Schumann's Late Chamber Music

Cornell University Department of Music Department Cornell University Wednesday, November 5,2014 Master Class Tuesday, November 4,2014 Concert Saturday, November1, 2014 Symposium

SCHUMANN’S LATE CHAMBER MUSIC Titlepage of the first edition of Märchenbilder Op. 113 with Schumann’s dedication From Dusk to Dawn Ji Young Kim and Mike Lee, event organizers

In the reception of Robert Schumann’s (1810–1856) late music, the notion of death has unusually and continually seeped backwards in time to encroach on the composer’s productive life. As some commentators infer, signs of his final decline emerged as early as fall 1850, when he was freshly installed as Municipal Music Director of Düsseldorf. This retro- spective consignment of death before actual death finds emotional support not only in the real-life circumstances surrounding his final years, when he effectively left his immediate family for good and was admitted at the Endenich asylum in March 1854, but is no doubt exacerbated by Clara’s own professed doubts about some of Schumann’s compositions from the few years prior to his final breakdown.

Yet, ironically, there are few signs in Clara’s diaries up to that point that betray much awareness of his apparent mental deterioration. The events leading up to Schumann’s institutionalization develop suddenly and quickly in her records. It is clear, however, that her attitudes played a marked, if not at times even decisive, role in shaping the subsequent negative reception of his late music. The Geistervariationen (1854), his last work for piano, apparently held so much sentimental value for Clara that its publication was suppressed for almost a century. Yet one cannot help but suspect that this too was music about which she harbored doubts as to its artistic merit. Midway through the symposium, Paul Berry’s presentation will provide an opportunity for us to retrace the variations’ complex afterlife and, along the way, to reflect on the complexities of human relations and their impact on subsequent appreciation of artworks.

This conference aims to explore some of the processes that set apart Schumann’s creative impulses in the period between 1846 and 1854. We begin by responding to the composer’s explicit wish, voiced in 1846, to wean himself off the keyboard as a tool for composition and “invent and work everything out in my head.” Contrary to the perception that Schumann’s inspiration waned as he moved away from the piano, we believe that this rejection had in fact an enriching effect on his imagination of instrumentality, which in the late works often reaches far beyond immediately available instrumental resources and their requisite techniques. In the opening of the slow movement of the Violin Sonata in D minor Op. 121 (1851), for instance, both pianist and violinist are called upon to realize gestures and timbral ideas (in this case those associated with the lute or harp—the latter was in the composer’s radar as he wrote the last of the Lenau Lieder, Op. 90, and the Hebräische Gesänge, Op. 95) that are foreign to their usual instrumental idioms. We probe this layering and translation of multiple instrumental representations further in three additional performances: Fantasiestuck Op. 73, No. 3 (1849); Romanze Op. 94, No. 1 (1849); and Märchenerzählung Op. 132, No. 1 (1853). Here the distance between the referent (violin) and the referenced (oboe in Op. 94 and clarinet in Op. 73)

INTRODUCTION 3 contributes to a vital source of expressive tension, even if such possibilities for substitution were motivated by commercial needs.

Despite the self-professed break from his own practices mentioned above, the later works should be heard as part of a continuum in his proclivities. Schumann it seems never rejected the Davidsbündler personae from the 1830s; rather, the derived agencies of Eusebius and Florestan that animated much of the early piano cycles are now given to intricate processes of sublimation, a defining characteristic of his late style that Ji Young Kim’s presentation will seek to explore. In the middle movement of the Violin Sonata in A minor Op. 105 (1851), one can already sense this trait whereby details of voice leading, register, and form complicate the otherwise familiar exchanges between E. and F.

Such problematizing of musical agency corroborates a renewed interest in musical nar- rativity, more specifically the boundaries and frames between narrative voices and their temporalities. This issue surfaces in the negotiation between formal repetition and narrative continuation, a relationship that will be the subject of investigation in Lee Dionne’s lecture-demonstration. The two “Märchen” (folk tale) cycles—Märchenbilder Op. 113 (1851) and Märchenerzählungen Op. 132—epitomize his concerns in these areas. In the first half of our Tuesday evening concert program, we have created our own “Märchen cycle,” with a narrative arch framed by the first and last of theGesänge der Frühe Op. 133 (1853), two pieces where a speaking voice emerges. Our cycle then plunges into “narrative” or “story” (as opposed to “discourse”) time with the first Märchenerzählung and the second Märchenbild. It features the first movement of thePiano Trio in G minor Op. 110 (1851), a work marked by a development section reminiscent of the most terrify- ing moments in Schubert’s late music, as our cycle’s emotional center.

