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Frederick Teardo AMERICAN CLASSICS Frederick Teardo is Associate Organist at Saint Thomas Church, Fifth Avenue in New York City, where he accompanies the church’s renowned Choir of Men and Boys. He received both the Master of Music and Master of Musical Arts degrees from the Yale School of Music and Institute of Sacred Music, studying organ with Thomas Murray and harpsichord with Richard Rephann. He received his Bachelor of Music degree with Highest Honors from the Eastman School of Music, where he studied organ with David Charles Higgs. His other teachers have included Stephen Roberts and Haskell Thomson. He has also studied improvisation with William Porter and Jeffrey Brillhart. An avid performer, Frederick Teardo has won first prize in numerous competitions. He has performed across IVES the United States, and has also been a featured performer at Regional and National Conventions of the American Guild of Organists and Organ Historical Society, on the NPR program Pipedreams, and in a segment on the revived interest in the pipe organ on ABC World News Tonight. Songs • 1 Eric Trudel

A native of Quebec, Canada, Eric Trudel graduated from the Quebec Conservatory of ‘1, 2, 3’ Music with the highest honours. He won the prestigious Prix d’Europe competition, which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude Pennetier, Marc Durand and Louis Lortie. He has worked as a pianist at the Banff Center Aeschylus and Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets Canadiens, the OK MOZART Festival and the Pro Arte Singers. His faculty Sophocles appointments include the Banff Centre for the Performing Arts, the Conservatoire de Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, the Université du Québec-Montréal and formerly Yale University’s School of Music (2001-2005). On Because of You CD he can be heard on the CBC and Star labels. Leah Wool At the River

