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Home , A Flowering Tree, Donald Runnicles, Livia Frege, Parsifal (train)

CAL PERFORMANCES PRESENTS PROGRAM

Sunday, February 10, 2013, 3pm Claude Debussy (1862–1918) Beau Soir (1882) Hertz Hall Fleur des Blés (1881) Romance (1881) Eric Owens, bass-baritone Warren Jones, piano Maurice Ravel (1875–1937) Don Quichotte à Dulcinée (1932–1933) Chanson romanesque Chanson épique Chanson à boire

PROGRAM

Richard Wagner (1813–1883) Les Deux Grenadiers (1840)

Hugo Wolf (1860–1903) Drei Lieder nach Gedichten von Michelangelo (1897) Wohl denk ich oft Alles endet, was entstehet Fühlt meine Seele das ersehnte Licht

Robert Schumann (1810–1856) Mein Herz ist schwer, Op. 25, No. 15 (1840) Muttertraum, Op. 40, No. 2 (1840) Der Schatzgräber, Op. 45, No. 1 (1840) Funded by the Koret Foundation, this performance is part of Cal Performances’ 2012– Melancholie, Op. 74, No. 6 (1849) 2013 Koret Recital Series, which brings world-class artists to our community.

This performance is made possible, in part, by Patron Sponsors Earl and June Cheit.

Franz Schubert (1797–1828) Prometheus, D. 674 (1819) Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. Fahrt zum Hades, D. 526 (1817) Gruppe aus dem Tartarus, D. 583 (1817)

