2014/15 SEASON

2 RCP Board and Staff

3 Welcome

5 About the Performers

9 Concert I —Romance & Jazz

15 Ticket Order Form

17 Concert II—Holiday Baroque

23 Concert III—European Journey

31 Concert IV—An Evening with the Masters

37 Concert V—Souvenir of Florence

41 Guest Artist Biographies

49 Supporters

51 Discography

25 YEARS The Rembrandt Chamber Players 1 REMBRANDT CHAMBER PLAYERS WELCOME, DEAR FRIENDS, TO OUR 25TH ANNIVERSARY SEASON: Board of Directors Phyllis Mitzen What keeps a group fresh, exciting, and progressive President for 25 years? It’s all about the music and the audience. For 25 years the Rembrandt Chamber Players have treated us to virtuoso Alan Meyers Secretary performances of the music we love. They have introduced us to pieces we’ve never heard and given us insights into the repertoire, musicians, C. John Anderson and composers who have created the most enduring chamber music Treasurer of the past four centuries. Greer Braun Barbara Haffner From its earliest days, the musicians of Rembrandt were friends who Robert Morgan wanted to share their love for the art with an ever-expanding group Sandra Morgan of colleagues and supporters. During this milestone anniversary year Eleanor Nicholson we are celebrating our past by mixing original works composed for Charles O’Kieffe Rembrandt over the years with traditional audience favorites. We will Randi Robin also welcome back some of our longtime favorite guest artists who will join us to perform again later in the season. Advisory Board Terry Applebaum But this season is not only about looking back. We are here to Ann Sherby Cole celebrate the future. Our first concert begins with a kiss and a love Dr. Bernard Dobroski song to you, our audience, as Bob Morgan and Howard Levy meld Guy Gunzberg* jazz, abstract blues and Brazilian rhythms together in the Midwest Sandra Eiger Miller premier of Levy’s Sonata for and piano. New this season, we Steve Robinson invite you to listen to a rebroadcast of each concert on WFMT. *life trustee When details are finalized, you will receive an eblast with broadcast dates and times. Please give us your email address in the lobby at Musicians intermission. Carol Cook Barbara Haffner After each performance we sponsor a reception where you can meet Robert Morgan the artists. This season, take the time to introduce yourself to Carol Sandra Morgan Cook, Principal at the Lyric Opera and newest member of the Collins Trier Rembrandt ensemble. Also be sure to say hello to our new Managing Jeannie Yu Director, Darron McNutt. I also suggest you take a moment to read the impressive bios of RCP’s guest artists on page 41. You will find a Staff Sandra Morgan, Artistic Director collection of highly trained, specialists who have performed around Darron McNutt, Managing Director the globe and who are acclaimed soloists as well as members of orchestras and chamber ensembles throughout the country. True to our mission we strive not only to delight audiences but to educate them through our program notes and conversation. We also PO BOX 811406 IL 60681 continue to educate future musicians as we celebrate the 20th year of

tel 312.360.3145 fax 312.360.0606 email [email protected] our Rembrandt Young Artists High School Competition that draws www.rembrandtchamberplayers.org brilliant young chamber musicians from schools across the metro