The proclivity to complicate musical agencies and narrative frames in the late style are bal- anced, and perhaps even facilitated, by what Dana Gooley identifies as Schumann’s later inclination towards a “discourse of economy,” a perceived virtue of mid-19th century Ger- man culture that encouraged a rejection of excess. In addition to the D-minor Violin Sonata and the Märchenbilder, which Gooley will discuss, we also discern an economy of means in the monothematic tendencies and Bachian subject-answer rhetoric of the first movement of the G-minor Piano Trio (incidentally, a companion work of sorts to the A-minor Violin Sonata owing to their close dates of composition and the first movements’ shared thematic, rhythmic, and expressive profiles, as well as the subject-answer rhetoric just mentioned). Yet such economy, in Schumann’s case, is often accompanied by an obsessive strain, and this is the case with both of these works. Obsession need not always be destructive, however. When funneled productively into the study of counterpoint, his exertion proved time and again to be of therapeutic value while infusing his musical expression with renewed energy.

Joel Lester’s closing presentation on the changing performance traditions around the String Quartet in A major Op. 41, No. 3 brings us back to reflect on both performance and

4 INTRODUCTION the (perhaps for many) more familiar world of the 1842 chamber works. Two additional compositions from this “chamber music year”—the Piano Quintet Op. 44 and Piano Quartet Op. 47—will be featured respectively in the concert and master class, the latter led by Michael Friedmann, whose commitment to the relation between performance and analysis provides a lens for understanding how Schumann’s intensive study of Viennese classicism in the early 1840s relates to the personalized renderings of the later chamber music. It is with these connections in mind that we present the Piano Quintet in the second half of our concert. Even though it remains a concert favorite, this is not to say that it too has not been susceptible to what Lester calls “mannerisms and attitudes” that accrue in a repertoire’s performance history and that could “alter [its] very essence.” As a way to test Lester’s thesis that performance could fundamentally reshape one’s perception of a familiar work, we join forces with the Formosa Quartet (winners of the 2006 London International String Quartet Competition) to mount a renewed challenge to the myriad issues posed by this music, drawing on Cornell’s renowned collection of early keyboards in conjunction with wound gut strings. The hardware provides us with the kinds of expressive options that we believe can shed new light on this well-known composition.

There have been many notable efforts in recent years to rehabilitate Schumann’s late music. Writers such as John Daverio, Harald Krebs, Peter Smith, and Laura Tunbridge, to name a few Anglo-American scholars, have each argued for the quality of this repertoire from different perspectives. There is a sense that the heavy veil long cast over its reception is finally beginning to be lifted, and we owe in no small part to their pioneering efforts that this conference can pick up the dialogue at a more productive junction that already ac- cepts this music as worthy of close introspection. Buoyed by this sense of confidence, our concert begins on a note of optimism with the first Gesang der Frühe, a late work in which we perhaps find Schumann at his most hopeful. With this gesture, we entreat you in our three-part event to inhabit the sounds of this extraordinary body of music and engage with its creative and affective forces.

Even a modest event like this is not possible without generous support of all kinds. We gratefully acknowledge sponsorship by the Central New York Humanities Corridor, from an award by the Andrew W. Mellon Foundation, and the Cornell Department of Music. We warmly thank our guest speakers and artists for sharing our passion and desire to further understand this repertoire, Professor James Webster for overseeing the project from start to finish, Professor Phillip Ying of the Eastman School of Music for helping coordinate the master class, and Wayne Lee for his boundless enthusiasm and musical insights that helped get the project off the ground. Finally, our gratitude goes to the music community at Cornell, especially: Malcolm and Eliza- beth Bilson and Roger Moseley and Verity Platt for their kind hospitality, Steven Pond for his support of our project, Christopher Riley and Fumi Nagasaki-Pracel for their patient help with accounting and administrative matters, Dane Marion for his beautiful poster design and recording, Ken Walkup for his care of Cornell’s keyboard collection, Loralyn Light for facilitating space and scheduling reservations, and our friends and colleagues Angela Early and Damien Mahiet, Dietmar Friesenegger, Erica Levenson, and Matthew Hall.