Charles Matthew Plenk IVES The tenor Matthew Plenk made his Metropolitan Opera début in the 2007-2008 season, under the baton of James Levine, as the Voice of the Young Sailor in Tristan und Isolde. (1874-1954) In the same season he joined the Lindemann Young Artist Development Program at The 1 “1, 2, 3” (Text: Ives) (1921) 0:34 & The Cage (Ives) (1906) 1:04 Met. With Yale Opera he has performed Rodolfo, La Bohème, Ferrando in Così fan Patrick Carfizzi, Bass-baritone • Eric Trudel, Piano Robert Gardner, Baritone • J. J. Penna, Piano tutte, Flute in A Midsummer Night’s Dream, Nanki-poo in The Mikado, the Italian tenor 2 Abide with Me (Henry Francis Lyte) (1897) 3:42 * The Camp Meeting (Charlotte Elliott) (1912) 4:44 in Capriccio, and Kudrjàs in Janàãek’s Kat’a Kabanova. While earning his Bachelor of Sara Jakubiak, Soprano • Eric Trudel, Piano David Pittsinger, Bass • Eric Trudel, Piano Music at the Hartt School of Music, he was featured in Don Giovanni, as Don Ottavio. 3 Aeschylus and Sophocles ( Canon I ( Anonymous) (1893) 1:03 Other rôles include Roméo in Roméo et Juliette, Nemorino in L’elisir d’amore, Frederic (Walter Savage Landor) (1922) 4:39 Kenneth Tarver, Tenor • Douglas Dickson, Piano in The Pirates of Penzance, and Sam in Susannah. His concert career has brought Mary Phillips, Mezzo-soprano • Laura Garritson, Piano ) Canon II (Thomas Moore) (1894) 1:14 performances with the Orchestra Sinfonica Giuseppe Verdi di Milano, Hartford Biava String Quartet Sara Jakubiak, Soprano • Douglas Dickson, Piano Symphony, Hudson Valley Philharmonic, Los Angeles based Musica Angelica 4 Afterglow (James Fenimore Cooper) (1919) 2:25 ¡ Chanson de Florian Baroque, Connecticut Chamber Orchestra, Intermezzo Opera, and Bel Canto Northwest. Leah Wool, Mezzo-soprano • J.J. Penna, Piano (Jean Pierre Claris de Florian) (1898) 2:00 With Sir Neville Marriner conducting, he has also performed with Yale Philharmonia. 5 Allegro (Ives) (1899) 2:20 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano He was a National Finalist in the Metropolitan Opera Guild Competition. Lielle Berman, Soprano • Eric Trudel, Piano ™ Charlie Rutlage (Kid O’Malley) (1920) 2:41 6 The All-Enduring (Anonymous) (1896) 7:12 Patrick Carfizzi, Bass-baritone • Douglas Dickson, Piano Robert Gardner, Baritone • J. J. Penna, Piano £ The Children’s Hour 7 Amphion (Alfred Tennyson) (1896) 1:19 (Henry Wadsworth Longfellow) (1912) 2:28 Kenneth Tarver Sara Jakubiak, Soprano • Douglas Dickson, Piano Leah Wool, Mezzo-soprano • Eric Trudel, Piano 8 Ann Street (Maurice Morris) (1921) 0:57 ¢ (Edie’s) Christmas Carol Kenneth Tarver enjoys a career in the most important international opera theatres and Leah Wool, Mezzo-soprano • Eric Trudel, Piano (Edith Osborne Ives) (1925) 3:46 festivals. He has sung