CAL PERFORMANCES PRESENTS PROGRAM NOTES

Sunday, April 22, 2012, 3pm (1732–1809) goals to destroy every harpsichord they could Hertz Hall Trio for Piano, and Cello in E-flat find as a symbolic smashing of the old aristoc- major, H. XV:29 racy—the new times in France called for a new musical instrument. Composed in 1796 or 1797. The social reason promoting the acceptance Musicians from Marlboro of the piano, one not unrelated to the upheavals Tien-Hsin Cindy Wu, violin The history of the piano is far more than the in France, was the rise of the middle class, the Hye-Jin Kim, violin mere recounting of the mechanical and techni- new gentry who had both leisure time and the Philip Kramp, cal development of an instrument—it is a virtu- money to enjoy it. In those days before record- al microcosm of the progress of modern Western ings and broadcasts, music could only be heard Peter Wiley, cello civilization. The first keyboard instrument at the instant and place it was produced, so the Anna Polonsky, piano capable of responding to the varying touch of demand for a musical instrument as the center the player was the gravicembalo col piano e forte of home entertainment—for the fashionable (“harpsichord with soft and loud”), invented piano—mounted. PROGRAM in Florence in 1709 by Bartolomeo Cristofori. The success of the piano as an item of com- Cristofori’s instrument, whose sound was acti- merce followed, of course, the increased demand. vated by a hammer thrown against a string ac- By the turn of the 19th century, and especially Joseph Haydn (1732–1809) Trio for Piano, Violin and Cello in E-flat major, cording to the force of the pressure applied at with the development of the metal-frame piano H. XV:29 (1796/1797) the keyboard, allowed for gradations of dynam- by Babcock in England in 1825, the instrument Poco Allegretto ics that were impossible on the plucked-string had become an important commercial product, Andantino ed innocentemente — harpsichord and was well suited to the growing amenable to being mass-manufactured and sold Finale. Allemande: Presto assai demand for music that would more intimately at reduced prices to a potentially enormous mar- mirror the passionate expression of the perform- ket. Profits soared, and so did the infestation er. It took Cristofori more than a decade to per- of pianos. (1809–1847) Quartet in A major, Op. 13, “Ist Es Wahr?” fect the mechanism and several more years for The early steps in the piano’s progress may (1827) various manufacturers to establish their trade be traced in Joseph Haydn’s compositions for in the instruments, but by the time Johann keyboard trio. Haydn’s earliest trios for key- Adagio — Allegro vivace Sebastian Bach played one of the new fortepianos board, violin and cello date from the mid– Adagio non lento — Poco più animato — Tempo I on his visit to the court of Frederick the Great at 1750s. Two of them, issued by the distinguished Intermezzo: Allegretto con moto — Berlin in 1747, he was able to declare his enthu- Amsterdam firm of Johann Julius Hummel in Allegro di molto — Tempo I siasm for it. During the 1760s and 1770s, the 1757 as Haydn’s Op. 4, were among his earli- Presto — Adagio non lento — Adagio piano slowly began to supplant the harpsichord; est published compositions, preceded only by Mozart acquired his first fortepiano in 1781, the the nine string quartets contained in Opp. 1, 2 year he moved to . and 3. These pieces, small in scale and courtly INTERMISSION The three factors that most strongly guided in expression, as befit the taste and situation of the full acceptance of the piano—one political, Count Ferdinand Maximilian von Morzin, his one social, one commercial—swung into place employer at the time, were clearly intended for Dmitri Shostakovich (1906–1975) Quintet for Piano and String Quartet in during the closing decades of the 18th century. the harpsichord, “accompanied,” as the style G minor, Op. 57 (1940) The political aspect involved nothing less than of the time dictated, by violin and cello. After Prelude: Lento — the French Revolution, the cataclysmic event joining the Esterházy musical establishment in Fugue: Adagio that hurled Europe into the modern egalitar- 1761, Haydn turned from the traditional key- Scherzo: Allegretto ian world. In terms both of quantity and qual- board trio to the genres of composition for the Intermezzo: Lento — ity, France had long been the most important curious “baryton,” a descendent of the old viol Finale: Allegretto country for the production of harpsichords, family that served as the principal performance and the disruption of its commerce effectively outlet for Prince Nikolaus. Haydn created 175 limited it as a source of musical instruments. works for baryton, some 126 of them as trios for Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Indeed, the revolutionaries made it one of their the instrument joined by viola and cello. By the

