WELCOME TO OUR 49th SUMMER FESTIVAL!

ummer in Portland is special in so many ways – We couldn’t possibly produce such an incredible incredible weather, marvelous arts and celebration of music with the support of our family Scultural activities, fantastic food, and one of of supporters, artists, volunteers, and especially you, the nation’s largest and most diverse celebrations of our enthusiastic audience. Thank you for being a great music – Chamber Music Northwest! part of this unique collaboration between artists and our community that vividly brings the power, This year’s 49th Annual Summer Festival will bring beauty, and diversity of chamber music to life. you more than 75 concerts and events over fi ve weeks, performed by some of classical music’s most Thank you for sharing a part of your summer amazing artists. From classics to contemporary with us, and we look forward to seeing you music, clarinet masters to string quartets, plus opera, throughout the festival! jazz, world premieres, and more, there’s something for everyone. You’ll be dazzled by the incredible musicians joining us – Edgar Meyer, Ken Peplowski, Miró Quartet, Jose Franch-Ballester, Yura Lee, Jeff rey Kahane, Dover Quartet, Darrell Grant, and so many more.

David Greger David Shifrin Peter J. Bilott a President of the Board Artistic Director Executive Director

CMNW’s summer home for more than three decades.

1 Kaul Auditorium Ticket and Box Offi ce Information Reed College For tickets to Chamber Music Northwest concerts, visit us online at www.CMNW.org, SE 28th & Woodstock or call us at 503-294-6400. You may also visit the Ticket Offi ce at 2300 SW 1st Ave, Suite 103, from 10 am–4 pm, Monday through Friday. Tickets for upcoming events Lincoln Performance Hall may also be purchased during concert intermissions at Kaul Auditorium and Lincoln & Lincoln Recital Hall Performance Hall. Portland State University SW Broadway & Market Donate Your Unused Tickets If you are unable to use your tickets, please call the box offi ce to return them for resale. Alberta Rose Theatre You will receive a tax deduction for the full value of the tickets in addition to giving 3000 NE Alberta St. another music lover the opportunity to att end! Parklane Christian Reformed ADA Services 16001 SE Main St. Accessible seating and parking is available at all venues. Contact the Ticket Offi ce in Portland Art Museum advance to arrange for your specifi c needs. We can provide special seating and detailed 1219 SW Park Ave. information packets.

Picnics, Dining, and Refreshments Picnics are a festival tradition before performances at Reed College. Bring your own picnic or purchase dinner from the on-site caterer Bon Appétit beginning at 6 pm. You can also enjoy a meal on the town before or aft er concerts at PSU at Nel Centro or Higgins. Refreshments are available at intermission at most concerts.

In consideration of In consideration Patrons with hearing aids Please silence our patrons with of our audience should be aware that such all cell phones. scent sensitivities, and artists, devices may transmit a shrill we ask that patrons refrain parents are requested not tone. The wearer is not oft en conscious from wearing products with to bring children under the of this. House staff makes an eff ort to strong fragrances, including age of 7 to CMNW concerts, identify the wearer, but it is extremely Food, beverages, cameras, colognes, perfumes, and except at designated helpful for audience members, musicians, and recording devices are essential oils. performances. and recording staff if nearby patrons not permitt ed in Lincoln kindly let the wearer know that such a Performance Hall or sound is being produced. The wearer will Kaul Auditorium. be appreciative and take care of problem. TABLE OF CONTENTS

6 SCHEDULE OF EVENTS

A week-by-week listing of our festival events

10 SUPPORTERS AND FRIENDS

Learn about CMNW’s donors, sponsors, and supporters

21 CELEBRATING THE CLARINET

An introduction to the storied history of the clarinet

26 PROGRAMS

Concert programs and program notes for our performances

82 ARTIST BIOS

Gain a litt le more insight into our artists and their biographies

112 ABOUT CMNW

Who we are and what we do

Discover Parkview Downtown Great first impressions are here.

Introducing a new point of view for independent living: Parkview is the new expansion at Terwilliger Plaza—an entire city block dedicated to detailed elegance at the front steps of downtown. Be part of a community with heart, in the heart of the city. Reserve early for Charter Member privileges. Learn more: 503-808-7870 or [email protected].

parkview.terwilligerplaza.com Q City lovers 62+ SCHEDULE OF EVENTS

MONDAY TUESDAY WEDNESDAY

6/24 6/25 6/26 7 pm Reed College 7 pm PSU 8 pm Alberta Rose Week One Musical Conversation Musical Conversation The Jazz Clarinet with Ken Peplowski 8 pm Reed College 8 pm PSU and Friends Opening Night: Opening Night: Mozart and the Clarinet Mozart and the Clarinet International Clarinet Celebration

7/1 7/2 7/3 7 pm Reed College 11 am Reed College 8 pm Alberta Rose Week Two Musical Conversation Open Rehearsal Rolston at the Rose

8 pm Reed College 1 pm Portland Art Museum Mozart’s Clarinet Concerto Community Concert and Gran Partita 7 pm PSU Musical Conversation

8 pm PSU American Independents! European Folk Tales

7/8 7/9 7/10 7 pm Reed College 11 am Reed College 8 pm Alberta Rose Week Three Musical Conversation Open Rehearsal Fantasia: British String Masterpieces 8 pm Reed College 7 pm PSU Concertos through Musical Conversation the Centuries 8 pm PSU Concert Version of Heartbeat Opera’s Heartbeat Opera's Don Giovanni Don Giovanni

7/15 7/16 7/17 7 pm Reed College 11 am Reed College 8 pm Alberta Rose Week Four Musical Conversation Open Rehearsal Fred Fest Northwest: Fred Sherry and Friends 8 pm Reed College 7 pm PSU Darrell Grant’s Musical Conversation The Territory 8 pm PSU Darrell Grant’s The Territory

Darrel Grant's The Territory

7/22 7/23 7/24 7 pm Reed College 11 am Reed College 8 pm Alberta Rose Week Five Musical Conversation Open Rehearsal Dynamic Duos

8 pm Reed College 7 pm PSU The Dover Quartet Musical Conversation and Friends 8 pm PSU The Dover Quartet and Friends Dvořák and Schubert Quintet Finale

6 SCHEDULE OF EVENTS 7 7/7 7/21 7/14 7/28 6/30 Chamber PartyChamber Featuring Free Festival Event Mainstage ConcertMainstage New@Noon Concert PSU PSU PSU PSU PSU of Heartbeat of Opera’s and Cornelia Heard Cornelia and and Brahms and Gran Partita Gran and Schumann, Mendelssohn, Schumann, Mendelssohn, Quintet Finale Quintet Concert Version Concert Version German Romantics: Romantics: German Edgar George Meyer, Meyer, Dvořák and Schubert Don Giovanni 4 pm 4 pm 4 pm 4 pm 4 pm Mozart’s Clarinet Concerto Meyer Music Meyer SUNDAY 7/6 7/13 7/27 7/20 6/29 Featuring Reed CollegeReed Reed CollegeReed Reed CollegeReed CollegeReed Reed CollegeReed CollegeReed Farmer's Market at PSU at Market Farmer's 8 pm 8 pm 8 pm 8 pm 8 pm and Cornelia Heard Cornelia and the Centuries Op. 18, Part II Quintet Finale Quintet Colossal Clarinet Choir Clarinet Colossal Mass Critical Clarinet Concertos through 10 am 1 pm Edgar George Meyer, Meyer, Dvořák and Schubert Family Concert Miró Plays Beethoven Meyer Music Meyer SATURDAY 7/5 7/12 7/19 7/26 6/28 for Flute for Chamber PartyChamber Chamber PartyChamber PSU PSU PSU PSU PSU PSU PSU PSU PSU PSU Parklane Church Parklane Lipstick Clarinet Edge ing 6:30 pm 6:30 pm and the Composer the Composer the Composer the Composer Cutt Conversations with Conversations with Conversations with Calidore Quartet Calidore Community Concert Conversations with Conversations with the Composer 12 pm 1:15 pm 1:15 pm 12 pm 1:15 pm 12 pm 1:15 pm 7 pm 12 pm 12 pm 1:15 pm New@Noon: Kahane, Andres, and Bates New@Noon: Players’ Choice New@Noon: New@Noon: StringNew@Noon: Quartets New@Noon: Daniel Schlosberg Modern Masters Yura LeeYura and FRIDAY 7/4 7/11 7/18 7/25 6/27 for details.

Reed CollegeReed Reed CollegeReed Reed CollegeReed Reed CollegeReed Reed CollegeReed Reed CollegeReed Reed CollegeReed Reed CollegeReed Reed CollegeReed Reed CollegeReed

cmnw.org rey Kahane 8 pm 8 pm 8 pm 8 pm 8 pm and Rota and Friends and Op. 18, Part I Cinematic Sounds of Clarinet All Stars Clarinet 7 pm 7 pm 7 pm 7 pm 7 pm Herrmann, Korngold, Korngold, Herrmann, Jeff Musical Conversation Musical Conversation Miró Plays Beethoven Musical Conversation Musical Conversation Musical Conversation American Independents THURSDAY

See Five weeks of extraordinary music! extraordinary of Five weeks Don't miss pre-concert our picnics before every concert Reed College. at EDUCATION AND ENGAGEMENT EVENTS

Colossal Clarinet Choir Open Rehearsals Pop-Up Performance Free! Go behind the scenes and observe CMNW’s world-class musicians working together to put the fi nishing touches on Free! Join Chamber Music Northwest for a free all-clarinet music for upcoming performances. An informal Q&A follows concert at the Portland Farmers Market at PSU. World- the rehearsal. renowned clarinetists, semi-professional players, students, and amateurs will play side-by-side in this “colossal” pop-up Tuesdays, July 2–23 | 11 am performance by a horde of clarinetists! Reed College, Kaul Auditorium Saturday, June 29 | 1 pm Portland Farmers Market at Portland State University Musical Conversations Free! Join OPB radio host and music expert Robert McBride Community Concerts and CMNW artists for an unmatched perspective on the music in these half-hour pre-concert talks. Free! Join the Rolston String Quartet, 2016 Banff International String Quartet Competition winners and Chamber Music Mondays and Thursdays | 7 pm Northwest’s 2019 Protégé Project ensemble, at two free Reed College, Kaul Auditorium community concerts this summer! Tuesdays | 7 pm Tuesday, July 2 | 1 pm Portland State University, Lincoln Hall Room 225 Portland Art Museum, Whitsell Auditorium Friday, July 5 | 7 pm Conversations with the Composer Parklane Christian Reformed Free! Join us aft er our New@Noon concerts for an intimate discussion with the composers and musicians. Discover Family Concert the meaning behind the music and learn about the creative process straight from the composers and artists themselves. Free! Let the kids explore violins, trumpets, and more in our Instrument Pett ing Zoo then join the Meyer family – Edgar Friday, June 28 | 1:15 pm Meyer, George Meyer, and Cornelia Heard – for a fun, family- Portland State University, Lincoln Performance Hall friendly performance! Fridays, July 5–24 | 1:15 pm Saturday, July 20 | 10 am–12 pm Portland State University, Lincoln Recital Hall Reed College, Kaul Auditorium Masterclasses Free! Join our festival artists – many of whom are renowned music educators – as they coach the next generation of musicians in our community! See cmnw.org for schedule.

House Parties Calidore Quartet Friday, July 5 | 6:30 pm Experience chamber music as it was meant to be heard at an intimate Home of Yoko and Jon Greeney performance at the home of one of our board members. Chamber Party tickets are $125 each and include the performance, wine, and hearty reception. Yura Lee and Daniel Schlosberg | Proceeds benefi t Chamber Music Northwest’s Education & Community Friday, July 12   6:30 pm Engagement Programs. Buy your Chamber Party ticket at cmnw.org. Home of Ravi Vedanayagam and Ursula Luckert

8 Together we transform generosity into exponential impact.

ART TRANSFORMS US. YOU HAVE THE POWER TO PROTECT AND GROW CREATIVITY IN OREGON. BEGIN AT OREGONCF.ORG

PORTLAND OFFICE: 1221 SW YAMHILL ST. SUITE 100 PORTLAND, OR 97205 (503) 227-6846

Conversations with the Composer Hear insider details about music, the creative process, and more – straight from the composers themselves. Fridays at 1:15 pm following New@Noon concerts THANK YOU, FRIENDS OF CHAMBER MUSIC NORTHWEST

Acknowledgements

Chamber Music Northwest is grateful Nel Centro, Alberta Rose Theatre, and Our gratitude also goes out to for our ongoing partnership with Reed Paul Schuback and Schuback Violin our friends at Portland Youth College and Portland State University, Shop. Philharmonic, Friends of Chamber without which this festival would not Music, All Classical, BRAVO Youth We also recognize the support of be possible. Orchestra, and Metropolitan Marriott Residence Inn Downtown/ Youth Symphony. Special thanks go to Interim President RiverPlace, Hyatt House, Sheraton Hugh Porter, Denise van Leuven, Airport Hotel, University Place A very special thanks to our Robert Brigham, and the entire music Hotel, PSU Summer Housing & volunteers. We’re humbled by your department at Reed College, as well as Conferences, Radisson RED Portland, support and service, year aft er year. Dean Leroy Bynum, Bonnie Miksch, and Enterprise Rent-A-Car for the This festival would not happen Brenda Honeyman, Kayla Scrivner, the excellent support they provide for our without you. School of Music, and the College of the many visiting artists; Fern Ashworth This season’s Fazioli and Steinway Arts at Portland State University. of Educational Music Service, Zahra concert grand pianos are provided and Kuasha Amin, and Fred Sherry We extend our gratitude to by Portland State University and for their assistance in sourcing sheet our community education and Portland Piano Company, and are music; Portland Piano Company for engagement partners at Portland Art tuned by Eric Leatha. their fi ne instrument rental services; Museum, Kennedy Violins, American and Eric Leatha, Byron Will, and Paul Thank you all for your role in shaping String Teachers Association, Pugh Irvin for their pitch-perfect tuning the sound of our festival! Luthier Studios, Beacock Music, services. Communications Northwest, Higgins,

2019 Summer Festival Concert Sponsors

Chamber Music Northwest gratefully Powell’s Books (36 years) Bill and Diana Dameron (4) acknowledges the generous support Dennis Uniform Company (30) Higgins Restaurant (4) of our concert sponsors. Each has Sheraton Portland Airport Hotel (30) Laura S. Meier (4) contributed to help underwrite Mort Zalutsky (21) The Oregonian (4) concerts and events in our 49th William and Helen Jo Whitsell (20) Arnerich Massena (3) Summer Festival. We applaud Ronni LaCroute (18) Anonymous Friends and Subscribers (3) these cultural leaders who, by D.A. Davidson & Co. (17) George Rowbott om and Marilyn Crilley (3) their generosity, demonstrate their Acorn Fund of The Oregon Karen and Norman Sade (3) commitment to the artistic vitality Community Foundation (14) Rick Caskey and Sue Horn-Caskey (2) of the Portland community. The Bonhams (12) CMNW Volunteers (2) sponsors are listed in order the Cheng Family Foundation (12) number of years they have supported Kirby and Amy Allen (2) Anonymous Friend of CMNW (7) Chamber Music Northwest. Anonymous (2) Karen and Cliff Deveney (7) All Classical 89.9 (1) Special thanks to Ronni LaCroute for Reed College (7) Ed Gronke (1) her sponsorship of the Wednesday Peter and Ann van Bever (6) Oregon Catholic Press (1) concert series featuring Protégé Portland State University (5) Project artists. UBS Financial Services (5) We are grateful to Laura S. Meier Bruce Cronin (5) For more information on special for her sponsorship of the Dover David and Maryanne Holman (5) opportunities to support Chamber Music Quartet’s 2018–19 residency. Nel Centro (5) Northwest, please contact Leslie Tuomi George and Deborah Olsen (5) at 503-546-0184 or [email protected].

10 FRIENDS OF CMNW 11

on Tuomi i and a at Arighi Margaret and Shannon Bromenschenkel Shannon The Oregon Community Foundation Ronnie-Gail Emden Allegro ($500–$999) Bacon-ShoneRobin Elizabeth and J. Bruce Bell Blickle Richard Bristow Kay Brunner Ouchi Carol and Charles Bryll Terry Maestoso ($1,000–$2,499) Anderson Greg and Nan Scott Bain Gail and William Bilott Peter Blank Bruce Braem Shaw Jill Paul E. and Nancy H. Bragdon Brandt Celia Charles and Rie Couch Dawson Abby Marvin and Ducharme Michele and Charles Sharon M. Fekety Fund of and MariaPaul Fellner Larry and Deborah Friedman Goldfarb Laura and Tim Bill Haden and Doris Huff Harris Molly and Howard Betsy and Gregory Hatt Inger Jeri and Ivan Emery Kathia and Kahan James Lemelson Dorothy Moff Karen Olsen George and Deborah Larry and Richards Janet Woody and Rae Richen Robinowitz Selene and Charles Sade Norman and Karen Sepenuk Barbara and Norm Marie SevertsenBillie David and Roxanne Shifrin Virginia Shipman and Kaiser Dick StaehelyDavid Marc Therrien and Jena Rose Scott and Leslie Andrew Wilson and Zegrett Kristin Anonymous CMNW of Friend Anne StevensonAnne Per Sweetman and Janet Schibel RCV/UDL Nancy and Herb Zachow Anonymous CMNW of Friend and om Irishik Fund

Margery and Thompson Kate and Marilyn Crilley Marilyn of The Oregon Community Foundation Post Abbott Community Foundation Fund of The Oregon Community Foundation John Shipley John Marianne Stefl Peter and Ann van Bever William and Helen Jo Whitsell Slate and Davida Wilson ZalutskyMort Audrey and Anonymous CMNW of Friend ($5,000–$9,999) Abbott Carl Dameron Diana and Bill Dickinson Jon and Burns Marlene Greeney Jonathan and Yoko David and Caroline Greger Robert and Susan Leeb Worth Clark and Lehmann Leslie RowbottGeorge Brillante ($2,500–$4,999) Acorn Fund of The Oregon Kirby and Amy Allen Brzezinski J. Evelyn Rick Caskey and Sue Horn-Caskey Paul and Pamela De Boni Ed Gronke Sonja L. Haugen Maryanne Holman and C. David Howard Pifer and III Ellen Macke Nancie S. McGraw Hugh Porter and Jill Soltero Arlene Schnitzer Scott Bill Individuals Circle Artistic Director’s ($25,000 and above) Deveney Cliff and Karen L.Paul King LaCrouteRonni Michael and Alice Powell Fortissimo ($10,000–$24,999) Alexander Carole Thomas W. Holman Memorial Jr. Laura S. Meier Crescendo . Fund elson zer Foundation † Foundation † Fund of The Oregon Community Foundation Fund of The Oregon Community Foundation of the Oregon Community Foundation † of The Oregon Community Foundation Foundation of The Oregon Community Foundation Sostenuto ($100–$250) Pfi Tektronix Foundation The Walt Disney Company Frasca Gunsul Zimmer Company Allegro ($500–$999) B&B Print Source+ SportswearColumbia Company Exuberance Catering+ Designated Family Goldy The Holzman Foundation Nike, Inc. † OnPoint Community Credit Union Mary Rosenberg and Richard Maestoso ($1,000–$2,499) The Amphion Foundation Arnerich Massena Associates and Fund Solutions Health Cambia Foundation Cascadia S. Ett John StanleyMorgan † PortlandSheraton Airport Hotel Brillante ($2,500–$4,999) Fund Copland Aaron Bonhams D. A. Davidson & Co. CorporationIntel † FoundationThe Jackson Press Catholic Oregon UBS Financial Services † Joseph E. Weston Public Companies who have matched their employees’ personal contributions † Foundationy

Oregon Community Foundation In-kind contributions In-kind + ($5,000–$9,999) Gett Gordon and Ann Juan TrustYoung Dorothea M. Lensch Fund of The Oregon Community Foundation Powell’sBooks FoundationHerbert A. Templeton Trust Charitable Tucker E. Rose Wheeler Foundation Wheeler Crescendo ($10,000–$24,999) Fortissimo Cheng Family Foundation Family Cheng ($25,000 and above) Artistic Director’s Circle Artistic Director’s Corporations, Foundations, Governmentand

We gratefullyWe acknowledge contributions received from the following generous friends. 2018–2019 Season Supporters This list refl ects contributions received through 10, May 2019 This list refl Judy Buff o Dave and Debbie Glaze Deborah Bailey Mark Huey and Wayne Wiegand Bruce Cronin Scott & Tamara Grigsby Paul Bascom and Kristin Haydon Harold and Bernice Hurwitz Barry DeGregorio, MD Clive Kienle and Molly Hamill John and Claudett e Beahrs Lynne Johnson and Larry Madson William and Elizabeth Dixon John and Judie Hammerstad Doris and Don Beard Salena Johnson William Dolan and Scott Young and Carla Hansel Howard J. Beckerman Dr. Howard Rosenbaum and Suzanne Bromschwig John and Carolyn Harbison Monica Belzer and Jeff Leek Dr. Marcia Kahn Abby Farber and David Robinson Robert and Janis Harrison Deborah Zita and Maryka Biaggio Nancy G. Kennaway Dr. William and Beverly Galen David Hatt ner Adam Bless and Claudia Weiss Cay Kershner Edwin Gerow and Cheryl Chevis Elizabeth Hooton Jerry Bobbe Charles Kim Kit Gillem Dr. and Mrs. Peter J. Kane Ben and Sandra Bole Katherine King Dean and Susan Gisvold Nancy Kieburtz Ralph Bolliger and Peggy Cook Frederick Kirchhoff Michelle and Steve Glass Charles and Gloria Kovach Barbara Brandt Malle Kollom Mrs. Stephen Halsey Miyoung Kwak Kevin Hoover and Nita Brueggeman Suellen Lacey and Michael Powers Irv and Gail Handelman Paul Lambertsen Marianne Buchwalter Abigail and Don Lawton Thomas A. Hansen Wayne Litzenberger and Carolyn Buhl Barbara A. Lee Kirk Hirschfeld Jane Patt erson Linda Hathaway Bunza Tom Giese and Nora Lehnhoff Gary McDonald and Diane and Richard Lowensohn Joseph and Mercedes Callahan Muriel D. Lezak Barbara Holisky Marta Malinow John and Barbara Camp Mark S. Lindau, MD Adela and Dick Knight Becki Marsh and Wink Gross John Clements Natalie Linn Sally C. Landauer Robert McBride Elaine and Arnold Cogan Paul Irvin and Carol Linne Peter and Elisabeth Lyon Dr. Louis and Judy McCraw Ilaine Cohen Gary and Jerrie Lovre Linda and Ken Mantel Harry and Carol McCulley Jerry and Jean Corn Barbara Manildi M. and L. Marks Family Fund of The William D. and Lois L. Miller Mary Covert Kay Mannion Oregon Community Foundation Gary Miller and Dell Ann Dyar Richard and Priscilla Cowell Terri Maragos Lora and Jim Meyer Noreen Murdock and Grant Linsell Fran Daggett Tess Marino Wilfried and Deanna Mueller- Arpana Naik and Robert Margolis Judy Dauble Raymond Mayer Crispin Tom McLaughlin and Shannon Davis Bill McRae and Steve Bardi Tom and Christine Neilsen Patricia Owens John and Margaret DeLacy Richard Meeker and Beverly and Richard North Diane Pinney and Cliff ord Droke David and Janet Dobak Ellen Rosenblum Katherine O’Neil and John Carole Douglass and Anne E. Draper Keith and Alison Miles Paul Graff William Pressly Carolyn Eckel Connie L. Morgan Helen and Peter Ramatowski Ellen Pullen Norman and Sherry Eder Patricia Morris-Rader Alexis Rolloff Bett y and Jacob Reiss Stephen Elder Martin C. Muller Jeff and Kathleen Rubin Rosemarie Rosenfeld Marco Escalante and Dongni Li Pamela Murphy David and Judy Schiff Ruth Roth Kurt Feichtmeir Martin L. and Lucy Miller Murray Michael Jacobson and Barry and Penny Russman Lee Feidelson and Suzanne Nance Trine Sorensen William H. and Susan M. Sack Robin Cutler Feidelson Patricia Navin Sue Stegmiller Mayer and Janet Schwartz Jon Feldhausen Donald and Karen Neal Donald and Roslyn Sutherland Jeremy Shibley and Sam Friedenberg and Randall Nelson Gudrun Taylor Romalia Stickney-Shibley Sandra Tetzloff Sean Nolan and Gloria Jacobs Mary B. Waldo Holly C. Silver Emily Simon and Diane and Terry O’Connor Jim Whiting, MD Erik and Robin Skarstad Mary Ann Gernegliaro Kris Oliveira Carol S. Witherell Mardy and Hank Stevens Gail Gillespie Jean Omelchuck Anonymous Friends of CMNW (2) L. William and Lynda Strand Arthur Ginsburg Lisa Ortquist M. Jessica Taft Jeanne Giordano Dr. Michael Ossar Cantabile Carol and David Turner Phil Goldsmith Elsa Ostergaard ($250–$499) Mary Beth Van Cleave and Gary and Susan Goncher Rev. Dr. Rodney and Sandra Page Mary Kinnick Polly Grose JoAnn Pari-Mueller and Ginny Adelsheim Bruce Weber Christina Gullion Daniel Mueller Ruby Apsler Cameron J. Wiley and Mary Lou Haas and Scott Calvin Diane Perry Roberta Badger-Cain and Carey Whitt Wiley Donald and Karen Hall Charley Peterson and Susan Sater Leonard Cain Jean Wu Virginia Hancock Walter and Susan Piepke Gary and Dawn Banker Anonymous Friend of CMNW (2) Jean Harmon Ellen Pitcher Marcia Bechtold and Brian Carroll Laura Hassell Eiko Politz Pamela Berg Sostenuto Margriet Hecht Marjorie Powell Daniel Bergsvik and Don Hastler ($100–$249) Daniel Heinrichs and Nancy and Richard Prouser Mitch Bower and Marlia Jenkins Jennifer Wolcott David Rabin Jerry and Amy Brem Randa and Jonathan Abramson Tom and Holly Henderson Jay and Michelle Raft er Barbara Brooks Greg and Susan Aldrich Jean Herrera Patricia E. Raley Diana Burman Thomas R. Anderson and Diane M. Herrmann Drs. Bonnie and Pete Reagan Monika Butcher Joan J. Montague Nancy and David Hill James and Sally Reed Matt hew A. and Roberta Cohen Bryan Aptekar Diane Hollister Rita and Peter Rega Mary Dickson Marybeth Arbuckle Jim and Anne Holtz Robert and Anne Richardson Cynthia K. Doran Ted and Marilynn Arm Bill and Jean Horton Earl Robicheaux and Susanna Duke Kay Doyle Arlene Ashcraft Vivian Hou Ruth Robinson Arthur and Margianne Erickson Pat and Bob Atkins Drs. Ann and Brook Howard Shirley Roff e George W. Fabel Barbara Bailey

12 FRIENDS OF CMNW 13

Crilley Marilyn and om Thompson Kate and Mary and Dooly of The Oregon Community Foundation Thomas W. Holman Fund Rubin Kathleen and Commissioning Club Charter Members Margery Abbott and Carl Burman Diana Dickson Debby and Bruce Andrew Wilson and Ronnie-Gail Emden Inger Jeri and Ivan Miyoung Kwak Susan and Robert Leeb Lora and Jim Meyer RowbottGeorge Jeff Scott Bill Peter and Ann van Bever , Foundation The Holzman

, Randall Pratt Swensone Emily Simon and Gernegliaro Mary Ann Robert Weil Stemler Laing Michele Bristow Kay Barbara Brppl Barbara Rita and Peter Rega Rosen Rick and Michele Lori and Jerry Stole Jim and Anne Holtz Sade Norman and Karen Anonymous Herbert A. Foundation Templeton Templeton David Shifrin David Jeanett Tallman David Kenny Pratt Schiff David CMNW VolunteersCMNW Donlon Fadem Kimmie Exciting chamber music Haden Bill Holden William Dr. Soovin Kim & Gloria Chen Pratt Mike Calvin Ed Gronke o i and volunteers Anne BriggsAnne Landauer Bob and Sally Zegrett Kristin Heather Bacon-ShoneHeather Christine Peterson Terry S. MacDonald Ted andTed Marilynn Arm Mike and Judy Holman Halsey Mrs.Stephen Elise Gautier Sherry and Norman Eder Mary Lou Haas and Scott Peter J. McKay Caryl Waters Perry Zegrett Stefano In Honor of Honor In Bacon-ShoneRobin Brooks Barbara staffCMNW In MemoriamIn Ik-Hwan Bae DoolyMaurie Halsey Stephen Keene Bill KieburtzRichard Abigail Lawton er

e A. Rubin

hew Sheinin and Janet Grubel meet with our Artistic Director Designates, Gloria Chien and Soovin Kim, discuss to one new commissioned each work season. Commissioning Club members have opportunities learn to about the musical form, the composer’s creative process, and select the be to commissioned! work att end a rehearsal, and meet att with the composer. And, starting next year, they will

programming possible. Support the Commissioning of New Music New of Commissioning the Support Chamber Music Northwest is grateful the to following donors that make our education and community engagement Commissioning Club – a group of individuals who have pledged their support of 503-546-0184 or email [email protected]. 503-546-0184 email or Beginning this summer of 2019, Chamber Music Northwest has formed a Peter and Gillian Smith SolomonsonLorraine Debra Sostrin and Jacques Neher Stemler Laing Michele Mike and Judy Stoner Dennis Taylor and Mindy Campbell ThomasJeanne Lyle M. Tucker Edwin Dam Van Robert Weil Werlin Joella WidmayerRichard Jayne and Winthrop Susan and Bruce Woelfer W. Lawrence K.Anne Woodbury Catherine and Jon Zaerr Zeller Claude and Florence Anonymous Friends of CMNW (2) Steven Sandor Steven Bill andMeredith Savery Scanlan Kathy Dr. Dick and Sue Schubert Jill and Lew Seager Seubert Judith and James Matt Bob and Maxine Silverman Carolyn Smith and Neil Soiff Richard and Melvina Romanelli Melvina and Richard Rosenfeld Alan and Eve Charlott

For information canFor on how you join at the Commissioning Leslie contact Club, Tuomi Education and Community Engagement Programs Sponsors Nautilus Circle Members

The following generous friends have made provisions for Chamber Music Northwest in their estate plans and/or have made a major gift to our Endowment Fund:

Carole Alexander Elizabeth and John Gray* Janice Orloff * Harry Turtledove* Scott and Margaret Arighi Susan and Jeff rey* Grayson Dolores Young Owen* Peter and Ann van Bever Laura L. Barber* Marilyn and Harold Hanson* Rev. Dr. Rodney and Sandra Page Jean Vollum* Diane Boly Robert and Janis Harrison James and Norma Pizza Larry and Dorie Vollum Theodore* and Celia Brandt Sonja Haugen Michael and Alice Powell Bruce Weber Evelyn J. Brzezinski Ned and Sis Hayes* Alberto Rafols and Richard Scott Margaret (Peggy) Weil* The Clark Foundation Paul L. King Judson Randall Judy Weinsoft * Matt hew A. and Roberta Cohen Robert and Sally Landauer Paula P. Randall* Samuel C. Wheeler*/ Maribeth Collins* Dorothea Lensch* Konrad Reisner* Wheeler Foundation The Collins Foundation Muriel D. Lezak George and Claire Rives* William and Helen Jo Whitsell Helen Corbett * Leeanne G. MacColl* Laurens and Judith Ruben Jane Williams* Bill Dameron Linda Magee Nanita Sammons Herb and Nancy Zachow Nathan Davis Steve and Cindy McCarthy Gilbert* and Thelma Schnitzer Karen and Cliff Deveney Dr. Louis and Judy McCraw Mayer* and Janet Schwartz Mary Dickson Gary McDonald and David Shifrin William Dolan and Barbara Holisky Joan* and John Shipley Suzanne Bromschwig Nancie McGraw and McGraw Jinny Shipman and Dick Kaiser Elaine Durst Family Foundation Al Solheim John and Jane Emrick William D. and Lois L. Miller Anne Stevenson Don H. Frank* Wilfried and Deanna Mueller- Stephen Swerling* Don and Emilee Frisbee* Crispin Phyllis Swett * Doris S. Fulton* Anne and Ernest Munch Hall Templeton* * Recognized posthumously

Join the Nautilus Circle

The Nautilus Circle recogni zes individuals who have created a musical gift for Chamber Music Northwest in their will or estate plan, as well as those who have made signifi cant gift s to our Endowment Fund. If you are planning or have already made provisions to remember CMNW with a legacy gift , we would be pleased to honor you as a member of our Nautilus Circle. You need not provide details of your plans. Please consult your tax and fi nancial advisors to determine how a planned gift to CMNW will aff ect your estate.

Create a Legacy of Music There are many ways to leave a legacy – You can create a musical tribute to our community with a planned through your will, a trust, as a benefi ciary gift to Chamber Music Northwest as part of your will or estate plan – of a retirement plan or life insurance policy, a lasting testimonial to your love of chamber music. and many more. We can help with clear, simple guidance on how you can leave a Your legacy gift becomes a part of our permanent endowment, meaningful gift for CMNW as well as other helping to create exceptional concerts, educational programs, charities you love. and community engagement initiatives to share chamber music throughout our region. You can even designate your gift to endow Please contact Leslie Tuomi at 503-223-3202 or support a musical program or project that is especially dear to or [email protected] for further information your heart, promising a meaningful and memorable connection and consult your tax advisor or fi nancial with your community. planner to discover how to shape your legacy.

14 FRIENDS OF CMNW 15 15 Murray Frosta Goldsmith Goldsmith Recognized posthumously Scott Phil and Newman* Susan Coralie Duval* Coralie Bruce and Debby Dickson Debby and Bruce Dickson Mary Blaine and Fink Karen Kitt Garber Elizabeth David and Caroline Greger Hirschfeld Kirk King Katherine Mary-Claire King Labby Margaret and Dan* Marta and Malinow René* Rudi* and Laureen Nussbaum Ramsdell Lynn Riley Esther Tuon Roth Ruth David and Frances Sessions Herb* and Billie Severtsen Paul and Mary Ellen Shick* Becky Simmons and Rick Braun Paula andFrank Simon Miriam Straus David Wrench * John and Rose Mary Payne Stephen Swerling New Ventures Fund Territory The Darrell Grant’s Fund Piano Vollum Jean and Steinway our of stewardship and Loan Fazioli pianos Fund Cello Whitsell SherryFred residency * and Irene Hecht e Sloan* Arighi Margaret and Anderson Rachel and s up to $999) Louise McClintock Donors (Gift Scott Scott Steve Rapf Steve Stephen Stolzberg Steve Cantor and Jessie Jonas Jessie and Cantor Steve Charlott Taylor Edie and George Kirby and Amy Allen Alvis* Sarah Burton and Ron Saroff Ron SchubackPaul Peggy Sutherland* Erik Thompson and Ann Sitomer Estate of Harry Turtledove* Nancy Walpole Maryka Biaggio Maryka David Bragdon Bristow Kay Carnes Elizabeth andDr. Mrs. Paul Contorer Dorien de Leon Joan Adelsheim Joan John and Pat* Walker John and Sherie Corley The SwigertThe Foundation Tom Anderson Tom Mary and Balmer Tom

s received October 1992–April 2019. Ned and Sis Hayes Young Artist Fund String QuartetRolston Mary-Claire Fund Chair Flute King residency O’Connor Helen Tara Michael and Alice Powell Vocal Chair Fund Marilyn Keller David Shifrin Honorary Clarinet Chair Fund The Artists of the CMNW CelebrationClarinet gift ects List refl List (21 donors) (21 Doris Green William and Susan Dolan Susan and William Caroline Lobitz* Caroline Colin and Joan Diver Marte Lamb and Michael Parsons Michael and Marte Lamb Lang* Edmund of Estate LivingstonPeter Don Frank* Don Evie Frost Ben and Sima Golub Hanson* Harold and Marilyn David Hathaway Estate of Merriman H. Holtz* Kathy and Larry* Keating Priscilla and John* Magee Lynn Mayer Marcia Mueller Katherine O’Neil and Graff Toby Peter and Claire Opton* Keith Cheng and Karen Ulloth In memory of Larry Keating Avis Rana Jed and Janet Macy Judson Randall Judson Tom andTom May Georges* Tim and Ellen Heltzel Oliver Tony and JodyTom Pene Theodore* and Celia Brandt Celia and Theodore* BryerTori and Neilson Abeel The CMNW Ushers in Honor of * *

Temkin Daniel , auer and Frank Foti

residencies el

$1,000–$4,999) of s $5,000–$9,999) of s Deveney Karen and Gilles and Kahane rey Bart Alexander Benefactors (Gift (Gift deepest gratitude these additional donors our to Endowment Fund, whose generosity willhelp assure the excellence of Chamber Cliff underwrite the activities shown below. Estate of Mariana Bloch* T. Boverman* Sue and Hal Bragdon Nancy and Paul Robert Autrey* and Joella Werlin Ernie* and Laurie Bloch Michele Bowler and Bill Failing Estate of Helen Corbett Rentrak Corporation, in memory of in Corporation, Rentrak Betsy Russell and Dennis Steinman Rex Wardlaw and Becky Brauer Weinsoft Judy of Estate Robert and Normandie Holmes Normandie Robert and LacrouteRonni andMr. Mrs. William G. Langley Lyon Elisabeth and Peter Leeanne and Kim MacColl* Paul* and Sheila McMahon Estate of Dolores Owen* for Chamber Music Northwest artists and programs. In this current 2018–2019 year, income from the following funds helped Guarantors Music Northwest in the years come. to Bart Alexander Oboe Chair Fund Chair Oboe Bart Alexander Vogel Allan Theodore and Celia Brandt Cello and Funds Chair Violin Shao Sophie and Hyun Katie Fund Commissioning CMNW Michele Mangani, Edgar & George Meyer, Schiff David David Golub Piano Chair Fund Jeff Vonsatt In addition our to major donors the to Endowment Fund, who are included in the Nautilus Societylisting, we recognize with With deep gratitude we recognize the donors of the following Named Endowment Funds, which provide perpetual support Anthony and Carol Boutard Carol and Anthony

Anonymous BennettAnna Named Endowment Funds Endowment Named Jane Schiffh Judith Rees Additional Donors to the Endowment Fund Fund Endowment the to Donors Additional Forty Summers In Memoriam We note with sadness the Believe it or not, while our beloved Artistic Director David Shifrin has been passing of the following members of the CMNW family an integral part of Chamber Music Northwest for 39 years, his tenure this past year. We will miss is not the longest on the Chamber Music Northwest team. Volunteer them, and we off er our sincere Gabrielle Foulkes holds that honor, with this summer being her 40th condolences to their families and friends. Summer Festival. Jane Baldwin

Veteran Chamber Music Ernie Bloch Northwest volunteer Gabrielle Charles Farmer Foulkes moved to Portland in 1973 as a recent graduate of Lisa Hall the University of Cincinnati. Deborah Horrell The arts were a big part of Josh Kadish Gabrielle’s life growing up; her Arthur Kracke father would “come home in the aft ernoon, crank up the opera, Lore Labby and take a nap.” In her teens, Bobby Maslen she was a supernumerary actor Charles McCarthy for the Cincinnati Opera and Peter J. McKay usher at the historic Cincinnati Music Hall and playhouse Bonnie Jo Nelson Merrill in the park. Aft er moving to Susan Newman Portland, Gabrielle immediately Ron Saroff Gabrielle Foulkes and David Shifrin aft er his sought ways to get involved March 30, 2019 performance with Anna Polonsky Patricia Schneller with Portland’s opera, theatre, at the Alberta Rose Theatre. dance, and classical music Shirley Tomkievicz organizations, and began volunteering as an usher for Chamber Music Northwest Julianne Underwood at the late Reed Commons. Amy Camp Walker For those who att ended performances in the Reed Commons, Gabrielle’s memories might trigger your own recollections of a young Chamber Music Northwest. “I appreciated the informality. It was beastly hot some nights. We ran fans before, at intermission, and aft er…all the musicians took off their white jackets and played in shirt sleeves. Everyone was in shorts and sandals. Food was not available for purchase so you had to bring a picnic and a blanket. It felt relaxed.” Audiences at Reed Commons would sit on cushions on the fl oor and folding chairs on risers. One of Gabrielle’s jobs was to make sure the pillows, and people sitt ing on them, didn’t scoot too close to the musicians. Regardless of one’s “pillow distance” from the musicians’ feet, everyone was treated to an up close and personal experience with the musicians.

Why has Gabrielle volunteered for Chamber Music Northwest all these years? Gabrielle says that volunteering at Chamber Music Northwest (as well as her local neighborhood library branch, Architectural Heritage Center, and Friends of Trees amongst others) is in her muscle memory, and her volunteer work gives her purpose and a special sense of community. Thank you, Gabrielle – and all of our volunteers – for your generous donation of time to Chamber Music Northwest over the years!

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NOV Danish String Quartet | Nov 4 & 5 Classic Series

Quartetto Gelato | Nov 16 Not So Classic Series

DEC Takács Quartet | Dec 2 & 3 Classic Series

JAN Gould Piano Trio | Jan 20 & 21 Robert Plane, clarinet Classic Series

FEB Nordic Voices | Feb 7 Vocal Arts Series

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LEARN MORE AT reed.edu/MALS. PORTLAND, OREGON Chamber Music Northwest's International Clarinet Celebration

Celebrating the Clarinet by David Shifrin • Co-writt en by Graeme Steele Johnson

hat the clarinet has become inextricably linked to such an impressive variety of styles and that it has captured the hearts of so many T master composers in its relatively short lifespan must be a testament to the instrument’s chameleon versatility, if not also to some universal appeal of its fundamental voice.

According to Mozart, who himself can be said to have invented the soul of the clarinet, it was the instrument that most closely resembled the human voice. With his miraculous Concerto and chamber music, Mozart liberated the clarinet from its early Classical trumpet-like role, and realized for the fi rst time its lyrical, cantabile potential, its agility, and the vocal, operatic qualities inherent in the contrast between its registers. The uniquely vocal qualities of the clarinet found resonances in successive composers as well. Mozart Franz Schubert, the peerless architect of German art liberated the songs, singled out the clarinet to elevate to an equal plane as his soprano in Der Hirt auf dem Felsen (The clarinet … Shepherd on the Rock). For their part, Mendelssohn and realized and Weber styled more operatic interpretations of the instrument’s persona, but clearly very much in line for the fi rst with the tradition initiated by Mozart. The clarinet time its lyrical, would intersect with opera again in the second half of the 19th century, as clarinetist-composers engaged cantabile by Verdi and Mascagni milked the pyrotechnic potential. capabilities of the instrument to create dazzling fantasies on beloved opera themes for advertising purposes.

