MusicIC 2016 Inspiration and Hommage June 15-18, 2016

Presented by the Iowa City UNESCO City of Literature Tricia Park, Artistic Director

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MusicICprogram2016.indd 1 6/7/2016 2:09:19 PM Solera Quartet

Tricia Park – Yannik Encarnacao – actor Miki-Sophia Cloud – violin Jessica Wade – actor Molly Carr – viola Andrew Janss – cello Robin Hemley – writer Daniel Khalastchi – writer Meagan Brus – soprano Amy Margolis – writer Minji Kwon – Sabrina Orah Mark – writer

THERE WILL BE NO INTERMISSIONS

MusicIC returns for a sixth season to present three programs the commission of new work by University of Iowa Professor exploring the theme of Inspiration and Hommage. Alongside David Gompper with text by former Iowa poet laureate the great string quartets of Haydn, Mozart, Beethoven and Marvin Bell, and much more. Mendelssohn, this summer’s programming will feature a recent work by the Pulitzer prize-winning , Caroline In Park’s words, she and Hurtig created the festival “out Shaw, as well as an innovative evening of storytelling and live of our deep love for Iowa City and the community, and music at the Englert Theatre that will bring MusicIC’s 2016 we wanted to be sure that the festival reflects what the summer programming to an exciting and inventive finale. community is about and also that it be rooted in this place. Not to offer just another generic music festival, but MusicIC was inaugurated in 2010 by Artistic Director a festival that the community could connect to and be Tricia Park and Managing Director Judith Hurtig, and was invested in as well. The City of Literature designation was a supported by The University of Iowa Office of the Vice strong inspiration for the genesis of MusicIC and our fruitful President for Research and the Division of Performing Arts, relationship with Amy Margolis and Summer Writing Festival College of Liberal Arts and Sciences. In 2013, it moved to has strengthened these musical and literary ties.” Summer of the Arts, which produced the festival through its 2015 season. This year, MusicIC moves to a new home A secondary mission has been to bring “Iowa grown” with the Iowa City UNESCO City of Literature organization. musicians and artists back to Iowa City; young performers Over the course of its five-year history, the festival has who have the potential for or are embarked upon major featured a theatrical adaptation of Tolstoy’s Kreutzer Sonata careers in music. Soprano Meagan Brus, on the program this in collaboration with Working Group Theatre, a performance year, is among the many who have returned to perform at the of Stravinsky’s A Soldier’s Tale with Kurt Vonnegut libretto, festival.

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MusicICprogram2016.indd 2 6/7/2016 2:09:20 PM WEDNESDAY, JUNE 15 7:30 p.m., Trinity Episcopal Church

An Hommage to Haydn Solera Quartet: Tricia Park, Miki-Sophia Cloud, Molly Carr, Andrew Janss Yannik Encarnacao

Joseph Haydn String Quartet No. 67 in F Major, Op. 77, No. 2 I. Allegro moderato II. Menuet: Presto III. Andante IV. Finale: Vivace

Caroline Shaw Entr’acte for String Quartet (2011)

Mozart String Quartet No. 19 in C Major, K. 465 “Dissonance” I. Adagio-Allegro II. Andante Cantabile III. Menuetto: Allegro IV. Allegro molto

THURSDAY, JUNE 16 7:30 p.m., Trinity Episcopal Church

Beethoven’s Brilliance: The Difficult Resolution Solera Quartet: Tricia Park, Miki-Sophia Cloud, Molly Carr, Andrew Janss Jessica Wade, Yannik Encarnacao

Beethoven String Quartet in F Major, Op. 18, No. 1 I. Allegro con brio II. Adagio affettuoso ed appassionato III. Scherzo: Allegro molto IV. Allegro

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MusicICprogram2016.indd 3 6/7/2016 2:09:20 PM String Quartet in F Major, Op. 135 I. Allegretto II. Vivace III. Assai lento, cantante e tranquillo IV. “Der schwer gefaßte Entschluß (The difficult decision).” Grave, ma non troppo tratto (Muss es sein?/ Must it be?) – Allegro (Es muss sein!/It must be!) – Grave, ma non troppo tratto – Allegro

FRIDAY, JUNE 17 7:30 p.m., Englert Theatre

Mendelssohn as Muse: A Storytelling Event Solera Quartet: Tricia Park, Miki-Sophia Cloud, Molly Carr, Andrew Janss Meagan Brus, Minji Kwon With writers Robin Hemley, Daniel Khalastchi, Amy Margolis, and Sabrina Orah Mark

Felix Mendelssohn Frage, “Ist es wahr?” (‘Is it true?’, op. 9, no. 1)

String Quartet in a minor, Op. 13 I. Adagio - Allegro vivace II. Adagio non lento III. Intermezzo: Allegretto con moto - Allegro di molto IV. Presto - Allegro non lento

Special Thanks: Chris Brus, Kevin and Pat Hanick, Iowa City Public Library, Iowa Summer Writing Festival, Ron McLellan, Doug and June True, David Kieft, Judith Hurtig, Mara Cole, Lisa Barnes and Summer of the Arts.