2 www.rembrandtchamberplayers.com Welcome 3 AnDREAand Yuan-Qing SWAn piano,Yu, violins is a and Jeannieaccompanist Yu and Alan for Chow, local and piano national (just 2009–2010ABouT THE ANN PERuALfo RMERSfuND joining).well-known Many chamber composers musician, have writtencompetitions. works for us; She Jon also Polifrone, maintains Ilja a collaborator, orchestral pianist and large class of private piano students. FoundedThe in Rembrandt 990, the Rembrandt Chamber Chamber Players Players wish to(RCP) extend is composed special of Hurnik,teacher. She Rami received Levin, her Sebastien training Huydts, Gustavo Leone, David Schrader, ten ofgratitude the finest to musicians our 20th in Anniversarythe Chicago area. Annual The ensemble Fund Supporters. successfully withamong Jack others. Radunsky at the Oberlin DOUGLAS WADDELL, percussion, THEmaintains REMBRANDT an unusually wideCHAMBER repertoire, performingPLAYERS Baroque music in a area. You are welcome to attend on February 1st at Regenstein Hall (This list is current through October 9, 2009) Conservatory, where she was a is member of the Grant Park historically informed manner as well as 2st century compositions with on the Northwestern Campus in Evanston. You can even score these Founded in 1990, the Rembrandt Chamber Players are hailed as “one of WeBezazium inaugurated scholarship an outstanding recipient, High SchoolSymphony competition, and the Chicago which Lyric is eclectic instrumentations. Since its inception, RCP has commissioned remarkable ensembles along with the judges. Competition winners the ChicagoJean Allard area’s preeminent chamber musicDennis groups” & Peggy (Chicago Michel Tribune). celebratingand studied itswith 5th Gygory year Sebokthis season. ManyOpera former Orchestras, winners and have is constantly joined twelve new works by renowned composers from the Chicago area and will be featured in RCP’s March concert. In addition, we celebrate the ManyAnonymous distinguished guest artists perform withPhyllis the &core Michael ensemble Mitzen on a majorand Menahem U.S. Orchestras. Pressler at We Indiana have createdin ademand three –year as Chicago’s musical most project beyond. Hailed as “one of the Chicago area’s preeminent chamber music POWERUniversity, OF where MUSIC, she receivedan innovative a M.M. four-part course culminating in regularEdward basis Amrein, throughout Jr. the season. RembrandtCharles successfully Moore maintains featuring the works of Mahler arrangedversatile for chamber and virtuosic ensemble percussionist. in groups” (Chicago Tribune), RCP appears regularly on fine arts radio station awith live highestconcert distinction by Competition and was winners Hethat has was been launched timpanist three with years the an unusuallyMarcia Baylin broad and varied repertoire, performingSandra & Robert Baroque Morgan music WFMT, both live and in a series of rebroadcasts of concerts during the agocollaborationawarded at the the Young Performer’s with Women’s Jane Certificate.Glover, Leadership Music MusicCharterDirector of Schoolthe of MusicBaroque of Chicago.of ensemblethe Baroque. on modernGeorge Bogertinstruments in an authentic 17th/18thMr. & centuryMrs. George manner, Mrazek as She is the pianist with the Grant since 1983, and as a member of the Kathleensummers. Brauer Richard Murphy WeWe could would not like make to thank music the without Elizabeth the F.generous Cheney, support Richard of Dreihaus the and well as 21st century compositions with eclectic instrumentations. Since Park and Lyric Opera Orchestras. Contemporary Chamber Players its inception,DeeplyElizabeth committed RembrandtF. Cheney toFoundation hasfostering commissioned chamberEleanor thirteenmusic education Nicholson new works and and appreciation, Dreihaus,ADonnelley champion Elizabeth Foundations, of new music, F. Chaney, as she well Donnelly, as the Illinois Negaunee Arts Counciland Klaff and Family Chicago of Chicago has performed and five Cityinarrangements 995 of Chicago—Dept.RCP founded by renowned an of Annual Cultural composers High School Mr.from & theChamberMrs. Chicago Charles Music areaO’Kieffe Competition,and premiered many solo and ensemble recorded a wide variety of 20th Foundations.City Arts for Wetheir thank long-term them support.for their dedicationWe thank Klaff to Rembrandt, Realty for our beyond.oneAffairs ofRembrandt few in the appears country. regularly The Rembrandt on fineMichael Youngarts radio & Artists Margo station programOberman WFMT was whichworksoffice hasspacewith sustained the as Universitywell as us the over of Klaff Chicago the Familyyears. century Foundation chamber for helpingworks. Waddell to ensure has Ann & Roger Cole Robert Lester Porter Chamber Players and the Fulcrum performed throughout the United wherefounded beginning in 2006 this andyear, provides each concert numerous will be performance rebroadcast. opportunities and Awerbuchchamber works. Piano WithCompetition pianist Michiko in New TERESAand on Robert FREAM Sherman’s violin, Young RwithEMBRANDT the National Symphony CHAMBER PLAYERSthe 2005 20th Raymond Season and 2009–20Beverly 0 Sarah deVincentis Randi & Arnie Robin York,Otaki, and he ourhasfirst played prize most inworks the inspiredKingsville recent Artisthas established Showcase season. anon WQXR in New Orchestra of Washington, D.C., Sackler Music Composition Prize, coaching sessions for the competition winners. Pianoby and Competition dedicatedPoint to in Lionel Texas.New Tertis She MusicYorkinternational and WOIProject. career radio asin Desa Moines, In addition for one seasonStates, before joining Europe the 2005 and and 2001 Japan Barlow Endowment with the And finally, dear friends, we welcomeConC ertyou I: today as our partners in With its deep commitment to fostering chamber music education alsoin many earned venues the prestigiousincluding at Gina the Iowa.chamber Yu performsmusician regularlyand with her Chicago Symphony OrchestraCelebrate in 1975. the commissions, Season Chicago Symphony Gaylord & Dorothy Donnelley Ann M. Rothschild National Gallery in Washington, an orchestral musician. In 2002, CSO Music Director Daniel Orchestra’s 1999-2000 First Hearing Bachauerto Memorial being Scholarship a foundinghusband cellist memberStefan Kartman in of both sunday,Chicago oCtober 25, 2009 Symphony 3:00 pm Orchestra and Princeton University, and in A graduate of Indiana Barenboim appointed him to the Composition Competition, Omaha Award, asharing full scholarship to Themusic the andFlorestan Duo.keeping this intimateNichols Hall, Musicand Institute beautiful of Chicago, Evanston art form alive and ThankFoundationappreciation, you for Rembrandt joining us this founded special an year! AnnualBarryand High Anne School Sabloff Cleveland,We Boston, wish Toronto, and we couldUniversity and clone student of Franco each of you,position but of associate since principal that horn. isSymphony not Guild’s an 2000 option, International Juilliard Schoolthe of MusicEvanston for both Chamber Ensemble elsewhere. Gulli,She has she taught continued at the study Alfred at Summer the GingrichGuest Artists:can has served be as guest heard allNew Musicover Competition, the andworld the on the bachelor and master’s degree Chamber Music Competition in 1995, one of only a few in the country. and relevant forChamberNorth Carolinaourselves, Institute School in New of the York, Arts the and for futureKathleenprincipal Brauer, horn withgenerations. violin the Saint Paul New England Philharmonic’s 2000 Richard Dreihaus Foundation David Schrader programs.please find someone who loves chamber music as you do to join kEITh COandnAnT viola, the PressendaDrakeand Michigan University Trio, State Community University. she School As appears TeresaChamber Fream,hundreds Orchestra, violin the Saint Louisof televisionCall for Scores Competition. and She radio Yuis principal has performed violist foras a soloist with ofa member Music, the of theMid-America Thouvenel Summer String YukikoSymphony Ogura, Orchestra viola and the China was selected to participate in The Dr.Rembrandt & Mrs. Leonard Young FennigerArtists program, createdHenry in Seidenberg, 2006, provides MD the ChicagoPortlandas LyricSymphony a Opera guest in Maine, artistQuartetChamber with she Music performed Institute many regularly at Ohio chamber Nationalcommercial Symphony in Beijing. jingles.reading session He programs has sponsored appeared the next generationthroughout the United of StatesRembrandt and groupies.Active as both a soloist Again, and bywe the American could Composers not J. LAWRIE BLOOM the Chicago Chamber Musicians, Orchestra.the Marina Hedel studiedRey-Westchester Wesleyan University, the Milwaukee Camille SAInT-SAEnS Caprice on Russian and Danish Airs chamber musician, Gingrich is a Orchestra, Minnesota Orchestra (the performance opportunities, coaching sessions and cash prizes for the Symphony,viola at theensembles theJuilliard Flint Symphony andSummerEurope, has and Chamber championed acted Music Festival,the asstring official Jean & Michael Freed Donald Steiner School of Music with quartets of Ernst Krenek. In 1978 they (1835-1921)memberas of the soloist Grammyfor Award– flute, with oboe, clarinet,Composers the and Grant Institute), piano and Park the Dale in Michigan,have the Des Moinesaccomplished the Troy Public Library any Chamber of this without all of your loyal support—so clarinet, Since last and members of the Ridge, Orion Paul Doktor, graduating performed the complete quartets winningSandra Chicago Morgan, Pro Musica. flute;Robert He Morgan,Warland oboe; J. Singers.Lawrie Bloom, clarinet; Competition winners. In 2011 a new collaborative relationship was Brandenburg Ensemble, the Des Musicof Krenek Institute at New in York’sMichigan, Carnegie and the also is the horn coach for the Civic Her works have been performed Illinois Arts Council John & Lori Twombly in 1986.Phyllis At Juilliard he heldMitzen principal Symphony,David SymphonySchrader, piano of the Shores Moinesviola positions Symphony,congratulate in the and Juilliard most Pre-recently WisconsinRecital yourself Hall, Conservatory. for which theyand were join us asOrchestra we ofcelebrate Chicago. ourby the 20th Amarillo Symphony,season. we saw him, Bloom and Vermeer string quartets. He Collegewith the Orchestra, Xiamen Philharmonic Juilliard Chamber named Musical America’s Musicians He lives in Wilmette with his wife Charleston Symphony Orchestra, inauguratedMuriel & with Marvin the GlickYoung Women’s LeadershipMr. & Mrs.Charter Kenneth School Walter in President, BoardShe hasof studied Directors with Ruth V. Sitjar, Antoni0 andVIVALDI theSummer Contemporary and Fall from The Four Seasons Chamber Orchestra andin China. the Juilliard She is inOrchestra. great Martinof the Month. Canin, Susan Starr, Ilana Mary, an artist and musician. Civic Orchestra of Chicago, Detroit has been a part of the has been heard many times in live Conantdemand also as a studied chamber with musician Karen Tuttle and From 1982 until 1991, Fream was a (1678-1741) Summer Symphony Orchestra, Erato Chamber Vered, and Ann Schein. She received Players ofAllegro Chicago. non molto/Allegro But his greatest Chicago.Margot This & John project Graettinger enabled RCP’s artisticDr. director, & Mrs. anBernard Advisory Wendrow Board soloistat the Aspen Thein the Musicgreater RembrandtFestival New York where and he memberher DoctorChamber of ofthe Musical Nashville Arts Symphony,Players degree at STACY GARROp Orchestra, Grant Park Music Festival received four consecutive fellowshipsWith and served much as Principal Secondappreciation, composer, has received Adagio/Presto/AdagioOrchestra, Illinois Symphony Chicago areas, and has appeared the Peabody Institute of Music. Chesapeake Chamber concerts over the airwaves of WFMT andwith wasthe Rembrandtthe principal Chamber violist in Players the Violin of that orchestra from 1988 several awardsachievement and Presto isOrchestra, directing, Minnesota Orchestra, along memberSandra and & aCharles former Gold Competition winner, Mr.to introduce & Mrs. Robert chamber Wieseneck music Aspen Concert Orchestra. Conant through 1991. grants including the Autumn Minnesota Youth Orchestra, TheFream Rembrandt is currently a member Chamber Players National Repertory Orchestra, New Music Festival (MD), in Chicago, and in live recital for the was formerly principal viola with the San Franciscowith Song his wifeAllegro/Larghetto/Allegro Patricia assai Dash, the to art students in the classroom in preparation for a live concert by the American Philharmonic Orchestra, of the . In Festival’s 2007 Phyllis C. England Philharmonic, Omaha Joan & Guy Gunzberg Jeannie Yu Adagio the New York Youth Symphony, addition, she is a member of Music Wattis PrizeChicago for Song Competition, Symphony’s Symphony, Santa Percussion Cruz Symphony, Domaine Forget (Quebec), Brevard Australian Broadcast Company. and the Tanglewood Young Artists of the Baroque and Fulcrum Point 2006/2007Yuan-Qing Yu, Detroit solo violin; Symphony Kathleen Brauer, Teresaand the Fream, Women’s violins; Philharmonic; Yukiko Ogura, viola; by RembrandtRobert &Young Sheila Artists. Hanford Margeret Moses & Michael Zimmer Orchestra. From 1984 to 1986 he was New Music Project, and performs Orchestra’sBarbara Elaine Haffner, Lebenbom ; Collins Trier, bass;the ensembles David Schrader, Ambassador harpsichord Duo, Festival (NC), the Buffet Crampon a member of the Seattle Symphony. regularly with the Grant Park MemorialScholarship Award, the Pittsburgh New Group, Anaphora Ensemble, a program Artaria String that In September of 1980 Sir Georg Solti Conant has performed on WFMT pickupSymphony, Rembrandt Chamber Music Ensemble’s 2006/2007 Harvey Quartet, Biava Quartet, Callisto Barbara Haffner radio with the Chicago Chamber Illinois ArtsPlayers, Council and Contemporary Chamber Gaul Compositiongives Competition, extraordinarilyINTERMISSION Ensemble, EARPLAY, talented Empyrean inner Clarinet Academy (FL), toured Musicians and has also participatedCity Arts GrantsPlayers. She is a member of the MEETMary THE Dedinsky MUSICIANS and invited Bloom to join the Chicago in chamber music festivals across the Peninsula Music Festival orchestra Antonin DVORAk Quintet for bass and strings GIFTS IN KIND country including the , and is very active in the Chicago city youth free percussion instruction Europe with Haitink and the CSO, (1841-1904) Allegro con fuoco Wm. Carlisle Herbert Symphony Orchestra in the position Second City Chamber Players in recording industry. Allegra Print & Imaging Seattle and the Kingston Chamber and performanceIntermezzo experiences at CAROLand COOK climbed, viola, mountains in southernSymphony Hall, Benaroya Hall in Music Festival in Rhode Island. DAnIEL GInGRICh horn, grew up in Scherzo Howard & Carol Kain of Clarinet and Solo Bass Clarinet. Conant has two commercial chamber Stickney, Illinois. He was a member SymphonyPoco Center. andante In 2003, Waddell’s Anonymous music recordings: George Flynn’s of the Chicago Youth Orchestra Allegro assai is theColorado Principal and Violist Switzerland. He Seattle, La Jolla Chamber Music “American Rest” for clarinet, viola, and, from 1969 to 1972, the Civic Klaff Family Foundation Previous to this he had held similar firstYuan-Qing two Yu, Kathleen students Brauer, violin; Yukiko graduated Ogura, viola; from Ann S. Cole cello and piano on the Southport Orchestra of Chicago, while studying with presentedthe Lyric Opera a three concert series atFestival and the 92nd Street Y in label and “Lux Aeterna” by William with the Chicago Symphony’s Barbara Haffner, cello; Collins Trier, bass Stephen Roy & Lloyd Kohler appointments with the Phoenix Ferris for flute and viola on the Richard Oldberg. After attending theKlaffComplete program Realt piano servicey, LP including and has tuning, began repair, been regulation, engaged their college in the of Chicago Orchestra. New York.Joan The& Guy trio Gunzberg was broadcast on Cedille label. He has also recorded Roosevelt University’s Chicago Please join the musiciansvoicing, for afinish “Meet repair, & Mingle” and appraisals reception. at intermission. Northwestern’s Lutkin Hall, exploring in Chicago studios for the Smashing Musical College, at the age of 19 he studiesacquisition, at(312) The 566-9329development, Eastman Schoolfinancing, She alsoLeon performs & Ellen Lederman NPR andSymphony, they also the released orchestra an album of the Lyric Pumpkins, Mannheim Steamroller, joined the Rochester Philharmonic These concerts are partially underwritten by a grant from the Illinois Arts Council, a state agency Wm. Carlisle Herbert and leasingCity Arts Program I grantwww.precisionchicago.com and from the management city of Chicago Department of Cultural of Affairs. mixed use, the music of St. Saens, Schumann and many others. Orchestra of New York. He played ofKlaff Music Realty, and LP has Yale been University. engaged in the In frequentlyMartyl with Langsdorf the entitledOpera ‘Crossing of Chicago, Bridges’. the Vancouver office and retail real estate since 1981. Klaff Realty, LLP www.rembrandtchamberplayers.com acquisition, development,Concert financing, I: CelebrateGuest the ArtistsSeason leasing 39 and Spohr,. 30 2004, two of his students took first ChicagoBlair Symphony & William J. Lawlor Symphony, and the Cincinnati pickup Klaff ad (pgThandec management4 ompanylast year) ofha mixedsacquired use, office properties and Carol holdsGloria a & Masters John Levin Degree andtotalingretail second real approximatel estate prize since 1891.aty2 the 7,000,000 Chicago square OrchestraBloomGloria and &has John has performed playedLevin with at thethe from theSymphony. Juilliard School under the The company has acquired properties George Lowman Symphonyfeet witha Orchestra’svalueine youthxces sof NewAmbler,Bob York & Philharmonic, Carol Grand Lounsbury Teton, the Ravinia London and tutelage of Hsin-Yun Huang and 180 N. Michigan Ave. Ste. 300 Chicago, IL 60601 $1,000,000,000.00.totaling approximately 27 million square Symphony Orchestra and as guest BloomSandra isEiger a Senior Miller Lecturer in Clarinet 12312-360-12342S.MichiganA phve. • 312-360-0606Ste. 1000,Chicago fax ,IL 60603 auditions.feet with a value Waddell’s in excess of2006 $5 billion. graduate JudySpoleto & George festivals, Lowman and the Mostly Toby Appel, and an Artist Diploma 312-360-1234 ph • 312-360-0606fax Principal violist with the Australian atSandra Northwestern & Robert MorganUniversity. He has performed on the PBS radio show MozartBarry & FestivalMargaret in LyerlyNew York. Bloomfrom Oberlin Conservatory. She also Our primary focus is maximizing the value of properties in which the principals Chamber Orchestra. Carol was a Northeasternpresented master Illinois classes University all over the Our primary focus is maximizing the valueofp“Fromroperities the inTop”, which was the guest principals soloist of Klaff Anntoured & Alanwith theMeyers Orpheus Chamber holds a Bachelor Degree from the Realtof Klaffy, LP Realty, togethe LPrw togetherith outside with investors outsidehave investorswitha significant the have Chicago a ownershipsignificant Symphony, interest. ownership and is member of the “Appalachia Waltz GuildhallRandiworld, School Robinand of is MusicDesignan Artist and Performer Drama for interest. Orchestra,Baila & Irving and Miller has collaborated attending Harvard University and the Trio” with Grammy Award winning in LondonMargaretthe Buffet where Moses Cramponshe studied & Michael USA with and Zimmer RICO The firm is composedofan experienced group of real estate professionals, dedicatedto Sandrawith the & Chester, Michael Chicago Miller Symphony, enhancingThe firm isva lucomposedethrough of intensean experienced development, groupNew of England leasing real estate and Conservatory professionals, management of ofMusic. our violinist Mark O’Connor for five David International.Takeno. properties.dedicated to enhancing value through intense development, leasing and years.and The Mendelssohn trio toured extensively String Quartets, management of our properties. throughout the U.S. including A native of Scotland, Carol is also an performances at the Phoenix accomplished Scottish fiddler. She  www.rembrandtchamberplayers.comwww.rembrandtchamberplayers.com The Rembrandt ChamberContributors Players 5 5