Musicians outside the classical canon also embraced the clarinet for its vocal potential. The clarinet is virtually inseparable from the aesthetic identity of Jewish klezmer music, which uses it as a melodic instrument for its ability to imitate human laughs and sobs. As the Jews and Roma people lived side-by- side in Eastern and Central Europe, so did their klezmer and Roma musical traditions rub against each other, and so the clarinet unsurprisingly fi gures prominently in Roma music as well. Certain Hungarian classical composers provided notated estimations of the clarinet’s function in their native folk idiom, such as in the Roma-inspired cadenzas in Zoltán Kodály’s orchestral suite, Dances of Galanta, or in Béla Bartók’s trio, Contrasts, for clarinet, violin, and piano. Even Brahms, oft en judged a musical purist by his contemporaries, referenced the clarinet’s Roma-klezmer heritage in the folksy, rhapsodic second movement of his Clarinet Quintet, Op. 115.

21 It is worth pausing to consider Brahms’ intimate, serendipitous relationship with the clarinet. Like Mozart before him and Saint-Saëns, Debussy, Poulenc, and Nielsen aft er, Brahms came to the clarinet late in life, having intended to put down his pen aft er the triumph of the great G major Viola Quintet, Op. 111. It was only upon hearing the clarinetist Richard Mühlfeld – in a performance of works by none other than Mozart and Weber – that Brahms was inspired to come out of retirement expressly to write for the clarinet. It is therefore Upon hearing to Mühlfeld that we owe those the clarinetist crowning masterpieces from Brahms’ twilight years, the Richard Mühlfeld … glowing embers of his mature Brahms was genius: not just the four sublime inspired to come clarinet works (a Trio for Clarinet, Cello and Piano, Op. out of retirement 114; the Clarinet Quintet, Op. expressly to write 115; and two Sonatas, Op. 120), for the clarinet. but the treasured piano music, chorale preludes, and Four Serious Songs writt en in those years as well.

One of Brahms’ aff ectionate nicknames for Mühlfeld was “nightingale of the orchestra,” and he was neither the fi rst nor the last to draw the comparison between the clarinet Klezmer musicians at a wedding, Ukraine, ca. 1925. and birds. Whether channeling perky chirping or honeyed A clarinetist stands in the back right. birdsong, composers from Beethoven (“Pastoral” Symphony) to Mahler (First Symphony) and from Respighi (Pines of Rome) conditions that gave birth to Debussy’s otherworldly Première to Messiaen (Quartet for the End of Time) looked to the clarinet Rhapsodie, a spellbinding work that the composer ultimately to play the role. declared “one of the most pleasing [he had] ever writt en.”

In France, the clarinet profi ted from a storied woodwind Meanwhile, Debussy’s fellow Impressionist Maurice Ravel pedagogical tradition at the Paris Conservatory, and the (who also availed himself of the clarinet in his chamber school’s annual Concours nourished the instrument’s music: Introduction and Allegro and Trois poèmes de Stéphane repertoire as composition professors penned new contest Mallarmé) became acquainted with George Gershwin and pieces each year. Incredibly, it was these rather prosaic fascinated by jazz, in which the clarinet also found itself at home. Indeed, in the collective conscious, Gershwin and the clarinet are practically synonymous, thanks to the iconic, wailing clarinet glissando that opens his Rhapsody in Blue. In addition to his sensational performances in the jazz idiom, Benny Goodman was also behind several of the most important clarinet commissions of the 20th century; Copland’s Clarinet Concerto, Poulenc’s Clarinet Sonata, and Bartók’s Contrasts are among some of the works writt en for the “King of Swing.” It is telling that the clarinet’s robust repertoire also sports such 20th-century landmark works as Stravinsky’s The Soldier’s Tale, Messiaen’s Quartet for the End of Time, and Schoenberg’s Pierrot Lunaire; that the instrument so oft en fi nds itself in the hands of such masters surely points to its unique expressive qualities.

The diversity of the clarinet instrumental family also contributes to its versatility, and nowhere is the breadth Benny Goodman, "King of Swing," 1971. of the clarinet’s relatives put on display like in the clarinet 22 Chamber Music Northwest's InternationalInterrnational Clarinet Celebration

choir. If Mozart did, in fact, invent the soul of spearheaded the most signifi cant clarinet the clarinet, so, too, did his music for clarinet choir of his time, growing the ensemble from ensembles breathe life into the future genre its humble beginnings as a quartet of his of the clarinet choir. While still a far cry from students in 1927 to a 75-member, mixed-gender the 27-piece clarinet assemblage that sprouted choir by 1948. Sponsored by the Philharmonic- in Brussels 100 years aft er his death, Mozart’s Symphony Society of New York, Bellison’s works for three to fi ve mixed members of the Clarinet Ensemble appears in New York clarinet family seem to respond to the same Philharmonic’s program archives as early as homogeneity of timbre and extensive range 1931 for performances at Carnegie Hall and that made the full-sized clarinet choir att ractive Town Hall, and received fi nancial support from in later centuries. Indeed, its uniform, reedy the orchestra for instrument commissions and texture throughout its formidable range of up German clarinetist member scholarships. to six octaves has prompted some to point to Richard Mühlfeld. The Clarinet Ensemble’s repertoire consisted of the organ-like qualities of a full-range clarinet works writt en specifi cally for it, supplemented choir, an association that Guido Six tests in his by arrangements of music of the great arrangement of Bach’s famous Toccata and composers done by Bellison himself. One New Fugue in D minor featured on this summer’s York Philharmonic program from 1936 asserts “Clarinet Critical Mass” program. that “the clarinet is the only wind instrument The aforementioned Belgian band of clarinets which can be assembled as an orchestral unit, was created in 1896 by Professor Gustave owing to its colorful tone approximating the Poncelet at the Brussels Conservatory, and is human voice, its technical fl exibility and its generally considered the earliest true clarinet long range.” choir. It was aft er hearing Poncelet’s group – in Chamber Music Northwest’s Clarinet an arrangement of none other than Mozart’s Celebration was designed to honor and affi rm Symphony in G Minor – that Richard Strauss the storied tradition of the clarinet and its was inspired to include the entire instrument repertoire in a similar fashion to Bellison’s family in his orchestras: he did so in his 1909 programming: an eclectic array of originals opera Elektra, which calls for eight players of Simeon Bellison. Photo by and adaptations bookended by Mozart, to various clarinets and its derivatives. Maurice Goldberg. Courtesy of the New York Philharmonic whom we owe all of the instrument’s In the United States, New York Philharmonic Leon Levy Digital Archives. magnifi cent heritage. Principal Clarinetist Simeon Bellison

witwithhht ttheheh mosmostt ddistinguishedistinguished musical the incredible diversity, range, virtuosity,virtuosity, A NOTENOTE FROM colleagues.collea At theth same timei I hhave tried – and lyricism of an instrument that DAVID SHIFRIN with varying degrees of success – not to inspired many great composers to write exploit my privilege as artistic director by compelling masterpieces. From Mozart In my 39 years as featuring too much music for my beloved to jazz; klezmer to operatic paraphrases Chamber Music clarinet. Aft er restraining my impulses to lyric romanticism; and to the sound Northwest’s artistic to spotlight the clarinet for all these of dozens of clarinets playing together director, I have years, I have decided that this season – my like a breathing organ in Bach’s great enjoyed exploring penultimate season as artistic director – Toccata and Fugue, I know you will enjoy and programming to dedicate an entire week to celebrating this amazing celebration of my favorite a diverse array of the heavenly sound of the clarinet in all instrument in all its glory! repertoire from the of its forms. A Clarinet Celebration, so to standard canon of chamber music, lesser speak. I have invited many of the world’s known masterpieces, and the master fi nest clarinetists and some of the most composers of our time. As a performing gift ed young artists selected through the clarinetist, I have been blessed to take Young Artists Competition to join in the David Shifrin part in many performances of great music Clarinet Celebration and help me share Artistic Director 23 att ending Yellow Barn. In summer 2019, Ham Young Artist Competition will be competing as a fi nalist in Chamber Music Northwest’s Clarinet Celebration Competition. An avid performer of new This spring and the fi rst week of our festival, aspiring young clarinetists music, he plays for Alea III and Ecce from around the world competed in Chamber Music Northwest’s Ensemble in Boston. Ham will begin to pursue a master’s in music at the University International Clarinet Celebration Young Artists Competition. Each of Southern California as a student of competitor was evaluated by a panel of internationally renowned Yehuda Gilad in fall 2019. professionals for their tone, intonation, rhythm and tempo, technique, Graeme Steele Johnson articulation, musicality, and stage presence – just to name a few. From Winner of the Hellam video submissions, a panel of world-renowned clarinetists chose six Young Artists’ Competition and the semifi nalists to compete in Portland at our special week-long Clarinet Yamaha Young Celebration June 24–30. Performing Artists Competition, Graeme Aft er listening to every high note and unique interpretation from Steele Johnson has established a these top emerging clarinetists, David Shifrin and a panel of jurors multifaceted career as a clarinetist, writer, are awarding more than $20,000 in prizes to these young musicians, Favorite city: Paris and artistic producer. including the Musica Solis First Prize – $7,500 and the opportunity to As a soloist and chamber musician, he has perform in our Mozart’s Clarinet Concerto and Gran Partita concerts appeared recently at Carnegie Hall’s Weill Recital Hall, The Kennedy Center for the on June 30 and July 1 this summer. Performing Arts, Chicago’s Symphony Center and the Phoenix Chamber Music Our heartiest congratulations to the following semifi nalists and Society, and as a concerto soloist with the Springfi eld Symphony Orchestra and the honorable mention honorees! Caroga Lake and Vermont Mozart Festival Orchestras.

As an orchestral musician, Boutris has Johnson was the fi rst clarinetist to FINALISTS performed as principal clarinet with the join the Center for Musical Excellence’s Louisville Symphony Orchestra, ‘Symphony Young Artists roster, and his upcoming Sam Boutris in C.’ He has also appeared as guest clarinet engagements include a tour with the NYC- Clarinetist Sam with the New Haven and Princeton based chamber ensemble Frisson, as well Boutris’s nuanced and symphonies. as performances at the Ravinia Festival, genuine performances Chicago’s Dame Myra Hess series, and Starting in the fall of 2017, Sam Boutris took balance artistic chamber and concerto appearances in a position in the prestigious Artist Diploma originality with Prague and Vienna. In May 2019, he will program at the Juilliard School in New York. elegant interpretations appear as a featured speaker at TEDx He also holds degrees from Yale University that engage both OakLawn to present his talk, “Music About and the Curtis Institute of Music. audiences and critics Nothing: Seinfeld and the Classical Style.” alike. He regularly performs as a concerto In 2018, Johnson designed and directed a Favorite city: Barret Ham soloist, recitalist, and multimedia performance concept titled Philadelphia Barret Ham is a chamber musician, IMPRESSION, which weaves the music clarinetist from of Debussy and Ravel with the poetry collaborating with an eminent array of Macon, Georgia. Aft er renowned conductors and colleagues. of Stéphane Mallarmé, culminating in studying under Johnson’s own octet arrangement of Boutris’s current and recent season Montgomery Cole, he Debussy’s Prelude to the Aft ernoon of a Faun. highlights include concerto engagements at att ended New the Vermont Mozart Festival and with the England Conservatory Johnson holds graduate degrees from the Yale Chamber Orchestra (Mozart Clarinet as a student of Yale School of Music, where he studied Concerto); a live broadcast solo recital Michael Wayne and with David Shifrin and Ricardo Morales recently received his and was twice awarded the school’s appearance on WQXR’s Midday Master Favorite small luxury: Bachelor of Music. Alumni Association Prize. He has recorded Series at the Greene Space; and solo recitals An amazing cup of commercially for Hyperion Records and at Brooklyn Center for the Arts, Lincoln coff ee Ham has appeared as Center’s Paul Hall and Wilson Theater, the soloist with the Delos Productions, and in the fall he will Harvard Club of New York, and La Maison Charleston Symphony Orchestra and begin doctoral candidacy at The Graduate Française at New York University. Upcoming Atlanta Symphony Youth Orchestra, as well Center at CUNY under the mentorship of performances include a featured recital of as the Borromeo String Quartet as winner of Charles Neidich. the Mozart and Brahms Clarinet Quintets its Guest Artist Competition. Past summer on the award-winning Crypt Sessions series festivals include the Boston University in New York and a solo recital on the Dame Tanglewood Institute and Brevard Music Myra Hess series in Chicago. Center, and in summer 2019 he will be

24 Chamber Music Northwest's International Clarinet Celebration

Iván Villar Sanz Micah Wright has toured in eight countries, including China, Hong Kong, Taiwan, Japan, the Iván Villar Sanz Micah Wright received United States, and Europe. In August 2017, started his musical his degrees in clarinet he was invited to perform at the Lucerne studies at 8 years old performance from Festival and the Young Euro Classic Festival with Manuel Mefre USC (D.M.A.), Rice in Berlin, Germany. and obtained his University (M.M.), and Bachelor of Music Drake University degree in 2015 at CSM (B.M.). Wright is an Ziqi Yue “Manuel Castillo” in active musician in the Ziqi Yue is currently Seville (Spain) with Los Angeles area, pursuing her master’s Juan Trigos. In 2018, performing in solo, Favorite smell: Favorite city: degree with David Sanz received his chamber, studio, and Wet ground aft er rain Los Angeles Shifrin at Yale School Biennio di II Livello orchestral sett ings. of Music with a full (master’s degree) at ISSM “Vecchi-Tonelli” in He maintains a private studio, teaches scholarship. She Modena (Italy) under the guidance of clinics and masterclasses throughout the graduated from Corrado Giuff redi and Fabrizio Meloni, Southwest, and is a D’Addario Woodwinds Mannes School of obtaining the highest marks: 110 cum laude performing artist. Music under the and honorable mention. professional study Wright has received many national and Favorite small luxury: diploma program with Sanz has performed in Italy, Spain, international musical honors throughout My cat Switzerland, France, Belgium, England, his career, most recently winning the 2018 Charles Neidich. She Poland, China, and Tunisia and has recorded Beverly Hills National Auditions, winning was awarded a full scholarship for her for Brilliant Classics, Canal Sur Televisión 2nd Prize at the 2017 Backun International bachelor’s degree at Yong Siew Toh (Spain), RSI Radio-Television (Switzerland), Clarinet Competition, Honorable Mention Conservatory of Music in Singapore with Télévision Tunisienne 1 (Tunisia), Sky at the 2017 William C. Byrd International Yue Ma, the principal clarinetist in the Classica, and RAI (Italy). He also collaborates Young Artists Competition, winning Singapore Symphony Orchestra. During her regularly with orchestras such as Orchestra the 2016 Frances Walton Competition, school years, Yue won both Mannes and della Svizzera Italiana, Orchestra del and winning the 2016 MTNA California Yong Siew Toh Conservatory concerto Teatro Comunale of Bologna, Sinapsi Young Artist Woodwind Competition. competitions. Yue has appeared as a soloist Opera Orchestra, Orchestra Filarmonica Micah has performed as a concerto soloist and chamber musician at Ernst C. Stiefel Italiana, Orchestra dell’Opera Italiana, with several ensembles including Rice Concert Hall, The Old Synagogue Concert and Philharmonic Orchestra of Terre University’s Shepherd School Symphony, Hall, Yong Siew Toh Conservatory Concert Verdiane, under the baton of conductors Drake University’s Symphony Orchestra, the Hall, Sprague Concert Hall, and The Jewish including Vladimir Ashkenazi, John Axelrod, Masterworks Festival Orchestra, the Meyer Center. In 2015, she was invited by Yong Siew Markus Poschner, Matt eo Pagliari, Isaac Chamber Orchestra, the Des Moines Metro Toh Conservatory to play a concert in Karavtchevsky, Valerio Galli, Russell Davies, Concert Band, and the Orange County Youth Singapore with conductor Jason Lai. and others. Iván Villar Sanz also regularly Symphony Orchestra. At the conservatory, Yue has performed conducts masterclasses in Spain and abroad. with Manuel Nawri, Robert Spano, and Eiji Uoe. She has also worked with many Haoran Wang HONORABLE internationally acclaimed musicians in masterclasses, such as Chi Yumo, Stephen Born in China in MENTION Williamson, the Imani Winds, Kriikku, Yeh 1993, Haoran Wang Min-Ho, and Frank Celata. began to study the Kean Xiong clarinet at age of 7 Xiong Kean has been Ziqi Yue was born in China and started with Liqiang Zheng. taught by Peilong He learning the piano at age of 5, until she took At age of 14, he began in China since 2009. In up the clarinet at age of 10. She has studied studying with Yi He 2012, he was admitt ed with Tao Wang, the professor of the Central at the China to the Xi’an Music Conservatory of Music. Conservatory of Conservatory, where Music. In 2011, he studied under Favorite city: Wang came to Barcelona clarinet educator and Europe to study at performer Chi Zheng. Conservatoire de Toulouse with Yves Bailly. In 2015, he was Favorite city: admitt ed to the China Since 2015, Haoran Wang has studied with Seatt le Conservatory, where Ronal Van Spaendonck and Jean-Marc he studies with Yi He. Since then, Xiong has Fessard at the Conservatoire Royal de actively participated in various performance Bruxelles. He also studies with Florent activities, participated in masterclasses, and Héau, Nicolas Baldeyrou, Pascal Moraguès, performed as principal clarinet with the and Romain Guyot. Haoran Wang won China Youth Philharmonic Orchestra. He the competition Clarinett e en Picardie won Third Prize in the 13th Woodwind and Concours de Vélizy in France and Chamber Music Ensemble Competition of has performed in China, Japan, France, the Central Conservatory of Music. In April and Portugal. 2017, he was admitt ed to the Asian Youth Orchestra as the only member of the clarinet section from mainland China. Xiong Kean

25 Monday, June 24 Tuesday, June 25

Reed College, Kaul Auditorium Portland State University, Lincoln Performance Hall Musical Conversation | 7 pm • Concert | 8 pm Musical Conversation | 7 pm (Lincoln Hall Room 225) • Concert | 8 pm

Sponsored by: Sponsored: Bill and Diana Dameron In Honor of Audrey E. Zalutsky by Mort Zalutsky

Opening Night: Mozart and the Clarinet

MOZART Allegro in B-fl at Major for Clarinet and String Quartet, Laura Ardan, clarinet (1756–1791) K. 516c (completed by Robert Levin, 1970) • (8') Rolston String Quartet Luri Lee, violin Emily Kruspe, violin Hezekiah Leung, viola Jonathan Lo, cello

MOZART Adagio in B-fl at Major for Two Clarinets Laura Ardan, clarinet and Three Basset Horns, K. 411 • (5') Barbara Heilmair Tanret, clarinet Todd Kuhns, basset horn James Shields, basset horn Richard Hawkins, basset horn

MOZART Nott urni for Soprano, Mezzo-Soprano, Baritone Vanessa Isiguen, soprano and Three Basset Horns • (14') Hannah Penn, mezzo-soprano Due pupille amabile, K. 439 Zachary Lenox, baritone Se lontan, ben mio, tu sei, K. 438 Richard Hawkins, basset horn Ecco quell fi ero istante (“La Partenza”), K. 436 James Shields, basset horn Mi lagnero tacendo, K. 437 Todd Kuhns, basset horn Luci care, luci belle, K. 346 (K. 439a) Più nonsi trovano (“Canzonett a”), K. 549

INTERMISSION

MOZART Clarinet Quintet in A Major, K. 581 • (33') David Shifrin, clarinet Allegro Rolston String Quartet Larghett o Menuett o – Trio I – Trio II Allegrett o

26 PROGRAMS Wolfgang Amadeus Mozart’s late love and Three Basset Horns, K. 411 relishes second theme, fi rst presented in a sunny aff air with the clarinet is immortalized such delicious harmonic hallmarks of late E major by the violin. The shimmering by the handful of masterpieces he left Mozart as the striking clashes that result Larghett o stands out as one of Mozart’s behind for the instrument, as suspensions rub against each other, most heavenly slow movements, an aria- but plagued by a tatt ered or a deceptive resolution’s sweet tinge of style duet between the ethereal, muted paper trail; the sublime cheeky melancholy. violin and the liquid gold lyricism of Clarinet Quintet, K. 581 the clarinet. A good-humored Menuett o Mozart famously found the clarinet and Clarinet Concerto, breaks the second movement’s celestial to be the instrument that most closely K. 622 are both missing spell with its earth-bound dance.

resembled the human voice, and some of One Week their autographs, and only The troubled fi rst Trio section again his late operas see the clarinet elevated 93 bars remain of the Allegro in B-fl at reveals the minor side of the coin, and to an equivalent role with vocal soloists Major for Clarinet and String Quartet, the clarinet rejoins the strings for a (the wonderful obbligato parts from La K. 516c. The present fragment may well rustic, perhaps coquett ish second Trio. clemenza di Tito’s “Parto, parto, ma tu, ben have been longer, and perhaps even torn The fi nale’s clever variations pass the mio” and “Non più di fi ori” for clarinet and from a fi nished movement, as suggested spotlight around the ensemble and range basset horn, respectively, come to mind). by the completeness of the extant from lamenting to acrobatic to heartfelt Similarly, Mozart’s way of pitt ing vocal portion. Mozart’s other fragmentary before a celebratory fi nish. soloists against basset horns in equal autographs are dott ed with blank spaces numbers in his Nott urni for Soprano, —© Graeme Steele Johnson in the accompanying voices to be fi lled in Mezzo-Soprano, Baritone and Three later, which Robert Levin explains as the Basset Horns says something about the master’s practice of “creat[ing] in his head, musical worthiness of those instruments not on paper.” Nevertheless, 93 measures in Mozart’s eyes; rather than a generic is enough to provide a complete backup band, they function as equal exposition before stopping short three participants in the musical dialogue. The measures into the development – a not nocturnes are consistent with Mozart’s inconsequential window into the graceful and highly chromatic mature heartbeat of the movement, and for the operatic style, and he lift ed four of their astute Robert Levin, suffi cient texts from the iconic opera seria librett ist momentum to devise a faithful and Pietro Metastasio. Mozart likely wrote imaginative completion. Mozart’s share the nocturnes between 1786 and 1787 for of the compositional labor likely dates his friends in the von Jacquin family, from 1787, the same year that also bore Emil Gott fried and Franziska, children Don Giovanni as well as the two Viola of the famous botanist Nikolaus. Mozart Quintets in C major and G minor, and the instructed Franziska on the piano and clarinet quintet fragment shares with dedicated numerous works to the family, those contemporaneous works the proto- most notably, the “Kegelstatt ” Trio for Romantic harmonic daring of a mature Clarinet, Viola, and Piano, which was Mozart. But unlike the G minor Viola fi rst played at the von Jacquin house by Quintet, this buoyant Allegro oozes a Mozart, Franziska, and Anton Stadler. degree of wonder and levity rare even for Mozart’s overall joyous clarinet catalog. The key of A major carries a special tenderness in Mozart’s late works; his With a range between the clarinet and mature gems in that key, such as the 23rd the longer, lower bass clarinet, the basset Piano Concerto, the 11th Piano Sonata, horn represents a sort of alto-voice cousin the Clarinet Concerto, and the Clarinet of the clarinet. Mozart came in contact Quintet, K. 581, share an introspective, with the instrument via his friend and lyrical brand of joy. Writt en just two dedicatee of most of his clarinet works, years before Mozart’s death, the quintet Anton Stadler, beloved in Vienna for his is generous and personal, and seems clarinet and basset horn playing alike. to sing to itself rather than declaiming Mozart discovered the lushness of the from a stage as in the hallmark operatic triple basset horn sonority in his fi ve style found in much of his oeuvre. It trio Divertimenti, but his addition here also has in common with these other of two extra clarinets lends an unusual works the sense that the minor mode is breadth to the instrumental texture, never far away. The immediate deceptive allowing solo voices to emerge as needed resolution in just the second measure while enjoying the velvety carpet of the of the fi rst movement serves as an early basset horn and clarinet mixture below. augur of this modal dualism, which sees Understated, yet highly expressive, the its fullest expression in the clarinet’s Adagio in B-fl at Major for Two Clarinets minor, heavily chromatic recasting of the

27 Wednesday, June 26

Alberta Rose Theatre | 8 pm

The Jazz Clarinet with Ken Peplowski and Friends

Program to be announced from the stage.

Ken Peplowski Quartet Ken Peplowski, clarinet Rossano Sportiello, piano Gary Hobbs, drums Dave Captein, bass

28 Thursday, June 27 PROGRAMS

Reed College, Kaul Auditorium Musical Conversation | 7 pm • Concert | 8 pm

Sponsored by: Oregon Catholic Press Week One Week

Clarinet All Stars

ALEXANDER Selections from Czernowitzer Skizzen Mark Dubac, clarinet KUKELKA (Chernivtsi Sketches) (2004) • (10') Igor Shakhman, clarinet (b. 1963) No. 1 Mark Dover, basset horn No. 3 Mingzhe Wang, bass clarinet No. 5

JEFF SCOTT Expeditionary Airmen: Three Day Pass (2017) • (10') Jessica Phillips, B-fl at clarinet (b. 1967) and E-fl at clarinet Mark Dover, clarinet Wonkak Kim, clarinet Ashley William Smith, bass clarinet Jonathan Greeney, percussion

Jeff Scott ’s Expeditionary Airmen: Three Day Pass has been commissioned by the USAF Band of the Golden West Clarinet Quartet in cooperation with the Air Mobility Command.

EUBIE BLAKE Benny Goodman Tribute: Vincent Oneppo, solo clarinet (1887–1983) Memories of You & Temptation Rag • (7') Romie de Guise-Langlois, clarinet HENRY LODGE Seunghee Lee, clarinet (1885–1933) Thomas Masse, clarinet Arr. Vincent Oneppo David Shifrin, clarinet Mingzhe Wang, bass clarinet Jonathan Greeney, percussion

ENESCU Romanian Rhapsodies, Op. 11 • (10') David Shifrin, clarinet (1881–1955) Rhapsody No. 1 in A Major Corrado Giuff redi, clarinet Arr. Béla Kovács Rhapsody No. 2 in D Major Hilda Huang, piano

FAUSTIN and Guisganderie • (2') Corrado Giuff redi, clarinet M. JEANJEAN Yevgeny Yontov, piano (1900–1979, 1896–1698)

GERSHWIN Blues from An American in Paris • (4') Corrado Giuff redi, clarinet (1898–1937) Yevgeny Yontov, piano

INTERMISSION

Program continues on the next page …

29 INTERMISSION

MENDELSSOHN Concert Piece for Clarinet, Basset Horn and Piano Fan Lei, clarinet (1809–1847) in D Minor, Op. 114, No. 2 • (8') Richard Hawkins, basset horn Presto Hilda Huang, piano Andante Allegrett o grazioso

CARLO DELLA Fantasy on Themes from Pietro Mascagni’s Cavalleria Chad Burrow, clarinet GIACOMA Rusticana • (12') Yevgeny Yontov, piano (1858–1929)

R. SCHUMANN Dichterliebe, Op. 48, No. 1, “Im wunderschönen Hannah Penn, soprano (1810–1856) Monat Mai” • (8') Mark Dover, clarinet Arr. Mark Dover Rossano Sportiello, piano

Historically home to such manifold Expeditionary Airmen: Three Day Pass clarinet to express the song’s nostalgia in ethnic minorities as the Jewish, Polish, was commissioned by Band of the Golden a sett ing that is as much chamber music Romanian, and Ruthenian populations, West, Clarinet Quartet. as combo jazz. the mystical city of The piece is somewhat Czernowitz (Chernivtsi) programmatic in that it Henry Lodge’s 1909 ragtime classic has long represented depicts a weekend in Temptation Rag was an immediate hit the cultural the life of an airman among pianists and Vaudeville bands, intersection of Eastern who gets a rare “Three and remained popular in the decades and Western Europe. Day” pass while in New following its composition. There were – Czernowitz housed 50,000 York City. Needless to say, there’s a lot one and are – arrangements for everything Jews before World War II, a third of its can get himself involved in given these from ukuleles and banjos to military population, and they indelibly colored the circumstances! bands and café orchestras. Numerous city’s cultural and institutional face. This —© Jeff Scott , composer recordings included a sensationally slick infl uence is immediately evident in 1935 off ering by the British band leader Alexander Kukelka’s klezmer-laden Harry Roy and a wonderfully boisterous language in his Czernowitzer Skizzen. Memories of You, with music by pianist and somewhat anachronistic 1949 version Kukelka’s “sketches” exhibit a Eubie Blake and lyrics by Andy Razaf, by Sidney Bechet. The Benny Goodman counterintuitive energy that seems to was writt en for the Broadway show Sextet’s marvelous take on the rag was contradict the devastation of the city’s Blackbirds of 1930. Louis recorded in November of 1950, featuring loss of Jewish life due to deportation and Armstrong’s recording such notables as Teddy Wilson on piano ghett oization; in his own words, “As if the same year and Terry Gibbs on vibraphone. The coming from far away, one can perceive popularized the song, clarinet ensemble arrangement adheres the faded sound of a culture, which in a and Benny Goodman’s loosely this version. In both you will tragicomic way does not want to take fi rst recording of it in fi nd Goodman’s somewhat spooky note of its collapse.” 1939, with guitarist Charlie introduction as well as Lodge’s initial Christian and vibraphonist Lionel —© Graeme Steele Johnson theme, interlude, and unison ending. Hampton, established the song as his Where Goodman used repetitions of most popular ballad. Goodman released a the second theme as opportunities to version with singer Rosemary Clooney in improvise for himself and his colleagues, 1955, and soon aft er recorded the song the clarinet ensemble version takes with pianist Teddy Wilson and drummer advantage of these same repetitions to Gene Krupa for the soundtrack of “The spotlight the soloist, the bass clarinetist, Benny Goodman Story” in 1956. My the drummer, and the section clarinets. arrangement for clarinets and snare drum is not a transcription of any of the —© Vincent Oneppo, arranger Benny Goodman’s versions – though I do borrow his solo introduction – but rather att empts to use the wistful quality of the 30 PROGRAMS As beloved as they are today, the two Felix Mendelssohn shared with father Robert Schumann’s searching “Im Romanian Rhapsodies, Op. 11, became and son clarinetists Heinrich and Carl wunderschönen Monat Mai” that opens something of a thorn in the side of their Baermann a friendship based not only on his Dichterliebe, Op. 48, is remarkable for composer, George Enescu, common musical interests, its understated beauty, its whose later, mature but on culinary delights hyper-sensitivity to works were dwarfed by as well; in addition to Heinrich Henie’s poetic what he considered the their instrumental nuance, and its outsized popularity of prowess, the harmonic auguring of this earlier success. The Baermanns were the whole emotional Week One Week composer’s frustration evidently formidable scope of the cycle it notwithstanding, the Rhapsodies’ dumpling chefs. Around Christmas 1832, initiates: as the song rocks between an favorable reception makes sense in the Mendelssohn hosted the Baermanns at almost-resolved A major and the context of the 19th century fascination his home in Berlin, and they traded an suggestion (but never the delivery) of with Eastern folk music; Enescu’s 1901 evening of dumplings for a new piece to F-sharp minor, Schumann insists on what Romanian sampling seems a logical play together: the Concert Piece No. 1 in is missing, rather than what is present. extrapolation of Dvořák’s Slavonic F Minor for clarinet, basset horn and This has troubling implications for the Rhapsodies and Liszt’s Hungarian piano. The evening was so enjoyable for poetic speaker, who recounts confessing Rhapsodies. Enescu’s Rhapsodies in all that they repeated the exchange, his “desire and longing” – his beloved’s A and D major study Roma dance and resulting in the Concert Piece No. 2 in response is absent. Incredibly, song, respectively: the fi rst is joyous D Minor, Op. 114. The opening Presto sets counterintuitively, the song opens the and rollicking, the second soulful and a tone of operatic virtuosity that will perfect aff ective and harmonic space to expressive. prevail for all three movements. The fuel Mark Dover’s wandering jazz piano sits out for much of the honeyed exploration of the open-ended piece. Andante aria, and the Spanish-sounding Faustin and Maurice Jeanjean’s —© Graeme Steele Johnson fi nale evokes castanets amid swirling sparkling Guisganderie brims with a solo lines. mix of characteristic French ebullience and the light-footed virtuosity of the novelty piano genre that fl owered as Pietro Mascagni’s opera Cavalleria an American jazz off shoot in the 1920s. Rusticana provoked unrelenting applause A consequence of the popularity of at its sensational 1890 premiere, drawing piano roll music, novelty piano music the composer to the stage emerged as the successor to ragtime, for no less than 40 and was distinguished by its lightning- curtain calls. The opera fast passagework, of which the dazzling marked the beginning Guisganderie has no shortage. of the verismo tradition in Italian opera of depicting naturalistic The composer-pianist Mario Braggiott i subjects previously considered unfi t for recalled visiting a dressing-gown-clad art. Cavalleria’s librett o tells a dark tale George Gershwin at Paris’s Hotel of romantic betrayal and murder, and Majestic: “Beside his Carlo Della Giacoma’s Fantasy on Steinway was a group of Themes from Cavalleria Rusticana bridge tables covered opens appropriately with a foreboding with all sizes and introduction and a pained clarinet aria makes of French taxi that sets the stage for the tragic opera. horns… ‘I’m looking for the right horn pitch for the street scene of a ballet I’m writing. Calling it An American in Paris. Lots of fun.’” Gershwin’s jazzy, self-proclaimed “rhapsodic ballet” that resulted also makes use of celesta and saxophones in addition to the traditional symphony orchestra, and loosely depicts the atmosphere of Parisian streets. Gershwin described the charming Blues section as a brief bout of alcohol-induced homesickness for the American visitor.

31 Friday, June 28

Portland State University, Lincoln Performance Hall Concert | 12 pm • Conversations with the Composer | 1:15 pm

Sponsored by: Rick Caskey and Sue Horn-Caskey

New@Noon: Cutt ing Edge Clarinet

KENJI BUNCH Cookbook (2004) • (10') Jose Franch-Ballester, clarinet (b. 1973) Heirloom Monica Ohuchi, piano La ultima noche en la casa del Flamenco

SALVADOR BROTONS Clar i Net, Op. 119 (2011) • (8') Igor Shakhman, clarinet (b. 1959)

ASHLEY WILLIAM SMITH Shifrin (2019) • (5') Ashley William Smith, clarinet (b. 1984)

YUAN-CHEN LI Shore, Island, and Chelonia for Clarinet, Piano Mingzhe Wang, clarinet (b. 1980) and Tape (West Coast premiere, 2018) • (12') Yuan-Chen Li, piano

LIBBY LARSEN BURN (Northwest premiere, 2019) • (14') Romie de Guise-Langlois, clarinet (b. 1950) Rolston String Quartet Luri Lee, violin Emily Kruspe, violin Hezekiah Leung, viola Jonathan Lo, cello

32 PROGRAMS I have long maintained that composing bending tones, playing and singing at the return of the migration to symbolize and cooking are activities with much in the same time, etc., thus broadening the hope of the new life circle. Three common. Oft en I fi nd I do my best the expressive possibilities of the movements are titled as follows: thinking about my musical instrument. A modifi ed recapitulation I. Humpback Dolphins projects in the kitchen, of the Allegro blends some elements Are My Neighbors and can usually be from the introduction with others from II. On My Way found there if I’m not in the fi rst Allegro, ending the piece with III. “Co-Existing Condition” my studio. Both energetic strength. endeavors require a The piece incorporates the research

—© Salvador Brotons, composer One Week combination of learned recordings of dolphins’ calls in the Pacifi c technique and craft , a thoughtful balance Ocean near Taiwan by Dr. Tzu-Hao Lin of components, a concern for pace and The music of twentieth-century Italian of the Japan Agency for Marine-Earth timing, and, at their heart, a desire to composer Franco Donatoni and the work Science and Technology, video footage spend possibly more time than necessary of British artist David Hockney are an of the ocean, turtles by Islander Divers to create a product that might please inspiration to me. (Taiwan), and visual art by Eric Chiang others in some way. With Cookbook, a Donatoni’s music shares (Taiwan/U.S.A). The fi nal movement collection of four short movements for many characteristics invites the audience to meditate through clarinet and piano, I celebrate this with Hockney’s Cubist- sound and image, and take action – connection with images related to both inspired paintings and pulling out the plastic bott le from the the worlds of food and music. photo collages – both musician’s gown. artists play with the An Heirloom (movement III) could be an —-© Yuan-Chen Li, composer concepts of motion and stasis in a very open-pollinated variety of tomato, or a cool way. Hockney takes a static image precious family keepsake passed down and adds the dimensions of time and Things are incendiary. Things are on fi re. between generations. Enclosed in this motion by forming panels that repeat, Things are burning down around us – quiet meditation, like the seed inside a rearrange, and transform the image. At three black churches between March 29– fruit, is a sentimental old-world waltz once the viewer is able to see the image April 4, 2019, a span of 10 writt en in homage to the great violinist from multiple perspectives. Donatoni days, in St. Landry, Fritz Kreisler. Lastly, La ultima noche achieves the same eff ect with sound, and Louisiana; 1,893,913 en la casa del Flamenco (movement IV) Shifrin borrows the compositional acres of California land depicts a vivid memory of a singular processes used to achieve this. The piece from August through experience my wife and I enjoyed when takes as its static image a short passage November 2018; in we happened unwitt ingly upon a riveting, from Carl Nielsen’s Clarinet Concerto. January, 2019, The unannounced Flamenco performance in a Musical games are played with the American Shakespeare Festival Theatre small, now-defunct Spanish restaurant. passage that allow the listener to in Stratford, Connecticut burned to the Cookbook was commissioned by Young examine it from multiple perspectives. It ground; The Cathedral of Notre Dame, Concert Artists, Inc., for clarinetist José is as if the Nielsen passage were a three April 15, 2019 – it seems that things are Franch-Ballester, who premiered the dimensional sculpture in a museum. The burning down around us, literally and work with pianist Andrius Zlabys in New viewer/listener wanders around the metaphorically. It seems we are in danger York City’s 92nd St. Y in 2005. sculpture, looks at it from afar, and then of burning our bridges to ourselves and to up-close and in detail. each other. —© Kenji Bunch, composer Shifrin is dedicated to my former teacher, BURN, for clarinet and string quartet, mentor, and friend, David Shifrin. is a musical response to “the burning.” Clar i net means “clear and clean” in Using the fi re at Notre Dame as my core Catalan (my mother tongue). The piece —© Ashley William Smith, composer musical metaphor for the piece, the fi rst was a commissioned as a required piece part of the work sets music associated for the II Clarinet Yuan-Chen Li’s Shore, Island, and with the early years of notated French competition in the city Chelonia (海歸), writt en for clarinet and music, including the virelais “C’est la fi n,” of Denia in 2011. piano, is an interdisciplinary approach to the motet “Flos Filius,” and the French My intention was to a multimedia performance melody L’Homme Armé, in the midst of write a short, dynamic commissioned by Dallas- the peeling bells of Notre Dame which piece in one movement in based clarinetist Yi- consume these melodies. The music which the technical and Wen Chen. Through continues. We hear moments of various expressive possibilities the instrument the journey of the sea musical works from our inherited canon would stand out. The piece starts with turtle, the work brings of Western notated music as they burn a mysterious slow introduction in marine biology research brightly – and then vanish. the low register. A virtuoso Allegro of and our oceanic plastic pollution to the —© Libby Larsen, composer irregular rhythm follows. The central stage. It depicts the calmness of the sea part of the piece off ers contemporary creature, the swimming movement, the timbre curiosities such as multiphonics, suff ocation (from plastic materials), and 33 Saturday, June 29

Reed College, Kaul Auditorium | 8 pm

Sponsored by:

Clarinet Critical Mass

STEVE REICH New York Counterpoint (1985) • (11') Conductor: Jose Franch-Ballester (b. 1936) Fast Solo Clarinet: Chad Burrow Slow Clarinet: Fan Lei Fast Benjamin Lulich Yi He Jessica Phillips Brooks Thon Michelle Anderson Joshua Anderson Mingzhe Wang Bass clarinet: Mark Dover Ashley William Smith

PETER Monochrome III (1974) • (9') Conductor: David Hatt ner SCHICKELE Clarinet: Benjamin Lulich (b. 1935) Fan Lei Aude Camus Gregory Barrett Barbara Heilmair Tanret Joshua Anderson Wonkak Kim Brooks Thon Seunghee Lee

MICHELE Dance Variations on Themes of Mozart Conductor: Michele Mangani MANGANI (Commissioned world premiere, 2019) • (8') E-fl at clarinet: Jessica Phillips (b. 1966) Clarinet: Corrado Giuff redi Seunghee Lee Jose Franch-Ballester David Shifrin Basset horn: Richard Hawkins Bass clarinet: Mingzhe Wang Contrabass clarinet: James Shields

Michele Mangani’s Dance Variations on Themes of Mozart has been commissioned with the generous support of the Chamber Music Northwest Commissioning Fund.