SPONSORS: University of Iowa, Dunn Investments, Knutson Construction, Iowa Public Radio, Toyota of Iowa City, West Music, Iowa Summer Writing Festival, Egington Alignment

Iowa City UNESCO City of Literature www.iowacityofliterature.org | MusicIC www.MusicIC.org

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MusicICprogram2016.indd 4 6/7/2016 2:09:20 PM PROGRAM NOTES

Since the early days of dreaming up MusicIC, ‘m’s’ is ‘used as a term for a work that respectfully when Judy Hurtig and I sat drinking wine at emulates that of another artist.’ And although her kitchen table, overlooking the lush summer both terms revolve around the concept of R-E-S- countryside, I always hoped that part of what P-E-C-T (thank you, too, Aretha Franklin), it was would make this festival special would be the decided that the noun, hommage, was the more uniqueness of its programming. Beyond presenting appropriate usage to encapsulate the musical traditional chamber music concerts, I was then and offerings that we will present to you. - Tricia Park still remain most curious about the ways in which classical repertoire might inspire new work, both WEDNESDAY, JUNE 15 musical and literary. An Hommage to Haydn

This year’s festival theme is an attempt to trace (1732-1809) is considered the inspiration in two directions; looking back into “Father of the String Quartet.” In his endlessly history and also looking forward to the future. The inventive compositions, Haydn elevates the title, ‘Inspiration and Hommage’, is an umbrella for string quartet to such heights that it becomes the journey that we will take, beginning with Haydn the ultimate form in which a composer may whose vast repertoire of string quartets provided demonstrate his or her purest artistic skill. In this the creative wellspring that not only inspired new program, Haydn’s last completed string quartet is work during his lifetime (in the works by Mozart presented alongside Haydn-inspired string quartets and Beethoven) but also reaches centuries by Caroline Shaw and Mozart. forward, extending into a lineage that includes Mendelssohn and music of the 21st century by String Quartet No. 67 in F, Op. 77 No. 2 Caroline Shaw. By Joseph Haydn (1732-1809)

A note about hommage: In developing this year’s Haydn wrote sixty-eight string quartets in total and theme, a debate arose pertaining to the correct in this, his final completed string quartet, we see spelling of hommage. Should it have one or two “Papa Haydn” at the height of his compositional m’s? I was used to seeing the word hommage in sophistication. The overall character of this work titles of musical compositions but perhaps this was is one of gentle, sunny optimism and belies the an incorrect usage, an attempt to make the word composer’s failing health. The centerpiece of ‘fancier’ and more French-inspired than it ought to this quartet is the slow movement, an Italianate be. After much back and forth about it, it turns out, aria for violin and cello that gradually folds in the according to the New York Times, the consensus middle voices to create an exquisitely lush sonic is that homage with one ‘m’ means ‘respect’, landscape. as in to pay homage, while the spelling with two