20 CAL PERFORMANCES CAL PERFORMANCES 21 PROGRAM NOTES PROGRAM NOTES time he returned to the keyboard trio in 1782, bulk of the musical argument to the keyboard, Europe. Upon the foundation of his fine general Mendelssohn had enlisted the town’s best vocal- the fortepiano had become the instrument of though the violin here enjoys a prominence that education had been placed disciplined training ists to rehearse the Passion and determined to choice for the burgeoning band of musical points to the increasingly independent role it in theory and composition from Carl Friedrich perform it in public—the renewal of interest in amateurs whose steady purchases were filling had assumed in chamber music by the turn of Zelter (a distinguished pedagogue who was then Bach’s music, and, indeed, the entire baroque the coffers of publishers and instrument dealers the 19th century. Though the piece was written the director of the Berlin Singakademie), tute- revival, date from that concert, on March 11, alike, and his second foray into trio composition principally for the growing market of British lage in violin with Carl Wilhelm Henning (a 1829, at the Singakademie. Complementing was undertaken to help satisfy that clientele’s lu- and Continental musical amateurs, it exhibits a respected member of the Berlin Opera orches- Mendelssohn’s antiquarian strain was his in- crative demand for new material. Haydn’s trios mastery of form and style and a breadth of ex- tra) and Eduard Rietz (a close friend who suc- terest in the most daring, avant-garde mu- of the 1780s, then, were tailored to the piano pression reminiscent of the contemporaneous ceeded Mendelssohn as director of the Leipzig sic of the day—the last works of Beethoven. rather than the harpsichord, and were generally symphonies that Haydn devised for his London Gewandhaus concerts upon the composer’s In the years before his death, in March 1827, lighter in style, simpler of execution and more concerts. The Trio’s opening movement is an death in 1847), and in piano with his mother (a Beethoven explored uncharted continents of compact in form (i.e., three movements rather ingenious hybrid of sonata and rondo proce- student of the noted German theorist Johann style and expression in his sonatas, quartets, than four) than are his contemporaneous quar- dures: the section based on a gracious melody Philipp Kirnberger, himself a pupil of Johann Missa Solemnis and Ninth Symphony, and tets, though they make few concessions to the presented at the outset returns twice (in the Sebastian Bach) and Marie Bigot (an esteemed Mendelssohn eagerly studied those amazing and dilettante and still exhibit the same sophisticat- manner of a rondo), while the two intervening Alsatian virtuoso and friend of Haydn and challenging creations. ed thematic manipulation and daring harmonic episodes treat the theme first in a minor-mode Beethoven). Mendelssohn’s first dated compo- The Quartet in A minor that Mendelssohn invention that mark his larger instrumental transformation and then through extended sition, a cantata, was completed on January 3, completed on October 26, 1827, was the product works of the time. The third and final group of motivic development (as in sonata form). The 1820, three weeks before his eleventh birthday, of this entire congeries of influences—Mozart, Haydn’s trios, comprising more than a third of disarming melodic and expressive purity of the though this piece was almost certainly preceded Bach, Beethoven, plus, of course, his own ge- his 45 works in the form, dates from the 1790s, second movement’s opening (“innocentemente” by others whose exact dates are not recorded. nius—which were further enflamed by apetite the years of his London ventures and his greatest urges the score) is countered by the audacity of Two years later began the twice-monthly Sunday affaire de le cœur. The previous spring, shortly international acclaim. its B major tonality, which shares not a single family concerts at the Mendelssohns’ Berlin before matriculating at Berlin University, The Piano Trio in E-flat major (XV:29 in diatonic note with the E-flat major home key of mansion, for which Felix selected the programs, Mendelssohn had indulged in a short holi- Hoboken’s catalog; H. C. Robbins Landon the Trio. The music becomes more anxious as it led the rehearsals, appeared as piano and violin day at Sakrow, the Magnus family estate near places it as No. 45, the last, in his chronologi- unfolds, drawing closer to Trio’s home tonality soloist and chamber musician, and even con- Potsdam, and there he fell