at the Vienna State Opera, Deutsche Oper Berlin, the Berlin, 9 At Parting (Frederick Peterson) (1899) 2:05 Matthew Plenk, Tenor • Eric Trudel, Piano Hamburg and Bavarian State Operas, Semperoper Dresden, Royal Opera Covent Garden, Kenneth Tarver, Tenor • Douglas Dickson, Piano ∞ A Christmas Carol (Traditional) (1894) 2:44 the Liceu in Barcelona, the Metropolitan Opera, Naples Teatro San Carlo, and at the 0 At Sea (Robert Underwood Johnson) (1921) 1:25 Ian Howell, Countertenor • Douglas Dickson, Piano Festivals of Aix-en-Provence and Edinburgh. His repertoire encompasses rôles by Ian Howell, Countertenor • Douglas Dickson, Piano § The Circus Band (Ives) (1894) 2:11 Mozart, Rossini, Donizetti, Gluck, Verdi and Berlioz as well as repertoire by Bach, ! At the River (Robert Lowry) (1916) 2:09 Robert Gardner, Baritone • Eric Trudel, Piano Beethoven, Debussy, Shchedrin and Stravinsky. Appearances include Rossini’s La donna Sara Jakubiak, Soprano • Douglas Dickson, Piano ¶ The Collection (James Edmeston) (1920) 3:00 del lago at the Edinburgh Festival and as Don Ottavio in Don Giovanni directed by René @ August (Folgore da San Gimigano) (1920) 3:02 Lielle Berman, Soprano • Frederick Teardo, Organ Jacobs in Brussels, Cologne and Paris, a rôle which he also performed at the Aix-en- David Pittsinger, Bass • Eric Trudel, Piano Sara Jakubiak, Soprano • Tamara Mumford, Provence Festival with both Claudio Abbado and Daniel Harding. Other performances # Autumn (Harmony Twichell) (1907) 2:37 Mezzo-soprano • Matthew Plenk, Tenor range from Mozart’s Così fan tutte and Die Entführung aus dem Serail, and Berlioz’s Les Jennifer Casey Cabot, Soprano • Douglas Dickson, Piano Michael Cavalieri, Baritone Troyens and Béatrice et Bénédict, to Shostakovich’s The Nose with Mstislav $ Because of You (Anonymous) (1898) 3:01 • Country Celestial (John Mason Neale) (1897) 3:44 Rostropovich, and Verdi’s Falstaff with Zubin Mehta and Bernard Haitink. David Pittsinger, Bass • Eric Trudel, Piano Leah Wool, Mezzo-soprano • J. J. Penna, Piano % Because Thou Art (Anonymous) (1901) 2:25 ª Cradle Song (Augusta L. Ives) (1919) 2:23 David Pittsinger, Bass • Eric Trudel, Piano Mary Phillips, Mezzo-soprano • J. J. Penna, Piano ^ Berceuse (Ives) (1903) 1:59 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano Recorded in Sprague Hall, Yale University, New Haven, USA, from May to June, 2005 Producer: Andrew Lang (K&A Productions Ltd.) • Engineer: Eugene Kimball • Editor: Peter Newble Publishers: Merion Music Inc. (tracks 3-4, 8-11, 14, 19-20, 23, 25, 28-29); Peer International Corporation (tracks 2, 5-7, 12-13, 16-18, 26-27); Associated Music Publishers Inc. (tracks 15, 22, 24); Mercury Music Corp. (tracks 1 and 21) 8.559269 2 11 8.559269 559269 bk Ives US 4/15/08 12:31 PM Page 10