INTERMISSION

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Hugo Wolf (1860–1903) the previous motive) and closes festively with abreast of the day’s most important writers author. He composed such a “song cycle”— Drei Lieder nach Gedichten von Michelangelo triumphal fanfares, like a flourish of throughout his life. He was already aware of the a “Liederkreis”—on nine poems by Heinrich sounded for [Michelangelo] by his contempo- 32-year-old Hans Christian Andersen (1805– Heine, one of his favorite writers, and issued it as Hugo Wolf was the greatest German composer raries in homage.” 1875), the prolific Danish writer of novels, trav- his Op. 24; the Heine Liederkreis was followed of songs after Schubert. A seething emotional The second song—Alles endet, was entstehet elogues, poetry, and fantasy tales, when his Kun by a sequel on texts of Joseph von Eichendorff, turmoil dominated his life—from his inability (“Everything ends which comes to be,” based on en Spillemand (“Only a Fiddler”) appeared in cataloged as Op. 39. In November 1840, two to subject himself to the rigors of formal train- Michelangelo’s Chiunche nasce a morte arriva)— German translation in June 1837. Schumann months after his wedding, Schumann created ing, through his vehemently zealous support of is one of Wolf’s most profound utterances. He read the novel—“very wise, so clever, so child- a pendant to those two song cycles with the Wagner and his bouts of near-manic compo- once considered titling it Vanitas Vanitatum, like” was his estimation—and he thereafter Romanzen und Balladen I, Op. 45, which con- sitional frenzy, to his suicide attempts and his and Eric Sams, in his 1961 study of Wolf’s songs, sought out other works by the Danish author, in- tains two poems by Eichendorff and one by death in an insane asylum. His life and his mu- wrote that it seems to be music from “among cluding several poems translated by the German Heine. The first song—Der Schatzgräber (“The sic blaze with a white-hot inflammability that the dead, speaking the language of the dead,” a Romanticist Adalbert von Chamisso (1781– Treasure-Seeker”)—is a grim morality tale by speaks of the deepest feelings of an age that was phrase that echoes the title Modest Mussorgsky 1838), whose Frauenliebe und -leben (“Woman’s the devoutly Catholic Eichendorff about the just beginning to sense the end of the artistic, gave to his somber evocation of the Roman Love and Life”) he set in July 1840. As soon as wages of avarice. social, political and ideological era that culmi- catacombs in Pictures at an Exhibition, subtitled he had finished that cycle, Schumann set five of The verses of Emanuel von Geibel, one nated in the catastrophe of World War I. Cum Mortuis in Lingua Mortua—“With the Andersen’s poems as his Fünf Lieder, Op. 40. of ’s most popular Romantic poets, On March 5, 1892, a teacher in Berlin Dead in a Dead Language.” In October 1842, Schumann were set to music hundreds named Paul Müller attended a recital of Wolf’s Fühlt meine Seele das ersehnte Licht von sent Andersen a copy of the of times through the early songs sponsored by the city’s Wagner Society, Gott? (“Is my soul feeling the longed-for light of Op. 40 Songs with the fol- 20th century by Robert and he was struck not just by the depth of ex- God?” based on Michelangelo’s Non so se s’è la lowing note: “Perhaps the and , Felix pression in the music but also by the high qual- desïata luce) yearns for spiritual fulfillment but settings will seem strange to Mendelssohn and his sis- ity of the texts on which it was based. He met can find no answer within, and ends by tracing you. So at first did your po- ter, Fanny, Wolf, Grieg, Wolf after the concert and complimented him the unsettled state of the poet’s mind to an un- ems to me. But as I grew to Bruckner, Berg, Brahms, on the verses he had chosen for his songs, and named beloved: I am driven by a yes and a