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MusicICprogram2016.indd 5 6/7/2016 2:09:20 PM Entr’acte for String Quartet (2011) It begins with an ominously low and repetitive C By Caroline Shaw pedal-tone “heartbeat” in the cello which soon gives way to an incredibly clashing and alien The Haydn quartet featured on this program piling on of the other voices, giving this opening a also contains a wonderfully cheeky Minuet and stunningly avant-garde cast. This innovative choice Trio movement. The inclusion of this traditional is fitting tribute to Haydn who, like Mozart, was in dance movement in the string quartet form is far many ways an artistic iconoclast of his time. from unusual but Haydn – ever the inventor and humorist – subverts the listener’s expectation Mozart was unabashed in his admiration and by placing this raucous dance directly after the debt to Haydn, which we see here in his written first movement instead of the more customary introduction to this set of six “Haydn” quartets: placement of a slow movement. In addition, the Minuet transforms with startling swiftness into a To my dear friend Haydn, Trio which is cast in the mysteriously remote key of A father who had resolved to send his children out D-flat major. It is this remarkable key change that into the great world took it to be his duty to confide Caroline Shaw “obsesses” over in her whimsical them to the protection and guidance of a very and haunting composition, Entr’acte. celebrated Man, especially when the latter by good fortune was at the same time his best Friend. Here In her own words, Shaw says of her composition: they are then, O great Man and dearest Friend, Entr’acte was written in 2011 after hearing the these six children of mine. They are, it is true, the Brentano Quartet play Haydn’s Op. 77 No. 2 — fruit of a long and laborious endeavor, yet the hope with their spare and soulful shift to the D-flat major inspired in me by several Friends that it may be at trio in the minuet. It is structured like a minuet and least partly compensated encourages me, and I trio, riffing on that classical form but taking it a little flatter myself that this offspring will serve to afford further. I love the way some music (like the minuets me solace one day. You, yourself, dearest friend, of Op. 77) suddenly takes you to the other side of told me of your satisfaction with them during Alice’s looking glass, in a kind of absurd, subtle, your last Visit to this Capital. It is this indulgence technicolor transition. above all which urges me to commend them to you and encourages me to hope that they will not String Quartet No. 19 in C Major, K. 465 seem to you altogether unworthy of your favour. By May it therefore please you to receive them kindly and to be their Father, Guide and Friend! From In total, Mozart wrote twenty-three string quartets, this moment I resign to you all my rights in them, six of which he dedicated to his friend and mentor, begging you however to look indulgently upon the Joseph Haydn. This quartet is the last in this set defects which the partiality of a Father’s eye may of six “Haydn” quartets and bears the nickname have concealed from me, and in spite of them to “Dissonance” for its unusual slow introduction. continue in your generous Friendship for him who

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MusicICprogram2016.indd 6 6/7/2016 2:09:20 PM so greatly values it, in expectation of which I am, Poison, I see, hath been his timeless end.— with all of my Heart, my dearest Friend, your most O churl, drunk all, and left no friendly drop Sincere Friend, To help me after! I will kiss thy lips. W.A. Mozart Haply some poison yet doth hang on them, - Notes by Tricia Park To make die with a restorative. Thy lips are warm! THURSDAY, JUNE 16 Yea, noise? Then I’ll be brief. O happy dagger, Beethoven’s Brilliance: The Difficult This is thy sheath. There rust, and let me die. Resolution Beethoven was heavily indebted to Haydn and, This program features two string quartets in the much like a painter who copies masterpieces to key of F Major by , his first develop his skill, he regularly wrote out Haydn’s quartet and his last quartet. Socially defiant and string quartets in laborious long hand. The Op. 18 temperamentally fiery, Beethoven’s Op. 18 string No. 1 quartet went through multiple revisions and quartets mark the early years of his career ascent of these modifications, Beethoven wrote to his and show us a Beethoven full of youthful swagger editor: and passion. It is with the publication of these extraordinary early string quartets that we see the “Be sure not to hand on to anybody your quartet, passing of the compositional torch from Haydn to in which I have made some drastic alterations. For Beethoven as the younger man’s compositions only now have I learnt to write quartets; and this begin where the older master’s works end. you will notice, I fancy, when you receive them.”

String Quartet in F major, Op. 18, No. 1 String Quartet in F Major, Op. 135 By Ludwig van Beethoven By Ludwig van Beethoven

According to Beethoven’s friend Karl Amenda, the The String Quartet in F, opus 135, was the last second movement of Op. 18 No. 1 was inspired complete work Beethoven composed, only a few by the tomb scene from William Shakespeare’s months before his death in March 1827. By this Romeo and Juliet. This program will feature point in his life, Beethoven was completely deaf, actors who will perform an excerpt from this having succumbed to the fate that he had fought scene, including Juliet’s final words from the play. against for almost his entire adult life. Unlike the (The inclusion of this text will also pay hommage monumental length and breadth of his other late to Shakespeare, as 2016 marks the 400th string quartets, Op. 135 is remarkable for its anniversary of his death): seeming return to classical formal traditions and is marked by its concision as well as its playful, airy What’s here? A cup, closed in my true love’s texture and character. In many ways, it is similar hand? to his Op. 18 quartets, and seems to illustrate

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MusicICprogram2016.indd 7 6/7/2016 2:09:20 PM the inner life of a man who has found peace after question was merely his way of saying goodbye to extraordinary struggle. the string quartet form:

