2012 a Schubertiade: Music About Animals

Tricia Park, Robin Scott, violin Meagan Brus, soprano Maurycy Banaszek, viola Stephen Swanson, baritone Jay Campbell, Andrew Janss, cello Conor Hanick, Réne Lecuona, Lynda Hakken, piano Emmet Hanick, double bass Jason Weinberger, conductor Emi Ferguson, flute James T. Shields, clarinet Martin Andrews, reader THERE WILL BE NO INTERMISSIONS

June 14, 2012 A Schubertiade: Music about Animals

A Selection of Songs Die Vogel (The Birds), D. 691 Op. 172, Nr. 6 (1820) Poet: Carl Wilhelm Friedrich von Schlegel

Seufzer (Sighs), D. 198 (1815) Poet: Ludwig Christoph Heinrich Holty

Der Schmetterling (The Butterfly), D. 633 Op. 57, Nr.1 (ca. 1819) Poet: Carl Wilhelm Friedrich von Schlegel

Der Knabe (The Boy), D. 692 (1820) Poet: Carl Wilhelm Friedrich von Schlegel

Der Abend (The Night), D. 108 (1814) Poet: Friedrich von Matthisson

Wie Ulfru fischt (How Ulfru Fishes), D. 525 Op. 21, Nr. 3 (1817) Poet: Johann Baptist Mayrhofer

Die Forelle (The Trout), D. 550 Op. 32 (1817) Poet: Christian Friedrich Daniel Schubart

Stephen Swanson, Lynda Hakken

Quintet for Piano and String in A Major, Op. 114, D. 667, The Trout I. Allegro vivace II. Andante IIII. Scherzo: Presto IV. Thema: Andantino V. Finale: Allegro giusto Inspired by Schubert’s own song Die Forelle

Réne Lecuona, Robin Scott, Maurycy Banaszek, Andrew Janss, Emmet Hanick June 15, 2012

Proust’s Musical World

Camille Saint-Saëns Violin Sonata No. 1, Op. 75 (1885) I. Allegro agitato II. Adagio III. Allegretto moderato IV. Allegro molto Tricia Park, Réne Lecuona

Gabriel Fauré Piano Quartet in C Minor, Op. 15 (1879) I. Allegro molto moderato II. Scherzo: Allegro vivo III. Adagio IV. Allegro molto

Robin Scott, Maurycy Banaszek, Andrew Janss, Réne Lecuona

June 16, 2012 Pierrot Lunaire: Celebrating the Centennial of the Premiere

Arnold Schoenberg Pierrot Lunaire, Op. 21 (October 16, 1912)

Settings of 21 selected poems from Otto Erich Hartleben’s German translation of Albert Giraud’s cycle of French poems of the same name

Meagan Brus, Conor Hanick, Tricia Park, Jay Campbell, Emi Ferguson, James T. Shields Jason Weinberger

Supporters, Friends and Partners MusicIC is supported by The University of Iowa Office of the Vice President for Research and the Division of Performing Arts, College of Liberal Arts and Sciences.

The festival’s friends and partners include Hancher, the Iowa Summer Writing Festival , the Museum of Natural History, Trinity Episcopal Church, Iowa City UNESCO City of Literature, Summer of the Arts and West Music Co.

Thanks also to Linn Street Café, Leaf Kitchen, and Deluxe Cakes and Pastries.

Thanks to the following individuals: Saffron Henke, Ann Ricketts, Ron McClellen, Steven Parrott, Derek Shonrock, Lisa Pepercorn, Arthur and Miriam Canter, Christianne Knorr, Carol Christensen, and Andrew Hicks and Trinity Episcopal Church. June 14

Program Notes by Arthur Canter international star singers. The Viennese trend was encouraged by an appetite for domestic music-making that coincided with the increas- Franz Schubert (1797-1828) and His Songs ing use of the piano as an instrument in the home. Early in 1817 the twenty-year old Viennese born and bred Franz Schubert was persuaded by friends to leave teaching school and Schubert drew upon the poems of a broad range of poets, whether devote full time to composition. By this time he had already writ- internationally famous, only locally known or among his circle of ten four symphonies, several Singspiele, dozens of piano pieces, a friends. Goethe’s writings impressed him the most and consistently number of sacred choral pieces, works for chamber ensembles and inspired him to write songs of startling power and originality. He over 600 songs. It is a selection of these songs (Lieder, to use their set over 70 of Goethe’s poems to music. However, Schubert was German name) that opens tonight’s concert. quite capable of making a first-rate song out of a mediocre poem, and often did so. His sizeable output of Lieder was remarkable in the Most of Schubert’s Lieder were written for one voice and piano, the range, quality and creative imagination that he brought to the musi- style that became increasingly popular in German-speaking coun- cal setting of poetry. In his works, the piano was no mere accompa- tries beginning in the latter half of the 18th century and extending niment but an equal partner in the expression of the poetic imagery. into the 19th century. The new Lieder were settings of the Ger- These qualities had a profound effect on later composers of songs man Romantic poems written in simple formal structures and with including Schumann, Brahms, Hugo Wolf and Richard Strauss. emphasis on the imagery of nature and the direct expression of The Schubert Lieder display a great range of mood and complexity feelings. This kind of German Lied attracted the growing middle but in simple settings, whereas most other composers of the time class of Vienna but with changes to suit the preferences of its wrote highly dramatic and emotionally tense works not suitable for citizens. They sought to have songs written in a direct, simple and the average amateur performers for their Haus Musik. It is ironic naturally lyrical style. In part this was in reaction to the “Sturm und that despite his talent, except for relatively few songs published Drang” (“Storm and Stress”) that was characteristic of so much of shortly after they were composed, most of Schubert’s songs were not the German Romanticists and in part to the complexity and artifice known by a public that would have enjoyed them, had they been of the Italian opera aria with its elements of florid display and its published before his premature death.

Carl Wilhelm Friedrich von Schlegel, Die Vogel Wie lieblich und fröhlich, How delightful and exhilarating it is Zu schweben, zu singen; to soar and to sing, Von glänzender Höhe to look down on the earth Zur Erde zu blicken! from the radiant heights!

Die Menschen sind töricht, Men are foolish: Sie können nicht fliegen; they cannot fly. Sie jammern in Nöten, They lament in their distress; Wir flattern gen Himmel. we fly up to the heavens.

Der Jäger will töten, The huntsman whose fruit we Dem Früchte wir pickten; pecked wants to kill us; Wir müssen ihn höhnen, but we should mock him Und Beute gewinnen. and snatch our spoils.

Ludwig Christoph Heinrich Holty, Seufzer

Die Nachtigall The nightingale Singt überall sings everywhere Auf grünen Reisen on green boughs Die besten Weisen, her loveliest songs Dass ringsum Wald that all around woods Und Ufer schallt. and river banks resound.

Manch junges Paar Many young couples Geht dort, wo klar stroll where Das Bächlein rauschet the limpid brook murmurs. Und steht, und lauschet They stop and listen Mit frohem Sinn joyfully Der Sängerin. to the songstress. Ich höre bang’ But gloomily Im düstern Gang on the dark path Der Nachtigallen I hear the nightingales’ Gesänge schallen; echoing song. Denn ach! allein For alas, I wander Irr’ ich im Hain. alone in the grove.

Carl Wilhelm Friedrich von Schlege, Der Schmetterling Wie soll ich nicht tanzen, Why should I not dance? Es macht keine Mühe; It costs me no effort, Und reizende Farben and enchanting colours Schimmern hier im Grünen. shimmer here amid the verdure. Immer schöner glänzen Ever lovelier Meine bunten Flügel, my brightly-coloured wings glisten; Immer süsser hauchen ever sweeter is the scent Alle kleinen Blüten. from each tiny blossom. Ich nasche die Blüten, I sip from the blossoms; Ihr könnt sie nicht hüten. you cannot protect them.

Wie gross ist die Freude. How great my joy, Sei’s spät oder frühe, be it early or late, Leichtsinnig zu schweben to flit so blithely Über Tal und Hügel. over hill and dale. Wenn der Abend säuselt, When the evening murmurs Seht ihr Wolken glühen; you see the clouds glow; Wenn die Lüfte golden, when the air is golden Scheint die Wiese grüner. the meadows are more radiantly green. Ich nasche die Blüten, I sip from the blossoms; Ihr könnt sie nicht hüten. you cannot protect them.

