Experience the Extraordinary CHESAPEAKE CHAMBER MUSIC FESTIVAL 31 JUNE 5–19 2016 EASTON ST. MICHAELS OXFORD
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423 Note to Chesapeake Music Friends & Supporters: Chesapeake Music, the parent organization for the Chesapeake Chamber Music Festival, Jazz on the Chesapeake’s Monty Alexander Jazz Festival, and Youth Reach: First Strings and Presto programs is excited to announce, due to our growth in supporters and programs, we have chosen to separate the “Annual Report of Donors” list from the Chesapeake Chamber Music Festival program and will highlight these important names in its own publication later this year, Chesapeake Music’s “Annual Report of Donors.” Please understand this decision was not made lightly but rather strategically so that we may more effectively honor and thank all of our generous donors. If you should have any questions about this, please don’t hesitate to ask Don Buxton, our Executive Director or Eleanor Shriver Magee, Director of Development. Enjoy the music and we hope you experience the extraordinary at Festival 31.
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TABLE OF CONTENTS
President’s Welcome...... 7
Chamber Music Artistic Director Profiles...... 9
Artist Profiles...... 10–19
Opening Concert | Christ Church: June 5...... 20 Program Notes for June 5 Concert...... 21–23
Artist Showcase I | Academy Art Museum: June 7...... 25
Artist Showcase II | Oxford Community Center: June 9...... 26
Concert|Avalon Theatre: June 10...... 27 Program Notes for June 10 Concert...... 28–30
Concert|Academy Art Museum: June 11...... 31 Program Notes for June 11 Concert...... 32–33
Concert | Christ Church: June 12...... 34 Program Notes for June 12 Concert...... 35–37
Artist Showcase III | Trinity Cathedral: June 15...... 39
Concert|Avalon Theatre: June 17...... 40 Program Notes for June 17 Concert...... 41–42
Concert|St. Michaels High School Theatre: June 18...... 44 Program Notes for June 18 Concert...... 45–46
Angels Concert – Ingleton Manor: June 19...... 47
Board of Directors, Staff, Volunteers...... 48–49
List of Advertisers...... 50
5 ∫ fts that Gi Give Back
What is it that defines your passion for music and how will you ensure that the music you love continues for years to come?
There are three simple ways that you can support Chesapeake Music with gifts that give back: • Include Chesapeake Music in your will or trust; • Make Chesapeake Music a beneficiary in your life insurance policy, IRA, 401(k), or other retirement plan; and • T ake advantage of a Charitable Gift Annuity through our partnership with Mid-Shore Community Foundation. Are you considering remembering Chesapeake Music in your estate plans? Phone or write Executive Director, Donald Buxton, 410-819-0380 or [email protected].
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June 2016
Dear Friends:
Chesapeake Music invites you to Experience the Extraordinary! with our 31st Chesapeake Chamber Music Festival. Many of our favorite artists are returning, led by our founding Artistic Directors, Lawrie Bloom and Marcy Rosen, and our Executive Director, Don Buxton. This year we will present ten performances and two open rehearsals. There is one new venue, Christ Church, St. Michaels, where we will present our June 12th concert followed by a reception in the elegant parish hall catered by Gourmet by the Bay. We are also delighted to be returning to Christ Church, Easton, after a hiatus during its extensive renovation. Most of our artists have performed here before, many of them for years. It’s a joy to welcome them back as it is to greet our new musicians. They come here to spend a week or two playing with other great musicians, performing for audiences who love them, and enjoying the hospitality of the Eastern Shore. Lawrie and Marcy have again designed an extraordinary program, carefully combining familiar (there will be a Beethoven composition in every performance) with less familiar music, and featuring our extraordinary artists in groups ranging from duets to octets. The second half of our June 17th Avalon concert will feature the winners of the 2016 Chesapeake Chamber Music Competition—Block 4 who won the $10,000 Gold Prize in competition with four other superb groups, all of whom prevailed in a two-stage preliminary competition. For the 31st time we open the Mid-Shore summer with classical chamber music of a quality normally available only in the largest metropolitan areas and we will bookend the summer with our superb Monty Alexander Jazz Festival on Labor Day weekend. By presenting these festivals, and the international Competition, YouthReach, and our off-season concerts, Chesapeake Music adds immeasurably to the quality of life in our community. We cannot sustain this without the strong financial support of our community. Like other arts organizations, we find that ticket sales cover only a fraction of our costs. We are also very grateful to our remarkable part-time staff and the countless volunteers, who make this all possible. Experience the Extraordinary,
Michael Bracy President, Chesapeake Music Board of Directors
PO Box 461, Easton, MD 21601 • 410-819-0380 • ChesapeakeMusic.org 7 ™
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Marcy Rosen J. Lawrie Bloom
Cello, Artistic Director Clarinet, Artistic Director Chesapeake Chamber Music Festival Chesapeake Chamber Music Festival Cellist MARCY ROSEN has established Since we last saw him, J. LAWRIE BLOOM herself as one of the most important and taught at the Buffet Academy in Jacksonville, respected artists of our day. In March of 2016 Florida, and backpacked in the Cascades in The New Yorker Magazine dubbed her “A New Washington. In September Lawrie returned York legend of the cello” and the Los Angeles full time to the Chicago Symphony Orchestra Times has called her “one of the intimate art’s from his sabbatical leave. The season included abiding treasures.” She has performed in recital the orchestra’s first ever appearance at the new and with orchestras throughout the world Kaufman Center in Kansas City, and a tour and in all fifty of the United States. In recent to Asia. A concert version of Verdi’s Falstaff th seasons she has appeared in China, Korea, and and Mahler’s 4 Symphony, both conducted Cartagena, Colombia. by Ricardo Muti, were season highlights. In November he was one of three US players During the 2015-16 season she performed in invited to perform at the 190th anniversary of Carnegie Hall, the Library of Congress, Boston’s Buffet in Paris. Gardner Museum, Philadelphia’s Kimmel Center, and the University of Chicago. She was Lawrie continues as a senior lecturer at the also presented at Columbia University in an Bienen School of Music at Northwestern all Boccherini program, which attracted such a University. This summer the International large audience that many were turned away! Clarinet Association is honoring him with a concert in which he and his former students Ms. Rosen has collaborated with the world’s will perform at the ICA annual conference. finest musicians, including Leon Fleisher, While there he will be part of a special concert Richard Goode, Andras Schiff, Mitsuko presented by Buffet Crampon. He returns for a Uchida, Peter Serkin, and Isaac Stern, among fourth year of teaching at the Buffet Academy others, and with the Juilliard, Johannes, in Florida. Emerson, Daedelus and Orion Quartets. She The Civitas Ensemble, of which Lawrie is a is a founding member of La Fenice, as well as founder and artistic director, will perform the Mendelssohn String Quartet. Since first in Prague this season in a collaboration with attending Marlboro in 1975, she has taken part the Gipsy Way Ensemble. This collaboration, in 21 “Musicians from Marlboro” tours and supported by a generous grant from the has performed in concerts celebrating the 40th, MacArthur Foundation International 50th, and 60th anniversaries of the festival. Connections Fund, will include an exchange of A graduate of the Curtis Institute of Music, concerts and other presentations first in Prague, Ms. Rosen is currently professor of cello at the and then in Chicago. In addition to the concerts Aaron Copland School of Music at Queens they perform, Civitas continues their residency College, serving as Artistic Coordinator of the at Valporaiso University, and their appearances Chamber Music Live concert series. She also in hospitals and senior citizen homes in the serves on the faculty at the Mannes College Chicago area, and when out of town. of Music in New York City. Please visit her The Robert Reynolds Clarinet Chair is held by website at marcyrosen.com. J. Lawrie Bloom, Founding Artistic Director.
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Catherine Cho Wei-Ping Chou VIOLIN, VIOLA HORN
CATHERINE CHO is recognized for her Praised by The New York Times for her remarkable violin virtuosity, combining “consistent strong” and “smooth and full” horn technical mastery with distinctive musicality. playing, WEI-PING CHOU is the first and She has performed with major symphony only horn player in The Juilliard School history orchestras worldwide and with distinguished ever to be awarded the artist diploma. A native conductors, such as Mstislav Rostropovich, of Taoyuan, Taiwan, she began playing the Robert Spano, Sixten Ehrling and Franz- horn at the age of nine and continued her study Paul Decker. at Idyllwild Arts Academy under Kurt Snyder. She received her bachelor’s degree from the She has appeared on the prestigious stages of Manhattan School of Music with Jerome Ashby, New York’s Lincoln Center, the Mozarteum and her master’s of music from The Juilliard in Salzburg, Casals Hall in Tokyo and the School under the tutelage of Juile Landsman. Kennedy Center in Washington, DC. She also has played at the Metropolitan Museum of Art Prior to her return to New York in 2011, she and the New York 92nd Street Y, the Gardner was acting assistant principal horn for the San Museum in Boston, and on Ravinia’s “Rising Diego Symphony from 2007-2011. As an active Stars” series in Chicago. In collaboration with freelancer in New York City, she performed pianist Mia Chung, she has performed the regularly with orchestras and chamber groups, complete cycle of Beethoven’s violin sonatas such as Orchestra of St. Luke’s, American in the US and Asia. Symphony Orchestra, The Knights, Wind Soloists of New York, The Metropolis Ensemble, Ms. Cho was a participant in the Marlboro The Decoda Ensemble, and Genghis Barbie. Music Festival from 1993 to 2001 and toured She can be heard in their newest album, Amp with them nationally. She has performed at It Up. As a chamber musician, she spent many many chamber music festivals and was a of her summers at the Marlboro Music Festival founder of the chamber ensemble La Fenice as well as Musicians from Marlboro tours. and a member of the Johannes String Quartet. As an orchestra musician, Wei-Ping regularly A winner of the Avery Fisher Career Grant, performs with the National Symphony Ms. Cho won top prizes at the Montreal, Orchestra, and she is currently in her second Hannover, and Queen Elizabeth International season with the Kennedy Center Opera Violin Competitions. She has judged House Orchestra/Washington National Opera international competitions and taught master Orchestra. When not playing the horn, Wei- classes worldwide. She is a member of the Ping enjoys cooking, baking, crafting, and last violin and chamber music faculty at Juilliard but definitely not the least, flying trapeze! and has taught at numerous chamber music foundations and symposia. Devoted to promoting peace through music, she is vice president of the Board of Musicians For Harmony.