The heart of Op. 135 lies within the third and fourth “Here, my dear friend, is my last quartet. It will be movements. In early sketches, Beethoven marked the last; and indeed it has given me much trouble. the third movement “Süsser Ruhegesang oder For I could not bring myself to compose the last Friedengesang,” a sweet song of calm or peace. movement. But as your letters were reminding me of A theme and variations movement, it is written it, in the end I decided to compose it. And that is the in the mysteriously dark key of D-flat major (as reason why I have written the motto: “The difficult we heard in the Haydn quartet from the June 15 resolution–Must it be?–It must be, it must be!” program) and spins a web of deep introspection. - Notes by Tricia Park This prayerful movement gradually rises above and floats upward into the ether, with a resignation that FRIDAY, JUNE 17 is nevertheless shot through with very real hope. Mendelssohn As Muse: A Storytelling Event The fourth and final movement contains the vague musical and textual inscription: “Der schwer gefasste Entschluss,” or “The Difficult Resolution.” “Ist es wahr?” (‘Is it true?’, op. 9 no. 1) The slow introduction is marked “Muss es sein” — must it be? Over the years, multiple theories have String Quartet in a minor, Op. 13 arisen about what the answer to this murky query might be. Some seriously considered options, from The year Beethoven died, 1827, was also the the existential to the mundane, include: “Must I year that his last five quartets appeared in print. die?” “Must I write another movement?” and “Must They must have been lightning on the brain of the I pay the laundry bill?” teenaged Felix Mendelssohn, who studied them avidly. Another bolt of lightning struck him at about The movement begins with this question posed the same time: he fell in love. History does not in very dark tones, indeed, beginning with an record any specifics about this episode, even who ascending line in the lower voices that cast an the girl was, but it left some significant mementos. ominous shadow over the work. And though the In June Mendelssohn wrote the words and music movement’s main character is that of boisterous to a song titled “Frage” (Question). It was published rambunctiousness, this opening cloud resurfaces as Op. 9, No. 1, with a fictitious “Voss” getting in the middle of the movement, with little warning credit for the words, which are: and for a long, frightening moment, we feel the heavy weight once again of this seemingly Is it true? Is it true that over there in the leafy existential question. However, Beethoven’s note walkway, you always wait for me by the vine- to his publisher indicates otherwise; perhaps this draped wall? And that with the moonlight and the

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MusicICprogram2016.indd 8 6/7/2016 2:09:20 PM little stars you also ask about me? long of that phrase is the basis for much of what Is it true? Speak! What I feel, only she grasps -- follows. Mendelssohn includes the title of the she who feels with me and stays ever faithful to song in the score of the quartet, recalling the title me, ever faithful to me, eternally faithful. Beethoven wrote on the last movement of his Op. 135 string quartet “Muss es sein?” (Must it be?). A few months after writing the song, Mendelssohn But, unlike the introspective, existential quality composed his second string quartet. The song of Beethoven’s quartet, Mendelssohn’s work is underlies the entire quartet, as Mendelssohn passionate and richly romantic. emphasized when he had the published quartet include the complete song. It plays a role in all four movements, though it is sometimes less obvious to the ear than it is on He wrote to a friend: “The song that I sent with paper. It dominates the principal theme of the the quartet is its theme. You will hear it -- with its allegro that follows, which is ushered in with a own notes -- in the first and last movements, and dramatic touch: a flurry of sixteenth notes sets in all four movements you will hear its emotions the agitated mood, then the three lower parts expressed. If it doesn’t please you at first, which foreshadow the theme, much as the might happen, then play it again, and if you still find might introduce a big operatic aria by hinting at the something ‘minuetish,’ think of your stiff and formal theme before the diva takes it up. An even more friend Felix with his tie and valet. I think I express operatic touch is the movement’s final cadence, the song well[.]” a closing formula common in opera arias since Mozart (think of the Queen of the Night’s famous So Mendelssohn wrote a quartet about being second-act aria in The Magic Flute). What comes in love, and there is nothing stiff, formal, or old- between is a tightly constructed movement about fashioned about it. Young as he was, Mendelssohn yearning and conflict, driven by dissonance and had already produced a series of mature intricate counterpoint. masterpieces, including the Octet and Midsummer Night’s Dream Overture, but nothing in those In the second movement, like the first, a peaceful shining works foreshadowed the stormy power of major-key prelude gives way to an unsettling this quartet. contrapuntal movement - this time a fugue with a chromatic subject. It sounds very modern for The transformation can be attributed to a 1827 and at the same time archaic and modal, combination of early love and late Beethoven like a mannerist fantasy of the 17th century (or quartets. Listeners who know those quartets will some movements in Beethoven’s late quartets). It hear many echoes of them in Mendelssohn’s. is doubly unsettling for being rhythmically puzzling. It begins with a gentle, reflective prologue in A Though the basic rhythm is in three, the fugue major, the end of which quotes the song’s opening subject is seven beats long, and the next voice phrase, “Ist es wahr?” (Is it true?) The long-short- unexpectedly enters as the first one reaches the

