Spring Chamber Music Festival

Total Page:16

File Type:pdf, Size:1020Kb

Spring Chamber Music Festival SPRING CHAMBER MUSIC FESTIVAL ArtistsARTISTS: Roster Violinist Donna Fairbanks - Dr. Fairbanks is Chair of the Department of Music at Utah Valley University, where she is an Associate Professor, Coordinator of the String Area, and Member of the Atma String Quartet and the Aurora Duo. She maintains an active concert schedule, appearing as a soloist and chamber artist. She has soloed with the Charleston Symphony, Utah Symphony, Orquestra Sinfônica de Londrina in Brazil, the Utah Valley Symphony, the Utah Valley University Symphony Orchestra and Chamber Orchestra, the Eastern Arizona College Orchestra, and the Sun Valley Festival Orchestra. Recent chamber and recital venues include the National Shrine of the Immaculate Conception in Washington, DC, the Rotterdam Conservatory in the Netherlands, the Schumann in Zwickau Festival in Germany, the Hungarian National Gallery in Budapest, the Ghent Festival in Belgium, the Hagibor Center in Prague, and the Nanjing Normal University in China. As a member of the Aurora Duo with harpist Lysa Rytting, her recordings include Melodie (MSR Classics), and The Aurora Duo (4TAY Records). Selections from these recordings are featured on major public radio stations and networks, among them WNYC and WWFM New York City, WGBH Boston, WFMT Chicago, WRTI Philadelphia, WXXI Rochester (NY), WABE Atlanta, WPRB Princeton, WQED Pittsburgh, WUOL Louisville, KMFA Austin, KING Seattle, KBPS Portland, WSHU Connecticut, KHFM New Mexico, WFSU Florida, KVNO Omaha, WSCL Delmarva Public Radio, KMST Missouri, Minnesota Public Radio, Wisconsin Public Radio, and the Beethoven Satellite Network. Violinist Cynthia V. Richards, Author and Teacher Cynthia Richards began her study of the violin at age eight. She has maintained a successful private teaching studio since 1964 and performs as a free-lance violinist. She pursued performance and teaching skills in America and Europe, receiving a Bachelor of Arts in violin performance from Brigham Young University (BYU). Her teachers include David Dalton, Percy Kalt, Elaine Richey and Franz Samohyl. A faculty member at BYU from 1996 to 2005, Cynthia taught violin and the innovative String Pedagogy class for teaching young children, based on Kodály principles of music education. She continues her teaching at Utah Valley University and in the Provo School District. Her first book, How to Get Your Child to Practice... Without Resorting to Violence , has received wide popular acceptance. She recently co-authored The Complete Musician -- Violin Books One, Two and Three and The Complete Musician -- Cello Book One with Jerry L. Jaccard and Monica Call. She is the mother of eight children, all successful musicians, who served as her laboratory subjects in preparing this book. Violinist Yeagi Kim Broadwell Heralded for her “perfect performance” on Korean Times of Utah, violinist Yeagi Kim Broadwell has a unique international background. She has performed and studied in Korea, Russia, the Netherlands, Belgium, England, Czech Republic, and the United States. Musicians she has collaborated with include Yannick Nézet-Séguin, Eugene Ugorsky, members of Calefax Reed Quintet, Jenny Oaks Baker, Bryn Terfel, Michael Bublé, members of Rotterdam Philharmonic Orchestra, and members of Utah Symphony. Ms. Broadwell has also been featured in master classes with David Kim, the concertmaster of the Philadelphia Philharmonic, and Igor Frolov, resident composer and professor of music at the Moscow Conservatory. A native of Busan, South Korea, Ms. Broadwell demonstrated talent and passion for music at an early age, studying piano with her mother at the age of five and taking up the violin at seven. Prestigious competitions won include the Dongpaek Young Musicians Regional Competition, Open Siberian Competition for Young Composers, and Riverton Metropolitan Orchestra Competition for Young Artists. She has also participated in the International Festival of Twentieth-Century Young Musicians in Moscow, Idyllwild Music Festival, and Killington Music Festival in the US. Ms. Broadwell’s list of prestigious international venues, includes the Concertgebouw Hall, the Doelen in the Netherlands, Queen Elizabeth Hall in Belgium, and the University of Cambridge in England. Violinist