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District5 Ara Gregorian WIND VIOLIN
Specializing in contemporary works and Known for his thrilling performances and original transcriptions, DISTRICT5 has musical creativity, ARA GREGORIAN developed a unique repertoire that showcases made his New York recital debut in 1996 the virtuosity, colors, and endless possibilities in Carnegie Hall’s Weill Recital Hall and of the wind quintet. District5 has recently his debut as soloist with the Boston Pops performed at the US Department of State, Orchestra in Symphony Hall in 1997. Since the Barns at Wolf Trap, Capital Fringe: Music then he has established himself as one of the in the Library, the Washington Arts Club, most versatile musicians of his generation NextNOW Fest, and on the Common Tone with performances in New York’s Carnegie and Kent Chamber Series. They gave the Hall, Avery Fisher Hall, Alice Tully Hall, US premiere of Karlheinz Stockhausen’s Washington D.C.’s Kennedy Center and ROTARY Woodwind Quintet and have in major metropolitan cities throughout performed alongside the Berlin Philharmonic the world including Boston, Los Angeles, Wind Quintet, the Excelsa Quartet and the Chicago, Detroit, Houston, Dallas, Atlanta, LeDroit Chamber Players. Cleveland, Vancouver, Hong Kong, Shanghai, Beijing, Ulaanbaatar, Tel Aviv and Helsinki. Upcoming projects include the premiere of David Plylar’s transcription of the complete Gregorian is the founder and artistic director piano preludes of Chopin, as well as a of the Four Seasons Chamber Music Festival collaboration with the Embassy of Cyprus in North Carolina which recently celebrated to showcase the music of composer Evis its 15th Anniversary Season and has Sammoutis. Members of District5 enjoy appeared at festivals worldwide including sharing their passion for chamber music and the SpringLight (Finland), Storioni (Holland), original works with young musicians; they Summer Solstice (Canada), Casals (Puerto Rico), Intimacy of Creativity (Hong Kong), have designed educational outreach programs Bard, Bravo! Vail Valley, Beethoven Institute, for the DC Youth Orchestra Program, the Santa Fe, Skaneateles, Music in the Vineyards, American Youth Philharmonic and the UMBC Bach Dancing and Dynamite Society, Cactus Wind Ensemble. Pear, Wintergreen, Mt. Desert, Madeline This summer they will serve as Ensemble-in- Island and Strings in the Mountains festivals. Residence for the University of Maryland’s An active and committed teacher, Gregorian High School Music Academy. District5 is the Four Seasons Chamber Music Festival was a finalist at the 2015 Savvy Chamber Distinguished Professor of Violin at East Competition and was the Fellowship Wind Carolina University where he has been on the Quintet at the University of Maryland from violin faculty since 1998. 2013–15. Gregorian received his bachelor and master of music degrees from The Juilliard School where he studied with Joseph Fuchs, Harvey Shapiro, and Robert Mann. He performs on a Francesco Ruggeri violin from 1690 and a Grubaugh and Seifert viola from 2006. 11 ∫
Harrison Hollingsworth Ieva Jokubaviciute BASSOON PIANO
Heralded a “bold, emergent, personality” Lithuanian pianist IEVA JOKUBAVICIUTE’s by The Philadelphia Inquirer, HARRISON intricately crafted performances and ability to HOLLINGSWORTH is widely regarded as one communicate the essential substance of a of the premier wind players of his generation. work has led critics to describe her as He holds the principal bassoon position of possessing “razor-sharp intelligence and wit” the New York City Ballet Orchestra at Lincoln (The Washington Post) and as “an artist of Center, and is much in demand as a principal commanding technique, refined temperament bassoonist, chamber musician, soloist, and and persuasive insight”(The New York Times). pedagogue. Harrison has performed concertos In 2006, she was honored as a recipient of a with the Philadelphia Orchestra, Symphony Borletti-Buitoni Trust Fellowship. in C, and several other orchestras, and has Labor Records released Ieva’s Alban Berg played recitals everywhere from the Kennedy Tribute CD to critical acclaim in 2010. Center to La Mortella in Ischia, Italy. The New York Times described her as An enthusiastic chamber musician, Harrison “an authoritative and compelling guide is a founding member of the musically eclectic throughout this fascinating disc.” Over the last Sixth Floor Trio, with whom he has toured several seasons, Ieva gave solo recitals in New the country, and soloed with the orchestras of York City, Chicago, Philadelphia, Baltimore, Detroit and Louisville. He has also performed Washington, DC, Vilnius, and in Toulouse, with Jupiter Symphony Chamber Players, at and made her orchestral debuts with the the Kingston and Chesapeake Chamber Music Chicago Symphony and in Rio de Janeiro, Festivals, among others. As a pedagogue, Brazil. Ieva’s piano trio—Trio Cavatina—won Harrison has taught classes at the Manhattan the 2009 Naumburg International Chamber School of Music and the Chautauqua Music Music Competition. Ieva released her latest Festival, and has played with the Orpheus recording, Returning Paths: solo piano works Chamber Orchestra, the Orchestras of St. by Janacek and Suk, in 2014. Luke’s, Mostly Mozart, and the Metropolitan Ieva’s collaborative endeavors have brought Opera, and the Chautauqua Symphony. her to major stages around the world, such as Harrison is also a conductor of “polish, vigor, Carnegie Hall’s Stern Auditorium, London’s and energy” (The New York Times), and serves Wigmore Hall, and Washington DC’s Kennedy as music director at New York’s Redeemer Center. She regularly appears at international Presbyterian Church, as guest conductor at music festivals including Marlboro, Ravinia, the New York City Ballet, and formerly as the Bard, Caramoor, Chesapeake Chamber Music, music director of the Columbia Bach Society Prussia Cove in England, and the Katrina and the assistant conductor and conducting Festival in Finland. fellow of the New York Youth Symphony. Earning degrees from the Curtis Institute of Harrison also plays fiddle with his Downtown Music and from Mannes College of Music, her Folk Band and all around New York City. principal teachers have been Seymour Lipkin He lives in Manhattan with his wife Leah, and Richard Goode. Last fall, Ieva began a violist, and their two children, Jacob and her tenure as assistant professor, Piano at Hannah Grace. Shenandoah Conservatory in Winchester, VA. 12 ∫
Michael Kannen Yura Lee CELLO VIOLIN, VIOLA
Cellist MICHAEL KANNEN has Violinist/violist YURA LEE is a multi-faceted distinguished himself as a musician and musician. She is known both as a soloist educator of uncommon accomplishment and as a chamber musician. She is equally who is comfortable in widely diverse musical known as both a violinist and violist. Yura has situations and venues. performed with major orchestras including He was a founding member of the Brentano those of New York, Chicago, Baltimore, String Quartet and for seven years performed Cleveland, San Francisco, Los Angeles. She with that group on concert stages around has given recitals in London’s Wigmore Hall, the world, on radio and television, and on Vienna’s Musikverein, Salzburg’s Mozarteum, recordings. During those years, the Brentano Brussels’ Palais des Beaux-Arts, and the Quartet was awarded the first Cleveland Concertgebouw in Amsterdam. At age 12, Quartet Award, the Naumburg Chamber Yura became the youngest artist ever to Music Award, a Royal Philharmonic Award receive the Debut Artist of the Year prize at the and was the first participant in the Chamber Performance Today awards given by National Music Society of Lincoln Center II program. Public Radio. She is the recipient of the 2007 Mr. Kannen continues to perform chamber Avery Fisher Career Grant, and the first prize music around the country as a member of the winner of the 2013 ARD Competition. Apollo Trio, on period instruments with the Yura received numerous other international Houston-based group Context and at major prizes, including top prizes in the Mozart, music festivals such as Yellow Barn, Chamber Indianapolis, Hannover, Kreisler, Bashmet, Music Northwest, Portland Chamber Music and Paganini competitions. Her CD Mozart Festival and the International Musicians in Paris, with Reinhard Goebel and the Seminar in Prussia Cove, England. Bayerische Kammerphilharmonie, received Mr. Kannen has collaborated with such artists the prestigious Diapason d’Or Award. As a as Jessye Norman, Phyllis Bryn-Julson, Sergiu chamber musician, she regularly takes part in Luca, Donald Weilerstein, Pamela Frank, Leon the festivals of Marlboro, Salzburg, Verbier, Fleisher, Mitsuko Uchida, Peter Frankl, Paula La Jolla, Music@Menlo, Chamber Music Robison, David Krakauer, Jörg Widmann, Northwest, Caramoor, and others. Her main Steven Isserlis, and with jazz artists Michael teachers included Dorothy DeLay, Hyo Kang, Formanek and Uri Caine. Miriam Fried, Paul Biss, Thomas Riebl, Ana His activities range from performances on Chumachenko, and Nobuko Imai. Ms. Lee period instruments to premieres of the music is a member of the Chamber Music Society of our time. He has recorded for the CRI and of Lincoln Center, and the Boston Chamber Azica labels. Mr. Kannen has served on the Music Society. faculties of Dartmouth College and the Ms. Lee is professor of violin at the Purchase College Conservatory; he is currently Hochschule für Musik in Dresden, Germany. the director of chamber music at the Peabody She divides her time between New York and Conservatory of Music, where he holds the Dresden. Sidney Friedberg Chair in Chamber Music.