4 www.rembrandtchamberplayers.com The Rembrandt Chamber Players 5 won her first fiddle competition at her continuing work as Principal Tower’s “Island Prelude.” He has Present Music, the Ravinia Festival age 8 and went on to win numerous Cellist with Music of the Baroque and also performed with the Guarnieri Orchestra, the Rembrandt Chamber awards for her playing including the the Chicago Philharmonic, she is a Quartet. An avid supporter of new Players, Bach Week of Evanston, National Young Fiddler of the Year founding member of the Rembrandt music, Morgan has commissioned and Fulcrum Point New Music competition in 1992. She released a Chamber Players, celebrating its 25th and performed works by David Ensemble. He is also very active as solo album the following year entitled anniversary this year. With David Schrader, Jon Polifrone and Ilja a studio musician, performing on ‘The Cook Collection’ and her playing Schrader, she has recorded Bach’s Hurnik. He is a graduate of Indiana music for commercials and for a has been featured on BBC Radio three Sonatas for Gamba and University, where he received the wide array of albums. Mr. Trier also Scotland and Moray Firth Radio. Harpsichord, arranged for Barbara coveted Performers Certificate. He specializes in pop and folk music and members of the Rembrandt has studied with Jerry Sirucek, Ray and has toured with numerous BARBARA HAFFNER, Chamber Players. Barbara’s Still, Marc Lifschey and John Mack. Broadway productions. He has cello, a Los Angeles discography includes a performance recently recorded a CD of his own native and of Elliott Carter’s Cello Sonata on the SANDRA MORGAN, music called “RAIN”, on Northport distinguished Cedille label as well as additional flute, is a graduate Records. It features Mr. Trier playing graduate of the recordings on the CRI and Musical of Northwestern the hammered dulcimer, and is now Eastman School of Heritage labels. Barbara is featured University, where she available at local record stores. Mr Music where she as a soloist on Mimi Manners’ album studied with Walfrid Trier has performed with Earth Wind studied with Ronald Leonard Speechless playing “Triste,” a work Kujala. Morgan also and Fire, Amy Grant, Peter Cetera, (Principal Cellist Emeritus of the Los for seven (all recorded by studied extensively Deep Purple, Yes, Andrea Bocelli, Angeles Philharmonic). While serving Barbara) and voice. This year with Murray Panitz, and played double bass on the as a member of the Dallas Symphony, Barbara will release a new album of former Principal Flutist of the hit single, “Tonight Tonight by the Barbara appeared as a soloist three works by Richard Wernick, Philadelphia Orchestra. Morgan has Smashing Pumpkins. performing Bloch’s Schelomo and performing with some of her favorite been a member of the orchestra of won first prize in the G. B. Dealey colleagues as well as the Rembrandt Music of the Baroque since 1973 and JEANNIE YU, piano, International Competition. After Chamber Players. has appeared as a soloist with them a native of Korea, is seven seasons with the Philadelphia on several occasions. Morgan is a an award-winning Orchestra, Barbara left to pursue a ROBERT MORGAN, member of the Ars Viva Orchestra pianist. Her honors graduate degree at the University of is the solo English and is an active performer in the include first prize in Pennsylvania. Her fellowship at the horn and Assistant Chicago area. She has appeared as the Frinna Awerbuch university involved her with the Principal Oboist of soloist with Bach Week in Evanston Piano Competition Collegium Musicum (performing the Lyric Opera of and the Chicago String Ensemble. in New York, and first prize in Renaissance and Baroque repertoire) Chicago orchestra. He Before returning to the Chicago area, the Kingsville Piano Competition and the Penn Contemporary Players, is Principal Oboist of she was a member of the Oklahoma in Texas. She also earned the where she developed a lifelong Music of the Baroque, the Chicago City Symphony Orchestra. In prestigious Gina Bachauer Memorial interest in new music while working Philharmonic and Chicago Opera addition, Morgan maintains a private Scholarship Award, a full scholarship with Richard Wernick, George Crumb Theatre. An active teacher, Morgan flute studio and coaches chamber to The Juilliard School of Music for and George Rochberg. Barbara also is an oboe instructor and chamber music. She is the Artistic Director for both the bachelor’s and master’s toured extensively with the Aeolian music coach at Northwestern Rembrandt Chamber Players. degree programs. Chamber Players of New York and University and maintains a successful Yu has performed as a soloist with became a founding member of the private studio. Morgan has been the COLLINS TRIER, the Portland Symphony in Maine, 20th Century Consort in Washington featured soloist with Music of the double bass, has the Marina del Rey-Westchester D.C. During this time, Barbara added Baroque on numerous occasions, been a member Symphony, the Flint Symphony orchestra, ballet, pop, shows, and performing concertos of Vivaldi, of the Lyric Opera in Michigan, the Des Moines commercial work to her baroque and Bach and Mozart. He has been the Orchestra since 1980. Brandenburg Ensemble, the Des contemporary activities. For the past soloist with other area organizations He serves as Principal Moines Symphony, and most recently 25 years she has served as the in concertos of Vaughn Williams Bass of the Chicago with the Xiamen Philharmonic Assistant Principal of the Lyric Opera and Strauss, and he performed Philharmonic Orchestra, Music of the Orchestra in China. She is in great of Chicago Orchestra. In addition to the Chicago premiere of Joan Baroque, the Contemporary Chamber demand as a chamber musician and Players of the University of Chicago,

6 www.rembrandtchamberplayers.com The Rembrandt Chamber Players 7 soloist in the greater New York and DARRON MCNUTT, Managing Director, REMBRANDT CHAMBER PLAYERS 2014–2015 Chicago areas, and has appeared is a Chicago-based piano instructor, on Robert Sherman’s Young Artist music director, and arts administrator. Showcase on WQXR in New York Before moving to Roger’s Park in CONCERT I: Romance and Jazz early July, Darron worked at Dutchess and WOI radio in Des Moines, Iowa. SUNDAY, SEPTEMBER 28, 2014 3:00 pm Community College in New York as Yu performs regularly with her Nichols Hall, Music Institute of Chicago, Evanston husband cellist Stefan Kartman in a music theory and private piano the Florestan Duo. instructor while serving as the choir MONDAY, SEPTEMBER 29, 2014 7:30 pm She has taught at the Alfred Summer director and accompanist for the Driehaus Museum, Chicago United Methodist Church of Mt. Kisco. Chamber Institute in New York, the Guest Artists: Howard Levy, harmonica; Renée-Paule Gauthier, violin Drake University Community School After graduating from Yale in 2009, Darron worked as the Managing of Music, the Mid-America Summer Howard LEVY Sonata for Oboe and Piano MIDWEST PREMIERE Chamber Music Institute at Ohio Director of Orchestra New England in New Haven, CT. He holds a B.A. in (1951– ) Allegro Wesleyan University, the Milwaukee Andante Summer Chamber Music Festival, Music from Georgetown College and a Allegretto the Troy Public Library Chamber M.A. from Yale Divinity School. Music Institute in Michigan, and the Robert Morgan, oboe; Jeannie Yu, piano Wisconsin Conservatory. TIM SAWYIER, Program Notes, received his Bachelor of Music in oboe Béla BARTÓK Yu has studied with Ruth V. Sitjar, Romanian Folk Dances performance from the Curtis Institute 1881–1945) arranged for harmonica and strings Martin Canin, Susan Starr, Ilana ( of Music in 2008. While at Curtis Jocul Cu Bata Buciumeana Vered, and Ann Schein. She received he also studied European history at Braul Poarga Romaneasca her Doctor of Musical Arts degree at the University of Pennsylvania. He Pe Loc Maruntel I/II the Peabody Institute of Music. recently completed an MA at the University of Chicago in that field, Howard Levy, harmonica; Renée-Paule Gauthier, violin; Carol Cook, viola; writing a thesis on Sigmund Freud’s Barbara Haffner, cello; Collins Trier, bass early case studies. In addition to Tim’s academic pursuits, he also serves INTERMISSION as principal oboe of the Dubuque (Iowa) Symphony Orchestra, and is an Wolfgang MOZART Quartet in D for Flute and Strings, KV285 active freelancer in the Chicago area. (1756–1791) Allegro During high school he was principal Andante oboe of the Chicago Youth Symphony Allegretto Orchestra for two years, and was twice Sandra Morgan, flute; Renée-Paule Gauthier, violin; a member of the winning group of the Carol Cook, viola; Barbara Haffner, cello Rembrandt Chamber Players’ High School Chamber Music Competition. R. VAUGHAN-WILLIAMS Piano Quintet in C minor He was named one of the Chicago (1872–1958) Allegro con fuoco Tribune’s 2006 “Top Five Rising Stars Andante in Classical Music,” and in 2004 was Fantasia, quasi variazioni: Moderato awarded one of two annual $25,000 scholarships by the “Music for Youth” Jeannie Yu, piano; Renée-Paule Gauthier, violin; Foundation. In his spare time Tim Carol Cook, viola; Barbara Haffner, cello; Collins Trier, bass enjoys reading, rollerblading, and playing chess. Please join the musicians for a “MEET & MINGLE” reception at Vinic Wines, 1509 Chicago Avenue, Evanston after our Sunday concert.

These concerts are partially underwritten by the Illinois Arts Council, a State agency.

8 www.rembrandtchamberplayers.com Concert I: Romance and Jazz 9 PROGRAM NOTES Third Movement Allegro con Spirito: After a brief bridging passage, the piano starts this movement with a left-hand rhythmic ostinato as it did Howard Levy (1951–)—Sonata for Oboe and Piano in the first movement. This one is a bluesy Brazilian baião in A major, commissioned by Robert Morgan–MIDWEST PREMIERE soon joined by an interlocking right-hand pattern. The oboe states the Howard Levy, composer, harmonica, is an acknowledged master of the diatonic theme, which is a more optimistic and melodic relative of the opening (single key) harmonica, a superb pianist, Grammy Award-winning composer, theme of the first movement. There are Jazz harmonies, more Latin and recording artist, bandleader, teacher, producer, and Chicago area resident. Most Brazilian rhythms, passages of building rhythmic tension, and references notably, he is the first person to play the diatonic harmonica as a fully chromatic to the themes of the first two movements. The mood of the piece does instrument, opening up a new world of possibilities. become reflective for a while, but the energy returns and the piece In 2011, Howard released an album of original classical compositions—“Concerto builds to a close with a combination of the themes of the first and third for Diatonic Harmonica and Orchestra,” and “Harmonia Mundi –Suite for movements. In this passage, the music modulates from A back to the Harmonica and Chamber Ensemble” (written especially for Rembrandt with original key of Gb, and the piece ends with a compressed, more jaggedly Robert Morgan on oboe). He also recorded a reunion album with Béla Fleck and The Flecktones entitled Rocket Science, featuring his Grammy Award-winning harmonized version of the opening tihai. composition “Life in Eleven.” (Although the first movement is in Gb, the second in Gm, and the third First Movement Allegro Moderato: The music begins with a tihai, an mostly in A, this piece was notated without any key signatures) Indian melodic/rhythmic figure repeated 3 times in 4 measures. The 3rd time, the last note is the downbeat of the 5th bar, which is also the start of the 4/4 left-hand piano pattern in Gb that is the foundation of the W. A. Mozart (1756–1791) piece. It represents the relentless energy of New York City, constantly in Flute Quartet in D Major, K. 285 motion, always changing. The oboe enters after 8 bars, playing a detached This quartet could easily dispel the rumor that Mozart hated the flute. but related melody. It plays the role of observer/commentator, sometimes It is the first of a set of three that Mozart composed for the amateur floating above the piano, sometimes jabbing at it, sometimes joining Mannheim flutist Ferdinand De Jean when the composer was around together with it. The music moves forward through different moods and 21 years old and anxious for commissions. It is written in a concertante key centers. There are gentler passages which provide a respite from the or “chamber concerto” style, with the vast majority of the melodic and intense forward motion, but the original theme returns to close out the virtuosic material given to the solo flute. The piece itself is notable for movement, ending with a compressed version of the opening tihai. its brevity—three short movements. The first is in sonata (A-B-A) form Second Movement Waltz (Andante): In this slow movement, the oboe and features ample opportunity for the flutist to show off his or her and piano are both more introspective and reflective. The G minor pyrotechnic abilities. The highlight of the work is undoubtedly its second theme in 3/4 is stated and developed, and the music occasionally thins movement—in D Major’s relative minor key, b minor—a poignant out, slows down, and pauses, then resumes its slow forward motion. suspended aria for the flute, with immense pathos conveyed in only About halfway through, the piano makes a few emotional solo statements a handful of measures. The finale movement follows attacca (without before the oboe rejoins it, and then they continue together. There is a pause) and quickly brightens the mood in the way only a classical Mozart brief reference back to the opening left-hand piano motif. The piano rondo can. accompanies the oboe in two plaintive statements, then drops out and gives way to an oboe cadenza. The cadenza segues without a break into the 3rd movement.

10 www.rembrandtchamberplayers.com Concert I: Romance and Jazz Program Notes 11 Béla Bartók (1881-1945)—Romanian Folk Dances, Ralph Vaughan-Williams (1872-1958) arranged for Harmonica, Violin, Viola, and Cello Piano Quintet in C minor

This collection of dances is easily one of Bartók’s most performed Vaughan-Williams’ Piano Quintet, which dates from the first decade of and recognizable works. They are indeed so popular that there are the twentieth century, is scored for the same instruments as Schubert’s innumerable arrangements of them for any permutation of instruments, famous “Trout” Quintet, clearly showing the influence of nineteenth- as in the version being performed in these concerts. Bartók based century music throughout the work. The emphatic opening chords are these dances on tunes he collected during his sojourn to Transylvania reminiscent of Brahms while the pianistic demands sometimes evoke where he studied examples of the region’s music to inspire his own Liszt. Indeed, it has been suggested that Vaughan-Williams himself, compositions. These would originally have been performed on a gypsy playing the role of the Romantic virtuoso, might have performed the fiddle or flute of some kind, so in fact, the composer’s original piece is piece with full string sections, turning it into something of a piano itself a transcription. Bartók initially composed this piece for piano in concerto. 1915 and orchestrated it for a small ensemble two years later, beginning the work’s extensive history of transcription. The Quintet was not published during the composer’s lifetime, largely because he continually revised it until 1905, a habit he picked up The dances are all extremely compact with almost all of them lasting from his British counterpart Gustav Holst. After 1918, the Quintet under a minute. Their brevity lends to each of them a certain austerity disappeared from view, though it did so for only several decades. Upon that evokes the simple countryside where they originated, as though the composer’s death in 1958, his wife Ursula gave his manuscripts to transporting the listener to one such distant land. This arrangement’s use the British Library on the condition that they were not to be performed. of a harmonica, an instrument infrequently heard in classical chamber After the ban expired in the 1990s, the manuscript resurfaced. Thanks music concerts, adds to that exotic air. to performances such as this one, Vaughan-Williams’ piece is gradually becoming more widely known.