Blanka Bednarz is an alumna of the Jadwiga Kaliszewska Talent School in Poznan, Poland, the University of Kansas (BM, summa cum laude) and the New England Conservatory (MM, summa cum laude and D.M.A.). She studied with Eric Rosenblith, Michelle Auclair, Ben Sayevich and (viola with) James Dunham. Bednarz’s chamber music coaches include members of the Ying, Cavani, Borromeo Quartets, and Patricia Zander. As soloist she has performed, among others, with the Connecticut Virtuosi, Symphony and Chamber orchestras of the New England Conservatory, Gettysburg Chamber Orchestra, Sinfonietta Polonia, Dickinson College Orchestra, Central Pennsylvania Symphony, and the Delaware County Symphony. The violinist performs in the USA, United Kingdom, Poland, Germany, Italy, Sweden, Finland, China, the Netherlands and Lithuania, among others at the Jordan Hall in Boston, Carnegie Hall and Carnegie Hall's Weill Recital Hall, Miller Hall, Philadelphia Ethical Society, Kosciuszko Foundation House, Groβer Sendesaal des Rundfunks Berlin-Brandenburg, Groβer Sendesaal des Landesfunkhauses Hannover, Beijing Concert Hall and A. Mickiewicz University Auditorium in Poznan. She can be heard on Capstone Records, Acte Préalable and Musica Omnia. Violist Leslie Harlow, Founder/Director of the Park City Beethoven Festival, is both a solo and chamber performer. Leslie Harlow has performed as violist in chamber concerts with many of the finest artists of this era. Some of the artists are more known to the general public, such as violinists Charles Libove, Glenn Dicterow, Paul Rosenthal, Bill Preucil, Elmar Oliviera, Shlomo Mintz and Joseph Silverstein, violist Paul Neubauer, and cellists Jeffrey Solow, Mark Kosower, but Ms. Harlow is proud to note that the classical music world is filled with wonderfully gifted artists that she has had the privilege of performing alongside in chamber music throughout her career as a violist. A graduate of the Juilliard School, Leslie Harlow performed in master classes for William Primrose, Paul Doktor, Donald McGinnis, Heidi Castleman and Nabuko Imai and her primary teachers were Marna Street, Susan Schoenfeld, Paul Doktor, and violinist Harry Shub with additional lessons with Heidi Castleman, Donald Wright and Francis Tursi. She studied chamber music with Felix Galimer, Samuel Rhodes, David Soyer, Paul Doktor, Charles Castleman, Robert Sylvester and Julius Baker. Following graduation from Juilliard, Ms Harlow founded the Deer Valley (Utah) Chamber Music Festival in 1984. Renamed the Park City Beethoven Festival, the festival continues as Utah's oldest classical music festival, now having presented over 650 concerts. Leslie Harlow also founded and directs the Park City Film Music Festival. An active recording artist, both in chamber music and in commercial studio work, Ms. Harlow's viola solos can be heard on a number of film scores for major films including "Murder in the First" and "Surviving Picasso." Cellist Cheung Chau began cello lessons at age seven and soon received top prizes at the Hong Kong Schools Music Festival, including first prize at the Commercial Radio Prize Competition at age twelve – the youngest musician ever to receive this prize. At fourteen, he was invited to perform as soloist, playing Tchaikovsky's Rococo Variations, with the Hong Kong Philharmonic Orchestra. The Sing Tao Daily described him as "a rare gem in the musical field". Mr. Chau was a full scholarship recipient from the R. D. Colburn School of Performing Arts in Los Angeles, the Harid Conservatory and the Yale School of Music. He won the first prize in the "Artist of Tomorrow" competition in Los Angeles, among others. He holds the first double doctorate awarded from the New England Conservatory in Boston in wind ensemble conducting and cello performance. His cello teachers include Colin Carr, Eleonore Schoenfeld, Aldo Parisot and Johanne Perrron. He also played in master classes for Yo-Yo Ma, Ralph Kirshbaum and Lawrence Lesser. Dr. Chau performs as a soloist and chamber musician in the U.S., Hong Kong, Macao, China, Germany, Poland, Italy, Lithuania, Sweden and Finland. He performed as a soloist with Hong Kong Philharmonic Orchestra, Macao Chamber Orchestra, Hemet Symphony Orchestra, Brentwood-Westwood Symphony Orchestra and recorded for Hong Kong Radio and Television Corporation, China Central