Friedrich von Schlegel (1772-1829) English: Richard Wigmore ©

Carl Wilhelm Friedrich von Schlegel, Der Knabe Wenn ich nur ein Vöglein wäre, If only I were a bird, Ach, wie wollt’ ich lustig fliegen, ah, how joyfully I would fly, Alle Vögel weit besiegen. far outstripping all other birds.

Wenn ich so ein Vogel bin, If I were a bird Darf ich, alles haschen, I could get everything Und die höchsten Kirschen naschen; and nibble the highest cherries. Fliege dann zur Mutter hin. Then I’d fly back to mother. Ist sie bös in ihrem Sinn, If she were angry Kann ich lieb mich an sie schmiegen, I could nestle sweetly up to her Ihren Ernst gar bald besiegen. and soon overcome her sternness.

Bunte Federn, leichte Flügel Coloured feathers, light wings, Dürft’ ich in der Sonne schwingen, I could flap them in the sunlight, Dass die Lüfte laut erklingen, so that the air resounded loudly, Weiss nichts mehr von Band und Zügel. I would no longer be curbed and shackled. Wär’ ich über jene Hügel, If I were beyond those hills, Ach, dann wollt’ ich lustig fliegen, ah, how joyfully I would fly, Alle Vögel weit besiegen. far outstripping all other birds.

Friedrich von Schlegel (1772-1829) English: Richard Wigmore © Friedrich von Matthisson, Der Abend Purpur malt die Tannenhügel The pine-covered hills are painted with purple Nach der Sonne Scheideblick, after the sun’s parting glance; Lieblich strahlt des Baches Spiegel the brook’s mirror reflects Hespers Fackelglanz zurück. the lovely gleaming torch of Hesperus.

Wie in Totenhallen düster In the poplar grove Wird’s im Pappelweidenhain, it grows dark, as in the vaults of death. Unter leisem Blattgeflüster Beneath softly whispering leaves Schlummern alle Vögel ein. all the birds fall asleep.

Nur dein Abendlied, o Grille! Only your evening song, O cricket, Tönt noch aus betautem Grün, echoes from the dewy grass, Durch der Dämmrung Zauberhülle wafting sweet, mournful melodies Süsse Trauermelodien. through the enchanted cloak of dusk.

Tönst du einst im Abendhauche, Cricket, if one day Grillchen, auf mein frühes Grab, you sound your lament in the evening breeze Aus der Freundschaft Rosenstrauche, over my early grave, Deinen Klaggesang herab: from the rosebush planted by friends,

Wird noch stets mein Geist dir lauschen, My spirit will always listen to you Horchend wie er jetzt dir lauscht, as it listens to you now, Durch des Hügels Blumen rauschen, and murmur through the flowers on the hillside Wie dies Sommerlüftchen rauscht! as this summer breeze murmurs.

Friedrich von Matthisson (1761-1831) English: Richard Wigmore ©

Johann Baptist Mayrhofer, Wie Ulfru fischt

Die Angel zucht, die Rute bebt, The rod quivers, the line trembles, Doch leicht fährt sie heraus. but it comes up easily. Ihr eigensinn’gen Nixen gebt You capricious water sprites Dem Fischer keinen Schmaus. give the fisherman no feast. Was frommet ihm sein kluger Sinn, What use is his cunning? Die Fische baumeln spottend hin; The fish glide away mockingly; Er steht am Ufer fest gebannt, he stands spellbound on the shore, Kann nicht ins Wasser, ihn hält das Land. he cannot enter the water, the land holds him fast.

Die glatte Fläche kräuselt sich, The smooth surface is ruffled, Vom Schuppenvolk bewegt, disturbed by the scaly shoals Das seine Glieder wonniglich that swim blithely In sichern Fluten regt. in the safe waters. Forellen zappeln hin und her, Trout dart to and fro, Doch bleibt des Fischers Angel leer, but the fisherman’s rod stays empty; Sie fühlen, was die Freiheit ist, they feel what freedom is, Fruchtlos ist Fischers alte List. the fisherman’s well tried guile is in vain.

Die Erde ist gewaltig schön, The earth is surpassingly beautiful, Doch sicher ist sie nicht. but safe it is not. Es senden Stürme Eiseshöh’n, Storms blow from the icy peaks, Der Hagel und der Frost zerbricht hail and frost destroy Mit einem Schlage, einem Druck, at one stroke, with one blow, Das gold’ne Korn, der Rosen Schmuck; the golden corn, the roses’ beauty; Den Fischlein unter’m weichen Dach, the little fish beneath their soft roof Kein Sturm folgt ihnen vom Lande nach. are pursued by no storm from the land.

In einem Bächlein helle In a limpid brook Da schoss in froher Eil’ the capricious trout Die launische Forelle in joyous haste Vorüber wie ein Pfeil. darted by like an arrow. Ich stand an dem Gestade I stood on the bank Und sah in süsser Ruh’ in blissful peace, watching Des muntern Fischleins Bade the lively fish swim Im klaren Bächlein zu. in the clear brook.

Ein Fischer mit der Rute An angler with his rod Wohl an dem Ufer stand, stood on the bank Und sah’s mit kaltem Blute, cold-bloodedly watching Wie sich das Fischlein wand. the fish’s contortions. So lang dem Wasser Helle, As long as the water So dacht’ ich, nicht gebricht, is clear, I thought, So fängt er die Forelle he won’t catch the trout Mit seiner Angel nicht. with his rod.

Doch endlich ward dem Diebe But at length the thief Die Zeit zu lang. Er macht grew impatient. Cunningly Das Bächlein tückisch trübe, he made the brook cloudy, Und eh ich es gedacht, and in an instant So zuckte seine Rute, his rod quivered, Das Fischlein zappelt dran, and the fish struggled on it. Und ich mit regem Blute And I, my blood boiling, Sah die Betrogne an. looked on at the cheated creature.