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MusicICprogram2016.indd 9 6/7/2016 2:09:20 PM seventh beat. The prelude returns, and its strains NOTES ABOUT INCORPORATING are blended with those of the fugue, now softened THE WRITERS into major. In the spirit of continuing this year’s theme of The third movement is another three-part structure. “Inspiration and Hommage,” as well as MusicIC’s It begins as a graceful, sober nocturne, but soon mission to present chamber music concerts runs off to fairyland for one of those shimmering, “Where Music and Literature Meet,” I have darting scherzos that Mendelssohn always had up asked four writers to participate in this evening’s his sleeve. The nocturne returns, but the fairies and concert. These wonderful writers join us as part moonbeams get the last word. of our ongoing partnership with the Iowa Summer Writing Festival and I am delighted that they have The fourth movement starts with another device been inspired to write new work for this special characteristic of opera and Beethoven’s last performance. quartets: a tempestuous recitative by the violin over tremolos in the three lower parts. The main Drawing inspiration from Mendelssohn’s Frage body of the movement recalls the mood of the and Op. 13 in any number of potential ways, the first movement, and literally recalls its main theme, writers were invited to write short pieces that will along with the second movement’s fugue, now in be woven in between the four movements of the duple rhythm instead of triple in one more rhythmic Mendelssohn quartet to create a unique evening surprise. As themes from the different movements of storytelling that brings together spoken word, are telescoped together, the movement subsides personal narrative, and musical soundscape. into the music that began the first movement, and then the quartet ends with a quotation of the Inspiration could be found in the notion of second half of “Frage” - “What I feel can only be hommage, creating new artistic work that is understood by someone who feels it with me, and inspired by and pays tribute the work of another. who will stay forever true to me.” Mendelssohn Or, given that the 18-year-old Mendelssohn seems to be telling us that we’ve just spent half an was likely writing about a first love when noting hour listening to what love feels like to him. Rarely the person waiting for him in the arbour by the did he let his listeners see so much of him. vineyard wall, the writer could delve into his or her - Notes by Howard Posner own tale of early love. Different still, the notion of the question that drives the piece – “Is it true?” – could serve as inspiration. Overall, I sought to inspire writers to use the music as a source of reflection and response. - Tricia Park

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MusicICprogram2016.indd 10 6/7/2016 2:09:20 PM THE ARTISTS and WRITERS

SOLERA QUARTET Canada, Japan, , Mexico, and ). The Iowa native’s May 2014 premiere of Mr. Kievman’s Fairy Tales with the SoBe institute in Miami prompted Greg Stepanich of the Palm Beach Arts Paper to write, “Brus… was remarkable as the Dandelion Woman. Brus’s performance was a tour de force in every way, with fresh, fierce power in abundant supply, a rock-solid command of an exceedingly difficult part, and an ability to hold onto her audience through some thorny terrain.”

Ms. Brus’ 2015/2016 season included many performances with her chamber music trio, sTem. A major proponent of new and modern music, her performances with sTem included an English arrangement of Schoenberg’s Erwartung, made The New York City-based Solera Quartet is the Quartet in especially for them, Ricky Ian Gordon’s dramatic song cycle, Residence at the University of Notre Dame. Members Tricia Orpheus and Euridice, and original commissions. sTem will re- Park and Miki-Sophia Cloud, ; Molly Carr, viola; and lease their debut album the summer of 2016. Ms. Brus resides Andrew Janss, cello, have been featured in such world- in New York City and holds degrees from both the Manhattan renowned international venues as Carnegie Hall, Royal Festival School of Music and the Oberlin Conservatory of Music. Hall in London, Orchard Hall in Tokyo, The Kennedy Center and Lincoln Center. They have also participated in prestigious MOLLY CARR, viola festivals such as the Marlboro Music Festival, Music@Menlo, Violist MOLLY CARR, Perlman Music Program, LaJolla Summerfest, Santa Fe praised for her “ravish- Chamber Music Festival, and Music from Angelfire. Notewor- ing sound” (STRAD) thy accomplishments include an Avery Fisher Career grant, a and her “passionate Grammy Award nomination, top prizes at international compe- talent and beauti- titions, and a CMS2 artist roster appointment at the Chamber ful poise… all in one Music Society of Lincoln Center. Members are graduates of package” (AVS), was a the Juilliard School, Harvard College, New England Conserva- top prize winner in the tory, and the Manhattan and the Yale Schools of Music. 2008 Primrose Inter- MEAGAN AMELIA BRUS, soprano national Viola Com- petition. As winner of Known for her consis- the 2010 Juilliard Viola Concerto Competition, Carr made her tently dynamic per- New York Concerto debut with the Juilliard Orchestra under formances, Soprano Xian Zhang in Alice Tully Hall. She is the recipient of top prizes MEAGAN AMELIA and major scholarships from the Davidson Institute, the Virtu BRUS’s rising career Foundation, ASTA, NFAA-ARTS and The Juilliard and Manhat- has included many tan Schools of Music. operatic roles and concerts, both in the An avid soloist, recitalist, and chamber musician, Carr has United States and appeared across the U.S., Canada, Mexico, Europe, abroad (including and Asia. Her 2014-15 concert season included solo and