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Maria Lambros Anthony Manzo VIOLA BASS
Violist MARIA LAMBROS has performed Despite the obvious challenges of traveling as a chamber musician throughout the world with a double bass, ANTHONY MANZO in venues such as the Concertgebouw in remains a sought-after chamber musician Amsterdam, London’s Wigmore Hall, the who performs at such noted venues as The Konzerthaus in Vienna, New York’s Lincoln Chamber Music Society of Lincoln Center, Center and Weill Recital Hall at Carnegie Hall, the Spoleto Festival in Charleston South and the Library of Congress in Washington, Carolina, Bay Chamber Concerts in Rockport DC. She was a member of the renowned Ridge Maine, and the Chesapeake Chamber Music String Quartet, which was nominated for the Festival. Mr. Manzo is also the Solo Bassist 1993 Grammy Award for Best Chamber Music of San Francisco’s New Century Chamber Performance for their recording of the Dvořák Orchestra and a regular guest artist with Piano Quintets with pianist Rudolf Firkusny. the National Symphony Orchestra and the The recording won Europe’s prestigious Smithsonian Chamber Society near his home Diapason d’Or in the same year. She was also in Washington, DC. a founding member of the Naumburg Award- winning Meliora String Quartet, which was Formerly the Solo Bassist of the Munich Quartet-in-Residence at the Spoleto Festivals Chamber Orchestra, he still returns often of the US, Italy, and Australia, and which to Europe, frequently performing with recorded Mendelssohn’s Octet with the the Camerata Salzburg in Austria, where Cleveland Quartet on the Telarc label. She was collaborations have included their summer most recently a member of the Mendelssohn residency at the Salzburg Festival, as well as String Quartet, which held residences at two tours as double bass soloist alongside Harvard University and New York’s Town bass/baritone Thomas Quasthoff in Mozart’s Hall and is currently the violist with the New Per questa bella mano (with performances York based chamber ensemble, La Fenice. in Salzburg, Paris, Vienna, Budapest, and Ms. Lambros has appeared at a number of Istanbul). major chamber music festivals, including He is also an active performer on period Yellow Barn, Chesapeake, Aspen, Vancouver, instruments with groups including The Santa Fe, Tanglewood, La Jolla, Caramoor, Handel and Haydn Society of Boston and Helsinki, Norfolk, Rockport, Skaneateles, Opera Lafayette in Washington, DC, and is Chamber Music West, New York’s Mostly a member of the double bass and chamber Mozart Festival and the Four Seasons music faculty of the University of Maryland. Chamber Music Festival. She has performed His double bass, made in Paris around 1890, with Guarneri, Cleveland, Juilliard, Muir, now has a removable neck for travel! Brentano, Borromeo, and Orion Quartets, among others. She will be recording the two Brahms viola quintets with the New Zealand Quartet in 2016. Ms. Lambros currently teaches chamber music at the Peabody Conservatory and is a faculty member of the Yellow Barn Music School. 14 ∫
Robert McDonald Daniel Phillips PIANO FLUTE
ROBERT MCDONALD has toured extensively TARA HELEN O’CONNOR is a charismatic as a soloist and chamber musician throughout performer noted for her artistic depth, brilliant the United States, Europe, Asia, and South technique, and colorful tone spanning every America. He has performed with major musical era. Winner of an Avery Fisher Career orchestras in the United States and was the Grant and a two-time Grammy nominee, she recital partner for many years to Isaac Stern and is now a season artist of the Chamber Music other distinguished instrumentalists. Society of Lincoln Center. A Wm. S. Haynes flute He has participated in the Marlboro, Casals, and artist, Tara regularly participates in the Santa Luzerne Festivals, the Chamber Music Society Fe Chamber Music Festival, Music@Menlo, at Lincoln Center, and has broadcasted for BBC the Chamber Music Festival of the Bluegrass, Television worldwide. He has appeared with the Spoleto USA, Chamber Music Northwest, Takács, Vermeer, Juilliard, Brentano, Borromeo, Mainly Mozart Festival, Music from Angel Fire, American, Shanghai, and St. Lawrence string the Banff Centre, the Great Mountains Music quartets as well as with Musicians from Festival, Chesapeake Music Festival and the Marlboro. Bravo! Vail Valley Music Festival. His discography includes recordings for Sony A much sought after chamber musician and Classical, Bridge, Vox, Musical Heritage Society, soloist, Tara is a founding member of the ASV, and CRI. Mr. McDonald’s prizes include Naumburg Award-winning New Millennium the Gold Medal at the Busoni International Ensemble, a member of the woodwind quintet Piano Competition, the top prize at the William Windscape and the legendary Bach Aria Group. Kapell International Competition and the She has premiered hundreds of new works Deutsche Schallplatten Critics Award. and has collaborated with the Orion String Quartet, St. Lawrence Quartet and Emerson His teachers include Theodore Rehl, Seymour Quartet. Tara has appeared on A&E’s “Breakfast Lipkin, Rudolf Serkin, Mieczyslaw Horszowski, for the Arts,” Live from Lincoln Center and Beveridge Webster, and Gary Graffman. He has recorded for Deutsche Grammophon, holds degrees from Lawrence University, the EMI Classics, Koch International, CMS Studio Curtis Institute of Music, The Juilliard School, Recordings with the Chamber Music Society of and the Manhattan School of Music. A member Lincoln Center and Bridge Records. of the piano faculty at the Juilliard School since 1999, Mr. McDonald joined the faculty of the Tara is associate professor of flute, head of the Curtis Institute of Music in 2007, where he holds wind department and coordinator of classical the Penelope P. Watkins Chair in Piano Studies. music studies at Purchase College Conservatory of Music. Additionally Tara is on the faculty During the summer, he is the artistic director of of Bard College Conservatory and the the Taos School of Music and Chamber Music contemporary program at Manhattan School of Festival in New Mexico. Music and is a visiting artist, teacher and coach at the Royal Conservatory of Music in Toronto.
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Maiya Papach Peggy Pearson VIOLA OBOE
MAIYA PAPACH is the principal violist of The Oboist PEGGY PEARSON is a winner of Saint Paul Chamber Orchestra. She has made the Pope Foundation Award for Outstanding frequent national and international Accomplishment in Music. Lloyd Schwartz, appearances as a chamber musician, with a who received the 1994 Pulitzer Prize for versatile profile in her performances of both Criticism, called her “my favorite living traditional and contemporary repertoire. A oboist.” Peggy has performed solo, chamber, member of the orchestra since 2008, she has and orchestral music throughout the United made solo appearances with the SPCO in States and abroad. She is solo oboist with the Woolrich’s Ulysses Awakes, Mozart’s Sinfonia Emmanuel Chamber Orchestra. She is also a Concertante with concertmaster Steven Copes, member of the Bach Aria Group. According solo directed Benjamin Britten’s Lachrymae to Richard Dyer of the Boston Globe, “Peggy and will perform Schumann’s Marchenbilder Pearson has probably played more Bach than with pianist Jeremy Denk this fall. Papach is a any other oboist of her generation…” Ms. founding member of the International Pearson is the founding director of, and oboist Contemporary Ensemble (ICE), with whom she with, Winsor Music, Inc., and also a founding has performed frequently at Lincoln Center’s member of the chamber group La Fenice. Mostly Mozart Festival, New York’s Le Poisson She has toured internationally and recorded Rouge, Chicago’s Museum of Contemporary with the Orpheus Chamber Orchestra, Art, and experimental venues. She has toured has appeared with the Boston Symphony in the former Soviet Union with the Da Capo Orchestra, St. Paul Chamber Orchestra, the Chamber Players, across North America with Musicians from Marlboro, and has made Orchestra of St. Luke’s as principal oboist, the appearances at Prussia Cove (UK), the Boston Chamber Music Society of Lincoln Center, and Chamber Music Society, the Chesapeake Music from Marlboro. Peggy Pearson has been Chamber Music Festival, the Chattanooga an active exponent of contemporary music. Chamber Music Festival, and Chamber Music She was a fellow of the Radcliffe Institute Quad Cities. She is currently a member of in contemporary music and has premiered Accordo, a Twin Cities-based chamber music numerous works. As artistic director of Winsor group now in its seventh season. Papach is a Music, Inc., Ms. Pearson organized the Winsor 2013 recipient of the McKnight Fellowship for Music Consortium (a project to commission Performing Musicians administered by the works for oboe) and has premiered over 20 MacPhail Center for Music, and will perform a works in her chamber music series. viola concerto written by Anthony Cheung at She has been on the faculties at Songfest, the the Aspecte Festival in Salzburg, Austria, as Tanglewood Music Center (Bach Institute), well as the Mostly Mozart Festival in New York Boston Conservatory, MIT, the Conservatory City. She is a graduate of the Oberlin of Music (University of Cincinnati), Wellesley Conservatory and The Juilliard School. Her College, the Composers Conference at principal teachers include Roland Vamos, Wellesley College and the Longy School of Karen Tuttle, Benny Kim, and Hsin-Yun Huang. Music of Bard College. She is currently on the She performs on a 19th century Turinese viola faculty of the Bach Institute. by Annibale Fagnola. 17 experience | savor | realize
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Daniel Phillips Diane Walsh VIOLIN PIANO
DANIEL PHILLIPS began studying violin at The award-winning Steinway Artist age four with his father, a violinist in the DIANE WALSH has performed concerti, solo Pittsburgh Symphony. He studied with Ivan recitals and chamber music concerts Galamian and Sally Thomas of Juilliard and worldwide. Reviewers have praised her later with Sandor Begh and George Neikrug. “soulful outpouring,” “intelligent virtuosity” He won the Young Concert Artists Audition in and “exquisite care and loving touch.” 1976. He made his Carnegie Hall debut in 1982 She appeared with the American, Austin, with the New York String Orchestra. Solo Delaware, Indianapolis, San Francisco and performances in Avery Fisher Hall, Alice Tully Syracuse symphonies, Berlin, Frankfurt, Hall, the Kennedy Center in Washington, DC, Munich, and Stuttgart radio symphonies, and and Boston’s Symphony Hall soon followed. Orpheus, St. Luke’s and Prague Virtuosi He is a founding member of the Orion String chamber orchestras. She has given recitals in Quartet, in residence at the Chamber Music major venues throughout North America, Society of Lincoln Center. The Quartet has Canada, South America, Europe and Russia, recorded the complete Beethoven quartets and made summer festival appearances at the four quartets of the great recently deceased Marlboro, Santa Fe, Bard, Chesapeake, among American composer, Leon Kirchner. Works many others, and led the Skaneateles Festival written for the Quartet by Wynton Marsalis, as artistic director from 1999 to 2004. Chick Corea, John Harbison, and Marc Neikrug She has performed Beethoven’s Variations on are available on CD. They recently played a a Waltz of Diabelli well over 200 times, in the week of concerts devoted to Brahms at the new Broadway production of Moisés Kaufman’s King Place Concert Hall in London. Recently, 33 Variations, starring Jane Fonda, and in they collaborated in a two-week run with the three other productions in Washington, La Jolla Bill T. Jones/Arnie Zane Dance Company and and Los Angeles. completed their first tour of Japan. They appeared at the court of Esterházy in Austria, Ms. Walsh has made 18 recordings, including where Haydn wrote most of his string quartets. the Diabelli Variations, two volumes of Schubert Sonatas, and piano works by Barber, Mr. Phillips appears regularly at the Santa Fe Bartók, Prokofiev and Martin. Her latest album Chamber Music Festival, Chamber Music is a selection of Bach keyboard suites. Northwest, Spoleto USA, and the International Musicians Seminar in Cornwall, England. In She was associate professor at Mannes College 1985, he toured and recorded a string quartet of Music for 32 years, and in the fall of 2015 with Gidon Kremer, Kim Kashkashian, and was Visiting Artist at Colby College. She is a Yo-Yo Ma. He is professor of violin at the Aaron founding member of the quintet La Fenice and Copland School of Music at Queens College, the Walsh-Drucker-Cooper Trio; both groups CUNY, and is on the faculty of the Mannes debuted in 2001. Diane Walsh lives in Portland, College of Music and Bard College Conservatory. Maine, with her husband, the writer Richard Currently, he is visiting international violin chair Pollak. Her coming season includes debuts at the Royal Welsh College of Music and Drama. with the Portland Symphony Orchestra and the New Bedford Symphony. 19 ∫
OPENING CONCERT | CHRIST CHURCH Easton, Maryland Sunday, June 5, 2016 5:30 p.m.
