & Ellen Cohen

Mr. & Mrs. Robert Milstein, in honor of Joan Panetti

Sharon & Walter Baran

Ken Kalmanson

Mr. & Mrs. Weston Boyd

Nancy Lewis

Daniel J. Couray, III

Lenore Mand

John V.H. Dippel

Cecily Mermann

Ralph W. Franklin Linda Garrettson

96 | ANNUAL FUND

Michael J. Moran Nina Myers

Aaron & Judy Rosenberg Virginia Russ Chalmers Edward Russell, III Linda & RD Sahl Lauren Schiffer

Tony & Helen Scoville

Tom Shachtman & Harriet Shelare David & Roxanne Shifrin Jonathan Silberman

Linda Sonnenblick & Henry Zachs

Barbara Spiegel & Thomas Hodgkin Regina Starolis

Peter & Abbe Steinglass

Gretchen & Richard Swibold Graham Taylor

Alyson & Tony Thomson

Richard & Sandra Tombaugh Amy & David Troyansky

Sandra & David Van Buren Alexandra Walcott

Kate Wenner & Gil Eisner Kathleen S. Wilson

Werner & Elizabeth Wolf Donald G. Workman

Carlos E. & Alda Neumann Ruthann Olsson

Henry & Heather Perrault Maxine B. Petruccelli Kate A. Rhee

Gary L. Robison

Arthur Rosenblatt

Dee & Stan Shapiro

Dr. Joel & Judith Sherman

Joanna E. Vincent & Gordon W. Smith Marcia & Robert Sparrow Elizabeth H. Stott Paul Stranieri

Sally & Nicholas Thacher

David Torrey & Shelley Harms Mr. & Mrs. Robert Vail


Norfolk Chamber Music Festival 2018 Concert Program  
Norfolk Chamber Music Festival 2018 Concert Program  
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