INTRODUCTION 5 Symposium Program

Saturday, November 1, 2014 B20 Lincoln Hall

12:30 Lunch and registration

1:30 Welcome and opening performance Romanze, Op. 94, No. 1 Violin Sonata in A minor, Op. 105, 2nd movement Fantasiestücke, Op. 73, No. 3 Angela Early (violin) and Mike Lee (fortepiano: 6-octave Broadwood from 1827)

2:00 Dana Gooley (Brown): “Schumann and the Economization of Musical Labor” Respondent: Erica Levenson (Cornell)

2:50 Ji Young Kim (Cornell): “Questions of Agency in Schumann’s Later Instrumental Works”

3:20 Break

3:30 Paul Berry (Yale): ”In Search of Schumann’s Last Musical Thought” Respondent: Dietmar Friesenegger (Cornell)

4:20 Lee Dionne (Yale): “New Paths: Cumulative Ternary Structures in Late Piano Works of Schumann and Brahms”

5:00 Break

5:10 Joel Lester (Mannes/New School): “Conceptualizing Schumann, Performing Schumann” Respondent: Matthew Hall (Cornell)

6:00 James Webster (Cornell), closing remarks

6:10 Reception

6 SYMPOSIUM Keynote Address Schumann and the Economization of Musical Labor Dana Gooley Brown University

This talk considers how Schumann’s ideas about musical aesthetics and performance are shaped by discourses and practices of “economy.” Schumann emerged at a historical mo- ment when the educated classes were promoting such economic virtues as the containment of excess and the rational ordering of available resources. A.B. Marx linked this economic ethos to compositional practice most explicitly in his School of Musical Composition, focusing on the means by which larger structures are built from small kernels of material. Schumann’s personal writings develop the aesthetic and ethical connections further: he codifies “musical house- and life-rules,” takes a restrictive attitude toward virtuosity and improvisation, integrates cycles with motivic connections, and carefully gauges the differ- ence between “public” and “private” music. I propose that Schumann self-consciously evolved his identity from “pianist-improviser” to “composer” in tandem with his acceptance of the demands of bourgeois domestic economy. Although his musical output, with its fan- tastical and subjective emphasis, was ostensibly far removed from worldly concerns, the influence of the economic mindset shows that it was shaped by ethical and social transfor- mations of the early 19th century.

Questions of Musical Agency in Schumann’s Later Instrumental Works Ji Young Kim Cornell University

My presentation takes its cue from Schumann’s various and evolving titles of his late instrumental works—Märchen, romances, fantasies—to explore the notion of agency or voice as a category that captures many idiosyncrasies of this repertoire. These titles point to agential presences, but complicate their rhetorical stance. To be sure, this phenomenon is not pecu- liar to his later works, as his acts of impersonation as composer and critic, his Davidsbund of real and imaginary characters, and evocative titles such as “Der Dichter spricht” attest. But while the earlier works are quick to name the presence of an agency or voice, I argue that the late instrumental works often sublimate it through subtle musical means, evoking multiple and nebulous discursive levels which, like the act of storytelling, blur the boundaries between frame, story, and its constitutive characters.

