Fragments: Connecting Past and Present BRENTANO STRING QUARTET

APRIL 11, 2013 LOEB PLAYHOUSE PROGRAM

FRAGMENTS: CONNECTING PAST AND PRESENT. Six unfinished compositions from the past inspire contemporary composers to create new works.

Marian Tropes (2010) CHARLES WUORINEN (b. 1938)

Quartet in c minor, D703 (unfinished) Allegro Assai Andante (fragment) FRANZ SCHUBERT (1797-1828)

Fra(nz)g-mentation (2010) BRUCE ADOLPHE (b. 1955)

Contrapunctus XVIII (unfinished) from The Art of Fugue J.S. Bach (1685-1750)

Reflections on the Theme B-A-C-H(2002) SOFIA GUBAIDULINA (b. 1931)

-INTERMISSION-

With respect to the musicians and your fellow patrons, we request your participation in the tradition of withholding applause between movements of a selection. BRENTANO STRING QUARTET

Quartet in D Minor, Op. 103 Andante grazioso Menuet ma non troppo presto JOSEF HAYDN (1732-1809)

Finale: Presto (2011) FRANZ SCHUBERT (1797-1828)

Quartet Movement Allegretto BDMITRI SHOSTAKOVICH (1906-1975)

From the Fifth Book (2011) STEPHEN HARTKE (b. 1952)

Quartet Fragment in eminor, K417d W.A. MOZART (1756-1791)

Mozart Effects(2011) VIJAY IYER (b. 1971)

The Brentano String Quartet appears by arrangement with David Rowe Artists / www.davidroweartists.com The Brentano String Quartet record for AEON (distributed by Allegro Media Group)

www.brentanoquartet.com Mark Steinberg Serena Canin Violin Violin Misha Amory Nina Maria Lee Viola Cello About THE BRENTANO STRING QUARTET

Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism”; the Philadelphia Inquirer praises its “seemingly infallible instincts for finding the center of gravity in every phrase and musical gesture”; and the Times (London) opines, “the Brentanos are a magnificent string quartet...This was wonderful, selfless music- making.” Within a few years of its formation, the Quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of Chamber Music Society Two, a program which has become a coveted distinction for chamber groups and individuals ever since. The Quartet had its first European tour in 1997, and was honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut. That debut recital was at London’s Wigmore Hall, and the Quartet has continued its warm relationship with Wigmore, appearing there regularly and serving as the hall’s Quartet-in-residence in the 2000-01 season.

In recent seasons the Quartet has traveled widely, appearing all over the United States and Canada, in Europe, Japan and Australia. It has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. The Quartet has participated in summer festivals such as Aspen, the Music Academy of the West in Santa Barbara, the Edinburgh Festival, the Kuhmo Festival in Finland, the Taos School of Music and the Caramoor Festival. Beginning in June 2013 the Quartet will serve as the collaborative ensemble for the Van Cliburn International Piano Competition, succeeding the Takacs Quartet.

In addition to performing the entire two-century range of the standard quartet repertoire, the Brentano Quartet has a strong interest in both very old and very new music. It has performed many musical works pre-dating the string quartet as a medium, among them Madrigals of Gesualdo, Fantasias of Purcell, and secular vocal works of Josquin. Also, the quartet has worked closely with some of the most important composers of our time, among them Elliot Carter, Charles Wuorinen, Chou Wen-chung, Steven Mackey, Bruce Adolphe, and György Kurtág. The Quartet has commissioned works from Wuorinen, Adolphe, About THE BRENTANO STRING QUARTET

Mackey, David Horne and Gabriela Frank. The Quartet celebrated its tenth anniversary in 2002 by commissioning ten composers to write companion pieces for selections from Bach’s Art of Fugue, the result of which was an electrifying and wide-ranging single concert program. A similar project called “Fragments – connecting past and present” will commemorate their 20th anniversary in 2011/12. For this program they have commissioned six composers to write works informed by incomplete pieces left behind by previous masters. The Quartet has also worked with the celebrated poet Mark Strand, commissioning poetry from him to accompany works of Haydn and Webern.

The Quartet has been privileged to collaborate with such artists as soprano Jessye Norman, pianist Richard Goode, and pianist Mitsuko Uchida. The Quartet enjoys an especially close relationship with Ms. Uchida, appearing with her on stages in the United States, Europe, and Japan.