Schubert wrote the quintet to fit his own mood and to satisfy Franz Schubert Paumgartner’s whim. It is not a profound work, but one full Piano Quintet in A Major (The Trout), of recurring melodies. The quintet’s simplified sonata structure Op.114, D.66 makes it easily accessible to all listeners. The work is in five movements instead of the usual four. Schubert decided to accommodate The “Trout” Quintet dates from 1819 when the city-bred Schubert Paumgartner’s wish for music from Die Forelle in a separate move- left his native Vienna with his friend Johann Vogl for a three- ment and used the fourth movement for that purpose. He added a month summer holiday in Vogl’s hometown of Steyr, located in pic- fifth movement to end the work in a more traditional fastFinale. turesque Upper Austria. Schubert was overwhelmed from the start by what he experienced during that vacation. He wrote frequently The first movement,Allegro vivace, is replete with arpeggios on to his brother Ferdinand: “At the house where I lodge, there are the piano and smooth melodies by the strings, sometimes in duels eight girls, nearly all pretty. Plenty to do, too. The daughter of between violin and cello. Herr von Keller, at whose house Vogl and I eat daily, is very pretty, plays the pianoforte well and is going to sing several of my songs... The slow movement, Andante, has three melodies in succession that The country around Steyr is unbelievably lovely...” He went on to are strung out and modulated with changes in key. describe the singing and music in the house of Dr. Schellman where he was lodged with musicians visiting the household. He wrote The third movement, Presto, is in the form of a scherzo with its how he, Schubert, sang the part of the father in a performance of three parts. It is full of strong beats and florid displays by the piano his song Erlkönig on one evening, and on another evening about a matched against contrasting sounds of the strings. performance of a cantata that he had written for Vogl’s birthday in which everybody joined in. Then there was all the musical activ- The fourth movement, Andantino (Tema con variazione) as marked, ity in the soirées at the summer house of Sylvester Paumgartner, a is a set of variations based on Die Forelle, Schubert’s popular song. wealthy mine-owner and patron of the arts. It was at one of these Here we have six variations of the song describing the movements of events that Paumgartner, who played the cello and often commis- water splashing and rippling as a fisherman strives to land a darting sioned works for himself, pleaded with Schubert to write an instru- trout that is trying to elude him. In the course of the activity, there mental piece. The work was to have the same instrumentation used are changes in the weather from sunshine to storm and back to by Hummel in his recently published quintet. Furthermore, it was sunshine. The variation describes the events as they change. to incorporate the music from Schubert’s song, Die Forelle, which fascinated Paumgartner since its publication two years earlier. In After a pause we have the finale,Allegro giusto, returning to the this intoxicating atmosphere of Gemütlichkeit (easy-going leisure) mode of the first movement. Here Schubert used as his theme a Schubert was in no mood to deny anyone anything. Thus was the “Hungarian” melody of his own for the development of the move- “Trout” quintet born! ment to bring the quintet to an exciting end. sense of being balanced and logical but at the same time poetic and romantic. His compositions were slow to gain attention and it was June 15 not until late in his career that he began to receive the recognition that he deserved. In 1896 he was appointed principal organist at Camille Saint-Saëns (1835-1923) Paris’s Church of La Madeleine and, at the same time, professor Violin Sonata No. 1 in D Minor, Op. 75 of composition at the Paris Conservatoire. He served as the Con- Saint-Saëns was once described as the French Mendelssohn. He was servatoire’s director from 1905-1920, instituting many reforms to a talented and precocious child who, as he matured, developed a strengthen its curriculum. In 1871, he and Saint-Saëns co-founded wide range of interests beyond music. At the age of ten he made his the Société Nationale de Musique to encourage the development of debut as a pianist. For nearly 20 years he was organist at the Church French instrumental music. This organization helped develop the of La Madeleine in Paris. He also taught at the École Niedermeyer, careers of Duparc, Franck, Lalo, Debussy, d’Indy and many others. where his pupils included Gabriel Fauré and Messager. In 1871 Thus it can be seen that Fauré, latecomer as he might have been, left Saint-Saëns co-founded the Société Nationale de Musique to revive an indelible imprint on the music of France. the artistic and cultural value of French music. He made extensive tours throughout Europe, the United States, South America and the Through his involvement in the creative melting pot of fin-de-siècle Far East. Saint-Saëns composed large quantities of music for a great Paris, Fauré was acquainted not only with musicians but also artists variety of instrumental and vocal combinations. He is probably and writers of the time, including Proust who admired the music of best known for his opera, Samson et Dalila, his so-called “Organ both Fauré and Saint-Saëns. Many of Fauré’s friends recommended Symphony”, and his work for two pianos and orchestra, Carnival poems for the composer to put to music for they felt that he was of the Animals. He composed many chamber works including two able to capture the true meaning of the poets’ words in music. violin sonatas, two cello sonatas, and a variety of piano pieces. One Fauré’s objective was, as Nectoux said about his later music: “to of these was the Violin Sonata No.1 composed in 1885. express the most elevated sentiments by the simplest means so as to reach, in some form, the naked flesh of emotion”. Critics have noted that in its four-movement design, the sonata, intended to create a brilliant effect in performance, resembled The Piano Quartet in C Minor, one of Fauré’s early masterpieces, Beethoven’s famous Kreutzer Sonata although certainly tonally dif- was written between 1876 and 1879 when he was in his thirties. ferent. Saint-Saëns merged the movements of his sonata into two At the time he had just been formally engaged to Marianne, the pairs, unifying the work with cyclic thematic recurrences. The one daughter of Pauline Viardot, the famous contralto. He had fallen in theme that recurs most frequently and stands out is first heard as the love with her five years earlier and ever since had persistently sought second theme in the opening fast movement. The theme is noted her agreement to marry. After three months Marianne broke off to have haunted the novelist Marcel Proust who, after hearing the the engagement, much to Fauré’s distress. (Later she confessed Saint-Saëns sonata in a recital, was inspired to create a virtual love that she found him “more intimidating than endearing.”) He had theme for “a sonata” described as written by Vinteuil, a character in begun working on the quartet before the break-up and, despite this one of the novels (Swann in Love) of In Search of Lost Time. emotional blow, completed the work in 1879. Although the four- movement piano quartet was a success on its first hearing later that The Allegro agitato opens in sonata form with a highly syncopated year, the composer, dissatisfied with the final movement, rewrote it rhythmic theme, intensely passionate and full of cross accents. 1883, making the quartet, as he put it,” new from top to toe”. The second theme provides a marked contrast with the haunting melody sung by the violin against arpeggios of the piano. This is The Allegro molto moderato opens with a powerful, densely tex- the “the little phrase” referred to in discussions about the “Vinteuil tured statement that resolves into a lyrical display with many mood Sonata”, which recur throughout Swann in Love. The Adagio that changes that are blended together, leaving no sense of a particular follows without pause is a sensuous piece which provides a dialogue theme in its development. between the violin and piano in which the roles are reversed toward the end of the movement. The second movement, a scherzo marked Allegro vivo, is light-heart- ed with a floating piano melody set against the pizzicato chords of The second pair of movements opens with a Scherzo (Allegro the strings. In the trio section, the strings are muted while the piano moderato), a dreamy sounding waltz that serves as an intermezzo. adds rippling tones before returning to the opening mode to end the It works its way, without pause, into the dramatic finale Allegro( movement. molto), a flashy virtuosic rondo using the “little phrase” theme that, in itself, can serve as an encore piece. The slow Adagio gives us a hint of the traumatic impact of the Marianne affair with its melancholic plaintive sounds. Yet the music remains melodious and restrained in its intensity, giving the impres- sion of controlled emotionality. Gabriel Fauré (1845-1924) The final movement Allegro( molto), the one Fauré had changed be- Piano Quartet No. 1 in C Minor, Op.15 cause of his dissatisfaction with the original one, is cast in the same furious energy as in the first movement. It maintains its melodious Gabriel-Urbain Fauré, educated at the Ecole Niedermeyer, was a line but intrudes this pattern with contrasting passages borrowed prolific composer of art songs, piano works, operas, religious choral from the Adagio movement before exploding into a brilliant conclu- works, and many chamber pieces. He struggled for years to achieve sion. recognition from France’s musical establishment which often deemed him a dangerous outsider. In his personal life he suffered bouts of depression, an unsatisfactory marriage and, later, devastat- ing deafness. His music has been characterized as classical in the Marcel Proust in exploring sprechstimme systematically, and one can view “Swann in Love,” In Search of Lost Time his Pierrot Lunaire more objectively. In the foregoing con- text, not merely hearing, but rather listening intensively to The year before, at a soirée, he (Swann) had heard a piece of music the work may increase one’s understanding and appreciation. performed on the piano and violin. At first, he had experienced only the In tonight’s concert, it is anticipated that the reciter will be physical quality of the sounds secreted by the instruments. And it had dressed in a Columbine (clown) costume as in the original been a keen pleasure when, below the little line of the violin, slender, performance. yielding, compact, and commanding, he had seen the mass of the piano —Arthur Canter part all at once struggling to rise in a liquid swell, multiform, undivid- ed, smooth, and colliding like the purple tumult of the waves when the moonlight charms them and lowers their pitch by half a tone. But at a Schoenberg’s composition of Pierrot Lunaire has been fully certain moment, without being able to distinguish an outline clearly, or documented. The original 1884 cycle of 50 poems entitled give a name to what was pleasing him, suddenly charmed, he had tried Pierrot Lunaire by Albert Giraud (1860-1929) had been to gather up and hold on to the phrase or harmony – he himself did not translated into German by Otto Erich Hartleben. In January know which – that was passing by him and that had opened his soul so 1912, Schoenberg met the actress-singer Albertine Zehme much wider, the way the smells of certain roses circulating in the damp who specialized in performing melodrama in which she evening air have the property of dilating our nostrils…He considered recited poems to Chopin’s music and sang other songs with the phrase less in itself—in what it could express to a musician who was poems as texts. Included in her repertoire were songs set to unaware of his existence or of Odette’s when he composed it, and to all Hartleben’s 1911 translation of Giraud’s Pierrot cycle. Direct- those who would hear it in the centuries to come – than as a token, a ing Schoenberg’s attention to the Giraud-Hartleben poems, memory of his love, which, even for the Verdurins, even for the young Zehme commissioned him to compose music for a cycle of pianist, would remind them of Odette and him at the same time, would the poems which she could recite with piano accompaniment. join them together so that when Odette, capriciously, had begged him These were to be performed at her evening concerts at a new to, he had given up the idea of having some pianist play him the entire kind of “high”(serious) cabaret. Schoenberg readily accepted sonata, of which he knew yet only this passage. “Why would you need the commission, calling the request “a marvelous idea, quite the rest?” she said to him. “This is our piece.” right for me.” He got immediately to work on the project and completed it by mid-July, 1912. After 40 rehearsals, Schoen- berg and Zehme (in Columbine dress) gave the première at the Berlin Choralion-Saal on October 16, 1912, to a full house consisting mostly of professional musicians and critics. Reaction was mixed, with Anton Webern reporting that at the June 16 première there was whistling and laughing, but in the end “it was an unqualified success.” Arnold Schoenberg (1874-1951) Pierrot Lunaire, Op.21 For his Pierrot Lunaire, Schoenberg chose 21 of the 50 poems Introductory Note and arranged them in a three-part work of seven melodramas Schoenberg’s Pierrot Lunaire is a complex and powerful work in each. The choice of how many, how to arrange and struc- that, from the day of its introduction to the public in 1912 to ture, judging from Schoenberg’s own writings, was probably the present day, 100 years later, has startled and mystified the influenced by his explorations of mysticism in numbers. musical world. Even though it is not widely performed, certainly no concert staple, it has led to many published studies The topical centers of each part are summarized as follows: of the composer’s intent, structure of his work, how it should be performed, and its effect upon succeeding composers. One In Part I, Pierrot, intoxicated by the moon, fantasizes may be either turned off or attracted to the work. There seems about love, sex, and religion. to be no neutral reaction. The listener usually does not come In Part II, we find Pierrot in a violent nightmare world of away with any tunes lingering, or specific words haunting, or plunder and blasphemy. intrinsic visual image sticking. However, it helps one’s ap- In Part III, Pierrot journeys home to Bergamo, haunted by preciation of the work to know something of its background thoughts of the past. and its relationship to developments in the theater of melodrama that date back centuries to old commedia dell’ arte and commedia ballet featuring the clown figures of “Pierrot” and Schoenberg went beyond merely selecting the poems and “Columbine.” German melodrama of the 18th century used writing music to accompany the text. The reciter, using the the inflected musical speech ofSingspiel or Sprechstimme that Sprechstimme mode of presentation, was to follow his plan found its way into such 19th century operas as Beethoven’s of varied inflections, stress and dynamics that he proscribed Fidelio and Weber’s Der Freischutz. Combine these historical in detail. The music was to be played by an ensemble of five developments with that of the “new music” with its ventures musicians performing on eight instruments: piano, violin, in atonality that arose in Schoenberg’s day with the composer cello, clarinet in A or clarinet in B, and flute or piccolo. Dif- as one of its proponents. Add to this the composer’s interest ferent combinations were to be used for each poem, according to a proscribed set and order of introduction of each instru- in preparing this complex work. Different conductors may ment that varied from poem to poem. (Sometimes a flute have different ideas about how closely to follow Schoenberg’s would open the poem, sometimes a piano, etc.) Schoenberg explicit directions, as they do about interpreting any work. strictly proscribed movements for the reciter as well as the The listener need not try to discern the pattern or the struc- intervals between the poems and the pace of recitation. One ture but rather to just absorb the effects of the complex of can see the necessity of a conductor leading the ensemble and the sounds, their textures, and the intent of the story in each the problems facing the reciter as well as the instrumentalists poem of Pierrot Lunaire.