no, a understand them better, my Bruch, Griffes, Strauss, a friendship quickly sprang up between them; sweet and a bitter—that, mistress, is the doing of music took on a more unusu- Schoenberg, MacDowell, Müller established the first Hugo Wolf Society, your eyes. al style.” Schumann arranged Lehár, and dozens of oth- in Berlin, three years later and published his a performance of the Op. 40 ers. first reminiscences of him shortly after the com- Songs by soprano Livia Frege learned of Geibel’s poems poser’s death, in 1903. As a Christmas gift in Robert Schumann (1810–1856) with his wife, Clara, as pia- around 1840, when his 1896, Müller sent Wolf a copy of Walter Robert- Four Songs nist when he and Andersen verses began appearing in Tornow’s just-published German translations met for the first time during literary journals and com- Eric Owens of poems by Michelangelo, and the following In 1815, Lord Byron (1788–1824) published a the writer’s visit to Leipzig on posers were submitting their March, only six months before his final mental collection of Hebrew Melodies, poems inspired June 22, 1844; Andersen de- Illustration by Tom Bachtell songs set to them for review breakdown, Wolf set three of them. They were by verses from the Old Testament, that the clared the songs to be “poetic.” The strangeness to the Neue Zeitschift für Musik (“New Journal his last works, and in his 1910 biography of the would-be composer Isaac Nathan, the son of a that Schumann perceived in Andersen’s verses for Music”), which Schumann had founded composer, English musicologist Ernest Newman Jewish cantor in Canterbury, had persuaded him is exemplified by the second number of the set, six years before. Schumann and Geibel met in wrote that they contain “the throb of feeling as to fit to his adaptations of a number of melodies Muttertraum (“A Mother’s Dream”), in which a Dresden four times between April and June profound as in anything Wolf ever wrote.” from the synagogue services. My Soul Is Dark, mother lovingly cradles her child while just out- 1846, and it is possible that the poet presented In a letter to a friend, Wolf provided his own based on I Samuel 16:14–23, was rendered into side the window ravens, symbolic ill omens since the composer on one of those occasions with a description of the first song, Wohl denk’ ich oft German as Mein Herz ist schwer by Karl Julius ancient times, gather with sinister intent. copy of his Volkslieder und Romanzen der Spanier an mein vergang’nes Leben (“I often think on Körner (1793–1873) and given a new and deeply Schumann composed some 140 songs (1843), translations of song texts and poems my past life,” excerpted from Michelangelo’s thoughtful setting by Robert Schumann under in 1840, the year he finally married his be- by such Spanish and Portuguese Renaissance Io crederrei, se tu fussi di sasso—“I believe I the title Aus den Hebräischen Gesängen (“From loved Clara. “Oh Clara, what bliss to write authors as Luis de Camoens (ca. 1524–1580), could, even if you were made of stone, love you the Hebrew Melodies”) for inclusion in his song songs,” he told his new wife. “I should like to Pedro de Padilla (1540–aft. 1599), Gil Vicente so faithfully”): “[It] begins with a melancholy cycle Myrthen (“Myrtles”) of 1840. sing myself to death like a nightingale.” Since (1465–1537), and Rodrigo de Cota (ca. 1430-ca. introduction and holds fast to this tone until Schumann acquired his interest in litera- Schumann was given to concentrating on one 1505); several of the poems are anonymous and the line before the last. Then it takes on unex- ture from his father, August, a bibliophile and poet at a time, many of his songs are arranged at least some of them may have been written by pectedly a vigorous character (developed from successful bookseller in Zwickau, and he kept into cycles created around the texts of a single Geibel himself. In 1848, Schumann took over