34 PROGRAMS

DUKAS The Sorcerer’s Apprentice • (11') Conductor: Jose Franch-Ballester (1865–1935) E-fl at clarinet: Jessica Phillips Arr. Matt Johnson Clarinet: Corrado Giuff redi Benjamin Lulich Romie de Guise-Langlois One Week David Shifrin Basset horn: Mark Dover Contrabass clarinet: James Shields

INTERMISSION

MICHELE Tango-Klezmer Duets (2019) • (8') Clarinet: Corrado Giuff redi MANGANI Jose Franch-Ballester

PIAZZOLLA Libertango (1974) • (5') Solo clarinet: Seunghee Lee (1921–1992) Clarinet: Thomas Masse Arr. Seunghee Lee Fan Lei Chad Burrow Aude Camus Bass clarinet: Ashley William Smith Mark Dover

VILLA-LOBOS Bachianas Brasileiras No. 5 for Solo clarinet: Seunghee Lee (1887–1959) Solo Clarinet and Clarinet Ensemble Clarinet: Thomas Masse Arr. Evan Solomon (1938; 1945) • (11') Fan Lei Chad Burrow Aude Camus Bass clarinet: Ashley William Smith Mark Dover

J. S. BACH Toccata and Fugue in D Minor, BWV 565 • (8') (1685–1750) Arr. Guido Six Conductor: TBD Clarinet III: Fan Lei E-fl at clarinet: Mark Dubac Mary Backun Jessica Phillips Dunja Jennings Marcum Clarinet I: Romie de Guise-Langlois Aude Camus Yi He Chad Burrow Igor Shakhman Boja Kragulj Richard Hawkins Clarinet IV: David Hatt ner Gregory Barrett Barbara Heilmair Tanret Jennifer Crockett David Shifrin Thomas Masse Ken Peplowski Clarinet II: Brooks Thon Basset horn: Jose Franch-Ballester Seunghee Lee Bass clarinet: Ashley William Smith Corrado Giuff redi Mark Dover Benjamin Lulich Mingzhe Wang Joshua Anderson Contratt o clarinet: Vincent Oneppo Contrabass clarinet: James Shields

See program notes on the next page …

35 Program on previous pages … Monochrome means, of course, “one color,” Today, it is next to impossible to perform and each of the pieces in this series is Paul Dukas’s 1897 The Sorcerer’s Along with Terry Riley and Philip Glass, writt en for a multiple number of a single Apprentice without conjuring images of a Steve Reich was a leading pioneer of the kind of instrument. panicked Mickey Mouse musical minimalism movement that Beyond that limitation, chasing an army of fl ourished in America in however, there is no enchanted broomsticks; the 1960s. Sometimes att empt to restrict the Walt Disney cemented traced as far back as palett e; each the work’s place in the Beethoven or into such Monochrome explores a popular consciousness popular artists as The variety of harmonic, when he lift ed it for the Who, minimalist music rhythmic, melodic, and timbral textures. 1940 fi lm Fantasia. Indeed, that scene of evolves very gradually Mickey’s spell-gone-wrong became so Monochrome III is writt en in two large through subtle variations, bounded by iconic that it was the only original sections, each section employing a rondo- deliberately limited musical materials animation to be reprised in the sequel like form with a coda at the end. The and oft en producing a trancelike eff ect. some sixty years later. Dukas sourced his fi rst part shows a certain amount of jazz Writt en in 1985 for clarinetist Richard story from Goethe’s 1797 poem of the infl uence, while the second part revolves Stoltzman, the hammering New York same name, but despite its literary and around a simple waltz melody. Counterpoint seeks to capture the silver screen associations, Dukas’s constant hum of activity in Manhatt an. —© Peter Schickele, composer orchestral scherzo is wonderfully While the piece was intended to be evocative on its own. performed by one soloist accompanied by Dance Variations on Themes of Mozart —© Graeme Steele Johnson 10 prerecorded parts, Reich has sanctioned is a composition for clarinet choir writt en this program’s ambitious live performance. in the form of variations. The theme is Tango-Klezmer Duets takes up three Reich’s describes the piece as “a taken from the famous famous tangos: La Cumparsita, El continuation of the ideas found in Mozart Quintet K. 581. Choclo and Hernandez Hideaway. The Vermont Counterpoint (1982), where as The piece is divided arrangements were inspired by the soloist plays against a pre-recorded tape into 8 sections: the interpretations of Argentinian tangos by of him or herself.” He continues, “The theme and 7 variations. Giora Feidman, while the musical lines compositional procedures include several Each variation is were developed in the style of dance that occur in my earlier music. The writt en in a diff erent typical of Klezmer music, and adapted opening pulses ultimately come from the musical style, which to the instrumental and technical opening of Music for 18 Musicians (1976). incorporates a musical or dance form, in qualities of Corrado Giuff redi and Jose The use of interlocking repeated melodic the following order: Variation 1: Valzer, Franch-Ballester. patt erns played by multiples of the same Variation 2: Tarantella, Variation 3: Rag- instrument can be found in my earliest Time, Variation 4: Tango, Variation 5: —© Michele Mangani, composer works, Piano Phase (for 2 pianos or 2 Swing, Variation 6: Bossanova, Variation marimbas) and Violin Phase (for 4 violins), 7: Czarda. both from 1967. In the nature of the Each variation is entrusted to one of the patt erns, their combination harmonically, soloists composing the clarinet choir. and in the faster rate of change, the piece refl ects my recent works, particularly —© Michele Mangani, composer Sextet (1985). New York Counterpoint is in three movements: fast, slow, fast, played one aft er the other without pause. The change of tempo is abrupt and in the simple relation of 1:2. The piece is in the meter 3/2 = 6/4 (=12/8). As is oft en the case when I write in this meter, there is an ambiguity between whether one hears measures of 3 groups of 4 eighth notes, or 4 groups of 3 eighth notes. In the last movement of New York Counterpoint the bass clarinets function to accent fi rst one and then the other of these possibilities, while the upper clarinets essentially do not change. The eff ect, by change of accent, is to vary the perception of that which in fact is not changing.” —© Graeme Steele Johnson

36 PROGRAMS Astor Piazzolla studied composition in Originally scored for soprano backed by Now considered the most famous work in Paris with the legendary Nadia eight cellos, Bachianas Brasileiras No. 5 the organ repertoire, the Toccata and Boulanger, teacher of many of the 20th is the best known of its series of nine Fugue in D Minor, century’s leading suites, in which Heitor ostensibly composed by composers, including Villa-Lobos sought to Johann Sebastian Copland, Milhaud, marry Baroque, Bach, is surrounded by Carter, Glass, and many harmonic, and uncertainty regarding others. Embarrassed of contrapuntal its date of composition, his non-classical procedures with folk its fi rst century of Week One Week background, Piazzolla and popular idioms of his existence, and even its authorship, tried in vain to conceal his penchant for native Brazil. Each number couples a though most scholars are comfortable vernacular Argentinian music. Aft er movement with a “Bachian” title att ributing it to Bach. The three famous failing to impress Boulanger with his (Preludio, Fuga, etc.) with a Brazilian- opening statements make their way classical compositions and confessing his titled movement to form a multi- down the range to a growling pedal tone tango roots, Piazzolla reluctantly movement suite, itself another Bach that becomes the foundation for a demonstrated a few bars of a tango of his reference. The Ária (Cantilena), which towering diminished seventh chord, own. He recalls in his memoir, “She pairs in the suite with a Dança (Martelo), spelled out one note at a time. The suddenly opened her eyes, took my hand pits a long-breathed, fl oating melody rhapsodic, improvisatory toccata that and told me: ‘You idiot, that’s Piazzolla!’” against the “hammered” (martelo) follows eventually gives way to an Libertango, a portmanteau on the words persistence of the Brazilian embolada academic, four-voice fugue that will take “Libertad” and “Tango,” represents rhythm. Evan Solomon’s arrangement for adventurous harmonic turns on its way Piazzolla’s breakout from Classical Tango clarinets responds to the instrument’s to the fi nal coda. Marked Recitativo, the into Tango Nuevo, characterized by timbral versatility: the low chalumeau fi nal 17 bars see fi ve tempo changes extended jazz harmonies, dissonance and register of the accompaniment channels before the ultimate plagal resolution in a counterpoint. the warmth and depth of a cello bellowing Molto adagio. ensemble, while the soloist languishes in —© Graeme Steele Johnson the more vocal clarion register above.

37 Sunday, June 30 Monday, July 1

Portland State University, Lincoln Performance Hall | 4 pm Reed College, Kaul Auditorium Musical Conversation | 7 pm • Concert | 8 pm Sponsored by: Sponsored by:

Mozart’s Clarinet Concerto and Gran Partita

MOZART Clarinet Concerto in A Major, Winner of the International Portland Youth Philharhomic (1756–1791) K. 622 • (30') Clarinet Celebration with David Hatt ner, conductor Allegro Young Artists Competition, Violin 1: Hanami Froom Adagio solo clarinet Andrew Yoon Rondo Sarah Tiedemann, fl ute Evan Llafet Amelia Lukas, fl ute Koharu Sakiyama Julie Feves, bassoon Violin 2: Ines Voglar Belguque Carin Miller Packwood, bassoon Janet George William Purvis, horn Christine Chu John Cox, horn Ian Song Tyler Abbott , bass Viola: Samuel Zacharia Rolston String Quartet Julie Asparro Luri Lee, violin Isaiah Zacharia Emily Kruspe, violin Cello: Annie Zhang Hezekiah Leung, viola Kristopher Duke Jonathan Lo, cello Christopher Yoon Bass: Pierce Douglas

INTERMISSION

MOZART Serenade for 13 Winds, K. 361 (“Gran Partita”) • (50') Allan Vogel, oboe Largo – Molto allegro Karen Wagner, oboe Menuett o Benjamin Lulich, clarinet Adagio – Andante Aude Camus, clarinet Menuett o – Allegrett o Richard Hawkins, basset horn Romance – Adagio James Shields, basset horn Tema con variazioni – Andante Julie Feves, bassoon Finale – Molto allegro Carin Miller Packwood, bassoon William Purvis, horn John Cox, horn Mary Grant, horn Jeff Scott , horn Tyler Abbott , bass

38 PROGRAMS To call Wolfgang Amadeus Mozart’s The fi rst movement Allegro opens Although the Serenade is best known premature death at the young age of 35 joyously before introducing striking today by its colloquial name, the untimely would be a tragic forays into minor keys that Mozart will misspelled subtitle “Gran Partita” was understatement; for the continue to probe for the rest of the actually added to the autograph by an musicologist H.C. piece. The delicate and breathtaking unknown hand other than Mozart’s Robbins Landon, it was Adagio movement somehow fuses sometime aft er he fi nished the piece. no less than “the absolute peace and sublime beauty The work is shrouded in further greatest tragedy in the with just a tinge of melancholy, which uncertainty regarding its date of history of music” that fi nds expression near the end of the composition and the occasion of its Week One • Week Two cut short the composer’s movement in a time-stopping deceptive premiere; some scholars have posited life just as he was on the threshold of a cadence poignantly punctuated by that the piece was fi rst performed at magical new style. silence. The buoyant Rondo fi nale swirls Mozart’s own wedding in 1782, while through characters and keys with more recent evidence suggests Mozart Finished just two months before Mozart’s quintessential quicksilver grace composed the Serenade for a 1784 his death, the Clarinet Concerto in before spilling over into a glorious fi nish. benefi t concert for the clarinetist Anton A Major, K. 622, was Mozart’s last Two Week Stadler. With his addition of a pair of major completed work, and thus is basset horns, two extra French horns conventionally regarded as his swan Largely driven by the demand of the and a string bass (sometimes doubled song. But considered in the context lesser nobility, the latt er part of the by or substituted for a contrabassoon) of the entirely new language that 18th century saw a utilitarian fl owering to the traditional wind octet, Mozart emerged in Mozart’s other twilight of music for wind ensembles known fashioned a textural palate of orchestral works (the Concerto shares with The as Harmoniemusik. In addition to proportions, whose impressive Magic Flute a remarkable blend of being more fi nancially accessible to depth announces itself from the fi rst simplicity and gravitas), the Clarinet the middle-aristocracy than a full gleaming chord. Concerto represents as much a new orchestra, Harmoniemusik also off ered beginning, albeit tragically curtailed, the fl exibility of being suitable for both —© Graeme Steele Johnson as a fi nal destination. Originally indoor and outdoor performance, and conceived for the basset clarinet and thus functioned well for entertaining its extended low range, the Clarinet and for the curious but popular custom Concerto signifi es a continuation of of wooing a lover by hiring musicians to Mozart’s lifelong penchant for darker perform outside her window. timbres (in chamber music sett ings he While its two minuets and boisterous much preferred playing the viola to fi nale do bespeak the work’s dialogue the violin). This mellow quality that with a tradition of music for outdoorsy Mozart achieves in sonority is also entertainment, Mozart’s Serenade for refl ected in the general character of 13 Winds in B-fl at Major, K. 361 (“Gran the piece, which concentrates less on Partita”) represents an unprecedented virtuosic passagework (solo cadenzas are infl ation of the scale and scope of conspicuously absent) and more on long- Harmoniemusik. The nearly 50-minute breathed melody and operatic registral piece for 13 instruments dwarfs the contrast. modest proportions of the genre’s earlier, lighter works, and even exceeds the length and ensemble size of Mozart’s other two great Viennese wind serenades in E-fl at and C minor. Moreover, the Gran Partita achieves in its seven movements – particularly in the miraculous Adagio – an emotional profundity and compositional sincerity previously foreign to wind ensemble music.

39 Tuesday, July 2

Portland State University, Lincoln Performance Hall Musical Conversation | 7 pm (Lincoln Hall Room 225) • Concert | 8 pm

In Honor of Gabrielle Foulkes, a 40-year volunteer

European Folk Tales

BARTÓK Contrasts (1938) • (17') Soovin Kim, violin (1881–1945) Verbunkos David Shifrin, clarinet Pihenõ Gloria Chien, piano Sebes

SHOSTAKOVICH Piano Trio No. 2 in E Minor, Op. 67 (1944) • (34') Soovin Kim, violin (1906–1975) Andante Sophie Shao, cello Allegro con brio Gloria Chien, piano Largo Allegrett o

INTERMISSION

TCHAIKOVSKY String Sextet in D Minor, Op. 70 Rolston String Quartet (1840–1893) (“Souvenir de Florence”) • (35') Luri Lee, violin Allegro con spirito Emily Kruspe, violin Adagio cantabile e con moto Hezekiah Leung, viola Allegro moderato Jonathan Lo, cello Allegro vivace Yura Lee, viola Sophie Shao, cello

40 PROGRAMS During the lead up to World War II, fear Dmitri Shostakovich’s Piano Trio No. 2 Peter Ilyitch Tchaikovsky visited of the impending disaster consumed the in E Minor dates to the even darker years Florence, Italy, a number of times and thoughts of Hungarian composer Béla of 1943–44. To make matt ers worse, grew fond of wandering its bustling Bartók. By 1938, German Shostakovich’s closest streets, surrounded by majestic troops were stationed on friend, Ivan Sollertinsky, Renaissance architecture. the Austrian side of the died unexpectedly in He particularly enjoyed Hungarian border; to February 1944; he was meeting street make matt ers worse, only 41 years old. musicians and hearing Bartók’s income Shostakovich wrote to their exuberant Week Two Week vanished when the Nazi Sollertinsky’s widow, “To renditions of Italian regime assumed control of his German live without him will be unbearably folk tunes. publisher. He contemplated emigration, diffi cult.” In 1890, Tchaikovsky made his fi nal but had to stay to support his ailing Around that time, Shostakovich journey to Florence, where he hoped to mother, who would soon pass away. completed the fi rst movement of a new fi nd the inspiration to fi nish his opera During these diffi cult months, Bartók’s trio “on Russian folk themes,” but he The Queen of Spades. Sadly, the oft en- friend Joseph Szigeti, a well-known could not continue, writing “it seems to troubled man was not in an appropriate violinist, coordinated a commission me that I will never be able to compose mental state to enjoy this particular from American jazz clarinetist Benny another note again.” Only later in the sojourn; as he wrote, “something is Goodman for a “clarinet-violin duet summer, at the artists’ colony of Ivanovo, happening within the depths of me… a with piano accompaniment.” Thus, was he able to complete the fi nal three certain disenchantment, from time to during the fi nal months before the war, movements. time a dreadful melancholy.” Still, he Bartók wrote an unusual work he called fi nished the opera and returned to Russia The trio begins with a somber cello Contrasts. He, Goodman, and Szigeti with melancholic memories of Florence incantation, played in whistling would soon have an opportunity to play fresh in his mind. harmonics at the top of the cello’s range the trio together once Bartók and Szigeti then imitated in a lower register by the With the opera behind him, Tchaikovsky fi nally fl ed Hungary for the United States. violin and piano. A morose, aff ectless circled back to a project that had been Verbunkos (Recruiting Dance) references character continues until the piano lingering on his to-do list since 1886, when an old-fashioned Hungarian dance meant breaks the trio into more expressive he had promised to write something to entrance young men into joining the territory, retaining an undercurrent of for the St. Petersburg Chamber Music military, whose heavily dott ed rhythms strained frustration. Society. Starting out with a melody he infuse Bartók’s music. A virtuosic had writt en in Florence, he produced Sollertinsky’s sister described the cadenza was meant to highlight the String Sextet in D Minor, Op. 70 ensuing Allegro con brio as “an amazingly Goodman, for whom Bartók also wrote (“Souvenir de Florence”). As Tchaikovsky exact portrait of Ivan.” Quintessentially many of the clarinet lines in a vaguely was well aware, writing a sextet for two Shostakovich, the hurried and overly jazz-like manner. violins, two violas, and two cellos posed accentuated pacing of the movement a considerable challenge. “I’m hampered The Pihenö (Relaxation) movement gives a disquieting sarcastic tone to its not by lack of ideas,” he wrote to his provides a pause between two outwardly cheery melodies. brother, “but by the novelty of the form. dance movements. Still and sparse, The pianist spends the Largo playing There must be six independent and at the its introspective tone comes from a monumentally abstract chord same time homogeneous parts… Haydn quiet dynamics, gentle dissonances, progression in a seemingly random never managed to conquer this problem.” and obscure melodies in Bartók’s rhythm, adding drama to the plaintive Despite the diffi culty, he fi nished the characteristic night music style. For the dialogue between violin and cello. In the sextet during the summer of 1890. Sebes (Fast Dance), all three musicians fi nal Allegrett o, Shostakovich merges participate in a densely virtuosic dance The tune Tchaikovsky wrote in Florence melodies from earlier in the trio with at a breakneck pace, hesitating only for comes to the fore in the Adagio cantabile Jewish folk dances, a juxtaposition a calm jazz interlude and the frenzied e con moto. Plucked, guitar-like arpeggios that bonds Shostakovich’s response to violin cadenza Bartók wrote for Szigeti. transport the sextet to a Florentine Sollertinsky’s death, at once biting and street corner, as a romantic melody sorrowful, with the tragedy of the Jewish soars above. Suddenly, silence and then experience during the war. nervous, agitated chords interrupt the scene. When the Florence melody returns, something has changed; the rhythms are slightly diff erent, and the melody ventures into increasingly melancholic territory. Like any souvenir (French for “memory”), the repetitions of the melody can never quite replicate the original. —© Ethan Allred

41 Wednesday, July 3

Alberta Rose Theatre | 8 pm

Rolston at the Rose

Rolston String Quartet Luri Lee, violin Emily Kruspe, violin Hezekiah Leung, viola Jonathan Lo, cello

MOZART String Quartet in C Major, K. 465 (“Dissonance”) • (30') (1756–1791) Adagio – Allegro Andante cantabile Menuett o – Allegro Allegro molto

R. MURRAY SCHAFER String Quartet No. 2 (“Waves”) (1976; 1978) • (20') (b. 1933)

INTERMISSION

BRAHMS String Quartet in A Minor, Op. 51, No. 2 • (32') (1833–1897) Allegro non troppo Andante moderato Quasi minuett o, moderato Finale: Allegro non assai

42 PROGRAMS Joseph Haydn is rightly acknowledged R. Murray Schafer • String Quartet No. 2 not be hurried. In response to publisher as the father of the string quartet. (“Waves”) Fritz Simrock’s pleas for string quartets, In Haydn’s hands, the string quartet Brahms replied, “Alas, I must ask you In the course of the World Soundscape evolved from an insignifi cant incidental once more to be patient. Mozart took Project, we recorded and analyzed ocean ensemble into a new, signifi cant genre particular trouble in writing six beautiful waves on both the Atlantic and Pacifi c all its own. Each of the four instruments quartets, so I will do my very best to turn coasts of Canada. The recurrent patt ern – two violins, viola, and cello – assumed out one or two passable ones.” of waves is always asymmetrical, but the role of an equal partner, capable we have noted that the duration from The String Quartet in A Minor, Op. 51, of performing either melodic or

crest to crest usually falls between 6 No. 2, opens with a theme based on the Two Week harmonic material. and 11 seconds. Fewer ocean waves are notes F-A-E. These notes are shorthand In the summer of 1781, not long aft er of longer or shorter duration than this. for Brahms’ good friend the violinist Wolfgang Amadeus Mozart moved to It is this wave motion that gives the Joseph Joachim’s famous mott o, “Frei, Vienna, Haydn completed his Opus 33 quartet its rhythm and structure. The aber einsam” (Free but lonely), and string quartets. Mozart had listener will readily hear the dynamic suggest Brahms may have originally long admired the older undulations of waves in this piece, and as intended to dedicate Opus 51 to Joachim. composer and studied the piece develops, several types of wave (Opus 51 is actually dedicated to Theodor Haydn’s new quartets motion are combined. Aside from this, I Billroth, a friend and amateur musician. closely. Mozart took have sought to give the quartet a liquid When Opus 51 was published, Brahms particular note of quality in which everything is constantly and Joachim were quarreling.) Haydn’s focus on dissolving and fl owing into everything Brahms also adapted Joachim’s mott o for instrumental autonomy, and else. That is to say, the material of the himself: “Frei, aber froh” (Free but glad), incorporated this and other innovations work is not fi xed, but is perpetually and uses the corresponding notes F-A-F into his own string quartets. On January changing, and even though certain in Opus 51 as well. The Allegro non troppo 14, 1785, Mozart completed his String motivic fi gures are used repeatedly, they showcases Brahms’s skilled counterpoint, Quartet in C Major, K. 465, the last of six undergo continual dynamic, rhythmic while the Andante moderato highlights new quartets, which he dedicated to his and tempo variation. Although the work his particular talent for lyricism. The friend and colleague, noting they were has waves as its theme (or rather its almost spooky Quasi minuett o plays hide- “the fruits of long and laborious toil.” form), no program is intended. and-seek with both A minor and A major. K. 465’s nickname, “Dissonance,” refers to —© R. Murray Schafer, composer Brahms’ musical intensity permeates its groundbreaking introduction, which the Finale, which features an exuberant bears no harmonic relationship to the Hungarian czardas paired with a quartet’s key of C major. For the duration gentle waltz. “There’s no heavier burden of the Adagio, Mozart utt erly confounds than a great potential.” —© Elizabeth Schwartz both listeners and players, to the point that some musicians complained their —Linus van Pelt, Peanuts scores were full of errors. Even Haydn was taken aback at fi rst, but supported Robert Schumann’s well-intentioned 1853 his friend, saying, “If Mozart wrote it, he article “New Paths,” about a young must have meant it.” Aft er hearing K. 465 composer from Hamburg poised to take for the fi rst time in February 1785, Haydn the musical world by confi ded to Mozart’s father Leopold, storm, dropped a “Before God and as an honest man I crushing load of tell you that your son is the greatest expectation onto the composer known to me either in person shoulders of Johannes or by name. He has taste and, what is Brahms. In his essay in more, the most profound knowledge of the Neue Zeitschrift für composition.” Musik, Schumann declared Brahms no —© Elizabeth Schwartz less than the heir to Ludwig van Beethoven’s musical legacy.

Schumann’s praise magnifi ed Brahms’ own tendencies to doubt and self- criticize, particularly regarding the genres most infl uenced by Beethoven, the symphony and string quartet. In 1873, at age 40, Brahms fi nally allowed the publication of string quartets bearing his name. Friends and colleagues had waited years for these works, but Brahms would

43 Thursday, July 4

Reed College, Kaul Auditorium Musical Conversation | 7 pm • Concert | 8 pm

Sponsored by: A Friend of Chamber Music Northwest

American Independents!

COPLAND Violin Sonata (1943) • (17') Soovin Kim, violin (1900–1990) Andante semplice Gloria Chien, piano Lento Allegro giusto

CAROLINE SHAW Three Essays (Northwest premiere, 2018) • (20') Calidore String Quartet (b. 1982) Nimrod Jeff rey Myers, violin Echo Ryan Meehan, violin Ruby Jeremy Berry, viola Estelle Choi, cello

Caroline Shaw’s Three Essays has been co-commissioned by Carl and Margery Abbott on behalf of Chamber Music Northwest, in partnership with BBC Proms, Royal Philharmonic Society, University of Delaware, Coretet, and the Philips Collection.

INTERMISSION

COPLAND Appalachian Spring Suite (1944) • (25') Tara Helen O'Connor, fl ute Very slowly David Shifrin, clarinet Allegro Julie Feves, bassoon Moderato Soovin Kim, violin Quite fast Benjamin Hoff man, violin Subito allegro Yura Lee, viola Very slowly Sophie Shao, cello Doppio movimento Tyler Abbott , bass Moderato Gloria Chien, piano Calidore String Quartet

44 PROGRAMS During World War II, American composer I wrote First Essay: Nimrod “particularly Aaron Copland wrote many of the best- Aaron Copland wanted to fi nd ways to for the wonderfully thoughtful Calidore known works of his Americana period use his talents to foster solidarity on the Quartet, whose performances of and during World War II. Drawing on symbols home front. Well aware of investigations into the rich deeply ingrained in American culture, the power that music string quartet repertoire works like Fanfare for the Common Man and other cultural are an inspiration to and Lincoln Portrait deft ly combined symbols can wield in me.” She writes that Copland’s left ist politics and American such a confl ict, he “it began as a simple nationalism. It was Copland’s 1943–1944 complained that “In exercise in translating collaboration with choreographer Martha Week Two Week general, damn litt le has the lilt and rhythm of one Graham, Appalachian Spring, however, been done to make use of the talent of of my favorite authors, Marilynne that made the strongest impact on serious composers in the war eff ort.” Robinson, into music. She writes the public. beautifully and bravely on notions of the In 1943, Copland put his words into Graham, a native of Allegheny, human soul, weaving delicately in and action by composing the soundtrack Pennsylvania, was one of the great out various subjects (politics, religion, for The North Star, a propaganda fi lm choreographers of the 20th century. science) in each of her rich, methodical about resistance to the Nazi invasion in Copland recalled, “Nobody else seems essays… Usually my music is inspired by Ukraine. He spent his days at the Samuel quite like Martha. . . . there’s something visual art, or food, or some odd physics Goldwyn fi lm studio in Hollywood, and prim and restrained, simple yet strong, quirk, but this time I wanted to lunge into aft er the studio closed down each day he about her which one tends to think of as language, with all its complex splintering worked on concert music including his American.” and welding of units and patt erns! The Violin Sonata and Appalachian Spring. piece begins with a gentle lilt, like The story of Appalachian Spring takes Copland dedicated the Violin Sonata to Robinson herself speaking, but soon place in rural Pennsylvania, where a Harry H. Durham, a good friend who had begins to fray as the familiar harmony newlywed couple prepares to make a life been shot down over the Pacifi c earlier unravels into tumbling fragments and for themselves on the American frontier. that year. Through many of his wartime unexpected repetitive tunnels. These The central focus of Copland’s score is a works, Copland sought to off er listeners unexpected musical trap doors lead to theme and variations on “Simple Gift s,” a a positive vision of the values at stake various worlds that are built from the song from the pacifi st Shaker community in the confl ict. Still, the pain of this materials of the beginning, like the odd of 19th-century New England. Though experience is apparent in his music; as way dreams can transform one thing into unsung, the song’s lyrics emphasize one composer Vincent Persichett i notes, “It is another. The tide refers to the legendary of the ballet’s primary themes: “’Tis the not easy to forget this noble music, whose biblical fi gure Nimrod, who oversaw the gift to be simple, ’tis the gift to be free.” gaiety seems to be on the surface only construction of the Tower of Babel – a Indeed, it is the folk-like simplicity of for way down in the notes there is a thin city designed to be tall enough to reach Copland’s music that has made it so thread of tragedy, suppressed but strong.” heaven but which resulted in confusion enduringly popular. His lush, evocative and scatt ering of language. This image of —© Ethan Allred sounds captured the United States’ chaos and fragmentation, but also of landscape and historical values at a extraordinary creative energy, may serve time when modern warfare threatened as a framework for listening to this to eclipse any hold on those traditions. musical essay. Graham’s story, meanwhile, presented an Chamber Music Northwest is a co- egalitarian vision of American culture commissioner for the two additional in stark opposition to fascism; men Essays: Echo and Ruby, which make their and women come together and share Northwest Premiere here. the burden of building their idealistic frontier community. —© Caroline Shaw, composer Copland would later arrange Appalachian Spring for full orchestra, but he preferred the original chamber instrumentation’s “clarity,” describing it as “closer to my original conception than the more opulent orchestrated version.”

—© Ethan Allred

45 Friday, July 5

Portland State University, Lincoln Recital Hall Concert | 12 pm • Conversations with the Composer | 1:15 pm

New@Noon: String Quartets and Lipstick for Flute

SHULAMIT RAN String Quartet No. 3 (“Glitt er, Doom, Shards, Memory”) Rolston String Quartet (b. 1949) (2014) • (23') Luri Lee, violin That which happened Emily Kruspe, violin Menace Hezekiah Leung, viola If I perish – do not let my paintings die Jonathan Lo, cello Shards, Memory

JACOB TV Lipstick (1998) • (10') Tara Helen O’Connor, fl ute (b. 1951) Fast Slow Fast

CAROLINE SHAW Three Essays (Northwest premiere, 2018) • (20') Calidore String Quartet (b. 1982) Nimrod Jeff rey Myers, violin Echo Ryan Meehan, violin Ruby Jeremy Berry, viola Estelle Choi, cello

Caroline Shaw’s Three Essays has been co-commissioned by Carl and Margery Abbott on behalf of Chamber Music Northwest, in partnership with BBC Proms, Royal Philharmonic Society, University of Delaware, Coretet, and the Philips Collection.

46 PROGRAMS My String Quartet No. 3 (“Glitt er, Doom, 4) Shards, Memory is a direct reference I wrote First Essay: Nimrod “particularly Shards, Memory”) was composed at the to my quartet’s title. Only shards are left . for the wonderfully thoughtful Calidore invitation of the Pacifi ca Quartet. I found And memory. The memory is of things Quartet, whose performances of and out that the quartet large and small, of unspeakable tragedy, investigations into the rich members had special but also of the song and the dance, the string quartet repertoire interest in art created smile, the hopes. All things human. As we are an inspiration to during the earlier part remember, in the face of death’s silence, me.” She writes that of the 20th century, we restore dignity to those who are gone. “it began as a simple perhaps between the exercise in translating

—© Shulamit Ran, composer Two Week two world wars. It was my the lilt and rhythm of one good fortune to have met art of my favorite authors, Marilynne conservationist Albert Albano, who Jacob TV’s Lipstick was originally Robinson, into music. She writes steered me to the work of Felix Nussbaum composed for fl ute/alto fl ute and beautifully and bravely on notions of the (1904–1944), a German-Jewish painter soundtrack for Eleonore Pameijer in 1998 human soul, weaving delicately in and who, like so many others, perished in the with fi nancial support out various subjects (politics, religion, Holocaust at a young age, and who left from the Performing science) in each of her rich, methodical some powerful, deeply moving art that Arts Fund NL for a essays… Usually my music is inspired by spoke to the life that was unraveling ballet. The soundtrack visual art, or food, or some odd physics around him. is based on ready-made quirk, but this time I wanted to lunge into audio from American language, with all its complex splintering The individual titles of the quartet’s four talk shows, desperate and welding of units and patt erns! The movements give an indication of some of conversations about human piece begins with a gentle lilt, like the emotional strands this work explores: relationships, and an interview with Robinson herself speaking, but soon 1) That which happened (“das was Billie Holiday, in which she quotes from begins to fray as the familiar harmony geschah”) – is how the poet Paul Celan her favorite song “Don’t explain,” about a unravels into tumbling fragments and referred to the Shoah – the Holocaust. deceived woman: “Skip that lipstick and I unexpected repetitive tunnels. These These simple words served for me, in know you cheat and what love endures.” unexpected musical trap doors lead to the fi rst movement, as a metaphor for various worlds that are built from the Lipstick has 3 movements: fast – slow – the way in which an “ordinary” life, materials of the beginning, like the odd fast. Lipstick was fi rst performed in the with its daily fl ow and its sense of sweet way dreams can transform one thing into United States by Margaret Lancaster and normalcy, was shockingly, inhumanely, another. The tide refers to the legendary recorded by other eminent fl utists such inexplicably shatt ered. biblical fi gure Nimrod, who oversaw the as Manuel Zurria, Katherine Kemler, and construction of the Tower of Babel – a 2) Menace is a shorter movement, Alejandro Escuer. city designed to be tall enough to reach mimicking a scherzo. It is also machine- In 2008, Jacob TV added a performance heaven but which resulted in confusion like, incessant, with an occasional, video to Lipstick. and scatt ering of language. This image of recurring, waltz-like litt le tune – perhaps chaos and fragmentation, but also of the chilling grimace we recognize from —© Jacob TV, composer extraordinary creative energy, may serve the executioner’s guillotine mask. Like as a framework for listening to this the death machine it alludes to, it gathers musical essay. momentum as it goes, and is unstoppable. Chamber Music Northwest is a co- 3) If I must perish – do not let my commissioner for the two additional paintings die: these words are by Felix Essays: Echo and Ruby, which make their Nussbaum, who, knowing what was Northwest Premiere here. ahead, nonetheless continued painting till his death in Auschwitz in 1944. If —© Caroline Shaw, composer the heart of the fi rst movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the confl icting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events. Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defi ance and salvation all at the same time.

47 Saturday, July 6 Monday, July 8

Reed College, Kaul Auditorium | 8 pm Reed College, Kaul Auditorium Musical Conversation | 7 pm • Concert | 8 pm Sponsored by: David and Roxanne Shifrin & Sponsored by: Peter Bilott a and Shannon Promenshenkel In Honor of David Schiff

with David L. Greger, CFP and Charles J. Ducharme, CFP Concertos through the Centuries

J. S. BACH Concerto for Violin and Oboe in Soovin Kim, solo violin Calidore String Quartet (1685–1750) C Minor, BWV 1060R • (14') Allan Vogel, solo oboe Jeff rey Myers, violin Allegro Yevgeny Yontov, harpsichord Ryan Meehan, violin Adagio Tyler Abbott , bass Jeremy Berry, viola Allegro Estelle Choi, cello

DAVID SCHIFF Chamber Concerto No. 1 for Clarinet David Shifrin, solo clarinet Soovin Kim, violin (b. 1945) and Ensemble (Commissioned world Tara Helen O’Connor, fl ute Benjamin Hoff man, violin premiere, 2019) • (25') Allan Vogel, oboe Yura Lee, viola Playing with Friends (Jeux Julie Feves, bassoon Sophie Shao, cello d’enfants) William Purvis, horn Tyler Abbott , bass Ariett a Jonathan Greeney, percussion Rondo all’ebraica

David Schiff ’s Chamber Concert No. 1 for Clarinet and Ensemble has been commissioned with the generous support of the Chamber Music Northwest Commissioning Fund.

INTERMISSION

BRAHMS Adagio from Piano Concerto No. 2 Daniel Schlosberg, solo piano Soovin Kim, violin (1833–1897) in B-fl at Major (World premiere Tara Helen O’Connor, fl ute Benjamin Hoff man, violin Arr. Daniel Schlosberg arrangement) • (12') Allan Vogel, oboe Yura Lee, viola David Shifrin, clarinet Sophie Shao, cello Julie Feves, bassoon Tyler Abbott , bass William Purvis, horn

J. S. BACH Brandenburg Concerto No. 4 Yura Lee, solo viola Jacob Ashworth, violin in G Major, BWV 1049 • (15') Ransom Wilson, solo fl ute Sophie Shao, cello Allegro Tara Helen O’Connor, solo fl ute Yevgeny Yontov, Andante Soovin Kim, violin harpsichord Presto Benjamin Hoff man, viola Tyler Abbott , bass

48 PROGRAMS From 1717–1723, Johann Sebastian Bach the chamber ensemble for the piece For much of his life, Johann Sebastian lived and worked in the small town of would include some players he and I Bach was actively searching for new Cöthen under the patronage of Prince have had the pleasure of working with jobs to support his large family. While Christian Leopold, a young for many years. This gave me the idea of he was working in Cöthen (1717–1723), for monarch who employed having moments of dialogue between the instance, he sent six concertos as a sort a large (and expensive) clarinet soloist and individual members of job application to a wealthy prince, cadre of eighteen of the ensemble in a jazz-fl avored Christian Ludwig of Brandenburg, whom musicians. conversation. As I was composing, Bach had met in Berlin while purchasing Disapproving of though, another idea came along. Aft er a new harpsichord. Week Two • Week Three Lutheran church music, spending a weekend with my grandsons, Unfortunately, this move was thoroughly Leopold employed Bach specifi cally to ages two and a half and fi ve, I decided to misguided, as Christian Ludwig’s write secular music for his court. mirror the unpredictable mood swings of orchestra did not have nearly enough their (mostly) parallel playing. Bach probably wrote most of his musicians to perform Bach’s concertos. concertos during this period. Sadly, Early on in writing the piece I asked The manuscripts sat in a library until only seventeen survive in any form David Shifrin if he had any suggestions, the prince’s death, when they were sold Week Three today, and only nine in their original and he asked for a Baroque aria. As it for the equivalent of twenty-fi ve dollars. instrumentation. We have music for the happened, I had already composed the Only in 1849 were these Brandenburg other eight, but only as Bach arranged second movement exactly in this genre, Concertos fi nally rediscovered. They them for diff erent solo instruments later following the model of Dido’s Lament quickly came to be seen as one of Bach’s in his career. from Purcell’s Dido and Aeneas. greatest artistic achievements.

Determined scholars, however, have The third movement, Rondo all’ebraica, The Brandenburg Concerto No. 4 in determined the original solo instruments also follows a model: Mozart’s Rondo G Major is a concerto grosso, or a concerto and reconstructed what the concertos alla turca, but in a decidedly klezmer- for orchestra and a small group of might have sounded like in their original inspired way. soloists. Here, the soloists include one forms. Based on the range of its solo violin and two “echo recorders.” There —© David Schiff , composer lines, the Concerto for Two Harpsichords, is some controversy as to what Bach BWV 1060, was likely originally writt en meant by “echo recorders,” but most for violin and oboe. The Concerto for Adapting the third movement of likely he intended the soloists to play Violin and Oboe in C Minor, BWV 1060R, Johannes Brahms’s Piano Concerto No. 2, alto recorders. Today, however, the solos therefore, is an approximation of what the emotional core of one of the greatest are oft en played on the fl ute, and some Bach’s original concerto might have concertos ever writt en, for even speculate that Bach wrote them sounded like. ten instruments, felt like for the fl ageolet, another instrument quite a daunting in the recorder family. The unusual —© Ethan Allred proposition. Not to combination of a single violin and mention that I had two recorders allowed Bach to write David Schiff • Chamber Concerto No. 1 essentially grown up several diff erent types of concertos in for Clarinet and Ensemble with the concerto, it being one – sometimes it sounds like a solo my grandmother’s favorite piece of music violin concerto, sometimes it sounds I was thrilled and honored when David and hanging in the air as the pinnacle of like a concerto for two recorders, and Shifrin asked me to compose a new what I could achieve as a budding young sometimes it sounds like a concerto for concerto for his penultimate season as pianist. In re-acquainting myself with it the full trio. artistic director of aft er so many years, I was struck by its Chamber Music —© Ethan Allred deeply personal, inward-looking Northwest. David has expressivity, and I sought to capture that commissioned and intimacy in my arrangement. In Brahms’s premiered many of my original, the piano solo has an equal compositions, beginning partner in the orchestra, which even with the Divertimento features a prominent solo cello of its own from Gimpel the Fool in 1982, and for this (don’t worry, that remains untouched). As new concerto I wanted to highlight his chamber music, the dialogue between astonishing versatility, and, in particular, piano and ensemble emerges more the expressive intensity and beauty of transparent, bare, and vulnerable, and I tone that he brings to music old and new. hope it enables all of us to listen to this The three movements of the concerto are masterpiece with fresh ears. in contrasting styles. —© Daniel Schlosberg, arranger The fi rst movement, Playing with Friends (Jeux d’enfants) has a double title and a double inspiration. David told me that

49 Sunday, July 7 Tuesday, July 9

Portland State University, Lincoln Performance Hall | 4 pm Portland State University, Lincoln Performance Hall Musical Conversation | 7 pm (Lincoln Hall Room 225) • Concert | 8 pm Sponsored by: Karen and Cliff Deveney Sponsored by:

Concert Version of Heartbeat Opera’s Don Giovanni

MOZART (1756–1791) Don Giovanni • (120')

A new arragement by Daniel Schlosberg Music directed by Jacob Ashworth Adapted and directed by Louisa Proske

Gleb Kanasevich, clarinet Jacob Ashworth, violin Katie Hyun, violin Carrie Frey, viola Clare Monfredo, cello Daniel Schlosberg, harpsichord Evan Runyon, bass

Matt hew Gamble, Leporello John Taylor Ward, Don Giovanni Leela Subramaniam, Donna Anna Tyler Putnam, Commendatore/Massett o Joshua Sanders, Don Ott avio Felicia Moore, Donna Elvira Samarie Alicea, Zerlina

Oliver Wason, Lighting Designer Alyssa Howard, Stage Manager

Presented by Heartbeat Opera Louisa Proske and Ethan Heard, Co-Artistic Directors Dan Schlosberg and Jacob Ashworth, Co-Music Directors Amrita Vijayaraghavan, Managing Director www.heartbeatopera.org

50 PROGRAMS Don Giovanni is Wolfgang Amadeus text. I hope that this will be an exciting, In Act 2, waiting for justice, the Mozart’s masterpiece about sexual challenging version of the piece whether relationships between the other desire. Unpredictable, joyous, violent you are seeing this opera for the fi rst characters deepen and complicate, while desire permeates every time, or whether you know it intimately. Don Giovanni remains ever defi ant. human relationship and When he is visited by the specter of The The novel element in Mozart's every note in this opera. Commendatore, he staunchly refuses orchestration of Don Giovanni is the The fi gure of Don to repent, even though this is the last prominence of the clarinet, which at Giovanni functions as a moment of his life. that very moment was coming into catalyst, unearthing

its own as an equal voice among the You are about to experience a concert Week Two • Week Three longings and fantasies winds. Pursuing his lifelong fascination version of our 2018 New York production. that are already cooking under the with the clarinet, Mozart fi nally had At the end of Act 1, our entire set surface. He sets the sexual temperature access to good players with remodeled was dismantled in one sweeping on this planet. His demand to live instruments. This gave him new coloristic gesture by Don Giovanni’s pursuers. completely in the moment, in a kind of expression for a group of late works that Instead of escaping their wrath (as in fairy tale world that also includes adult peaked with his iconic chamber music the original opera), Don Giovanni is Week Three sexual desire, is seductive and expresses a masterpiece, the Clarinet Quintet. Daniel caught - and checked into a mysterious, deep human longing for absoluteness. Schlosberg’s new orchestration of Don dystopian institution where he will be Appearing on stage for the fi rst time only Giovanni – for clarinet, string quartet, reprogrammed to be a “good citizen”. two years before the French Revolution, bass, and harpsichord – follows Mozart’s You will notice the radical shift in Don Giovanni’s desire-driven refusal lead in casting the clarinet, like Giovanni the instrumentation, and the more to bow down to any human or spiritual himself, as the outsider. The clarinet fragmentary style of storytelling in Act 2. authority, as well as his ability to move has a unique capacity to be both the We have cut storylines in order to focus eff ortlessly between social strata, point loudest sound, impossible to ignore, and more on the intense drama of the three to the deep revolutionary DNA of this to blend in almost to the point of being women, which, in the full production, piece. Viva la libertà! imperceptible. Like Don Giovanni, the played out in the institutional waiting clarinet is a shapeshift er. room where they gather to learn of But there is a dark side to the equation. Giovanni’s fi nal fate. We trust that Don Giovanni seeks to live in a world Without giving away too many surprises, this concert performance will carry its without consequences – a world of pure here is a simple synopsis of the story: own meanings, and perhaps spur your action, where your desires are gratifi ed Don Giovanni murders the imagination to create your own version instantly, and then you move on without Commendatore, father of Donna Anna, of what happens with Don Giovanni ever looking back. He uses his mental whose bedroom he has entered secretly at the end. power, his looks, his charm, and most during the night. Driven by grief and of all, his privilege and status to create Thank you for going on this shame, Donna Anna makes her fi ancé such a world for himself. But whenever journey with us! Don Ott avio swear a blood oath against the women around him try to take the the unnamed murderer. Donna Elvira —© Louisa Proske same liberties, they are immediately hit pursues Don Giovanni, who has promised (with Jacob Ashworth with a barrage of horrible consequences to marry her. When she fi nds out that she and Daniel Schlosberg) – enraged fathers, livid or wounded is only one of thousands of women, she husbands, society’s contempt. And it decides to make his life hell. seems like Don Giovanni mostly doesn’t care to help his lovers deal with those Don Giovanni stumbles upon the consequences, but instead abandons wedding of Zerlina and Masett o and them to their personal fi restorms. To immediately maneuvers the groom out me, that is one of the real crimes the of the room in an att empt to seduce the character is guilty of, despite of his bride. Donna Elvira interrupts them and many charms. hauls Zerlina off . She also intervenes in an encounter between Don Giovanni, Don If Don Giovanni is about desire, it must Ott avio, and Donna Anna, which triggers also explore the strong agency, longing, Donna Anna’s revelation to her fi ancé and complex desires of the three that Don Giovanni is in fact the murderer extraordinary women, all too oft en of her father. portrayed as clichés – Donna Anna the repressed puritan, Donna Elvira the All the characters convene at Don hysteric, Zerlina the naïve. I fi nd all of Giovanni’s blowout party, ready to these clichés profoundly untrue, and catch him in the act. At the height of the have made some radical choices to show a orgiastic dances, Don Giovanni forces diff erent reading of the story, one I think Zerlina out of the room and assaults her. equally faithful to the spirit of the music, The characters now have the crime they though sometimes reinterpreting the need to bring Don Giovanni to justice.