SYMPOSIUM 7 Keynote Address In Search of Schumann’s Last Musical Thought Paul Berry Yale University

Among Schumann’s late works, few have found as broad and sympathetic an audience as the theme and variations for solo piano, WoO 24. Since the early 20th century, the so-called “Geistervariationen” have been well-known to performers and scholars, their technical and music-analytic attractions enhanced by their genesis in the midst of the composer’s mental breakdown in February 1854 and, thus, by their status as Schumann’s “last musical thought.” In fact, their reputation was initially established independent of the notes themselves. Both theme and variations were suppressed by Clara Schumann, and the complete work remained unpublished for nearly 90 years. During the interim, however, hints of the music and overlapping accounts of its inception proliferated, often in unexpected places. My talk sets the Geistervariationen in the context of scholarly writing and popu- lar gossip in the decades immediately following Schumann’s death, exploring how scholars, publishers, and musicians sought to understand the variations, how they discovered and shared essential information about them, and how they related them to the music of their own contemporaries. Central figures in the work’s tangled reception history include Melchior Rieter-Biedermann, Adolf Schubring, and above all Johannes Brahms, for whom Schumann’s final music evoked competing allegiances both personal and compositional.

Schumann’s autograph of the “Geister” theme

8 SYMPOSIUM New Paths: Cumulative Ternary Structures in Late Piano Works of Schumann and Brahms Lee Dionne Yale School of Music

A strong formal connection emerges between certain late short-movement works of Schumann (Opp. 132 and 133) and certain late piano pieces of Brahms (Opp. 116–119). Both composers favor simple ternary forms, but both use ternary form to convey narratives of development and continuation alongside the more obvious dimension of repetition and return. The presence of more experimental movements within these sets further calls into question the notion of return in the formally more normative movements. As listeners, we become aware that even in the simplest da capo repetition, we can never experience a truly “unaltered” return of A, for we ourselves will be different for having passed through B. The examples that I will present demonstrate a full range of elements (harmonic, rhythmic, textural, and registral), across which both composers articulate this idea of development and continuation within the context of return. The fact that this interplay of ideas is never formulaic but rather changes with each movement further encourages us to hear the notion of return as not only the form, but also the subject of these late works.

Keynote Address Conceptualizing Schumann, Performing Schumann Joel Lester Mannes College, The New School

Performance styles evolve over time reflecting both general trends in performance and also changing attitudes toward different repertoires. The upside of this phenomenon is that it keeps repertoires “alive” for changing generations of listeners, performers, and scholars. But there is a downside when mannerisms and attitudes change in ways that alter the very essence of a repertoire. Schumann’s music in classical-era genres (symphonies, sonatas, and chamber music) sits right in the crosshairs of these issues as does almost no other repertoire by any other major composer. During the past century or so, perhaps no other major composer’s music has been defined so negatively so often by so many leading writers about music (including Tovey, Rosen, and Dahlhaus). Exploring two very different performances of Schumann’s A-major String Quartet and examining the influences on and effects of these divergent interpretations opens questions for historians, analysts, performers, and listeners.

SYMPOSIUM 9 The fortepiano used in this concert resembles the one pictured above, a replica of a model made by the Viennese builder Conrad Graf (1782–1851). The Schumanns owned such a piano, and Robert delighted in playing it. Clara later used instruments by Breitkopf & Härtel, Streicher, and Wirth, and during her time in Düsseldorf, she predominantly used pianos by the local builder Klems (Robert gave her a Klems piano for her birthday in 1853). Their Graf piano was passed on to Brahms after Robert’s death. (Photo credit: www.rjregierfortepianos.com)

10 CONCERT Concert Program

Tuesday, November 4, 2014 8:00 PM, Barnes Hall

Formosa Quartet Jasmine Lin and Wayne Lee, violins Che-Yen Chen, viola Ru-Pei Yeh, cello

Ji Young Kim and Mike Lee, fortepiano With critical commentary by Michael Friedmann

Gesänge der Frühe, Op. 133, No. 1 Märchenerzählungen, Op. 132, No. 1 Piano Trio in G minor, Op. 110, 1st movement Violin Sonata in D minor, Op. 121, 3rd movement Märchenbilder, Op. 113, No. 2 Gesänge der Frühe, Op. 133, No. 5

Members of the Formosa Quartet Ji Young Kim, fortepiano

intermission

Piano Quintet in E-flat major, Op. 44

Formosa Quartet Mike Lee, fortepiano

Instrument: 6 1/2-octave Viennese fortepiano by R. J. Regier (1998)

CONCERT 11 Master Class Program

Wednesday, November 5, 2014 10:00 AM, Barnes Hall

Led by Michael Friedmann and the Formosa Quartet

Piano Quartet in E-flat major, Op. 47 Sostenuto assai—Allegro ma non troppo Scherzo—Molto vivace