in love, at least a little. cal listing of the trios) was composed soon af- by the end of the movement, but harmonic sta- ducted, though as a young teenager he was still The circumstances, even the maiden’s name, are ter Haydn left England for the second time, in bility is achieved again only with the start of the too short to be seen by the players in the back uncertain (one Betty Pistor, a family friend and 1795. The piece was one of three such works finale, a sonata-form movement in the style of an rows unless he stood on a stool. By 1825, he had a member of a choir for which Mendelssohn was (Nos. 43–45; H. XV:27–29) written for pub- old dance type in fast triple meter called in the written over 80 works for these concerts, includ- then piano accompanist, has been advanced as a lication by the firm of Longman & Broderip, score by its common French name, Allemande ing operas and operettas, string quartets and possibility), but he was sufficiently moved by the and advertised for sale on April 20, 1797, in (“German Dance”). other chamber pieces, concertos, motets, and a experience to set to music a poem of his friend the London Oracle. The set was dedicated to In writing of these late trios, H. C. Robbins series of 13 symphonies for strings. Johann Gustav Droyson that began, “Is it true the talented pianist Therese Bartolozzi née( Landon noted that “it is almost as if Haydn Mendelssohn possessed a boundless curi- [Ist es wahr?] that you are always waiting for me Jansen), a native of Aachen, Germany, who had wished to show the world what possibilities in osity and enthusiasm about all music, old and in the arbored walk?” The piece, published two settled in London to study with Clementi. She tonal relationships, harmonic subtleties, in- new. By age 18, he was intimately familiar with years later under the title Frage (“Question”) as became one of the city’s most sought-after per- strumental combinations and sheer brilliance the Classical forms and idioms of Mozart and the first number of his Op. 9 set of songs, was formers and piano teachers, and both Clementi of form the genre of the trio could display in Haydn, and he erected upon them the creative woven as thematic material into the new A mi- and Dussek dedicated important sonatas to her. the hands of a master at the summit of his precocities of his youth (including the magi- nor Quartet. The score was published in 1829 as Haydn met Therese early in his second London artistic career.” cal Octet of 1825, among the greatest pieces of Mendelssohn’s Op. 13. sojourn, and became close enough to her to serve music ever composed by one so young), but he “In this work, the mature composer stands as a witness at her wedding on May 16, 1795, was also one of the leading Bach scholars of the revealed,” wrote Homer Ulrich of Mendelssohn’s to Gaetano Bartolozzi, son of the well-known Felix Mendelssohn (1809–1847) time. Zelter had guided him fruitfully through A minor Quartet in his comprehensive survey of engraver Francesco Bartolozzi. The difficulty of Quartet in A minor, Op. 13, “Ist Es Wahr?” The Well-Tempered Clavier, and his musically the chamber repertory. “All the melodic charm, the piano part in these three compositions, the knowledgeable maternal grandmother, who had all the perfection of detail, all the deftness of most challenging in all of Haydn’s trios, attests Composed in 1827. known Bach’s son Carl Philipp Emanuel when touch we associate with the later works are pres- to Therese’s skill and musicianship. she grew up in Berlin, obtained for him a copy ent in this Quartet from his eighteenth year.” As was typical of the 18th-century genre, Felix Mendelssohn, in 1827, must have been of the rare, unpublished score of the St. Matthew This Quartet is also the most Beethovenian of Haydn’s E-flat major Piano Trio entrusts the the most musically sophisticated 18-year-old in Passion in 1823 or 1824. Before the end of 1827, Mendelssohn’s works, embracing bold contrasts,

22 CAL PERFORMANCES CAL PERFORMANCES 23 PROGRAM NOTES PROGRAM NOTES adventurous harmonies, complex counterpoint, most introspective moments—first the theme artist and performer. The crystalline clarity and techniques. The work opens with a dramatic cyclical procedures, multi-compartmented of the Adagio, and then the introduction from precision of thought, the almost ascetic absence statement by the piano (keyboard and strings movements and a pervasive impassioned ex- the opening movement, bringing with it a fi- of embellishment, the precise rhythm, tech- are held in opposition throughout) that is soon pression that lend this music an urgency which nal reflection upon the music and thought,Ist nical perfection, and very personal timbre he taken over by the strings. The