51 Wednesday, July 10

Alberta Rose Theatre | 8 pm

Fantasia: British String Masterpieces

VAUGHAN Fantasia on a Theme by Thomas Tallis • (17') WILLIAMS Solo Quartet Orchestra I Orchestra II (1872–1958) Violin I: Benjamin Hoff man Violin I: Jeff rey Meyers, Violin I: Luri Lee Violin II: Katie Hyun Daniel Ching Violin II: Emily Kruspe, Viola: Yura Lee Violin II: Ryan Meehan William Fedkenheuer Cello: Sophie Shao Viola: Jeremy Berry, Viola: Hezekiah Leung John Largess Cello: Jonathan Lo Cello: Estelle Choi, Bass: Evan Runyon Joshua Gindele Bass: Tyler Abbott

ELGAR Introduction and Allegro for Strings • (18') (1857–1934) Solo Violin I: Daniel Ching Violin I: Jeff rey Meyers, Luri Lee, Benjamin Hoff man Solo Violin II: William Fedkenheuer Violin II: Ryan Meehan, Emily Kruspe Solo Viola: John Largess Viola: Jeremy Berry, Hezekiah Leung, Yura Lee Solo Cello: Joshua Gindele Cello: Estelle Choi, Jonathan Lo, Sophie Shao Bass: Tyler Abbott

INTERMISSION

PURCELL Chacony in G Minor • (7') (c. 1659–1695) Violin I: Benjamin Hoff man*, Jeff rey Meyers, Luri Lee, Daniel Ching Arr. Benjamin Britt en Violin II: Yura Lee*, Ryan Meehan, Emily Kruspe, William Fedkenheuer Viola: Hezekiah Leung*, Jeremey Berry, John Largess Cello: Sophie Shao*, Estelle Choi, Jonathan Lo, Joshua Gindele Bass: Tyler Abbott

BRITTEN Variations on a Theme of Frank Bridge, Op. 10 (1937) • (26') (1913–1976) Violin I: Yura Lee*, Jeff rey Meyers, Daniel Ching, Luri Lee Violin II: Benjamin Hoff man*, William Fedkenheuer, Emily Kruspe Viola: Jeremy Berry*, John Largess, Hezekiah Leung Cello: Sophie Shao*, Estelle Choi, Joshua Gindele, Jonathan Lo Bass: Tyler Abbott

* Denotes principal player

52 PROGRAMS he two centuries between the death of Henry Purcell (c. 1659–1695) and the rise of Edward Elgar (1857–1934) were a fallow period for music in England. But Elgar and T those who followed him – in part inspired by Purcell and other early English composers – brought the British Isles back to the forefront of contemporary music, creating some of the most beloved music in the contemporary repertoire.

Though Ralph Vaughan Williams was When the London Symphony Orchestra centuries, including Benjamin Britt en,

born in 1872, his compositional talent was asked Elgar to write a piece for them who transcribed the work for modern Week Three slow to germinate. Instead, he spent the in 1905, Elgar’s friend August Jaeger instruments in 1965. early part of his career suggested he write “something for those teaching, performing as fi ne strings only, a real bring down the In 1924, the 11-year-old Benjamin Britt en’s a church musician, and House torrent of a thing such as Bach viola teacher took him to see a concert collecting folk songs. could write… You might even write a featuring composer, conductor, and His guiding philosophy modern Fugue for Strings, or Strings & violist Frank Bridge. was to make music more Organ. That would sell like Cakes.” “Knocked sideways” by accessible for the average Taking his friend’s advice, Elgar wrote Bridge’s music, Britt en person; one of his biggest projects was the Introduction and Allegro for Strings soon began taking compiling a new English Hymnal that with a healthy dose of inspiration from composition lessons brought quality music to local church J.S. Bach, including what he described with Bridge – who congregations. as “a devil of a fugue” with “all sorts of happened to be one of In 1907, however, Vaughan Williams japes & counterpoint.” Despite an initially England’s most iconoclastic musical decided to rejuvenate his eff orts as a tepid response, the Introduction and fi gures. Bridge’s interest in the musical composer through lessons with the Allegro grew to become one of Elgar’s avant-garde (a rarity among British French master Maurice Ravel. These most lasting works, and played a key composers of the time) made him the studies propelled Vaughan Williams role in inspiring later pieces for string perfect teacher for Britt en. When asked if into writing his fi rst great masterpiece, orchestra like those by Vaughan Williams England would ever produce a composer Fantasia on a Theme by Thomas Tallis, and Britt en highlighted on this program. of Maurice Ravel’s stature, Bridge at age 38. Elgar described it as “open air music,” responded, “You will hear of one: alluding to its origins in a melody he Benji Britt en.” Aft er including a melody by Thomas wrote while staying in a Welsh seaside Tallis (c. 1505–1585), one of the most Britt en fi rst captured the world’s village, “between blue sea and blue sky.” successful English Renaissance att ention in 1937 with his Variations composers, in his English Hymnal, on a Theme of Frank Bridge, fi tt ingly Vaughan Williams liked it so much In 1677, King Charles II appointed a a tribute to his beloved teacher. The he used it as the basis of this fantasia precocious eighteen-year-old named Boyd Neel Orchestra had asked him to for strings. He paid further tribute to Henry Purcell court composer. Clearly write something for the 1937 Salzburg the Renaissance choral tradition by Purcell showed a Festival, where the audience would be dividing the string orchestra into three remarkable talent for more receptive to Britt en’s music than sub-groups, ideally physically separated his age, as two years old-fashioned English audiences. Britt en from one another like a cathedral choir later he had received created ten variations on a theme from would be by the central aisle. Musically, another prestigious Bridge’s 1906 Idylls for String Quartet, the Fantasia introduced audiences to appointment as each capturing a facet of Bridge’s Vaughan Williams’ distinct harmonic organist at personality – “his integrity,” “his gaiety,” language, colored by modal harmonies Westminster Abbey. “his energy,” and so on. Musically, the that draw from scales more oft en seen in variations range from parodies of Purcell’s generation imported a dance folk music or ancient music than in the German, French, and Italian music called the chaconne from mainland Western classical tradition. (nos. 2–4) to a Viennese waltz (no. 6), a Europe, calling it the chacony. A triple- funeral march (no. 8), and a fi nal fugue meter dance in a slow tempo, a typical incorporating quotations from other Similarly to Vaughan Williams, Edward chaconne consists of a repeated chord music by Frank Bridge (no. 10). Although Elgar didn’t fi nd success as progression with a varied melody above. Britt en was unable to att end the first a composer until he was The Chacony in G Minor probably dates performance, it was highly successful, in his 40s. In 1899 and to early in Purcell’s tenure with Charles inspiring over 50 performances in Europe 1900, however, Elgar II. Purcell varies the upper voices’ melody and the United States within the next became the best-known ingeniously throughout, but he also two years. English composer varies the eight-measure ground bass, virtually overnight with —© Ethan Allred even leaving it out for two variations. The his Enigma Variations and his cantata The graceful, yet doleful tone of the Chacony Dream of Gerontius. has captivated many in the 20th and 21st 53 Thursday, July 11

Reed College, Kaul Auditorium Musical Conversation | 7 pm • Concert | 8 pm

Sponsored by: Chamber Music Northwest’s incredible volunteers

Miró Plays Beethoven Op. 18, Part I

Miró Quartet Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello

BEETHOVEN String Quartet in D Major, Op. 18, No. 3 • (25') (1770–1827) Allegro Andante con moto Allegro Presto

BEETHOVEN String Quartet in G Major, Op. 18, No. 2 • (24') Allegro Adagio cantabile – Allegro – Tempo I Scherzo: Allegro Allegro molto, quasi presto

INTERMISSION

BEETHOVEN String Quartet in F Major, Op. 18, No. 1 • (27') Allegro con brio Adagio aff ett uoso ed appassionato Scherzo: Allegro molto Allegro

54 PROGRAMS Though Ludwig van Beethoven hated to That same year, in a move that could set the stage for Beethoven’s style to admit it, Joseph Haydn taught him a lot only deepen the rivalry between Haydn become more and more experimental, about music. and Beethoven, Bohemian Prince Joseph personal, and Romantic, to the point that Franz von Lobkowitz commissioned both the infl uence of Mozart and Haydn can Beethoven offi cially began taking lessons composers to write six string quartets sometimes scarcely be recognized in his with Haydn aft er moving to Vienna in apiece – and this time Beethoven agreed. late quartets. 1792. At that time, Haydn was a well- known composer juggling In preparing to write his fi rst string Haydn, for his part, would only fi nish professional quartets, Beethoven copied excerpts two of the six quartets Prince Lobkowitz

responsibilities (and from some of the greatest collections had asked him to write. They would be Week Three love aff airs) on both of quartets published to that point, his last two string quartets; seemingly, sides of the English Haydn’s Opus 20 (1772) and Mozart’s he recognized that the time had come to Channel, so, Haydn-inspired Opus 10 (1785). But how let Beethoven’s generation put their own unsurprisingly, his duties could he incorporate the lessons he had mark on the genre. as Beethoven’s teacher were not his fi rst learned from these two masters, while priority. Beethoven even went behind still establishing his own compositional Haydn’s back to get a second opinion on voice? Even though Beethoven was Thursday, July 11 • Part I his assignments from another instructor. already an accomplished composer in his own right, this task would require a Perhaps because of this perceived Beethoven begins his String Quartet in delicate balance. neglect, Beethoven oft en claimed he D Major, Op. 18, No. 3, with a relatively had learned nothing from Haydn, but Therefore, Beethoven took his time. restrained fi rst movement, though its nothing could be further from the truth. Aft er sending a preliminary version of tranquil fi rst theme eventually leads to Haydn’s true role in Beethoven’s musical one quartet to his friend Karl Amenda, some percussive moments in the more education, however, was not as a theory for instance, he followed up to urge lively second theme. The development is teacher, but as an example to follow – a Amenda not to share it with anyone. In rather two-faced, building to a dramatic source of inspiration. the ensuing days, as he told Amenda, climax, but also dwelling in the fi rst he had “learned to write string quartets theme’s calmness for lengthy moments. By the late 1790s, in fact, the former properly” and the original version was no The ensuing Andante con moto is student and teacher were quickly longer acceptable. But by the end of 1800, relatively quick for a slow movement, becoming rivals, competing for the favor the six quartets were complete. balancing the fi rst movement’s restraint. of the counts and princes who supported It begins in the surprising key of B-fl at professional musicians in Vienna. At that Beethoven’s contemporaries were major, and Beethoven’s harmonic time, string quartets were held in high immediately struck by how his quartets exploration takes him even further prestige in such circles. As such, writing pushed at the expected boundaries afi eld – a marked diff erence from Haydn’s a successful string quartet could off er of the string quartet genre. One critic more conservative harmonic style. Beethoven extraordinary opportunities, favorably commented that the quartets but the risk of failing at such a task “fully testify to [Beethoven’s] art,” but The scherzo, back in D major, is was high. Moreover, with so many also warned that “they must be played frequently interrupted by pauses and masterful quartets by composers like frequently and very well, since they are sudden harmonic shift s. The final Haydn and Wolfgang Amadeus Mozart diffi cult to perform and not at all in a Presto is an experiment in duo and trio already in the repertoire, Beethoven popular style.” writing, with insistent tarantella-like knew that anything he wrote would be melodies pairing subsets of the quartet in The fact that Beethoven wrote six held to a high standard – just as later constant motion. quartets, each in a diff erent key, stems composers would fear being compared from the meticulous conventions that with Beethoven’s own quartets and governed the publication of string Beethoven’s distinguished String symphonies. quartets at the time. Following the Quartet in G Major, Op. 18, No. 2, Because of this pressure, Beethoven common practice, the longest and most begins relatively sparsely, with silences refused an att empt to persuade him elaborate quartet (the String Quartet punctuating each line. Its second theme to write a string quartet in 1795. In the in F Major) appears fi rst in the order of features a series of escalating runs to meantime, however, he did work on a publication, and only one quartet is in a the top of the violin’s range. The second diff erent chamber music project for minor key. movement contrasts a rapid, semi- strings: his three String Trios, Op. 9, staccato middle section with surrounding The Opus 18 quartets represent the completed in 1798. Beethoven described sections in a more lyrical vein. pinnacle of Beethoven’s early career them as “the best of my works,” and as a composer. In writing them, he The quartet’s Scherzo takes a simple the exercise of writing them gave him mastered the Classical style of Mozart melody based on a major triad and the confi dence he needed to enter the and Haydn within the era’s most austere makes it exciting and frenetic as the more heavily traffi cked world of the and prestigious chamber music genre. instruments engage in a bit of playful string quartet. Both progressive and respectful of tradition, the Opus 18 quartets would Program notes continue on page 59 …

55 Friday, July 12

Portland State University, Lincoln Recital Hall Concert | 12 pm • Conversations with the Composer | 1:15 pm

Co-sponsored by: George Rowbott om and Marilyn Crilley Karen and Norman Sade

New@Noon: Players’ Choice

FREDERIC RZEWSKI Winnsboro Cott on Mill Blues (1979) • (10') Gilles Vonsatt el, piano (b. 1938)

CAROLINE SHAW Entr’acte (2011) • (12') Miró Quartet (b. 1982) Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello

OLLI MUSTONEN Violin Sonata (2012) • (21') Yura Lee, violin (b. 1967) Grave Daniel Schlosberg, piano Allegrett o Colossale

56 PROGRAMS American composer Frederic Rzewski Rzewski leaves the lyrics of Winnsboro My Violin Sonata consists of three (pronounced ZHEF-skee) was born Cott on Mill Blues unsung, but they movements. The fi rst movement (Grave) in 1938 in Westfi eld, Massachussett s. provide important context for his music: is serious and monumental in character. Aft er studying in Italy on a Fulbright The violin starts playing Fellowship, he made his name as a soft , slowly undulating virtuoso pianist performing the most . . . sixteenths, which form PROVIDE challengingPHOTO? piano music of the 20th [Chorus:] patt erns reminiscent of century. He has oft en been described as I got the blues, I got the blues, Bach, but seem not to the Franz Liszt of our time, combining the I got the Winnsboro Cott on Mill Blues; be connected to any Week Three highest level of technical prowess with Lordy, Lordy, spoolin’s hard; clear tonality. A a creative approach to composition that You know and I know, I don’t have to tell, culmination is reached, aft er which there takes full advantage of his knowledge of You work for Tom Watson, got to work is a diminuendo to the original dynamics his instrument. like hell. of the movement. The movement ends with alternating high and low clusters in In his own compositions, Rzewski I got the blues, I got the blues, the piano, the violin rising ever higher has dabbled in most of the 20th I got the Winnsboro Cott on Mill Blues. into the skies. century’s avant-garde trends, including When I die, don’t bury me at all, minimalism, electronic music, and Just hang me up on the spool room wall. The second movement (Allegrett o) brings graphical notation, but the commonality Place a knott er in my hand, in some totally diff erent kind of music: among his diverse output is his political So I can spool in the Promised Land irregular rhythmic impulses in the piano advocacy. Rzewski wrote his best-known and fanfare-like, vigorous, and joyous piece, The People United Will Never Be . . . motives in the violin. Everything starts Defeated! (1975), in protest against Chile’s soft ly and mysteriously, but soon the oppressive Pinochet regime, which had piano starts to imitate the violin, and Rzewski begins with the harsh recently executed a violent coup d’état all this results into a crescendo, but also soundscape of an industrial factory; against the country’s democratically brings in a more lamenting motive in the several minutes of motoric rhythms elected president, Salvador Allende. A set violin. The music tries to return to its set the scene before the song can even of 36 virtuosic variations on the Chilean joyful origins, but in the end its character be heard amongst the din. The blues working class anthem “El pueblo unido becomes more and more desperate, melody provides a much-needed feeling jamás será vencido,” the piece combines culminating in a breath-taking coda of relief aft er all the commotion, just as Rzewski’s political focus with a highly (Furioso). singing provided relief for Winnsboro’s technical approach to composition overworked laborers. But, like the spirits The last movement starts att acca with reminiscent of J.S. Bach’s Goldberg of many an exploited factory worker, colossal chords in the piano combining Variations. the melody is ultimately crushed by the tonalities of C-sharp minor and C Rzewski’s North American Ballads (1978– the overwhelming noise and power of major. There is a defi ant violin cadenza, 1979) were also inspired by popular songs, the machines. consisting of material from the fi rst in this case various folk and political —© Ethan Allred movement, but in the end the violin songs from North America. Around that seems to lose all hope and stops playing. time, Rzewski had developed a friendship The piano and the violin start a dialogue with American folk singer Pete Seeger, Entr’acte was writt en in 2011 aft er consisting partly of quotations from who advised him on which songs might hearing the Brentano Quartet play Beethoven’s String Quartet, Op. 135 be of interest. Haydn’s [String Quartet] Op. 77, No. 2 – (“Muss es sein?”). The music becomes with their spare and more hopeful and fi nally fi nds peace, the The fourth ballad, Winnsboro Cott on Mill soulful shift to the D-fl at violin ascending to heaven, accompanied Blues, is based on a song that originated major trio in the by a ritualistic dialogue of high and low in the 1930s in Winnsboro, South minuet. It is structured clusters in the piano. Carolina, where workers at the local like a minuet and trio, textile factory developed a blues ballad —© Olli Mustonen, composer riffi ng on that Classical to build solidarity and spread word about form but taking it a litt le the hardship of their lives in the factory. further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.

—© Caroline Shaw, composer

57 Saturday, July 13

Reed College, Kaul Auditorium | 8 pm

Co-sponsored by:

Peter and Ann van Bever

Miró Plays Beethoven Op. 18, Part II

Miró Quartet Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello

BEETHOVEN String Quartet in A Major, Op. 18, No. 5 • (25') (1770–1827) Allegro Menuett o Andante cantabile Allegro

BEETHOVEN String Quartet in C Minor, Op. 18, No. 4 • (24') Allegro ma non tanto Andante scherzoso quasi allegrett o Menuett o: Allegrett o Allegro – Prestissimo

INTERMISSION

BEETHOVEN String Quartet in B-fl at Major, Op. 18, No. 6 • (27') Allegro con brio Adagio ma non troppo Scherzo: Allegro La malinconia: Adagio – Allegrett o quasi allegro

58 PROGRAMS imitation. The trio section begins Saturday, July 13 • Part II Beethoven’s String Quartet in B-fl at in a curiously simplistic vein, but it Major, Op. 18, No. 6, begins with a lively eventually works into a more acrobatic Beethoven’s String Quartet in A Major, dialogue between violins and cello, dialogue between the fi rst violin’s rapid Op. 18, No. 5, begins joyously, though its followed by a stately second theme. This runs and the rest of the ensemble’s trills minor mode second theme interrupts theme goes back and forth between and interjections. Drawing on simple with a bit of severity. The jaunty major and minor in unexpected ways, an motives, especially the triad, Beethoven development section deconstructs idea further explored in the development. craft s a dynamic fi nal movement, whose melodies to their core notes, trading Perhaps the most indebted to Mozart repetition of simple motives forces the of the Opus 18 quartet movements, its

these motives between the instruments Week Three listener to hear rhythms, accentuations, one aft er another. Atypically, Beethoven scales and driving energy make for one and other non-melodic sounds as the places a minuet in the second movement of Beethoven’s most playful movements. primary means of expression. rather than the third, and it is an The second movement Adagio ma non troppo, on the other hand, interrupts a The String Quartet in F Major, Op. 18, unusually substantial minuet. It begins gentle introductory section with a far No. 1, begins amiably, with a simple with a violin duet on a distinguished but darker minor key section. The initial tone, unison melody that becomes more lyrical theme. The trio section is more however, wins out and carries through emotive when taken over by the fi rst dancelike, with a simple romantic melody the rest of the movement. violin and then the cello. The second heard over an oscillating rhythm in theme’s descending thirds lead to the cello. The Scherzo features some hocket-like an abrupt and surprising harmonic The Andante cantabile third movement arpeggios (in which consecutive notes progression. The development becomes is a theme and variations, a favorite form of a melody are played by diff erent more frantic, melding the two themes that would Beethoven would return to instruments). The trio section keeps the by repeating the fi rst theme in throughout his career, based on a simple fi rst violinist busy, with constant and descending thirds. theme in D major. The fi nal Allegro is built ornamented arpeggios. The quartet’s fi nal movement is extremely unique. It Beethoven’s friend Karl Amenda on interlocking four-note motives, an is marked “La malinconia” (“Melancholy”) commented that the quartet’s second idea developed more or less consistently and “Questo pezzo si deve tratt are colla movement evokes the parting of two throughout the movement until its più gran delicatezza” (“This piece must lovers, to which Beethoven responded serene conclusion. be played with the greatest delicacy”). that he had been thinking of the tomb A hearty movement, it begins with an scene in Shakespeare’s Romeo and Beethoven’s String Quartet in C Minor, appropriately delicate and melancholic Juliet – a rare admission that he had Op. 18, No. 4, begins in a more serious Adagio before diving straight into the been inspired by an extra-musical story. tone than his other Opus 18 quartets, genial, dancelike Allegrett o quasi allegro. A series of lengthy moments of silence with a fi rst violin solo sett ing the tone A sudden interruption by the melancholic follow the movement’s climax, an idea in acrobatic style. A passionate dialogue initial melody is only momentary, and Beethoven would have come across between fi rst violin and cello emerges a Prestissimo tempo change amplifi es frequently in Haydn’s quartets. The at the core of the development, with the dancelike section through the Scherzo keeps a bouncy perpetual motion one playing a more complex melody and exuberant fi nale. going, with Haydn-like humor. Beethoven the other responding with a simplifi ed fi nishes the fi rst Opus 18 quartet with version. The quartet’s fugue-like, major —© Ethan Allred an idea that subtly pays tribute to mode Scherzo uses several diff erent Mozart: a cadence repeated an almost melodies to build imitative entrances, unbelievable number of times. developing the material throughout rather than repeating the initial section at the end of the movement.

In an unusual move, Beethoven included minuet as the third movement in addition to the second movement scherzo. Back in C minor, this minuet is marked by an ascending chromatic scale, balanced by a pastoral trio section. The fi nal Allegro begins furiously with a violin run that dissolves into a series of staccato chords. The ensuing sections contrast signifi cantly with the main theme, suddenly lyrical or contemplative, until a fi nal prestissimo version of the primary melody.

59 Sunday, July 14

Portland State University, Lincoln Performance Hall | 4 pm

Sponsored by: Acorn Fund of The Oregon Community Foundation

German Romantics: Schumann, Mendelssohn, and Brahms

C. SCHUMANN Three Romances for Violin and Piano • (10') Daniel Ching, violin (1819–1896) Andante molto Gilles Vonsatt el, piano Allegrett o: Mit zartem Vortrage Leidenschaft lich schnell

MENDELSSOHN Variations sérieuses, Op. 54 • (11') Gilles Vonsatt el, piano (1809–1847)

R. SCHUMANN Märchenbilder (Fairy tale pictures) • (15') John Largess, viola (1810–1856) Nicht schnell Gilles Vonsatt el, piano Lebhaft Rasch Langsam, mit melancholischen Ausdruck

INTERMISSION

BRAHMS Piano Quartet No. 3 in C Minor, Op. 60 • (34') Gilles Vonsatt el, piano (1833–1897) Allegro non troppo William Fedkenheuer, violin Scherzo – Allegro John Largess, viola Andante Joshua Gindele, cello Allegro comodo

60 PROGRAMS minor to a serene D major (14th variation) who had recently delivered her seventh “Composing gives me great pleasure. that fl oats in the air like a benediction. child, to run the household while she, There is nothing that surpasses the joy now the sole breadwinner, prepared to Other composers of the day, including of creation, if only because through it resume her career as a concert pianist. one wins hours of self-forgetfulness, Franz Liszt, Frédéric Chopin, Carl when one lives in a world of sound.” Czerny, and Mendelssohn’s friend In the midst of these domestic duties, Ignaz Moscheles, also provided music Brahms also embarked on an ambitious —Clara Schumann, 1853 for the Album. “I play the Variations musical project, a piano quartet in sérieuses again and again, enjoying C-sharp minor; aft er some months

The Three Romances for Violin and their beauties anew at every turn,” said working on it, Brahms found himself Week Three Piano, Op. 22, are among the last works Moscheles. Clara Schumann also loved creatively stymied. Frustrated, Brahms Clara Schumann published during her these variations and oft en performed put the manuscript in a drawer, where it lifetime. Aft er her husband them herself. remained for almost 20 years. Robert’s death in 1856, In 1874, Brahms returned to the Piano Clara turned away Songs without words, impromptus, Quartet and made several substantial from composition to ballades … 19th-century solo piano revisions: C-sharp minor became C minor focus on performance. repertoire abounds with descriptive (a tonality not coincidentally associated Her reasons for doing so character pieces for piano. It was Robert with several of Beethoven’s most heroic were practical: she had a Schumann who fi rst works, including the “Eroica” Symphony large family to support as a single mother, thought to expand the and the Third Piano Concerto). Brahms and concertizing paid bett er than rich musical and also wrote a new closing movement composition. narrative possibilities and Andante, and transformed the Clara composed and dedicated Opus 22 to of such music to original Finale into the Scherzo. The her good friend, violinist Joseph Joachim. chamber works, as in youthful passion of the original quartet, Together they performed these romances his Märchenbilder, Op. 113 writt en during a time Brahms later oft en in concert, and Joachim also (Fairy tale pictures). characterized as his “Wertherzeit” (a reference to Goethe’s tragic suicidal regularly programmed them in his “Aft er completing the Märchenbilder – character Werther, torn with love for his recitals with other pianists. According which, to my greatest pleasure, he best friend’s wife), was now expressed to Joachim, the king in Hannover was dedicated to me – Schumann had his wife through the musical mastery of a in “ecstasy” over the Romances and could play them to him, whereby I accompanied mature Brahms. “hardly wait” to enjoy such “marvelous, her on the viola,” remembered Düsseldorf heavenly pleasure again.” concertmaster Wilhelm Josef von When Brahms sent the quartet to his Both Clara and Robert wrote Romances, Wasielewski. “Smiling, [Schumann] publisher, Fritz Simrock, he included a term they used for short works of an said, ‘Child’s play, there’s not much to a tongue-in-cheek note referencing intimate, private nature. These free-form them.’ With this comment Schumann the music’s parallels to Werther: “You miniatures reveal an aspect of life Clara was implying that the pieces belong to a might display a picture on the title page. knew well: the private, at-home sphere minor genre of composition. He did not Namely a head – with a pistol pointing in which most 19th-century women object, however, to my remark that they at it. Now you can form an idea of the were confi ned. are delightful.” music! I will send you my photograph for this purpose! You could also give it The four “bilder” present contrasting a blue frockcoat, yellow trousers, and tonalities, meters, and moods; two In 1841, music publisher Pietro Mechett i riding boots [Goethe’s description of sparkle with animated virtuosity, while asked Felix Mendelssohn to contribute Werther’s clothes], since you appear to the others showcase Schumann’s music for a Beethoven Album, whose like color-printing.” proceeds would be used to dreamy lyricism. build a Beethoven Some listeners have discerned the name “Clara” in the strings’ opening memorial in Bonn. Johannes Brahms began writing what two-note sigh motif. Intentional or not, Mendelssohn agreed, would eventually become his Piano Brahms follows this with a version of and submitt ed his Quartet No. 3 in C Minor, Op. 60, in 1855, Robert Schumann’s “Clara” theme, which Variations sérieuses, during a period of great Schumann incorporated into several of Op. 54, which are among turmoil. He was living in his own works. Brahms’ reference to the his most performed works for piano. Düsseldorf, in the Clara theme, transposed into C minor, home of his friends Mendelssohn’s 16-measure theme appears in various guises throughout Robert and Clara resembles a Lutheran chorale; its compact the quartet. phrases and overall gravitas provide rich Schumann and their creative possibilities for variations of all large family (by this time, —© Elizabeth Schwartz kinds: tempo, mood, fl orid embellishment, Robert was confi ned to a sanitarium). and a shift from the somber key of D The 22-year-old Brahms helped Clara,

61 Monday, July 15 Tuesday, July 16

Reed College, Kaul Auditorium Portland State University, Lincoln Performance Hall Musical Conversation | 7 pm • Concert | 8 pm Musical Conversation | 7 pm (Lincoln Hall Room 225) • Concert | 8 pm

Sponsored by: Co-sponsored by: Kirby and Amy Allen

Darrell Grant’s The Territory

DARRELL GRANT The Territory: A Suite in Nine Movements (2013) • (55') Darrell Grant, piano (b. 1962) Hymn to the Four Winds Hamilton Cheifetz, cello Daybreak at Fort Rock Marilyn Keller, voice The Missoula Floods Kirt Peterson, bass clarinet and Chief Joseph’s Lament tenor saxophone Rivers Thomas Barber, trumpet Stones into Blossoms Tyson Stubelek, percussion Sundays at the Golden West John Nastos, alto fl ute and The Aft ermath (Interlude) saxophone New Land Eric Gruber, double bass Mike Horsfall, vibraphone

Darrell Grant’s The Territory has been made possible with support from Chamber Music America’s 2012 New Jazz Works: Commissioning and Ensemble Development program funded through the generosity of the Doris Duke Charitable Foundation.

62 PROGRAMS The Territory is what writers, composers, Chief Joseph’s Lament sets a portion In 1887, on the banks of the Imnaha River, and other storytellers who call this place of the surrender speech given by thirty-four Chinese gold miners were home have in common. In wine culture the legendary chief of the Grand massacred. No one was ever charged. it’s called “terroir” – that Ronde Valley Nez Perce. His name, The Aft ermath (Interlude) refl ects how I mix of dirt, rain, sun, Hinmatóowyalahtq’it, means “Thunder imagine the vibrations from that tragedy wind and water that coming up over the land from the water.” still shimmer in that isolated cove. make one vineyard’s Preferring to avoid bloodshed, Joseph led The movement New Land refl ects on how, grapes taste diff erent the Nez Perce away from their rightful aft er all these years, Oregon’s promise from another. land, seeking safe haven from the U.S.

of paradise still draws newcomers of all Four Week military in Canada; although they never This “Territory” is a suite in ages and races. Their hopes, dreams, and made it, Joseph’s eventual surrender nine movements, inspired by the idea energy birth the land anew with each capped an epic struggle that made him that topography and watershed, cycles successive generation. a legend. His surrender “speech” was of eruption, erosion, fl ood, and drought, recorded (and perhaps embellished) by I would like to extend special thanks to along with human stories of hope, the poet C.E.S. Wood. Chamber Music America, Bill and Jan disaster, courage, profl igacy, promise, and Madill, Anne McFall, William Lang, Lynn betrayal, create a vibration – an ethos – Rivers signify transport, refuge, Darroch, Billy Childs, Nola Bogle, Ethan that is real. It rises from the land itself sustenance, and freedom. I was inspired Seltzer, Trygve Seim, Nany Price, and the and connects native and transplant alike. by a line from a prose-poem by Portland Oregon Coast Music Association. writer Lynn Darroch: “And all the West Hymn to the Four Winds is dedicated unfurls, her hair spread in currents —© Darrell Grant, composer to the fi rst Oregonians, for whom the like a map.” land and its creatures were pieces of one whole. The melody is borrowed from a Stones into Blossoms is inspired by Nez Perce religious chant. the 1941 executive order under which Japanese Americans were forced to Daybreak at Fort Rock captures an evacuate their homes and be transported imaginary sunrise at this volcanic to camps of plywood shacks surrounded landmark in Oregon’s high desert. In by barbed wire. I wondered what kind nearby Fort Rock Cave, 9,000-year-old of impression these events would have sagebrush sandals marked the fi rst made on a young child. The phrase known presence of human habitation “Shikata ga nai” translates as “it cannot in Oregon. be helped,” and was an oft -heard refrain The Missoula Floods uses thematic in the face of this injustice. improvisation to depict the Ice Age fl oods Sundays at the Golden West, the fi rst that sent millions of cubic tons of rock, African American-owned hotel west soil and water boiling down the Columbia of the Mississippi, were lively. Steps Gorge, scouring bare rock and making the from Portland’s Union Station, it Willamett e Valley one of the most fertile provided lodging, entertainment, and a places on the planet. communication hub for Portland’s black community.

63 Wednesday, July 17

Alberta Rose Theatre | 8 pm

Sponsored by: Friends of Fred Sherry

FRED FEST NORTHWEST: Fred Sherry and Friends

CARTER Figment (1994) • (5') Fred Sherry, cello (1908–2012)

CARTER Elegy for Cello and Piano (1944, rev. 2007) • (5') Fred Sherry, cello Gilles Vonsatt el, piano

KIRCHNER Piano Trio No. 1 (1954) • (15') Gilles Vonsatt el, piano (1919–2009) I Katie Hyun, violin II: Largo Fred Sherry, cello

HAYDN String Quartet in D Minor, Op. 42, No. 45, Theodore Arm, violin (1732–1809) Hob. III:43 • (15') Cornelia Heard, violin Andante ed innocentemente George Meyer, viola Minuet – Trio Fred Sherry, cello Adagio e cantabile Finale: Presto

INTERMISSION

J. S. BACH Duets from the Cantatas • (10') Fred Sherry, cello (1685–1750) Edgar Meyer, bass Arr. Fred Sherry

EDGAR MEYER Trio No. 3 for Violin, Cello and Bass (1988) • (5') George Meyer, violin (b. 1960) Movement I Fred Sherry, cello Edgar Meyer, bass

J. S. BACH Sonata No. 2 in D Major for Violin da Gamba Fred Sherry, cello and Piano, BWV 1028 • (14') Gilles Vonsatt el, piano

64 PROGRAMS The idea of composing a solo cello piece Of the 68 string quartets Joseph Haydn improvisatory quality to the music, while had been in the back of my mind for composed, the String Quartet in D Minor, the second movement contrasts a slow many years, especially since many cellists Op. 42, No. 45, Hob. III:43 stands out for section, in which the violin and cello had been urging me to do several reasons. This brief trade rhapsodic phrases, with a frenzied so. When Thomas work is somewhat rhythmic interlude that concludes with a Demenga asked me for anomalous in Haydn’s powerful, stinging piano chord. this at my 85th birthday output; unlike most of —© Elizabeth Schwartz concert in Basel (in Haydn’s other quartets, 1994) for a concert he which were composed Week Four Week was giving sponsored by and published in groups, J.S. Bach • Duets from the Cantatas the Naumburg Foundation in New York, I Opus 42 is a solitary quartet, writt en in The duets and trios we will play tonight soon set to work. Thomas Demenga had 1785. Some Haydn scholars have were transcribed from the Bach Cantatas. already impressed me greatly when he suggested that Opus 42’s straightforward These compositions are fi lled with played some of my chamber works at my nature indicates it was writt en for invention, virtuosity, and 80th birthday concert in Badenweiler, amateur rather than professional spiritual power. Germany, and especially by his wonderful musicians, a plausible theory supported Choosing the arias was recording of these works for ECM, by Haydn’s deliberate use of the most a most gratifying and New Series. basic forms commonly employed in ear opening project; string quartets, as well as the elementary Figment, for solo cello, presents a variety and it took many hours technical demands required of of contrasting, dramatic moments, using to read through all – performers. material derived from one musical idea. I mean all – of the cantatas to choose the The opening Andante ed innocentemente 25 that I later published. In certain Elegy was originally composed in 1939 for features a textbook sonata- instances, I channeled Bach as well as I cello and piano, and took many shapes allegro structure, and the marking could and fi lled in some rests with my before it fi nally found the one that best “innocentemente” further reinforces own material. Please forgive me for pleased. I revised a second version, for its simplicity; so too with the Minuet’s trampling on the master’s work. string quartet, in 1946, and then a third, balanced symmetry, and the rudimentary for string orchestra, in 1952, before —© Fred Sherry, arranger quality of the quasi-fugal Finale. Of the fi nally, in 1961, the fi nal incarnation of the Adagio, the late musicologist Marion Elegy as a work for viola and piano came Scott wrote, “This great litt le movement Edgar Meyer’s Trio No. 3 for Violin, Cello into being. has but one theme, from which Haydn, in and Bass will be discussed from the stage. Elegy was originally composed for cello love with its beauty, constructs the whole and piano as a result of one of a series of its fi ft y-seven bars … music which sings J.S. Bach's Sonata No. 2 in D Major for of meetings between composers and itself again and again in the listener’s Violin da Gamba and Piano, BWV 1028 performers arranged by the League of heart, as it must have done in Haydn’s.” will be discussed from the stage. Composers. One of the meetings was with a cellist, and this led a number Leon Kirchner composed his Piano of composers, including myself, to Trio No. 1 in 1954, on commission from write pieces for this particular cellist Elizabeth Sprague Coolidge, to mark to perform. But I don’t think he ever the 50th anniversary of the Coleman included my piece in his repertory. In Chamber Series in Pasadena, CA. As the intervening years that original score an undergraduate at UCLA, Kirchner has been misplaced or lost altogether. studied with Arnold Schoenberg; So when I was asked in 2007 to make a aft er World War II, Kirchner enrolled new arrangement for cello and piano I as a graduate student at UC Berkeley referred to the string quartet version. and worked with Ernst Bloch and —© Elliott Carter, composer Roger Sessions. Of all his teachers, it was Schoenberg’s ideas, rather than his specifi c 12-tone style, which most lastingly imprinted on Kirchner.