The Quartet has recorded the Opus 71 Quartets of Haydn, and has also recorded a Mozart disc for Aeon Records, consisting of the K. 464 Quartet and the K. 593 Quintet, with violist Hsin-Yun Huang. A forthcoming release on Aeon will feature the Beethoven Quartets Op. 127 and 131. In the area of newer music, the Quartet has released a disc of the music of Steven Mackey on Albany Records, and has also recorded the music of Bruce Adolphe, Chou Wen-chung and Charles Wuorinen.

In 1998, cellist Nina Lee joined the Quartet, succeeding founding member Michael Kannen. The following season the Quartet became the first Resident String Quartet at Princeton University. The Quartet’s duties at the University are wide-ranging, including performances at least once a semester, as well as workshops with graduate composers, coaching undergraduates in chamber music, and assisting in other classes at the Music Department.

The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved”, the intended recipient of his famous love confession. Program Notes

Fragments: Connecting Past and Present

A shard of Grecian pottery. An ancient scroll, only a few words visible. The nascent emergence of a figure from a block of marble. Abandoned brushstrokes on a canvas.

Unfinished artworks carry within them the energy of creation. They engage our curiosity, prompt us to imagine ourselves as the artist, poised in mid-thought. They seduce us into imagining what might have been. Perhaps, in the right circumstance, we might imagine we can seduce the fragmentary artwork, start a relationship with it, envisage a completion. Billy Collins imagined just such a thing:

January in Paris

A poem is never finished, only abandoned. —Paul Valéry

That winter I had nothing to do but tend the kettle in my shuttered room on the top floor of a pensione near a cemetery, but I would sometimes descend the stairs, unlock my bicycle, and pedal along the cold city streets often turning from a wide boulevard down a narrow side street bearing the name of an obscure patriot.

I followed a few private rules, never crossing a bridge without stopping mid-point to lean my bike on the railing and observe the flow of the river as I tried to better understand the French.

In my pale coat and my Basque cap I pedaled past the windows of a patisserie or sat up tall in the seat, arms folded, and clicked downhill filling my nose with winter air. Program Notes

I would see beggars and street cleaners in their bright uniforms, and sometimes I would see the poems of Valéry, the ones he never finished but abandoned, wandering the streets of the city half-clothed.

Most of them needed only a final line or two, a little verbal flourish at the end, but whenever I approached, they would retreat from their makeshift fires into the shadows—thin specters of incompletion, forsaken for so many long decades how could they ever trust another man with a pen?

I came across the one I wanted to tell you about sitting with a glass of rosé at a café table— beautiful, emaciated, unfinished, cruelly abandoned with a flick of panache by Monsieur Paul Valéry himself, big fish in the school of Symbolism and for a time, president of the Committee of Arts and Letters of the League of Nations if you please.

Never mind how I got her out of the café, past the concierge and up the flights of stairs -- remember that Paris is the capital of public kissing.

And never mind the holding and the pressing. It is enough to know that I moved my pen in such a way as to bring her to completion, a simple, final stanza, which ended, as this poem will, with the image of a gorgeous orphan lying on a rumpled bed, her large eyes closed, a painting of cows in a valley over her head, and off to the side, me in a window seat blowing smoke from a cigarette at dawn. Program Notes

It’s not often we have the chance to see or hear incomplete thoughts of great composers. Completed works come down to us having been considered, reconsidered, polished and readied for presentation. But how fascinating it can be to get a glimpse into the workshop, into the process, into promising beginnings that never grew into their full selves. And how intriguing it would be to have composers of our day reach back and hold hands with some of the great composers of the past, entering, after their own fashion, thoughts started and left dangling, suggestive and mysterious.

For this “Fragments” project we are exploring the idea of this linkage, reentering abandoned imagined spaces to discover what they might suggest when examined from a fresh perspective. Incomplete works are paired with new compositions by some of our most thoughtful and imaginative composers to form hybrid creatures. Traditionally mythical beasts of this persuasion, living in two worlds at once, have been believed to have magical powers. We are hoping for some magic here as we find out how today’s composers collaborate with their predecessors. As a celebration of the quartet’s 20th anniversary season we have asked composers whose music speaks to us, some of whom we know well, some of whom we are working with for the first time, to write pieces to be played alongside incomplete works from the past. All have responded with vivid works which we are excited to present, new and old music speaking to each other as if the chasm of time were to vanish. For the duration of the program, at least, all the works coexist in the present moment.