center section is Mendelssohn seldom recaptured. At a perfor- Es Wahr?. produced at the piano made all Shostakovich’s occupied by a lighter strain, a sort of melancholy mance of the Quartet at a salon, a music- piano playing individual in the highest de- shadow waltz that is brought to a climax to lead loving priest nudged Mendelssohn during the gree.... Those who remember his performance to the return of the dramatic opening music by finale, and whispered, “He does that in one of Dmitri Shostakovich (1906–1975) of Beethoven’s mighty ‘Hammerklavier’ Sonata, the full ensemble to close the movement. The his symphonies.” “Who?” asked the composer. Quintet for Piano and String Quartet in followed by a number of Chopin pieces, can only second movement is a tightly woven fugue of “Why, Beethoven, the author of this Quartet,” G minor, Op. 57 regret that his talent as a pianist was never fully somber countenance that traces the form of an came the reply. “That was bittersweet,” developed or applied.” After years of prompting, arch, beginning and ending softly, almost mys- Mendelssohn allowed. Composed in 1940. Premiered on November 23, the Beethoven String Quartet, the ensemble teriously, and reaching a peak of expressive in- The Quartet opens with a slow introduction 1940, in Moscow by the Beethoven Quartet and that premiered all of Shostakovich’s 15 quartets tensity in its middle regions. The Scherzo that whose A major tonality serves as an emotional the composer. except No. 1, finally convinced the composer- follows is, according to British critic Andrew foil for the tempestuous main body of the move- pianist to write a Quintet for Piano and Strings Huth, “cheerfully poised between spiky wit and ment. Two arching phrases—the second soaring Dmitri Shostakovich’s mother, Sofia Vasilievna, that would allow them to perform together. downright bad manners.” Despite its apparently high in the first violin’s compass—preface the was a skilled pianist who studied at the Shostakovich duly composed the work dur- inconsequential title, the Intermezzo contains quotation of the searching motto phrase from St. Petersburg Conservatory and taught the in- ing the summer of 1940, and gave its premiere the expressive heart of the Quintet. Its expan- Ist Es Wahr?, recognizable by its long–short– strument professionally. She passed her talent on with the Beethoven Quartet in the Small Hall sive, deeply felt melodic lines are borne along by long rhythm. The music’s tempo and energy are to her offspring—her oldest child, Maria, fol- of the Moscow Conservatory on November 23rd the heartbeat tread of its incessant bass line, and, quickened by scurrying filigree before the viola lowed in her footsteps, and Sofia began Dmitri’s during a Festival of Soviet Music. The Quintet like the fugue, it reaches its emotional highpoint initiates the principal theme, based on the motto lessons when he was nine. (Her third and last was greeted with universal acclaim. Arnold near its center. The finale is a large sonata form rhythm. The cello posits a lyrical melody as the child, Zoya, became a veterinarian.) Dmitri dis- Schoenberg and Edmund Rubbra praised its built upon an airy, widely spaced main theme complementary subject. The scurrying phrases played a quick affinity for the piano, and he was revival of Classical forms, and the reviewer for and a rather coarse contrasting strain (first given return to mark the onset of the development placed in Glyaser’s Music School after only a year Pravda wrote, “What is the novelty and appeal by the piano in octaves above the repeated-note section, which is remarkable for the intensity of study at home. Three years later, in 1919 (and of this composition? The Quintet is made up of accompaniment of the strings) said to have been of its counterpoint and its nearly febrile mood. just two years after the Revolution, which his a series of lyrical, humanly truthful moods and inspired by a traditional tune that accompanies The recapitulation serves both to return and to family supported wholeheartedly), Shostakovich images. It enthralls the listener with its depth the entrance of the clowns in the Russian circus. enhance the earlier themes before the movement entered the Petrograd Conservatory as a piano and magnificence. Shostakovich has found a The development section includes a reminis- closes with an explosive coda that stops with- student of Leonid Nikolayev; he graduated lyrical solution to the key artistic problem of to- cence of the dramatic theme from the Prelude, out resolving the music’s strong tensions. The in 1924 as a highly accomplished performer. day: he presents a truthful, sincere, and inspired but optimism returns with the recapitulation, deeply felt Adagio offers another