District5 Wind Quintet Laura Kaufman, flute Alison Lowell, oboe Nina Elhassan, clarinet Eddie Rumzis, bassoon Laura Crook Brisson, horn Q
Franz Liszt Transcendental Étude No. 5 – “Feux Follets” (1811-1886) (trans. David Plylar)
Ludwig van Beethoven Creatures of Prometheus, Op. 43 (1770-1827) (trans. Guido Schäfer)
Ferruccio Busoni Giga, Bolero e Variazione – Mozart Study (1866-1924) (trans. David Plylar)
Wolfgang Amadeus Mozart Fantasia in f minor, K. 608, for Mechanical Organ (1756-1791) (trans. Franz Vester)
Frédéric Chopin Preludes, Op. 28, Book 1 (trans. David Plylar) (1810-1849)
This concert is generously underwritten by Mr. & Mrs. Richard C. Granville Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
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PROGRAM NOTES FOR JUNE 5, 2016 Franz Liszt Ludwig van Beethoven Transcendental Étude No. 5 – “Feux Creatures of Prometheus Op. 43 Follets” (trans. David Plylar) (trans. Guido Schäfer)
Look on any list of “most difficult piano The Creatures of Prometheus was born when pieces,” and the Transcendental Études are Neapolitan choreographer Salvatore Viganò likely to be near, if not at, the top. Liszt’s piano met with Beethoven in 1800 and invited him compositions in general are some of the most to join in creating a new ballet. Beethoven, technically challenging ever written, but these approached at precisely the right time as he are phenomenally so. Liszt began work on was in need of money and eager to write a them in 1824 when he was just thirteen years substantial stage work, agreed. old. He originally visualized a grand cycle Beethoven’s and Viganò’s visions for the work of 48 études in all the major and minor keys, clashed when Beethoven wished to emphasize but only twelve were in the set he published Prometheus’ rebellious nature and his in 1826. Twelve years later, during the height punishment for disobeying the Gods. Viganò of his renown as one of the greatest piano refused this idea, fearing it would offend virtuosos in history, he revised the Études, the sensibilities of an aristocratic audience. vastly increasing their technical difficulty. In the end, critics savaged the ballet as “too Schumann called the 1838 version “studies in demanding of the intellect” of an audience storm and dread designed to be performed by, looking to ballet for pleasant diversion. They at most, ten or twelve players in the world.” also felt that Beethoven’s music overwhelmed Perhaps their notorious difficulty was cutting the dancing. Nevertheless, it was a success into sales, or perhaps Liszt simply took pity with the public and was given twenty-three on pianists—whatever the reason, in 1852 times in Vienna between 1801 and 1802. he returned to the music one more time, Viganó revived the ballet in 1813 in Milan, but revising to make them somewhat less difficult. with only a portion of Beethoven’s original It is this edition, titled Études d’exécution score, using instead music written by himself transcendante that is generally performed by and several others. pianists today (and is still within the reach of only the most proficient). The playbill for the first performance provided this synopsis: Feux Follets, or “Wills o’ the Wisp,” is a textual tapestry of runs (32nd double notes, This allegorical ballet is based on the myth marked Allegretto in the right hand with wide of Prometheus. The Greek philosophers, broken intervals in the left), swirls, staccatos who knew of him, elucidate the story in the meant to convey a flitting, whimsical, following manner—they depict Prometheus as somewhat mysterious atmosphere. a lofty spirit who, finding the human beings of his time in a state of ignorance, refined them David Plylar, an accomplished (and award- through art and knowledge and gave them winning) composer, scholar, pianist, and laws of right conduct. In accordance with educator has created a masterful transcription this source, the ballet presents two animated of Feux Follets for wind quintet that enriches statues who, by the power of harmony, the textural density while still capturing all are made susceptible to all the passions of the fancy and verve of the original. human existence. Prometheus takes them to Parnassus, to receive instruction from Apollo, (continued) 21 ∫
PROGRAM NOTES FOR JUNE 5, 2016 god of the arts, who commands Amphion, melodies: the Giga on Eine kleine Gigue, Arion, and Orpheus to teach them music; K. 574; the Bolero on the fandango in the Melpomene and Thalia, tragedy and comedy. Act III finale ofThe Marriage of Figaro; and Terpsichore aids Pan, who introduces them the Variazione as a variation on the gigue to the Pastoral Dance, which he has invented, theme. Typical of Busoni’s adaptations, this and from Bacchus they learn his invention— work evidences roots in the Classical style, the Heroic Dance. Romantic harmonic characterizations, and The Overture is generally the only portion hints of modernism. of the ballet now performed in concert. It starts with a series of magnificently dissonant Wolfgang Amadeus Mozart chords, moving quickly through an heroic Fantasia in f minor, K. 608, for Mechanical adagio into the sparkling perpetuum mobile of Organ (trans. Franz Vester) the allegro. Tabletop mechanical clocks with small pipe Ferruccio Busoni organs built into them were in vogue in the late 18th century, and the nobility were fond of Giga, Bolero e Variazione – Mozart Study commissioning works for them. The Fantasia (trans. David Plylar) in f minor was one of three commissioned Ferruccio Busoni (1866-1924) was an from Mozart around 1790. Mozart disparaged extraordinarily gifted, innovative, and prolific this work as “a kind of composition which I musician—and often quite a controversial detest . . . the works [of the instrument] consist one. In his early years, his compositions were solely of shrill little pipes, which sound too written mainly in the late Romantic style, but high-pitched and too childish for my taste” he soon developed more individuality and and was able to finish the work only by dint began incorporating atonality. At first, these of imagining himself able to “slip a few ducats works were met with disdain; the public into the hand of my dear wife.” was startled by the “ugliness” of the music Nevertheless, the piece took on a life of its and condemned it for being “a scandalous own, becoming quite popular in transcriptions outgrowth of modernism.” A decade later, for piano two and four hands, for organ, however, those same works were embraced string quartet, orchestra and other instrument with great enthusiasm, their modernism combinations. A copy even found its way into now seen as immense imaginativeness and Beethoven’s hands, where it found yet another innovation. life in Beethoven’s version of the fugue th Like Liszt two generations before him, Busoni section. By the 19 century, it had become a was recognized as one of the most prodigious well-known and influential piece. piano virtuosos of his time. And like Liszt, The Fantasia begins with a prelude in f minor, Busoni arranged and transcribed many punctuated by full chords, dotted rhythms, works for piano solo. Busoni’s transcriptions and fugue in the style of the French Overture differ, however, in being more precise and developed in the 1650s. The middle andante penetrating. is in A-flat major, the relative major of the The Giga, Bolero e Variazione was published f minor prelude. The prelude then re-enters, as Book 3 of Busoni’s An die Jugend and followed by the fugue with a co-developing comprises transcribed, freely adapted, and additional subject. The prelude returns original music based on three Mozartian once more, leading to the short coda ending
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PROGRAM NOTES FOR JUNE 5, 2016 the piece. It has been said that “Mozart’s spaces who had become accustomed to the technique and invention in this medium rival works of Schubert and Beethoven, and to “the the mathematical precision which created the piano-bashing of local artists.” Fortunately, interlocking gears of the mechanism for which an introduction to the Rothschild family the Fantasia was written.” led to new opportunities as a recitalist and teacher in the great houses of Paris. This also Frédéric Chopin allowed him greater financial freedom (and Preludes, Op. 28, Book 1 freedom from the public performances he so (trans. David Plylar) disliked), giving him more time for teaching and composing, though his bouts of ill health Chopin was born Fryderyk Franciszek Szopen were becoming more and more frequent. in 1810, to a middle-class family in the village Always considering himself a Polish emigré, of Zelazowa Wola in what is now Poland. He his music was inspired by his own story and was introduced to music at an early age by his that of his homeland’s glories and sufferings, mother, and to cultured society by his father, and the influence of the traditional rhythms who worked as a tutor for aristocratic families and melodies he heard in his youth is evident in Warsaw. Young Frédéric quickly surpassed throughout the wide-ranging genres his the professional musician his family hired work comprehends. His final performance, to to teach him and was performing in elegant benefit Polish refugees, took place at Guildhall salons, and had written several compositions, in London in November 1848. He died in including the Polonaise in g minor, by the Paris the following year and was buried at the time he was eight. During summer holidays cemetery of Pére Lachaise—all but his heart, spent with friends in various parts of the which was interred at the Church of the Holy country, he took particular interest in local folk Cross in Warsaw. songs, instruments, and dances, absorbing the The twenty-four Op. 28 preludes, one in each distinct tonalities and rhythms of authentic of the twenty-four major and minor keys, Polish folk music. were composed between 1835 and 1839 as he Chopin studied at the Warsaw Conservatory began to struggle with his declining health of Music before moving to Vienna and due to tuberculosis. While the term “prelude” making his performance debut in 1829. He had previously referred to an introductory began performing throughout Europe and piece, Chopin gave new meaning to the genre intended to visit Germany and Italy to further title—his preludes are self-contained pieces, his studies, but the Polish revolt against each expressing a specific idea or emotion. Russian rule and the general instability in And his publication of the 24 preludes as a Europe, deterred him. He headed instead to single Op., playable as self-standing works, Paris, where he settled in 1831 and became challenged the prevailing notion of that such part of a circle which included Franz Liszt, short musical forms were, as Schumann said, Felix Mendelssohn, Hector Berlioz, Vencenzo “ . . . sketches, beginnings of études, or, so Bellini, and other renowned artists. to speak, ruins, individual eagle pinions, all disorder and wild confusions.” Franz Liszt Chopin’s piano performances were noted recognized the power in the pieces, however, for their sensitivity and nuance. He found, calling them “compositions of an order entirely however, that his delicate touch and apart . . . they are poetic preludes, analogous expressive playing were not necessarily to those of a great contemporary poet, who to the tastes of audiences in larger concert cradles the soul in golden dreams....”