Television, Norddeutscher Rundfunk, Acte Préalable, Irish Radio and was heard on Polish Radio Merkury and TVP Poznan. He has performed in Merkin Hall and Yale Club in New York, Jordan Hall in Boston, the Fine Arts Recital Hall at Ambassador College as well as performing in Miami, Providence, Salt Lake City, Stockholm, Warsaw, Beijing and Sardinia. He is a member of Atma Piano Trio, with pianist Slawomir Dobrzanski and violinist Blanka Bednarz. The ensemble performs worldwide in Germany, Sweden, Italy, Lithuania, China, many times in the US, and has toured extensively in Poland. Their concerts merited high critical acclaim and have broken several audience attendance records. Chau can be heard both as cellist and conductor on a CD released by Polish label Acte Préalable (AP0181) in works by Roman Palester and Paul Kletzki, as well as on CD with Atma Trio, AP0172, Acte Préalable. He participated also on the recording of "Maria Szymanowska Complete Piano Works" released in2013
Recommended publications
  • The Voice of the Viola in Times of Oppression Ásdís
    The Voice of the Viola in Times of Oppression Ásdís Valdimarsdóttir viola Marcel Worms piano The Voice of the Viola Felix Mendelssohn Bartholdy (1809-1847) in Times of Oppression Sonata for viola and piano (1824) Ásdís Valdimarsdóttir 1 6’45 Adagio - Allegro viola 2 6’23 Menuetto (Allegro molto) and Trio (Più lento) Marcel Worms 3 12’59 Andante con variazioni piano Hans Gál (1890-1987) Sonata op.101 for viola and piano (1941) 4 6’15 Adagio 5 5’31 Quasi menuetto, tranquillo 6 6’58 Allegro risoluto e vivace Dmitri Shostakovich (1906-1975) 7 1’39 Impromptu for viola and piano (1931) Paul Hindemith (1895-1963) Sonata for viola and piano (1939) 8 7’18 Breit, mit Kraft 9 5’02 Sehr lebhaft 10 4’05 Phantasie: sehr langsam,frei 11 7’35 Finale: leicht bewegt total time: 70’32 The Voice of the Viola in Times of Oppression 2 THE VIOLA is surely not the most assertive instrument Felix Mendelssohn-Bartholdy (1809-1847) Hans Gál (1890-1987) among the string family. It reaches neither the extreme Sonata for Viola and Piano (1824) Sonata op.101 for viola and piano (1941) height of the violin nor the rumbling depth and the Mendelssohn was only fifteen years old when he wrote Hans Gál was born in the vicinity of Vienna. Until his death, strength of the cello and contrabass. Its role is more his sonata for viola and piano. An opus number was late in the twentieth century and outside Central Europe, integrating than leading or polarising; and in brilliance, not assigned to the work by the young composer, and he let that Viennese origin resonate in his music.
    [Show full text]
  • CCMA Coleman Competition (1947-2015)
    THE COLEMAN COMPETITION The Coleman Board of Directors on April 8, 1946 approved a Los Angeles City College. Three winning groups performed at motion from the executive committee that Coleman should launch the Winners Concert. Alice Coleman Batchelder served as one of a contest for young ensemble players “for the purpose of fostering the judges of the inaugural competition, and wrote in the program: interest in chamber music playing among the young musicians of “The results of our first chamber music Southern California.” Mrs. William Arthur Clark, the chair of the competition have so far exceeded our most inaugural competition, noted that “So far as we are aware, this is sanguine plans that there seems little doubt the first effort that has been made in this country to stimulate, that we will make it an annual event each through public competition, small ensemble chamber music season. When we think that over fifty performance by young people.” players participated in the competition, that Notices for the First Annual Chamber Music Competition went out the groups to which they belonged came to local newspapers in October, announcing that it would be held from widely scattered areas of Southern in Culbertson Hall on the Caltech campus on April 19, 1947. A California and that each ensemble Winners Concert would take place on May 11 at the Pasadena participating gave untold hours to rehearsal Playhouse as part of Pasadena’s Twelfth Annual Spring Music we realize what a wonderful stimulus to Festival sponsored by the Civic Music Association, the Board of chamber music performance and interest it Education, and the Pasadena City Board of Directors.