Arnold Schoenberg Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire, Op. 21 (1912) PIERROT LUNAIRE

1. MONDESTRUNKEN 1. MOONDRUNK Den Wein, den man mit Augen trinkt, The wine one drinks by sight, Giesst Nachts der Mond in Wogen nieder, The moon by night pours down in waves, Und eine Springflut überschwemmt And a spring-tide overfloods Den stillen Horizont. The still horizon. Gelüste, schauerlich und süß, Desires, gruesome and sweet, Durchschwimmen ohne Zahl die Fluten! Swim numberless amid the flood! Den Wein, den man mit Augen trinkt, The wine one drinks by sight, Gießt Nachts der Mond in Wogen nieder. The moon by night pours down in waves. Der Dichter, den die Andacht treibt, The poet, by contemplation drawn, Berauscht sich an dem heilgen Tranke, Intoxicates himself with holy draft, Gen Himmel wendet er verzückt He turns his head, enchanted towards heaven Das Haupt und taumelnd saugt und schlürft er And reeling he laps and slurps Den Wein, den man mit Augen trinkt. The wine one drinks by sight.

2. COLOMBINE 2. COLUMBINE Des Mondlichts bleiche Blüten, The moonlight’s pallid blossoms, Die weißen Wunderrosen, White wonder-roses, Blühn in den Julinächten - Bloom in July by night - O bräch ich eine nur! Oh, might I break but one! Mein banges Leid zu lindern, To assuage my anxious sorrow, Such ich am dunklen Strome I search by the darkling stream Des Mondlichts bleiche Blüten, The moonlight’s pallid blossoms, Die weißen Wunderrosen. White wonder-roses. Gestillt wär all mein Sehnen, Stilled would then be all my yearning, Dürft ich so märchenheimlich, If I but could, secretly as in a fable, So selig leis -- entblättern So gently blissful - strew the leaves Auf deine braunen Haare Upon your auburn hair of Des Mondlichts bleiche Blüten! The moonlight’s pallid blossoms!

3. DER DANDY 3. THE DANDY Mit einem phantastischen Lichtstrahl With a fantastic light-beam Erleuchtet der Mond die krystallnen Flacons The moon illuminates the crystal flasks Auf dem schwarzen, hochheiligen Waschtisch Upon the black, high-holy washstand Des schweigenden Dandys von Bergamo. Of the silent dandy of Bergamo. In tönender, bronzener Schale In a ringing, bronze basin Lacht hell die Fontäne, metallischen Klangs. Brightly laughs the jet of water with metallic sound. Mit einem phantastischen Lichtstrahl With a fantastic light-beam Erleuchtet der Mond die krystallnen Flacons. The moon illuminates the crystal flasks. Pierrot mit dem wächsernen Antlitz Pierrot with his waxen visage Steht sinnend und denkt: wie er heute sich schminkt? Stands musing and considers: How to rouge today? Fort schiebt er das Rot und des Orients Grün Away he sweeps the red and the orient’s green Und bemalt sein Gesicht in erhabenem Stil And paints his face in lofty style Mit einem phantastischen Mondstrahl. With a fantastic moon-beam. 4. EINE BLASSE WÄSCHERIN 4. A PALLID WASHERWOMAN Eine blasse Wäscherin A pallid washerwoman Wäscht zur Nachtzeit bleiche Tücher, Washes by night pale linens, Nackte, silberweiße Arme Naked, silvery white arms Streckt sie nieder in die Flut. She stretches down into the flood. Durch die Lichtung schleichen Winde, Through the clearing breezes steal, Leis bewegen sie den Strom. Gently they animate the stream. Eine blasse Wäscherin A pallid washerwoman Wäscht zur Nachtzeit bleiche Tücher. Washes by night pale linens. Und die sanfte Magd des Himmels, And the gentle maid of heaven, Von den Zweigen zart umschmeichelt, By the branches tenderly caressed, Breitet auf die dunklen Wiesen Spreads upon the darkling meadows Ihre lichtgewobnen Linnen -- Her light-spun linens - Eine blasse Wäscherin. A pallid washerwoman.

5. VALSE DE CHOPIN 5. A CHOPIN WALTZ Wie ein blasser Tropfen Bluts As a pallid drop of blood Färbt die Lippen einer Kranken, Tints the lips of an ailing woman, Also ruht auf diesen Tönen So dwells within these tones Ein vernichtungssüchtger Reiz. A destruction-seeking charm. Wilder Lust Accorde stören Chords of wild desire disturb Der Verzweiflung eisgen Traum -- Despairing’s icy dream - Wie ein blasser Tropfen Bluts As a pallid drop of blood Färbt die Lippen einer Kranken. Tints the lips of an ailing woman. Heiss und jauchzend, süß und schmachtend, Hot, exultant, sweet and swooning, Melancholisch düstrer Walzer, Melancholy somber waltz, Kommst mir nimmer aus den Sinnen! You haunt my sense forever! Haftest mir an den Gedanken, Clingèst to my thoughts, Wie ein blasser Tropfen Bluts! As a pallid drop of blood!