J.J. Penna Charles Ives (1874-1954) Songs • 1 J.J. Penna has performed in recital with such notable singers as Kathleen Battle, Harolyn Blackwell, David Daniels, Denyce Graves, Kevin McMillan, Florence Quivar, Andreas When, in 1922, Charles Ives published a volume yet essential to the spirit of the piece) through a passage Scholl, Sharon Sweet, Christopher Trakas, Indra Thomas and Ying Huang. He has been heard entitled 114 Songs, he was likely drawing attention to of rapid protestation to a culmination of philosophical at the Kennedy Center in Washington, D.C., at Weil Hall and Merkin Recital Hall in New the fact that the genre had played a central part in his import, before a measured coda that leaves all such York City, at the Palacio de Bellas Artes in Mexico City, in Seiji Ozawa Hall at Tanglewood, output. 85 years on and, for all that his wider reputation enquiry tantalizingly unanswered. as well as on concert tours throughout the United States, Europe, Asia, the Far East, South may now rest on his orchestral, chamber and piano A meditation on transience, Afterglow (1919) sets America, and the former Soviet Union. He has performed and held fellowships at prestigious music, it is the songs that represent the heart of his James Fenimore Cooper’s verse as a distant, even festivals such as Tanglewood, Chautauqua Institution, Banff Center for the Arts, Norfolk, the creative thinking. Nor was that initial volume at all hieratic vocal line combined with a piano part whose Music Academy of the West, and San Francisco Opera Center’s Merola Program, and has comprehensive; Ives having written almost two hundred restraint exhibits an almost Expressionist tinge. been on the faculties of the Juilliard School, Norfolk Chamber Music Festival, Yale songs, of which this present edition includes all of those Ives’s setting of his own, complementary verses in Photograph: Lisa Kohler University School of Music and Westminster Choir College of Rider University. he completed. The expressive variety encountered is Allegro (1899) reveals a young composer looking accordingly vast: indeed, the gradual evolution of Ives’s toward the future in music whose open-hearted songwriting, from those that draw overtly on the Austro- demeanour is both unaffected and touching (see also Mary Phillips German Lieder and English parlour-song traditions to Volume 5, track 22, Naxos 8.559273). ones that evince an anarchic humour as keenly as others Its anonymous text speaking portentously of the American mezzo Mary Phillips’s opera appearances include the Metropolitan Opera, do a profound vision, is surely analogous to the wider impermanence of human endeavour, The All-Enduring Canadian Opera, Barcelona and Edinburgh in rôles of Wagner, Strauss, Handel, Mozart, evolution of American music over the late nineteenth (1896) is a statement which, if undertaken too early, still Verdi, Bizet and Heggie. Her concert appearances with the New York, Los Angeles, and and early twentieth centuries. compels respect for the dynamism of its structure and an Hong Kong philharmonic and symphony orchestras in Atlanta, Dallas, Honolulu, Houston, Although it would be entirely possible to collate elaborate piano part in which numerous instances of Indianapolis, Phoenix, and Pittsburgh have included repertoire by Glass, Mahler, Ives’s songs according to type, the alphabetic approach instrumentation suggest Ives contemplated an orchestral Szymanowski, Prokofiev, Bruckner, de Falla and Tchaikovsky. She has appeared in recital adopted by this edition ensures that each volume (of treatment. at Carnegie Hall, the Marilyn Horne Foundation and New York Festival of Song. which this disc is the first) contains a representative In its whimsical yet capricious interplay between cross-section. A considerable range of poets is set (and voice and piano, the setting of Alfred Tennyson’s Ives could be highly interventionist as and when it Amphion (1896) does full justice to the pastoral scene David Pittsinger suited his purpose), including a number of (mainly that the one-time Poet Laureate so deftly evokes (see early) German settings and forays into French and also Volume 3, track 16, Naxos 8.559271). American bass David Pittsinger is renowned as a stage performer of the greatest Italian. The temporal distance (1887-1926) traversed by A treatment of Maurice Morris, Ann Street (1921) is distinction, appearing in the world’s major opera houses. His Escamillo has been heard the songs is as little compared to their stylistic diversity entirely typical of the later Ives in its harnessing of at festivals in Montpellier, Santa Fe and Denver. He has received Artist of the Year or their emotional range. diverse and often conflicting sentiments within a single, awards for his portrayals of Boito’s Mefistofele, Méphistophélès in Gounod’s Faust at In its capering, tonally vague piano writing and text unbroken stream of musical expression. the Pittsburgh Opera, and for Zoroastro in Handel’s Orlando, and Figaro in Mozart’s by the composer that poses a question at once frivolous The wistful sentimentality of Frederick Peterson’s The Marriage of Figaro for New York City Opera. He has also sung Count Almaviva and earnest, “1, 2, 3” (1921) represents the essential verse inspired the teenage Ives to a setting such as for L.A. Opera under the Direction of Kent Nagano, and Count Des Grieux in Manon Ives and thus makes an ideal frontispiece. makes At Parting (1889) a song that both respects yet conducted by Placido Domingo. He has performed at the festivals of Salzburg, Dresden, Although a little over-wrought in expression, the also thoughtfully transcends its text. Macerata, Tanglewood, and Santa Fe, and his other notable orchestral engagements highly expansive setting of Henry Francis Lyte’s Abide Sparse in texture yet conveying a deep underlying have included Frank Martin’s Golgotha with the Vienna Philharmonic, Verdi’s With Me (1897) provides a thoughtful, art-song emotion, the setting of Robert Underwood Johnson’s At Requiem with Zubin Mehta and the L.A. Philharmonic, and staged performances with alternative to the familiar hymn-tune version. Sea (1921) represents Ives’s late phase of songwriting at the English National Opera. He has sung at the Metropolitan Opera, and can be heard on Among his most visionary and profound songs, its most imaginative and assured. the Virgin Classics recording of Carlyle Floyd’s Susannah, and Cavalli’s La Calisto on Ives’s setting of Walter Savage Landor’s Aeschylus and The tune of At the River (1916) may be familiar, but Photograph: Christian Steiner the Harmonia Mundi label. Sophocles (1922) proceeds from a rapt introduction for Ives has placed Robert Lowry’s verse in intriguing relief piano and string quartet (the latter marked as optional with a prelude that has only an oblique resemblance to 8.559269 10 3 8.559269 559269 bk Ives US 4/15/08 12:31 PM Page 4