    [Show full text]
  • 2015 CMS International Conference June 17–24, 2015 Stockholm, Sweden & Helsinki, Finland
    2015 CMS International Conference June 17–24, 2015 Stockholm, Sweden & Helsinki, Finland PRESENTER & COMPOSER BIOS updated April 24, 2015 Adams, Bill J. Bill J. is a belting masterclass presenter and Art Song specialist who serves as the Coordinator of Performing Arts and associate professor at Nova Southeastern University in Fort Lauderdale FL. He is also a principal investigator for Music Counts: A Specialized Treatment Program for Children with Autism. New York credits include: The Rape of the Lock (Ariel), The Bartered Bride (VaŠek), Die ZauberflÖte (Monostatos), Madama Butterfly (Goro). Regional credits include: The Most Happy Fella (Ciccio) with William Michals, Cannibal: the Musical (Loutzenheiser), A View from the Bridge (Mike), Albert Herring (Mayor), Assassins (Zangara), The Coronation of Poppea (Arnalta), Falstaff (Dr. Cajus), Manon (Guillot), and One Flew Over the Cuckoo’s Nest (Cheswick). Adams, Daniel C. Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). He currently serves as the College Music Society Board Member for Composition and previously as South Central Chapter President. Adams is the composer of numerous published musical compositions and the author of many articles, encyclopedia entries and reviews on various music- related topics. His most recent article, “Indeterminate Passages as Temporal and Spatial Components of Three Selected Compositions for Snare Drum Ensemble” was published in the Fall 2013 issue of the Journal of the National Association of Wind and Percussion Instructors.
    [Show full text]
  • A Great Wave in the Evolution of the Modern Cellist: Diran Alexanian and Maurice Eisenberg, Two Master Cello Pedagogues from the Legacy of Pablo Casals
    A GREAT WAVE IN THE EVOLUTION OF THE MODERN CELLIST: DIRAN ALEXANIAN AND MAURICE EISENBERG, TWO MASTER CELLO PEDAGOGUES FROM THE LEGACY OF PABLO CASALS by Oskar Falta B.Mus., Robert Schumann Hochschule, 2014 M.Mus., Royal Academy of Music, 2016 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Orchestral Instrument) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) November 2019 © Oskar Falta, 2019 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: A Great Wave in the Evolution of the Modern Cellist: Diran Alexanian and Maurice Eisenberg, Two Master Cello Pedagogues from the Legacy of Pablo Casals submitted by Oskar Falta in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Orchestral Instrument Examining Committee: Eric Wilson, Music Co-supervisor Claudio Vellutini, Music Co-supervisor Michael Zeitlin, English Languages and Literatures University Examiner Corey Hamm, Music University Examiner Jasper Wood, Music Supervisory Committee Member ii Abstract Pablo Casals (1876-1973) ranks amongst the most influential figures in the history of the violoncello. Casals never held a permanent teaching position, neither did he commit his teaching philosophy to paper. This thesis examines three selected aspects of expressive tools: intonation, vibrato, and portamento – as interpreted by Casals – and defines how they are reflected in methods of two cellists with first-hand access to Casals's knowledge: Diran Alexanian (1881-1954) and Maurice Eisenberg (1900-1972). The first chapter presents two extensive biographical accounts of these authors.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date: 12-May-2010 I, Chiu-Ching Su , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Viola It is entitled: A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas Student Signature: Chiu-Ching Su This work and its defense approved by: Committee Chair: Catharine Carroll, DMA Catharine Carroll, DMA 6/18/2010 657 A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2010 by Chiu-Ching Su B.M. Fu Jen Catholic University, 2001 M.M. University of Cincinnati, 2003 ABSTRACT Franz Anton Hoffmeister’s Viola Concerto in D Major (written prior to 1799) has become among the standard repertoire of viola concertos, due to the rise of viola virtuosos since the beginning of the twentieth century and the rarity of virtuosic viola concertos with stylistic forms from the Classical period. This piece has been included in several major orchestra auditions and competitions. While violists often lack hands-on experiences of the Classical repertoire, this document is to provide violists ways to perform this piece and pieces from the same period. Hoffmeister’s Viola Concerto in D Major has been published by G. Henle Verlag, Kunzelmann, Peters, Kalmus, International Music Company (New York), H.