6. MADONNA 6. MADONNA Steig, o Mutter aller Schmerzen Ascend, oh mother of all sorrows Auf den Altar meiner Verse! Onto the altar of my verses! Blut aus deinen magren Brüsten Blood from thine emaciated breasts Hat des Schwertes Wut vergossen. Was shed by raging sword. Deine ewig frischen Wunden Thine ever-renewing wounds Gleichen Augen, rot und offen. Are as eyes, red and open. Steig, o Mutter aller Schmerzen, Ascend, oh mother of all sorrows Auf den Altar meiner Verse! Onto the altar of my verses! In den abgezehrten Händen In thy wasted hands Hältst du deines Sohnes Leiche, Holdest thou thy son’s remains, Ihn zu zeigen aller Menschheit -- For all mankind to see - Doch der Blick der Menschen meidet Yet men’s glances shun Dich, o Mutter aller Schmerzen! Thee, oh mother of all sorrows

7. DER KRANKE MOND 7. THE AILING MOON Du nächtig todeskranker Mond Thou nocturnal, mortally-stricken moon Dort auf des Himmels schwarzem Pfühl, There, upon the heavens’ gloomy canopy, Dein Blick, so fiebernd übergroß, Thy glance, so feverishly enlarged, Bannt mich wie fremde Melodie. Transfixes me like unfamiliar melody. An unstillbarem Liebesleid From love’s unquenchable sorrow Stirbst du, an Sehnsucht, tief erstickt, Diest thou, of yearning, deeply suffocated, Du nächtig todeskranker Mond Thou nocturnal, mortally-stricken moon Dort auf des Himmels schwarzem Pfühl. There, upon the heavens’ gloomy canopy. Den Liebsten, der in Sinnenrausch The lover, who, in sensuous inebriation, Gedankenlos zur Liebsten geht, Unthinking to his belovèd goes, Belustigt deiner Strahlen Spiel -- Is delighted by thy moonbeams’ play - Dein bleiches, qualgebornes Blut, Thy pale, agony-begotten blood, Du nächtig todeskranker Mond. Thou nocturnal, mortally-stricken moon. 8. NACHT 8. NIGHT Finstre, schwarze Riesenfalter Sinister, black giant moths Töteten der Sonne Glanz. Killed the brilliance of the sun. Ein geschloßnes Zauberbuch, A sealed book of magic, Ruht der Horizont -- verschwiegen. The horizon reposes -- unspeaking. Aus dem Qualm verlorner Tiefen From the fumes of unfathomed depths Steigt ein Duft, Erinnrung mordend! Rises up a scent, killing recollection! Finstre, schwarze Riesenfalter Sinister, black giant moths Töteten der Sonne Glanz. Killed the brilliance of the sun. Und vom Himmel erdenwärts And from the heavens earthward Senken sich mit schweren Schwingen Descend with heavy wings Unsichtbar die Ungetüme Invisible monstrosities down Auf die Menschenherzen nieder . . . Upon the hearts of men… Finstre, schwarze Riesenfalter. Sinister, black giant moths.

9. GEBET AN PIERROT 9. PRAYER TO PIERROT Pierrot! Mein Lachen Pierrot! My laughter Hab ich verlernt! I’ve forgot! Das Bild des Glanzes The image of splendor Zerfloß -- Zerfloß! Dissolved - dissolved! Schwarz weht die Flagge Black waves the flag Mir nun vom Mast. From my mast now. Pierrot! Mein Lachen Pierrot! My laughter Hab ich verlernt! I’ve forgot! O gieb mir wieder, Oh give me back, Roßarzt der Seele, Veterinarian of the soul, Schneemann der Lyrik, Snowman of lyricism, Durchlaucht vom Monde, Serene Highness of the Moon, Pierrot -- mein Lachen! Pierrot -- my laughter!

10. RAUB 10. THEFT Rote, fürstliche Rubine, Ruddy, princely rubies, Blutge Tropfen alten Ruhmes, Bloody drops of former glory, Schlummern in den Totenschreinen, Slumber in the corpses’ coffers, Drunten in den Grabgewölben. Below in the sepulchral tombs. Nachts, mit seinen Zechkumpanen, By night, with his boon companions, Steigt Pierrot hinab -- zu rauben Pierrot climbs down -- to plunder Rote, fürstliche Rubine, Ruddy, princely rubies, Blutge Tropfen alten Ruhmes. Bloody drops of former glory. Doch da -- sträuben sich die Haare, But then -- hairs standing on end, Bleiche Furcht bannt sie am Platze: Pale fear roots them in place: Durch die Finsterniss -- wie Augen! -- Through the darkness -- like eyes! -- Stieren aus den Totenschreinen Stare from out the corpses coffers Rote, fürstliche Rubine. Ruddy, princely rubies.

11. ROTE MESSE 11. RED MASS Zu grausem Abendmahle, For fearsome communion, Beim Blendeglanz des Goldes, Amid blinding glint of gold, Beim Flackerschein der Kerzen, Amid flickering of candlelight, Naht dem Altar -- Pierrot! To the altar comes - Pierrot! Die Hand, die gottgeweihte, The hand, to God once dedicated, Zerreißt die Priesterkleider Rends the priestly robes Zu grausem Abendmahle, For fearsome communion, Beim Blendeglanz des Goldes. Amid blinding glint of gold. Mit segnender Geberde With benedictive gesture Zeigt er den bangen Seelen He shows the anxious souls Die triefend rote Hostie: The dripping scarlet Host: Sein Herz -- in blutgen Fingern -- His heart -- in bloody fingers -- Zu grausem Abendmahle! For fearsome communion! 12. GALGENLIED 12. GALLOWS SONG Die dürre Dirne The haggard hussy Mit langem Halse With the slender neck Wird seine letzte Shall be his final Geliebte sein. Mistress. In seinem Hirne In his brain Steckt wie ein Nagel Sticks like a nail Die dürre Dirne The haggard hussy Mit langem Halse. With the slender neck. Schlank wie die Pinie, Slim as a pine tree, Am Hals ein Zöpfchen -- A little braid at her neck - Wollüstig wird sie Voluptuously will she Den Schelm Umhalsen, Embrace the wretch, Die dürre Dirne! The haggard hussy!

13. ENTHAUPTUNG 13. BEHEADING Der Mond, ein blankes Türkenschwert The moon, a shiny scimitar Auf einem schwarzen Seidenkissen, Upon a black silk pillow, Gespenstisch groß -- dräut er hinab Ghostly huge -- it threatens down Durch schmerzensdunkle Nacht. Through anguish-darkened night. Pierrot irrt ohne Rast umher Pierrot wanders restlessly about Und starrt empor in Todesängsten And stares aloft in mortal fears Zum Mond, dem blanken Türkenschwert Toward the moon, the shiny scimitar Auf einem schwarzen Seidenkissen. Upon a black silk pillow. Es schlottern unter ihm die Knie, His knees shake under him, Ohnmächtig bricht er jäh zusammen. Fainting he collapses of a sudden. Er wähnt: es sause strafend schon He fancies that swiftly bringing retribution Auf seinen Sünderhals hernieder Upon his sinner’s neck, sweeps down Der Mond, das blanke Türkenschwert. The moon, the shining scimitar.

14. DIE KREUZE 14. THE CROSSES Heilge Kreuze sind die Verse, Holy crosses are the verses, Dran die Dichter stumm verbluten, On which in silence poets bleed to death, Blindgeschlagen von der Geier Blind-struck by the vultures’ Flatterndem Gespensterschwarme! Fluttering phantom swarm! In den Leibern schwelgten Schwerter, In the bodies swords were reveling, Prunkend in des Blutes Scharlach! Resplendent in the scarlet of the blood! Heilge Kreuze sind die Verse, Holy crosses are the verses, Dran die Dichter stumm verbluten. On which in silence poets bleed to death. Tot das Haupt -- erstarrt die Locken -- Dead the head -- stiff the locks -- Fern verweht der Lärm des Pöbels. Far dispersed the noises of the crowd. Langsam sinkt die Sonne nieder, Slowly downward sinks the sun Eine rote Königskrone. -- A scarlet royal crown. -- Heilge Kreuze sind die Verse! Holy crosses are the verses!