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ARTIST SHOWCASE I | ACADEMY ART MUSEUM Easton, Maryland Tuesday, June 7, 2016 5:30 p.m. Q
Ludwig van Beethoven Seven Variations on ‘Bei Männern, welche (1770-1827) Liebe fühlen’, WoO 46 Maria Lambros and Diane Walsh
Hugo Wolf Lieder (1860-1903) Auf einer Wanderung Verborgenheit Mausfallen-Sprüchlein Du denkst, mit einem Fädchen Nachtzauber J. Lawrie Bloom and Diane Walsh
Carl Reinecke Trio in A Major for Clarinet, Viola and Piano, (1824-1910) Op. 264 Moderato – Allegro Intermezzo: Moderato Legende: Andante Finale: Allegro moderato Diane Walsh, J. Lawrie Bloom, Maria Lambros
This artist showcase is generously underwritten by Harold and Martha Quayle Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
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ARTIST SHOWCASE II | OXFORD COMMUNITY CENTER Oxford, Maryland Thursday, June 9, 2016 5:30 p.m. Q
Wolfgang Amadeus Mozart Duo for Violin and Viola in G Major, (1756-1791) K. 423 Allegro Adagio Rondeau: Allegro Yura Lee and Catherine Cho
Ludwig van Beethoven String Quintet in C Major, Op. 29 (1770-1827) Allegro moderato Adagio molto espressivo Scherzo: Allegro Presto Catherine Cho, Yura Lee, Maria Lambros, Ara Gregorian, Michael Kannen
This artist showcase is generously underwritten by Joseph and Dixie Schulman Sam and Rosemary Trippe Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
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CONCERT | AVALON THEATRE Easton, Maryland Friday, June 10, 2016 8:00 p.m. Q
Ludwig van Beethoven Piano Trio in B-flat Major, Op. 11 (1770-1827) Allegro con brio Adagio Tema con variazione Diane Walsh, J. Lawrie Bloom, Michael Kannen
John Heiss Microcosms for Oboe and String Trio (b. 1938) Peggy Pearson, Ara Gregorian, Yura Lee, Michael Kannen
Johannes Brahms Piano Quartet in g minor, Op. 25 (1833-1897) Allegro Intermezzo: Allegro ma non troppo Andante con moto Rondo alla Zingarese: Presto Ieva Jokubaviciute, Catherine Cho, Yura Lee, Marcy Rosen
This concert is generously underwritten by Norman H. and Ellen K. Plummer Benson & Mangold Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
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PROGRAM NOTES FOR JUNE 10, 2016 Ludwig van Beethoven John Heiss Piano Trio in B-flat Major, Op. 11 Microcosms for Oboe and String Trio
Beethoven, best known for his larger John Heiss is an active composer, conductor, orchestral works, is a composer who straddled flutist, and teacher. He has been a faculty two musical periods. Technically, he is member at New England Conservatory since classified as a classical composer, though he 1967, serving as contemporary ensemble is also frequently cited as the first composer director and teaching theory, music history, of the Romantic period. Piano Trio in B-flat composition, flute, and chamber music. Major, Op. 11 (1797) is an example of his His compositions have been performed earlier work, as is his Trio op. 38 (1803). worldwide, and he has received numerous The work, comprising three movements, is awards and commissions. Heiss has been sometimes referred to as the Gassenhauer principal flute of Boston Musica Viva and Trio. This nickname is derived from the third has performed with many local ensembles, movement which includes nine variations including the BSO. based on a theme from the popular opera His first composition for string quartet, L’amor Marinaro by Joseph Weigl. So popular Microcosms, was commissioned by Excelsa was this melody, “Pria chi’io li’impegno” Quartet and premiered at the New England (“Before I go to work”), that it could Conservatory on June 12, 2015. Peggy Pearson frequently be heard being sung or whistled was so taken with the composition that by people in the “Gasse,” or lanes, of Vienna. she asked Heiss to create an oboe version, Such a tune, popularized independently of which she premiered with her Winsor Music its compositional origins, was known as a ensemble in October 2015. Microcosms derives “Gassenhauer,” which loosely translates to from one of Heiss’s earlier works, Whimsies, “hit” or “success.” and like that earlier work is made up of eight Trio, Op. 11, while originally scored for piano, short movements which gradually increase clarinet, and cello, was also published in in length from barely half a minute to just a version featuring the violin as the treble around three minutes. Microcosms also shares instrument. It is often considered atypical of the same whimsical sense of humor as its Beethoven’s work in that it is described as predecessor, including, as Heiss has said, gentle, lyrical, playful, and yes, light. While “in-jokes . . . which I think make it funny to the opinions of Beethoven’s contemporaries the musicians in ways that the audience will ranged from “easy” and “more melodius” perceive as funny without maybe knowing to “difficult” and “unnaturally composed,” why.” These excerpts from a recent interview modern critics generally consider it to be with Heiss, talking about why he named the a delightful work. However, one question movements as he did, might give the audience has surely surfaced: If you didn’t know it some clues: was Beethoven, would you know it was I wrote only in clustered harmony with half- Beethoven? steps and whole-steps in the first movement, so I simply called it “Clustered.” The second movement is a little canon, an imitation, just for two voices, but made into four voices with the quartet, of course, so you get to hear it with much more richness via
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PROGRAM NOTES FOR JUNE 10, 2016 octaves that you wouldn’t hear in the original. “Free.” This one is more improvisational and I called it “Diatonic-Canonic.” It’s also got a more investigative of odd sonorities. Each Renaissance cadence at the end that usually player gets to have a little solo and they kind makes everyone laugh. All of a sudden, there of interact a bit, but it’s more about larger are Machaut and Landini smiling at you from spaces between the players and larger spaces the fourteenth century! It’s the cadence where between the gestures in the music. the melodic voice goes “8-7-6-8” and then Next, I was wondering how to finish, and “2-1” underneath then “sharp 4-5” in an it hit me right away what to do. The last inner voice, which makes it sound like it movement of Pierrot Lunaire is called “O couldn’t possibly come from anything in the alter duft,” “Oh olden fragrance from days of tonal period. yore, return to me again, and intoxicate my The third movement is called “Enharmonic,” senses as you did in my youth.” It’s about meaning there’s a long G-sharp in the the return to, or the desire to have, tonality beginning of the piece, which changes to come back. It’s very wistful, and nostalgic, A-flat, and back to G-sharp, and back to A-flat, it’s a hauntingly beautiful movement. Pierrot and I have the oboe play melodic lines that is of course, forty-five minutes of the greatest consist mainly of tones whose harmony is music that’s ever been written, and it ends changing their meaning right while they’re that way, with a kind of haunting nostalgia. being played. As you know, a C# and D-flat It almost makes a cadence in E major, the key are of course the same note, the same pitch of [Arnold Schoenberg’s] chamber symphony, on the piano, but they have a completely but it doesn’t quite do that. So I tried to get different universe of color and meaning. So the same idea of getting almost in a key, but “enharmonic” means the possibility of a tone not quite. . . . I wrote “Homeward Bound” having different meanings depending upon (Fantasy on Pierrot) as an homage to that how it’s set. Once you start playing around movement in the Schoenberg . . . It’s illusory with that, one note can be harmonized about and allusive. . . . There’s a sense of the players seven or eight different ways. So I got going re-joining after the movement in which they on that as an idea, and I wrote the piece called were separated. It has what I will call the “Enharmonic,” which is not as funny, maybe, harmony of atonality, which is, when there is as some of the other pieces, but it’s got a little harmony, and I think there always should be, twist to it. it is haunting and beautiful and alluring. “Octatonic”— that’s the eight-note scale And just one last note from Heiss, in reference that pervades the work of a lot of composers to concert-going in general: “Bring an open from the first half of the twentieth century: mind, read the program notes, listen to what Stravinsky, Bartók and Messiaen in particular. the composer had to say, ask the players, and “Lyric”—a soaring melody with wonderful, keep doing it over and over and over again. strange, jazz-harmony flavors underneath it. Look for something new and see if you get rewarded for it.” . . . the movement that has the cuckoo sound in it . . . is called “Stuck.”. . . the upper two notes of a waltz figure are the cuckoo’s notes; these can be a calling interval in music. So I made a pun on falling thirds and how they beckon you. (continued)
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PROGRAM NOTES FOR JUNE 10, 2016
Johannes Brahms Evident in this first piano quartet of Brahms, and setting a precedent in chamber music (as Piano Quartet in g minor, Op 25 well as paving the way for atonality), is what Shortly after meeting Brahms for the first Schoenberg described as “developing time, Schumann wrote in the music journal variation.” The work is thoroughly self- Neue Zeitschrift für Musik that the 20-year- contained and self-referential, every part old composer was “destined to give ideal growing out of and referring back to the same expression to the times.” That he did thematic material. The first movement of the indeed, and all the paradox and power of quartet also contains what has been cited as the Romantic Era, and of Brahms himself, is the earliest example of Brahms’ trademark evident in the Piano Quartet in g minor, innovation in the sonata form, the unaltered Op. 25. This piece is in many ways emblematic reiteration of the principal theme at the of the musical influences on and of Brahms beginning of the development, with an —strongly rooted in the highly structured abbreviated recapitulation. Classical forms and influences of Mozart and Brahms initially titled the second movement Haydn while at the same time expressing the Scherzo, but renamed it Intermezzo because same highly emotive Romantic naturalism of its expanded, but more subdued, character. as the later works of Beethoven (whom he This, too, would become a Brahms trademark venerated), but with the addition of bold and an early example of his introspective new explorations of harmony and rhythm all “scherzo substitutes.” Most notable in the his own. third Andante movement is the grand Brahms completed the Piano Quartet in triple-time march which seems to resolve the g minor in 1861, and it was the first of his own harmonic tensions set up by the searchingly chamber works that he played in public. It lyrical sweep of the opening strings. The received mixed reviews when first performed; previously somber mood of the quartet is however, it has grown in popularity further lifted as the final Rondo alla Zingarese throughout the twentieth century as Brahms whirls into what Hungarian violinist Joseph has gained recognition as a (some would Joachim praised as an accurate imitation of argue the) master of Romantic chamber music. Hungarian idioms, finishing the piece with purely passionate Romantic abandonment.