The trio begins with a slow melody in the cello, punctuated by a recurring intervallic fourth sounded by the violin. Kirchner uses these components as building blocks in the compositional foundation for both movements. The fi rst movement is characterized by a number of tempo changes that lend an episodic,

65 Thursday, July 18

Reed College, Kaul Auditorium Musical Conversation | 7 pm • Concert | 8 pm

Co-sponsored by: Karen and Cliff Deveney George Rowbott om and Marilyn Crilley

Cinematic Sounds of Herrmann, Korngold, and Rota

ROTA Trio (1973) • (16') David Shifrin, clarinet (1911–1979) Allegro Fred Sherry, cello Andante Daniel Schlosberg, piano Allegrissimo

HERRMANN Souvenirs de Voyage (1967) • (30') David Shifrin, clarinet (1911–1975) Lento, molto tranquillo – Allegro moderato – Lento, Theodore Arm, violin molto tranquillo – Adagio Katie Hyun, violin Berceuse: Andante Paul Neubauer, viola Canto amoroso: Andantino Fred Sherry, cello

INTERMISSION

KORNGOLD Piano Quintet in E Major, Op. 15 (1921–1922) • (31') Gilles Vonsatt el, piano (1897–1957) Mäßiges Zeitmaß, mit schwungvoll blühendem Katie Hyun, violin Ausdruck Theodore Arm, violin Adagio. Mit größter Ruhe, stets äußerst gebunden Paul Neubauer, viola und aus drucksvoll Hamilton Cheifetz, cello Finale. Gemessen beinahe pathetisch

66 PROGRAMS ver since its early years, the fi lm industry has off ered composers signifi cant opportunities to have their music heard and to make a living. But those opportunities come with a risk, Ebecause music critics tend to treat concert music by movie composers unfavorably. The three composers spotlighted in this performance are among the most respected composers in the history of fi lm music, yet each struggled to be taken seriously on the concert stage. Still, they continued to write chamber music, orchestral music, and operas – much of which has been given a second chance now that the biases of their contemporary critics have faded into the past. Week Four Week

Born in Milan, Italy, in 1911, Nino Rota Described by The New Yorker’s Alex Ross During the rise of Nazism in the 1930s, grew up a child prodigy who was as “the greatest of all fi lm composers,” Austrian composer Erich Wolfgang constantly described as the Mozart of his Bernard Herrmann got his big break Korngold was forced to immigrate to the generation. As one story when Orson Welles hired United States. Like many goes, he could even sit him to write the score European refugee and write music while for Citizen Kane (1941). composers, he found listening to the radio at During the ’50s and work in the American the same time. ’60s, he further fi lm industry, winning cemented his legacy by Oscars for such classic As an adult, Rota found scoring Alfred Hitchcock’s fi lm scores as Anthony international renown in greatest fi lms, including Psycho, North by Adverse (1936) and The Adventures of the movies, providing scores for The Northwest, and Vertigo. However, aft er Robin Hood (1938). Korngold’s Piano Godfather and most of Federico Fellini’s parting ways with Hitchock, Herrmann Quintet in E Major, Op. 15 dates to fi lms, among others. A masterful moved to Britain, convinced his career as 1921–1922, long before he entered the storyteller, he used his uncanny ability a fi lm composer was over. fi lm industry. to emulate musical styles to capture the mood of any scene. For Rota, this There, Herrmann wrote his fi nal concert A romance had recently blossomed kind of mimicry was a core part of his work, a clarinet quintet titled Souvenirs between Korngold and a soprano and musical philosophy. He once claimed that de Voyage, in January 1967. As its title actress named Luzi von Sonnenthal. there is “no such thing as plagiarism in suggests, the quintet is nostalgic and Due to wartime infl ation, the pair could music… there’s still the gratitude that melancholic in character, refl ecting not aff ord to get married – a point that a new author owes to the old one, but Herrmann’s experiences as an American infuriated both of their parents. The what could be more beautiful between in living in Europe. A poem by A.E. lovers even resorted to communicating musicians?” Housman, “On Wenlock Edge the wood’s through a secret musical code in which in trouble,” inspired the quintet’s fi rst clefs and notes corresponded with In addition to his 158 fi lm scores, Rota movement. A vast limestone cliff in particular lett ers. created an impressive array of orchestral Shropshire, England, Wenlock Edge was music, operas, and other music for the Korngold wrote several pieces inspired the site of a large Roman sett lement. stage. Following in the footsteps of by Sonnenthal, including Abschiedlieder Housman’s poem captures the timeless Neoclassical composers like Francis (Songs of Farewell) for soprano and piano. forces of wind and nature that have Poulenc and Sergei Prokofi ev, Rota He then transformed the third song in outlived the area’s ephemeral human composed in a style that is pleasing to this melancholic set, “Mond so gehst du outposts. The quintet’s second movement the ear and oft en humorous. His 1973 wieder auf” (“Moon, you rise again”), into is a Berceuse, or lullaby, inspired by Trio for clarinet, cello and piano, which the Piano Quintet’s central Adagio, a the rocking motion of the sea around dates to the same period as his Godfather theme and variations on what Korngold’s Ireland’s Aran Islands. The fi nale, score, shows how his ability to capture father derisively referred to as the “Luzi on the other hand, takes cues from characters and create moods carried Sonnenthal Theme.” English painter J.M.W. Turner’s vivid over from fi lm music into the realm of Venetian watercolors, portraying a pair Korngold and Sonnenthal fi nally got chamber music. In Rota’s own words, of lovers enjoying nature with lush, married in 1924, despite the continued his music carries an immediate aura Romantic music. disdain of Korngold’s parents. As Luzi of familiarity: “Quite a few people say recalled, “I oft en met [his parents] at they have the impression of ‘knowing the opera or at a concert. We greeted it already,’ but then, in the end, no one each other ceremoniously, and the remembers a thing because the notes only sign that the parents knew about vanish before them.” the engagement was an expression of indescribable sadness in the eyes of Dr. Korngold.” —© Ethan Allred

67 Friday, July 19

Portland State University, Lincoln Recital Hall Concert | 12 pm • Conversations with the Composer | 1:15 pm

New@Noon: Modern Masters

HELMUT Ein Kinderspiel (1980) • (17') Gilles Vonsatt el, piano LACHENMANN (b. 1935)

EDGAR and Meyer Music (Commissioned world premiere, 2019) • (20') George Meyer, violin GEORGE MEYER Edgar Meyer, bass (b. 1960, b. 1992)

Edgar Meyer and George Meyer’s Meyer Music has been commissioned with the generous support of the Chamber Music Northwest Commissioning Club and the CMNW Commissioning Fund.

KIRCHNER Piano Trio No. 1 (1954) • (15') Gilles Vonsatt el, piano (1919–2009) I Katie Hyun, violin II: Largo Fred Sherry, cello

68 PROGRAMS Although it was writt en for my son David Meyer Music is a world premiere by The trio begins with a slow melody in and partly played in public by my composer and father/son duo Edgar the cello, punctuated by a recurring daughter Akiko, who at that time (1980) Meyer and George Meyer commissioned intervallic fourth sounded by the violin. was seven years old, by Chamber Music Northwest. It will be Kirchner uses these components as Kinderspiel (Children’s discussed from the stage. building blocks in the compositional Game) is not a foundation for both movements. The fi rst pedagogical music or a movement is characterized by a number music intended of tempo changes that lend an episodic, “An artist must create a personal specially for improvisatory quality to the music, while cosmos, a verdant world in continuity Four Week children either. the second movement contrasts a slow with tradition, further fulfi lling section, in which the violin and cello Childhood and musical experiences man’s ‘awareness,’ his ‘degree of trade rhapsodic phrases, with a frenzied related to it are an essential part of every consciousness,’ and bringing new rhythmic interlude that concludes with a adult’s inner world. Moreover, these subtilization, vision, and beauty to the powerful, stinging piano chord. pieces resulted from the experiences elements of experience. It is in this way acquired in my most recent bigger works, that idea, powered by conviction and —© Elizabeth Schwartz Tanzsuite mit Deutschlandlied (Dance necessity, will create its own style and Suite with German Anthem) and Salut the singular, momentous structure für Caudwell (Salute for Caudwell), i.e. capable of realizing its intent.” experiences in structural thinking — Excerpt from Leon Kirchner’s liner projected on already existing forms notes for the Piano Trio No. 1 and patt erns accepted by society like children’s songs, dance forms, and very easy models of fi ngering technique. To Leon Kirchner composed his Piano me, it seemed important not to shift Trio No. 1 in 1954, on commission from this change of listening and aesthetic Elizabeth Sprague Coolidge, to mark behavior off ered in my pieces into the 50th anniversary of the Coleman an abstract fi eld but to start with a Chamber Series in Pasadena, CA. As an provocation where the listener (as well undergraduate at UCLA, Kirchner studied as the composer) feels at ease, where with Arnold Schoenberg; aft er World he thinks to be safe. The result of all War II, Kirchner enrolled as a graduate this is something easy to play and student at UC Berkeley and worked with easy to understand: a children’s game Ernst Bloch and Roger Sessions. Of all his but aesthetic, without compromises, teachers, it is Schoenberg’s ideas, rather using a child’s model rather than of than his specifi c 12-tone style, which most the conjuration of childhood. Theodor lastingly imprinted on Kirchner. W. Adorno wrote to Walter Benjamin When Kirchner wrote the trio, he was about his composition Der Schatz des teaching composition at the University Indianer-Joe (“The treasure of Joe, the of Southern California, where he Indian”), “I am using the childlike imagery successfully combined his teaching to present some extremely serious duties with a growing list of his own things: in this connection I am far more compositions. The trio’s two movements concerned with presenting this image refl ect Kirchner’s unfl inching style, of childhood than I am with invoking which features developing variations childhood as such.” of short motivic fragments from an —© Helmut Lachenmann, composer expressionistic chromatic tonal palett e. “‘Contemporary materials’ are easily grasped,” Kirchner wrote. “To establish signifi cant relationships with these materials is a problem of a totally diff erent order.”

69 Saturday, July 20 Sunday, July 21

Reed College, Kaul Auditorium | 8 pm Portland State University, Lincoln Performance Hall | 4 pm

Sponsored by: Sponsored by: Friends and 43-year Chamber Music Northwest Summer Festival Series Subscribers

Meyer Music Featuring Edgar Meyer, George Meyer, and Cornelia Heard

VIVALDI Trio Sonata in E Minor, RV 67 • (9') Cornelia Heard, violin (1678–1741) Preludio: Grave George Meyer, violin Corrente: Allegro con energia Edgar Meyer, bass Sarabanda Largo Giga: Allegro vivo Gavott a: Allegro

GEORGE MEYER Duo for Violin and Cello (2018) • (5') George Meyer, violin (b. 1992) Fred Sherry, cello

GEORGE MEYER Encore for String Quartet (2018) • (3') George Meyer, violin Cornelia Heard, violin Paul Neubauer, viola Fred Sherry, cello

INTERMISSION

VARIOUS Original and Traditional Duos for Violin and Bass George Meyer, violin (Announced from the stage) Edgar Meyer, bass

EDGAR and Meyer Music (Commissioned world premiere, 2019) • (20') George Meyer, violin GEORGE MEYER Edgar Meyer, bass (b. 1960, b. 1992)

Edgar Meyer and George Meyer’s Meyer Music has been commissioned with the generous support of the Chamber Music Northwest Commissioning Club and the CMNW Commissioning Fund.

70 PROGRAMS The year 1703 was a turning point in “My devotion, ambitious to make itself George Meyer • Encore for Antonio Vivaldi’s life. He was not only known to your Excellency, has suff ered String Quartet ordained as a priest, but also off ered a job enough from the torments of desire. . . . In May of 2018, I performed in a string at Venice’s Ospedale della I will not lose myself in the vast expanse quartet at the Kyoto International Music Pietà, a home for of the glories of your most noble and Students Festival. Among other works, orphaned girls. excellent family, for I would not fi nd my the organizers had asked us to bring an Renowned for the way out again.” encore by an American composer, three quality of its music The Trio Sonata in E Minor, RV 67, is minutes in length. Happily, my friends in education, the Ospedale

typical of the Opus 1 sonatas, beginning the quartet allowed me to write this piece Four Week hired Vivaldi to teach with a freely structured prelude that is for the occasion. violin and read the mass – though followed by three contrasting dances. eventually his musical duties would The only note I have to off er about the The Corrente is a quick-paced Italian overtake the priestly ones. The Ospedale music concerns its opening. I borrowed version of the French courante, whose would remain Vivaldi’s primary employer the violins’ rhythm from the opening of name translates literally as “running.” for most of his life, and the composer an album I love, Shakti’s 1976 Handful of The Giga is another lively dance, this one would turn out a staggering quantity of Beauty. On that recording, Zakir Hussain descended from the Irish jig. The fi nal music for its young residents to perform. and Vikku Vinayakram sing the rhythms Gavott a comes from the rural French back and forth before L. Shankar During Vivaldi’s era, tradition dictated gavott e, typically in a more moderate and John McLaughlin join them with that a composer’s fi rst publication tempo; Vivaldi oft en preferred to end rare energy. should be a collection of assorted trio sonatas with a gavott a, as he did with fi ve sonatas. The trio sonata was one of of the Opus 1 trios. —© George Meyer, composer the most important small-scale, multi- —© Ethan Allred movement forms of that time. Trio Selected Orginal and Traditional Duos sonatas were typically writt en for for Violin and Bass will be announced two melodic instruments (most oft en George Meyer • Duo for Violin and Cello from the stage. violins) and a continuo, a word used to By an unusual coincidence, this piece – refer to the musicians that provide the like the Movement for String Quartet – harmonic and rhythmic backbone of the Meyer Music is a world premiere by also makes use of a few notes of stolen piece. Generally, the continuo would be composer and father/son duo Edgar material (to my knowledge, comprised of both a bass instrument like Meyer and George Meyer commissioned I don’t have other pieces the cello and a keyboard instrument like by Chamber Music Northwest. It will be that spring from the harpsichord. Hence, trio sonatas were discussed from the stage. external sources as typically performed by four musicians, well-defi ned as these). despite their name. In this case, it was a Although many of Vivaldi’s works are falling phrase that Ella lost to history, around 76 of his sonatas Fitzgerald improvised in a beautiful are still known today, and 42 were recording of a Jerome Kern song. I have published during his lifetime. His fi rst heard her add the same phrase in several 12 trio sonatas were published in Venice songs, usually at a dramatic turning around 1703–1705; these Opus 1 sonatas point (for instance, a fi nal return to the were labeled sonatas da camera, meaning verse); I fi nd it gives the moment an they were lighthearted chamber sonatas emotional lift . made up of a prelude and several dance In this piece, the phrase appears in movements. nothing like its original context, with Vivaldi, like most composers of his time nothing like its original function. It and place, had to rely on the support is only a small reminder to me of a of wealthy patrons. His Opus 1 sonatas musician I admire. were supported by Annibale, Count —© George Meyer, composer Gambara, a Venetian nobleman, and their opening inscription illustrates the extent to which composers like Vivaldi – seen as servants – had to grovel before such patrons:

71 Monday, July 22 Tuesday, July 23

Reed College, Kaul Auditorium Portland State University, Lincoln Performance Hall Musical Conversation | 7 pm • Concert | 8 pm Musical Conversation | 7 pm (Lincoln Hall Room 225) • Concert | 8 pm

Sponsored by: Sponsored by: Friend of Chamber Music Northwest

The Dover Quartet and Friends

J. S. BACH Sonata No. 1 in G Major, BWV 1027 • (15') Katie Hyun, violin (1685–1750) Adagio Milena Pajaro-van de Stadt, viola Allegro ma non tanto Edgar Meyer, bass Andante Allegro moderato

EDGAR MEYER String Quintet (1995) • (26') Edgar Meyer, bass (b. 1960) I Dover Quartet II Joel Link, violin III Bryan Lee, violin IV Milena Parajo-van de Stadt, viola Camden Shaw, cello

INTERMISSION

BRAHMS String Quintet in G Major, Op. 111 • (29') Paul Neubauer, viola (1833–1897) Allegro non troppo, ma con brio Dover Quartet Adagio Un poco allegrett o Vivace ma non troppo presto

The Dover Quartet are Chamber Music Northwest’s Artists-in-Residence for the 2018–19 season, made possible through a gift from Laura S. Meier.

72 PROGRAMS Johann Sebastian Bach is oft en Over the course of bassist Edgar Meyer’s In 1890, 57-year-old Johannes Brahms considered a conservative composer career, he has worked in genres ranging decided the String Quartet No. 2 in whose genius lay in his mastery of from bluegrass and jazz to classical and G Major, Op. 111, would be his existing Baroque forms world music. He has compositional farewell. rather than the collaborated with artists “With this note you can invention of new including Yo-Yo Ma, take leave of my music, approaches. Like all Béla Fleck, Chris Thile, because it is high time generalizations, this and Joshua Bell, and in to stop,” he wrote to holds true up to a point. the classical world he publisher Fritz Simrock. Week Five In the case of Bach’s has contemporaneously This self-imposed Sonata in G Major, BWV 1027, however, developed a signifi cant body of work as retirement did not last long – in 1891, Bach’s innovative approach to the a composer. inspired by the virtuosity of clarinetist continuo part demonstrates a willingness Richard Mühlfeld, Brahms wrote several Few composers have writt en well-known to upend long-established norms. The new works, including the Clarinet Trio works that feature the double bass, so continuo, performed by a keyboard and Clarinet Quintet. Meyer’s output has served to signifi cantly instrument, usually harpsichord or expand that repertoire. Refl ecting his Brahms spent the summer of 1890 in Bad organ, and oft en reinforced by a viola da experience collaborating with artists Ischl, a picturesque spa in the Austrian gamba or other bass-note instrument, from many genres, his style oft en Alps, where he worked on Opus 111. provides the harmonic foundation for incorporates world, jazz, and bluegrass That spring, Brahms had gone to Italy, virtually all Baroque works. The infl uences, as is the case with this String where he sketched out the Allegro’s continuo’s music is usually notated as a Quintet of 1995. opening cello phrases. The Allegro’s bass line over which the keyboard player lush, abundant texture and expansive improvises harmonically appropriate Its fi rst movement is a theme and quality capture the essence of Brahms’ chords. In the case of BWV 1027 and variations based on a pentatonic tune Italian sojourn, and were initially Bach’s other sonatas for viola da gamba, in 10/8 meter introduced by the fi rst intended as the beginning of a planned however, Bach wrote out both a bass line violin. Interlocking melodies and fi ft h symphony. We can hear in Opus 111 and a right-hand part that serves as rhythms create a minimalist texture a summation of Brahms’ unique voice: another solo instrument. in the early variations, until half rich, dense textures with unexpected steps and dissonance break apart the Why this change from tradition? BWV harmonic explorations in the opening pentatonicism in the fi ft h variation. 1027 is an arrangement of an earlier trio Allegro; the Adagio’s yearning, lyrical The thirteen variations in all show a sonata for two fl utes and continuo, BWV melodies featuring the rich sound of solo remarkable variety, many within the 1039. When Bach became the director viola; the minuet and trio in contrasting bluegrass style. of Leipzig’s Collegium Musicum in 1729, G minor and G major; and the infl uence he was tasked with the need to provide The second movement is a scherzo and of Magyar and Roma folk music in the a steady supply of instrumental works trio, starting off with a twangy bass off -beat accents and high-spirited mood for its weekly free concerts held in the line and a folksy complementary line of the closing Vivace. Brahms’ friend concert hall at Gott fried Zimmerman’s played in turn by the other players. Elisabet von Herzogenberg exclaimed, Coff ee House. Bach’s primary job, as The high strings join in a whine that “The person who can have invented Kapellmeister for St. Thomas’ Church, at times sounds like a train whistle all this must be in a happy frame of claimed most of his available composition and plays a constant background to mind! One feels you must have been time. Out of practical necessity, Bach the dancelike counterpoint. The slow celebrating – say, your 30th birthday.” oft en recycled previously composed third movement is more abstract than Another friend, Theodor Billroth, wrote music by arranging it for diff erent the fi rst two, unfolding slowly as the to Brahms aft er hearing a rehearsal, instruments. instruments enter in stark imitation. The “Today I heard enthusiastic shouts, fourth movement is quick and extremely ‘the most beautiful music he has ever Bach adopted the four-movement sonata virtuosic, with non-stop arpeggios, rapid- composed!’ … I have oft en refl ected on da chiesa (church sonata) format for fi re two-note motives, and a constant the subject of what happiness is for BWV 1027, alternating two fast fugal energy that carries the piece to an humanity. Well, today in listening to your movements with two expressive, relaxed enthusiastic conclusion. music, that was happiness.” sections. Historian Philipp Spitt a, who wrote the fi rst defi nitive Bach biography, —© Ethan Allred —© Elizabeth Schwartz described BWV 1027 as “the loveliest, the purest idyll conceivable.”

—© Elizabeth Schwartz

73 Wednesday, July 24

Alberta Rose Theatre | 8 pm

Sponsored by: David and Maryanne Holman

Dynamic Duos

BEETHOVEN Duo for Viola and Cello in E-fl at Major, WoO 32 Milena Pajaro-van de Stadt, viola (1770–1827) (“With Two Eyeglasses Obbligato”) • (8') Camden Shaw, cello Allegro Minuet – Trio

MOZART Duo for Violin and Viola No. 2 in B-fl at Major, Joel Link, violin (1756–1791) K. 424 • (20') Milena Pajaro-van de Stadt, viola Adagio – Allegro Andante cantabile Tema con variazioni

INTERMISSION

BARTÓK Selected Duos for Two Violins, Sz. 98 (1931) • (9') Joel Link, violin (1881–1945) No. 11: Cradle Song Bryan Lee, violin No. 28: Sorrow No. 35: Ruthenian Kolomejka No. 36: Bagpipes No. 38: Romanian Whirling Dance No. 41: Scherzo No. 44: Transylvanian Dance

BRIDGE Cello Sonata in D Minor • (23') Camden Shaw, cello (1879–1941) Allegro ben moderato Jeff rey Kahane, piano Adagio ma non troppo – Molto allegro e agitato

The Dover Quartet are Chamber Music Northwest’s Artists-in-Residence for the 2018–19 season, made possible through a gift from Laura S. Meier.

74 PROGRAMS Although oft en thought of as a humorless wrote the set’s last two duos – imitating In the early years of Frank Bridge’s man focused only on writing music, Michael Haydn’s style in order to hide his career, his Brahms-infl uenced musical Ludwig van Beethoven enjoyed making deception from the archbishop. style suited the old-fashioned tastes of jokes with his friends. His England’s concert-going Although Mozart wrote many quartets aff ectionate nickname public well. In the 1910s, and quintets for strings, these would be for one such friend, however, Bridge’s his only duos for violin and viola. The amateur cellist musical and personal B-fl at major duo’s playful fi rst movement Nikolaus Zmeskall, was outlook took an abrupt is followed by songlike Andante, “Dearest Baron Garbage left turn. As cellist

with an impassioned violin solo that Week Five Man” (a play on words Antonia Butler recalled, emulates the most dramatic of opera based on Zmeskall’s Czech name). The Bridge was “in utt er despair over the arias. While Mozart could have closed two friends also oft en joked with one futility of World War One and the state of the duo with a short and simple fi nale, another about their eyeglasses, so, when the world and would walk round he instead showed off with a diverse Beethoven wrote a duo for the pair to Kensington in the early hours of the theme and variations that demonstrates play together, he facetiously wrote to the morning unable to get any rest.” Around his impressive ability to create a Zmeskall that “two eyeglasses” were the same time, Bridge grew more and full-sounding texture with just two needed to play the piece “because my eyes more interested in the avant-garde instruments. are also weak, and thus we are brothers techniques of composers like Arnold in affl iction,” continuing, “I am obliged to Schoenberg and Alban Berg. you for the weakness of your eyes.” When a German violin educator asked As Bridge’s music became harsher permission to use some of Hungarian That Duo for Viola and Cello in and more dissonant, his career took a composer Béla Bartók’s children’s pieces, E-fl at Major (“With Two Eyeglasses corresponding nose dive. For decades Bartók decided to do him Obbligato”) is one of Beethoven’s oddest aft er his death, he was generally known one bett er and wrote a and most eccentric works. Writt en only as Benjamin Britt en’s teacher, and four-volume set of around 1796 but only published in the 20th scornful comments about how Bridge educational Duos for century, it consists of an opening Allegro tried to “uglify his music to keep it up to Two Violins (1931). and a Minuet, although an unfi nished date” were common among British music Most educational music slow movement has also been uncovered. critics. Recently, however, there has was (and continues to be) The lighthearted dialogue between viola been an encouraging renewal of interest decidedly old-fashioned, but Bartók and cello gives a peak at Beethoven’s in the music of this pioneering British hoped to rectify that by introducing friendship with Zmeskall, as well as a composer. students to a variety of modernist more intimate and lighthearted side of compositional techniques while they Beethoven’s personality as a composer. learned to play the violin. Bridge’s Cello Sonata in D Minor dates to 1913–1917, bridging the gap between the Ranging from easier exercises in the A sibling of the “Eyeglasses” Duo in spirit, innocence of his pre-war period and the fi rst book to fi endishly diffi cult studies Wolfgang Amadeus Mozart’s Duo for more avant-garde music he wrote aft er in the fourth, these short duos were not Violin and Viola No. 2 in B-fl at Major also World War One. One of his most oft en originally intended to be performed in resulted from a friendship performed pieces, its two movements concert. However, many of the more between two musicians. merge Brahms’s late Romanticism with challenging selections have turned out In 1783, Mozart was more contemporary infl uences from to be popular showpieces for violinists, planning a return to his composers like Claude Debussy. With and several of the greatest hits are hometown, Salzburg, a lyrical and highly expressive melodies, presented here. city that no longer felt the sonata evokes the restlessness of like home; he even feared Bridge’s experience during the agonizing that his former patron, the archbishop of wartime period. Salzburg, would have him arrested. As he —© Ethan Allred wrote his father, “I care very litt le for Salzburg and not at all for the archbishop… it would never enter my head voluntarily to make a journey there, if you and my sister did not live there.”

When Mozart arrived in Salzburg, he learned that his friend Michael Haydn (Joseph Haydn’s younger brother) had fallen ill. The archbishop was impatiently waiting for Haydn to fi nish a promised set of six duos for violin and viola, so Mozart covered for his friend and

75 Thursday, July 25

Reed College, Kaul Auditorium Musical Conversation | 7 pm • Concert | 8 pm

Co-sponsored by:

and

Jeff rey Kahane and Friends

BRUCH Selections from Eight Pieces for Clarinet, Viola and Piano, David Shifrin, clarinet (1838–1920) Op. 83 • (20') Paul Neubauer, viola No. 4: Allegro agitato in D Minor Jeff rey Kahane, piano No. 5: Andante in F Minor No. 6: Romanian Melody: Andante in G Minor No. 7: Allegro vivace, ma non troppo in B Major

SCHUBERT Viola Sonata in A Minor, D. 821 (“Arpeggione”) • (25') Paul Neubauer, viola (1797–1828) Allegro moderato Jeff rey Kahane, piano Adagio Allegrett o

INTERMISSION

MOZART Piano Quartet in E-fl at Major, K. 493 • (28') Jeff rey Kahane, piano (1756–1791) Allegro Katie Hyun, violin Larghett o Paul Neubauer, viola Allegrett o Fred Sherry, cello

76 PROGRAMS Two names eclipse all others in Franz Schubert wrote his Sonata in Unlike the well-established piano trio discussions of German music during the A Minor, D. 821, for an instrument that and string quartet, the piano quartet was late 19th century: Johannes Brahms and did not stand the test of time: the a virtually unheard of when Wolfgang Richard Wagner. But many arpeggione. Structured like Amadeus Mozart other composers, a guitar but played with composed his two piano including Max Bruch, a bow, the six-stringed quartets in 1785 and have left a bountiful arpeggione was 1786. In fact, Mozart supply of late-Romantic invented in Vienna in more or less invented German music 1823. Schubert wrote the genre; by adding a Week Five infl uenced by Brahms and this so-called “Arpeggione” viola to the standard piano Wagner, while at the same time all Sonata the following year; it would be the trio of violin, cello, and piano, he inspired their own. fi rst – and only – lasting piece of music countless future composers to follow in writt en for the arpeggione. his footsteps, including Beethoven, A well respected composer and conductor Schubert, Dvořák, and Brahms. originally from Cologne, Bruch is best Even though the arpeggione was only a known today for his First Violin Concerto year old at the time, Schubert’s sonata Mozart wrote his second piano quartet, (1866), which he wrote when he was 28 includes highly idiomatic arpeggione the Piano Quartet in E-fl at Major, K. 493, years old. As he grew older and audiences’ melodies, including fi ve-note arpeggios in 1786. A year earlier, he had writt en the tastes changed, Bruch remained largely that wouldn’t make sense on an Piano Quartet in G Minor, K. 478, which consistent, continuing to write music in instrument with only four strings. was supposed to be the fi rst of three. the late-Romantic style exemplifi ed by Adventurous cellists and violists, However, sales were disappointing, and this early career success. however, have long found ways to his publisher withdrew from the project. play the sonata on their four-stringed As was oft en the case for Mozart, he At age 70 – over 40 years later – Bruch instruments, and it has become one had writt en a quartet that was simply wrote Eight Pieces for Clarinet, Viola of Schubert’s most popular pieces of too serious and too diffi cult to play for and Piano (1909) for his son Felix, who chamber music. the mostly amateur musicians who happened to be an excellent clarinetist. purchased sheet music. Oft en described as “autumnal” or The sonata’s fi rst movement begins as a “retrospective” in tone, these delightful rather morose Allegro moderato, but it Having already begun the E-fl at major miniatures are reminiscent of the soon moves to a folk-like second theme, quartet, Mozart went ahead and chamber music Johannes Brahms wrote with strumming that highlights the fi nished it anyway, fi nding a diff erent for the clarinet late in his own life. arpeggione’s relation to the guitar. The publisher to distribute it. Connoisseurs Adagio, in E major, is essentially an aria soon began to recognize the excellence Bruch did not intend the pieces to be for the arpeggione. It leads directly into of both quartets; one contemporary performed in a particular order; rather, the fi nal Allegrett o, a pastoral rondo in A described the E-fl at major quartet as an performers can excerpt from the set major. Some of the intermediary sections “artfully set and demanding execution as they see fi t. The fourth piece opens contrast signifi cantly in tone, key, and of the utmost precision in all voices,” tonight’s selections with a stormy give- tempo, oft en tinged with the folk music but also warned that it “in truth, can and-take pitt ing the clarinet and viola infl uences that the arpeggione brings to hardly be endured when it falls into against the piano. Bruch drew from the fore. mediocre and amateurish hands and is Romanian folk music in writing the carelessly played.” darkly emotive fi ft h piece. Interestingly, Bruch had originally hoped to include a Mozart wrote both of his piano quartets harp alongside the trio, which would have in three movements, suggesting that he fi t perfectly with the piano’s rolled chords modeled them on his three-movement here and in the sixth piece, a gentle piano trios rather than his four- nocturne. This program’s selections movement string quartets. At that time, conclude with the seventh piece, a chamber music for piano and strings fi tt ingly boisterous fi nale and the only typically emphasized the piano, with only piece of the eight in a major key. light accompaniment from the strings. However, Mozart preferred to spread out the virtuosity and melodic interest more evenly, exacting signifi cant demands from the string players and the pianist alike. In fact, these quartets – dating from the same period when Mozart wrote some of his greatest piano concertos – can be thought of as miniature chamber music concertos for piano and strings. —© Ethan Allred

77 Friday, July 26

Portland State University, Lincoln Recital Hall Concert | 12 pm • Conversations with the Composer | 1:15 pm

Sponsored by: Friend of Chamber Music Northwest

New@Noon: Kahane, Andres and Bates

MASON BATES From Amber Frozen (2004) • (15') Dover Quartet (b. 1977) Joel Link, violin Bryan Lee, violin Milena Parajo-van de Stadt, viola Camden Shaw, cello

TIMO ANDRES Bewegt from Moving Études (2017) • (4') Jeff rey Kahane, piano (b. 1985)

GABRIEL KAHANE Works on Paper (2016) • (9') Jeff rey Kahane, piano (b. 1981) Death to Advertising Veda (Paraphrase) The New Sincerity Auld Reel

CARTER Figment (1994) • (6') Fred Sherry, cello (1908–2012)

OLIVER KNUSSEN Eccentric Melody (1998) • (2') Fred Sherry, cello (1952–2018)

The Dover Quartet are Chamber Music Northwest’s Artists-in-Residence for the 2018–19 season, made possible through a gift from Laura S. Meier.

78 PROGRAMS Mason Bates • From Amber Frozen The three Moving Études are pianistic The idea of composing a solo cello piece studies not on specifi c technical had been in the back of my mind for This quartet forms itself gradually, challenges, but on the idea of tempo, many years, especially since many cellists growing its melodic and textural ideas at rhythm, and rubato as had been urging me to do an evolutionary pace through a rose- expressive tools. so. When Thomas colored world as if viewed Demenga asked me for by an insect from the The fi rst (Good this at my 85th birthday Jurassic, forever sealed Word) challenges the concert in Basel (in in a crystal of dried performer to articulate 1994) for a concert he

amber on a tree. expressive variety in Week Five was giving sponsored by isorhythm. So the ensemble hatches the Naumburg Foundation in New York, from its shell in embryonic Bewegt takes the fi rst étude’s two-note I soon set to work. Thomas Demenga had form, a lopsided groove of plucked out- mott os and recasts them as structural already impressed me greatly when he of-tune notes and woody rustlings, with signposts, between which urgent played some of my chamber works at my bell-like sustained notes foreshadowing sequences are strung. 80th birthday concert in Badenweiler, the coming melody. This texture of Germany, and especially by his wonderful —© Timo Andres, composer shatt ered lines that weave in and out of recording of these works for ECM, each other is as much informed by today’s New Series. electronica as it is by Indonesian gamelan Works on Paper was writt en for my dear Figment, for solo cello, presents a variety – all passed through the prism of the friend, the pianist and composer Timo of contrasting, dramatic moments, using string quartet’s rich and varied textures. Andres, on the occasion of a duo recital material derived from one musical idea. tour we gave in 2016. In As the ensemble evolves from rhythmic writing for a fellow —© Elliott Carter pointillism to more sustained lines, a composer, I had in mind melody asserts itself. This lyrical urge to att empt a certain very gradually infects the group, melting Composer and conductor Oliver Knussen kind of musical the crystalline beats into warmer, more (1952–2018) was one of the most ventriloquism – I wanted emotive thoughts – and by the work’s infl uential fi gures in British music in the to hint at aspects of Timo’s center, the core of animal warmth has last fi ft y years. Born in compositional diction, grammar, succeeded in fusing the shatt ered lines Glasgow, Scotland, vocabulary, and dialect, while also of the opening into a single lyrical Knussen conducted his remaining att uned to his personality as a expression. The long-lined melody that First Symphony with pianist. The fi rst movement, Death to follows reaches its expressive peak at the the London Symphony Advertising, takes its title from a very bad exact moment that the work begins to Orchestra when he was pun having to do with the musical unit or devolve, as bowed lines become dancing, just 15 years old. Known cell from which the rest of the detuned grooves dispersed throughout for taking his time to craft every moment movement’s material is derived. It is an the group. By the work’s end, it has carefully in his music, he wrote relatively exercise in Apollonian restraint, a quality morphed well-beyond full-circle – having litt le, but what he did write had a major with which I associate Timo’s pianistic returned to its initial rhythmic space, it impact. Among his best-known temperament. The second movement, ultimately loses pitch altogether. compositions are his operatic Veda (Paraphrase), recasts the collaborations with children’s book —© Mason Bates, composer eponymous song from my 2014 album The author Maurice Sendak, Where the Wild Ambassador. While the outer voices Things Are and Higlety Pigglety Pop! (melody and bass) largely resemble the original song, there is a blurry harmonic Knussen was friends with many of the aspect to the inner voices that shadow most infl uential composers of the second the melody, oft en in a slow, mazurka-like half of the twentieth century, including rhythm. Finally, The New Sincerity Auld Hans Werner Henze, Toru Takemitsu, Reel is a brief but virtuosic coda that pays Harrison Birtwistle, and Elliott Carter. homage to Appalachian folk music. He wrote Eccentric Melody in 1998 for Carter in honor of the renowned Works on Paper was commissioned American composer’s 90th birthday. This by Carnegie Hall, the Van Cliburn two-minute miniature, writt en for cellist Foundation, the Schubert Club, and the Fred Sherry to perform for Carter, refl ects Newman Center for the Arts. Knussen’s respect and appreciation for —© Gabriel Kahane, composer one of the greatest composers of the 20th and 21st centuries.

—© Ethan Allred

79 Saturday, July 27 Sunday, July 28

Reed College, Kaul Auditorium | 8 pm Portland State University, Lincoln Performance Hall | 4 pm

In honor of: Sponsored by: William and Helen Jo Whitsell

Dvořák and Schubert Quintet Finale

DVOŘÁK Piano Quintet in A Major, B. 155, Op. 81 • (38') Jeff rey Kahane, piano (1841–1904) Allegro ma non tanto Dover Quartet Dumka: Andante con moto Joel Link, violin Scherzo-Furiant: Molto vivace – Poco tranquillo Bryan Lee, violin Finale: Allegro Milena Parajo-van de Stadt, viola Camden Shaw, cello

INTERMISSION

SCHUBERT String Quintet in C Major, D. 956, Op. 163 • (54') Peter Wiley, cello (1797–1828) Allegro ma non troppo Dover Quartet Adagio Scherzo: Presto – Trio: Andante sostenuto Allegrett o

80 PROGRAMS Czech composer Antonín Dvořák wrote his fi rst piano quintet During the fi nal six years of Austrian composer Franz in 1872, but he destroyed the score aft er a disappointing first Schubert’s brief lifetime (1797–1828), he suff ered from a painful performance. Around 15 years later, the idea of reviving that and debilitating illness; spurts of energy and relative wellbeing early quintet struck him. Yet even aft er tracking alternated with periods of near-complete down another copy of the music and making incapacitation. With no known cure for the extensive revisions, he abandoned it again, disease (syphilis) at the time, he could only opting to start fresh with the Piano Quintet in hope it would remain latent for as long as A Major, B. 155. This wide-ranging work, possible. which Dvořák wrote in 1887, combines his

One the most creative periods in Schubert’s Week Five Slavic and Germanic infl uences into a true entire life came in September of 1828, just two masterpiece of Romantic chamber music. months before his tragically early death. During a remarkable, The quintet is ostensibly in A major, but it quickly sett les into fi nal burst of creativity, he wrote his last three piano sonatas, minor key areas for much of the fi rst movement. Dvořák called a number of songs, and the String Quintet in C Major, D.956. the melancholic second movement a Dumka, a Ukrainian Although he had writt en more than a dozen string quartets, this word meaning “lament” that denotes slow-paced music in would be his fi rst and only string quintet. brief, contrasting sections. His inspiration for the fl ashy third Wolfgang Amadeus Mozart and Ludwig van Beethoven had movement came instead from the Furiant, a lively Bohemian each writt en string quintets in C major, so it makes sense that folk dance. The fi nal movement integrates echoes of folk themes Schubert selected that key for his own. Schubert diff erentiated into a complex formal structure. Several brilliant main melodies his quintet from those of his predecessors, however, by making culminate in a sudden and seemingly timeless respite before an the unusual (though not unprecedented) choice to add an eff ervescent fi nal coda. additional cello to the standard string quartet rather than an As it happens, a charming and illustrative litt le connection additional viola. Prior to Schubert, cellos primarily provided exists between Dvořák’s Piano Quintet and a song cycle he had a harmonic foundation in chamber music, only occasionally writt en more than twenty years earlier. In his early twenties, taking a leading melodic role. Schubert had already shown a Dvořák had fallen in love with a young woman named Josefi na tendency to give the cello more melodic prominence in some Cermáková, an actress he met through his role as violist in her of his string quartets, but adding a second cello to his String theater’s orchestra. Though his passion remained unrequited – Quintet really freed him up to use one of the cellos as a melodic and he even ended up marrying Josefi na’s younger sister Anna instrument on par with the rest of the ensemble, without losing – his feelings for Josefi na inspired themes, both musical and the harmonic underpinning. otherwise, that would resurface throughout his life. “Sublime” is probably the most commonly used word to describe At the moment of the romance, Dvořák set his passions to paper Schubert’s String Quintet, and justifi ably so. Schubert fi lled the in a song cycle called Cypresses (1865). The cycle’s story captured massive fi rst movement Allegro ma non troppo with expansive Dvořák’s recent experience nearly perfectly: A young lover fi lls melodies, unexpected harmonies, and symphonic textures. himself with longing and hope, striving to recapture the lost The Adagio is an exercise in extreme contrast between the past with his beloved. He reads a lett er she wrote him – the only hushed stillness of the outer sections and the unpredictability sign of her that remains. and turbulence of the central section. The Scherzo that follows provides a feeling of relief, with pastoral drones, innovative Much later, a year aft er he fi nished the Piano Quintet, Dvořák rhythms, and spiraling melodies. The quintet culminates in rewrote four of these Cypresses songs under the new title Love an exhilarating Hungarian dance (Allegrett o), closing with all Songs. As the lyrics tell of how the lover would gladly die for fi ve instruments playing an emphatic descending half-step his beloved because a mere smile from her would restore his in unison. life, Dvořák subtly incorporated the melancholic melody of the Piano Quintet’s Dumka second movement. We might wonder In October of 1828, aft er fi nishing the quintet, Schubert went if this melody, too, was inspired by Josefi na Cermáková and for a trip to get some fresh air; he stopped in Eisenstadt to Dvořák’s youthful love story. pay tribute to Joseph Haydn, the father of modern chamber music. A month later, he died, leaving the quintet to gather dust, unperformed. Only in 1850 would it be discovered, publicly premiered, and quickly recognized as one of the greatest examples of Romantic chamber music. —© Ethan Allred

81 ARTIST BIOS

Tyler Abbott Joshua Anderson Michelle Anderson Tyler Abbott Dr. Joshua Michelle Anderson maintains an active Anderson is an is a professional performance active orchestral clarinetist and schedule as an and chamber teacher in orchestral bassist, musician and has Vancouver, Canada. chamber musician, given performances She performs jazz bassist, in such venues as regularly with the clinician, and Carnegie Hall and Vancouver Opera Favorite small luxury: soloist, performing Favorite smell: Lincoln Center’s Favorite small luxury: Orchestra, Lions Empty seats next to Pine trees throughout the David Geff en Hall. Bubble baths Gate Sinfonia, West you on an airplane region and nation Anderson holds the position of Coast Chamber Music, and the Pacifi c in both the classical and jazz music principal clarinet with both the Reno Symphonic Wind Ensemble. She was a worlds. He has performed with, or is a Philharmonic and the Dearborn featured soloist at the World member of, the Eugene Symphony, Symphony, and has played under the Association of Symphonic Bands and Oregon Symphony, Aspen Festival baton of such conductors as Valery Ensembles in 2015, performing the Orchestra, Oregon Bach Festival, Gergiev and Peter Oundjian. As a Ticheli Clarinet Concerto. Anderson Orchestra Next, Spokane Symphony, chamber musician, Anderson has regularly coaches the Vancouver Youth Astoria Music Festival, Oregon Ballet performed internationally alongside Symphony Orchestra, leads educational Theater, Oregon Mozart Players, and members of the New York and Berlin workshops at schools and music camps, others. As a jazz bassist, he has had the philharmonic orchestras. He is also an and is a regular artist clinician with the privilege of performing with jazz artist member of the Four Corners Vancouver Symphony Orchestra legends Branford Marsalis, Steve Ensemble, which was recently in Connects program. Wilson, Danilo Perez, Ken Peplowski, residence at the Shanghai When Anderson isn’t playing really Ben Monder, Dick Hyman, and many Conservatory of Music, as well as the fun music on her clarinet or being a others. Abbott frequently presents Flatirons Chamber Music Festival, both soccer mom, she is devoted to creating master classes regionally, nationally of which are committ ed to crossing resources for the Clarinet Mentors and internationally and presented at cultural divides both at home and Clarinet Community. Anderson the International Society of Bassists abroad. founded Clarinet Mentors in 2012 as a Conventions in 2011 and 2015. He can be As an educator, Anderson has been resource to provide online lessons and heard on recordings on Bridge, Innova, a teaching artist for Yale’s Music in tutorials for the passionate amateur Origin, OA2, and Ninjazz record labels. Schools Initiative, the MPulse Clarinet clarinetist. Her online courses have Tyler Abbott currently teaches double Institute, and the Flatirons Chamber helped thousands of clarinetists play bass, jazz bass, and music theory at Music Festival Young Artist Program. clarinet more easily and beautifully University of Oregon, and teaches He currently serves on the faculty and her YouTube channel has double bass, jazz bass, and small jazz of the University of Nevada, Reno as provided free clarinet lessons to over ensembles at Willamett e University. assistant professor of clarinet and is 2 million viewers worldwide. She also co-artistic director of the L-Cubed helped create teaching videos for Concert Series. the Backun Educator Series and the Royal Conservatory of Music’s First Joshua Anderson att ended the Lessons Series. Interlochen Arts Academy and holds degrees from the Peabody Michelle Anderson is a Backun Musical Conservatory, the Yale University Services, Lègere Reeds, Steuer Reeds, School of Music, and the University and Silverstein Works Artist. of Michigan, Ann Arbor.