15. HEIMWEH 15. HOMESICKNESS Lieblich klagend -- ein krystallnes Seufzen Gently plaintive -- a crystalline sighing Aus Italiens alter Pantomime, From Italy’s ancient pantomime, Klingts herüber: wie Pierrot so hölzern, It echoes: how Pierrot so wooden, So modern sentimental geworden. So modern and sentimental has become. Und es tönt durch seines Herzens Wüste, And there rings through the desert of his heart, Tönt gedämpft durch alle Sinne wieder, Echoing muted through all senses, Lieblich klagend -- ein krystallnes Seufzen Gently plaintive -- a crystalline sighing Aus Italiens alter Pantomime. From Italy’s ancient pantomime. Da vergißt Pierrot die Trauermienen! Then Pierrot forgets the mournful mien! Durch des Lichtmeers Fluten -- schweift die Sehnsucht. Through the flooding sea of light -- yearning courses. Durch den bleichen Feuerschein des Mondes, Through the moon’s pale incandescent glow, Kühn hinauf, empor zum Heimathimmel, Audaciously upward, aloft to the heavenly homeland, Lieblich klagend -- ein krystallnes Seufzen! Gently plaintive -- a crystalline sighing! 16. GEMEINHEIT 16. NASTINESS In den blanken Kopf Cassanders, Into Cassander’s shiny pate, Dessen Schreien die Luft durchzetert, His screams rending the air, Bohrt Pierrot mit Heuchlermienen, Pierrot drills, with hypocritical mien, Zärtlich -- einen Schädelbohrer! Tenderly - a skull drill! Darauf stopft er mit dem Daumen Thereupon, with his thumb, he plugs Seinen echten türkschen Taback His genuine Turkish tobacco In den blanken Kopf Cassanders, Into Cassander’s shiny pate, Dessen Schrein die Luft durchzetert! His screams rending the air! Dann dreht er ein Rohr von Weichsel Then he turns a cherry-wood tube Hinten in die glatte Glatze Into the back of the smooth baldness Und behäbig schmaucht und pafft er And, at ease, he smokes and puffs Seinen echten türkschen Taback His genuine Turkish tobacco Aus dem blanken Kopf Cassanders! From Cassander’s shiny pate!

17. PARODIE 17. PARODY Stricknadeln, blank und blinkend, Knitting needles, blanc and blinking, In ihrem grauen Haar, In her graying hair, Sitzt die Duenna murmelnd, The duenna sits murmuring, Im roten Röckchen da. In her little scarlet frock. Sie wartet in der Laube, She waits in the arbor, Sie liebt Pierrot mit Schmerzen, She loves Pierrot painfully, Stricknadeln, blank und blinkend, Knitting needles, blanc and blinking, In ihrem grauen Haar. In her graying hair. Da plötzlich -- horch! -- ein Wispern! Then suddenly -- hark! -- a whisper! Ein Windhauch kichert leise: A breath of wind giggles softly: Der Mond, der böse Spötter, The moon, that evil mocker, Äfft nach mit seinen Strahlen -- Apes with its light-beams -- Stricknadeln, blink und blank. Knitting needles, blanc and blinking

18. DER MONDFLECK 18. THE MOONSPOT Einen weißen Fleck des hellen Mondes A white spot from the bright moon Auf dem Rücken seines schwarzen Rockes, Upon the back of his black jacket, So spaziert Pierrot im lauen Abend, Thus does Pierrot promenade in the mellow evening, Aufzusuchen Glück und Abenteuer. In search of fortune and adventure. Plötzlich stört ihn was an seinem Anzug, Suddenly he’s disturbed by something in his dress, Er beschaut sich rings und findet richtig -- He looks himself all over and finds indeed -- Einen weißen Fleck des hellen Mondes A white spot from the bright moon Auf dem Rücken seines schwarzen Rockes. Upon the back of his black jacket. Warte! denkt er: das ist so ein Gipsfleck! Wait! Thinks he: That’s a plaster spot! Wischt und wischt, doch -- bringt ihn nicht herunter! Wipes and wipes, yet -- cannot get it off! Und so geht er, giftgeschwollen, weiter, And so he continues, venom swollen, on his way, Reibt und reibt bis an den frühen Morgen -- Rubs and rubs till early morning -- Einen weissen Fleck des hellen Mondes. A white spot from the bright moon.

19. SERENADE 19. SERENADE Mit groteskem Riesenbogen With grotesque, gigantic bow Kratzt Pierrot auf seiner Bratsche, Pierrot scratches on his viola, Wie der Storch auf einem Beine, Like a stork on one leg only, Knipst er trüb ein Pizzicato. He bleakly plucks a pizzicato. Plötzlich naht Cassander -- wütend Suddenly Cassander nears -- furious Ob des nächtgen Virtuosen -- At the nocturnal virtuoso -- Mit groteskem Riesenbogen With grotesque, gigantic bow Kratzt Pierrot auf seiner Bratsche. Pierrot scratches on his viola. Von sich wirft er jetzt die Bratsche: Then away he throws the viola: Mit der delikaten Linken With his delicate left hand Faßt den Kahlkopf er am Kragen -- He grabs the baldhead by the collar -- Träumend spielt er auf der Glatze Dreaming he plays upon the baldness Mit groteskem Riesenbogen. With grotesque, gigantic bow. 20. HEIMFAHRT 20. HOMEWARD JOURNEY Der Mondstrahl ist das Ruder, The moon beam is the oar, Seerose dient als Boot: Water lily serves as boat: Drauf fährt Pierrot gen Süden On it Pierrot journeys southward Mit gutem Reisewind. With goodly traveling breeze. Der Strom summt tiefe Skalen The current hums low-pitched scales Und wiegt den leichten Kahn. And rocks the fragile skiff. Der Mondstrahl ist das Ruder, The moonbeam is the oar, Seerose dient als Boot. Water lily serves as boat. Nach Bergamo, zur Heimat, To Bergamo, towards home, Kehrt nun Pierrot zurück, Pierrot is now returning, Schwach dämmert schon im Osten Faintly dawns now in the east Der grüne Horizont -- The green horizon -- Der Mondstrahl ist das Ruder. The moonbeam is the oar.

21. O ALTER DUFT 21. OH ANCIENT SCENT O alter Duft aus Märchenzeit, Oh ancient scent of legends’ days, Berauschest wieder meine Sinne! You intoxicate again my sense! Ein närrisch Heer von Schelmerein A jesting host of rogueries Durchschwirrt die leichte Luft. Swirls through the levitating air. Ein glückhaft Wünschen macht mich froh I’m cheered by happy hopes Nach Freuden, die ich lang verachtet. For joys which long I had despised. O alter Duft aus Märchenzeit, Oh ancient scent of legends’ days, Berauschest wieder mich! You intoxicate me once again! All meinen Unmut gab ich preis; All my discouragement did I surrender; Aus meinem sonnumrahmten Fenster From my sun-rimmed window Beschau ich frei die liebe Welt Free I now behold the lovely world Und träum hinaus in selge Weiten . . . And send my dreams to blissful reaches… O alter Duft -- aus Märchenzeit! Oh ancient scent -- of legends’ days!