    [Show full text]
  • Fall 2003-Spring 2004)
    David Korevaar, Helen and Peter Weil Professor of Piano 1 Updated: July 2018 David Korevaar University of Colorado at Boulder, College of Music 301 UCB, Boulder, CO 80309-0301 303-492-6256, [email protected] www.davidkorevaar.com http://spot.colorado.edu/~korevaar Curriculum Vitae Educational Background: Doctor of Musical Arts, Piano, The Juilliard School, 2000. Doctoral Document: “Ravel’s Mirrors.” DMA Document. New York: The Juilliard School, 2000. xi + 196 pp. Awarded Richard French prize for best DMA Document, The Juilliard School, 2000. Committee: L. Michael Griffel, Robert Bailey, Jerome Lowenthal. Piano studies with Abbey Simon. Related area studies with Jonathan Dawe, Jane Gottlieb, L. Michael Griffel, David Hamilton, Joel Sachs, Maynard Solomon, Claudio Spies. Master of Music, Piano, The Juilliard School, 1983. Bachelor of Music, Piano, The Juilliard School, 1982. Piano studies with Earl Wild. Composition studies with David Diamond. Chamber music studies with Claus Adam, Paul Doktor, Felix Galimir, Leonard Rose, Harvey Shapiro. Independent piano studies: Paul Doguereau (1985-1998). Earl Wild (1976-1984). Sherman Storr (1969-1976). Andrew Watts (2013) Richard Goode (2013) Summer programs: Johannesen International School of the Arts, Victoria, B. C. (1980). Piano studies with John Ogdon, Robin McCabe, Joseph Bloch, Bela Siki. Bowdoin Summer Music Program (1981). Piano studies with Martin Canin. Aspen (1985). Piano studies with Claude Frank. David Korevaar, Helen and Peter Weil Professor of Piano 2 Teaching Affiliations: Academic year appointments: Current: Professor of Piano at the University of Colorado at Boulder (2011-); Associate Professor with tenure (2006-2011); appointed as Assistant Professor in 2000. Former: University of Bridgeport, Bridgeport, Connecticut (Adjunct position, “Head of Piano Studies”; 1995-2000).
    [Show full text]
  • 5018581-051B5a-635212052426.Pdf
    AARON JAY KERNIS AARON JAY KERNIS DREAMSONGS THREE CONCERTOS THREE CONCERTOS Dreamsongs (2013) movement and is often featured in it. I don’t know of many cello pieces that concentrate on Dreamsongs (2013) 1. Floating Dreamsongs pizzicato playing as much as this movement, 1 I. Floating Dreamsongs [13.01] 2. Kora Song and the playing style was developed in close 2 II. Kora Song [13.04] Joshua Roman cello collaboration with the soloist. The music While Dreamsongs is a concerto for cello and frequently changes direction and features a Viola Concerto (2013-14) chamber orchestra, it doesn’t take on the number of cello cadenzas of smaller and larger 3 I. Braid [5.47] forms of older concerti. Rather than the almost size, sometimes with the West African djembe 4 II. Romance [7.04] ubiquitous three movement layout– Fast-Slow- 5 III. A Song My Mother Taught Me [19.47] drum. Overall it has a gentle exuberance and is Paul Neubauer viola Fast - it has only two movements, both of lighter in tone and more energetic than in the which mix slow and fast with dramatic and opening movement. Concerto with Echoes (2009) lyrical sections. The first,Floating Dreamsongs 6 I. Lontano; Tocatta: Molto allegro [3.39] 7 II. Slowly [7.57] is mostly slow and airy, and is built as a group Dreamsongs is written for the generous and 8 III. Aria – dolente, grazioso [4.48] of continuously developing variations on the virtuosic playing of cellist Joshua Roman, who intimate music from its opening and 1st I’ve known for a number of years, and has been 9 Tumbalalaika Traditional Yiddish, arr.