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CONCERT | ACADEMY ART MUSEUM Easton, Maryland Saturday, June 11, 2016 4:00 p.m. La Fenice Diane Walsh Catherine Cho Maria Lambros Marcy Rosen Peggy Parson with guest Michael Kannen Q Joseph Haydn Quartet in G Major, Op. 1, No. 4 (arr. Pearson) (1732-1809) Presto Menuetto Adagio ma non tanto Menuetto Finale: Presto Peggy Pearson, Catherine Cho, Maria Lambros, Marcy Rosen
Lev Mamuya “loosely turing” (b.1997 ) Quintet for Oboe, Violin, Viola, and Two Cellos (World Premiere) Peggy Pearson, Catherine Cho, Maria Lambros, Marcy Rosen, Michael Kannen
Gabriel Fauré Piano Quartet in c minor, Op. 15 (1845-1924) Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto Diane Walsh, Catherine Cho, Maria Lambros, Marcy Rosen
This concert is generously underwritten by Judith Kraines and Dr. Neil Hoffman Out of the Fire Ronya & David Driscoll Sylvia H. Garrett Robert Lonergan Chloe & David Pitard Beth Schucker Sanford & Margaret Young Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
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PROGRAM NOTES FOR JUNE 11, 2016 Joseph Haydn Lev Mamuya Quartet in G Major, Op. 1, No. 4 “loosely turing” (arr. Pearson) Lev Mamuya’s “loosely turing” is loosely Born in Austria in 1732, Joseph Haydn became inspired by a seminal paper about the limits of a prominent composer of the Classical period computation written by Alan Turing.” and was instrumental in the development of He is a nineteen-year old cellist who is chamber music, earning the epithet “Father currently enrolled in a dual degree program of the String Quartet.” Written around at the New England Conservatory of Music 1757, the Quartet in G Major, Op. 1, No. 4 is and Harvard University. He started playing evidence of how quickly, even breathtakingly, the cello at the very young age of three and Haydn’s skill was growing. Although still began playing chamber music at age six while labeled “divertimento,” they are distinct attending the New England Conservatory harbingers of the independent string quartet Prep School. Due to his interest in composition genre Haydn was building towards. Peter at age ten, he began private studies in Bates gives a good description of these salient composition. Over the last 10 years, Lev has characteristics: composed music which has debuted at such In the opening dance-like presto, Haydn events as Winsor Music concerts and at the employs a deft transition from the first subject Rockport Music Festival. His composition group to the second. Rather than have the “loosely turing” has its world premiere at this second group follow the first, he has it, very evening’s concert! Mr. Mamuya’s “loosely much in the fashion of the mature composer, turing,” is set for a quintet: oboe, violin, viola, grow organically from it like a shoot from a and two cellos. burgeoning tree. In the trio of the first minuet, Haydn shows clear signs of his endlessly Gabriel Fauré creative way with using texture to generate Piano Quartet in c minor, Op. 15 humor: the three lower instruments proceed in octaves posing a question, which the first Gabriel Fauré, whose work represents a violin answers with three chords. The adagio transition from 19th-century Romanticism begins with unique echo effects between the to the idioms of the 20th century, composed violins, which then transform themselves into in numerous genres including songs, of a charming canon between the upper and which he wrote nearly a hundred; piano lower strings. The second minuet is notable pieces (preludes, nocturnes, barcarolles, for two reasons: it is livelier than the first, impromptus); a Requiem Mass, the work for for Haydn believed in sometimes speeding which he is best known; and a substantial up that stately dance. More significantly, amount of chamber music, of which the best it also continues the canonic idea from the examples are two piano quartets, two piano previous movement, but in the minor mode. quintets and a string quartet composed The finale is a brisk presto, whose first part shortly before his death. With the exception of follows sonata-form structure; it changes his final string quartet, Fauré’s chamber music key for a mysterious contrapuntal interlude, is dominated by ensembles with piano. In then returns for the recapitulation, as if to say general, his works may be characterized by his “order is restored.” original treatment of harmony, careful use of counterpoint and, in his songs, the meticulous
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PROGRAM NOTES FOR JUNE 11, 2016 fitting of words to music. Though Fauré strings. In time, a more languid melody is freely employed dissonance throughout his introduced by the strings that contributes compositions, he never abandoned tonality. to the playful humor of this movement. In The Piano Quartet in c minor opens with an contrast, the Adagio can be described as Allegro molto moderato that is based on two majestic and profound, serene with a dark principal themes. The first of these, heavy- streak of poignancy. After a stately pavane handed and robust, undergoes chameleon-like that is reflective and somewhat grave, a sense changes of character and mood through a of momentum emerges, then relaxes again subtle series of transformations. The second only to be awakened by a dour chord that theme is lyrical and winsome, weaving a precipitates a disorienting cascade of wide- series of stepwise sequences that define ranging piano arpeggios. A recollection of texture through much of Fauré’s oeuvre. The the elegy settles into the lower strings while playful scherzo movement, Allegro vivo, the piano continues to float upward. The exhibits the dual personalities of a march restless concluding movement is a rhythmic and a waltz. A steady “groove” of watch- tour de force beginning in a minor key, then like precision is created by an obstinate traveling through kaleidoscopic changes bass pattern in the pizzicato strings or the and culminating with a sense of triumph piano’s left hand and a scurrying melodic characterized by grand cadences. figure in the piano’s right hand or the bowed
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CONCERT | CHRIST CHURCH St. Michaels, Maryland Sunday, June 12, 2016 4:00 p.m. Q
Ludwig van Beethoven Trio in E-flat Major, Op. 1, No. 1 (1770-1827) Allegro Adagio cantabile Scherzo. Allegro assai Finale. Presto Ieva Jokubaviciute, Yura Lee, Michael Kannen
Walter Rabl Quartet for Piano, Clarinet, Violin and Cello, (1873-1940) Op. 1 Ieva Jokubaviciute, J. Lawrie Bloom, Ara Gregorian, Marcy Rosen
Fanny Mendelssohn Hensel Piano Trio in d minor, Op. 11 (1805-1847) Allegro molto vivace Andante espressivo Lied. Allegro Finale. Allegro moderato Diane Walsh, Ara Gregorian, Michael Kannen
This concert is generously underwritten by Dorothy Robins Mowry Chesapeake Chamber Music is grateful for her support.
Artists and program selections are subject to change.
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PROGRAM NOTES FOR JUNE 12, 2016
Ludwig van Beethoven appearing, for instance in the emphatic opening chord of the first movement and the Trio in E-flat Major, Op. 1, No. 1 expansive coda that would become one of his In 1792, at twenty-one, Beethoven left his hallmarks. home in Bonn to study with Joseph Haydn in While the first two movements of the E-flat Vienna. He already had a significant number major trio, No. 1 give glimpses of the young of compositions to his credit, though none Beethoven’s internalization of and innovation yet published. He was determined to master upon his musical influences, it is in the third counterpoint and to make a name for himself movement that Beethoven truly beings to both as a composer and a performer. To that put his mark on the music. Beethoven’s end, he devoted himself to his composition somewhat subversive side surfaces in studies with Haydn and became a house guest his substitution of the scherzo—with its and regular performer at the private soirées of rambunctious rhythmic jabs, tonal feints and Prince Karl Lichnowsky, quickly establishing ambiguities, and cat-and-mouse chase of a reputation as a brilliant piano virtuoso and themes—for the standard minuet and trio. improviser. Meanwhile, Beethoven continued Although Haydn had used the term scherzo to work on the piano trios with which he in one of his sonatas, it was Beethoven who planned to make his compositional debut, made it a new standard, making it a regular his perfectionism driving him to revise them feature of his third movements. again and again. And true to himself, Beethoven doesn’t settle Beethoven had carefully calculated what he for a predictable rondo final movement. His would make his Op. 1 and debut publication. Finale. Presto is something of a roller-coaster He knew that the combination of piano, violin, ride, beginning with the piano’s antic upward and cello was a favorite with both audiences leaps of a tenth (which mirror the upwardly and performers, particularly amateur mobile theme in the first movement), to which performers, and therefore almost guaranteed the violin and cello respond and the three the financial success of the piano trio scores. set off on a playful cascade of arpeggios and His calculation was correct, and when he chromatic glissandi. premiered the trios at the Lichnowsky soirées and on the Vienna stage, subsequently Walter Rabl publishing them by subscription in August Quartet for Piano, Clarinet, Violin and 1795, they earned him a tidy profit and the Cello, Op. 1 highest praise. Each of the three trios in Beethoven’s Op. 1 Born in Vienna, Walter Rabl (1873-1940) was is in four movements, rather than the two an accomplished pianist while yet a child. or three hitherto expected in piano chamber He studied music theory and composition in music. Also unique for the time is the Salzburg, graduating with honors from the assertiveness and individuality Beethoven Royal and Imperial State School in 1892. After allows the cello, rather than following the returning to Vienna to study with theorist general practice of merely using it to reinforce Karl Navrati, Rabl enrolled at the German the piano bass line. While the influence University in Prague and at the age of 25, of Mozart and Haydn is felt throughout, earned his doctorate and accepted a position characteristic Beethovian touches are already at the Royal Opera of Dresden as coach and (continued)
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PROGRAM NOTES FOR JUNE 12, 2016 chorus master. It was while he was a student Fanny Mendelssohn Hensel in Prague that he entered this quartet in Piano Trio in d minor, Op. 11 the 1896 competition held by the Vienna Musicians Association, where it was awarded Fanny Mendelssohn-Bartholdy (1805–1847), first prize. Particularly taken with the piece later Fanny Hensel, was a German pianist and was the head judge, Johannes Brahms, who composer. In her lifetime, she composed over recommended it to his own publisher. The 400 pieces of music, though she was severely quartet was released the following year along limited by the attitudes of the time and few with three other works by Rabl. were published before her death—fewer still Rabl’s career as a composer lasted only seven under her own name. more years. In 1903, at only thirty years of Fanny was the first of four siblings, and age, Rabl premiered his last composition, the elder sister of composer Felix Mendelssohn. opera Liane. Although reaction to the opera As a child, Fanny showed every bit of was highly favorable, critical comparisons musical talent and precociousness as did to Wagner’s operas appear to have so her brother Felix, and some (including Felix) discouraged the devoted disciple of Brahms argued that she showed even more. Her that he gave up composing and instead family, however, did not support her taking committed himself to operatic conducting. up a career in music, and her father even After retiring from conducting in 1924 and warned her that while Felix could become a until his death in 1940, he put his prodigious professional musician if he chose, she could piano skills to use accompanying and not do so herself. Felix later became equally coaching many notable singers. unsupportive, writing in 1837: Rabl’s Quartet for Piano, Clarinet, Violin From my knowledge of Fanny, I would say and Cello is the only known 19th century that she has neither inclination nor vocation work scored for these instruments, and he for authorship. She is too much all that a makes excellent expressive use of the inherent woman ought to be for this. She regulates her possibilities in this instrumental grouping. house, and neither thinks of the public nor of Deeply influenced by Brahms and Schumann, the music world, nor even of music at all, until Rabl uses traditional forms, but uses them her first duties are fulfilled. Publishing would more freely and playfully. The quartet’s only disturb her in these, and I cannot say that opening movement is, true to tradition, in I approve of it. sonata form with largely conventional key relationships. The second movement marks On the other hand, Fanny’s husband, a painter a radical departure from standard structure, named Wilhelm Hensel, encouraged her to beginning with a funeral march, progressing continue composing, and Fanny eventually through mazurka, song, fugue, and finally took over the Sunday salon concerts long held ending in a triumphal march. Along the way, at the Mendelssohn home in Berlin. There her Rabl marks six different tempos, two meter works, including several books of piano solos signatures, and multiple textures. The short and songs, found a frequent audience. And it Andantino un poco mosso movement is a was there that her last major work, the Piano simple song without words. In his Allegro con Trio in D minor, written for her sister Rebecka’s brio finale, Rabl returns to first theme motives, birthday, was first performed just a month as in the second movement, uses striking before Fanny’s sudden death from a stroke. meter changes to build rhythmic intensity. It was only after her death that her family took her Piano Trio in D minor to the 36 ∫
PROGRAM NOTES FOR JUNE 12, 2016 publishers Breitkopf and Härtel and allowed movement cadence to the D major key of publication of that and a few of her other the following movement. With the marking compositions under her own name (six of attaca, Fanny immediately sweeps us into the her songs had been published under Felix’s lilting melodies of the third movement, which, name in his two sets of Twelve Songs). Still, reminiscent of Felix’s Songs Without Words, is while any works of hers that were previously aptly titled Lied. Allegretto. published under Felix’s name are now Hensel then uses the common tone of A to attributed to Fanny, most of her compositions move gracefully from the blithely tripping still exist only in manuscript. D Major Allegretto into the more sweepingly The Piano Trio comprises four movements. melancholy D minor of the Finale. Allegro The Allegro molto vivace opens the work moderato. Building slowly, but dramatically, with a restless current of swiftly swirling with exotic cross-rhythms and bold sixty- piano figures upon which rides the broadly fourth-note runs traversing both hands in the yearning melody of the strings. The more piano, the fourth movement takes a Rondo sedate piano solo which opens the Andante form, exploring and echoing the principal espressivo settles the listener into the quieter, theme first enunciated in the piano. Swiftly, more introspective mood of the second sometimes suddenly, accelerating and movement, in which Hensel explores the decelerating tempo changes once again create harmonic connections between its key of a current carrying the harmonic variations A major and D major, finally concluding wildly, but safely, into a final, almost with two short chords which set up a cross- triumphant D major chord. Senior High. Whether it’s hobbies, travel, volunteerism, cultural excursions or sports, live life on your terms.