paraphrase of Despite his dreams of a career in the concert revelation of the spiritual wealth of the human and the Quintet closes in a genial, if somewhat the motto theme at beginning and end as the hall, his first job after graduation was as a pia- personality.... The aesthetic impact and musi- subdued mood. frame for the somber, densely packed fugal epi- nist in a movie house, a taxing endeavor that cal expressiveness of the Quintet are truly ir- “The Quintet is one of those few works sode that occupies the middle of the movement. not only sapped his strength and health but resistible.” Shostakovich performed the Quintet of modern art,” wrote the Soviet critic Ivan The third movement, titled Intermezzo, uses a also made composing and concertizing virtually across the Soviet Union during the early months Martynov, “that combine depth of content with charmingly folkish tune, daintily scored, in its impossible. His family decided in the spring of of 1941, and its success was officially recognized exquisiteness of form and intricacy of concep- outer sections to surround an ethereal passage 1925 that he would leave this musical purgatory in May when its composer was presented with tion with simplicity of embodiment. In its vital- of musical featherstitching at the center. Both to devote himself to higher pursuits, and his the Stalin Prize, the highest award then granted ity lies the captivating force of the Quintet.” ideas are deftly combined in the coda. A dra- First Symphony, completed at the beginning of in the Soviet Union for artistic work. matic cadenza-recitative for the violin over trem- the following year, elevated him overnight to the The Quintet is disposed in five movements olo harmonies, reminiscent of the fourth move- leading position in Soviet music. that derive from Classical formal types and © 2012 Dr. Richard E. Rodda ment of Beethoven’s A minor Quartet, Op. 132, Shostakovich always retained his love of the launches the finale. A clutch of highly charged piano, and he played throughout his life when- motives is presented and worked out with great ever he could, but the lack of practice time pre- intensity as the music unfolds. The work closes vented him from performing much music other not with a wail of tragedy or with a sunburst of than his own. The composer’s student Samari redemption, but with a recall of the Quartet’s Savshinsky described him as “an outstanding

24 CAL PERFORMANCES CAL PERFORMANCES 25 ABOUT THE ARTISTS ABOUT THE ARTISTS

usicians from marlboro, the touring Violinist Hye-Jin quartets, at such prominent venues as the Symphony, a position he held for eight years. Mextension of the Marlboro Music Festival Kim, winner of the Kennedy Centery, Library of Congress, Carnegie From 1987 through 1998, Mr. Wiley was cellist in Vermont, offers exceptional young profession- 2009 Concert Artists Hall, and the La Jolla Summerfest, Santa Fe of the . In 2001, he succeeded al musicians together with seasoned artists in Guild International Chamber Music and the Marlboro Music festi- his mentor, David Soyer, as cellist of the varied chamber music programs. Each program Competition, has per- vals. Ms. Wu teaches violin and chamber music . The quartet retired from the is built around a work performed in a previous formed internationally as an adjunct professor at the Thornton School concert stage in 2009. He has been awarded an summer that Artistic Directors Richard Goode as both a soloist and of Music at the University of Southern California. Avery Fischer Career Grant and nominated for a and and their colleagues felt chamber musician. In Grammy Award in 1998 with the Beaux Arts was exceptional and should be shared with a 2004, she won First Originally from Bloomington, Trio and in 2009 with the Guarneri Quartet. wider audience. The resulting ensembles offer Prize at the 2004 Illinois, violist Philip Mr. Wiley participates at leading festivals in- audiences the chance to both discover seldom- Yehudi Menuhin International Competion at Kramp graduated in 2009 cluding Music from Angel Fire, Chamber Music heard masterworks and enjoy fresh interpreta- age 19. Concerto engagements include the from the Curtis Institute of Nothwest, OK Mozart, Santa Fe, Bravo! and tions of chamber music favorites. Orchestra with Christoph Music, where he studied Bridgehampton. He continues his long associa- Now in its 47th season, the Musicians from Eschenbach, the New Jersey Symphony, BBC with Joseph DePasquale and tion with Marlboro, dating back to 1971. Marlboro touring program has introduced to Concert Orchestra, Seoul Philharmonic, Pan . He studied Mr. Wiley teaches at the Curtis Institute of American audiences many of today’s leading Asia Symphony, Minnesota Sinfonia and chamber music