    [Show full text]
  • Goal;Estimatedtotalequals$4,214.98
    CombinedFundDrive Surpasses$4,000 Goal;EstimatedTotalEquals$4,214.98 "The Allegheny Combined Fund Drive has surpassed its goal of $4,000," Ned Vidal, chairman of the drive announced last night, "although itis not yet possible to state exact figures." THEOF ALLEGHENYCAMPUSCOLLEGE Total receipts to date have been $3,448.22, but this does not in- VOL. LXXVI, 22 Meadville, Pennsylvania APRIL 4, 1952 clude net returns from the Carnival, which have been estimated NO. at $816.76. Gross results from the Carnival were $1,170.17. "We are estimating expenses of Two Fraternal Groups the drive, exclusive of Carnival ex- Steve Graffam Wins AUC Presidency penses which are undetermined as Barrows Will Chairman Elect New Officials $50", he "Allowing Tuesday;McCartney yet, at said. for Eisenhower Fans Here; Two fraternal groups on campus VicePresident this deduction, we have an esti- have held elections within the past $4,214.98." Steve Graffam, receiving 382 votes, was elected president of mated total to date of Mock Election Planned two weeks. AUC in the runoffs held Tuesday in Brooks, while Bill Mc- The individual solicitation pro- Named in Alpha Chi Omega bal- $97 Cartney, with 270 votes, was chosen vice president. A total of gram brought in $1,888.10, while "Allegheny's Eisenhower for loting were: president, Mary Bald- 1,389 in pledges, ballots were cast on Monday and Tuesday, according to still remains uncollected President campaign will get under win; first vice president, Sparky Dorm McCafferty, not included in the total way a special organizational chairman of the elections. "The freshman and at Koston; second vice president,Nan- sophomores were the heaviest voters consistently," he said.
    [Show full text]
  • The Fifteenth-Anniversary Season: the Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
    The Fifteenth-Anniversary Season: The Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, itness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE 4290 Bistro features creative dishes from our Executive Chef and Culinary Team. Our food is a fusion of Asian Flavors using French techniques while sourcing local ingredients. TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo The Glorious Violin the fifteenth-anniversary season July 14–August 5, 2017 DAVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 The Glorious Violin Program Overview 6 Essay: “Violinists: Old Time vs. Modern” by Henry Roth 10 Encounters I–V 13 Concert Programs I–VII Léon-Ernest Drivier (1878–1951). La joie de vivre, 1937. Trocadero, Paris, France. Photo credit: Archive 41 Carte Blanche Concerts I–V Timothy McCarthy/Art Resource, NY 60 Chamber Music Institute 62 Prelude Performances 69 Koret Young Performers Concerts 72 Master Classes 73 Café Conversations 74 The Visual Arts at Music@Menlo 75 Music@Menlo LIVE 76 2017–2018 Winter Series 78 Artist and Faculty Biographies 90 Internship Program 92 Glossary 96 Join Music@Menlo 98 Acknowledgments 103 Ticket and Performance Information 105 Map and Directions 106 Calendar www.musicatmenlo.org 1 2017 Season Dedication Music@Menlo’s ifteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
    [Show full text]
  • CONITZ-DOCUMENT-2019.Pdf
    i Abstract (Re)Examining narratives: Personal style and the viola works of Quincy Porter (1897–1966) By Aaron Daniel Conitz The American composer Quincy Porter (1897–1966) is primarily remembered for his achievements and contributions as a member of the academy and, as a result, his music has largely been cast in the shadows. His compositional style is frequently described as “personal” or “highly individual,” particularly in reference to his works of chamber music, specifically those for string instruments. Porter was a fine violist who performed throughout his professional career in solo recitals and chamber ensembles; these experiences directly influenced his composition. Reexamining Porter’s narrative through the lens of his works for viola reveals a more nuanced perspective of the individual, one that more effectively conveys his personal style through the instrument he played. This body of repertoire forms a unique sector of his oeuvre: the works are valuable for the violist in their idiomatic qualities and compositional appeal, yet also display the composer’s voice at its finest. This document will present the works Porter originally wrote for viola (no transcriptions) as a valuable contribution to the repertory of 20th century American viola music. The works will be presented in chronological fashion and explore analytical aspects, stylistic concerns, historical context, and performance practice. The document begins with a biography to provide context for these works. ii Acknowledgements It is said that it takes a small village to raise a child. The essence and wisdom of this statement has certainly held true throughout the creation of this document; I would like to thank and recognize the small village of individuals that have helped me along this long, but rewarding journey.