82 Protégé Project Artist Clarinet Celebration Artist ARTISTS Deborah Andrus Ardan has performed in the the School of Fine Arts. He holds a Tanglewood, Marlboro, Mostly Mozart, doctorate in performance from The Equal parts and Bellingham Music Festivals, and as Juilliard School, where he studied with entrepreneur, a guest artist in “Emanuel Ax Invites...” Christine Dethier and Joseph Fuchs. educator, and on the Great Performers series at clarinetist, Deborah Lincoln Center. A frequent guest of the Andrus is the Mary Backun Atlanta Chamber Players, Georgian founder of Clarinet Clarinetist Mary Chamber Players, and Emory Chamber Guide, a resource Backun was born in Music Society, she plays regularly at the used by students of Calgary and moved Highlands Chamber Music Festival in all levels and abilities to set clear goals to Vancouver in the North Carolina and the Grand Teton and to creatively solve their clarinet 1980s. Backun Chamber Music Festival in Wyoming. challenges. In addition, she is clarinet began playing the professor at Moravian College and A student of Roger Hiller and Stanley clarinet in her Lehigh University in Bethlehem, Drucker, Laura Ardan att ended school music Pennsylvania. She is the clarinet author The Juilliard School of Music on Favorite smell: program and has Lavender for Teaching Woodwinds, a woodwind scholarships from both Juilliard and been passionate methods resource for music educators the Naumburg Foundation. Before about both music and music education and represents Buff et Crampon as an joining the ASO, she was a resident since that time. As a director of bands, artist-clinician. clarinetist and teaching artist at the chamber music ensembles, and Lincoln Center Institute for four years. orchestras, Backun has been involved Lauded for her inspirational teaching, She also played in the Metropolitan in both performing and directing music Deborah Andrus is the second and Opera Orchestra for two seasons. for many years. Mary has travelled E-fl at clarinetist with the Allentown throughout the United States, Europe, Symphony Orchestra, and is a member and Asia to att end music conferences of the SATORI Chamber Ensemble, the Theodore Arm and has been a solo performer at the DeMarina Trio, and the East Winds 45th Summer International Clarinet Society Quintet. A proponent of music by living Theodore Arm has conference in Vancouver and composers, she has premiered and delighted audiences performed at the World Association of recorded works by Paul Salerni, Larry throughout the Band Ensembles in Singapore and again Lipkis, Steven Sametz, Matt hew Quayle, United States, in San Jose. and Arthur Frackenpohl. Deborah is Canada, Europe, grateful to have studied with highly- and Asia with Backun taught for many years in the esteemed, encouraging pedagogues and his artistry. He North Vancouver School system and clarinetists including Alan Woy, James Favorite city: has appeared as most recently, until her retirement last Florence, Italy Pyne, Theodore Oien, Elsa Ludewig- soloist, recitalist, year, at the esteemed St George’s School Verdehr, and Mark Nuccio. In addition and guest artist with such well-known in Vancouver as a director of bands to her musical endeavors, Deborah organizations as The Chamber Music encompassing over 225 students. is a passionate advocate and support Society of Lincoln Center, the Group In addition to her teaching career, for diff erently-wired children and for Contemporary Music, New York’s Mary Backun has been performing as their families. Festival Chamber Players, and the principal clarinet with the Vancouver Boston Chamber Music Society. Opera, Lions Gate Sinfonia and Pacifi c Laura Ardan Arm has been a member of the highly Symphonic Wind Ensemble. She was Principal Clarinet acclaimed chamber group TASHI also a member of the renowned CBC Laura Ardan has since 1976 and has performed with Radio Orchestra under the direction been with the Lukas Foss, Chick Corea, and Gary of Maestro Mario Bernardi. She looks Atlanta Symphony Burton throughout Europe and Asia. forward to devoting more time to her Orchestra (ASO) A favorite with summer chamber professional playing career as well as since 1982 and holds music festival audiences, he has been to spending time working alongside of the endowed a regularly featured artist at Chamber her husband Morrie, and sons Jeremy Robert Shaw Chair. Music Northwest, the Sarasota Music and Joshua at Backun Musical Services Favorite smell: Festival, and Music from Angel Fire building clarinets… of course! Chinese fringe tree She has been a (New Mexico). He has recorded for RCA, featured soloist Delos, Koch, Musical Heritage Society, with the Orchestra in works by Mozart, and ECM. Weber, Debussy, Copland, Bernstein, Finzi, Rossini, Shaw, and Michael Theodore Arm is an Emeritus Professor Gandolfi , and has also performed with at the University of Connecticut and the Cleveland Quartet. a 2010 recipient of the prestigious Lifetime Achievement award from

Protégé Project Artist Clarinet Celebration Artist 83 Morrie Backun Finland; his recordings The Finnish Haven Symphony Orchestra, Quartz Clarinet and Eliangelis are on AlbaCds. Mountain Music Festival, and Arizona Musician, catalyst, Finnish conductor/composer Esa-Pekka Musicfest Orchestra. and gourmet food Salonen vett ed his chamber ensemble connoisseur. These Burrow’s recent concert engagements arrangement of Salonen’s Nachtlieder. are just a few of the have included performances in many, many words Barrett takes special pride in the Denmark’s Thy Chamber Music used to describe achievements of his students who have Festival, the National Concert Hall Morrie Backun, performed in groups such as the Civic in Taiwan, Chamber Music Society who wears several Orchestra of Chicago and the Beijing of Lincoln Center in Alice Tully Hall, hats at Backun Musical; however, none Symphony Orchestra and who have Zankel Hall at Carnegie Hall, and are more important than Chief gone on to advanced study at the Curtis Chamber Music Northwest. Burrow has Instrument Designer. Born with a Institute of Music, and the universities presented recent masterclasses at the clarinet in one hand and a reamer in of Iowa, Kansas, Missouri–Kansas City, 4th International Clarinet Festival in the other, Backun spawned the aft er- and Yale. Taiwan, Yale University, Northwestern market barrel and bell revolution with University, the University of Texas, and Breitkopf & Härtel publishes Barrett ’s his handcraft ed creations, while also Rice University among others. arrangement of Sibelius’s En Saga becoming the go-to woodwind Septet, Gérard Billaudot Éditeur his Burrow has recordings released by technician for many of the world’s most 24 Clarinet Etudes from the World and Albany Records, CD Baby, and Centaur respected artists. The Three Shepherds Rock (apologies Records. The most recent recording Whether it’s rebuilding Ricardo to Schubert), Edition Wilhelm Hansen features Trio Solari in by works Morales’s basset clarinet fi ft een off ers his arrangement for clarinet Bartók, Khachaturian, Milhaud, and minutes before a concerto performance and piano of Carl Nielsen’s Chaconne Edward Knight. (true story), or developing the next and OR-TAV distributes his Klezmer Chad Burrow performs exclusively amazing Backun product (did someone Suite for clarinet choir and Oyfb li & Oyf on MoBa Clarinets and is an artist for say Backun Bass Clarinet?), Backun tish un oyf benk (Flowering & It was a Backun Musical Services. is always thinking and always on Grand Old Time) for solo clarinet with Facebook. And while he’ll never admit wind band. it, he’s truly at home at his repair Calidore String Quartet Gregory Barrett ’s degrees are from bench working with our artists on a Northwestern, the State University new prototype or solving the latest of New York at Buff alo, and Indiana woodwind quandary. University. When not being traumatized by his personal trainer, Morrie Backun can Chad Burrow oft en be found on Skype chatt ing 2nd Summer with Backun Artists, sampling the Clarinetist Chad latest delicacies of Vancouver’s fi nest Burrow has a JEFFREY MYERS 2nd Summer sushi restaurants, and biking the multifaceted career Favorite city: The Calidore seawall with his wife, Mary (herself a Barcelona as an educator, String Quartet professional clarinetist and educator), RYAN MEEHAN solo artist, has enjoyed an and sons Jeremy and Joshua. Favorite city: chamber musician, Berlin impressive number

and orchestral JEREMY BERRY of accolades, Gregory Barrett Favorite small luxury: musician. In 2009, Favorite city: including a 2018 Gregory Barrett , Time for reading books he was appointed to London Avery Fisher professor of the clarinet faculty of the University of ESTELLE CHOI Career Grant, and Favorite city: clarinet at Michigan, where he serves as associate the 2017 Lincoln New York Northern Illinois professor of music. Burrow also serves Center Emerging University, Buff et/ as principal clarinetist with the Ann Artist Award. They made international USA Artist, and Arbor Symphony and co-artistic headlines as winners of the $100,000 editor of music director for the Brightmusic Society Grand-Prize of the 2016 M-Prize reviews for The of Oklahoma, which includes regular International Chamber Music Favorite city: Clarinet, has performances throughout the year and Competition, the largest prize for Helsinki performed and a summer music festival in Oklahoma chamber music in the world. Within taught throughout the U.S.and Europe City. He also currently serves on the two years of their founding in 2010, and in Australia, Canada, China, Israel, faculty for the Sewanee Summer Music the Calidore String Quartet won grand and Japan. With the Lahti (Finland) Festival and the AlpenKammerMusik prizes in virtually all the major U.S. Sinfonia Chamber Ensemble he festival in Austria. Burrow is the chamber music competitions, including performed in Vienna’s Musikverein. former principal clarinetist of the the Fischoff , Coleman, Chesapeake, Barrett is a specialist in music from Oklahoma City Philharmonic, New and Yellow Springs competitions

84 Protégé Project Artist Clarinet Celebration Artist ARTISTS and captured top prizes at the 2012 well as the Lavoisier Grant from the recording studios. Captein has also ARD Munich International String Ministry of Foreign Aff airs in 1994 and been a long time instructor, having Quartet Competition and Hamburg the Grant of the Rothschild Foundation taught at the University of Oregon for International Chamber Music in 1993. ten years, he now teaches privately Competition. from his home in S.E. Portland and at Camus leads a solo career that brings Lewis & Clark College. The Calidore String Quartet regularly her to travel in France, Costa Rica, performs in prestigious venues the United States, Czech Republic, Dave Captein has appeared with throughout North America, Europe, and Poland, Germany, Portugal, Venezuela, many “greats” such as Mose Allison, Asia such as Lincoln Center, Carnegie Switzerland, and more. She oft en plays Richie Cole, Tal Farlow, Art Lande, Red Hall, Kennedy Center, Wigmore in orchestras such as the Orchestre Holloway, Ernestine Anderson, Jack Hall, Berlin Konzerthaus, Brussels National de France, Radio France Sheldon, Nu Shooz, Marlena Shaw, BOZAR, Cologne Philharmonie, Philharmonic Orchestra, Paris Opera, Frankie Avalon, Jeff Clayton, Paul Seoul’s Kumho Arts Hall, and at many Orchestre de l’Opéra de Normandie, McCandless, Larry Coryell, Andy Narell, signifi cant festivals, including the Tours Opera, Ensemble 2 e2m, and has Jerry Hahn, Dave Frishberg, Randy BBC Proms, Verbier, Ravinia, Mostly been soloist for more than 20 years at Brecker, Steve Million, Ron Miles, Rick Mozart, Music@Menlo, Rheingau, East the Ensemble l’Itinéraire. Braun, Kenny Drew Jr., Jessica Williams Neuk, and Festspiele Mecklenburg- (appearing on ten of her CDs), Joey Camus is clarinet teacher at the Rouen Vorpommern. De Francesco, Eric Alexander, Pete Conservatory. She is also the founder Christlieb, Gary Smulyan, Ron Eschete, The Calidore have given world- of the Jacques Lancelot International Bud Shank, Ingrid Jensen, Jackie premieres of works by Caroline Shaw, Clarinet Competition and provides all Naylor, Bobby Shew, Wynton Marsalis, Hannah Lash, and Benjamin Dean direction and artistic direction. Dick Hyman, and Ken Peplowski. Taylor. They have collaborated with In 2016, she created the AMRC teaching many esteemed artists and ensembles, method based on the Alexander including Jean-Yves Thibaudet, Joshua Hamilton Cheifetz Technique. Her educational activities 32nd Summer Bell, David Shifrin, Inon Barnatan, led her to travel to CNSMD in Lyon; Paul Colett i, David Finckel, Wu Han, Hamilton Cheifetz Haute école de musique in Geneva; and Paul Neubauer, Ronald Leonard, Paul has been described Yale, Rutgers, and the University of Watkins, and the Emerson and Ebène in Fanfare Alabama in the United States. Quartets. Magazine as “unquestionably Using an amalgamation of “California” Dave Captein a magnifi cent and “doré” (French for “golden), the Dave Captein is an player" for his ensemble’s name represents a reverence accomplished solo recordings, and he has performed for the diversity of culture and the performer on both throughout the U.S. and Canada as strong support they received from their string bass and well as in Europe, Australia and Asia. home of origin, Los Angeles, California, bass guitar. He has Cheifetz studied with Janos Starker the “golden state.” studied with Alice beginning at the age of 16, and he Leyden (Portland performed at the White House and Aude Camus Opera Orchestra), the Sydney Opera House and was the Before studying Herman Jobelmann (principal, Oregon winner of the Piatigorsky Prize at music at Yale Symphony), Ring Warner, James Tanglewood. Concerto appearances University, Harnett (principal, Seatt le Symphony), include the Toronto, Milwaukee, and clarinetist Aude and Chuck Deardorf (Seatt le Jazz Oregon Symphonies. He also performed Camus was bassist). A graduate of Western at the Chamber Music Society of awarded the First Washington University and the Lincoln Center in New York and Awards of Clarinet University of Washington, where he Chamber Music Northwest, and he was and Chamber Music was awarded a composition presented in solo recitals and master Favorite smell: and the Léon scholarship, Captein has performed in a classes in China in 2010 and 2012. Coconut Leblanc Prize at the broad range of situations, from Cheifetz toured South Korea with Julia Conservatoire National Supérieur de symphonic performances to studio and Lee in 2016, playing duo recitals and Musique et de Danse (CNSMD) in Paris. club work, as well as many jazz concerts concertos and teaching master classes. She is also the winner of numerous and festivals around the country and In 2017, Cheifetz performed with jazz competitions such as the First Grand in Europe. legend Paquito D’Rivera and Darrell Prix at the Festival musical d’automne Grant at PSU. Recent concerts include Captein has worked with many well- de jeunes interprètes International solo and chamber music performances known jazz artists. He freelances in Competition and the Salvi Prize in 1997, in Germany in August, and he was the Portland area and is a very active First Prize at the Woolsey Hall guest artist with the Takacs Quartet in member of the music community here, Competition in 1997, and the Eastern Portland in December 2018. Hamilton frequently appearing in the city’s many Connecticut Symphony Orchestra Cheifetz is professor of cello at PSU and clubs and concert venues, as well as Young Artist Competition in 1996, as a founding member of the Florestan Protégé Project Artist Clarinet Celebration Artist 85 Trio with Carol Sindell and Janet Daniel Ching John Cox Guggenheim. 8th Summer 23rd Summer Daniel Ching, a John Cox has been Gloria Chien founding member a member of the 3rd Summer of the Miró Quartet, Oregon Symphony Taiwanese-born began his violin for 37 years and pianist Gloria studies at the age principal horn for Chien has one of of 3 under tutelage the last 35. As a the most diverse of his father. At soloist in front of musical lives as a Favorite smell: age 5, he entered Favorite smell: the orchestra, Cox noted performer, Searing meat the San Francisco Daphne in bloom has been featured concert presenter, Conservatory Preparatory Division on numerous times with the Oregon and educator. She was selected by the a full twelve-year scholarship, where Symphony with the concertos of Boston Globe as one of its superior he studied violin with Serban Rusu Strauss, Mozart, Att erberg, and Martin. pianists of the year, “… who appears and Zaven Melikian, and chamber Cox’s accomplishments with the to excel in everything.” She made her music with Susan Bates. At the age of Oregon Symphony have led to other orchestral debut at the age of 16 with 10, Ching was fi rst introduced to string notable engagements, including being the Boston Symphony Orchestra with quartets. A graduate of the Oberlin a long-time participant with Chamber Thomas Dausgaard, and performed Conservatory of Music, Ching studied Music Northwest. He was also a 28- again with the BSO with Keith violin with Kathleen Winkler, Roland year member of the Mainly Mozart Lockhart. In recent seasons she has and Almita Vamos, and conducting Festival Orchestra, has performed performed as a recitalist and chamber with Robert Spano and Peter Jaff e. He Bach’s Brandenburg Concertos musician at Alice Tully Hall, the Library completed his master’s degree at the with the Chamber Music Society of of Congress, the Phillips Collection, Cleveland Institute of Music, where Lincoln Center in New York, and is the the Kissingen Sommer festival, the he studied with former Cleveland current hornist with the Westwood Dresden Chamber Music Festival, and Quartet violinist Donald Weilerstein. Woodwind Quintet. the National Concert Hall in Taiwan. He also studied recording engineering A former member of The Bowers and production with Thomas Knab of He is currently an instructor at the Program (formerly CMS Two), she Telarc, and subsequently engineered University of Portland and Concordia performs frequently with the Chamber the Miró Quartet’s fi rst promotional University in Portland. He also gives Music Society of Lincoln Center. disc. Daniel is on faculty at the Sarah frequent master classes, most recently and Ernest Butler School of Music as guest lecturer with the Imani Winds In 2009, she launched String Theory, at the University of Texas at Austin, summer chamber music camp and at a chamber music series at the Hunter where he teaches private violin the University of Evansville. Museum of American Art in downtown students and coaches chamber music. Chatt anooga, that has become one of In addition to his performance career, He concurrently maintains an active Tennessee’s premier classical music John Cox has recently fi nished writing international touring schedule as a presenters. The following year she was his fi rst novel, and is in research for member of the Miró Quartet. appointed Director of the Chamber his second – a fi ctional history of the Music Institute at the Music@Menlo Daniel Ching is a discerning indigenous Mississippian culture of festival by Artistic Directors David connoisseur of all things cinematic and 1,000 years ago. Finckel and Wu Han. In 2017, she joined electronic. Before he became a busy her husband, violinist Soovin Kim, parent, Ching was an avid skier and a Jennifer Crockett as Co-Artistic Director of the Lake dedicated reader of science fi ction – he Jennifer Crockett Champlain Chamber Music Festival looks forward to returning to those currently plays in Burlington, Vermont. The duo has passions, some day. In his free time, clarinet and bass recently been appointed Artistic Ching enjoys hosting happy hours with clarinet with the Directors Designees at Chamber Music friends and lounging at home with Walla Walla Northwest. Ms. Chien received her B.M., his wife Sandy, their two sons, and Symphony, Yakima M.M., and D.M.A. degrees from the New two cats. Symphony, and England Conservatory of Music as a Portland Chamber student of Russell Sherman and Wha- Music. While att ending DePaul's School Kyung Byun. She holds the position of of Music under a Performance Award artist-in-residence at Lee University Scholarship, Crockett performed across in Cleveland, Tennessee. She is a the US and Europe. An avid studio Steinway Artist. musician, Crockett has recorded on eleven albums with Other Lives, Ages & Ages, Horse Feathers, and others. Crockett was also a founding member of the American Federation of

86 Protégé Project Artist Clarinet Celebration Artist ARTISTS Musicians "Fair Trade Music" campaign, A native of Montreal, de Guise-Langlois Dover Quartet which fought for establishing earned degrees from McGill University minimum compensation for bands and the Yale School of Music, where she playing Portland clubs and has now studied under David Shifrin. She is an been adopted by several cities. alumnus of Ensemble Connect and The Bowers Program, and is an assistant A resident of Astoria, Jennifer Crockett professor of clarinet at the University serves on the Board of Directors of Massachusett s Amherst aft er having for Coast Community Radio and is previously served on the faculty of currently the Executive Director of the Montclair State University. historic Liberty Theatre performing BRYAN LEE 7th Summer Favorite smell: arts center in Astoria, Oregon. The phenomenal Mark Dover Freshly-baked apple pie Dover Quartet 3rd Summer catapulted to Romie de Guise-Langlois JOEL LINK 4th Summer Praised by Favorite smell: international Opera News for Freshly-cut grass stardom following Praised as his “exemplary a stunning sweep “extraordinary” MILENA PAJARO- clarinet playing,” VAN DE STADT of the 2013 Banff and “a formidable Favorite smell: New York-based Competition, at clarinetist” by Fresh air in either the clarinetist Mark desert, the mountains, which they won The New York Dover is becoming or the beach every prize. Named Times, Romie de Favorite city: increasingly known CAMDEN SHAW the Cleveland Guise-Langlois has Dubrovnik for his versatility in Favorite smell: Quartet Award- Favorite city: appeared as soloist A wood stove multiple genres and musical disciplines. winner, and Montreal and chamber In January of 2016, Dover joined the honored with the coveted Avery Fisher musician on major concert stages Grammy-nominated wind quintet Career Grant, the Dover has become throughout the United States, Canada, Imani Winds. one of the most in-demand ensembles Europe, and Asia. She has performed in the world. The Quartet’s rise from as soloist with the Houston Symphony, As both part of Imani Winds and as a up-and-coming young ensemble to Burlington Chamber Orchestra, featured artist, Dover has collaborated occupying a spot at the top of their Guanajuato Symphony Orchestra, with pianists Gil Kalish, Fabio Bidini, fi eld has been “practically meteoric” Ensemble ACJW, and at Festival Mozaic, Jon Nakamatsu, and Alpin Hong; (Strings). With its burnished warmth, Music@Menlo, and Banff Center for violinists Caroline Goulding, Alexi incisive rhythms, and natural phrasing, the Arts. Kenney, and Francesca de Pasquale; the Quartet’s distinctive sound has and cellist Brook Speltz. Since moving De Guise-Langlois is a winner of the helped confi rm its status as “the to New York in 2010, he has performed Astral Artists’ National Auditions young American string quartet of the at many of the major concert halls and a recipient of the Canadian moment” (New Yorker). The Quartet including Carnegie Hall and Weill Broadcasting Corporation award. serves as the quartet-in-residence Recital Hall, Avery Fisher Hall, Alice She was also awarded First Prize for the Bienen School of Music at Tully Hall, Brooklyn Academy of Music, in the Ima Hogg Competition, the Northwestern University, Chamber 92nd Street Y, Merkin Concert Hall, and Woolsey Hall Competition at Yale Music Northwest, Artosphere, the Symphony Space. University, the McGill University Amelia Island Chamber Music Festival, Classical Concerto Competition, and As an orchestral musician, Dover and Peoples’ Symphony in New York, the Canadian Music Competition. An has performed with the Detroit and was recently named the fi rst-ever avid chamber musician, she has toured Symphony Orchestra under Leonard quartet-in-residence for the Kennedy with Musicians from Marlboro and Slatkin, the Cleveland Orchestra Center. has appeared at numerous chamber under David Zinman at Blossom Music In 2018-2019, the Dover Quartet music series, including the Chamber Center, the New World Symphony performs more than a hundred Music Society of Lincoln Center, in Miami Beach, and Symphony in concerts around North America, Philadelphia Chamber Music Society, C in New Jersey. Dover also has an including performances at the Kennedy Boston Chamber Music Society, 92nd extensive background in jazz and Center, San Francisco Performances, Street Y, the Kennedy Center, and improvised music and has performed the Philadelphia Chamber Music Chamber Music Northwest. She has and/or recorded with a wide array of Society, Spivey Hall, Boston’s Celebrity performed as principal clarinetist for musicians including Edward Simon, Series, the Chamber Music Society of the Orpheus Chamber Orchestra, Saint Brian Blade, Scott Colley, David Binney, Detroit, and Carnegie Hall. In addition, Paul Chamber Orchestra, Orchestra Bernard Purdie, Cyrille Aimée, The the Dover’s season features tours of of St. Luke’s, New Haven Symphony Temptations, Darren Criss, Theo Hong Kong, Europe, and Australia; Orchestra, Stamford Symphony, Katzman, Joey Dosik, Dave Malloy, collaborations with Emmanuel Ax, NOVUS NY, and The Knights chamber Phillipa Soo, Stephen Pasquale, Michael Inon Barnatan, Peter Serkin, Anthony orchestra. Thurber, and Charles Yang. McGill, and Roomful of Teeth; and

Protégé Project Artist Clarinet Celebration Artist 87 premieres by Caroline Shaw and Matan International Competition in Germany. Gallery. Abroad, he has performed Porat. The Quartet was thrilled to be Fan was also the artistic director for at the American Academy in Rome, invited by the maverick fi lmmaker the International Clarinet Festival in Fountainbleu, Spoleto Festival of Two and cultural icon David Lynch to be Xi’an, China. Worlds, the Taipei National University featured at his Los Angeles Festival of of the Arts, and in Austria at the famed Fan received degrees from Oberlin Disruption. Esterhazy Castle for the Haydn Festival Conservatory and Yale University. His in Eisenstadt. teachers have included Tao Chunxiao, Mark Dubac Elsa Luswing Verdehr, David Shifrin, Making his solo violin debut with Mark Dubac joined and Kalmen Opperman. His honors the Calgary Philharmonic in 1994, the clarinet section and awards include the Grand Prize Fedkenheuer went on to receive of the Oregon of the Chinese National Clarinet a Bachelor of Music from Rice Symphony in 2008, Competition. He was awarded a prize University’s Shepherd School where he plays at the International Young Clarinetist of Music under the tutelage of second clarinet and Competition in Seatt le, and was a Kathleen Winkler and continued his E-fl at clarinet. He fi nalist in the 1991 Young Concert Artist graduate studies with Miriam Fried also performs in International Auditions in New York. at Indiana University. From 2000- Favorite smell: several Portland- 2006, Fedkenheuer was a member Woodshop A passionate and devoted teacher, based chamber of the Borromeo String Quartet and Fan has given master classes at Yale groups, including Third Angle, on the faculty of the New England University, The Curtis Institute, fEARnoMUSIC, and 45th Parallel. Dubac Conservatory of Music in Boston. Most The Juilliard School, and Oberlin previously served as principal clarinet recently, Fedkenheuer has served as the Conservatory. Fan was appointed of the Green Bay Symphony Orchestra, fi rst violinist of the Fry Street Quartet full professor of clarinet at the China and has also performed with the Santa and was on the teaching faculty of the Conservatory of Music (CCOM) from Fe Opera Orchestra, Milwaukee Caine College of the Arts at Utah State 2007. He serves as a permanent visiting Symphony Orchestra, Milwaukee University. Ballet, New Mexico Symphony professor at the Conservatory of Music Orchestra, Portland Opera, and the in Xi’an and Shenyang Conservatory An active hiker and fl y-fi sherman, Oregon Ballet Theatre orchestra. of Music. He was a visiting artist at William Fedkenheuer and his wife, Banff Center for the Arts since 1999. violinist Yi Ching Fedkenheuer, have Mark Dubac has participated in a In addition, Fan has been a tenured two sons, Max and Olli, and two dogs, number of summer festivals, including professor at Lawrence University Archibald and Lulu. Fedkenheuer the Santa Fe Chamber Music Festival, Conservatory of Music and served as performs on a bow by Charles Espey Colorado Music Festival, Astoria Music principal clarinetist of the Green Bay and a violin by Peter and Wendy Moes. Festival, Oregon Bach Festival, National Symphony Orchestra. Repertory Orchestra, Spoleto Festival Julie Feves Fan Lei is the founder and Artistic of Italy, National Orchestral Institute, 46th Summer Kent/Blossom Chamber Music Festival, Director of the CCOM Chamber Music Julie Feves and the Sarasota Music Festival. Festival, the International Winds and Percussion Festival, and the Mozart has performed International Clarinet Competition. extensively as a Fan Lei soloist, chamber Clarinetist Fan Lei performer, and has been William Fedkenheuer 8th Summer orchestra principal captivating in music ranging Winner of the audiences as a Favorite smell: from the baroque Lincoln Center soloist throughout Roses to the avant-garde. Martin E. the United States, The New York Times has praised her Segal Award, Europe, Canada, “virtuosic fl air” and the San Francisco violinist William and Asia. He has Examiner admired “the sureness of Fedkenheuer has Favorite city: collaborated with her pitch and the tenderness of her San Francisco distinguished several of the phrasing.” Feves has appeared with Favorite small luxury: himself as a world’s leading musicians and groups numerous orchestras throughout Dark chocolate… versatile artist including Patrick Gallois, Edgar Meyer, any kind… the United States, including the Los with international the Muir String Quartet, and the Angeles Chamber Orchestra, the performances as soloist, chamber, and Shanghai Quartet. American Symphony, the Los Angeles orchestral musician. Fedkenheuer’s Philharmonic, and the Aspen Festival An active adjudicator, Mr. Fan served touring in the United States has Orchestras. as a jury member for the Beijing included performances at The Chamber International Clarinet Competition, Music Society of Lincoln Center, Currently, Julie Feves serves as Belgium International Clarinet Carnegie Hall Presents, San Francisco principal bassoonist with the Long Competition, and Marknukirchen Performances, and the National Beach Symphony Orchestra. She

88 Protégé Project Artist Clarinet Celebration Artist ARTISTS has performed contemporary music Performing regularly in Spain, Corrado Giuff redi with the New Century Players, Franch-Ballester has appeared with The Italian inauthentica, Speculum Musicae, and the Orquesta de Radio y Television clarinetist Corrado the Contemporary Chamber Ensemble. Española, Orquesta de Valencia, Giuff redi began his Performing on early bassoons, she Orquesta Sinfónica del Principado clarinet studies at has worked with the Philharmonia de Asturias, and Orquesta Sinfónica 10 years old at the Baroque Orchestra, the Los Angeles del Valles. He is the founder of Jose Conservatory of Baroque Orchestra, and the Mozartean Franch-Ballester i amics (and friends), Parma, where he Players. As a chamber music artist, a series of concerts in which young later graduated Feves performs regularly her Baroque musicians from all over the world Favorite smell: with honors. group, Bach’s Circle. She has appeared are presented in Franch-Ballester’s Barbeque by Joel Jaff e! with the Oregon Bach Festival, Music hometown of Moncofa and throughout Principal clarinet from Angel Fire, Bravo Colorado Music the Valencia area. of the Orchestra della Svizzera Italiana, Festival, and as a guest artist with the Corrado Giuff redi has also performed Jose Franch-Ballester graduated Lincoln Center Chamber Music Society. in numerous concerts and international from the Joaquin Rodrigo Music She has recorded for Delos, Columbia festivals around the world with Conservatory in Valencia. In 2005, Records, Nonesuch, Harmonia Orchestra Filarmonica della Scala he earned a bachelor’s degree from Mundi, Leonarda, Nine Winds, and under the batons of Riccardo Muti and the Curtis Institute of Music in the AudioQuest labels. Currently, Daniel Barenboim. During 2010 and Philadelphia where he studied with Feves holds the Hal Blaine Chair in 2012, Giora Feidman invited Giuff redi to Donald Montanaro. Franch-Ballester’s Performance at the Herb Alpert School perform master classes and concerts in mentors also include Ricardo Morales, of Music at the California Institute of Safed and Jerusalem, Israel. Recently, principal clarinet in the Philadelphia the Arts. Cecilia Bartoli invited Giuff redi to Orchestra. perform Rossini clarinet variations at Salzburg Whitsun Festival with Jose Franch-Ballester Joshua Gindele 2nd Summer I Barocchisti and Diego Fasolis. 8th Summer The multiple Having performed the Italian Cellist Joshua award-winning premiere of Krzistof Penderecki’s Gindele, a founding Spanish clarinetist Concerto for Clarinet and Orchestra, member of the Miró Jose Franch- Giuff redi’s chamber music repertoire Quartet, began Ballester, recipient includes performances with Martha his cello studies of an Avery Fisher Argerich, Maurizio Baglini, Boris at the age of 3 Career Grant in Belkin, Silvia Chiesa, Larry Combs, playing a viola his 2008 and winner of both the Young Eddie Daniels, Enrico Fagone, Andrea Favorite small luxury: teacher had fi tt ed Concert Artists and Astral Artists A live-in au pair! Griminelli, Ricardo Morales, Danilo with an endpin. auditions, is a solo artist and chamber Rossi, Rino Vernizzi, and l’Ensemble As cellist for the Miró, Gindele has musician in great demand. Strumentale Scaligero. won numerous international awards As a concerto soloist, he made his New including an Avery Fisher Career Grant, Giuff redi has also recorded for labels York debut in 2006 with the Orchestra the Naumburg Chamber Music Award including EMI, Decca, Arts, Fonè, and of St. Luke’s at Lincoln Center. He has and the Cleveland Quartet Award and Stradivarius. Giuff redi teaches clarinet also performed with the BBC Concert has shared the stage with Pinchas at the Istituto Musicale Superiore in Orchestra, Louisville Orchestra, Zuckerman, Joshua Bell, Midori, Matt Modena and presents master classes Princeton Symphony Orchestra, Santa Haimovitz, Eliot Fisk, Leif Ove Andnes, around the world. Barbara Chamber Orchestra, Wisconsin and The Oak Ridge Boys. He continues Corrado Giuff redi is a Backun Artist Philharmonic, Louisiana Philharmonic, to perform across four continents and and performs on his signature series Hilton Head Symphony Orchestra, and on some of the world’s most prestigious CG Clarinets by Backun Musical the Malaysian Philharmonic Orchestra. concert stages. In his free time he Services and CG Mouthpieces by regularly hikes, climbs, runs, goes to Franch-Ballester’s festival appearances Pomarico. He is also a Silverstein the gym, plays tennis and golf, skis, in the United States include the Artist, performing on the Maestro and cooks French food, and enjoys the Saratoga Chamber Music Festival, CRYO4 Ligatures, and is a Légère Reeds occasional glass of wine. Music@Menlo, and Mainly Mozart. Artist, performing on Légère European Abroad, he has appeared at the Joshua Gindele serves as senior lecturer Signature Series Reeds. Usedomer Musikfestival in Germany, at the University of Texas at Austin the Verbier Festival in Switzerland, Butler School of Music, where he the Cartagena Festival Internacional teaches a select number of private cello de Música in Colombia, the Kon-Tiki students and coaches chamber music. Festival in Norway, and the Young Concert Artists Festival in Tokyo.

Protégé Project Artist Clarinet Celebration Artist 89 Darrell Grant Jonathan Greeney A noted clarinetist, David Hatt ner 2nd Summer 4th Summer has regularly been featured in recital on All Classical Portland’s Thursdays Since the release Jonathan Greeney @ Three. He has been the principal of his debut album is the principal clarinetist of the Princeton Symphony Black Art, selected timpanist of the Orchestra, New Jersey Opera Theater, as one of 1994’s top Oregon Symphony. and the Cascade Festival of Music. ten jazz CDs by the He is also a member He has also played with the Orpheus New York Times, of the 45th Parallel Chamber Orchestra, Oregon Symphony, Darrell Grant has Universe Helios New Jersey Symphony Orchestra, and built an international reputation as a Favorite smell: Camerata, The Brooklyn Philharmonic Orchestra. pianist, composer, and educator who Campfi re Gemini Project channels the power of music to make Percussion Group, and a member change. He has performed throughout of The Percussion Collective. He Richard Hawkins the U.S., Canada, and Europe in venues holds a Bachelor of Music degree Clarinetist Richard ranging from Paris’s La Villa jazz club in performance from the Peabody Hawkins made his to the Havana Jazz Festival. Dedicated Conservatory of the Johns Hopkins solo debut at the to themes of hope, community, and University, and a Master of Music Kennedy Center place, Grant’s compositions include degree in performance from Cleveland with Mstislav 2012’s Step by Step: The Ruby Bridges State University. Also an active Rostropovich and Suite honoring the civil rights icon educator, Greeney is an adjunct the National and The Territory, which explores professor of percussion studies at Symphony Oregon’s landscape and history. Since Portland State University. Before Favorite city: Orchestra in 1992 Vancouver, BC moving to Portland, he has been joining the Oregon Symphony, with the Aaron named Portland Jazz Hero by the Jonathan Greeney was a member of Copland Concerto. He has since given Jazz Journalist Association, received the Orquesta Sinfonica de Xalapa in more than sixty performances of a Northwest Regional Emmy, and has Veracruz Mexico, where he performed featured clarinet works with orchestra. been named the 2019 Portland Jazz as a full time section percussionist Hawkins's fi rst teaching position at the Master. Darrell Grant is a professor until the Summer of 2008. Since joining Interlochen Arts Academy in 1993 set of music at Portland State University, the Oregon Symphony in the fall of a new career direction – a dedication where he directs the Leroy Vinnegar 2010, he and his family have resided to educating the world’s fi nest young Jazz Institute. happily in Portland, Oregon. clarinetists. Aft er almost ten years at Interlochen and a brief tenure at Mary Grant David Hatt ner DePaul University, Hawkins joined 2nd Summer 2nd Summer the faculty of the prestigious Oberlin Mary Grant David Hatt ner Conservatory of Music in 2001. His joined the Oregon is the musical former students now hold prestigious Symphony in 1994. director of the positions in orchestras and teaching Since coming to Portland Youth institutions worldwide. His recordings Oregon, she has Philharmonic feature the works of Ravel, Elliot Carter, also performed (PYP). He is only William Albright, Benjamin Broening, with Chamber the fi ft h musical Aaron Helgeson, Paul Hindemith, and Favorite city: Music Northwest, director in the 95-year history of the Johannes Brahms. Mexico City Oregon Bach orchestra, and the fi rst to be born in Richard Hawkins proudly performs on Festival, and the Sunriver Music the United States. Reviewing the July the Backun Lumière clarinet with a G Festival. 2014 appearance of PYP at Chicago’s Model Richard Hawkins mouthpiece Grant Park Music Festival, the Chicago Before moving to Oregon, Grant held and Légère Reeds. Tribune wrote “the performance was positions with the Florida Orchestra brilliant in all departments.” and the Richmond Symphony, and was a regular performer with the “David Hatt ner conducted a calmly Minnesota Orchestra, with whom she authoritative performance” wrote has toured Europe and Japan. Anthony Tommasini in The New York Times, reviewing a 2006 performance of Mary Grant received her musical Richard Einhorn’s Voices of Light with training at the Cleveland Institute of the Ensemble Sospeso, Anonymous Music, where she studied with Myron 4, and the New Amsterdam Singers Bloom. She continued her studies at New York’s Winter Garden. The with Philip Myers of the New York performance was broadcast on WNYC Philharmonic. radio and can still be heard in the New Sounds online archive.

90 Protégé Project Artist Clarinet Celebration Artist ARTISTS Yi He Cornelia Heard Heartbeat Opera Chinese-American 2nd Summer clarinetist Yi He Cornelia Heard serves as chair of holds the Valere woodwinds at the Blair Pott er Chair China at the Blair School Conservatory of of Music, Vanderbilt Music in Beijing. He University, where is also the national she is professor Favorite city: chair of China for of violin and chair of the string From the drama at the core of each Beij ing (hometown) the International department. She has served on the work, Heartbeat Opera grows vivid Clarinet Association. artist faculty and as co-director of theatrical worlds through revelatory the chamber music program at the adaptations, radical rearrangements, Having been born into a family of Aspen Music Festival and School since and ingenious design. Through an professional musicians, Mr. He began 2005. As a member of the Blair String inquisitive collaborative process studying clarinet with his father, Quartet, she has toured extensively with a diverse community of artists, Fu-Xing He. He also studied with Tao throughout the United States, and Heartbeat Opera breaks down Chun-Xiao at the Central Conservatory recorded for the Naxos, Innova, Warner traditional barriers to reimagine opera of Music. Yi He received his Bachelor Bros., New World, and Pantheon labels. for artists and audiences of the twenty- of Music degree in the United States fi rst century. at Baylor University while studying Heard has performed on concert series under Dr. Richard Shanley, and then at the Library of Congress and at New In its fi rst three seasons, Heartbeat went on to complete his master’s at York’s 92nd Street Y, as well as at Lincoln Opera has presented six fully Temple University under the tutelage Center, the Kennedy Center, Merkin realized productions: Kurtág’s Kafk a- of Anthony Gigliott i. Hall and Carnegie Recital Hall, and Fragments, Off enbach’s Daphnis & has performed extensively on public Chloé (new orchestral arrangement While studying in the United States, radio. A dedicated chamber musician and new English translation), He performed with the American and teacher, she has served as artist- Donizett i’s Lucia di Lammermoor Water Way Wind Orchestra. They in-residence at the Aspen and Sedona (new orchestral arrangement and 90 went on tour performing in a number Music Festivals, and also on the faculty minute adaptation), Purcell’s Dido of European countries including of the Sewanee Music Festival from and Aeneas, Bizet’s Carmen (new Holland, England, France, Denmark, 1985–99 and the Killington Festival orchestral arrangement, 90 minute Sweden, and Russia. He was the from 2002–04. Other summer festival adaptation, new English translation of principal clarinetist in Haddonfi eld appearances have included Chamber dialogues) and Puccini’s Butt erfl y (new Symphony Orchestra under the baton Music Northwest, Skaneateles, orchestral arrangement and 90 minute of Alan Gilbert. He has also performed Colorado, Kapalua, Roycroft , Music adaptation). solo recitals at ClarinetFests in Mountain, and Maverick Concerts, as Porto, Portugal, and in Los Angeles. Heartbeat Opera has also staged the well as performances in Italy, Ecuador, Additionally, He has given recitals fi rst ever opera show on The High and Iceland. and master classes in many cities Line, and has mounted four Benefi t throughout China. Cornelia Heard earned Bachelor and Drag Extravaganzas: All The World’s Master of Music degrees from the A Drag: Shakespeare in Love ... With At the International Clarinet Juilliard School. She studied violin Opera and QUEENS OF THE NIGHT: Association Competition in Richmond, with Dorothy DeLay and chamber MOZART IN SPACE (both at National Virginia, He was awarded third music with Robert Mann, Earl Carlyss Sawdust), as well as The Fairy Queen place in 1988. In 1988–89 during the and Samuel Rhodes, of the Juilliard and Miss Handel (both at The Cott on Music Teachers National Association Quartet, as well as Felix Galimir, Ruth Candy Machine). Heartbeat Opera has Competition, he was the winner of Laredo, Jan DeGaetani, and members also staged workshop productions of the Texas and Southwest Region. of the Cleveland Quartet. She lives in Lucia di Lammermoor and Weill’s Seven In 1993, He was the winner of the wind Nashville, Tennessee. Deadly Sins, and collaborated with division in the National Young Artist organizations such as Atlas DIY and Competition in Midland-Odessa, TX. A BroaderWay to bring opera education Yi He made his solo clarinet album in to underserved youths in the New York 2009 and an educational DVD in 2011. City area.