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37 Endow a Chair: Give the gift of music to last a lifetime Take center stage by endowing a musician’s chair at Chesapeake Music’s Chamber Music Festival. Our musicians are among the finest to perform world-wide. Support their artistry and share your passion for a particular instrument by endowing a chair in your name or in honor of someone special to you.
All chair endowers will: • Be listed alongside the name of the musician in our festival program AVAILABLE • R eceive recognition on the Chamber Music Festival’s CHAIRS: webpage Cello • R eceive a special thank you from the musician who Piano occupies your chair Violin Donations toward a chair can be prorated and paid Viola over a five-year period, if desired. The naming privilege Oboe lasts for 10 years. Flute We are pleased to announce a donation has been Bass received to name the Clarinet chair, The Robert Bassoon Reynolds Clarinet Chair held by J. Lawrie Bloom, French Horn Founding Artistic Director. Our thanks to Mrs. Phoebe C. Reynolds who agreed to honor her late husband, Bob, a clarinet player himself, with this name recognition. Eleanor Shriver Magee, Director of Development is happy to assist you at [email protected] or 410-819-0380 to begin your legacy of music to last a lifetime.
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ARTIST SHOWCASE III | TRINITY CATHEDRAL Easton, Maryland Wednesday, June 15, 2016 5:30 p.m. Q
Ludwig van Beethoven Sonata No. 9, Op. 47 – “The Kreutzer Sonata” (1770-1827) Adagio sostenuto – Presto Andante con variazioni Presto Catherine Cho and Robert McDonald
Piano Trio In E-flat Major, Op. 70, No. 2 Poco sostenuto – Allegro ma non troppo Allegretto Allegretto ma non troppo Finale. Allegro Robert McDonald, Catherine Cho, Marcy Rosen
This artist showcase is generously underwritten by Jeffrey Parker and Chance Negri Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
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CONCERT | AVALON THEATRE Easton, Maryland Friday, June 17, 2016 8:00 p.m. Q
Ludwig van Beethoven Quintet for Piano and Winds, Op. 16 (1770-1827) Grave – Allegro ma non troppo Andante cantabile Rondo: Allegro ma non troppo Ieva Jokubaviciute, Peggy Pearson, J. Lawrie Bloom, Wei-Ping Chou, Harrison Hollingsworth
Antonin Dvořák Slavonic Dances (1841-1904) Op. 72, B. 147, No. 2 in a minor Allegretto grazioso Op. 72, B. 147, No. 8 in A-flat Major Lento grazioso, quasi tempo di Valse Op. 42, B, 083, No. 8 in g minor Presto Ieva Jokubaviciute and Robert McDonald
Chesapeake Chamber Music Music for Recorders Competition Gold Prize Winners Block 4 Emily Bannister, Katie Cowling Rosie Land, Lucy Carr
This concert is generously underwritten by Eric and Carol Chandler Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
40 ∫
PROGRAM NOTES FOR JUNE 17, 2016
Ludwig van Beethoven That same night Beethoven played his quintet for piano and wind instruments; the famous Quintet for Piano and Winds, Op. 16 oboist Ramm from Munich also played and Beethoven composed his only piano and wind accompanied Beethoven in the quintet. In quintet in 1796. It is generally assumed to the last allegro a fermata occurs several have been modeled on Mozart’s Quintet, K. times before the theme begins again. In one 452, which shares the same three-movement of these pauses Beethoven suddenly started layout and key (E-flat), and which is scored improvising, taking the Rondo subject as his for the same ensemble. Beethoven’s Quintet, theme and entertaining himself and the others Op. 16 certainly shows the influences of his for quite some time. This was not the case elder composers Mozart and Haydn; but with the accompanists, however; they were also evident is Beethoven’s own forceful, very annoyed and Mr. Ramm was even angry. often rebellious, sometimes satirical, always It did indeed look very droll to see these dynamic personality. gentlemen, expecting to begin at any moment, raising their instruments to their mouths His wicked sense of fun is evident in the incessantly and then quietly putting them score, as he begins with every appropriate down again. At last Beethoven was satisfied semblance of pomp and gravity (even and returned to the rondo. The whole society marking the score “grave”), letting “nearly was enchanted. three minutes of substantial drama pass” before kicking off his shoes and kicking up his Antonin Dvořák heels in the light and lively main theme. And in contrast to Mozart’s subtle interweaving Slavonic Dances of piano and winds, Beethoven sets them Antonin Dvořák’s Slavonic Dances are a in emphatic opposition. One reviewer has series of 16 pieces published in two sets: Op. noted Beethoven’s “mock-stormy C minor, 46 and Op. 72. Dvořák’s inspiration for the with explosive scales from the piano and Slavonic Dances came from Johannes Brahms’ cussed offbeat accents, before a tense series Hungarian Dances, and publication of his of dialogues between the individual wind work was also courtesy of Brahms. Brahms instruments against rippling keyboard recognized Dvořák’s skill and musicianship, figuration,” and that where “Mozart and wrote to his publisher Fritz Simrock rounds off his first movement with a tiny recommending that he ask Dvořák “to send tailpiece, Beethoven balances his substantial you two string quartets in Major and Minor development with a seventy-bar coda.” Also and get them played to you. Dvořák has noted are hints of “Beethovenian truculence” what is most essential for a musician, and in the finale as the bouncy 6/8 rondo theme it is to be found in these pieces.” Simrock modeled on Mozart’s horn concertos suddenly acted upon that recommendation, and found veers into E flat minor before returning to a gold mine in the young Czech composer teasing playfulness in the coda. whose compositions were enormously, and And Beethoven’s teasing didn’t stop at the internationally, popular. score. As one of Beethoven’s students present Although Dvořák was a prolific composer at the premier of the Quintet reported: across several genres (he has been described as “arguably the most versatile . . . composer
(continued)
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PROGRAM NOTES FOR JUNE 17, 2016 of his time”), the Slavonic Dances were among Originally written for four-hand piano, the the most popular of his works. This must have Slavonic Dances were later orchestrated at the pleased Dvořák as that made sure the political request of Simrock, and it is the orchestrated statement he intended with them was heard. versions that are most commonly heard. The They were, for him, a celebration in music of Dances were inspired by Slavic traditional the Slavic cultures of Central Europe which music and informed by the spirit of the folk were at that time under the repressive control dances of his native Bohemia as well as those of the Austrian Empire. In spite of his new- of Slovakia, Moravia, Silesia, Serbia, Poland, found celebrity as a composer, it was many and Ukraine. While Dvořák did not use the years before Dvořák was able to convince actual folk tunes in his dances, he carefully his publisher to print his name as “Antonin” used only rhythms native to the original folk rather than the German “Anton” or to print dances and created his themes in the authentic the titles of his pieces in the scores in Czech as style of the traditional music. well as German.
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CONCERT | ST. MICHAELS HIGH SCHOOL THEATRE St. Michaels, Maryland Saturday, June 18, 2016 5:30 p.m. Q
Ludwig van Beethoven Serenade for Flute, Violin and Viola, Op. 25 (1770-1827) Entrada. Allegro Tempo ordinario d’un Menuetto Allegro molto Andante con variazoni Allegro scherzando e vivace Adagio – Allegro vivace e disinvolto Tara Helen O’Connor, Daniel Phillips, Maiya Papach
Luigi Boccherini Quintet in d minor, Op. 25, No. 1 (arr. Pearson) (1743-1805) Larghetto - Allegro Minuet Rondo: Allegretto Peggy Pearson, Catherine Cho, Maiya Papach, Marcy Rosen, Anthony Manzo
Josef Rheinberger Nonet in Eb Major, Op. 139 (1839-1901) Allegro – Moderato – Adagio – Allegro vivo Menuetto. Andantino Adagio molto Allegro – Adagio molto – Allegro vivo Tara Helen O’Connor, Peggy Pearson, J. Lawrie Bloom, Harrison Hollingsworth, Wei-Ping Chou, Daniel Phillips, Maiya Papach, Marcy Rosen, Anthony Manzo
This concert is generously underwritten by Bay Hundred Friends of the Festival: Bob and Judy Amdur Mary Lou McAllister Dave Bobrow Jim and Pamela McCloud Lynn Freeburger Jerry and Bernice Michael Carol Gadsby Carolyn Rugg and Larry Rovin Higgins & Spencer, Inc. Alison Talbot Lesley and Fred Israel John and Lily Waterston Bill and Carolyn Kane Philip and Irmy Webster Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
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PROGRAM NOTES FOR JUNE 18, 2016
Ludwig van Beethoven in D Major. The centerpiece of the Serenade is a theme and two variations concluded Serenade for Flute, Violin and Viola, Op. 25 by a coda in G Major. Initially, the theme is Although 1801 is generally given as the year announced by double-stopped strings creating of completion for the Serenade in D Major, a quartet-like texture. The subsequent Allegro preliminary sketches indicate the work scherzando in D Major is yet another minuet, was in progress as early as 1797. Beethoven though it contains only one trio. An Adagio apparently offered the piece to the struggling in D follows, with the distinction of being the publisher Giovanni Cappi in an effort to shortest movement of the piece. Its closure on increase business. As the flute was considered a dominant seventh chord, however, makes the instrument par excellence for gentlemen it feel more like an extended introduction to amateurs since the time of Frederick the Great, the Allegro finale rather than a self-contained the choice of flute and violin would seem a movement of its own. The Serenade concludes logical one for the domestic market. This work with a ternary rondo that remains in the key of was, however, a rare exception for Beethoven D Major throughout its entirety. Conspicuous who rarely wrote specifically for the flute. In dotted rhythms driving the main theme most instances, instrumentation would have coupled with a presto coda bring the piece to been interchangeable depending on what was a riveting and vivacious finish. available. With the emphasis, then, on soprano Luigi Boccherini instruments, the viola would be left to supply the bass. By the time Beethoven completed Quintet in d minor, Op. 25, No. 1 Serenade, Op. 25, he had already produced (arr. Pearson) the First Symphony, the first two Piano Born on February 19, 1743, Luigi Rodolfo Concertos, and the Septet, Op. 20. Given its Boccherini was a composer and virtuoso cellist persistently cheerful disposition and classical who is often credited with improving Haydn’s scale, the piece seems almost retrograde model of the string quartet. Unlike Haydn when compared to the grander, more heroic who relegated the cello to an accompaniment proportions of his most recent achievements. role, Boccherini exercised full command of Similar to Mozart’s Salzburg Serenades, the instrument’s potential, bringing it to Beethoven’s Serenade opens with a march- unprecedented prominence. This is especially like Allegro entitled Entrata. Historically, evident in his quintets for two cellos which such a title would indicate that the piece was were often treated as cello concertos with to accompany the entrance of one in high string quartet accompaniment. The fact that authority. Beethoven’s use of the Spanish term he was able to execute supreme command of reflects, however, a mere nod to the past and is the instrument compositionally undoubtedly not indicative of any practical purpose. Binary stemmed from his own virtuosic abilities. in structure with a short coda and multiple Documentation indicates that Boccherini repeats, the movement Allegro is consistent would often substitute for ailing violinists with both dance music and the occasion. The while on tour playing repertoire at pitch! Minuet is in the gallant style and contains Stylistically, Boccherini’s writing is quite two trios, the first for violin and viola alone, personal. It exhibits the Rococo qualities of the second for the flute with a mandolin- charm, lightness, and optimism. Melodic and style accompaniment. The ensuing Allegro rhythmic invention are used frequently as are molto in d minor and 3/8 meter behaves the influences from the guitar tradition of his like a minuet and brightly contrasting trio adopted country, Spain. (continued) 45 ∫