the melody, along with frequent tonal quirks in the changing relationship between voice and piano (see also Sara Jakubiak accompaniment that give the song a restless, above, track 19). questioning manner. One of a handful of French settings, Chanson de Photograph: Eric Mull The young American soprano Sara Jakubiak has performed the rôle of Giorgetta in Il Despite evoking decidedly secular pleasure, Folgore Florian (1898) treats Jean Pierre Claris de Florian’s tabarro and appeared in Purcell’s Fairy Queen with the Orchestra Sinfonica Giuseppe da San Gimigano’s August (1920) - as translated by amorous pastorale in a resourceful manner which is Verdi di Milano, Italy, as well as both the Countess in Le nozze di Figaro and Blanche Dante Gabriel Rossetti - is given a tensile, even acerbic enlivened by the constantly flowing accompaniment. in Dialogues des Carmélites with the Cleveland Institute. As a studio artist at Central setting with the recitative-like vocal line and densely Although it starts out in a notably populist manner, City Opera she appeared in a program of opera scenes as the title rôle in Floyd’s wrought piano writing combined in purposeful onward Ives’s setting of Kid O’Malley’s Charlie Rutlage (1920) Susannah and Elettra in Idomeneo and performed the rôle of Musetta in concert excerpts motion. takes on a graphic theatricality in its depiction of the with Paul Nadler and the Southwest Florida Symphony. Her concert performance Among the most radiant of Ives’s songs, Autumn cowhand’s untimely demise; the song then continuing credits include appearing as soloist in Britten’s War Requiem, Mahler’s Symphony No. (1907) sets words by Harmony Twichell (Mrs Ives) that as before, only to stop short when the end of the text is 2, and Penderecki’s Credo conducted by the composer with the Yale Philharmonic, as evoke the earth’s rest at sunset with a gentle striving that reached. well as Beethoven’s Mass in C at the Beethoven Festival in Warsaw and Messiaen’s has been effortlessly transfigured by the close. The attractive setting of Henry Wadsworth Poèmes pour Mi in recital at Yale. A love song typical of its era, Because of You Longfellow’s The Children’s Hour (1912) has a benign (1898) is notable for the way in which Ives sets the inwardness that dispels any sentimentality. Edith was anonymous text so that it can yield subtler shades of also the name of the composer’s adopted daughter. meaning than are evident from the words alone. Edith Osborne Ives wrote not only the words but Another drawing-room song of an unabashed also the melody of (Edie’s) Christmas Carol (1925), romantic inclination, Because Thou Art (1901) sets a Ives providing the harmonization for a seasonal song Tamara Mumford text of unknown origin with growing impulsiveness, whose touching naïvety is underlined by delicate piano albeit yielding to warm contentment towards the close. figuration and a sparing contribution from glockenspiel The mezzo-soprano Tamara Mumford made her Metropolitan Opera début in 2006 as Setting a brief verse by the composer, Berceuse in the postlude. Laura in Luisa Miller. Other opera performances include the title rôles in The Rape of (1903) demonstrates an unobtrusive mastery in its Simplicity is equally the watchword of A Christmas Lucretia under the baton of Lorin Maazel, L’Italiana in Algeri at Palm Beach Opera, La perfectly-poised vocal line and piano writing whose Carol (1894), in which Ives accentuates the traditional Cenerentola at Utah Festival Opera, Principessa in Suor Angelica and Ciesca in Gianni gently undulating motion amply reinforces the title (see text’s sense of wonder with piano writing that is seldom Schicchi with the Orchestra Sinfonica Giuseppe Verdi di Milano, and appearances in also Volume 6, track 29, Naxos 8.559273). other than syllabic in its accompaniment. War and Peace, Manon Lescaut, Cavalleria rusticana, Idomeneo, and The Magic Flute, Another of Ives’s profound epigrams, The Cage At the opposite end of the spectrum, The Circus at the Metropolitan Opera. In concert she has appeared in major venues, making her (1906) is determinedly experimental in its dissonant Band (1894) is a raucous setting of Ives’ own verse, Carnegie Hall début in 2005. A native of Sandy, Utah, Tamara Mumford studied at Utah prelude, then in the way that voice and piano pursue with repeats of the initial stanzas, though the subsequent State and at Yale before joining the Lindemann Young Artist Development Program at seemingly separate ways to a close that is left hanging. unpredictability of the piano writing can make one the Metropolitan Opera. She has received top awards in the Opera Index, Palm Beach A condensation of the finale from Ives’s Third wonder if the mature composer gave his teenage self an Opera, Sullivan Foundation, Connecticut Opera Guild and Joyce Dutka Foundation Symphony [Naxos 8.559087], The Camp Meeting (1912) overhaul. Competitions. sets Charlotte Elliott’s text with keen awareness of the With an organ part making it highly suitable for spiritual enlightenment arising from a communal revival liturgical use, The Collection (1920) sets James meeting typical of those he experienced in his youth. Edmeston’s text as a response between ‘soprano’ and Among the most engaging of Ives’s early songs, ‘village choir’, functional and appealing in equal Canon I (1893) sets its anonymous text with sleight of measure. hand such that the melody switches between left and A sacred song of rather greater expressive range, right hands of the piano with nonchalant ease (see also Country Celestial (1897) sets John Mason Neale’s below, track 20). paraphrase of the medieval Bernard of Cluny so that it While it sets Thomas Moore’s verse to virtually the alternates between the pious and the joyous (see also same music, Canon II (1894) separates out melody and Volume 2, track 6, Naxos 8.559270, and Volume 6, accompaniment so as to highlight even more clearly the track 24, Naxos 8.559273). 8.559269 49 8.559269 559269 bk Ives US 4/15/08 12:31 PM Page 8