And audiences are lucky for it. It contains much that would appeal to Romantic sensibilities, but also carries the sound of a young composer exploring the possibilities of chamber music. The slow movement, for Now Serving Sunday Brunch 11:00–2pm example, sounds much like the composer’s mature works—expansive and pastoral—though in context it is more of a reflective pause in the midst of the constantly modulating, impassioned excitement of the other 1245 Chicago Ave. movements. Evanston, IL Program notes by unionpizza.com —Tim Sawyier

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14 www.rembrandtchamberplayers.com Subscription Order Form 15 REMBRANDT CHAMBER PLAYERS 2014–2015 CONCERT II: Holiday Baroque SUNDAY, DECEMBER 7, 2014 3:00 pm Alice Millar Chapel, Evanston Guest Artists: Josefien Stoppelenburg; soprano, David Perry, Kathleen Brauer, Sheila Hanford, violins; Stephen Alltop, harpsichord

Luigi BOCCHERINI Quintet for Flute and Strings in G Major (1743–1805) Allegro Moderato Allegro Assai Sandra Morgan, flute; Kathleen Brauer, Sheila Hanford, violins; Carol Cook, viola; Barbara Haffner, cello; Collins Trier, bass

Johann S. BACH Wedding Cantata, BWV #202 (1685–1750) Aria Recitative Aria Recitative Aria Recitative Aria Recitative Aria: Gavotte Josefien Stoppelenburg, soprano; Robert Morgan, oboe; Kathleen Brauer, Sheila Hanford, violins; Carol Cook, viola; Barbara Haffner, cello; Collins Trier, bass; Stephen Alltop, harpsichord

INTERMISSION

Antonio VIVALDI The Four Seasons (1678–1741) Spring Summer Fall Winter David Perry, solo violin; Kathleen Brauer, Sheila Hanford, violins; Carol Cook, viola; Barbara Haffner, cello; Collins Trier, bass; Stephen Alltop, harpsichord

Please join the musicians for a “MEET & MINGLE” reception following the concert in Parkes Hall sponsored by Vinic Wines.

These concerts are partially underwritten by a grant from the Elizabeth F. Cheney Foundation, and the Illinois Arts Council, a State agency.

16 www.rembrandtchamberplayers.com Concert II: Holiday Baroque 17 PROGRAM NOTES 1. Aria (S) 1. Aria (S) Yield I say, ye brooding shadows, Weichet nur, betrübte Schatten, Frost and tempests, take your rest! Frost und Winde, geht zur Ruh! (1743-1805)—Quintet for Flute and Strings Flora’s mirth Florens Lust The six quintets for flute and strings that comprise Luigi Boccherini’s Op. Will our breast Will der Brust 17 all date from 1773. The 30-year-old composer referred to these works Nought but merry joy now furnish, Nichts als frohes Glück verstatten, as “opera piccolo,” or “little works,” undoubtedly because they are all in For she draws with flowers nigh. Denn sie träget Blumen zu. two brief movements, none much longer than five minutes. They bear 2. Recit. (S) 2. Recit. (S) the influence of his more famous contemporary Joseph Haydn (1732- The world again is new, Die Welt wird wieder neu, 1809), inventor of the . In Boccherini’s later chamber music, To hilltops and the valleys Auf Bergen und in Gründen Would gracious charm be twice as fair Will sich die Anmut doppelt schön he expands on Haydn’s innovation of four string players acting as four united, verbinden, independent voices by adding a fifth player—a second violin, cello, or The day is from the chill now free. Der Tag ist von der Kälte frei. double bass (his father’s instrument)—creating a richer sonority. In these 3. Aria (S) 3. Aria (S) early quintets the added instrument is a flute, which has the lion’s share Phoebus hies with darting horses Phoebus eilt mit schnellen Pferden of melodic material. Nonetheless, the innovation of adding instruments Through the re-awakened world. Durch die neugeborne Welt. to the traditional string quartet (Boccherini’s famous “Minuet in E” Yea, since to him it brings delight, Ja, weil sie ihm wohlgefällt, comes from a quintet scored for string quartet plus bass) is foreshadowed He himself would be a lover. Will er selbst ein Buhler werden. in these charming earlier endeavors. 4. Recit. (S) 4. Recit. (S) Thus seeketh Amor, too, his pleasures, Drum sucht auch Amor sein Vergnügen, J. S. Bach (1685-1750)—Cantata No. 202 “Weichet nur, betrübte When purple on the meadows laughs, Wenn Purpur in den Wiesen lacht, Schatten,” for soprano, oboe, string quintet and harpsichord When Flora’s glory is adorned, Wenn Florens Pracht sich herrlich macht, And when in her domain, Und wenn in seinem Reich, Familiarly known as the “Wedding Cantata,” this piece may have been Just like the flowers fair, Den schönen Blumen gleich, performed at Bach’s own wedding to Anna Magdalena in 1721 with his E’en hearts in passion triumph. Auch Herzen feurig siegen. new bride serving as the soprano soloist. Most likely written in 1718, this 5. Aria (S) 5. Aria (S) work is one of Bach’s sixteen or so “secular” cantatas. Since so much of When the vernal breezes ramble Wenn die Frühlingslüfte streichen Bach’s output was lost over the centuries, however, the exact number is And through bright-clad meadows blow, Und durch bunte Felder wehn, difficult to determine. As opposed to cantatas written for weekly church Amor, too, is wont to venture Pflegt auch Amor auszuschleichen, services, celebrating specific days on the liturgical calendar, Bach’s Out to witness his great pride, Um nach seinem Schmuck zu sehn, secular cantatas celebrate such specific occasions as weddings, funerals, Which, as we believe, is this, Welcher, glaubt man, dieser ist, That one heart the other kiss. Dass ein Herz das andre küsst. or festivals. 6. Recit. (S) 6. Recit. (S) The “Wedding Cantata” is by far one of Bach’s most popular and And this is that true gladness, Und dieses ist das Glücke, most often recorded cantatas. Though individual arias are frequently That through a lofty gift of fortune Dass durch ein hohes Gunstgeschicke performed as stand-alone concert pieces (especially by oboists with Two spirits one rich gem discover, Zwei Seelen einen Schmuck erlanget, friends who sing soprano), this performance of the complete cantata is In which much health and blessing An dem viel Heil und Segen pranget. something of a rarity. It is in nine movements of alternating arias and sparkle. 7. Aria (S) improvisatory-sounding recitatives. The author of the libretto—which 7. Aria (S) Sich üben im Lieben, predictably focuses on themes of love and devotion—is not known To practise sweet courtship, In Scherzen sich herzen In jesting to frolic Ist besser als Florens vergängliche Lust. with any certainty, but the German lawyer, scientist, and poet Salomon Is better than Flora’s mere passing Hier quellen die Wellen, Franck (1659-1725), who wrote many libretti for Bach during this time, delight. Hier lachen und wachen is a good guess. As was his custom in almost all of the secular libretti Here wellsprings are welling, Die siegenden Palmen auf Lippen und he wrote, cameos (or roles) from classical mythology are quite frequent, Here laughing and watching Brust. hence the listener’s encounter with Phoebus in the second aria. In triumph are palms on the lips and the breast.

18 www.rembrandtchamberplayers.com Concert II: Holiday Baroque Program Notes 19 8. Recit. (S) 8. Recit. (S) Antonio Vivaldi (1678-1741) So let the bond of chaste affection, So sei das Band der keuschen Liebe, O promised pair, Verlobte Zwei, The Four Seasons From fickleness of change be free! Vom Unbestand des Wechsels frei! What can be said about Vivaldi’s most famous and popular work that No sudden hap Kein jäher Fall Nor thunderclap Noch Donnerknall hasn’t been said before? At least parts of it are familiar to almost any Let frighten their devoted passion! Erschrecke die verliebten Triebe! listener, whether from elevator background music, cell phone ringtones, 9. Aria (S) 9. Aria (S) or indeed the concert stage. The music itself has become so ubiquitous Witness in contented bliss Sehet in Zufriedenheit that it is easy to lose the forest for the trees and miss the genius in these Thousand radiant days of favor, Tausend helle Wohlfahrtstage, four thematic violin concerti. That soon in the time to come Dass bald bei der Folgezeit Your affection bear its flower! Eure Liebe Blumen trage! Vivaldi was born in Venice and much of the music for which he is best known (not including the current work) was composed there. After being ordained as a Catholic priest, he worked at the Ospedale della Pietà, a home for abandoned children (mostly girls) from 1703 to 1715, and again from 1740 until his death. There he wrote dozens upon dozens of concertos for various solo instruments and combinations thereof for the orphans to perform. He infamously remarked that he could compose a new concerto more quickly than a copyist could transcribe one, and that HIGH SCHOOL was probably no idle boast given the vastness of his output. 20th annual Sometime shortly after he left the Ospedale, Vivaldi moved to Mantua COMPETITION to serve as the court composer to prince Philip of Hesse-Darmstadt; The CHAMBER MUSIC Four Seasons date from this period (approximately 1717-1725). Vivaldi was clearly taken with the countryside in Mantua, which included scenes February 1, 2015 10:30am–2:30pm that would have been new to him and hard to come by in his native city. Northwestern University Musical “sound painting” was nothing new—Renaissance madrigalists Regenstein Recital Hall employed the technique frequently and to great effect—but these four 60 Arts Circle Drive, Evanston concertos brought it firmly into the instrumental sphere and musical FREE ADMISSION mainstream. You are invited to experience the brilliant talent of the Each depicts the mood and sights of an individual season—“Spring” is next generation of chamber music musicians. a frolicking, jaunty lark; “Summer,” indolent but filled with imitations Past winners have gone on to win major national competitions. of bird songs; “Fall” the time of a harvest festival, followed by a slow, rejuvenating nap; and “Winter” an incessant, icy wind that brings the HEAR THE FUTURE. year to a close. For more details visit www.rembrandtchamberplayers.org Program notes by or call 312-360-3145 —Tim Sawyier

20 www.rembrandtchamberplayers.com Concert II: Holiday Baroque Program Notes 21 REMBRANDT CHAMBER PLAYERS 2014–2015 CONCERT III: European Journey We carry these quality instruments: FRIDAY, FEBRUARY 13, 2015 7:30 pm Loree Nichols Hall, Music Institute of Chicago, Evanston Howarth MONDAY, FEBRUARY 16, 2015 7:30 pm Covey The PianoForte Foundation, Chicago Fox Rigoutat Guest Artists: Josefien Stoppelenburg, soprano; Renée-Paule Gauthier, violin KG Paul HINDEMITH Die Serenaden for soprano, oboe, viola and cello (1895–1963 ) Barcarole—An Phyllis—Nut Mutt Duett—Der Abend—Der Wurm am Meer Trio—Gute Nacht Feel Josefien Stoppelenburg, soprano; Robert Morgan, oboe; the Carol Cook, viola; Barbara Haffner, cello Sebastian HUYDTS Quartet for piano and strings (composed for Rembrandt) Passion (1966–) Flowing, with great expression Passionate, angry Like a dirge Agile and precise Jeannie Yu, piano; Renée-Paule Gauthier, violin; Carol Cook, viola; Barbara Haffner, cello

Passion results INTERMISSION when you, your reed CANTELOUBE/LABELLA Songs of the Auvergne (arranged for Rembrandt) and your instrument (1879–1957) Bailero Lo calhe L’aio de Rotso La Delaissado play as one Pastourelle Brezairola Malurous qu’o uno fenno Bouree Shawna Lake’s talent, depth of knowledge and excellent products are proven assets to Josefien Stoppelenburg, soprano; students, youth symphonies, conservatories Sandra Morgan, flute;Robert Morgan, oboe; Renée-Paule Gauthier, violin; and professional oboists and English hornists Carol Cook, viola; Barbara Haffner, cello; Jeannie Yu, piano around the world. Robert SCHUMANN Quartet in E flat for piano and strings, Op.47 For more than 20 years, her hallmark has been (1810–1856) Sostenuto assai-Allegro superb professional service with a personal Scherzo molto vivace: Trio 1 & 2 touch. Andante cantabile Finale: Vivace Schedule a Jeannie Yu, piano; Renée-Paule Gauthier, violin; personal Carol Cook, viola; Barbara Haffner, cello consultation today Please join the musicians for a “MEET & MINGLE” reception following the concert at Vinic Wines, 1509 Chicago Ave. Evanston or in the PianoForte reception room in Chicago.