Hash Quartet Holly Workman, violin Halam Kim, viola Stephanie Chen, cello Alex Lo, piano

Romanze, Op. 94, No. 1

Violin Sonata in A minor, Op. 105 Allegretto

Angela Early, violin Mike Lee, fortepiano

12 MASTER CLASS Biographies

A historian of chamber music and song in 19th-century Germany and Austria, Paul Berry received his B.A. and Ph.D. from Yale University. His essays and reviews have appeared in The Journal of Musicology, Music and Letters, The Oxford Handbook of Neo-Rieman- nian Music Theories, and the Journal of the American Liszt Society. He is the recipient of a Whiting Fellowship in Humanities, the American Musicological Society’s Paul A. Pisk Prize, the American Brahms Society’s Karl Geiringer Scholarship, and most recently, a fellowship from the National Endowment for the Humanities. His book, Brahms Among Friends: Listening, Performance, and the Rhetoric of Allusion, was released this summer by Oxford University Press. He is also active as a tenor specializing in early music, German lieder, and 20th-century compositions. He served on the faculty of the University of North Texas College of Music before he joined Yale in 2010, where he serves as Assistant Professor (Adjunct) of Music History.

Stephanie Chen, cellist, was raised in Taipei, Taiwan. She began her cello studies at the age of six with her mother and later on studied with Professor Zheng Yi Ching. In 2012, she performed the Saint-Saens Cello Concerto with the Taipei Century Symphony Orchestra under the baton of David Liao. Stephanie is currently pursuing her B.M. degree in Cello Performance at the Eastman School of Music with Professor David Ying.

Pianist and harpsichordist Lee Dionne has performed in major venues throughout the United States as well as internationally in England, Holland, Portugal, and Turkey. As a soloist he has appeared with the Royal Liverpool Philharmonic, the Bilkent Symphony Or- chestra (Ankara), the Yale Symphony Orchestra, and the Philharmonia Virtuosi, and as a chamber musician he performs regularly at the Yellow Barn Music Festival and with the ensemble Cantata Profana. Lee completed his Master of Musical Arts degree at the Yale School of Music, where he worked closely with pianist Boris Berman and theorist Michael Friedmann. His degree thesis proposed a new analytical approach to movements from Schumann’s Op. 132 and Op. 133 based on the idea of a rotational compositional pro- cess. He also holds a B.A. in literature from Yale College. Lee recently moved to Berlin to study on a grant from the DAAD.

Winners of the First Prize and the Amadeus Prize at the London International String Quartet Competition in 2006, the Formosa Quartet is “one of the best string quartets of its gen- eration” (David Soyer, cellist of the Guarneri Quartet). Its debut recording on the EMI label was hailed as “spellbinding” (Strad Magazine) and “remarkably fine” (Gramophone), and the quartet has given critically acclaimed performances at the Ravinia Festival, the Caramoor Festival, the Library of Congress, the Da Camera Society of Los Angeles, the Chicago Cultural Center, the Walter Reade Theater at Lincoln Center, Rice University, San Francisco State University, and Wigmore Hall in London.

BIOGRAPHIES 13 Formed in 2002 when the four founding members came together for a concert tour of Taiwan, the Formosa Quartet is deeply committed to championing Taiwanese music and promoting the arts in the land of its heritage. In August 2013, the Formosa Quartet inaugu- rated the annual Formosa Chamber Music Festival (FCMF) in Hualien, Taiwan. Modeled after American summer festivals such as Marlboro, Ravinia, the Taos School of Music, and Kneisel Hall, FCMF is the product of long-held aspirations and years of planning, and represents one of the quartet’s more important missions: to bring high-level chamber music training to talented young musicians in Taiwan and first-rate music to Taiwanese audiences. In its relatively brief existence, the Formosa Quartet’s active commissioning has contrib- uted significantly to the 21st century’s string quartet literature. In 2014, they will premiere Taiwanese-American composer Shih-Hui Chen’s Returning Souls: Four Pieces on Three Formosan Amis Legends. The quartet’s recording of its first commission from Ms. Chen, the Fantasia on the Theme of Plum Blossom, was released on the New World Records label in 2013. Other pieces recently written for the quartet include Dana Wilson’s Hungarian Folk Songs, Wei-Chieh Lin’s Pasibutbut, and Thomas Oboe Lee’s Piano Quintet and Jasmine Variations.