Among the most straightforward of Ives’s later an ambivalence as might be thought at variance with its Musicis International Award winner, he is also the winner of the 1999 William Matheus Sullivan Foundation songs, Cradle Song (1919) sets a text by Augusta L. words. Award, the 2000 Gerda Lissner Award, and the 2000 Denver Lyric Opera Guild Competition. He trained at Yale Ives (a distant ancestor) with great serenity, for all that Opera of the Yale University School of Music and participated in young artist programmes with Santa Fe Opera, the the dying away of the closing bars gives the final verse Richard Whitehouse Bavarian National Opera in Munich, and the Steans Institute for Young Artists at Ravinia in Chicago.

Laura Garritson

Laura Garritson is pursuing a Doctor of Musical Arts degree in piano performance at Lielle Berman The Hartt School at University of Hartford, where she is an assistant to internationally- renowned pianist, Luiz de Moura Castro. She has made solo and concerto appearances American soprano Lielle Berman’s rôles include Cunégonde in Candide with the in over ten countries. In the United States she has performed in venues such as Weill New York City Opera, Tytania in Britten’s A Midsummer Night’s Dream and Recital Hall at Carnegie Hall in New York and The Sheldon in St Louis. Abroad she has Cunegonde with the Orchestra Sinfonica Giuseppe Verdi di Milano, Lauretta in been a featured soloist in the Liszt Festival in Brazil and the International Arts Festival Gianni Schicchi with Yale Opera, Despina in Così fan tutte with Indianapolis in Venezuela, as well as festivals throughout Europe. A prizewinner in many Opera, the Second Niece in Peter Grimes with the Opéra National de Paris, Lucia competitions, she has won the Emerson String Quartet Competition at The Hartt School in Lucia di Lammermoor, Sophie in Werther and Tatyana in Eugene Onegin with and the Artist Presentation Society Competition in St Louis, among others. She holds the Pittsburgh Opera Center. As a member of the Lyric Opera Center at the Lyric Bachelor and Master of Music degrees from The Hartt School and an Artist Diploma Opera of Chicago she performed and covered numerous rôles, including Nannetta from Yale University. Her major teachers include Luiz de Moura Castro, Boris Berman, in Falstaff, Adèle in Die Fledermaus, Frasquita in Carmen, Daisy Buchanan in the late Jane Allen, and Laura Schindler. The Great Gatsby, and the Queen of the Night in Die Zauberflöte. She has appeared with the Chicago Symphony Orchestra, the Festival de Musique de St Barth, the Colorado Symphony Orchestra, and the New Haven Symphony Orchestra, among others. Lielle Berman was a 2006 semi-finalist in the Metropolitan Opera National Council Auditions, and received her Master of Music Ian Howell degree at Yale University School of Music in May 2005.

Praised by The New York Times for his “…clear voice and attractive timbre,” The Biava Quartet countertenor Ian Howell has performed on major concert stages across the United States, Europe, South America, Mexico, Canada, Japan and Taiwan. In 2006 he took The Biava Quartet is recognized as one of today’s most exciting young First Prize at the American Bach Soloists International Solo Competition and Third American quartets. Winner of the Naumburg Chamber Music Award Prize at the Oratorio Society of New York’s Competition. He can be heard with the all and top prizes at the Premio Borciani and London International male chamber choir Chanticleer on one DVD and seven CDs, including the GRAMMY Competitions, the Quartet has established an enthusiastic following in award-winning Lamentations and Praises. In recent seasons, he has performed the rôles the United States and abroad. The members of the Biava Quartet, of Endimion in Cavalli’s La Calisto, Oberon in Britten’s A Midsummer Night’s Dream, violinists Austin Hartman and Hyunsu Ko, violist Mary Persin, and and in several Handel operas including Hercules (Lichas), Semele (Athamas), Solomon cellist Jason Calloway, have performed to acclaim in major concert (Solomon) and Belshazzar (Daniel). He has appeared as a soloist with such groups as halls throughout North America, Europe and Asia, including Alice the American Bach Soloists, the Oratorio Society of New York, Musica Sacra, the Tully Hall, Carnegie Hall, the Library of Congress, London’s Wigmore Berkshire Choral Festival, the Portland Baroque Orchestra, the Amherst Early Music Hall and the Baroque Art Hall in Seoul. The Quartet has served as Festival, and the Choir of St Thomas Fifth Ave. ensemble in residence and faculty members at the Indiana University Summer Strings Academy, the Innsbrook Institute, San Diego Chamber Music Festival and Heifetz International Music Institute. It has also recorded on the Naxos and Cedille Record labels and has been heard on BBC Radio 3 and numerous national radio broadcasts. It has been featured in Strings and Strad magazines and is the subject of a PBS documentary film. 8.559269 85 8.559269 559269 bk Ives US 4/15/08 12:31 PM Page 6