Below are program notes for most of the music presented. Each new piece follows the fragment on which it reflects, with the exception of Charles Wuorinen’s Marian Tropes, in which the older music of Josquin and Dufay is embedded within the new work only. —Mark Steinberg Program Notes

Charles Wuorinen Franz Schubert Marian Tropes Quartettsatz in C Minor

There are no surviving Ushering in the set of three unfinished works from the great string quartets Schubert fifteenth century, as there are wrote at the end of his life is a no scores, only part-books. By torso of a work, the Quartettsatz the time a composition of this (quartet movement) in c period is copied or printed into minor, written in 1820. This a set of parts the original score powerful movement was (if there ever was one) has been originally intended to be the discarded; and clearly no one first movement of a full quartet, bothered to produce a part-book and there exists a sketch for the for an unfinished work. What opening of a second movement we do have by way of fragments, as well. It is not known why however, are orphan movements Schubert never completed the intended for larger structures, work, but the movement he most often fragmenta missarum, did write is a masterpiece fully parts of the Mass Ordinary. Here worthy of being in the company I have interwoven two such, a of the later, last three quartets. Gloria of Josquin and a Kyrie The conflict between desire of Dufay. The Josquin contains and reality is very often at the interpolated passages with texts heart of Schubert’s music, a dedicated to the Virgin Mary, conflict at the root of what it is and these Marian Tropes I have to be human. For we are rarely decorated with glissandi, which masters of Fate, and mortal subsequently spread into other longing defines the painful parts of the composition. Much space between possibility and else is added to and changed imagined fulfillment. By way from the sources, and I have of exploration one can look not hesitated to emulate the at the myth of Pyramus and indifference of the period to Thisbe, as related by Ovid in the casual interpenetration of the Metamorphosis. Pyramus sacred and secular. and Thisbe, two of the most beautiful people in the land, Marian Tropes is dedicated to are desperately in love, yet the Brentano Quartet with deep forbidden by their fathers to affection and gratitude for their wed. Their sole communication many fine performances of my is through a small hole in a work.—Charles Wuorinen wall, large enough to transmit Program Notes a whisper, small enough that In the Quartettsatz such elements lips that offer a kiss will never exist in close juxtaposition. The know a response. They decide piece begins with a tremulous to steal away in the darkness figure reminiscent of the of night and meet. On her opening of that other great way to meet her lover Thisbe uncompleted Schubert work, espies a lion who has recently the Unfinished Symphony; there feasted on prey, his mouth still is a sense of instability created awash in blood, and she runs which permeates much of the off, inadvertently dropping her work, even in anxious figures cloak. The hungry lion chews on accompanying otherwise lyrical the cloak, drops it, and leaves. themes. It is a precarious and Pyramus, looking for his love, poignant ambiguity which is stumbles first upon the bloody quintessentially Schubertian, the cloak and, thinking Thisbe eaten song that is even more beautiful by a monstrous creature, uses because it exists only in memory his sword to join her in death. or in imagination. Yearning and Then, upon her return, Thisbe desire are even more moving finds Pyramus dead and leans on when one dares to hope despite the sword herself. being confronted over and over by unforgiving realities. In Terrible, incomprehensible Notebook/To Lucien Freud/On forces coexist here with the the Veil from School of the Arts beauty of tender vulnerability. poet Mark Doty speaks of “no The stranglehold of authority, hope/ without the possibility of the physical presence of the a wound.” Schubert shows us wall, the violence of nature, the the forces that wound, and the impossibility of omniscience: immense sensitivity of the soul all these are external obstacles that hopes. In this piece, Fate interfering with the purity of deals the final blow. love. But still the shadows they —Mark Steinberg cast upon that love, spawning yearning and hope, introduce a Bruce Adolphe fragility and an aching quality Fra(nz)g-mentation to that love that we recognize as deeply human. The renunciation In celebration of their 20th of life as a reaction to thwarted anniversary, the Brentano String love also exalts this love. Quartet commissioned a group Program Notes of composers to complement What finally worked was for incomplete works by Dufay, me to liberate the tune from its Bach, Haydn, Mozart, Schubert, 19th-century German rhythmic