Oboe Chicago • 847-815-9644 • OboeChicago.com This concert is partially underwritten by the Illinois Arts Council, a State agency

22 www.rembrandtchamberplayers.com Concert III: European Journey 23 PROGRAM NOTES DIE SERENADEN Barcarole Barcarole Paul Hindemith (1895-1963)—Die Serenaden Treibe, treibe, Schifflein, schnelle, durch for soprano, oboe, viola and cello die leicht bewegte Hut; Wiege, wiege, Onward, onward, little boat, quickly süsse Welle, in der Sterne goldner Glut. through the gently rocking tide; rock, Hindemith wrote this work in 1924 and subtitled it “Kleine Kantate rock, sweet wave, in the golden glow nach romantischen Texten” (“Little Cantata on Romantic Texts”). It is Töne, Liedlein, durch die Nacht, wo die of the stars. Liebe harrt und wacht. in nine semi-continuous movements, only one of which—the seventh, Ring, little song, through the night, Liebe, Liebe steht am Strande, neckend where Love waits and watches. “Der Wurm am Meer”— employs the full quartet. The rest of the brief eilte sie voraus, breitet sehnsuchtsvoll vignettes are for various solo, duo, and trio combinations drawn from vom Lande ihre treuen Arme aus. Love, Love stands on the bank, she ran teasingly ahead to spread out her the ensemble. The cantata as a whole breaks down into three larger Töne, Liedlein, durch die Nacht, wo die faithful arms longingly from the land. Liebe ham und wacht. sections—the first three movements, the second three, and the last two— Ring, little song, through the night, each of which contains one purely instrumental movement: solo cello —Adolf Licht where Love waits and watches. in the first section, viola and cello in the second, and a trio for the three instruments in the third. An Phyllis To Phyllis Phyllis, tinter diesen Buchen will ich Phyllis, under these beeches I want to The timing of this composition is noteworthy. Arnold Schoenberg (1874- junge Veilchen suchen. Komm und search for violets. 1951) made his infamous break with tonality only a year or two earlier suche sie mit mit Come and search with me. and was developing his “Process of Composing with Twelve Tones,” Phyllis, müssen wir in finstern Griinden Phyllis, we must seek long on the dark known later as serialism. While this music may sound similar to some lange suchen, sie zu finden, dann so ground to find them, and there will of Schoenberg’s stark, early twelve-tone works, it is written in what is ruh’ ich auch mit dir. I rest with you. actually a combination of modes and free-atonality, not governed by —J. L. W. Gleim practices as strict as twelve-tone writing. Nur Mut Courage! Hindemith was to codify his own theory of harmony during the Second Aus Wolken fällt die frohe Stunde, o After stormclouds comes the happy time, Mensch, gesunde! O man, be well! World War in his piano work “Ludus Tonalis.” Intended as a twentieth- Lass Leiden fliehn und Bangigkeit, wenn century follow-up to Bach’s “Well-Tempered Clavier,” Hindemith Let sorrows flee, and timidity, if your Liebchens Kuss dein Herz erfreut. sweetheart’s kiss delights your heart. premiered this work in Chicago in 1943. Although he eventually followed In Küssen weht ein Zaubersegen, drum In kissing there’s a magic blessing, so be in the footsteps of Schoenberg by trying to develop a new system of sei verwegen! bold! harmony and composition, he plays freely with various compositional Was fürchten, wenn der Donner rollt, Why fear that the thunder may rumble. methods and idioms in this earlier work. wenn nur der rote Mund night schmollt! if only those red lips don’t pout! —Ludwig Tieck Der Abend Evening Schweigt der Menschen laute Lust Now man’s noisy pleasures fall silent; Rauscht die Erde wie in Träumen the earth, as if in dreams, murmurs Braun Renovation Management wunderbar mit alien Bäumen, wondrous strange with all its trees what the heart scarcely knew: Concierge Style Renovation Project Management was dem Herzen kaum bewusst, alte Zeiten, linde Trauer, old times, gentle mourning, Specializing in Design Build for Remodel Projects und es schweifen leise Schauer and gentle tremors pass through the breast both Large and Small wetterleuchtend durch die Brust. —Joseph von Eichendorff illuminating like heat lightning. Please call us to Discuss Your Next Project 847-366 -1565 [email protected]

24 www.rembrandtchamberplayers.com Concert III: European Journey Program Notes 25 Der Wurm am Meer The Sea Serpent Sebastian Huydts (1966-present)— Wie dies Gewürm aus unermessnem Like this serpent out of the measure-less Meer, sea, Quartet for Piano and Strings taucht auch der Mensch aus deinem man, too, dives forth from your dark Sebastian Huydts (b.1966) studied piano at the Sweelinck Conservatory in The dunklen Schoss, womb, Netherlands with Edith Lateiner Grosz. He holds an MA in composition from Unendlichkeit, und ahnet nicht, woher! Infinity, and cannot guess whither! So he the University of Chicago where he studied composition with Shulamit Ran, So klimmt er denn auf seinen Erdenkloss, presses tight to his clod of earth, Howard Sandroff, Cliff Colnot and John Eaton. Internationally renowned artists von Tränen feucht, und taster urn sicher, damp with tears, and gropes round frequently perform his works. At present, Mr. Huydts is Director of Keyboard about, ober ergreif ein wenig Gras und Moos Studies at Columbia College in Chicago. His works are published by Jeanné; as a für seinen Mund und er ergreift’s so reaches up to grasp a little grass or moss performer he is represented by Musicantes of Santander, Spain. schwer. for his mouth, and apprehends it with The Quartet for Violin, Viola, Violoncello and Piano was written in Der arme Mensch, wie trüb ist doch sein such difficulty. Los! Poor wretched Man, how sorrowful is 2002 at the request of the Rembrandt Chamber players, to whom it is Er ahnet nichts und mühet sich so sehr, his lot! dedicated. It has four movements and lasts about 25 minutes. He suspects nothing and labors so hard, da kommt die Flut, da wird die Welle The first movement is a cantilena in which the string instruments set gross, then comes the flood, the wave swells the mood for much of what is to follow. Each instrument picks up on und er versinket wieder urn ins Meer. high, and he sinks again into the sea. the main melody and gives its commentary, supported by striking —J. W. Meinhold harmonies in the piano which function as the pillars upon which the Gute Nacht Good Night work is built. Gute Nacht! Good night! The second movement breaks with the atmosphere of the first. Its Liebchen sieh, mit goldner Pracht, Sweetheart, look! In golden splendor, fast tempo and relentless energy contrast sharply with the more rings umkränzt vom Heer der Sterne, encircled by the hosts of stars, contemplative, accepting and subdued nature of the first movement. blickt der Mond aus blauer Ferne the looks down from the blue traulich lächelnd auf uns zu: vastness The third movement, perhaps the darkest of the four, delves into Gute Nacht und süsse Ruh! smiling confidentially at us: the depths of atmospheric writing. A nocturnal mood dominates, Good night and sweet rest! Gute Nacht! highlighted by extensive use of harmonics in the piano and soft, complex Liebchen, ach, wie schon voll-bracht Good night! and dense harmonies developing towards a climactic open string Sweetheart, ah! How perfectly unter Scherz und Tanz und Singen amidst joking and dancing and singing sonority. flog der Tag auf goldnen Schwingen den did the day fly past on gold wings verschwundnen Tagen zu! The last movement once again contrasts sharply. Virtuoso gestures in all to join all the bygone days. Gute Nacht und siisse Ruh! Good night and sweet rest! instruments break away from the stark mood that dominated the piece Gute Nacht! up to this point. It grows in intensity, culminating in a climactic return Good night! Wie mich das so fröhlich macht, How happy that makes me! That I know of the opening movement. dass ich weiss, du bist die Meine, that you are mine, that I know that I am —Notes by Prof. Sebastian Huydts, ed. Tim Sawyier dass ich weiss, ich bin der Deine, yours—you and I and I and you. Du und ich und ich und Du! Good night and sweet rest! Gute Nacht und siisse Ruh! Good night! Gute Nacht! Sweetheart, will the night soon Liebchen, ruff mich bald die Nacht dir am summon me Busen zu erwarmen? to rest, warm, on your bosom? Ach, warn schliesst in meinen Ah, when will your blue eyes Armen close to sleep within the circle of my arms? sich dein blaues Auge zu? Good night and sweet rest. Gute Nacht und süsse Ruh! —English translations by S.L. —S. August Mahlmann

26 www.rembrandtchamberplayers.com Concert III: European Journey Program Notes 27 Cantiloube (1879-1957)/Labella—Songs of the Auvergne Pastourelle Brezairola for flute, oboe, violin, viola, cello, bass, piano and soprano “È passo dè dessaï! Soun, soun, béni, béni, béni; È passo dellaï l’aïo! Soun, soun, béni, béni, doun, This work is a collection of folksongs from the Auvergne region of France, Bendras olprès de ièu, Soun, soun, béni, béni, béni; an area located south of Paris near the center of the country. These songs Què d’ofaïré parlorèn, Soun, soun, béni, d’èn docon! were originally arranged for soprano with orchestral accompaniment È lou restan del jiour Lou soun, soun, bouol pas béni, pécairé! by Joseph Cantiloube between 1923 and 1930. The libretto is written N’en parlorén d’amour!” Lou soun soun bouol pas béni. in the local language of Occitan, and the songs are written in a lush, “Né pouodi pas passa! Lou néni s’en bouol pas durmi! Oh! atmospheric, late-Impressionist style, though without the harmonic Couci bouos qué iéu passi? Soun, soun, béni, béni, béni; ingenuity of Debussy or Ravel. Indeed, such harmonic treatment of these N’aï pas de pount d’arcados Soun, soun, béni, béni, doun, simple melodies might have been gaudy and overdone. È n’aï pas dè batéu, Lou soun, soun bouol pas béni. Ni máï dè pastourel L’èfontou bouol pas durmi! Cantiloube himself was also a musicologist and author who was born Qué mè siasco fidèl!” Soun, soun, béni, béni, béni; into a family with an ancestral history in the Auvergne region. In 1925, Soun, soun, béni, o l’èfon! Oh! Oh! “Aurias léu un batéu shortly after he began assembling and orchestrating these songs, he Sè tu èros poulido! Soun, soun, béni, etc. formed a group called “La Bourrée” with other musicians from his home Aurias un pount d’arcados, Atso lo qu’es poroqui, pécairé! region who shared his desire to preserve the beauty of the music of their Aurias un pastourel Atso lo qu’ès por oqui, birthplace. As Cantiloube himself put it, “Peasant songs often rise to Qué té serio fidèl Lou néni s’en boulio durmi... Ah! the level of purest art in terms of feeling and expression, if not in form.” È máï djusqu’al toumbel! This collection demonstrates that conviction clearly in its most famous Malurous qu’o uno fenno Bouree number, “Bailero” (“Song of the Famers of Upper Auvergne”), a brief but Lo calhe (La caille) (Malheureux qui a une femme) rapturous rhapsody that transports the listener to an Auvergne farmer’s “E, dio mè tu, lo calhé, ound as toun nîou?” Malurous qu’o uno fenno, tranquil realm. bis Malurous qué n’o cat! “Sul puèt dé lo Bostido dellaï lou rîou!” bis Qué n’o cat n’en bou uno, Qué n’o uno n’en bou pas! “E, dio mè tu, lo calhé, qué l’o bastit?” bis SONGS OF THE AUVERGNE Tradèra, ladèri dèrèro “Es dé bourro dè lèbré è dé lopi!” bis ladèra, ladèri dèra. Bailero L’aio de Rotso (L’Eau de source) “E, dio mè tu, lo calhé, qué l’io dédins?” (Chant de Bergers de Haute-Auvergne) Urouzo lo fenno L’aïo dè rotso té foro mourir, bis Pastré, dè dèlaï l’aïo, as gaïré dé boun tèms? filhoto! Qu’o l’omé qué li cau! “Dès ious coumo lès áutrès més plus Urouz’ inquèro maito Dio lou baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! Nè té cal pas bèïr’ oquèl’, aïo, quèl’ poulits!” bis È n’aï pa gaïre, è dio, tu? aïo, O quèlo qué n’o cat! Mès cal prèndr’un couot d’oquèl’ Tradèra, ladèri dèrèro Baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! La Delaissado (La Delaissee) aïo dè bi! ladèra, ladèri dèra. Pastré, lou prat faï flour, li cal S’uno filhoto sè bouol morida, Uno pastourèlo èsper olaï al capt del gorda toun troupel! pitchouno, bouès Dio lou baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! Li cal pas douna d’oquèl’ aïo dè Lou galan doguélo, mé né bén pas! L’erb es pu fin’ ol prat d’oïci! rotso, Baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! “Ay! souï délaïssado! Aïmaro miliour oquèl’ aïo dè bi! Qué n’aï pas vist lou mio galant; Pastré, couci foraï, en obal io lou bel riou! Crésio qué m’aïmábo, è ton l’aïmé ièu!” Dio lou baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! Es pèromè, té baô çirca! Luziguèt l’estélo, aquèlo què marco la Baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! nuèt, e lo pauro pastoureletto Démouret à ploura...