Patrick Carfizzi Michael Cavalieri

American bass-baritone Patrick Carfizzi is a regular performer with the Metropolitan Michael Cavalieri has sung a versatile range of styles and repertoire ranging from Mozart to Opera. He recently sang Schaunard in La Bohème, Masetto in Don Giovanni, Haly in Gounod, Gershwin and Argento. He has sung with Arizona Opera, Yale Opera, Santa Fe Opera, L’Italiana in Algeri, Peter Quince in A Midsummer Night’s Dream and Antonio in Le the Orchestra Sinfonica Giuseppe Verdi di Milano, and the Chicago Symphony Orchestra. nozze di Figaro. Other engagements include Papageno in Die Zauberflöte and Don Magnifico in La Cenerentola with Houston Grand Opera, Leporello in Don Giovanni with Minnesota Opera, Figaro in Le nozze di Figaro with Michigan Opera Theatre, Bartolo in Il barbiere di Siviglia with the Canadian Opera Company and Opera Theatre of St Louis, Pandolfe in Cendrillon with Central City Opera and Frank in Die Fledermaus with Seattle Opera. Additional credits in North America include engagements with the Seattle Symphony, San Francisco Symphony and the Tanglewood Festival. A graduate of the Yale University School of Music, Patrick Carfizzi is the winner of seven prestigious awards, most recently the 2002 Richard Tucker Career Grant Award and the 2001 George London Award. Douglas Dickson

The pianist Douglas Dickson received his B.A. degree from Princeton University and his Jennifer Casey Cabot M.M.A. from the Yale School of Music. He has performed in the United States, Europe, Asia, and South America, in venues ranging from Japan’s Expo Hall to the Cincinnati Soprano, Jennifer Casey Cabot’s career includes many of opera’s great heroines: Photograph: Christian Steiner Coliseum. While still in college he was the accompanist for the American Boychoir. As Violetta, Mimì, Manon, Susannah, Musetta, Donna Elvira, the Countess, Pamina and part of Duodecaphonia, a prize-winning piano duo, he has performed at the Kennedy Konstanze with the following opera companies: Boston Lyric Opera, Washington Center and elsewhere. Douglas Dickson has been music director for productions at Opera, New York City Opera, Calgary Opera, Florida Grand Opera and Central City Quinnipiac University, the Yale School of Drama, Opera Theater of Connecticut, and Opera among others. She has appeared with the National Symphony under Leonard Connecticut Experimental Theater. He was music director and conductor for Yale Opera’s Slatkin, in the Athens Concert Hall with Sir Neville Marriner and with the New York production of Britten’s The Rape of Lucretia, and he conducted a concert featuring Yale Philharmonic with Alan Gilbert. Her concert career has included Strauss’ Four Last Opera with the Orchestra Sinfonica Giuseppe Verdi di Milano. He has served for fourteen Songs, Villa Lobos’ Bachianas Brazileiras No. 5, Mahler’s Fourth and Eighth years on the faculty of Quinnipiac University, and joined the Yale faculty in 1998. He Symphonies, Mozart’s Exsultate Jubilate and Mass in C Minor, Handel’s Messiah, recently made his Carnegie début in an all Ives concert at Weill Recital Hall. and Beethoven’s Ninth. In the 2007-2008 season she joined the Metropolitan Opera for Mozart’s Le nozze di Figaro and La traviata and returned to the National Robert Gardner Symphony for Handel’s Messiah. She was a resident soloist with the Deutsche Oper Berlin and the Staatstheater Braunschweig. A New York native, she holds a BA and a The baritone Robert Gardner has appeared with numerous opera houses and orchestras in the BM from Oberlin College and an MM from the Yale School of Music. United States, Europe, and Asia, including New York City Opera, Washington National Opera, Bavarian National Opera, Santa Fe Opera, Aspen Music Festival, Spoleto Festival, the Munich Philharmonic, and the major orchestras in Pittsburgh, Dallas, Denver, San Diego, Santa Rosa, New Haven, and Kansas City. His recent opera débuts include Marcello in La Bohème, Sharpless in Madama Butterfly, Zurga in The Pearl Fishers, and Robert Storch in Intermezzo. His recent concert performances include Ein deutches Requiem with the Dallas Symphony Orchestra, and Mendelssohn’s Elijah. Robert Gardner has been named the 2007 winner of the Lili Boulanger Memorial Award by the foundation started in 1936 by Nadia Boulanger. He is the third singer to win the award in its prestigious history. A 2001 Pro