Protégé Project Artist Clarinet Celebration Artist 91 Gary Hobbs Moon as a member of Sejong Soloists at and the Whitney Cultural Arts Center the United Nations in New York. in New Haven, CT. Her work on the Drummer Gary music of J.S. Bach was featured on Hobbs is local to the Benjamin Hoff man served as Michael Lawrence’s documentary fi lm, Pacifi c Northwest concertmaster of the Yale Philharmonia Bach and Friends, as well as Discovery and lives in under the baton of John Adams at Channel’s Curiosity.com, and her debut Vancouver, WA. He Avery Fisher Hall in New York to critical solo album, Hilda Huang plays Bach, has played acclaim. He has also appeared as guest is set to release on Orpheus Classical professionally for concertmaster with the New Haven in 2020. over four decades Symphony, the Eastern Connecticut and appears on over 60 recordings. Symphony, the Szechuan Orchestra Hilda Huang studies with Melvin Chen Hobbs played with The Stan Kenton of China, Symphony Song in Seoul, at the Yale School of Music, where Orchestra from 1975 through 1977, and Korea, and the Kaleidoscope Chamber she is pursuing a Masters of Music. has played with Randy Brecker, Bud Orchestra. In a recent performance Previously, she studied with pianist Shank, George Cables, Ken Peplowski, of the Beethoven Violin Concerto, he John McCarthy and harpsichordist Pete Christlieb, Greta Matassa, Anita was praised for his “virtuosity and Corey Jamason in the Preparatory O,’Day, Dan Siegel, Glen Moore, The deep feeling…impeccable intonation Division of the San Francisco New York Voices, Eddie Harris, and [and] a stirring, inspired performance.” Conservatory of Music. She has many more. Randy Brecker, Bill Mays, Other appearances as a soloist have recently been named a 2019 Paul and Kurt Elling, Dave Frishberg, David included works ranging from solo Daisy Soros Fellow. Freisen, Bobby Shew, Bobby Watson, Bach to Brahms’s Double Concerto to Bob Florence, Carl Saunders, The contemporary premieres. Katie Hyun Woody Herman Orchestra, Terry Gibbs, 3rd Summer Jaquie Naylor, Jim Widner Big Band, Hilda Huang Praised for her Stan Kenton Alumni Big Band, and Tom 2nd Summer “sensitivity and Grant are just a few of the artists that Pianist Hilda top-shelf artistry” Hobbs has recently performed with. Huang came to (Cleveland.com), Gary Hobbs has played at top venues international violinist Katie and festivals all over the world, att ention aft er Hyun is a winner including Carnegie Hall, Royal Festival being awarded of Astral’s 2016 Hall, Tivoli Garden, Kennedy Center, fi rst prize in Favorite city: National Auditions. Hong Kong and Wolf Trap. Hobbs teaches jazz the 2014 Leipzig She has made education at The University of Oregon Favorite small luxury: International Bach solo appearances with NOVUS Trinity Great writing Competition. Her Wall Street, the Houston Symphony, and travels all over the United States implements! doing clinics, concerts, and jazz camps performances the Dallas Chamber Orchestra, the with the help of Crescent Cymbal of the music of Johann Sebastian Philadelphia Orchestra, and the Company and Yamaha Drum Company. Bach and more recently Ludwig Columbia Festival Orchestra, among van Beethoven have been hailed for others. Additional highlights include Benjamin Hoff man achieving “philosophical depths” (West- concerto performances with the Busan 2nd Summer Allgemeine Zeitung) and for possessing Sinfoniett a and Incheon Philharmonic an “alluring extroversion” (New York in South Korea. Festival appearances Violinist Benjamin Concert Review); she has been praised for 2019 include the Birdfoot Music Hoff man has been for a “mind that can multi-task and ears Festival in New Orleans, Tippet Rise heard across Asia, that can... ‘multi-listen’” (San Francisco in Montana, OBX Chamber Music Europe, and the Examiner). Series in North Carolina, Crescent US, performing City Chamber Music Festival in New alongside artists Huang made her professional, Orleans, and "New York in Chuncheon" such as Ani orchestral, and recording debut in 2008 in South Korea. Favorite smell: Kavafi an, David under Erich Kunzel with the Cincinnati Croissants Shifrin, Peter Pops Orchestra (From the Top at the Katie Hyun was a founding member Frankl, Wolfram Christ, Jorja Fleezanis, Pops, TELARC). Since then, she has of the award-winning Amphion String and Gary Hoff man among others, in appeared in recital at the Leipzig Quartet, which won the Concert various chamber music formations Gewandhaus, at BASF Ludwigshafen, Artists’ Guild Management in 2011 and at festivals such as Yellow Barn, and both the Leipzig and Montréal a spot on the roster of The Chamber Chamber Music Northwest, Aspen, Bach Festivals as part of the Steinway Music Society of Lincoln Center’s CMS and Music Academy of the West. In Prizewinners’ Concert Network. She Two Program. The Amphion String his Carnegie Hall debut, he performed presents annual solo recitals under the Quartet’s debut CD was also featured Aaron Jay Kernis’s “Mozart en Route” auspices of Thürmer Pianos at venues on the New York Times’ ‘Best of 2015.’ and Hindemith’s “Kammermusik in Bochum and Meißen in Germany; Additionally, the quartet has performed Nr. 1.” Recently, he had the honor of San Francisco Noontime Recitals at in Carnegie Hall, Alice Tully Hall, performing before UN Secretary Ban Ki Old St. Mary’s in San Francisco, CA; Chamber Music Northwest, La Jolla

92 Protégé Project Artist Clarinet Celebration Artist ARTISTS Music Festival, the Phillips Collection Jeff rey Kahane Soovin Kim in Washington DC, OK Mozart, the 3rd Summer 2nd Summer Chautauqua Institution, and Caramoor Jeff rey Kahane Soovin Kim is an Music Festival. appears as soloist exciting violinist with major who built on the Vanessa Isiguen orchestras such early successes of Praised by The New as the New York his prize-winning York Times as Philharmonic, years to emerge “radiant,” soprano Cleveland as a mature and Vanessa Isiguen is Favorite city: Orchestra, Favorite small luxury: communicative looking forward to Berlin, er, I mean Los Angeles A Stradivarius artist. Mr. Kim Portland the upcoming 2019 Philharmonic, enjoys a broad musical career, regularly season. Isiguen Philadelphia Orchestra, and the performing repertoire such as Bach made her Portland Chicago and San Francisco symphonies sonatas and Paganini caprices for solo Favorite city: Opera debut as among many others. In August 2016, violin, sonatas for violin and piano New York Mimì in Puccini’s he was appointed music director of ranging from Beethoven to Ives, La bohème, and will return this season the Sarasota Music Festival, which Mozart concertos and symphonies for their Big Night Gala. Isiguen sang off ers master classes and chamber as a conductor, and new world- the New York City premiere of Daniel music coaching by a distinguished premiere works almost every season. Catan’s Il postino as Beatrice Russo international faculty and features He immersed himself in the string under the baton of Mo. Joseph Colaneri, chamber music performances and quartet literature for 20 years as and sang the role of ‘spirit’ in The orchestral concerts performed the fi rst violinist of the Johannes Sorrows of Frederick by Scott Wheeler by highly advanced students and Quartet. Among his many commercial with The Metropolitan Opera. Isiguen young professionals as well as recordings are his “thrillingly made her Florida Grand Opera debut in faculty members. triumphant” (Classic FM Magazine) disc the title role of Madama Butt erfl y to of Paganini’s demanding 24 Caprices, Kahane made his conducting debut rave reviews, and was subsequently and a two-disc set of Bach’s complete at the Oregon Bach Festival in 1988. featured as a soloist in a concert solo violin works to be released in 2019. Since then, he has guest conducted celebrating Madama Butt erfl y at When he was 20 years old Mr. Kim many of the major US orchestras London’s Royal Opera House at Covent received fi rst prize at the Paganini including the New York and Los Garden. International Violin Competition and Angeles philharmonics, Philadelphia subsequently was awarded the Henryk Recent seasons include major role and Cleveland orchestras, Saint Szeryng Career Award, the Avery Fisher debuts as Madama Butt erfl y with Paul Chamber Orchestra, and the Career Grant, and the Borlett i-Buitoni Opera Idaho, Roberta Alden in An Chicago, Detroit, St. Louis, Baltimore, Trust Award. He is the founder and American Tragedy by Tobias Picker Indianapolis, and New World artistic director of the Lake Champlain at Glimmerglass Opera in New York, symphonies among others. In May 2017, Chamber Music Festival (LCCMF) Mimì in La bohème, and Marzelline Kahane completed his 20th and fi nal in Burlington, Vermont. In addition in Beethoven’s Fidelio with Sarasota season as music director of the Los to its explorative programming and Opera. Other past performances Angeles Chamber Orchestra. extensive work with living composers, include High Priestess in Aida, Jou Jeff rey Kahane’s early piano studies LCCMF created the ONE Strings Jou in The Merry Widow, and Nedda in were with Howard Weisel and Jakob program through which all 3rd through I Pagliacci with Opera Tampa where Gimpel. First Prize winner at the 1983 5th grade students of the Integrated she was a featured soloist at the Opera Rubinstein Competition and a fi nalist Arts Academy in Burlington study Tampa Gala concert under guest at the 1981 Van Cliburn Competition, he violin. The University of Vermont conductor Placido Domingo. Isiguen was also the recipient of a 1983 Avery recognized Soovin Kim’s work by performed Susanna in Le nozze di Fisher Career Grant. An avid linguist bestowing an honorary doctorate upon Figaro and Pamina in Die Zauberfl ott e who reads widely in a number of him in 2015. Mr. Kim also dedicates with Boston Opera Collaborative and ancient and modern languages, Kahane much of his time to teaching at the Adina in L’elisir d’amore with New York received a master’s degree in Classics New England Conservatory in Boston. Lyric Opera. from the University of Colorado at Vanessa Isiguen is pleased to return Boulder in 2011. He is currently a to Portland Opera for the upcoming professor of keyboard studies at the 2020 season. University of Southern California Thornton School of Music.

Protégé Project Artist Clarinet Celebration Artist 93 Wonkak Kim Boja Kragulj Todd Kuhns Korean-born Boja Kragulj gives 4th Summer clarinetist Wonkak “well-rounded” Todd Kuhns, Kim has appeared entirely new clarinetist, has as a soloist and meaning. As a been a member chamber musician performer, she is of the Oregon at major venues sought aft er for Symphony since throughout the intelligent and 1989. He also United States such sensitive performs each Favorite small luxury: as Carnegie Hall, Favorite city: interpretations of Favorite city: summer with Good scotch Istanbul Lincoln Center, both the classical Austin, TX the Oregon Bach Kennedy Center, and Constitution Hall. canon and contemporary repertoire. Festival. Formerly, Kuhns was a A Naxos recording artist, Kim has She regularly appears in recital and member of the Portland Opera, Ballet garnered international acclaim through gives masterclasses across the United West, Oregon Ballet Theater, and West his extensive discography. States and Europe. Coast Chamber orchestras. As a soloist, he has appeared with the Oregon An avid chamber musician, Kim An award-winning classroom Ballet Theatre Orchestra and with has been invited to the OK Mozart, instructor, Kragulj also holds a post- the Oregon Symphony. In addition, he Norfolk, Osaka, and South Korea’s master’s certifi cate in music theory has performed with the Milwaukee ISCM Pan music festivals, working pedagogy. Studying alongside the Chamber Orchestra, the Philadelphia with members of the Chamber Music nation’s top theorists including Jay Orchestra, and Chamber Music Society of Lincoln Center, and Tokyo, Hook, Adam Ricci, Guy Capuzzo, and Northwest, and was a clarinetist with Artis, Brentano, and Hayden string Dimitri Tymoczoko, Kragulj developed Third Angle for twenty years. quartets. Kim is a founding member of rare abilities to present the theory of enhakē, the award-winning clarinet- Western Classical traditions in relevant Kuhns is a graduate of Portland State violin-cello-piano quartet in its and engaging formats. University, where he studied with tenth season and praised for its “rock Catherine Palladino. He also studied Kragulj descends not from a single solid rhythmic integrity” as well as with the Philadelphia Orchestra’s lineage of teachers, but rather a broad “strength in balance, intonation, and principal clarinetist, Anthony Gigliott i, spectrum of teachers who represent musicality” by The New York Concert as a master’s student at Temple the music industry and clarinet Review. Kim regularly collaborates University. Kuhns has also studied with performance as a whole: Mel Warner with renowned composers such as Eric Russell Dagon, James Kanter, Richard (professor emeritus of Northern Illinois Ewazen, Libby Larsen, Peter Lieuwen, Waller, and Leon Russianoff . and the Chicago Sinfoniett a), John Steve Reich, Peter Schickele, and Ellen Bruce Yeh (Depaul, Roosevelt, and Todd Kuhns resides in southeast Zwilich, commissioning, premiering, or the Chicago Symphony Orchestra), Portland with his wife, violinist recording their new works. Richard Hawkins (Interlochen Arts Margaret Bichteler, 16-year-old Wonkak Kim joined the music Academy and Oberlin Conservatory; daughter Elizabeth, and twin 13-year- faculty at the University of Oregon mouthpiece craft sman), Kenneth olds Hillary and Jonah. (UO) School of Music as assistant Grant (Eastman School of Music professor of clarinet in 2017. Prior to and Rochester Philharmonic), Eric John Largess his appointment at UO, Kim served Mandat (distinguished scholar, 8th Summer as associate professor of clarinet clarinetist, composer, and expert Violist John at Tennessee Tech University from in extended techniques), and Kelly Largess began his 2012–2017, where he received numerous Burke (University of North Carolina- studies in Boston at faculty awards. Kim is regularly invited Greensboro). Her formal training age 12 in the public as a guest artist and teacher at world’s includes a doctorate in clarinet schools, studying renowned institutions, including The performance, a master’s degree in with Michael Juilliard School, Manhatt an School music education, a post-master’s Zaretsky of the of Music, San Francisco Conservatory certifi cate in music theory pedagogy, Favorite smell: Boston Symphony, of Music, and many universities and a master’s degree in music technology Freshly-baked bread and later as a conservatories throughout the US, and production, as well as specialized student of Michael Tree at the Curtis Latin America, Europe, and Asia. certifi cates in postural education Institute of Music in Philadelphia. In and corrective exercise for music 1995, he graduated from Yale University performance. to join the Colorado String Quartet as Dr. Boja Kragulj can be heard on the interim violist with whom he toured Naxos, Navona, and Edition Lilac labels. the United States and Canada teaching She is a Backun Artist performing on and concertizing. The following year MoBa B-fl at and A clarinets. he was appointed principal violist of the Charleston Symphony Orchestra

94 Protégé Project Artist Clarinet Celebration Artist ARTISTS in South Carolina, a position he held Serving as Associate Concertmaster comfort to those silently suff ering until joining the Miró Quartet in 1997. of both Symphony in C and the from personal tragedies. She founded Also an active speaker and writer about Curtis Symphony Orchestra, and “Concert for Cause” which is an all things chamber-musical, in 2004 as a substitute for the Philadelphia intimate private home-concert platform Largess was invited to give a week-long Orchestra, Bryan Lee has performed dedicated to shine a light on current audience lecture series as a part of the under the batons of such renowned humanitarian issues and to showcase Eighth International String Quartet conductors as Michael Tilson Thomas, noteworthy non-profi t organizations Competition at the Banff Centre for the Rossen Milanov, Ott o-Werner Mueller, working to resolve them. Arts in Alberta, Canada; he repeated Alan Gilbert, Christoph Eschenbach, Born in Seoul and raised in Chicago, this series in 2007 and again in 2010. and Sir Simon Ratt le, and has Seunghee Lee studied at the Eastman collaborated in chamber music with With his training in Greek and Latin School of Music and at the Yale School Peter Wiley, Ida Kavafi an, Roberto Diaz, Literature and his bachelor’s degree in of Music and her teachers include Anne-Marie McDermott , Carter Brey, archeology from Yale University, as well Charles Neidich and David Shifrin. and the Tokyo String Quartet. Lee is as studies at the Hebrew University a graduate of the Curtis Institute of in Israel, Largess has participated Music where he studied with Pamela Yura Lee in excavations in Greece, Israel, and 4th Summer Frank and Victor Danchenko. His Jordan. He loves to cook gourmet previous studies were with Choong-Jin Violinist/violist cuisine, particularly French pastry and Chang and Soovin Kim. Yura Lee, recipient fi ne desserts; luckily, he also enjoys of the prestigious exercising. Largess is a trained yoga Seunghee Lee Avery Fisher Career instructor, having studied Vinyasa Grant, has appeared Multi-faceted Power Yoga with Baron Baptiste. He with many clarinetist, also practices Kundalini, Bikram, and major orchestras Seunghee Lee Astanga styles, and teaches yoga at 24 including the New York Philharmonic, (Sunny) is an Hour Fitness and the Bodhi Yoga studio the Chicago Symphony, the Baltimore independent in Austin, Texas where he lives. When Symphony, and more. Lee has recording artist, not standing on his head, he enjoys performed with conductors Christophe TEDx speaker, and making his Tibetan Singing Bowl sing. Eschenbach, Lorin Maazel, and Leonard a music Slatkin, among many others. John Largess serves as senior lecturer Favorite smell: entrepreneur. She and coordinator of string chamber Freesia was selected as Top At age 12, Lee became the youngest music at the University of Texas at 30 Under 30 by KDFC classical radio artist ever to receive the Debut Artist Austin Butler School of Music. and her multiple solo albums were of the Year prize at the “Performance featured as “CD of the Week” Today” awards given by National Bryan Lee worldwide, including ClassicFM Public Radio. Lee received numerous 7th Summer Nederlands, NPR, WFMT, WQXR, international prizes, including the Bryan Lee has Singapore Radio, and Fine Music Radio fi rst prize and the audience prize at performed as a in Cape Town among many others. the 2006 Leopold Mozart Competition soloist with the (Germany), the fi rst prize at the 2010 Lee is the founder of Music Solis Philadelphia UNISA International Competition Productions, an independent record Orchestra and (South Africa), and top prizes in label, sheet music publishing, and artist the Delaware, the Indianapolis (USA), Hannover consultancy company that mentors Lansdowne, and (Germany), Kreisler (Austria), and and assist young classical musicians to Favorite smell: Temple University Paganini (Italy) competitions. become entrepreneurial leaders of their Freshly-baked Symphony apple pie generation. She is a frequent lecturer Lee’s CD with Reinhard Goebel and Orchestras, on music entrepreneurship and was a the Bayerische Kammerphilharmonie, among others. Lee was awarded the guest speaker at the Harvard Business titled Mozart in Paris (Oehms Classics) Bronze Medal at the 2005 Stulberg School for the 2019 Asia Business received the prestigious Diapason d’Or International String Competition and Conference titled The Game Changers, Award (France) in 2008. won second prize at the 2004 Kingsville and at the 2019 Yale Alumni Association International Young Performers As a chamber musician, Lee regularly Career Panel live stream titled Careers Competition. He was featured on takes part in the Marlboro Festival, in Music. Also as a highly skilled golfer, America’s National Public Radio station Salzburg Festival, and the Verbier she spoke at TEDx Hong Kong about on the show From the Top, and has Festival, among others. She has the surprising similarities between golf att ended Ravinia’s Steans Institute for collaborated with many artists and music and the mental challenges of Young Artists, La Jolla Summerfest, including Gidon Kremer, Andras viewing both skills through the lens of Music from Angel Fire, Encore School Schiff , Leonidas Kavakos, and Mitsuko a perfectionist. for Strings, Sarasota Music Festival, Uchida. Lee is currently a member of Music Academy of the West, and the At her core, Lee is passionate about the Chamber Music Society Two of Perlman Music Program. using her music to bring healing and

Protégé Project Artist Clarinet Celebration Artist 95 Lincoln Center in New York City as Verdi, and Faure; Bach’s Coff ee Cantata the authority of his musical ideas.” As both violinist and violist. and BWV 56; as well as Mahler’s Lieder a result of his prize at the Menuhin “eines fahrenden gesellen.” Competition, Link was featured in The Yura Lee was awarded two artist Strad magazine and has also appeared diplomas, by Indiana University in on numerous radio shows, including Bloomington and the New England Yuan-Chen Li NPR’s “From the Top.” Conservatory in Boston. Her main Yuan-Chen Li is a teachers included Namyun Kim, composer, A graduate of the Curtis Institute of Dorothy DeLay, Hyo Kang, Miriam improviser, and Music, Joel Link studied with renowned Fried, Paul Biss, Thomas Riebl, Ana educator currently violinists Joseph Silverstein and Chumachenko, and Nobuko Imai. based in Portland, Pamela Frank, and served as the Curtis OR. The range of Symphony Orchestra’s concertmaster Zachary Lenox Yuan-Chen Li’s for the 2009–2010 season. Link’s love oeuvre has off ered Viewed as “a broad, of chamber music has taken him to Favorite small luxury: new experience to resonant baritone highly regarded music festivals across Watching the sunset her audience and that is exquisitely on the sea the globe, including the Ravinia and collaborators with controlled Marlboro music festivals, as well as the cross-cultural and cross- throughout his Music from Angelfi re. As a member disciplinary approach to musical time, entire range,” of the Dover String Quartet (formerly space and drama. Her Taiwanese Zachary Lenox has the Old City String Quartet), Link upbringing, Buddhist spirit, education performed leading has received the Grand Prize as well in Western musical practice, and the Favorite city: roles across North as the Gold Medal from the Fischoff symbolic aspects of nature and art have Salzburg, Austria America. This past Chamber Music Competition, and all inspired her compositions. Li is the May, Lenox made his debut with concertizes with the ensemble to great recipient of the Literature and Art Portland Opera as Marullo in Verdi’s critical acclaim. Creation Award (Taiwan), Artist Rigolett o. Other notable performances Residency at the Cité Internationale des included Count Almaviva in Tacoma Benjamin Lulich Arts (Paris), and the Jacob Druckman Opera’s Le nozze di Figaro and Victor in 2nd Summer Scholarship. Her music has been the world premiere of Tango of the Benjamin Lulich is performed by the Buff alo Philharmonic White Gardenia with Cascade Chamber principal clarinet Orchestra, Tokyo Philharmonic Opera. Lenox will be returning to San of the Seatt le Orchestra, eighth blackbird, DePaul Francisco to reprise the role of The Symphony and University, and soloist Tim McAllister, Businessman in Rachel Portman’s The Seatt le Opera. among others. She holds a Ph. D. from Litt le Prince with Opera Parallel, and He was acting the University of Chicago, and has then fi nishing up the year with a principal clarinet served as visiting professor of music at performance in the role of Dick Favorite smell: with The Cleveland Reed College in 2016–2017. Deadeye in G&S’s H.M.S. Pinafore with Coff ee Orchestra; has the Eugene Opera’s New Year’s Eve held positions in the Pacifi c Symphony, production. Joel Link Kansas City Symphony, Colorado Music 7th Summer Festival, Sunriver Music Festival; and Lenox’s operatic performances include From a young age, has performed with the Los Angeles the roles of Marcello in Puccini’s La violinist Joel Link Philharmonic, Philadelphia Orchestra, bohème, Gianni Schicci and Bett o has met much Los Angeles Opera, IRIS Orchestra, in Puccini’s Gianni Schicci, Sid in success both as a Festival Mozaic, Chamber Music Britt en’s’ Albert Herring, Melisso in soloist and chamber Northwest, and many other ensembles. Handel’s Alcina, Papageno in Mozart’s musician. As a Die Zauberfl öte, Guglielmo and Don top prize winner While living in Southern California, Alfonso in Mozart’s Così fan tutt e, El Favorite smell: of numerous Lulich performed frequently with the Dancaïre in Bizet’s Carmen, Ferrando in Freshly-cut grass competitions Hollywood Studio Orchestra, recording Verdi’s Il Trovatore, as well as Professor including the Johansen International numerous fi lm scores, records albums, Bhaer in Adamo’s Litt le Women. He has Competition in Washington D.C. and and video games, as well as live been a young artist with the Boston the Yehudi Menuhin International concerts featuring Danny Elfman, John Early Music Festival, Napa Music Competition in England, Link’s playing Williams, and Elton John. As a soloist Festival, Hawaii Performing Arts has received accolades for being both and recitalist, Lulich has performed Festival, the Toronto Summer Opera highly refi ned and captivatingly across the United States and in China Workshop, and Astoria Music Festival. passionate. The Atlanta Journal and Europe, and on more than one occasion was a featured performer at Zachary Lenox’s concert and oratorio Constitution wrote of a concert, “Aft er the International ClarinetFest. work include the bass soloist in Joel played, the audience rose, one at Handel’s Messiah; Beethoven’s a time, seemingly pulled out of their The recipient of many awards and Symphony No. 9; requiems by Mozart, seats by the richness of his sound and prizes, Lulich studied at Interlochen

96 Protégé Project Artist Clarinet Celebration Artist ARTISTS Arts Academy, Cleveland Institute of a result of living through and healing Edgar Meyer Music, Yale School of Music, Pacifi c from overuse performance injuries. She 18th Summer Music Festival, and Music Academy incorporates her broad knowledge into In demand as of the West. His teachers include her teaching philosophy to encourage both a performer David Shifrin, Richard Hawkins, students to practice and perform and a composer, Franklin Cohen, Fred Ormand, and effi ciently and eff ectively. Edgar Meyer has Laura DeLuca. formed a role in Benjamin Lulich teaches clarinet at Thomas Masse the music world the University of Washington, where Clarinetist Thomas unlike any other. he is an artist-in-residence. Lulich Gilmore Masse has Hailed by The New Yorker as “...the is a Backun Artist and performs on enjoyed a most remarkable virtuoso in the MoBa clarinets. distinguished relatively un-chronicled history of career as an artist, his instrument”, Meyer’s unparalleled Dunja Jennings Marcum teacher, and arts technique and musicianship in administrator and combination with his gift for Dunja Jennings has performed as a composition have brought him to the Marcum is clarinet Favorite city: Rome concerto soloist, fore, where he is appreciated by a vast, instructor at Lewis chamber musician, and orchestral varied audience. As a solo classical & Clark College, player throughout the world. He is bassist, he has been featured on a Portland State particularly proud of a series of number of albums, including a Sony/ University, and Mt. performances of the Nielsen Concerto BMG compilation of The Best of Edgar Hood Community he gave early in his career. For nearly Meyer. As a composer, Meyer’s work has College. She has fi ft een years, he served in a variety of been at the Hollywood Bowl with the Favorite city: been an active Los Angeles positions at Yale University, including Los Angeles Philharmonic, the Aspen performer and Deputy Dean of the Yale School of Music Festival, and with the Nashville educator in Portland for over 25 years, Music and as Associate Provost for the and Toronto symphony orchestras. and is also the music director for Vibe Arts, with responsibility for the Yale of Portland, a non-profi t seeking to Collaborations are a central part of Schools of Architecture, Art, Divinity, provide equity in access to music and Meyer’s work. In the 2006–2007 season, Drama, and Music. In 2013, he was arts education for Portland students. Meyer premiered a piece for double bass named Dean and Professor of Music at and piano performed with Emanuel Ax. Marcum has a successful private Stetson University in DeLand, FL, Meyer also performs with pianist Amy clarinet studio serving the Portland where he currently teaches clarinet and Dorfman, his longtime collaborator for Metro area. Many of her students are chamber music. solo recitals featuring both classical in the Portland Youth Philharmonic, He is a graduate of Yale University as a repertoire and his own compositions; Metropolitan Youth Symphony, and student of David Shifrin, and received Mike Marshall in duo concerts; and the Oregon Music Education Association his doctoral degree at the University of trio with Béla Fleck and Zakir Hussain All-State and All-Northwest ensembles. Michigan as a student of Fred Ormand which has toured the US, Europe, and Her students range from 9 years old and as a Regents Fellow. He also holds Asia together. through graduate school. Marcum is an MBA degree in Finance from the also in demand as a clarinet specialist Edgar Meyer began studying bass at University of Connecticut. He is a for some of the top high school band the age of fi ve under the instruction recipient of the Yale University School programs in the state. In addition, of his father and continued further of Music Alumni Association Certifi cate Marcum is the director of the East to study with Stuart Sankey. In 1994, of Merit. Winds Band Camp held at Mt. Hood Meyer received the Avery Fisher Career Community College and is on faculty at Mr. Masse is the editor of the critical Grant and in 2000 became the only the Wallowa Lake Woodwind Camp. edition of Charles Ives’ Largo for Violin, bassist to receive the Avery Fisher Clarinet, and Piano. Prize. Currently he is visiting professor Marcum received her bachelor’s of double bass at the Curtis Institute of degree and master’s degree in clarinet Mr. Masse is a passionate advocate for Music in Philadelphia. performance from the University of the arts in society and has served as a Oregon where she was a student of panelist for the National Endowment Dr. Wayne Bennett . In addition, she for the Arts and serves on national received her Master of Arts in Teaching accreditation committ ees for NASM, from Lewis & Clark College. Marcum NASD (Dance), and NAST (Theatre). He has been a student of Yehuda Gilad and has taught at Michigan, the University the late Rosario Mazzeo. of Northern Colorado, Yale, and Stetson.

In addition to her many musical adventures, Marcum has been active as a yoga instructor, strength coach, and personal trainer, which came about as

Protégé Project Artist Clarinet Celebration Artist 97 George Meyer while cultivating the tradition of Bartók Viola Concerto as well as 3rd Summer chamber music. concertos by Tower, Penderecki, Picker, Jacob, Lazarof, Suter, Müller-Siemens, George Meyer The Quartet’s 2018-19 season includes Ott , and Friedman and has recorded plays the violin and performances for the New York numerous pieces that were composed writes music. He Philharmonic with Gabriel Kahane; for him. Artistic director of “Chamber has performed his collaborations with Anton Nel, Clive Music Extravaganza” in Curaçao, he is own compositions Greensmith, and Martin Beaver; on the faculty of The Juilliard School in a variety of and appearances with the Detroit and Mannes College and performs sett ings, including Chamber Music Society and the LMMC with the Chamber Music Society of Favorite city: the Savannah in Montreal. Other recent highlights Nashville Lincoln Center. Music Festival, the include performances at the Phillips Aspen Music Festival, the Telluride collection, the Green Music Center, and RockyGrass bluegrass festivals, Chamber Music Northwest, and the Tara Helen O’Connor 19th Summer the Rome Chamber Music Festival, Chamber Music Society of Lincoln the Kyoto International Festival, and Center, as well as collaborations Tara Helen Chamber Music Northwest. In 2016, with David Shifrin, André Watt s, and O’Connor is a Ensemble Quodlibet premiered his Wu Han. charismatic Concerto Grosso, a 15-minute work performer noted for Since 2003, the Miró has served as the for string orchestra with solo string her artistic depth, quartet-in-residence at the University quartet, in New York City. He has brilliant technique, of Texas at Austin Sarah and Ernest appeared in performance with his and colorful tone Butler School of Music. In 2005, the father Edgar Meyer, and with Jerry Favorite smell: spanning every Quartet became the fi rst ensemble ever Peonies Douglas, Mike Marshall, and Sam Bush. musical era. Winner to be awarded the coveted Avery Fisher of an Avery Fisher Career Grant and a George Meyer’s violin teachers have Career Grant. two-time Grammy nominee, she was included Naoko Tanaka, Laurie the fi rst wind player to participate in Smukler, Stephen Miahky, Lucy Paul Neubauer the CMS Two program and is now an Chapman, Jennifer Frautschi, Carolyn 36th Summer artist of the Chamber Music Society of Huebl, and Carol Smith. Meyer holds Violist Paul Lincoln Center. degrees from Harvard College and Neubauer’s The Juilliard School. He is from Most recently, O’Connor premiered exceptional Nashville, TN. a new chamber work by Sebastian musicality and Currier at the Chamber Music Society eff ortless playing of Lincoln Center and made her debut Miró Quartet distinguish performance at the Mainly Mozart him as one of festival. Other performances of note Favorite city: his generation’s include appearances at the Ocean Reef Portland! quintessential Chamber Music Festival, the Avila artists. This season he gave the world Chamber Music Celebration in Curaçao, premiere of a viola concerto by Aaron and a premiere of Jonathan Berger’s Jay Kernis with the St. Paul Chamber new opera with the Saint Lawrence Orchestra, followed by performances String Quartet in Stanford. with the Los Angeles Chamber DANIEL CHING 8th Summer Orchestra, the Chautauqua Symphony A Wm. S. Haynes Co. fl ute artist, Favorite smell: The Miró Quartet Searing meat and the Idyllwild Arts Orchestra. He O’Connor is a regular participant in is one of America’s also performed in recital with pianist, the Santa Fe Chamber Music Festival, WILLIAM FEDKENHEUER most celebrated Anne-Marie McDermott , and in a trio Music@Menlo, Chamber Music Favorite small luxury: and dedicated with soprano, Susanna Phillips, and Northwest, and more. Dark chocolate… string quartets, Ms. McDermott , which performs a wide any kind… O’Connor is a founding member of and for the past range of repertoire including salon style JOSHUA GINDELE the Naumburg Award-winning New twenty years has songs for voice, viola and piano. Favorite small luxury: Millennium Ensemble and a member A live-in au pair! performed on Appointed principal violist of the of the woodwind quintet Windscape the world’s most JOHN LARGESS New York Philharmonic at age 21, Paul and the legendary Bach Aria Group. Favorite smell: prestigious concert Neubauer has appeared as soloist A passionate advocate of new music, Freshly-baked bread stages, earning with over 100 orchestras including the O’Connor is a member of the TALEA accolades from passionate critics and New York, Los Angeles, and Helsinki and Cygnus Ensemble. She has audiences alike. Based in Austin, TX, philharmonics; National, St. Louis, appeared on A&E’s “Breakfast for the and thriving on the area’s storied Detroit, Dallas, San Francisco, and Arts” and Live from Lincoln Center, and music scene, the Miró takes pride in Bournemouth symphonies. Neubauer has recorded for Deutsche Gramophon, fi nding new ways to communicate gave the world premiere of the revised with audiences of all backgrounds

98 Protégé Project Artist Clarinet Celebration Artist ARTISTS EMI Classics, Koch International, and his Master of Music degree, he began a State University and Florida State Bridge Records. nearly forty-year career at Yale as University, before sett ling down at graphic designer, editor, and music the University of Michigan. There Dr. Tara Helen O’Connor is associate administrator. Upon his retirement as he built a program that became professor of fl ute, area head of the Wind director of concerts and media, the internationally known, att racting Department at SUNY Purchase College school named its prestigious chamber students from across the globe. Former Conservatory of Music, and is the chair music series in his honor. students hold important positions of classical music studies. in the San Francisco Symphony, Oneppo has been a member of the Boston Symphony Orchestra, and Bridgeport and New Haven symphony Monica Ohuchi The Royal Danish Orchestra, as well orchestras and performed frequently Monica Ohuchi’s as in academic positions at Oberlin with Orchestra New England. He “commanding Conservatory, University of Iowa, San has been a guest artist as saxophone pianism” (The New Jose State University, and University orchestral soloist with the Yale York Times) allows of North Carolina at Greensboro. In Philharmonia, Yale Symphony, and her an active career his twenty years on the faculty of the other ensembles in New Haven and at as a piano soloist, highly regarded Music Academy of the Carnegie Hall. As a jazz musician, he chamber musician, West summer festival, Ormand played has played in big bands and smaller and pedagogue. She virtually all the important chamber combos for over 50 years. He was Favorite small luxury: is the pianist and music for clarinet, while teaching some Expensive shampoo soloist in concerts of music from the executive director of the most talented young clarinetists Benny Goodman Archives, housed in of Fear No Music, a founding member in the world. of the piano quartet Thunder Egg the Yale Music Library. Aft er a concert Consort, and performs locally with 45th of Fletcher Henderson arrangements, More recently, Fred Ormand is known Parallel, Chintimini Chamber Music he formed the Flipside Jazz Orchestra, as an author. His book, The Single Reed Festival, and is a frequent guest on composed of Yale faculty, students, and Adjustment Manuals, is now in its fi ft h Portland’s All Classical radio station. alumni, which appeared several times printing. In January of 2017, Ormand Her past engagements include soloing at Yale and at the Norfolk Summer published Fundamentals for Fine with the Colorado Symphony Festival, including concerts celebrating Clarinet Playing. The book has been Orchestra, Marin Symphony Orchestra, the Goodman centennial. As part of received with great enthusiasm. Newport Symphony Orchestra, and the Yale’s 2019 Clarinet Celebration, he New Millennium Symphony Orchestra performed in his own arrangements Carin Miller Packwood of Spain. Her solo album released on of music associated with Goodman. 3rd Summer Helicon records label, Monica’s He reprises this performance at the Carin Miller Notebook, is a series of piano etudes Clarinet All Stars concert in Chamber Packwood writt en expressly for her by Music Northwest’s Clarinet Celebration. is principal Kenji Bunch. Vincent Oneppo currently resides in bassoonist of the Oregon Symphony. Monica Ohuchi holds advanced degrees the Seatt le area. Prior to her move from The Juilliard School. Aft er nearly to Portland, she two decades in New York City, she and Fred Ormand Favorite smell: held the same her husband relocated to Portland with 2nd Summer Wet earth position with their two young children and Pitbull- Clarinetist Fred the Jacksonville and Shreveport mix rescue. Ohuchi has been teaching Ormand has symphony orchestras. at Reed College since 2014. had a long and diverse career Packwood frequently performs as Vincent Oneppo as an orchestral guest principal bassoon with the St. Clarinetist and musician, teacher, Paul Chamber Orchestra, as well as saxophonist chamber musician the Portland Opera and Ballet. She has Vincent Oneppo is and, most recently, an author. appeared locally with Chamber Music Northwest, 45th Parallel, Classical up equally at home Ormand began his teaching career Close, and the Orca Concert series playing classical, at the Interlochen Arts Academy, in Seatt le. jazz, and popular where he taught promising students music. Local to like David Shifrin and Lee Morgan. Packwood is on faculty at Reed College Rhode Island, he During this time, he was a founding and Portland State University and Favorite small luxury: studied clarinet member of the Dusha Quartet, which teaches privately. She leads sectionals Islay scotch with Bernard toured extensively. His chamber group with Portland Youth Philharmonic and Portnoy, Leon Russianoff , and Kalmen with dance made their Carnegie Hall teaches at Wallowa Lake Woodwind Opperman while a student at New York debut in 1970. Aft er a season with Camp, and will work with young University, and with Keith Wilson at the Chicago Symphony, Ormand musicians from all over the country the Yale School of Music. Aft er earning held academic positions at Michigan

Protégé Project Artist Clarinet Celebration Artist 99 this summer as a coach with Carnegie Hannah Penn Ken Peplowski Hall’s National Youth Orchestra. 2nd Summer In 1980, Ken Carin Miller Packwood ’s teachers Hannah Penn, Peplowski moved to include Frank Morelli, Whitney mezzo-soprano, New York City and Crockett , Stephen Maxym, and Ben enjoys a diverse was soon playing in Kamins. She holds a Bachelor of Music career as an all kinds of sett ings from the Juilliard School and a Master international from Dixieland to of Music from Rice University. performer of avant-garde jazz. opera, oratorio, and He signed with Milena Pajaro-van de Stadt Favorite city: recital literature. Favorite city: Concord Records, Venice New York 7th Summer Frequently praised under the tutelage for her musicality and the timbre of her of founder and president Carl Jeff erson, Praised by The voice, Penn has recently been called and recorded almost 20 albums as a Strad as having “…a major talent”, and “…an intelligent leader including The Natural Touch, “lyricism that and wonderfully musical singer” by which won Best Jazz Record of the Year stood out…a silky Portland’s Willamett e Week, and was by the Prises Deutschen Schallplatt en tone and beautiful, praised for having “…intriguing colors Kritiken and The Other Portrait, supple lines”, violist at both ends of her range” by The recorded in Sophia Bulgaria with the Milena Pajaro- Oregonian. She has sung more than symphony orchestra. Peplowski also Favorite smell: van de Stadt has Fresh air in either the thirty operatic roles with companies recorded two records on the Nagel already established desert, the mountains, around the country, and is a frequent Heyer label, Lost In The Stars and or the beach herself as one of the performer at Portland Opera, where Easy To Remember, the latt er of which most sought-aft er she has sung 14 roles, most recently features Bobby Short on his violists of her generation. In addition Maddalena in Rigolett o. last recording. to appearances as soloist with the Tokyo Philharmonic, the Jacksonville A strong proponent of new works, The litany of musicians Peplowski Symphony, and the Sphinx Chamber Penn has performed in the American has collaborated with includes Mel Orchestra, she has performed in premiere tours of John Adams’s El Niño, Torme, Leon Redbone, Charlie Byrd, recitals and chamber music concerts and has been involved in the American Peggy Lee, George Shearing, Madonna, throughout the United States, Latin premiers of Anthony Davis’ Wakonda’s Hank Jones, Dave Frishberg, Rosemary America, and Europe, including an Dream, Richard Rodney Bennett ’s The Clooney, Tom Harrell, James Moody, acclaimed 2011 debut recital at London’s Mines of Sulphur, and David Carlson’s Cedar Walton, Houston Person, Steve Wigmore Hall, which was described Anna Karenina. As a concert artist, Allen, Bill Charlap, Woody Allen, in Strad as being “fl eet and energetic… Penn has been featured with orchestras Marianne Faithfull, Isaac Delgado, and powerful and focused.” around the country, including many Erich Kunzel. appearances the Oregon Symphony, Milena Pajaro-van de Stadt is In 2014, Peplowski was the recipient of Seatt le Baroque Orchestra, the Portland the founding violist of the Dover the Sarasota Jazz Festival’s Satchmo Baroque Orchestra, the Sunriver Music Quartet, First Prize winner and award, which was given to him for his Festival, and the Florida Philharmonic. sweeper of every special award at the “unique and enduring contribution Banff International String Quartet A dedicated and passionate teacher, to the living history of jazz.” He was Competition 2013, and winner of the Hannah Penn maintains a large private also the 2015 recipient of HotHouse Gold Medal and Grand Prize in the 2010 studio, and is on faculty at Portland magazine’s Fans’ Decision Jazz Award Fischoff Chamber Music Competition. State University and Aquilon Musical on clarinet. Her numerous awards also include Festival. Upcoming engagements Peplowski is now the artistic director of First Prize of the Lionel Tertis include performances of As One with the Newport Beach Jazz Party and the International Viola Competition and both Portland Opera and Eugene Sarasota Jazz Festival. He is a Buff et- top prizes at the Tokyo International Opera, a Bernstein concert with the Crampon artist, and plays the R-13 Viola Competition and the Sphinx Sunriver Music Festival, and Bach clarinet with a Portnoy mouthpiece and Competition. Pajaro-van de Stadt’s cantatas with the Leipzig Bach Festival. Vandoren German-cut reeds. He also summer festival appearances include plays a Yamaha tenor sax with a Berg Marlboro, Bowdoin, Santa Fe Chamber Larsen mouthpiece. Music Festival, Sarasota, Strings, Bravo! Vail Valley, and La Jolla Summerfest, as well as Italy’s Emilia Romagna Festival. Among the conductors with whom she has worked are Seiji Ozawa, Christoph Eschenbach, Alan Gilbert, Charles Dutoit, and Ott o-Werner Mueller.