28 www.rembrandtchamberplayers.com Concert III: European Journey Program Notes 29 Robert Schumann (1810-1856)— REMBRANDT CHAMBER PLAYERS 2014–2015 Quartet for Piano and Strings, Op. 47 CONCERT IV: An Evening with the Masters Robert Schumann wrote only five pieces of chamber music in his life—a piano quintet, three string quartets, and the present quartet for piano SUNDAY, MARCH 22, 2015 7:30 pm and strings—all in 1842. Unlike most classical and romantic composers, Nichols Hall, Music Institute of Chicago, Evanston he only composed in a single genre at a time: solo piano music from 1831 MONDAY, MARCH 23, 2015 7:30 pm to 1839, songs in 1840, and symphonic music in 1841. In 1842 he finally PianoForte Foundation, Chicago turned to chamber music. Guest Artist: David Perry, violin; Anthony Devroye, viola Schumann was something of an iconoclast in that he sought to distance himself and his compositions from the strict rules of eighteenth- century counterpoint and harmony. Describing his general feeling of Winners of Our 19th Annual High School Chamber Music Competition independence, he wrote, “I am affected by everything that goes on in the Pieces to be announced. world – politics, literature, people – I think it over in my own way, and Wolfgang A. MOZART Oboe Quintet in C minor then I long to express my feelings in music.” Schumann may well have (1756-1791) Allegro thought individualistically, but the present work bears the clear influence Andante of other Romantic composers, namely Schubert, whose mammoth Menuetto in canone, Trio second piano trio is scored in the same key, and Mendelssohn, whose Allegro transparent charm and wit can be heard in the quartet’s scherzo. Robert Morgan, oboe; David Perry, violin; Carol Cook, Anthony Devroye, viola; Barbara Haffner, cello Schumann worked on this quartet and the piano quintet at the same time, which may explain why he scored them in the same key. It is Wolfgang A. MOZART Quartet for piano and strings in E flat major difficult to imagine a work as grandiose as the quintet coming to (1756-1791) Allegro fruition in the same mind and at the same time as the more condensed, Larghetto understated present work, but Schumann’s mind was clearly different Allegretto from those of other composers. Schumann ultimately starved himself to Jeannie Yu, piano; David Perry, violin; Carol Cook, viola; Barbara Haffner, cello death in an insane asylum at the age of 46, leaving his wife Clara to her platonic romance with Brahms, another master whose work had inspired INTERMISSION Schumann’s. Program notes by Ludwig BEETHOVEN Trio in B flat, Op. 97 “Archduke” —Tim Sawyier (1770–1827) for piano, violin, cello Allegro moderato Scherzo: Allegro Andante cantabile Allegro moderato

Jeannie Yu, piano; David Perry, violin; Barbara Haffner, cello

Please join the musicians for a “MEET & MINGLE” reception following the concert at Vinic Wines in Evanston or in the PianoForte reception room in Chicago. These concerts are partially underwritten by a grant from the Elizabeth F. Cheney Foundation and the Illinois Arts Council a State Agency.

30 www.rembrandtchamberplayers.com Concert IV: An Evening with the Masters 31 PROGRAM NOTES a rehearsal, “On account of his deafness there was scarcely anything left of the virtuosity of the artist which had formerly been so greatly Ludwig van Beethoven (1770-1827)— admired. In forte passages the poor deaf man pounded on the keys until “Archduke” Piano Trio, Op. 97 the strings jangled, and in piano he played so softly that whole groups of notes were omitted, so that the music was unintelligible unless one could Beethoven’s middle “heroic” period began with the composition of the look into the pianoforte part.” The premier of the “Archduke” would be “Eroica” Symphony in 1803/4 and ended around 1814. The “Archduke,” Beethoven’s final public performance as a pianist. the last of his seven piano trios, dates from the height of this highly productive era for Beethoven. He began sketching the trio in the summer of 1810 and completed it in March 1811. Its epithet derives from the work’s W. A. Mozart (1756-1791)— dedicatee, the Archduke Rudolph of Austria—the sixteenth child of Oboe Quintet in c minor, K. 406/516b Habsburg emperor Francis Joseph I—an amateur pianist, composition This work took a circuitous route to reach the form in which it is student, and friend of Beethoven. Both the work itself and Beethoven’s presented at these concerts. It began its life in 1782 or 1783 as a serenade friendship with the Archduke are laden with contradictions. Beethoven (K. 388 in the Mozart catalogue) written for the popular eighteenth- abhorred the upper classes of Imperial Austria and, throughout his century wind ensemble known as the harmonie—an octet comprised life, notoriously went out of his way to show that disdain. His lack of of pairs of oboes, clarinets, bassoons, and horns. For whom or for what propriety at social events grew so flagrant that Rudolph ultimately had to occasion it was written is unknown. In 1787, Mozart arranged the work proclaim that the rules of social grace did not apply to Beethoven. for string quintet (K. 406/516b) and published that arrangement along When given the opportunity to fraternize with society’s upper echelon, with two other strings quintets as a set. Since the harmonie had typically however, he leapt at the chance as often as not. Rudolph, who had made played outdoors because of the superior projection of wind to string financial arrangements for Beethoven to stay in Vienna, was obviously a instruments, this transcription was probably meant to allow the work to member of the upper classes, but the friendship between them seems to be played in salons and other indoor chamber music venues. The present have been a genuinely warm one. The Archduke is the dedicatee of some arrangement comes to us courtesy of the renowned twentieth-century of Beethoven’s most famous (and now loved) compositions—the “Les oboist Humbert Lucarelli (1937-present), who rearranged the string Adieux” and “Hammerklavier” piano sonatas, and the fourth and fifth quintet version with an oboe taking the first violin part. piano concertos. Beethoven’s “Missa Solemnis” was intended to celebrate Rudolph’s elevation to the College of Cardinals, though the work was not Unique among Mozart serenades, it is in a minor key. Perhaps for that finished by the ceremony. (The archduke’s weak constitution had led him reason it was given the sobriquet “Nacht Musique.” The choice of key to a life in the church and at the keyboard, as opposed to one in military and the gravitas of the entire work also suggest that the piece might not service, as would have been typical for a male Habsburg with no chance have been meant strictly for pleasant outdoor background music, but for of inheriting the title of Holy Roman Emperor.) The piano part to the a more serious concert setting. The opening movement is in standard “Triple Concerto” was specifically intended for him to play. sonata form, with a martial opening theme contrasted with a cantabile lyrical second. Such abrupt changes in mood continue throughout. The trio that bears his title is also rich with contradictions. In a four- Some of the most ingenious writing comes in the third movement. Its movement symphonic structure (as opposed to the more common three- “A” section is a canon, but the minuet is a canon in inversion, meaning movement form), the first and third movements are alternately heroic, at that voices that enter after the statement of the theme play it with the times sounding even innocently simple, but always full of pathos. The intervals upside down. The last movement is a set of variations on a second and fourth showcase Beethoven the jokester, with juxtaposed serpentine theme that seems to peter out to end in C minor before a polarized dynamics and abrupt changes in character that almost buoyant coda in C Major brings the work to a close. amount to a musical wink from the composer. The 1814 premier of the piece, with Beethoven at the piano, was no laughing matter, though. As composer Ludwig Spohr said of Beethoven’s playing when he observed

32 www.rembrandtchamberplayers.com Concert IV: An Evening with the Masters Program Notes 33 W. A. Mozart (1756-1791)— Quartet in E-flat Major for piano and strings Mozart put the genre of the piano quartet on the musical map. While there are a few trifling examples that predate Mozart’s two, it was he who brought to prominence the genre that would captivate Mendelssohn, Celebrating 35 Years Dvorak, and Brahms in the nineteenth century. The then novel instrumentation came about as the result of a commission from the prominent Viennese publisher Franz Anton Hoffmeister, who in 1785 commissioned Mozart to write a set of three works for the ensemble. The first of these, and now the more famous, is the G minor quartet, K. 478. Hoffmeister had it engraved and published, but feared that it would not Contemporary Prints | Drawings sell because of its high technical demands. He asked to be released from the contract while allowing Mozart to keep the advance he had paid Photographs | Artists’ Books him. In June 1786, while basking in the success of Figaro (K. 492), Mozart completed this second quartet anyway. It is written in a concertante style, somewhere between an “accompanied A fine selection of works on paper sonata” and a “chamber concerto,” with the piano and string trio treated by artists including as essentially two separate instruments. The technical demands on the pianist are substantial, though as in all Mozart, impeccable taste, balance, Martyl Ed Paschke and sensitivity are called for from all four players. As one journalist Richard Hunt Gladys Nilsson at the time remarked of this quartet upon hearing it, “Many another piece can sustain a mediocre performance; this product of Mozart’s Ellen Lanyon Leonard Baskin is, however, scarcely bearable if it is performed by mediocre dilettante Nancy Spero Philip Pearlstein hands and carelessly presented.” The work showcases Mozart at the Audrey Niffenegger Hollis Sigler height of his skill as a composer. He achieves no fewer than nine keys in the first movement’s development, the larghetto middle movement is achingly beautiful, and the closing rondo is as ebullient and joyous as Among others any in the Mozartean canon. Program notes by —Tim Sawyier 311 W. Superior St., Suite 105 Chicago, IL 60654 | TEL. 312.664.9407 printworkschicago.com printworksgallery

Concert IV: An Evening with the Masters Program Notes 35 REMBRANDT CHAMBER PLAYERS 2014–2015 CONCERT V: Souvenir of Florence

SUNDAY, MAY 31, 2015 3:00 pm Nichols Hall, Music Institute of Chicago, Evanston

MONDAY, JUNE 1, 2015 7:30 pm Driehaus Museum, Chicago

Guest Artists: Jory Vinikour, harpsichord; Robert Hanford, Sheila Hanford, violins; Larry Neuman, viola; Julien Hersch, cello

YOUR10% PURCHASE AT VINICOFF WITH THIS AD* David SCHRADER Rembrandt Music (1952– ) (847)-733-7000 Jory Vinikour, harpsichord; Sandra Morgan, flute;Robert Morgan, oboe; 1509 CHICAGO AVE, Robert Hanford, violin; Carol Cook, viola; Barbara Haffner, cello; Collins Trier, bass EVANSTON, IL Albert ROUSSEL: Trio for flute, viola and cello (1869–1937) Allegro graciozo *OFFER NOT VALID COMBINED WITH OTHER PROMOTIONS AND DISCOUNTS Andante Allegro non troppo Sandra Morgan, flute;Larry Neuman, viola; Julien Hersch, cello

INTERMISSION

Peter TCHAIKOVSKY Souvenir of Florence (1840–1893) Allegro con spirito Adagio cantabile e con moto Allegro moderato Allegro vivace Robert Hanford, Sheila Hanford, violins; Carol Cook, Larry Neuman, viola; Barbara Haffner, Julien Hersch, cellos

GOOD'S Please join the musicians for a “MEET & MINGLE” reception Fine Picture Framing at Vinic Wines, 1509 Chicago Avenue, Evanston after our Sunday concert. These concerts are partially underwritten by the Illinois Arts Council, a state agency

36 www.rembrandtchamberplayers.com Concert V: Souvenir of Florence 37 PROGRAM NOTES Albert Roussel (1869-1937)— Trio for flute, viola, and cello, Op. 40 David Schrader (1952– )—Rembrandt Music Albert Roussel took a circuitous route to his compositional career. His David Schrader, a founding member of the Rembrandt Chamber Players, is first music teacher was his mother, who taught him from a very young equally at home in front of a harpsichord, organ, piano, or fortepiano. A resident age. After she died, eight-year-old Roussel focused on what was then of Chicago, Mr. Schrader leads an active musical life, performing with Baroque his primary interest—mathematics. He joined the French navy in 1889 Band, Music of the Baroque, the Newberry Consort, and Bach Week in Evanston. Mr. Schrader has appeared with Chicago Chamber Musicians, Contemporary and spent seven years as a sailor on the frigate Iphégenie, which took Chamber Players, Chicago Baroque Ensemble, and The City Musick and is a him on a tour of the Middle and Far East. These journeys were to have a frequent guest on WFMT radio. Mr. Schrader has appeared as a soloist on organ significant influence on the compositional style he began to develop. At and harpsichord with the Chicago Symphony Orchestra and has also appeared the age of 29 he decided to devote himself to the study of composition with Chicago’s Grant Park Symphony. and enrolled at Paris’ Schola Cantorum where he would remain until Mr. Schrader is on the faculty of Roosevelt University, Chicago College of 1908. For the next six years he continued to study, compose, and teach Performing Art–Music Conservatory for performance and academic studies (notable pupils include Eric Satie and Edgar Varèse). In the First World where he has taught both graduate and undergraduate courses since 1986. Since War he served as an ambulance driver on the Western Front. Lucky to 1980, he has been the organist of the Church of the Ascension. survive, he purchased a cottage in Normandy in 1923 and devoted the rest of his life to composition. Mr. Schrader received a Doctor of Music degree in organ from Indiana University as well as the coveted Performer’s Certificate. He received a Bachelor of Music in This trio, composed in 1929, was probably written in that cottage. His pre- piano and a Bachelor of Music in organ from the University of Colorado. war works bear the heavy influence of Ravel (almost his contemporary— When I wrote “Rembrandt Music,” I used a form called a “diptych,” they died in the same year) and Debussy, heavily Impressionistic and which in musical terms indicates a piece that is cast in two sections textural. After the war, Roussel’s compositions became more austere, of contrasting character. To an art historian the word suggests a possibly the result of the Schola’s strict curriculum of study which juxtaposition of two distinct painted panels, but the idea remains the centered on the contrapuntal works of Bach and Palestrina. This trio is in same—art in space, and music in time. a more neo-classical style, with more or less clear tonalities throughout but with occasional chromatic embellishments. The central movement The group of instrumentalists for whom I composed “Rembrandt Music” has almost a jazzy harmonic feel, and the outer movements are exciting was comprised of the core members of the ensemble. I was delighted jaunts, predominantly featuring the flute engaged in witty contrapuntal to write for such excellent performers, many of whose stylistic traits I conversations with the strings. considered when composing. The first movement is meditative and cast in the rhythm of a slow Pyotr Ilyich Tchaikovsky (1840-1893)— siciliano, a dance/song type of piece that often has a connotation of Souvenir de Florence, Op. 70 sadness within itself. The three main contrasting ideas of the second Florence was the home of Tchaikovsky’s famous patron Nadezdha von section are a change of mode from minor to major (though this isn’t Meck, the woman who so fell in love with the composer’s music that she always easy to hear as the harmonic language is at times intentionally offered to sponsor him completely, on one curious condition—that the ambiguous), a change in tempo, and a change in character. two never meet. Tchaikovsky spent many happy vacations in the city, The second section of “Rembrandt Music” is more rhythmically accented but given the peculiar conditions of his relationship with von Meck, he and concludes with greater energy than it has at its beginning. stayed not in her home but in a small villa owned by her where he would alternately compose and relax. May I say that I appreciate the honor of entrusting a piece of mine to some of the finest players on their respective instruments that I know! —Notes by David Schrader, ed. Tim Sawyier