and Shostakovich. Each (living) uniform and to allow it to composer was given a fragment dance naked in patterns of 11 to contemplate, and I was notes grouped as four, three, delighted to be given the task and two plus two. For some of working with Schubert’s reason, I have always enjoyed unfinished Andante from D. rhythmic groupings of 11. In 703, composed in the year 1820. fact, my piece And All is Always This movement was to be the Now, which I composed for the second (he completed the first) Brentano’s first violinist Mark of Schubert’s 12th string quartet. Steinberg and my wife, pianist I chose to use the lovely theme Marija Stroke, back in 1992 Schubert wrote for this Andante features some music in 11/16. as the basis of my piece, and When I set poems by Bronzino I also incorporated the more and Petrarch to music for the urgent, dramatic configuration Palazzo Strozzi in Florence in Schubert wrote as the beginning 2010, I learned that Petrarch’s of a second section that he never poetry scans in 11 pulses per completed. line, as opposed to the iambic pentameter in Shakespeare’s I must confess that I started poetry. This was a wonderful three versions of this discovery for me, and I again composition based on the used a meter of 11/16 for an Schubert before arriving at the entire movement, setting one approach that I finally used and line of Petrarch’s. Another completed. Schubert’s graceful recent work of mine, Drumming tune did not immediately a Dream, with choreography suggest rhythmic variants to by Preeti Vasudevan, is based me, and my first attempts were on Indian rhythms, including a to place the tune in a variety of culminating dance in patterns of surprising harmonic contexts, 11 (Takadimi, Takita, Takadimi), as if the tune, an intact 19th which is closely related to the century creature, were visiting music in Fra(nz)g-mentation. distant harmonic worlds. These ideas did not work for me, Back to Schubert: once I set as they were too deliberate, too Schubert’s tune spinning in 11, I self-conscious, and not became inspired and the music truly inspired. flowed. Then, at a crucial point Program Notes in the unfolding of ideas, to think about and react to the I inserted another motif from fragment by Franz Schubert the Schubert fragment, a given to me by the Brentano chromatic phrase that Schubert String Quartet. —Bruce Adolphe left hanging on the page like a flag blowing in the wind. This J.S. Bach motif also could spin and twist Contrapunctus XVIII from in a newly energized rhythmic the Art of Fugue wind, and this brought a new Sofia Gubaidulina mood to the music. Reflections on the Theme B-A- C-H Most inspiring of all for the composition of this piece, In celebration of their 20th In however, was the extraordinary this piece Sofia Gubaidulina playing of the Brentano String reacts to the great unfinished Quartet. I have known the fugue at the conclusion of the Art quartet since its very first of Fugue, comprising expositions concert (in fact, I helped present of three fugal themes, curiously that concert), and I have known excluding the original Art of Mark Steinberg since he was a Fugue theme. At the end of the kid in my theory classes at The extant section of the fugue Bach Juilliard Pre-College Division, combines these three themes, and where he already clearly showed in fact it has been shown that it is the brilliance for which he and possible to further combine them his Brentano colleagues are with the Art of Fugue theme justly renowned today. as a fourth, as most scholars believe Bach intended had he Fra(nz)g-mentation is perhaps a completed the work. The third complex title, but it accurately of the themes presented spells reflects the goal and nature of out Bach’s name in musical notes the piece. The music is based on (B being used in German for our a fragment by Franz Schubert, B flat, H for our B natural), thus hence the name Franz imbedded adding to the mystical nature of in the Frag. Mentation, in this fugue. Sofia Gubaidulina’s addition to being the end of the piece responds with music of word fragmentation, is a word in heart-wrenching intensity, using its own right, of course, meaning the Bach themes involved, often mental activity or, more simply, obfuscated by wailing, writhing to think. This, then, describes figures of her own. Searching both my task and its source — glissandi, ghostly ponticello Program Notes tremolos, and poignant, intense Haydn the man may have silences color a response to become enfeebled; but in this the Bach which amplifies and quartet, Haydn the composer sheds new light on the deeply is fully in control. The first spiritual and enigmatic music of movement, marked Andante Contrapunctus XVIII. grazioso, is gentle, pensive, —Mark Steinberg simple rhythmically and formally. The face it presents to Josef Haydn the world is guileless, seemingly Quartet in D Minor, Op. 103 devoid of artifice, the work