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Patrick Carfizzi Michael Cavalieri

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Laura Garritson

Mezzo-soprano Leah Wool is rapidly garnering critical acclaim on stages across the United States. In addition to engagements with the Metropolitan Opera and New York The Cage City Opera, her career highlights include the title rôle in Cendrillon at Central City Opera, Hansel in Hansel and Gretel at Opera Theatre of Saint Louis, Erika in Vanessa at Central City Opera, Stéphano in Roméo et Juliette at Toledo Opera, Hermia in A Midsummer The Camp Meeting Night’s Dream at Utah Opera, and Cherubino in Le nozze di Figaro at Yale Opera. Concert appearances have included Handel’s Messiah in her Carnegie Hall début, and Christmas Carol Haydn’s Theresienmesse with the New Jersey Symphony. Various Artists 8.559269 12 CMYK NAXOS Playing Charles Time: IVES 74:52 (1874-1954) Disc made in Canada. Printed and assembled USA. compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. 8.559269 Songs • 1 AMERICAN CLASSICS 1 ‘1, 2, 3’ (1921) 0:34 5 ¶ 2 Abide with Me (1897) 3:42 Lielle Berman, Soprano 3 Aeschylus and Sophocles (1922) 4:39 Jennifer Casey Cabot, Soprano # 4 Afterglow (1919) 2:25 Patrick Carfizzi, Bass-baritone 1 ™ 5 Allegro (1899) 2:20 Michael Cavalieri, Baritone ¶ 6 The All-Enduring (1896) 7:12 6 & § 7 Amphion (1896) 1:19 Robert Gardner, Baritone 8 Ann Street (1921) 0:57 Ian Howell, Countertenor 0 ∞ &

9 At Parting (1899) 2:05 Sara Jakubiak, Soprano 2 7 ! ) ¶ IVES: 2008 Naxos Rights International Ltd. 0 At Sea (1921) 1:25 Tamara Mumford, Mezzo-soprano ¶ ! At the River (1916) 2:09 3 ^ ¡ ª @ August (1920) 3:02 Mary Phillips, Mezzo-soprano # Autumn (1907) 2:37 David Pittsinger, Bass @ $ % * Songs • 1 $ Because of You (1898) 3:01 Matthew Plenk, Tenor ¢ ¶ % Songs • 1 Because Thou Art (1901) 2:25 Kenneth Tarver, Tenor 9 ( ^ Berceuse (1903) 1:59 4 8 £ • & The Cage (1906) 1:04 Leah Wool, Mezzo-soprano * The Camp Meeting (1912) 4:44 Biava String Quartet 3 ( Canon I (1893) 1:03 IVES: ) Canon II (1894) 1:14 Frederick Teardo, Organ ¶ ¡ Chanson de Florian (1898) 2:00 Eric Trudel, Piano ™ Charlie Rutlage (1920) 2:41 £ The Children’s Hour (1912) 2:28 1 2 5 8 @ $ % * £ ¢ § ¢ Christmas Carol, Edie’s (1925) 3:46 Laura Garritson, Piano 3 ∞ A Christmas Carol (1894) 2:44 J.J. Penna, Piano 4 6 ^ & ¡ • ª § The Circus Band (1894) 2:11 Douglas Dickson, Piano ¶ The Collection (1920) 3:00 • Country Celestial (1897) 3:44 7 9 0 ! # ( ) ™ ∞ ª Cradle Song (1919) 2:23 www.naxos.com 8.559269 8.559269 A detailed track list can be found on page 2 of the booklet. Available sung texts may be accessed at www.naxos.com/libretti/559269.htm Cover photograph: Fall Foliage Colours by George Burba (Dreamstime.com) NAXOS