The members of the Formosa Quartet—Jasmine Lin, Wayne Lee, Che-Yen Chen, and Ru- Pei Yeh—have established themselves as leading solo, chamber, and orchestral musicians. With degrees from the Juilliard School, Curtis Institute of Music, and New England Conser- vatory, they have performed in major venues throughout the United States, Asia, Europe, South America, and Australia, and have been top prizewinners in prestigious competitions such as the Paganini, Primrose, Naumburg, and Tertis competitions. As chamber musicians, they have appeared regularly at the Marlboro, Kingston, Santa Fe, Ottawa, Ravinia, South Bank, and Berlin festivals, as well as at the Chamber Music Society of Lincoln Center, the Jupiter Chamber Music Series, La Jolla Summerfest, and the Seattle Chamber Music So- ciety. They have held positions in the San Diego Symphony, the Cincinnati Symphony, and the New York Philharmonic, and have taught at the University of Southern California, California State University Fullerton, Roosevelt University, Taos School of Music, Stanford University, McGill University, and the Juilliard School.

Michael Friedmann’s career has encompassed activities as a theorist, pianist, peda- gogue, and composer. His specialties involve analytical articles about the music of Schoen- berg and performances of that composer’s complete piano music. He has evolved a meth- od in teaching ear-training especially focused on 20th-century music, and wrote a book (Ear Training for 20th-century Music, published by Yale University Press) which received special recognition from the Society for Music Theory. In addition to Schoenberg, his piano performances have focused on late Beethoven and Schubert. His teaching specialties have included classes relating the analysis of Brahms’s and Schumann’s chamber music to their performance. In addition to his teaching at Yale University, he has recently taught at Beijing University and at that city’s Central Conservatory of Music, and has lectured and performed at the Beijing Modern Music Festival.

14 BIOGRAPHIES Dana Gooley’s research centers on European music and musical culture in the 19th century, with an emphasis on performance, reception, and the public sphere. A specialist of Franz Liszt, he has published The Virtuoso Liszt (Cambridge University Press, 2004) and has co-edited two essay collections, Franz Liszt and His World (Princeton University Press, 2006), and Franz Liszt: Musicien Européen (Editions Vrin, 2012). Other articles on music criticism, virtuosity, musical mediation, improvisation, cosmopolitanism, and jazz have appeared in the journals 19th Century Music, Musical Quarterly, Journal of Musicology, Journal of the American Musicological Society, Musiktheorie, Keyboard Perspectives, and Performance Research. He is writing a book on the aesthetics and practice of keyboard improvisation in the 19th century.

Halam Kim began her violin studies at the age of nine. In 2009, she met I-Hao Lee and became more serious about music. In 2011, she was introduced to the sound of the viola, with which she fell in love. In the same year, she auditioned for the Juilliard Pre-College Di- vision and was accepted into the studio of Heidi Castleman. She now attends the Eastman School of Music as a viola performance major under Professor Phillip Ying.

Ji Young Kim is a musicology Ph.D. candidate at Cornell, where she works under the supervision of James Webster. She began her musical studies at age 11 in her hometown Santiago, Chile. Soon after immigrating to the US, she appeared in the National Public Radio program From the Top, coached by pianist Melvin Chen and performing in Lincoln Center. She studied piano with Phillip Kawin and the late Zenon Fishbein at Manhattan School of Music. Upon graduation, she left the conservatory track and enrolled at Colum- bia University. Coursework there with David E. Cohen and Giuseppe Gerbino brought her back to music. Since her arrival at Cornell, she has been gradually making her way back to performing after a many-year hiatus. Serendipitous circumstances have steered her towards an exploration of historical keyboards with Malcolm Bilson. Her research interests include 19th-century musical culture in Germany, especially the repertoire featured at this event, philosophy and aesthetics from the late 18th through the 20th centuries, 18th- and 19th-century performance practice, and music analysis. She has given talks at Columbia University, the New England Conference of Music Theorists, and University of Cincinnati College-Conservatory of Music.