of a man with nothing left to prove; The d minor Quartet, opus 103, and yet it bears a patina from is a fragment, the final chapter sixty-seven earlier quartets, in Joseph Haydn’s monumental with all their innovations and string quartet oeuvre. It consists profundity. The music moves of two movements; it is unclear lightly, but there is everywhere whether they were intended as a feeling of gravity. Musical the inner movements of a four- lines often head downward movement work, or as the first (especially in descending and second movements. Haydn scales), and chromatic composed this music around darkenings of the harmony the same time as the two opus constantly suggest a minor-key 77 quartets, which were meant presence lurking behind the to be part of a six-quartet set; major key, a tender melancholy. presumably, then, this work In fact, the entire movement would have been a third quartet describes a larger, circular in that set. In failing health, the descent: at the end of the first composer subsequently allowed section, the music swings down the fragment to be published by a major third to the startling itself, as opus 103. He added the key of G flat major, where the following words to the score, a middle section begins; then the quote from his own chorale Der middle section itself ends in D Greis: “Gone is all my strength, major, another third lower, and old and weak am I.” How many then the circle is completed geniuses would feel moved to when the main section resumes apologize for an unfinished down a final third, back in the work, after bestowing such a home key of B-flat. It is a simple splendid and prolific output on but beautiful, and in Haydn’s the world? time rather unusual, harmonic device, enfolded in such a Program Notes simple-sounding movement. John Harbison The second movement, a Finale: Presto minuet, is in d minor, once again a major third away from The Brentano Quartet’s invitation the work’s main key. Defiant to make a ‘comment’ on Haydn’s and robust, it seems to pay incomplete incomparable two lip service to the minuet of movement final Quartet 103 Mozart’s d minor Quartet, one was a chance to pursue two last chapter in the history of questions; 1) Is it possible to mutual inspiration between make a Finale which re-creates these two composers. The main in contemporary terms Haydn’s section of this minuet alternates constant dialogue between forthright, dotted-rhythm symmetry and asymmetry? Could gestures with quieter, more such a movement even partially uncertain interpolations, the suggest, in five minutes, a lifelong most striking being an anxious devotion to that consummate four-note chromatic ascent master? 2) Could research on that is passed back and forth this help answer a question between first violin and cello, about Haydn’s last years, a uncertainty beneath the surface question important to composers bravado. A more friendly trio navigating their seventh decade. intervenes in D major; this is Why, really did he stop working? vintage Haydn, complete with teasing hesitations, strange Haydn composed his swan song irregular phrase lengths, jocular Opus 103 in 1803, and published embellishments. Then the gruff the two movements in 1806 with main section returns, ending an inscription from his song with the first violin’s flamboyant “Der Greis” (which had been upward scale. Despite its printed as his greeting card as fragmentary nature, this quartet well) “Gone is all my strength, feels like an authoritative exit old and weak am I”. Studying line for the man who elevated this music, its windows wide the quartet genre to greatness open to the future, I thought for the first time. –Misha Amory “nonsense”, he’s covering up for something. His friend Griesinger reports a conversation about this piece: “Haydn said his field is boundless. That which could take Program Notes place in music far greater than When news of his chamber that which has already occurred. music eclipse came from his Ideas float before him by means commissioner and the youthful of which Art could be brought court public, he was at a much further”. Later Haydn moment of the worst relations said; “It’s my last child but it still with a powerful young rival, looks like me.” thirty eight years his junior, (who only on his deathbed truly In 1799 Prince Lichnowsky recanted his slighting of his organized performances great predecessor). of two Quartet sets he had commissioned, Beethoven Opus Haydn took one more shot at 18 and Haydn Opus 77. Prior to quartet writing – two middle this event Beethoven had been movements – Opus 103. Then, showing around the scores of his at full strength as we know from Opus 18 and saying he learned every note, he folded his tent, how to write quartets from and spent his final six years as Föster! (An obvious allusion to part of his own posterity. Mozart’s dedication of a set of —John Harbison six quartets to Haydn). When commentators