PROGRAM NOTES FOR JUNE 18, 2016
Over the course of his lifetime, Boccherini pupil, the poetess and socialite Franziska composed a total of 113 quintets with “Fanny” von Hoffnaass, who wrote much of two cellos, trios, and works for various the text for his vocal works. In his lifetime, instrumental combinations. His catalogue Rheinberger was considered by most to rank also includes an opera, 21 symphonies, a just behind Brahms and Wagner as the most substantial Stabat Mater, and 91 quartets. important living German composer, and (Interestingly, Boccherini along with violinist he was considered the leading teacher of Filippo Manfredi, Petro Nardini, and composition. Today he is known primarily for Giovanni Maria Cambini were the first to his challenging organ compositions. form a string quartet in 1765.) Despite the Rheinberger was one of very few, and among fact that he was the greatest Italian composer the very best, composers of nonets. He was of instrumental music of his generation, his also one of the few composers of his time to work was virtually neglected following his successfully maintain neutrality (and friends death. Fortunately, his works have gained in both camps) in the Wagner vs. Brahms increased interest since the late 20th century contentions, writing his own compositions in in print, record, and in the concert hall. a Brahmsian vein, but sincerely promoting the Additionally, several of his works including music of Wagner, Liszt, and others. His music, String Quintet in E Major, Op. 11, No. 5 and like that of Brahms, is grounded in finely String Quintet in C Major, Op. 30, No. 6 have balanced melodic and harmonic development been popularized through their usage by the of musical themes which are largely self- film industry. Also deserving of considerable contained—“absolute” music, not dependent credit is the Boccherini Quintet who, having on extra-musical programs or ideas. discovered the first complete edition of the 141 string quintets in Paris, set about playing In the nonet, the principle theme is heard and recording these distinctive compositions in the opening bars of the Allegro, growing around the world. reminiscent of Beethoven once the winds enter and as the oboe unfolds a beautiful second Josef Rheinberger theme. The second movement, Minuetto, Andantino, is an updated version of a rococo Nonet in A major, Op. 139 minuet. Of special note is the clever pizzicato Born in Liechtenstein in 1839, Josef Gabriel bridge passage. If the broad, balanced, and Rheinberger was a virtuosic musician from leisurely third movement, Adagio molto, has the age of five. At age seven, he served as been called the nonet’s “center of gravity,” organist of the Vaduz parish church, and at the Finale, Allegro, is the point at which the age eight he composed a mass for three momentum overcomes gravity and the voices. Rheinberger’s father initially expressed melody takes flight. The opening theme is opposition to his son’s desire to become off to a running start with several ascending a professional musician, but eventually and descending sixteenth note runs before relented and permitted him to attend the interrupting horn calls slow the flow and Munich Conservatorium, where Rheinberger usher in a new, more subdued melody, given later became the professor of piano and of first to the bassoon and then the cello. But it composition. He also taught at the Royal isn’t long before momentum again sweeps the Conservatory where he held the position movement along and carries it into the joyous of Professor of Composition for nearly 40 ending cadence. years. Rheinberger later married his former
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ANGELS CONCERT | INGLETON MANOR Easton, Maryland Sunday, June 19, 2016 4:00 p.m. Q
Ludwig van Beethoven String Quartet, Op. 18, No. 4 (1770-1827) Allegro ma non troppo Andante scherzando quasi allegretto Menuetto: Allegretto Allegro – Prestissimo Catherine Cho, Daniel Phillips, Maiya Papach, Marcy Rosen
Claude Debussy Prelude from book I., “Les collines d’Anacapri” (1862-1918) Faure, Impromptu No. 2, Op.31 Ieva Jokubaviciute
Adam Gorb “A Better Place” for Oboe, Clarinet, Bassoon, (b. 1958) Horn and Piano Peggy Pearson, J. Lawrie Bloom, Harrison Hollingsworth, Wei-Ping Chou, Ieva Jokubaviciute
Kenji Bunch “Ralph’s Old Records” for Flute, Clarinet, (b. 1973) Viola, Cello and Piano Tara Helen O’Connor, J. Lawrie Bloom, Maiya Papach, Marcy Rosen, Ieva Jokubaviciute
This concert is in memory of Rush Moody and generously underwritten by Anonymous Chesapeake Chamber Music is grateful for their support.
Artists and program selections are subject to change.
47 ∫ Broadcast Media 2015-2016 BOARD OF DIRECTORS Robert B. Amdur Michael Bracy, President Robert Burger, Vice President Press Relations Marty Sikes, Secretary Amy Steward, Steward Writing Courtney Kane, Treasurer/Assistant Secretary Graphic Design Robert Amdur Joanne Shipley Graphic Design Betty Anderson Donald R. Berlin IT Operations Susan Koh Gayle Jayne, Monarch Web Services Wes Lockfaw FESTIVAL COMMITTEE The Reverend Mark Nestlehutt The success of Festival 31 is a direct reflection Diane Rohman of the dedication and enthusiasm of the Carolyn Rugg Festival Committee, our artistic directors, Carolyn Thornton Marcy Rosen and Lawrie Bloom and the John Waterson staff of Chesapeake Music. As the freshman Margaret Welch Chair of Festival 31, I want to sincerely thank Kathleen Wise this group of highly talented and energetic Hanna Woicke people for all of their work that enables our Directors Emerita audience to Experience the Extraordinary at Anna Larkin Festival 31. Chloe Pitard Congratulations and Thank You ARTISTIC DIRECTORS Carolyn Rugg, Festival Chair J. Lawrie Bloom Marcy Rosen Bob Amdur Michael Bracy Donald C. Buxton, Executive Director Don Buxton Eleanor Shriver Magee, Lois Campbell Director of Development Garry Clarke Kaye Dutrow Lois Campbell, Gayle Jayne, Monarch Web Services Assistant to the Executive Director Courtney Kane Mariana Albert Lesher, House Manager Anna Larkin Mariana Lesher Janet Pfeffer, Assistant House Manager Wes Lockfaw Cynthia Quast, Bookkeeper Eleanor Shriver Magee Bernice Michael Betsy Petty Chloe Pitard Mary Riedlin The Talbot County Arts Council Diane Rohman All programs during the Festival are Joanne Shipley underwritten in part by the Maryland State Amy Steward, Steward Writing and Talbot County Art Councils. Susan Thomas We gratefully acknowledge all contributions given after this program book went to press.
48 ∫ FESTIVAL 31 HOSTS Chesapeake Chamber Music thanks the Thank you to the following who graciously underwriters of this year’s concerts and artist opened their homes to our visiting artists: showcases. Their generosity helps CCM offer Mary Riedlin, Chair tickets at prices that will attract a growing Ella and Michael Bracy audience to enjoy this wonderful chamber Suzanne and Stephen Brigham music and these superb musicians: Nancy Graham Anonymous Rita and Peter Gross Mr. & Mrs. Richard C. Granville Liz Koprowski Harold & Martha Quayle Judy and Bob Lawrence Catherine Collins McCoy Trish and John Mailin Al Smith & Eleanor Dallam Dorothy Mowry Joseph & Dixie Schulman Nancy and Curtis Nelson Sam & Rosemary Trippe Chloe and David Pitard Benson & Mangold Mary and Fritz Riedlin Norman H. & Ellen K. Plummer Andy and Edgar Smith Martha F. Horner Eleanor and Al Smith Cynthia Rickman & Joel Texter Carolyn and Charles Thornton Judith Kraines & Dr. Neil Hoffman Hanna and Peter Woicke Ronya & David Driscoll Sylvia H. Garrett A SPECIAL THANK YOU TO: Robert Lonergan Bob Porter, Sharper Graphics Chloe & David Pitard Christ Church Easton Beth Schucker Christ Church St. Michaels Sanford & Margaret Young David and Gretchen Welch, Ingleton Manor Dorothy Robins Mowry David Fike, APG Media of Chesapeake Phoebe C. Reynolds Delmarva Public Radio WSDL 89.5 & 90.7 FM Mary & Fritz Riedlin Easton YMCA Jeffrey Parker & Chance Negri Higgins and Spencer, Inc. Eric & Carol Chandler Dick Moore Piano Services Bob & Judy Amdur Oxford Community Center Dave Bobrow Passport to the Arts Lynn Freeburger St. Michaels High School Carol Gadsby The Academy Art Museum Higgins & Spencer, Inc. The Avalon Theatre Lesley & Fred Israel Tidewater Camera Club Bill & Carolyn Kane Trinity Cathedral Mary Lou McAllister WBJC 91.5 FM Jim & Pamela McCloud WHCP 101.5 FM Jerry & Bernice Michael Carolyn Rugg & Larry Rovin Sponsors of the June 8 and 14 Open Rehearsals: Alison Talbot Catherine Collins McCoy John & Lily Waterston Al Smith & Eleanor Dallam Philip & Irmy Webster Phoebe C. Reynolds Mary & Fritz Riedlin We thank all the volunteers who have helped with Chesapeake Chamber Music’s many Sponsors of the June 10 Donor Reception: projects and events throughout the year, and Martha F. Horner who have given so generously of their time, Cynthia Rickman & Joel Texter energy and talent! 49 ∫
LIST OF ADVERTISERS
Anna Larkin, Benson & Mangold...... 33
Avalon Foundation...... 16
Benson & Mangold Real Estate...... Inside front cover
Chesapeake Bay Properties...... 43
Chesapeake Chamber Music Festival Endow a Chair...... 38
Chesapeake Music Planned Giving...... 6
Delmarva Public Radio...... 24
Dr. Computer...... 43
Gourmet by the Bay...... 18
Integrace Bayleigh Chase...... 37
Monty Alexander Jazz Festival...... back cover
Out of the Fire...... 4
Salisbury Gift & Garden...... 18
Smith Island Baking Company...... 8
Star Democrat...... inside back cover
Suzanne Brigham Residential Design...... 8
The Talbot Bank...... 42
Town & Country...... 3
50 emoc D ra ar t t C S a e r
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Proud Community Partner with Chesapeake Chamber Music Festival Jazz on the Chesapeake presents THE MONTY ALEXANDER JAZZ FESTIVAL Tickets available at chesapeakejazz.org, 410-819-0380 LABOR DAY WEEKEND September 2–4 at the Avalon Theatre Easton, MD
CYRUS TED DOMINICK CHESTNUT ROSENTHAL FARINACCI and CHUCK REDD ARMY’S JAZZ AMBASSADORS
Jazz on the Chesapeake is a program of Chesapeake Music