38 www.rembrandtchamberplayers.com Concert V: Souvenir of Florence Program Notes 39 The present work, for string sextet, was mostly completed by the summer GUEST ARTISTS of 1890 after the composer’s final visit to Florence, which he had taken STEPHEN ALLTOP, earlier that same year. He died just three years later. This is his last piece American Gramaphone, Cedille and harpsichord, has built Clarion labels. of chamber music, a genre in which he wrote only seven pieces—four a career based on string quartets (one published posthumously), a short piece for violin Dr. Alltop has guest conducted excellence in several numerous orchestras and choruses and piano, a piano trio, and the Souvenir—a small number compared to disciplines, conducting across the United States and Europe. his large symphonic and operatic output. both orchestral and He led the International Schools choral ensembles, and performing The Souvenir is in a standard, four-movement symphonic form, with Choral Music Society Festival in as a keyboard artist. He is Music Busan, South Korea in 2013. He sonata-form first and last movements and a scherzo for its third. Of the Director of the Apollo Chorus of has worked closely with leading piece Tchaikovsky wrote to his brother Modest in 1891, “What a Sextet Chicago, the Champaign-Urbana composers of the day, including —and what a fugue at the end—it’s a pleasure! It is awful how pleased I Symphony Orchestra, the Elmhurst residency projects with John am with myself; I am embarrassed not by any lack of ideas, but by the Symphony Orchestra and the Green Corigliano, Eleanor Daley, Stephen novelty of the form.” Given Tchaikovsky’s frequently depressed moods, Lake Choral Institute. Dr. Alltop has Paulus and Eric Whitacre, and has served as a member of Northwestern this proclamation is truly jubilant, a feeling evident in the driving energy conducted world premieres of University’s conducting and keyboard works by John Luther Adams, Jan that permeates the sextet’s faster movements. faculties since 1994 where he Program notes by Bach, Miguel del Agila, Frank Ferko, conducts the Alice Millar Chapel Fabrizio Festa, Stephen Paulus, —Tim Sawyier Choir and the Baroque Music Alan Terricciano, and many others. Ensemble. In 2007, he made his Carnegie Stephen Alltop has appeared with Hall debut conducting music of Lemoi Ace Hardware the Chicago Symphony Orchestra Eric Whitacre. Stephen Alltop is 1008 Davis Street as both a harpsichord and organ represented by Joanne Rile Artist Evanston, IL 60201 soloist. Since 2011, Mr. Alltop served Management. Phone: (847) 328-4900 (V) as principal organist for Soli Deo FAX: (847) 328-5063 (F) Gloria’s Chicago Bach Project, which KATHLEEN BRAUER, violin, made her E-mail [email protected] includes annual presentations of Bach’s Mass in B Minor and the St. solo debut with the John and St. Matthew Passions. In Milwaukee Symphony Ralph Lemoi Dupuis 2011 he appeared with Ensemble Orchestra at the age of fifteen. She holds President Orchestral de Paris and conductor John Nelson at the Basilique St. degrees in music performance from Denis in Bach’s St. Matthew Passion. the University of Michigan and As a harpsichordist and organist, Yale University. Ms. Brauer was a he has performed with Boston’s fellow at the Center for Advanced Handel and Haydn Society, Chicago Quartet Studies at Aspen Music Chamber Musicians, Chicago Festival, and has performed with Sinfonietta, , Minnesota numerous ensembles including the Orchestra, Milwaukee Symphony Lyric Chamber Ensemble (Detroit), Orchestra, Omaha Symphony, and Ensemble Modern (Frankfurt, the Peninsula Music Festival. Mr. Germany), and Fulcrum Point New Alltop served as Coordinator for Music Project (Chicago). She has WFMT’s Bach Organ Project in the appeared at the Norfolk, Bowdoin, Fall of 2014, a live performance and Hampden-Sydney Festivals, and series of all of Bach’s organ works. with Bach Week in Evanston, and is 847-545-9605 His recordings are on the Albany, a frequent guest artist at the Santa

40 www.rembrandtchamberplayers.com Guest Artists 41 Fe Chamber Music Festival. She viola section under Michael Tilson recently traveled with a string quartet Thomas and performing Mozart’s of players from the Chicago and Sinfonia Concertante as soloist with SHOWCASE THE FUTURE Toronto Symphonies to the Kolkata the orchestra. International Music Festival in India. Mr. Devroye has given recitals in REMBRANDT YOUNG ARTISTS are the winners of our annual Ms. Brauer is a member of the Chicago on the Rush Hour Concert High School Chamber Music Competition. RCP would like to hear from orchestras of Lyric Opera of Chicago, Series, First Mondays at the Chicago libraries, community centers, art galleries, churches and synagogues, the Santa Fe Opera, and Music of Cultural Center, and as part of the museums, senior centers, schools, park districts, corporate and non- the Baroque. She and her husband IBP Beethoven Festival. His solo live in Roscoe Village with their three profit organizations that can provide future venues for programs to and chamber music performances children. When she has a few spare showcase the highly talented high school ensemble winners. and interviews have frequently hours, she loves to hike, kayak, or been broadcast live on WFMT radio, cross-country ski. If you would like to offer the REMBRANDT YOUNG ARTISTS including the Avalon Quartet’s complete Beethoven Quartet cycle in an opportunity to perform, please call 312-360-3145 ANTHONY DEVROYE, 2011-2012. or email [email protected] viola, enjoys a varied and active career as chamber Mr. Devroye holds a B.A. in For more information regarding the RCP annual High School Chamber musician, solo and Biological Science from Columbia Music Competition, visit our website at orchestral performer, University, where he was awarded a www.rembrandtchamberplayers.org and teacher. Since 2004 Starr Foundation Scholarship while Mr. Devroye has been violist of the pursuing concurrent viola studies acclaimed Avalon String Quartet, at the Juilliard School. He received with whom he has performed in a Diploma from the Curtis Institute major venues and concert series of Music as a Bok Foundation throughout the United States as well Fellowship recipient. In 2005 he as in France and South Korea. The won First Prize at the Julio Cardona Chicago-based ensemble performs International String Competition in annual concert series at the Art Portugal. His viola teachers have Institute of Chicago and at Northern included Michael Tree, Roberto Diaz, Illinois University, where they are Toby Appel and Heidi Castleman. quartet-in-residence and Mr. Devroye serves as Associate Professor of RENÉE-PAULE Viola. GAUTHIER, violin, is an accomplished and As an orchestral musician Mr. sought after soloist, Devroye performs frequently with the chamber musician, Chicago Symphony under Riccardo teacher, and orchestra Muti and leading guest conductors, leader. Gauthier was hailed as one and has toured with that orchestra of the “best upcoming violinists of to New York and Mexico. He has the new generation” in the book also performed with the New York Violin Virtuosos, from Paganini Philharmonic, Grant Park Symphony, to the 21st Century. A graduate and as guest principal of Chicago’s of the University of Montreal and Music of the Baroque. Mr. Devroye the Eastman School of Music, Ms. was previously a member of the Gauthier was Concertmaster of the New World Symphony in Miami for New World Symphony, in the first two seasons, frequently leading the violin section of the National Arts

42 www.rembrandtchamberplayers.com Guest Artists 43 Centre Orchestra, and Assistant area chamber music scene. She is SHEILA HANFORD, Artist Award from the Classical Concertmaster of the Calgary currently completing a Doctorate violin, currently pursues Recording Foundation for their Philharmonic. She has won awards of Music Degree at Northwestern a career as a free-lance recording of trios by Beethoven and in several competitions, including University, studying with Gerardo performer and teacher Shostakovich on the Bridge Records the exclusive three-year loan of the Ribeiro. More information can in the Chicago area. label. Mr. Hersh was also a founding Taft Stradivari violin through the be found on her website at www. She has a bachelor of member of the Chicago based 2009 edition of the Canada Council reneepaulegauthier.com. music degree in violin performance Callisto Ensemble and can be heard for the Arts’ Musical Instrument from Northwestern University with that ensemble on a CD featuring Bank Competition. She joined the ROBERT HANFORD, and has been teaching violin since the music of Augusta Read Thomas. faculties of North Park University violin, is concertmaster the age of 12. At present, Hanford Included on the CD are many and the Chicago Youth Symphony of the Lyric Opera performs with the Lyric Opera premiere recordings as well as a Orchestra in the fall of 2013, and of Chicago and a Orchestra, Music of the Baroque, commissioned piece entitled “Prairie she made her Kennedy Center solo former member of the and the Chicago Philharmonic Sketches.” Mr. Hersh has appeared debut in April 2014. She is the artistic Rembrandt Chamber Orchestra. She has also performed with Yo-Yo Ma on international director of the Rendez-vous musical Players. He has also served as with the Minnesota Orchestra, the television in “Marsalis on Music,” de Laterrière, a chamber music concertmaster of the Music of the Minnesota Opera, the Milwaukee on “CBS Sunday Mornings,” and has festival in the province of Québec, Baroque, the Chicago Philharmonic, Symphony Orchestra, and the been featured in numerous radio is Principal Second Violin with the and Ars Viva. Previously, Mr. Hanford . While residing broadcasts on NPR. He was also Chicago Chamber Orchestra and the was the associate principal second in Minnesota, Hanford was a violin featured on Japanese television both Northwest Indiana Symphony, and violinist of the Minnesota Orchestra, instructor at St. Olaf College. She is in an interview and live performance is an active member of the Chicago a member of the Milwaukee currently on the faculty of the Birch at Izumi Hall in Osaka, Japan. Mr. Symphony Orchestra and a member Creek Music Festival in Door County, Hersh studied at the San Francisco of Chicago’s Grant Park Symphony. Wisconsin. Hanford resides in Conservatory where his principal He has appeared as soloist on Evanston, Illinois, with her husband teachers were Bonnie Hampton and numerous occasions with the Robert, also a violinist, and their Irene Sharp. He is currently on the Minnesota Orchestra, the Milwaukee three sons. faculty of the DePaul School of Music Symphony and many other and Roosevelt University. Midwestern orchestras. Mr. Hanford JULIAN HERSH, cellist, has appeared as graduated with first prize from the HOWARD LEVY, soloist and chamber Orpheus Conservatory in Athens, composer, harmonica, musician throughout Greece. During the summers, he is an acknowledged the U.S., Europe, and serves as concertmaster and violin master of the diatonic the Far East, and is instructor at the Birch Creek Music harmonica, a superb a frequent performer at various Festival in Wisconsin, participates pianist, Grammy Award- festivals, including the Olympic in the Aspen Music Festival, and winning composer, recording artist, (WA), Saratoga (NY), and Caramoor performs in the Roycroft Chamber bandleader, teacher, producer, and music festivals. As a founding Music Festival in New York. Mr. Chicago area resident. Most notably, member of the Jupiter Trio he was Hanford lives in Evanston, Illinois, he is the first person to play the awarded First Prize in the 2002 with his wife Sheila, also a violinist. diatonic (major scales) harmonica Osaka International Chamber Music They have three sons. as a fully chromatic (every half step) Competition in Osaka, Japan. Chosen instrument, which has opened a from 54 ensembles representing 19 world of new possibilities for the countries the Jupiter Trio was the first instrument. American ensemble in the history of the competition to win the gold In 2011 Howard released a CD medal. In 2004, the trio was recipient featuring his classical compositions of the Samuel Sanders Collaborative -–“Concerto for Diatonic Harmonica