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MusicICprogram2016.indd 11 6/7/2016 2:09:20 PM chamber performances in Brussels, Malaga and Jaen, as Since 2009, Cloud has been a core member of the self-con- well as New York, Sarasota and Washington, D.C. She is ducted chamber orchestra, A Far Cry, where her leadership currently an artist of the Marlboro Music Festival and has per- as Concertmaster and soloist as well as her concert pro- formed at Ravinia’s Steans Institute, Music@Menlo, and the gramming have been acclaimed by the New York Times and International Musicians Seminar and Open Chamber Music at Boston Globe. Committed to the power of music as an agent Prussia Cove (Cornwall, UK). of social change, Cloud directs the ensemble’s community partnerships and educational programs behind the scenes. She has collaborated with Itzhak Perlman, Carter Brey, Peter A passionate chamber musician, Cloud is a member of Wiley, Ida Kavafian, Pamela Frank, Donald and Alisa Wei- the Solera Quartet, Quartet in Residence at the University lerstein, the Orion Quartet, the American Quartet, and the of Notre Dame, the Arte Trio, and the New York Chamber Attacca Quartet, performing at Carnegie Hall, Lincoln Center, Soloists. She is also artistic director of the White Mountains Chicago’s Symphony Center, Princeton’s McCarter Theatre, Music festival, a six-week chamber music festival in Northern New York’s Metropolitan Museum of Art, and the New Hampshire. Music Center in Israel. She is a former member of the Serafin Quartet, she performs regularly with the New York-based An acclaimed artistic director and creator of adventurous and Omega, Solisti and Salome Chamber Ensembles, and also insightful programming, Ms. Cloud’s concert programs have has toured Korea with the Sejong Soloists. been hailed as “ingeniously crafted” by the Boston Globe. Dreams and Prayers, the first album she developed for A A native of Reno, Nevada, Carr holds a B.M. and M.M. Far Cry, was nominated for a “Best Chamber Music & Small from the Juilliard School, having studied with Heidi Castle- Ensemble” 2015 Grammy award, and the second, Law of man, Steven Tenenbom, and . She is on Mosaics, was hailed by Alex Ross in The New Yorker as one the Viola Faculties of the Juilliard precollege program and of the top ten albums of note in 2014. the Academia Internacional de Música IVAN GALAMIAN in Málaga, Spain. Carr is the founding and artistic director of An alumna of Harvard College, Vienna Music University, Yale Project: Music Heals Us, a new series of chamber music and School of Music, and the Perlman Music Program, Cloud is outreach concerts on the Connecticut Shoreline. currently a doctoral candidate at New England Conservatory. MIKI-SOPHIA CLOUD, violin YANNICK ENCARNACAO, actor

New York-based YANNICK ENCAR- violinist, MIKI-SOPHIA NACAO is a theater CLOUD, enjoys a rich major at the University musical life as a recital- of Iowa. Past cred- ist, chamber musician, its include Cowboy orchestra-leader, and Mouth (Slim), Wendigo artistic director. (Eric), American Idiot: As a soloist and recital- The Musical! (Joshua/ ist, she has appeared Favorite Son), and Cut at Boston Symphony and Run (Nicolai). Hall, the Kennedy Center, and on NPR. Performance highlights include Barber’s Violin Concerto with Maestro Peter Oundjian, Berio Duos with Ani and Ida Kava- fian at Lincoln Center, and a European recital debut in Graz, Austria presented by ORF, Austrian National Radio.