Awarded Second Prize and Audience Prize at the 2011 Westfield International Fortepiano Competition by a jury that included Robert Levin and Christopher Hogwood, New Zea- land pianist Mike Cheng-Yu Lee’s performances have been described as “portraying integrity, purity, complexity, and truth… with balance and control that [are] breathtaking.” Recent engagements include an invitation from Michael Tilson Thomas for a week-long res- idency to perform as soloist with the New World Symphony Orchestra and co-teach with Juilliard faculty Cynthia Roberts members of the symphony on 18th-century performance practice.

BIOGRAPHIES 15 Mike is a fortepianist-musicologist at Cornell, where he is a student of Malcolm Bilson and the noted Haydn scholar James Webster. He is completing a Ph.D. that centers broadly on the intersection between performance and analysis. As a historically-informed performer and analyst, his work bridges the disciplinary boundaries of performance and scholarship in ways that embody their fluid enactment. He has delivered research in lecture-recital formats on issues of musical form, Schenkerian analysis, Lewinian transformational theory, and musical embodiment at a number of conferences, including the Society of Music Theory and the European Music Analysis Conference, and has published in Music Theory Online. Mike is a graduate of Yale, where he studied with Boris Berman and Michael Friedmann.

Joel Lester, scholar, professor, violinist, and administrator, was Dean of Mannes Col- lege of Music from 1996 to 2011. He was a violinist from 1970 to 1991 in The Da Capo Chamber Players (winners of the 1973 Walter Naumburg Foundation Chamber Music Award). Among his many books and articles are Compositional Theory in the Eighteenth Century (Harvard University Press, 1992; winner of the Wallace Berry Publication Award of the Society for Music Theory), Bach’s Works for Solo Violin (Oxford University Press, 1999; winner of the ASCAP-Deems Taylor Award), and the textbook Analytic Approaches to 20th-Century Music (W. W. Norton, 1989). He was President of the Society for Music Theory from 2003 to 2005. From 1969 to 1995, he was Professor of Music at CCNY and a member of the doctoral faculty in music at the CUNY Graduate Center, where he direct- ed the D.M.A. Program in Performance from 1986 to 1995.

From New Jersey, Alexander Kai-Yi Lo began his piano studies at the age of eight. Throughout high school, he studied under Professor Veda Zuponcic of Rowan University, to whom he owes much of his success. His accomplishments include First Prizes in the Stein- way Society of South Jersey Young Pianist Competition, the Young Pianist Competition of New Jersey, and the MTNA New Jersey State Division. He graduated salutatorian from high school and is now a piano performance major studying under Professor Natalya An- tonova at the Eastman School of Music.

Nineteen-year old violinist Holly Workman, originally from Mountville, Pennsylvania, began studying the violin at the age of four. She studied at the Pennsylvania Academy of Music while in high school, where she completed their Certificate Program. In 2012, she performed a solo in Carnegie Hall after being awarded Second Place in the American Protégé Music Talent Competition. Holly is currently a sophomore pursuing her Bachelor of Music in Violin Performance at the Eastman School of Music studying under Professor Renée Jolles.

16 BIOGRAPHIES Acknowledgments

The event organizers wish to thank:

Central New York Humanities Corridor, from an award by the Andrew W. Mellon Foundation Cornell Society for the Humanities in the College of Arts and Sciences James Webster and Margaret Webster Phillip Ying Malcolm and Elizabeth Bilson Roger Moseley and Verity Platt Cornell University Department of Music Steven Pond Christopher Riley Fumi Nagasaki-Pracel Dane Marion Ken Walkup Loralyn Light Angela Early and Damien Mahiet Dietmar Friesenegger Erica Levenson Matthew Hall

ACKNOWLEDGMENTS 17

This event is generously supported by the Central New York Humanities Corridor, from an award by the Andrew W. Mellon Foundation, the Cornell Society for the Humanities in the College of Arts and Sciences, and the Cornell Department of Music.