on the dovetailed Stephen Hartke premiers (well documented From the Fifth Book in Robbins Landon’s Haydn biography) described the Opus From the Fifth Book was 18 quartets as the finest ever commissioned by the written, this must have hit Brentano String Quartet for Haydn hard. Beethoven, after their Fragments Project, in quitting his studies with Haydn, celebration of their 20th immediately styled himself as Anniversary Season. The more competitor than colleague. commissioned composers were Haydn must have known his asked to write a movement Opus 77 quartets were at a level for quartet reflecting upon a unreachable by Beethoven at fragmentary work by some of that time. Still, how does he the most celebrated quartet react? When he got a full composers including Mozart, grasp of Mozart’s Figaro, Schubert and Schoenberg. I Haydn graciously and selected what appears to be unhistrionically withdrew from a completed first movement the operatic field. to an unfinished quartet by Shostakovich conceived Program Notes between his 8th and 9th Vijay Iyer quartets. One of the aspects Mozart Effects of the Shostakovich quartets I most admire is that despite their In 1993, a short research article abstract character, with nearly was published in Nature claiming all their movements bearing that listening to Mozart could nothing more than very plain induce a short-term IQ boost tempo markings, the music in the area of “spatial task almost always communicates performance.” The control a sense of disquiet and conditions in the experiment emotional preoccupation that were “relaxation” and “silence,” far transcends the relative not “Brahms” or “Ellington,” so straightforwardness of the there was nothing in the study to thematic content. Further, show that this effect was unique Shostakovich’s structures, to Mozart. (On the other hand, while equally plainspoken and for all they knew, the effect could rooted in the traditions of the have been wholly specific to string quartet, have a stream- the Sonata for Two Pianos in D of-consciousness character that Major, K. 448, the only piece used I have chosen to follow in my in the study.) piece. Nonetheless, sensationalized It is a curious challenge to be news about “the Mozart effect” asked to write a fragment in touched off a nationwide Mozart response to a fragment. My title, frenzy. Something about that From the Fifth Book, is intended brazenly Eurocentric claim as a suggestion that this piece “Mozart makes you smarter” may, at some point, become the seemed to offer a quick fix for first movement of a complete everything wrong in America. string quartet entitled The Fifth Adding to the furor, the governor Book (by which I mean my fifth of Georgia at the time decreed book of madrigals). Or, it may that every baby born in the state remain, as Shostakovich’s piece, would receive a Mozart CD upon a promise of something that leaving the hospital. The self- never came to be. help industry had a field day: You —Stephen Hartke Program Notes too can touch the untouchable Few have been disabused of the genius of a great master! Unlock idea of the Mozart effect today, your true potential while you and those who have still wish it sleep! It was good old-fashioned to be true anyway. snake oil – let’s call it Wolfgang’s revenge. For a composer, to be tasked with “finishing” an unfinished Finally, in 2009 a Requiem for piece by Mozart is to serve as the Mozart effect arrived, in the the punchline to a joke. There form of a thorough scientific was no one I told about this review commissioned by the commission who didn’t burst German research ministry. The out laughing. Perhaps we are conclusion: if we experience all Salieri, still haunted by those any cognitive boost at all from infernal cackles - Wolfgang’s passive listening, it is very brief, revenge, yet again. very small, and equal for all types of music. But null results I thank the Brentano String are never newsworthy, so word Quartet for this opportunity, didn’t quite get around; the story inherent comedy and all. was buried in a pauper’s grave. —Vijay Iyer

Fragments: Connecting Past and Present was commissioned by the Brentano String Quartet and the following co-commissioners: Caramoor Center for the Arts, Katonah, NY; Carnegie Hall, New York, NY; Chamber Music Northwest, Portland, OR; Chamber Music Society of Detroit with support from Ruth Rattner and Ann and Norman Katz; onStage at Connecticut College, New London, CT; Da Camera of Houston; Fontana Chamber Arts, Kalamazoo, MI; Hopkins Center, Dartmouth College, Hanover, NH; Krannert Center for the Performing Arts, University of Illinois, Urbana, IL; Luther College, Decorah, IA; Rockport Music, Rockport, MA; Judith and David Falk for Salt Bay Chamberfest, Damariscotta, ME; San Francisco Performances; and Spivey Hall at Clayton State University, Morrow, GA. Info to Know

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