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MusicICprogram2016.indd 12 6/7/2016 2:09:20 PM ROBIN HEMLEY, writer ANDREW JANSS, cello

ROBIN HEMLEY has Hailed by the New published 12 books of York Times for his nonfiction and fiction, “glowing tone”, and has won numer- “insightful musician- ous awards for his ship”, and “sumptuous writing, including a elegance,” and by the Guggenheim Fellow- Washington Post for ship, three Pushcart his “amber tone,” cel- Prizes in both fiction list ANDREW JANSS’ and nonfiction, The performances have Independent Press taken him across four Book Award, an Edi- continents, to some of tors Choice Award from The American Library Association, the most prestigious venues in the world, including Carnegie and many others. Hall, The Kennedy Center, Lincoln Center, and the Louvre.

His work has been published in the U.S. Great Britain, Mr. Janss has collaborated in concert with a long list of iconic Canada, Australia, Japan, Germany, the Philippines, Sin- artists, including Itzhak Perlman, Pinchas Zukerman, Kim gapore, and elsewhere. Among his works are two popular Kashkashian, Paul Neubauer, Lynn Harrell, Gary Hoffman, craft books, Turning Life into Fiction, now in its fifth edition Leon Fleisher, Richard Goode, Wu Han, Jeffrey Kahane, and and A Field Guide for Immersion Writing. He has also writ- David Shifrin. ten two memoirs: Do-Over and Nola: A Memoir of Faith, Art, and Madness, four collections of short stories, a novel, He has also performed alongside chart-topping performers and a book of investigative journalism, Invented Eden: The such as Lana Del Rey, Mary J. Blige, Estelle, Florence + the Elusive, Disputed History of the Tasaday, which centers on Machine, Erykah Badu, Kurt Elling, and The Roots. a purported anthropological hoax in the Philippines. With In March 2012 he was invited to serve as guest principal Michael Martone, he co-edited the ground-breaking literary cellist of the world-renowned Saint Paul Chamber Orches- anthology, Extreme Fiction: Fabulists and Formalists, and tra. From 2010-12, he was an artist at the Marlboro Music with Hope Edelman, he co-edited an anthology representing Festival. Mr. Janss has been engaged as a soloist by the the first thirty years of writing from Iowa’s Nonfiction Writing New West Symphony, the Astoria Symphony, and the Round Program. Rock Symphony.

A graduate of the Iowa Writers Workshop, he returned to Iowa Janss was the founding cellist of the Escher Quartet, one of to direct the Nonfiction Writing Program for nine years before the most highly acclaimed string quartets of its generation. He moving to Singapore to direct the writing program at Yale- also is respected nationally as a teacher and coach. He has NUS College and also serve as Writer-in-Residence there. His given masterclasses at Tulane University, Virginia Common- websites are: Robinhemley.com and AALauthors.com. wealth University, and the University of Idaho. He began his training on the cello at age ten with cellist Andrew Cook, and continued at the Manhattan School of Music, studying cello with David Geber, and chamber music with Sylvia Rosenberg and David Soyer, founding cellist of the Guarneri Quartet. He graduated in May 2006 with the Hugo Kortschak award for outstanding achievement in chamber music. In 2011, Andrew was accepted to the prestigious Artist Diploma program at