    [Show full text]
  • American Viola Society Newsletter 25 November 1983
    THE AMERICAN V/OLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research No. 25 NEWSLETTER November 1983 THE AMERICAN VIOLA SOCIETY Ch apter of THE INTERNATIONAL VIOLA SOCIETY Associ ation for the Promot ion of Vio la Performance and Research No . 25 NEW SLETTER November 1983 William Prirnrose Honorary Presiden t, deceascd Maurice W. Riley Presideru Myron Rosenblurn Past Presideru Dwight Pounds Vice Preside n: Ann Woodward Treasurer Harold Klatz Sec retar y EXECUTIVE BOARD David Dalron DR. ~ILTON K A T I~ S , Paul Doktor Millon Katirns Artistic Director, Louis Kievman School of Musi c, Donald McInnes University of Ho u s t on . Robert Oppclt BOST of the XI INTERNAT IONAL Joseph de Pasquale Robert Slaughter VIOLA CC' NGR ESS . Thomas Tatton Francis Turst COORDlNATOR WITH THE CANADIAN VIOLA SOCIET Y A . Baird Knechtel XI INTERNATIONAL VIOLA CONGRESS IN HOUSTON by Maurice W. Riley Over 200 violists convened on the campus of the University of Houston from June 2 to 5 toparticipate in the XI Inter­ national Viola Congresa. The Congresa was hosted by Dr. Milton Katims, Artistic Director ,Of t h e Univeraity School of Musie, and by the Music Faculty. The registrants carne from 33 atates in the United States, 3 Canadian provinces, and 10 foreign eountries. At the opening banquet Dr. Myron Rosenblum, past president of the American Viola Society, and Professor Franz Zeyringer, fresident of the International Viola Society, from PBllau, Austria, were recognized and honored for their many and lasting contributions to the Viola. Dr.
    [Show full text]
  • Journal of the American Viola Society Volume 32 No. 1, Spring 2016
    Features: Bartolomeo Campagnoli and His 41 Capricci An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I Volume 32 Number 1 Number 32 Volume Journal of the American ViolaSociety American the of Journal Viola V32 N1.indd 301 3/16/16 6:20 PM Viola V32 N1.indd 302 3/16/16 6:20 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2016: Volume 32, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements Feature Articles p. 9 Bartolomeo Campagnoli and His 41 Capricci: The Ever-Changing Role of the Virtuosic Viola and Its Technique: Dalton Competition prize-winner Alicia Marie Valoti explores a history of the Campagnoli 41 Capricci and its impact on the progression of the viola’s reputation as a virtuosic instrument. p. 19 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I: A Trio for Signora Dinimininimi, Nàtschibinìtschibi, and Pùnkitititi: Edward Klorman gives readers an interesting look into background on the Mozart “Kegelstatt” Trio. Departments p. 29 New Music: Michael Hall presents a number of exciting new works for viola. p. 35 Outreach: Janet Anthony and Carolyn Desroisers give an account of the positive impact that BLUME is having on music education in Haiti. p. 39 Retrospective: JAVS Associate Editor David M. Bynog writes about the earliest established viola ensemble in the United States. p. 45 Student Life: Zhangyi Chen describes how one of his choral compositions became the basis of a new viola concerto. p.
    [Show full text]