Text: Original poem by Albert Giraud (1874-1951) German translation by Otto Erich Hartleben Translation by Philipp O. Naegele © Marlboro Music MAURYCY BANASZEK and in concert, Ms. Brus has been the soprano soloist in Vivaldi’s was born in Warsaw, Po- Gloria, Haydn’s Harmoniemesse, Bach’s Magnificat and Jesu, Me- land. He has performed at ine Freude, Handel’s Laudate Pueri Dominum and Dixit Domi- the Marlboro, Seattle, Santa nus, and Alessandro Scarlatti’s opera, Venere, Amore e Ragione in Fe, Aldeburgh, Moritzburg, Montreal. Ms. Brus has given recitals in numerous places includ- Mozart, Kingston, Martha’s ing Fukushima and Nihonmatsu, Japan; Düsseldorf, and New Vineyard and Warsaw Au- York City. She resides in New York City and holds degrees from tumn festivals. He regularly both the Manhattan School of Music and the Oberlin Conserva- tours with Musicians from tory of Music. Marlboro and appears at the Bargemusic in New York. With a diverse spectrum of repertoire and eclectic musical As a founding member of interests, cellist JAY CAMP- the Elsner String Quar- BELL has collaborated with tet he has played in such an array of musicians and prestigious venues as the composers ranging from Carnegie Hall, Wigmore Hall in London and Gewandhaus in Elliott Carter to members of Leipzig. In August 1998 he was invited by the members of the Radiohead. He is currently legendary Amadeus String Quartet to perform at the Amadeus a member of the Argento Quartet 50th Anniversary Gala Concert in London. He was Chamber Ensemble in New recently invited to be the soloist with the National Symphony York and has appeared with Orchestra of Mexico, the New Jersey Lyric Orchestra at their leading contemporary music Carnegie Hall debut performance and with the Metamorphosen ensembles in the United States Chamber Orchestra in Jordan Hall, Boston. He was also chosen such as ICE (International by Gidon Kremer to participate in Chamber Music Connects the Contemporary Ensemble), World Festival in Kronberg, Germany where he performed with and the Da Capo Chamber the Guarneri String Quartet. He is a graduate of the Manhattan Players. As a soloist, Campbell School of Music in New York where he studied with Michael has appeared in venues such as Tree. He is Principal Violist of the New York Symphonic En- Carnegie Hall’s Stern Auditorium, Alice Tully Hall, Kultur und semble, held a position of Principal Viola at the Metamorphosen Kongresszentrum Luzern (KKL), the Aspen Festival’s Benedict Chamber Orchestra and is a member of Sejong Soloists and the Music Tent, with distinguished conductors such as Pierre Metropolis Ensemble. He is also a founding member of ECCO - Boulez and Jeffrey Milarsky, and with ensembles including The the new conductor-less chamber orchestra. In 2011 he joined the Juilliard Orchestra, Lucerne Festival Academy and others. Still Concert Artist Faculty at Kean University. He plays a viola made an undergraduate at the by Hiroshi Iizuka in Philadelphia in 1997. Juilliard School, Campbell was recently invited to the Iowa native MEAGAN BRUS is quickly establishing herself as a Marlboro Music Festival unique and versatile soprano to watch. Her rising career includes and studies privately with many operatic roles and concerts, Fred Sherry. both in the US and abroad. High- lights from her 2011/2012 season EMI FERGUSON is include Pamina in Opera Theatre the 1st Prize winner of of Weston’s production of Die the Mid-Atlantic Flute Zauberflöte, creating the role of Competition, the New Ophelia in the world premiere of York Flute Club Young Carson Kievman’s opera Hamlet at Artist Competition, the the SoBe Arts Institute as well as Juilliard Concerto Com- premiering the song cycle Songs of petition, and the J.C. Love and Remembrance by Jeremy Arriaga Chamber Music Beck, and singing Soprano I in Competition. She was a featured performer alongside Yo-Yo Ma, Boccherini’s Stabat Mater with Paul Simon and James Taylor for the 10th Anniversary Memo- Bourbon Baroque in Louisville, rial Ceremony of 9/11 at Ground Zero where she was televised Kentucky. Other performances internationally playing Amazing Grace. She spends her summers include a 30-city tour of the US playing chamber music at the Marlboro Music Festival, and has as the vocal soloist with the group Ten O’Clock Classics, Oberto spent past summers at the Lucerne Festival in Switzerland and in Handel’s Alcina and Soprano soloist singing Handel’s Neun the International Baroque Institute at Longy in Boston. She Deutsche Arien with Bourbon Baroque, Gianetta and Barbarina received her Bachelor’s degree and two Master of Music Degree’s, in the Green Mountain Opera Festival’s productions of Doni- one in Historical Performance and one in Flute Performance zetti’s L’Elisir d’Amore and Mozart’s Le Nozze di Figaro, as well from The Juilliard School as a Paul and Daisy Soros Fellow. Her as Susanna in Le Nozze di Figaro and Pamina in Die Zauberflöte, principal teachers have been Carol Wincenc, Sandra Miller, both in New York City. Comfortable both on the operatic stage Robert Langevin, and Judy Grant. LYNDA HAKKEN, Cornell College Organist and Instructor of Music, teaches Fundamentals of Opera Theater and Music Festival of Lucca, Italy. He has also Music, Music Theory, stu- performed with the Evansville Philharmonic, Owensboro dio organ and piano. She Symphony Orchestra, and the Columbus Indiana Philhar- is an active solo performer monic. A recent highlight of Mr. Hanick’s career includes and accompanist, having the first public performance in the Sun Trust Pavilion in the performed throughout Frank Gehry-designed New World Center in Miami where the Midwest. Her recent he played a world premier double bass septet arrangement of doctoral research on key- Richard Strauss’ Also Sprach Zarathustra. Mr. Hanick plays an board harmony resulted instrument made by Jim Reck in 2005. in a beginning method for which she is seeking Andrew Janss has worked a publisher. She holds a as a cellist in New York for DMA in organ performance and pedagogy; M.A in organ perfor- most of a decade. In his time mance, University of Iowa; B.M. in organ performance, Hope in the boiler room, he has had College (Mich.). the opportunity to play with some of the greatest musicians A pianist that “defies human description” for some (Harry Rol- across many genres, including nick, Concerto Net) and recalls “a young Peter Serkin” for others classical music legends Leon (Anthony Tommasini, New York Times), Fleisher, Richard Goode, Itzhak CONOR HANICK has per- Perlman; jazz gurus Kurt Elling formed throughout the United and Lawrence Hobgood; and States, Europe and Asia and pop icons Mary J. Blige, Eryka collaborated with some of the Badu, Questlove, and Florence world’s leading conductors, and the Machine. including Pierre Boulez, David In 2005, while doing his un- Robertson and James Levine. A dergrad at Manhattan School of vehement proponent of con- Music, he founded the Escher temporary music, he has worked String Quartet, which has gone on to tour America, Japan, with composers as diverse as China, Australia, and the UK. The ESQ was invited to be the Mario Davidovsky and David CMS2 resident string quartet at the Chamber Music Society Lang and premiered dozens of of Lincoln Center from 2007-10. works at venues ranging from Since moving on from the ESQ in spring 2010, he has Carnegie Hall to (le) Poisson kept busy touring with the Mark Morris Dance Group, and Rouge. Currently a doctoral running the Omega Ensemble, a concert series that features candidate at the Juilliard School incredible musicians in the beginning stages of major careers. studying with Yoheved Kaplinsky and Matti Raekallio, he resides He has spent the last two summers at the Marlboro Music in New York City. Festival, and in March 2012 he began performing periodically as Guest Principal Cellist of the Saint Paul Chamber Orches- EMMET HANICK, double bass, just completed his second year tra. as a New World Symphony fellow in Miami, Florida. Earning a Andrew began studying cello with Andrew Cook in Los B.M. from the University Angeles, and has a BM and an AD from the Manhattan of Cincinnati College- School of Music, where he worked with David Geber, Clive Conservatory of Music Greensmith, and David Soyer. studying under Albert Laszlo and an M.M. from Indiana University studying under Bruce Bransby, Mr. Hanick has performed in orchestras across the world. He has appeared in the Pacific Music Festival in Sap- poro, Japan, the National Repertory Orchestra in Breckenridge, the Aspen Music Festival, and the from 2005-2011, she performed at Lincoln Center, the 92nd Street Y and Beijing’s Forbidden City Hall and was on faculty at “Pianist (RÉNE) LECU- the University of Iowa. ONA’s playing was remark- Ms Park received her Bachelor and Master of Music from The able, and her dialoguing Juilliard School where she studied with Dorothy DeLay and was and interplay with the a recipient of the Starling-DeLay Teaching Fellowship. She has string players was excep- studied and performed chamber music with Felix Galimir, Pin- tional (Chantal Incandela: chas Zukerman, Cho-Liang Lin, Michael Tree, Gary Hoffman, Nuvo, Indianapolis Arts).” Paul Neubauer, Robert McDonald, and members of the Ameri- Dr. Lecuona has performed can, Guarneri, Juilliard, Orion and Tokyo String Quartets as well throughout South America, as with the new music group, Eighth Blackbird. Other former Mexico, the US and in Italy. teachers include Cho-Liang Lin, Donald Weilerstein, Hyo Kang She is active as a soloist and and Piotr Milewski. as a chamber musician and Currently, Ms Park is Assistant Professional Specialist and Artist- recently performed the Grieg in-Residence at the University of Notre Dame. Piano Concerto with William LaRue Jones conducting the UI Symphony Orchestra, and Mozart’s Two-Piano Concerto in At home as a soloist, chamber musician, and concertmaster, vio- E-flat with pianist Eugene Gaub and the Grinnell College Or- linist ROBIN SCOTT enjoys a burgeoning and vibrant career. chestra under the baton of Eric McIntyre. She may be heard on He has competed internationally, Centaur, Innova, Capstone, Cybele, Albany, Fleur de Son, and the winning 1st prizes in the California CRI recording labels. She was an Artistic Ambassador for the US International Young Artists Com- State Department in 1994. petition and the WAMSO Young Dr. Lecuona is a professor of piano at the University of Iowa. Artist Competition, and 2nd Prizes Her students have won numerous competitions such as the Starr in the Yehudi Menuhin Interna- Young Artist Competition, the MTNA State Competition, and tional Violin Competition, the the Toradze Piano Institute Fellowship, and her former students Irving M Klein International String hold teaching posts in Columbia and Brazil as well as in the US. Competition, and the Stulberg Lecuona regularly adjudicates piano competitions, most recently International String Competition. the 2012 Naftzger Young Artists Competition in Wichita, Kan- He has soloed with the Minnesota sas. Orchestra,Indianapolis Symphony Réne Lecuona was awarded a performer’s certificate and a Orchestra, the Orchestre National doctoral degree at the Eastman School of Music. She received de Lille (France), the Montgom- undergraduate and master’s degrees at the Indiana University ery Symphony Orchestra, the School of Music. Her major teachers have included Menahem Springfield(OH) Symphony Or- Pressler, the late György Sebök, Edward Auer, Shigeo Neriki and chestra, and others. He has given numerous recitals and perfor- Rebecca Penneys. mances throughout the US and France, in such venues as Weill Hall and the Schubert Club in St. Paul. Praised by critics for her As a chamber musician, he has performed at the Kennedy “astounding virtuosic Center, the Library of Congress, and Jordan Hall in Boston; he gifts”(Boston Herald) and has attended the Marlboro Music Festival, the Ravinia Festival’s “stunning and rich-toned” Steans Institute for Young Artists, the Yellow Barn Festival, the sound (The New York Kneisel Hall Festival, the Maine Chamber Music Festival and Times), TRICIA PARK, others. violin, is a recipient of the This year marks his first of two years as concertmaster of the prestigious Avery Fisher Ca- Montgomery Symphony Orchestra, at which he is an Artist- reer Grant and was selected in- Residence. He also serves as concertmaster of the New York as one of “Korea’s World Classical Players. Leaders of Tomorrow” by the Scott’s principal teachers include Donald Weilerstein, Kim Korean Daily Central news- Kashkashian, Miriam Fried, and Mimi Zweig. paper. Since appearing in her He plays on a Jean-Baptiste Vuillaume violin generously lent first orchestral engagement to him by Marlboro, whither he will return in the summer of at age 13 with the Baltimore 2012. Symphony Orchestra, Ms Park has performed with the English Chamber Orchestra, St. JAMES T. SHIELDS, an active chamber and orchestral Paul Chamber Orchestra, Frankfurt Radio Symphony Orchestra, musician, is currently the principal clarinetist of both the and National Symphony Orchestra of South Africa; the Mon- Canadian Opera Company in Toronto and the New Mexico treal, Dallas, Cincinnati, Seattle, Honolulu, Nevada, and Lincoln Philharmonic in Albuquerque. He is a graduate of The Juilliard Symphonies; and the Calgary, Buffalo, Westchester and Naples School (B.M. 2006, Clarinet Performance), where he studied Philharmonics. She has also given recitals throughout the US with Ricardo Morales, the principal clarinetist of the New York and abroad, including a highly acclaimed performance at the Philharmonic. He has appeared as soloist with the New Mexico Ravinia Rising Stars series. As First Violinist of the Maia Quartet Symphony Orchestra, program at the Baltimore World Youth Symphony School for the Arts, where Orchestra, Texas Wind he founded an adventurous Symphony, and the Chatter chamber orchestra and Chamber Ensemble, and conceived and led a number has performed as principal of new initiatives for teaching clarinet with the Malaysian and presenting music to urban Philharmonic Orchestra, youth. Aspen Music Festival, the He is a native of Los Astoria Music Festival Angeles and began his musical (Astoria, OR), and Santa Fe training there on both piano Pro Musica. James is co- and clarinet, pursuing studies artistic director of Chatter, a on the latter instrument with New Mexico-based chamber Yehuda Gilad at the Colburn music organization that presents up to 65 concerts annually. In School for the Performing Arts. Beginning in 1992 he attended the summer, 2010 he received a masters degree in Composition Yale University, first receiving a bachelor degree with academic from the University of New Mexico, and has had his works distinction in intellectual history and then completing a masters performed at The Juilliard School and by the Chatter Chamber degree in clarinet performance under the tutelage of David Ensemble. Shifrin. After leaving Yale he attended the Peabody Conservatory as a masters student of Gustav Meier. STEPHEN SWANSON is a concert and opera singer, a teacher of singing, and opera stage director. He earned degrees from MARTIN ANDREWS is a co-founder of Working Group North Park College and Northwestern University and served a Theatre and serves as its Producing Director. For Working two-year AGMA apprenticeship with the Wolf Trap Company. Group, he initiated and administrated the following grants and After an internship at the International Opera Studio of the projects: ICPL Grant (Burn Before Reading) The Catalyst Grant Zurich Opera, he sang in European opera houses for nineteen with the University of Iowa Center for Human Rights (Make years. In 2012 he added his 100th opera/operetta/musical role to it Better, Iowa), The Iowa Arts Council Mini-Grant (Under his repertoire. Since 1994, he has been Professor of Voice at The Construction Solo Festival). He has overseen the production University of Iowa. of four new plays (Drinks by the Pool; Odysseus, Iowa; Denali;