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MusicICprogram2016.indd 13 6/7/2016 2:09:21 PM the Manhattan School of Music, where he graduated in 2012 numerous scholarships, and Graduate Assistantship. Minji with the Kreuter Foundation Musical Awards. was granted the Ambassadorial Scholarship from the Rotary Foundation to study in the states. She was also the recipient Janss is Assistant Artistic Director of the Omega Ensemble, of Iowa Performance Fellowship while she studied DMA in a chamber music series in New York City that promotes piano performance and pedagogy with Dr. Uriel Tsachor at young artists in the beginning stages of major careers. He is the University of Iowa. a regular Artist Faculty member of the Gold Coast Chamber Music Festival. As a winner of the University of Iowa Concerto Competition, she performed with UI chamber orchestra. Minji has appeared DANIEL KHALASTCHI, writer internationally in numerous concert venues in Iowa City, Des Moines, Chicago, New York, London, Prague, and Seoul. DANIEL KHALASTCHI is a graduate of the Kwon served as an adjunct faculty at New York University, Iowa Writers’ Work- where she earned Master’s degree in Collaborative Piano shop and a former under Dr. Grant Wenaus, Daniel Gortler and Dr. Deirdre fellow at the Fine Arts O’Donohue. In New York, Minji actively performed in such as Work Center in Prov- Piano@ Poly series, Black Box Theatre, Provincetown Play incetown. He is the House, Tenri Cultural Center, St. Joseph’s Church, Columbia author of two books of University, NYU Steinhardt at Saklad Concert Series, Music poetry, with a “Vue” Concert Series at Bellevue Hospital, Stern Audi- Manoleria (Tupelo torium and Weill Recital Hall in Carnegie Hall. Press, 2011) and Tra- dition (McSweeney’s, Recent concert highlights include a duo concert with violin- 2015), and his poems have appeared in a variety of publi- ist Tricia Park, who won Avery Fisher Career Grant Prize, cations, including Colorado Review, Fence, Iowa Review, in Young San Grace Hall in Seoul, Korea, “Project Infinity” jubilat, Mississippi Review, The Rumpus, and Best American launching chamber concert in New York City, and “Dual Pia- Experimental Writing 2014. nos” for one piano four hands concerts in Chicago area with Ji-min Yun, the founder of Apas Trio. Daniel has taught advanced writing and literature courses at Currently, Minji Kwon is a staff pianist for Dance, Voice and Augustana College and Marquette University, and he is cur- Opera Department at the University of Iowa. rently the director of the University of Iowa’s Frank N. Magid Center for Undergraduate Writing. He lives in Iowa City and is AMY MARGOLIS, writer the co-founder and managing editor of Rescue Press. MINJI KWON, piano AMY MARGOLIS received her M.F.A. Korean-Born pianist from the Iowa Writers’ MINJI KWON is an Workshop. She joined active chamber and the staff of the Iowa solo musician. Kwon Summer Writing Fes- earned her Bachelor tival in 1990 and has and Master of Mu- directed the program sic degrees at Ewha since 2001. Margo- Women’s University, lis has taught fiction where she awarded writing as part of the

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MusicICprogram2016.indd 14 6/7/2016 2:09:22 PM Festival and at The University of Iowa as a writing fellow. She Since appearing in her first orchestral engagement at age currently at work on a nonfiction narrative about her experi- 13 with the Baltimore Symphony Orchestra, she has per- ence as a modern dancer in the late 1970s, before the AIDS formed with the English Chamber Orchestra, St. Paul Cham- crisis. Her short fiction is forthcoming in The Iowa Review. ber Orchestra, Frankfurt Radio Symphony Orchestra, and National Symphony Orchestra of South Africa; the Montreal, SABRINA ORAH MARK, writer Dallas, Cincinnati, Seattle, Honolulu, Nevada, and Lincoln Symphonies; and the Calgary, Buffalo, and Westchester and SABRINA ORAH Naples Philharmonics. She has also given recitals throughout MARK is the author the United States and abroad, including a highly acclaimed of the poetry collec- performance at the Ravinia Rising Stars series. tions The Babies and Tsim Tsum. Mark’s As First Violinist of the Maia Quartet from 2005-2011, she awards include a performed at Lincoln Center and the 92nd Street Y in New National Endowment York and Beijing’s Forbidden City Hall and was on faculty at for the Arts Fellowship, the University of Iowa. Other career highlights include Tricia’s a fellowship from the recital debut at the Kennedy Center, appearances at the Fine Arts Work Center Lincoln Center Festival in Bright Sheng’s The Silver River, her in Provincetown, and Korean debut performance with the Korean Broadcasting a Sustainable Arts System (KBS) Orchestra and collaborations with composer Foundation Award. Her poetry and stories most recently ap- Tan Dun, Cho-Liang Lin, Paul Neubauer, Timothy Eddy and pear in Tin House (Open Bar), American Short Fiction, jubilat, Steven Tenenbom. B O D Y, The Collagist, The Believer, and in the anthology My Mother She Killed Me, My Father He Ate Me: Forty New Tricia is also the founding member of the Solera Quartet, the Fairy Tales. Quartet-in-Residence at the University of Notre Dame.

TRICIA PARK, violin JESSICA WADE, actor

Praised by critics JESSICA WADE is a for her “astounding rising senior at the Uni- virtuosic gifts” (Boston versity of Iowa where Herald) and “ach- she majors in Theatre ingly pure sound” (The Arts. Recent credits in- Toronto Star), concert clude “Great Emergen- violinist, TRICIA PARK, cies” (Henrietta) and enjoys a diverse and “Iphigenia Crash Land eclectic career as Falls on the Neon Shell soloist, chamber musi- that was Once Her cian, concertmaster, Heart” (Camila). educator, and festival curator. Tricia is the Founding Artistic Director of MusicIC. Tricia is a recipient of the prestigious Avery Fisher Career Grant and was selected as one of “Korea’s World Leaders of Tomorrow” by the Korean Daily Central newspaper.

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