with Steven Music and Bard College Conservatory of Music. solo and chamber music artists early in their Hannover Chamber Orchestra. As a chamber Tenenbom, Pamela Frank careers, and in the process has offered these musician, she has collaborated with renowned and members of the Guarneri String Quartet. Pianist Anna Polonsky artists valuable performing experience and musicians Mitsuko Uchida, Jaime Laredo, Ida Mr. Kramp is a substitute violist with the has appeared with the exposure. The list includes pianists Jonathan Kavafian, Miriam Fried, Gilbert Kalish and and the Moscow Virtuosi, Buffalo Biss, Yefim Bronfman, Jeremy Denk, Richard Paul Biss, and with members of the Guarneri, Philharmonic, has been a guest violist with the Philharmonic, Columbus Goode, Murray Perahia, András Schiff and Juilliard, Miami and Orion string quartets at East Coast Chamber Orchestra, and has also Symphony Orchestra, . It has also been a platform for art- Marlboro, Ravinia, Music@Menlo, Music from worked in collaboration with the Mark Morris Memphis Symphony, ists who subsequently formed or joined such Angel Fire and Prussia Cove. Ms. Kim earned Dance Group. He has performed chamber mu- Chamber Orchestra of noted ensembles as the Beaux Arts, Eroica, her master’s degree at the New England sic with Philip Setzer, Gilbert Kalish, Peter Philadelphia, St. Luke’s and Kalichstein-Laredo-Robinson trios and Conservatory, studying with Miriam Fried as Wiley, Ida Kavafian, Soovin Kim, Michael Tree, Chamber Ensemble and the Brentano, Emerson, Guarneri, Johannes, recipient of the Emma V. Lambrose Presidential Miriam Fried and many others. He has partici- many others. She has Juilliard, Orion, St. Lawrence and Tokyo string Scholarship. She entered the Curtis Institute at pated in many chamber music festivals, includ- collaborated with the quartets. A member of the Tokyo Quartet once 14 and received her bachelor’s degree there, ing Marlboro, Caramoor, Yellow Barn, Kneisel Guarneri, Orion and remarked, “I think that we are the only major working with Jaime Laredo and Ida Kavafian. Hall, Music from Angel Fire and Sarasota. This Shanghai string quartets, and with such musi- American chamber music group without at least Korean-born, Ms. Kim plays a 1687 Gioffredo fall, Mr. Kramp will be featured as a Caramoor cians as Mitsuko Uchida, David Shifrin, one former Marlboro participant. It’s almost like Cappa violin. Rising Star at the Caramoor Center for Music Richard Goode, Ida and , Anton driving without a license.” Five years later, when and the Performing Arts. He received Fourth Kuerti and Arnold Steinhardt. She regularly cellist Clive Greensmith joined the Quartet, Violinist Tien-Hsin Prize at the 2010 Irving Klein International performs at festivals such as Marlboro, Chamber they got their license. Cindy Wu enjoys a String Competition. Music Northwest, Seattle, Music@Menlo, Musicians from Marlboro (marlboromusic versatile career as a so- Cartagena and Bard. Ms. Polonsky has given .org) are managed by Frank Salomon Associates, loist and chamber musi- Cellist Peter Wiley enjoys a concerts in the Amsterdam Concertgebouw, the 121 West 27th Street, Suite 703, New York, New cian throughout North prolific career as a performer Vienna Konzerthaus, Alice Tully Hall, and York 10001 (franksalomon.com). Their record- America, Europe and and teacher. He is a member Carnegie Hall’s Stern, Weill and Zankel Halls, ings are available on the Marlboro Recording Asia. Having appeared of the piano quartet Opus and has toured extensively throughout the Society, Sony Classical, Bridge Records and as a soloist with or- One, a group he co-founded United States, Europe, and Asia. Anna Polonsky ArkivMusic labels. Musicians from Marlboro chestras including the in 1998 with pianist Anne- received her Bachelor of Music diploma from the perform on Steinway Pianos. Russian State Symphony Orchestra and the Marie McDermott, violinist Curtis Institute of Music, where she worked National Symphony Orchestra of Taiwan, Ida Kavafian and violist with the pianist Peter Serkin, and continued her Ms. Wu has also collaborated in concert with Steven Tenenbom. Mr. Wiley studies with Jerome Lowenthal at the Juilliard Gary Graffman, Kim Kashkashian, Ralph attended the Curtis Institute of Music as a stu- School. Ms. Polonsky was a recipient of a Kirshbaum, Ida Kavafian, Midori, William dent of David Soyer. He joined the Pittsburgh Borletti-Buitoni Trust Fellowship in 2003. In Preucil, Thomas Quasthoff, and members of the Symphony in 1974. The following year, he was addition to performing, she serves on the piano Alban Berg, Guarneri, Orion and Tokyo string appointed principal cellist of the Cincinnati faculty of Vassar College.

26 CAL PERFORMANCES CAL PERFORMANCES 27