Atlas of Mud), created two original shows (Was the Word and An extremely versatile performer, Bingo Bedlam), and served as Festival Director for the Under Swanson sings works from the Construction Solo Festival and Co-Director of Telling: Iowa City. Baroque to the avant-garde as As an actor, he has originated roles in over five productions well as standard baritone concert with Working Group. In addition, he has continued to work repertoire such as Brahms’ Ein in established plays, most recently as George in All My Sons deutsches Requiem, Mendelssohn’s (Riverside Theatre) and Puck in A Midsummer Night’s Dream Elijah, and his signature piece, (Riverside Theatre Shakespeare Festival). He is a certified Teacher Carl Orff’s Carmina Burana. of Fitzmaurice Voicework and served as Co-Director of the First Swanson and composer/pianist International Fitzmaurice Voicework Conference in Barcelona, David Gompper have toured Spain. He has worked extensively as a voiceover artist, and extensively with their recitals founded his own voiceover company in January 2010, Canopy Was my brother in the battle? Creative Productions, where he directs voice actors and oversees Songs of War (Albany Records, audio editing and production. As an educator, he has taught at TROY1056) and Animal Songs: the K-12 and college levels Bestiaries in English, French, and German (Albany Records, publ. for the last 10 years. He has Summer 2012). Swanson’s recording of the title role in Victor served as an instructor at the Ullmann’s Der Kaiser von Atlantis (MK00222631) is available Belin Blank Honors Center from Studio Matouš in the Czech Republic. (University of Iowa) and Adjunct Professor at Cornell College and Coe College. JASON WEINBERGER is artistic director and CEO of the Martin earned his MFA in Waterloo-Cedar Falls Symphony Orchestra. Over his nine Acting from the University seasons with the WCFSO he has helped distinguish the orchestra of Iowa, an M.Ed from with exceptionally committed performances, incisive and Wright State University in engaging programming, and extensive community engagement. Dayton, OH, and a BA in From 2007-2011 he also served as resident conductor of the History and Latin from The Louisville Orchestra, and previously worked as a cover conductor Ohio State University. with the National Symphony Orchestra. While in the mid- Atlantic region from 1998-2002 Jason directed the orchestra From left to right: C. Essenberger, clarinet; Jakob Malinjak, violin; Arnold Schoenberg; Albertine Zehme, sprechstimme; Edward Steuermann, piano; Hans Kindler, cello; Hans W. de Vries, flute.

The photo was taken after the world premiere of Pierrot Lunaire on October 16, 1912 in Berlin

The original poster advertising the world premiere of Pierrot Lunaire