44 www.rembrandtchamberplayers.com Guest Artists 45 and Orchestra,” and “Harmonia A founding member of the Chicago- University of Southern California, JOSEFIEN Mundi—Suite for Harmonica and based Lincoln String Quartet, now in and the Cleveland Institute of STOPPELENBURG, Chamber Ensemble” (with Robert its 15th season, Lawrence Neuman is Music. His teachers included Heidi soprano, called “an Morgan on oboe). He also recorded heard frequently in chamber music Castleman, Donald McInnes, and astonishing singer” by a reunion CD, Rocket Science, with throughout the Chicago area and has Robert Vernon. the Chicago Tribune, Bela Fleck and The Flecktones. performed in chamber ensembles performs as a soloist in He won a Best Instrumental across the United States and in DAVID PERRY, violin, the United States, the Netherlands, Composition Grammy for co-writing Europe. He has been heard at the enjoys an international Italy and Germany. In Chicago “Life in Eleven” on this CD. Marlboro Festival, SummerFest career as chamber she has performed with Baroque musician, soloist, and Band, the Haymarket Opera His Jazz CD’s “Alone and Together” La Jolla, Token Creek Chamber teacher. Mr. Perry has Company , Apollo Chorus, the and “Tonight and Tomorrow” were Music Festival, Bach Dancing and performed in Carnegie Newberry Consort, Handel Week both named to the list of Top 100 Dynamite, Portland Chamber Music Hall, most of the major cultural Festival, Fulcrum Point, Ars Musica CD’s of 2010 by DownBeat. Festival, Quad-City Chamber Music, and Andover Chamber Music, and centers of North and South America, and Music of the Baroque. From Levy’s music for Remains Theater has collaborated with such artists Europe, and the Far East. His 2005 until 2007 Josefien was part Co.’s production of Brecht’s “Puntila as Daniel Barenboim, Pinchas Naxos recording of the Pleyel Violin of the Young Opera Ensemble of and his Hired Man” won a Joseph Zukerman, Lydia Artymiw, Gil Concertos was recently designated Cologne. Her operatic roles include Jefferson Award in 1986. Shaham, Yefim Bronfman, and Aaron CD Pick of the Week by WETA-FM Serpina (La Serva Padrona), Amor He has a record label, www. Rosand. and has garnered rave reviews. Other (Orfeo ed Euridice) and Belinda solo recordings are on the Sonos and (Dido and Aeneas), and Poulenc’s balkansamba.com, and his website is During the 1998-99 season, Neuman Sonari labels. La Voix Humaine. She sang Aci in www.levyland.com. took a leave of absence from the the Haymarket Opera Company’s Chicago Symphony to serve as As first violinist of the Pro Arte acclaimed premiere of Handel’s Aci, LAWRENCE NEUMAN principal viola of the Saint Paul Quartet, Mr. Perry performs live viola, has been a Galatea e Polifemo and Tirsi in Clori, Chamber Orchestra. Since 2003 he broadcasts on Wisconsin Public member of the Chicago Radio, tours extensively throughout Tirsi e Fileno. Recent engagements has been a member of the faculty of include Bach/Pergolesi Stabat Mater Symphony Orchestra the U.S. and Japan and has made the Chicago College of Performing (with Camerata Amsterdam), Haydn’s since 1991. Before numerous recordings. He served Arts at Roosevelt University. Lord Nelson Mass and Stabat Mater, coming to Chicago, he on the artist-faculty of the Aspen A native of Saint Louis, Missouri, Handel’s La Resurrezione, Messiah was violist with the Miami String Music Festival where for many Lawrence Neuman attended the and Dixit Dominus (Baroque Quartet. years he was concertmaster of the Eastman School of Music, the Band), Messiah with the Rockford Aspen Chamber Symphony. He Symphony Orchestra, Handel was a founding member of the Gloria with the Elmhurst Symphony Aspen Ensemble which concertized Orchestra, the Faure Requiem internationally. Concertmaster of with Northwest Indiana Symphony the Chicago Philharmonic, Perry has Orchestra, and the world premiere of served as guest concertmaster with Jacob TV’s The News, a multi-media such groups as the China National reality opera, in Pittsburgh. Symphony Orchestra, the Ravinia Festival Orchestra, and the American Stoppelenburg performed Poulenc’s Sinfonietta. An active member of one woman opera La Voix Humaine the Orpheus Chamber Orchestra and Les Nuits d’Ete by Berlioz (in for many years, he participated in a chamber music version arranged many of that ensemble’s Deutsche by her father, composer Willem Grammophon recordings. Stoppelenburg) in numerous chamber music festivals and chamber opera festivals (such as the International Opera Festival Zwolle).

46 www.rembrandtchamberplayers.com Guest Artists 47 She recently made her debut in Seoul, in Cincinnati and participated in 2014–2015 ANNUAL FUND Korea with Brahms Ein deutsches the Celestial Sirens II series of the Requiem and performed Haydn Lord Newberry Consort. Nelson Mass in Beijing, China, in In 2014, she was invited to perform The Rembrandt Chamber Players wish to extend special 2014. for the Dutch King Willem Alexander. gratitude to our Annual Fund Supporters. With her sister Charlotte (mezzo) Painting is Josefien’s second love. she forms a vocal duo. In this She had many exhibitions in the (This list is current through September 15, 2014) combination the sisters performed Netherlands and paints frequently on in nearly every concert hall in The commission. Netherlands. They were the first to Edward J. Amrein Barbara Haffner Barry and Anne Sabloff JORY VINIKOUR, win the National Princess Christina C. John Anderson Robert Hiebert Tim Sawyier competition and have performed harpsichord, is K. Stephen Anderson Bette Cerf Hill Lynn Sorkin with numerous orchestras ever recognized as one since. They perform regularly with of the outstanding David & Sandra Anderson Steven & Susan Holtz Marjorie Stinespring pianoduo and brothers Martijn harpsichordists of Terry Applebaum Douglas Howland Susan Taylor and Stefan Blaak as ‘Brothers and his generation. Born Marcia Baylin Tanyu Jelev Serge Tyler in Chicago, he came to Paris on Sisters’. Many of their concerts Gail Belytschko Ralph H. Jensen Associates Gennadiy Voronov a Fulbright scholarship to study were broadcast on Dutch national Dmitriy Breydburd Avril and Hersch Klaff Paul Wierbicki television and radio, including their with Huguette Dreyfus and Tom & Diane Blake Leslie Kondziela Margaret Moses and concert for the Dutch Royal Family. Kenneth Gilbert. First Prizes in the International Harpsichord Greer Braun Patricia Kosmerl Michael Zimmer Josefien performed Handel and Competitions of Warsaw (1993) Elizabeth F. Cheney Steve Laubenstein Bach cantatas in the Peoria Bach and the Prague Spring Festival Foundation Ela Lewis GIFTS IN KIND Festival, Pergolesi/Bach Stabat Mater (1994) brought him to the public’s Chicago Reed Company Benetta Mansfield and Allegra Printing and attention, and he has since appeared Ann and Roger Cole Kalman Resnick Imaging in festivals and concert series, and Megan Balderston as soloist with major orchestras, Camille De Frank Adriana McClintock Driehaus Museum throughout much of the world. Barbara & Harvey Dershin Stacey McCusker He has appeared as conductor/ Bernard & Sally Dobroski Alan and Ann Meyers Dr. Carlo Franco and Randall Orians harpsichordist with the Juilliard415 Betty G. Eaton Donna Milanovich Guy and Joan Gunzberg Baroque orchestra at Carnegie Hall, Gaylord & Dorothy Mike & Sandra Miller as well as with the Los Angeles Klaff Realty, LLP Donnelley Foundation Phyllis and Michael Chamber Orchestra, Hong Kong The Richard Driehaus Mitzen Julie Meegan Philharmonic, Korea Chamber Foundation Robert & Sandra Morgan Michael and Phyllis Orchestra, etc. He has collaborated Mitzen with many of the most prominent Betty G. Eaton Ned Nasr Ann and Mark Feldman Robert and Sandra Chicagoland's first choice singers of today, notably Swedish Eleanor Nicholson Morgan mezzo-soprano Anne Sofie von John and Cathy Garra for party rentals Charles O’Kieffe Eleanor Nicholson Otter, and Rolando Villazon. His James Ginsburg Harry A. Poffenbarger solo recordings have been widely Randi Robin Design Muriel Glick Negaunee Foundation praised in the international press. Alyssa Venere Feodor Gloss His recording of the complete works Freddi Greenberg and of Jean-Philippe Rameau (Sono Sandra Gold Dan Pinkert Hall's Rental Service, Inc. Murray Gordon Arnold & Randi Robin 6130 W. Howard / Niles, IL 60714 Luminus, 2012) was nominated for a P: 847.929.2222 F: 847.929.2223 Grammy in the field of Best Classical www.hallsrental.com Solo Instrumental Recording.

48 www.rembrandtchamberplayers.com Contributors 49 DISCOGRAPHY We would like to alert you to available recordings of the pieces we are performing this season. Most of these are easily available and will enhance your listening pleasure. CONCERT I: Romance & Jazz Bartók, Romanian Dances: Phillips, 4761799, Los Angeles Philharmonic Mozart Flute Quartets: DGG, 431770-2, Carol Wincenc and the Emerson CELEBRATING String Quartet Vaughan Williams Piano Quintet: Naxos, 8.573191, London Soloists Ensemble

THE CONCERT II: Holiday Baroque Boccherini Flute Quintets: Novalis, 150082-2, Auriole Nicolet and the SENSES Amadeus Quartet Bach, Cantata #202- RCA: Amazon B000003FC3, Kathleen Battle, Ray Still, COMING UP IN OUR 2014-2015 SEASON James Levine , members of the CSO Vivaldi, The Four Seasons: Sony, Amazon B0000CD5H1, Giuliano Carmignola and the Venice Baroque Orchestra also an old recording with Isaac Stern and Power of Touch the Israel Philharmonic on RCA for a different style. November 16, 2014, 3:00p.m. | Nichols Hall, Evanston Joel Smirnoff, Conductor | Asako Tamura, Soprano CONCERT III: European Journey Rossini, Barber, Mozart, Haydn Hindemith: Die Serenaden, CPO, Amazon B000007RNF Canteloube: Songs of the Auvergne, Sony Classical, Amazon B0000029X4, Taste the Music Frederica von Stade, Royal Philharmonic, also a recording on Decca with February 15, 2015, 3:00p.m. | Nichols Hall, Evanston Kiri Te Kanawa, English Chamber Orchestra David Perry, Leader, Violin | Carol Cook, Viola Schumann : Piano Quartet in E flat, Sony, Amazon B0000028 YP, Stern, Strauss, Martinů, Milhaud, Mozart Laredo, Ma, Ax, also recording with Tokyo String Quartet

Scents of Beauty CONCERT IV: An Evening with the Masters April 19, 2015, 7:00p.m. | Pick-Staiger Hall, Evanston Mozart String quintets or Oboe quintet, Naxos 85555913, Prague String Scott Speck, Conductor | Jorge Federico Osorio, Piano Quartet Ravel, De Falla, Debussy Mozart Piano Quartet in E flat major: Hyperion UK, Amazon B000008ZZ3E, Paul Lewis and Leopold String Trio A Vision in Sound Beethoven: Archduke Trio: EMI Classics, Amazon B00000K4FL, Cortot, June 7, 2015, 7:00p.m. | Pick-Staiger Hall, Evanston Thibaud, Casals Scott Speck, Conductor Higdon, Bunch, Mussorgsky/Ravel CONCERT V: Souvenir of Florence Roussel: Trio, Blue Saphir #1017, Matthieu Dufour Scott Speck, Artistic Director Tchaikovsky: Souvenir of Florence, EMI Classics, Amazon B000069 CU5, or Raphael Ensemble, Hyperion UK Call or purchase online: 866-811-4111 | chicagophilharmonic.org If an item has a designation of ASIN it is available on Amazon.com The Rembrandt Chamber Players 51 SUPPORT REMBRANDT CHAMBER PLAYERS Rembrandt Chamber Players relies on private support to fulfill the majority of its budget. If you enjoyed the concert please consider making a gift to ensure these programs continue. Your tax-deductible contribution is greatly appreciated! Yes! I want to support RCP! CONTRIBUTOR ($10–$49) FRIEND ($50–$99) DONOR ($100–$299) PATRON ($300–$499) SUSTAINER ($500–$999) ANGEL ($1000+)

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