100 Protégé Project Artist Clarinet Celebration Artist ARTISTS Jessica Phillips Portland Youth Philharmonic Woodwind Quintet, the Orchestra of St. Luke’s, the Yale Brass Trio, Jessica Phillips won and the Triton Horn Trio, and is an the position of emeritus member of the Orpheus second and E-fl at Chamber Orchestra. He is a frequent clarinet of the guest artist with the Chamber Music Metropolitan Opera Society of Lincoln Center and the Orchestra in 2001. Boston Chamber Music Society and She graduated cum has collaborated with many esteemed laude from Barnard string quartets as well. A Grammy Favorite small luxury: College, Columbia Portland Youth Philharmonic is a Award-winner, he has recorded Dogs! University, and vibrant community of 300 young extensively on numerous labels Manhatt an School of Music, where she people who explore their passion for including Deutsche, Grammophon, studied with Ricardo Morales and music, grow as individuals, and make Sony Classical, Naxos, Koch, and Bridge. David Weber. She has performed as lifelong friendships. The orchestra has He is professor in the practice of horn acting principal clarinet of the MET a tradition of excellence in education and chamber music at the Yale School Orchestra during 2014–2016, as well as and performance dating back to its fi rst of Music, where he is also coordinator from 2011–2013 and during the 2003– concert in 1925. of winds and brasses and serves as 2004 season. In 2013, she received the Oregon ArtsWatch described PYP as director of the Yale Collection of honor of having her chair at the “a 95-year-old symphony orchestra Musical Instruments. Metropolitan Opera named by Ruth playing with vigor, courage, curiosity, and Harvey Miller. and a deep emotional heft rivaling Rolston Quartet Throughout her freelance career, its more grown-up professional Phillips has appeared as guest principal counterparts.” clarinet with the Chicago Symphony Critics have hailed PYP’s performances Orchestra and performed with the as “Brilliant” and have commented that Philadelphia Orchestra, Orchestra of St. the orchestra “Roared like a Maserati!” Luke’s, American Ballet Theater, Santa But don’t take their word for it. Hear Fe Opera, St. Barts Music Festival, PYP for yourself at the Arlene Schnitzer American Symphony Orchestra, Eos Concert Hall or at any time on their Orchestra, DiCapo Opera Theatre, popular YouTube channel. Favorite small luxury: Rolston String Opera at Caramoor, Bravo! Vail Music Great micro brew beers Quartet continues Violin: Christine Chu, Hanami Froom, Festival, Bard Music Festival, and to be recognized for their musical Janet George, Evan Llafet, the Music Festival of the Hamptons. excellence; they are the 2018 recipient Koharu Sakiyama, Ian Song, In addition, she has performed on of – and fi rst international ensemble Inés Voglar Belguque, Andrew Yoon numerous movie soundtrack recordings chosen for – the prestigious Cleveland and commercials. She has participated Viola: Julie Asparro, Isaiah Zacharia, Quartet Award from Chamber Music in the Pacifi c Music Festival in Sapporo, Samuel Zacharia America. Japan and is currently on the faculty of the Verbier Festival in Switzerland. Cello: Kristopher Duke, On the heels of their Banff Christopher Yoon, Annie Zhang International String Quartet Phillips currently serves on the faculty Competition (BISQC) win, Rolston Bass: Pierce Douglas of the Mason Gross School for the String Quartet immediately embarked Arts at Rutgers University, Columbia upon the BISQC Winner’s Tour, taking University, and at The Juilliard School William Purvis them to Germany, Italy, Austria, specializing in E-fl at clarinet. Phillips 18th Summer Canada, and United States. In the is a Backun Artist and a Silverstein William Purvis 2017–2018 season, they performed Artist, and was the lead consultant in pursues a throughout Canada, United States, designing a new E-fl at clarinet reed multifaceted Europe, and Israel. Highlights included for D’Addario. career both in the appearances in such venues as the U.S. and abroad Smithsonian, Kennedy Center for the as a horn soloist, Performing Arts, and the Esterhazy chamber musician, Palace. Favorite city: conductor, and Rolston String Quartet has also served Portlands OR/ME educator. He has as the graduate quartet-in-residence participated in numerous premieres at Rice University Shepherd School of including horn concertos by Peter Music and participated in residencies Lieberson, Bayan Northcott , Krzysztof and fellowships at the Académie Penderecki, and Paul Lansky, and musicale de Villecroze, Aspen Music more. He is a member of the New York Festival, Banff Centre, and more.

Protégé Project Artist Clarinet Celebration Artist 101 Notable collaborations for the Rolston Daniel Schlosberg continues to perform Robin Eubanks, Freddy Cole, and String Quartet include performances around the world, collaborating with Jimmy Heath, among others. with renowned artists Andrés Díaz, such luminaries as David Shifrin, Jeff Scott has been on the horn faculty Gilbert Kalish, Mark Morris, and others. Peter Wiley, Ani Kavafi an, and the of the music department at Montclair Imani Winds. In addition to appearing The Rolston String Quartet, Luri Lee State University (New Jersey) since regularly with NOVUS, he is co-music (violin), Emily Kruspe (violin), Hezekiah 2002 and was recently appointed to the director of Heartbeat Opera, for which Leung (viola), and Jonathan Lo (cello) faculty of the Mannes School of Music he has garnered national acclaim for was formed in the summer of 2013 at at The New School. his re-orchestrations of classic operas, the Banff Centre for Arts and Creativity and core member of Cantata Profana. Chamber Music Residency. They take Igor Shakhman He enjoys baking cookies, and his work their name from Canadian violinist has been described as “richly detailed Dr. Igor Shakhman Thomas Rolston, founder and long- yet delicate” by the New York Times is the principal time director of the Music and Sound and “witt y” and “ingenious” by the Wall clarinetist of the Programs at the Banff Centre for Arts Street Journal. Schlosberg received his Vancouver and Creativity. Doctor of Musical Arts degree from Yale Symphony Luri Lee plays a Carlo Tononi violin, University in 2018. Orchestra (VSO), in generously on loan from Shauna Vancouver, WA; a Rolston Shaw. Jeff Scott co-founder of the 8th Summer VSO Chamber Music Series; and a Rolston String Quartet is endorsed by faculty member of the University of Jeff Scott received Jargar Strings of Denmark. Portland. He has been heard in recitals, his bachelor’s chamber music concerts, and orchestra degree from Daniel Schlosberg performances throughout Europe and Manhatt an School 3rd Summer the United States. Shakhman has of Music (studying The music of participated in music festivals and with David Jolley) Brooklyn-based concert series in Greece, Germany, and master’s degree composer and France, Switzerland, Russia, Ukraine, Favorite city: from the State pianist Daniel and the United States. He was featured, Salvador, Baltia (Brazil) University of New Schlosberg has as principal clarinetist and on-stage York at Stony Brook (studying with been performed soloist, in the critically acclaimed North William Purvis). by the Dover American tour of Fiddler on the Roof Favorite small luxury: Quartet, Minnesota Scott ’s performance credits include starring Topol. Burr grinder Orchestra, Choir of The Lion King orchestra (on Broadway, A summa cum laude graduate of Trinity Wall Street, Albany Symphony, New York) and the 1994 revival of Moscow State Conservatory in Russia, Nashville Symphony, Cabrillo Festival Showboat. He has been a member of Shakhman continued his education at Orchestra, Lorelei Ensemble, and the Alvin Ailey and the Dance Theater the Peabody Conservatory in Baltimore Aspen Contemporary Ensemble, of Harlem orchestras since 1995 and and received his Doctor of Musical Arts at venues including Carnegie Hall, has performed numerous times under degree from the University of Colorado National Sawdust, (le) Poisson Rouge, the direction of Wynton Marsalis with at Boulder. Royal Albert Hall, the Public Theater, the Lincoln Center Jazz Orchestra. Beijing Modern Music Festival, and Scott is also the french hornist in the Dr. Igor Shakhman has been the David Lynch’s Festival of Disruption, internationally acclaimed wind quintet executive director of the Vancouver and has been featured in the New Imani Winds. Symphony Orchestra (VSO) since York Times and WNYC’s Soundcheck. 2011. Under his watch, VSO is quickly Scott ’s arranging and composing credits Schlosberg is a recipient of the Charles becoming one of the most visible include scoring the off -Broadway Ives Scholarship from the American and sought-aft er performing arts production of Becoming Something; The Academy of Arts and Lett ers and organizations in the Pacifi c Northwest. Canada Lee Story the staged production two ASCAP Morton Gould Awards. During his tenure, the VSO has reached of Josephine Baker: “A Life of Le Jazz Recent projects include the release of new artistic benchmarks, created Hot!”; and many original works for A Demonstration on New Amsterdam advanced educational programs, and chamber orchestra, voice, solo winds, Records, his 30-minute orchestral work achieved fi nancial stability. and strings; as well as wind, brass and Canal Songs for the Albany Symphony’s jazz ensembles. Erie Canal bicentennial, a fantasy on Twin Peaks for the Dover Quartet, Scott ’s music can be heard on movie works for Chamber Music Northwest, soundtracks scored by Terrence CULTIVATE at Aaron Copland House, Blanchard, Tan Dun, and on and the Yale Symphony Orchestra’s 50th commercial recordings with notable Anniversary. artists such as Chick Corea, Wayne Shorter, Chris Brubeck, Chico O’Farrill,

102 Protégé Project Artist Clarinet Celebration Artist ARTISTS Sophie Shao Camden Shaw Fred Sherry 10th Summer 7th Summer 41st Summer Cellist Sophie Cellist Camden A pioneer and Shao received Shaw has a visionary in an Avery Fisher captivated the music world, Career Grant at audiences across cellist Fred Sherry age 19, was a major the United States has introduced prizewinner at the and Europe as an audiences on 2001 Rostropovich artist of unique fi ve continents Favorite small luxury: Competition, and Favorite smell: and sincere vision. Favorite smell: and all 50 United Handcraft ed a laureate of the A wood stove His playing has Pickles States to the boutique rosin XII Tchaikovsky been described as “Wonderfully rich” music of our time through his close Competition in 2002. She has given (Kansas City Star), “dynamic and brave” association with such composers as the world premiere performances of (Stereo Times), and possesses a fl uidity Babbitt , Berio, Carter, Davidovsky, Howard Shore’s Mythic Gardens, a and fl air that is truly unique. As cellist Foss, Knussen, Lieberson, Mackey, concerto writt en for her; performed of the prizewinning Dover Quartet, he Takemitsu, Wuorinen, and Zorn. Mario Richard Wilson’s Concerto for Cello and has appeared all over the world to great Davidovsky, Steven Mackey, Somei Mezzo-Soprano with Leon Botstein and acclaim, being called a “phenomenal Satoh, and Charles Wuorinen have the American Symphony Orchestra; instrumentalist, who [seems] to have writt en concertos for Sherry, and he appeared as soloist with the BBC no technical diffi culties” (Rheinpfalz gave the European premiere of the Concert Orchestra and Keith Lockhart Ludwigshafen). Elliott Carter cello concerto, which is in performances of the Shore, Elgar, dedicated to him, with Oliver Knussen Shaw has also collaborated in chamber Haydn C major concertos; performed and the BBC Symphony Orchestra music with such renowned artists the Saint-Saens La Muse et le Poete with at the 2002 Aldeburgh Festival; their as Daniel Hope, Leon Fleischer, and violinist Miranda Cuckson at the Bard subsequent recording was released on Nadja Salerno-Sonnenberg, and Music Festival; and presented the six the Bridge label. maintains an active career as a soloist: Bach suites in one aft ernoon at Union highlights from recent years include a Sherry has been a member of the College in Schenectady. She has made performance of the Beethoven Triple Group for Contemporary Music, recital and chamber music appearances concerto with the highly-acclaimed Berio’s Juilliard Ensemble, and the the with the Philadelphia Chamber Music Artosphere Festival Orchestra, where Galimir String Quartet, and has been Society, Chamber Music Northwest, Shaw also holds the principal chair, a close collaborator with jazz pianist and Middlebury College. She can be and the release of his solo album by and composer Chick Corea. Sherry heard on EMI Classics, Bridge Records the audiophile label Unipheye Music. was a founding member of Speculum (Marlboro Music’s 50th anniversary The album met with much critical Musicae and Tashi. His work with recording), and on Albany Records, praise, and a review in The Strad said Tashi includes a number of premieres and a double-CD set of the Bach Cello of Shaw’s Kodály sonata: “There is and performances with the Cleveland Suites. a raw earthiness to Shaw’s playing, Orchestra, Boston Symphony, Los Sophie Shao studied at The Curtis an interplay of passion and plaintive Angeles Philharmonic, New Japan Institute with David Soyer and lyricism, and a courageous contempt Philharmonic, Montreal Symphony, and Felix Galimir, and, upon graduating, for [its] horrifi c demands that is utt erly L’Orchestra de la Suisse Romande. continued with Aldo Parisot at Yale gripping.” Fred Sherry has been an active University, receiving a Bachelor’s of Camden Shaw graduated from the performer with the Chamber Music Arts degree in Religious Studies from Curtis Institute of Music in 2010, where Society of Lincoln Center since the Yale College and a Master’s of Music he studied with Peter Wiley. Other 1970s, became an artist member in degree from the Yale School of Music, major teachers include Norman Fischer, 1984, and served as the artistic director where she was enrolled as a Paul and David Finckel, and Steven Isserlis. from 1988 to 1992. He is a member of Daisy Soros Fellow. Shao plays on Shaw performs on an instrument the cello faculty of the Juilliard School, an Honore Derazey cello previously made in 2010 by Sam Zygmuntowicz of the Manhatt an School of Music, and owned by Pablo Casals and is a former Brooklyn, NY. the Mannes College of Music. Sherry member of Chamber Music Society proudly considers himself to be a Two. She is on the faculty of University tree-hugger. of Connecticut Storrs and Rutgers University.

Protégé Project Artist Clarinet Celebration Artist 103 James Shields Cultural Leadership Citation in Fellowship. He is recognised by the 2009, and the 2012 Interlochen world’s leading clarinet manufacturer James Shields Center for the Arts Ovation Award as a Buff et-Crampon Artist. Smith is an joined the Oregon for distinguished alumni. He has assistant professor at the University Symphony as appeared with such distinguished of Western Australia where he is the principal clarinet in ensembles as the Guarneri, Tokyo, and head of Winds and Contemporary the autumn of 2016. Emerson string quartets, and with Performance. Before relocating to major symphony orchestras worldwide Portland, Shields As a soloist and director, Smith including Philadelphia, Minnesota, served as principal has performed alongside several Detroit, Dallas, Houston, Milwaukee, Favorite city: clarinet of the international and Australian Albuquerque and Denver. Canadian Opera orchestras. Most notably, his Company in Toronto as well as the New A frequent guest at numerous summer performance of Lachlan Skipworth’s Mexico Philharmonic in Albuquerque. festivals, Shifrin has appeared at the Clarinet Concerto with the West Mostly Mozart Festival at Lincoln Australian Symphony Orchestra was A graduate of The Juilliard School, Center and the Kennedy Center, awarded the APRA 2015 Performance of Shields studied with Ricardo Morales, performing the Mozart Clarinet the Year. Smith is the clarinetist of the principal clarinet of the Philadelphia Concerto in its original version. His Southern Cross Soloists and performs Orchestra. Shields has appeared as a Delos recording of this concerto at internationally leading chamber soloist with the Oregon Symphony, New received a Record of the Year award music festivals with ensembles Mexico Philharmonic, Interlochen’s from Stereo Review, and he has been including the Calder, Dover, and World Youth Symphony Orchestra, and nominated for three Grammy awards. Australian string quartets. Albuquerque Philharmonic Orchestra, A graduate of the Interlochen Arts and as guest principal clarinet with A graduate of Yale University, the Academy and Curtis Institute of the Philadelphia Orchestra, Malaysian University of Western Australia, and Music, he is professor of music at Yale Philharmonic Orchestra, Aspen Music a fellow of the Australian National University, and artistic director of Festival, and Santa Fe Pro Musica. Academy of Music, Smith was awarded the Chamber Music Society at Yale the highest honors as the most In addition to his orchestral and solo series, the “Yale in New York” series at outstanding performance graduate of activities, Shields is increasingly Carnegie Hall, and the Phoenix (winter) each institution. becoming known to North American Chamber Music Festival. In addition audiences as a dynamic and passionate to his extensive catalogue on Delos, performer of chamber music, making Shifrin has recorded for the Angel, RCA, Rossano Sportiello over 30 appearances annually in Nonesuch, Arabesque, and CRI labels. Rossano Sportiello intimate sett ings throughout the was born in Italy on David Shifrin is a Backun Artist and United States and Canada. Shields is June 1, 1974. At the performs on MoBa clarinets. the co-artistic director of Chatt er, an age of 16 he was Albuquerque-based chamber music already performing organization that presents more than Ashley William Smith jazz piano 60 concerts per year, and has been a 3rd Summer professionally in featured soloist in Chatt er concerts. In Described as the Milan area addition to his performing activities, “Incandescent... a Favorite smell: while studying Spaghett i bolognese Shields holds a Master of Music in masterly display of classical music. He Composition from the University skill and insight... graduated in classical piano in 1996. of New Mexico, and continues to as an apologist Since 1994 Sportiello has performed compose regularly. for contemporary in Italy, Germany, Switzerland, music-making, France, Spain, Belgium, Holland, Favorite city: you would search David Shifrin Luxembourg, Norway, United Kingdom, Perth (my hometown!) hard to fi nd this 42nd Summer USA, Hungary, Israel, Japan, and young clarinetist’s equal” by The Age, Clarinetist David South Korea. clarinetist Ashley William Smith Shifrin is active has performed as a soloist, recitalist, In 2007 Rossano married American as an orchestral and chamber musician throughout writer Lala Moore and moved to New soloist, recitalist, Australia, the United States, Europe, York City. and chamber and Asia. He is a laureate of several of music artist. Sportiello maintains a full schedule the industry’s most prestigious prizes Artistic Director of of concerts in the United States and including the Australasian Performing CMNW since 1981 and of the Chamber Europe and even though he’s an Italian- Right Association (APRA) Performance Music Society of Lincoln Center in born musician, he’s considered to be of the Year, the Music Council of New York from 1992 to 2004, Shifrin one of the major interpreters of the Australia Freedman Fellowship, an was a winner of the coveted Avery American jazz idiom, with particular ABC Symphony International Young Fisher Prize in 2000, Yale University’s att ention to the period from the Harlem Performer Award, and a Churchill

104 Protégé Project Artist Clarinet Celebration Artist ARTISTS Stride piano style of the ‘20s and ‘30s to (Los Angeles Chamber Orchestra), Rolf Brooks Thon the Be-Bop of the ‘50s. Weber (Bavarian State Theater), Michele As a double major in Zukovsky (Los Angeles Philharmonic), Rossano Sportiello has received a piano and clarinet, and Karl-Heinz Steff ens (Berlin number of distinguished awards in Brooks Nobuo Thon Philharmonic). the fi eld such as the “Prix du Jazz graduated from the Classique” (France) in 2005, the Ascona University of Jazz Award (Switzerland) in 2009, the The Territory Ensemble Michigan in 1999 “Premio Vitt orio Ramella” (Italy) in 2011, and in 2002 and “Premio Valenza Jazz 2016” (Italy). received his Favorite smell: master’s degree Nitt aku ping pong from DePaul Barbara Heilmair Tanret rubber University. From Clarinetist Barbara 2004 to 2018, Thon was principal Heilmair Tanret clarinet of the Osaka Philharmonic serves as associate Orchestra. professor of 2nd Summer Led by pianist/composer clarinet and music Darrell Grant, the Oregon Territory Brooks Thon is currently associate history and Ensemble formed in 2014 for the professor of clarinet at the Aichi woodwind area Portland Jazz Composers Ensemble University of the Arts, and is on the coordinator at the Release of The Territory album. Cellist faculty of Soai University and Osaka Portland State University School of Hamilton Cheifetz has performed University. Thon has studied with Music as well as interim associate dean from Germany to Beijing with notable Richard Hawkins, Fred Ormand, and of curriculum for the College of the collaborators as far ranging as the Larry Combs. Arts. She maintains an international Takacs Quartet and Paquito d’Rivera. career as a performer, educator, and Vocalist Marilyn Keller is a member Sarah Tiedemann scholar, and has previously taught at of the Black Swan Classic Jazz Band 2nd Summer the University of California in Los whose jazz, gospel, and blues work is Sarah Tiedemann Angeles (UCLA) and at the California frequently showcased throughout currently serves State University in Long Beach. in concerts, musical theater, and on as artistic director Being part of Portland’s vibrant numerous recordings. Kirt Peterson, of Third Angle musical scene, Heilmair has served bass clarinet/tenor saxophone, is a New Music and as principal bass clarinetist for the sought-aft er performer throughout as a member Vancouver Symphony since the 2008/09 the Northwest. Juilliard-educated of the Oregon season and has played with local trumpeter Thomas Barber tours Favorite city: Ballet Theatre Stockholm ensembles such as the Oregon Ballet frequently with Dirty Revival and Orchestra. She Theater, Peter Schickele’s “PDQ plays also leads and composes for Spiral has performed across North America, PDX” orchestra, and the Choral Arts Road. With a Masters in Music from Europe, Australia, and China, and Ensemble of Portland, as well as at the New England Conservatory, Tyson with orchestras including the Swedish the Oregon Music Festival, Portland Stubelek is a drummer and educator Radio Symphony, Royal Stockholm SummerFest, Astoria Music Festival, committ ed to spreading positivity Philharmonic, Norrköping Symphony, and 2009 Oregon Sesquicentennial through music. Multi-instrumentalist, Oregon Symphony, and Boston Film Festival. composer, bandleader, author, and Philharmonic. A contemporary music app-developer John Nastos has toured specialist, Tiedemann has appeared Clarinet choirs have become a defi ning with Grammy-winning artists Dianne with Third Angle, Cascadia Composers, passion in Heilmair’s work as an Schuur and Esperanza Spalding. Northwest New Music, and Boston’s educator. In 2017, she has founded the Bassist Eric Gruber is recognized for Callithumpian Consort, and her large Portland-based Zephyr Clarinet his harmonically innovative solos, world premiere performance of Derek Choir which consists of current driving rhythms, and superb sense of Jacoby’s Flute Concerto was broadcast students, alumni, community players, time. Vibraphonist Mike Horsfall has internationally on WGBH’s Art of the and students from adjacent high performed with Chuck Redd, Leroy States. She is a faculty member at schools and colleges. Vinegar, Rebecca Kilgore, and Gary Lewis & Clark College, Portland State Barbara Heilmair Tanret holds diploma Hobbs and has recorded with Pink University, and the International Youth degrees in clarinet performance and Martini and the Nu Shooz Orchestra. Music Camp in Chengdu, China. in instrumental pedagogy from the Tiedemann holds degrees from Oberlin University of Music and Performing Conservatory and the New England Arts “Mozarteum” in Salzburg, along Conservatory. A national winner of the with Master of Music and Doctor of U.S. Department of Education’s Jacob Musical Arts degrees from UCLA. K. Javits Fellowship in Performance, The artists who infl uenced her most she went on to pursue postgraduate through their teaching were Gary Gray

Protégé Project Artist Clarinet Celebration Artist 105 studies at the Royal College of Music Gilles Vonsatt el Karen Wagner in Stockholm, funded by a fellowship 3rd Summer Karen Wagner from the American-Scandinavian Winner of a 2008 joined the Oregon Foundation. Her past teachers include Avery Fisher Career Symphony in 1999 Jeanne Baxtresser, Michel Debost, John Grant, Swiss- as assistant Heiss, and Tobias Carron. born American principal/second A modern-day Renaissance woman, pianist Gilles oboe. Before Sarah Tiedemann has managed a Vonsatt el began moving to Portland, national congressional campaign, touring in concert Wagner played with served as executive director of an arts Favorite small luxury: aft er capturing Favorite small luxury: the Louisville Sprüngli – if in Zürich the top prize at Taking long walks with Orchestra and was camp, backpacked throughout the airport, buy some! my husband Northwest, and studied voice with the prestigious a fellow with the Grammy-nominated artist Valerie Day. 2002 Naumburg International Piano New World Symphony. She holds a In her spare time, she enjoys distance Competition. He made his Alice Tully bachelor’s degree in Oboe Performance running, gardening, and fi xing up her Hall debut that same year and has from the State University of New York 100-year-old urban farmhouse. since performed with the Warsaw at Buff alo and nearly completed a Philharmonic; at Zürich’s Tonhalle, master’s at the University of Southern Allan Vogel Warsaw’s Chopin Festival, and Tokyo’s California before leaving for Miami 34th Summer Opera City Hall; and in the U.S. with Beach. Wagner’s most treasured the Utah, Santa Fe, Nashville, and mentors include Allan Vogel, John de Allan Vogel, solo Grand Rapids symphonies, and the Lancie, and Ronald Richards. oboist of the Los Boston Pops Orchestra. Angeles Chamber For over 20 years, Karen Wagner has Orchestra, has Vonsatt el has performed in recital on enjoyed an active playing career, been a guest artist the stages of Boston’s Symphony Hall, private teaching studio, and regular with the Chamber Cleveland’s Severance Hall, Herbst coaching of the Metropolitan Youth Music Society of Theatre in San Francisco, and others. Symphony. She is delighted to be Favorite smell: Lincoln Center, a member of 45th Parallel’s Helios Coff ee brewing Deeply committ ed to the chamber and with the Santa Camerata and the newly formed music repertoire, Vonsatt el has been Fe, Mostly Mozart, Marlboro, Aspen, Arcturus Quintet. Wagner has been an artist member of the Chamber SummerFest, Sarasota, and Oregon the principal oboist of the Cabrillo Music Society of Lincoln Center since Bach festivals. Having made three tours Festival of Contemporary Music since the 2012–2013 season and is a former of Japan, he has also performed with 2000. She lives with her husband Dave member of Chamber Music Society the Academy of St. Martin in the Fields, in Southeast Portland where they Two. He has performed with the Seatt le the Orpheus Chamber Orchestra, and enjoy all that the Pacifi c Northwest has and Philadelphia chamber music the Berlin Philharmonic, and has been to off er. societies and has collaborated with guest principal oboist with the Boston artists such as Emmanuel Pahud, Jorg Symphony Orchestra for concerts in Widmann, Kim Kashkashian, and more. Mingzhe Wang the major European capitals, Carnegie Clarinetist Mingzhe Hall, the Kennedy Center, and Boston’s First prize winner at the 2006 Geneva Wang is committ ed Symphony Hall. International Music Competition, to promoting both Vonsatt el was a laureate of the A member of the Baroque group Bach’s the music of our 2009 Honens International Piano Circle, Allan Vogel is on the music time and the Competition in Calgary and is also a faculties of the California Institute of classics. He gave laureate of the Cleveland and Dublin the Arts and the University of Southern the Chinese piano competitions. California. He can be heard on the premiere of Elliott labels of Delos, Nonesuch, RCA and Aft er studying with pianist David Favorite small luxury: Carter’s “Hiyoku” Mechanical watches Dorian, and serves on the advisory Deveau in Boston, Gilles Vonsatt el and has worked board of the American Bach Society. received his Bachelor of Arts degree in closely with some of the world’s leading Vogel’s residency is underwritt en political science and economics from composers. Wang performed the in part by the Bart Alexander Oboe Columbia University and his Master of Copland Clarinet Concerto in its Chair Fund. Music from The Juilliard School where original version with the Gateway he worked with Jerome Lowenthal. Chamber Orchestra to great acclaim. In Vonsatt el is assistant professor of piano addition, he has performed on period at the University of Massachusett s, clarinets with prominent groups such Amherst. as the American Classical Orchestra and Clarion Music Society.

As a chamber musician, Wang has collaborated and continues to work

106 Protégé Project Artist Clarinet Celebration Artist ARTISTS with some of the most prominent Bridgehampton. He continues his long young artists today, appearing in association with the Marlboro Music concerts and music festivals in East Festival, dating back to 1971. Wiley Asia, Europe, and North America. His teaches at the Curtis Institute of Music performances have been broadcast and Bard College Conservatory of on China’s Central Television, New Music. York’s WQXR, Nashville’s WPLN, and many public radio stations across Yevgeny Yontov North America. 3rd Summer

A native of Wuhan, China, Wang fi rst Yevgeny Yontov studied clarinet at the age of 9. His fi rst has established public performance was at the age of himself as one of 10. He received the Doctor of Musical the most promising Arts degree from Yale University, where Israeli pianists of he also obtained his master’s degree his generation. As and artist diploma. His major teachers fi nalist in the 2017 include David Shifrin, Charles Neidich, Favorite city: Arthur Rubinstein Currently, Venice Ayako Oshima, and Paul Green. International Piano Master Competition, he received the Mingzhe Wang is a co-founder of Prize for Best Performance of Chamber Trio Séléné and currently serves as Music, and the Prize for the Best Israeli an associate professor of clarinet at Pianist. Other international top prizes Michigan State University College include gold medals at the Wideman of Music. International Piano Competition and Berliner International Music Peter Wiley Competition. 17th Summer A founding member of icarus Quartet, Cellist Peter a two piano/two percussion chamber Wiley enjoys a group, Yontov holds chamber music prolifi c career as close to heart. He has performed a performer and chamber music across fi ve continents teacher. He is a in venues that include Carnegie Hall member of the and the John F. Kennedy Center piano quartet Opus for Performing Arts in Washington Favorite small luxury: One, a group he D.C. As a soloist, Yontov’s orchestral Golf at Eastmoreland co-founded in 1998 engagements include numerous with pianist Anne-Marie McDermott , orchestras in the US, and all major violinist Ida Kavafi an, and violist Israeli orchestras. Yontov’s debut CD, Steven Tenenbom. Wiley att ended the Schubert: Piano Variations, was released Curtis Institute of Music as a student of on Naxos Records in 2017, and includes David Soyer. He joined the Pitt sburgh seldom performed piano variations and Symphony in 1974. The following year, fragments by Schubert. he was appointed principal cellist of the Cincinnati Symphony Orchestra, Yontov began his musical studies at a position he held for eight years. the age of six with Adela Umansky, and From 1987 through 1998, Wiley was later received his Bachelor of Music cellist of the Beaux Arts Trio. In 2001 degree summa cum laude from the he succeeded his mentor, David Soyer, Buchmann-Mehta School of Music at as cellist of the Guarneri Quartet. The Tel-Aviv University, where he studied quartet retired from the concert stage with Arie Vardi. He then moved to the in 2009. US to study with Boris Berman at the Yale School of Music, where he received Peter Wiley has been awarded an Avery his M.M. degree and is currently Fischer Career Grant, nominated for pursuing his D.M.A. a Grammy Award in 1998 with the Beaux Arts Trio and in 2009 with the Yevgeny Yontov has given Guarneri Quartet. Wiley participates at masterclasses across the US, Israel, leading festivals including Music from and China, and, in 2018, he joined the Angel Fire, Chamber Music Northwest, distinguished piano faculty of Bowling OK Mozart, Santa Fe, Bravo!, and Green State University.

Protégé Project Artist Clarinet Celebration Artist 107 Michele Mangani Visiting Composers Born in Urbino, Italy, Michele Mangani graduated Kenji Bunch Libby Larsen from the 3rd Summer Libby Larsen is one Gioacchino Rossini Kenji Bunch of America’s most Conservatory in represents his performed living Pesaro aft er hometown of composers. She has studying clarinet, Portland, Oregon created a catalogue Favorite smell: band Pine trees as “one of the of over 500 works instrumentation, leading American spanning virtually composition, and conducting. He also composers every genre from studied choral music and choir of his generation, best known for Favorite city: intimate vocal and conducting at the G.B. Martini amalgamating traditional American Minneapolis! chamber music to Conservatory in Bologna. In 1996, musical forms” (Oregon ArtsWatch). massive orchestral works and over Mangani won the National Contest for While conservatory-trained at The twelve operas. Grammy Award-winning Master Director of the Italian Army Juilliard School, Bunch infuses his and widely recorded, including over National Band. music with folk and roots infl uences fi ft y CDs of her work, she is constantly Mangani has received many national achieving an authentic and seamless sought aft er for commissions and and international prizes and is one blend of classical and vernacular styles. premieres by major artists, ensembles, of today’s most appreciated Italian “Clearly modern but deeply respectful and orchestras around the world, and composers. Mangani’s compositions of tradition and instantly enjoyable,” has established a permanent place for had been played and recorded around (The Washington Post) his music has her works in the concert repertory. the world by diff erent interpreters, inspired a new genre classifi cation. As a vigorous, articulate advocate for orchestras and bands, including “Call it neo-American: casual on the music and musicians of our time, Corrado Giuff redi, Fabrizio Meloni, the outside, complex underneath, Libby Larsen co-founded the Minnesota Patrick De Ritis, Ricardo Morales, the immediate and accessible to fi rst-time Composers Forum, now the American Italian Navy Band, the Financial Guard listeners… Bunch’s music is shiningly Composer’s Forum, which has become Military Band, the Symphonic of the original” (The Oregonian). Over sixty an invaluable aid for composers in a Bulgarian Radio, the Philharmonic American orchestras have performed transitional time for American arts. Orchestra from Bruxelles, The National Bunch’s music, which “reach(es) into A former holder of the Papamarkou Juvenile Orchestra from Spain, the every section of the orchestra to create Chair at John W. Kluge Center of the Sinfoniett a Orchestra from Losanna, an intriguing mixture of sonic colors” Library of Congress, Larsen has also and The Wind Octet of the Scala (NW Reverb). Recent works include held residencies with the Minnesota Theatre. His musical production today commissions and premieres from Orchestra, the Charlott e Symphony, amounts to over 600 compositions, the Seatt le Symphony, the Oregon and the Colorado Symphony. Awards published by Eufonia Music Edition, Symphony, the Lark Quartet, the include the George Peabody Medal and his works are oft en inserted as Britt Festival, Music From Angel Fire, for Outstanding Contributions compulsory pieces in performance Chamber Music Northwest, the Eugene to American Music, the Eugene competitions where he is oft en invited Ballet, and the Grant Park Music McDermott Award (Massachusett s as jury commissioner or president. Festival. His extensive discography Institute of Technology), the American includes recordings on Sony/BMG, EMI Michele Mangani is conductor of Academy of Arts and Lett ers Lifetime Classics, Koch, RCA, and Naxos labels the Marche Wind Orchestra and Achievement Award. among others. professor of ensemble music for wind instruments at G. Rossini Conservatory Also an outstanding violist, Kenji For more information, please see the in Pesaro. Since March 2017, he has been Bunch received both Bachelor and complete published biography of Libby director of the Cappella Musicale del SS Master of Music degrees in viola and Larsen by Denise Von Glahn, available Sacramento in Urbino. composition from The Juilliard School in major bookstores and online. and was a founding member of the Edgar Meyer highly acclaimed ensembles Flux Yuan-Chen Li Quartet (1996–2002) and Ne(x)tworks See Artists section for bio. See Artists section for bio. (2003–2011). Bunch currently serves as Artistic Director of Fear No Music, and George Meyer teaches viola, composition, and music See Artists section for bio. theory at Portland State University, Reed College, and for the Portland Youth Philharmonic.

108 Protégé Project Artist Clarinet Celebration Artist ARTISTS David Schiff and strings commissioned by the performed Cataclysm, which received 19th Summer Seatt le Symphony and premiered by the orchestra’s Marilyn K. Glick them in January 2005 conducted by Prize. Commissioned in 2013 by the Composer and Gerard Schwarz. St. Petersburg Chamber Philharmonic, author David Schiff Cataclysm was also performed by was born in New Three of David Schiff ’s compositions, the USC Symphony in 2014. In 2013, York City on August Divertimento from Gimpel the Fool, Chasm was premiered by the Curtis 30, 1945. He studied Suite from the Sacred Service, and Symphony Orchestra, and then composition with Scenes from Adolescence may be heard subsequently selected by Robert Spano John Corigliano on Delos CD #3058 performed by for a performance on the inaugural and Ursula Mamlok at the Manhatt an artists of Chamber Music Northwest Aspen Composers Showcase. Temkin’s School of Music, and with Elliott and the composer’s wife Cantor Judith earlier pieces Regenerations and Rolling Carter at the Juilliard School, where he Schiff . Shtik, writt en for David Taylor, River have also been performed by received his D.M.A.. He holds degrees in appears on the album Past Tells on the Nashville Symphony, Buff alo English literature from Columbia and the New World label. Schiff is the Philharmonic, and numerous festival Cambridge Universities. R.P. Wollenberg Professor of Music at and collegiate orchestras. Reed College in Portland, Oregon. He Schiff ’s major works include the opera is the author of The Music of Elliott Gimpel the Fool, with librett o by I. B. Carter (Cornell University Press) and Singer; the Sacred Service, writt en for George Gershwin: Rhapsody in Blue the 125th anniversary of Congregation (Cambridge University Press) as well Beth Israel of Portland; Slow Dance, as many articles on music for the New commissioned by the Oregon York Times, the Atlantic Monthly, Opera Symphony; Stomp, commissioned News, and Tempo. by Marin Alsop for Concordia and recorded by the Baltimore Symphony conducted by David Zinman; Solus Jeff Scott Rex, for bass trombone and chamber See Artists section for bio. ensemble commissioned by the Chamber Music Society of Lincoln Daniel Schlosberg Center and premiered by David See Artists section for bio. Taylor; Speaking in Drums, a concerto for timpani and string orchestra Ashley William Smith commissioned by the Minnesota See Artists section for bio. Orchestra for its timpanist, Peter Kogan; Vashti, a retelling of the Book Daniel Temkin of Esther for mezzo-soprano, clarinet, Daniel Temkin and piano commissioned by the Gold began composing at Coast Chamber Music Festival; 4 Sisters, age thirteen. One of a concerto for jazz violin and orchestra his earliest pieces which premiered in Cambridge, was premiered in England in 1997 and received its Lincoln Center and American premiere with Regina Carter he has been a and the Detroit Symphony in January composer-in- 2004; New York Nocturnes, a piano trio residence with Music From Angel Fire writt en for Chamber Music Northwest; (New Mexico), Chamber Music by the Pepper Pieces, arrangements of songs Bay (San Francisco), and the Intimacy by Jim Pepper for jazz violinist Hollis of Creativity Festival (Hong Kong). Taylor and strings; Canti di Davide, a Temkin’s work has been supported by concerto for clarinet and orchestra many leading arts organizations premiered by David Shifrin and the including Amphion, American Virginia Symphony in October 2001; Composers Forum, BMI, the Alice M. Singing in the Dark, for Alto Saxophone Ditson Fund, Earshot, the Theodore and String Quartet premiered at Presser Foundation, and others. Chamber Music Northwest in July 2002 by Marty Ehrlich and the Miami Daniel Temkin is particularly String Quartet; All About Love, a song recognized for his orchestral music. cycle for mezzo-soprano, tenor and In 2016, MacArthur Fellow Bright chamber ensemble which premiered Sheng conducted Rising Moon at Chamber Music Northwest in July with the Hong Kong Philharmonic, 2004; and Canzona for brass, percussion and the Indianapolis Symphony

Protégé Project Artist Clarinet Celebration Artist 109 Make Music Live! JUNEN 8 - SSEPTEMBER P MB R 88, 20201919

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Antonio de La Gandara (1861-1917), Portrait of Madame René Préjelan, ca. 1903, Oil on canvas. Musée des Beaux-Arts de la Ville de Paris, Petit Palais. © Petit Palais / Roger-Viollet

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MADAMA BUTTERFLY Giacomo Puccini | Oct–Nov 2019 | Keller Auditorium

AN AMERICAN QUARTET FOUR ONE-ACTS Menotti / Barber / Moore / Hoiby | February 2020 The Gregory K. & Mary Chomenko Hinckley Studio Theatre at the Hampton Opera Center

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JULY 2019 JULY/AUG 2019 Up 503.241.1802 LA FINTA IN THE [email protected] Next GIARDINIERA PENAL COLONY portlandopera.org Christopher Mattaliano Mozart Philip Glass General Director ABOUT CMNW

Now in its 49th season, Chamber Music Northwest serves more than 50,000 Board of Directors people in Oregon and SW Washington David Greger Ivan Inger Timothy Goldfarb with exceptional chamber music through President Immediate Past President Yoko Greeney over 100 events annually, including Peter van Bever Karen Deveney our fl agship Summer Festival, year- Susan Leeb Vice-President Member at Large round concerts, community activities, Leslie Lehmann educational programs, broadcasts, and Davida Wilson William C. Scott Treasurer Member at Large Hugh Porter innovative collaborations with other arts groups. CMNW is the only chamber Anne Stevenson Carl Abbott Per Sweetman Secretary music festival of its kind in the Northwest Jon Dickinson Marc Therrien and one of the most diverse classical Katherine Estrada Ravi Veydanayagam music experiences in the nation, virtually unparalleled in comparable communities.

As one of the leading chamber music Staff producers in the country, CMNW enriches David Shifrin Robert Whipple Margaret Fisher our community by showcasing the world’s Artistic Director Artistic Operations Director Artistic Operations Assistant greatest musicians and composers. From world-renowned artists and exceptional Peter J. Bilott a Barbara Bailey Kate Raft er Executive Director Finance and Assistant Box Offi ce Manager local musicians to the rising young stars Administration Director of our Protégé Project, they perform Leslie Tuomi Barbara Brooks beloved classics and hidden masterpieces, Development Director David Tallman House and Community Ticketing and Data Manager Engagement Manager contemporary works, and collaborations Amy Mintonye with other artists. Committ ed to sharing Marketing Director Brent Ellingson Hannah Hillebrand their music in fun and accessible ways, Marketing and Development Education Coordinator our artists participate in extensive Coordinator community outreach, including free concerts, conversations, and education programs. Festival Staff CMNW also invests in the future of Happiness Yi Jing Kappes Rod Evenson chamber music. Our Protégé Project Production Manager House Manager Recording Engineer artists perform and learn from veteran Emily Telling Benjamin Rosenthal Eric Leatha festival artists and work with young Stage Manager Box Offi ce Assistant Piano Technician musicians in our community. We commission and present 4–6 new Megan Thorpe Salma Preppernau Tom Emerson works annually, primarily by American Stage Manager Artistic Operations Intern Photographer composers. A recipient of the Governor’s Jamael Smith Melanie Ngai Ethan Allred Arts Award, Chamber Music Northwest Production Assistant Marketing Intern Chief Program Annotator is among our region’s most acclaimed Micki Selvitella Brianna Droege Esther Shim arts organizations, and is proud to have House Manager Development Intern Page Turner balanced its budget in each of the past 38 years.

This program book was produced and designed by Chamber Music Northwest. Graphic Design: Nathan Martel Printing: Morel Ink