6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES direction of the Dresden Verein für Chorgesang five years later. Schubert set Fahrt zum Hades Symbolists. All of his songs use French texts by the widely regarded Ravel as another contribu- (“Association for Choral Singing”), and the (“Journey to Hades,” D. 526), Mayrhofer’s evo- French authors. tor, Pabst not only had a fine artistic team, but following March he set ten of Geibel’s verses cation of the soul’s journey across the River Romance (1881) and Beau Soir (1882) are set- also figured to attract backers for the undertak- for that ensemble as the Spanisches Liederspiel Styx, the mythical boundary separating the tings of evocative poems by the French writer ing. Ravel, despite an ambitious beginning dur- (“Spanish Song Play”), Op. 74, which included lands of the quick and the dead, in January 1817. Paul Bourget (1852–1935), who was noted for his ing the summer, was unable to complete any of Melancholie, based on a text by the 16th-century There is no more disturbing and violent critical essays and his psychologically penetrat- his assignment on time, and Jacques Ibert was Spanish writer Francisco de Sá de Miranda. page anywhere in Schubert’s creative output ing novels. Bourget enjoyed considerable acclaim entrusted to take over in his place in the produc- than Gruppe aus dem Tartarus (“Group from during his lifetime for his writings—which in- tion team. (Pabst overcame financial difficul- Tartarus,” D. 583), his 1817 setting of Friedrich cluded a journal of his visit to the United States ties to complete his film, a valuable document (1797–1828) von Schiller’s chilling vision of a most fearsome in 1893—and he was admitted to the Academie of Chaliapin if not a memorable cinematic en- Three Songs hell. The frightening imagery of Schiller’s poem Française in 1894 and made an Officier de la deavor.) Ravel, however, continued the songs as is heightened by references to ancient mythol- Légion d’honneur the following year. a concert work and completed them some time Schubert set some thirty poems by Johann ogy: Tartarus was the sunless abyss below Fleur des Blés (“Wheat Flower”) is Debussy’s early the following year, though his deteriorat- Wolfgang von (1749–1832), including Hades, the underworld inhabited by departed winsome setting of a poem by André Girod, who ing neurological condition made it difficult for the beloved Erlkönig. Prometheus was the myth- souls, where Zeus imprisoned the Titans after was a director of the Parisian music publishing him to control his hands, forcing him to seek the ological titan of ancient Greece who stole fire, defeating them; Cocytus was a tributary of the firm that issued a biweekly journal titled L’Art help of Lucien Garban and Manuel Rosenthal the symbol of enlightenment, from the gods to Acheron, the river over which Charon ferried the Musical in the 1880s and handled several lesser- in preparing the fair copy of the full score. Don release mankind from ignorance through sci- souls of the dead; Saturn was the god of agricul- known French composers; Girod published the Quichotte à Dulcinée was Ravel’s last work. ence and art. For his brazen disregard of Zeus, ture, believed to have ruled earth during a pe- song in 1891. Fleur des Blés was composed early These songs are the final evidence of Ravel’s Prometheus was chained to a rock, where daily riod of happiness and plenty, and “shattering his in 1881, when Debussy was accompanying the long interest in the music of Spain, which had an eagle tore at his liver until he was released by sickle asunder” portends the death of hope itself. singing class of Madame Moreau-Sainti for blossomed in such earlier works as the Rapsodie Hercules. Goethe began a drama on the subject The great German baritone Dietrich Fischer- “les jeunes filles du meilleur monde” and dedi- espagnole, L’Heure espagnole, and Boléro. He had of Prometheus in 1773 but sketched only three Dieskau said that he never placed Gruppe aus cated to one of the students, Madame Émile even contemplated an based on the tale scenes, one of which is a poem of raging defi- dem Tartarus at the end of a recital because “the Deguingand, the wife of a prominent Parisian of Cervantes’ quixotic knight, though that plan ance that Schubert made into a dramatic song listener will be left stunned and terrified.” businessman. never came to fruition. Each of the three set- (D. 674) in October 1819. tings of Morand’s poems is based on a tradition- Johann Baptist Mayrhofer was born in Steyr al dance rhythm of Spain: Chanson romanesque in 1787, went to school in Linz, and moved to Claude Debussy (1862–1918) Maurice Ravel (1875–1937) on the quajira, Chanson épique on the zortzico, Vienna in 1810 to study law. He met Schubert Three Songs Don Quichotte à Dulcinée and Chanson à boire on the jota. The first is a four years later, and the two became close friends love song of near manic devotion to the beloved despite their contrasting characters—Mayrhofer Edward Lockspeiser’s statement that “poetry Ravel spent four months early in 1932 on tour Dulcinée in the characteristic Spanish meter was moody and melancholic; Schubert, ebul- fertilizes the art of Debussy” is borne out by with Marguerite Long putting his new Piano produced by alternate measures of 6/8 and 3/4. lient and outgoing. Schubert was influenced the dozens of songs that the composer created Concerto in G on display throughout much of The second song presents Quixote as a holy war- both by Mayrhofer’s thoughtfulness and by throughout his career. French art at the dawn central Europe to enthusiastic praise. When he rior invoking the aid of the Madonna and Saint his knowledge of the classics, and he set some of the 20th century was seeking to escape the returned to the Basque countryside for a rest, he Michael to sustain him in his valiant quest. The three-dozen of his poems during the next four hyperventilated expression of Romanticism, found waiting for him there a commission to closing Drinking Song paints the hero in his one years. They grew close enough personally that specifically the pervasive influence of Germanic write music for a film version ofDon Quixote undeniable virtue—as an expansive tippler. the composer moved into the poet’s quarters late Wagnerian Romanticism, to forge a new art starring the legendary Russian basso Feodor in 1818, but when the libertarian but congeni- informed by intimation and suggestion, by Chaliapin in the title role. Despite his declin- tally contrary Mayrhofer accepted what seemed gossamer image and evocative word. Debussy ing health and his doctor’s warning to save his (1813–1883) to be a deliberately self-flagellating post with was profoundly affected by these quietly revo- strength, Ravel was intrigued by the project and Les deux grenadiers the state censor’s office in 1820 to make ends lutionary French artistic upheavals, and he im- he accepted it, agreeing to compose both back- meet, Schubert moved out. Their friendship mersed himself in the painting and poetry of ground music and songs specially prepared for In July 1839, cabals and creditors ran Wagner continued, however, and Schubert set nine more his near-contemporaries. He sought to embody Chaliapin. The film’s producer, Georg W. Pabst, out of Riga, where he had been conducting at of Mayrhofer’s verses. Mayrhofer was deeply the spirit of his nation in his music—he chose had already engaged as screenwriter and lyricist the local opera house for the previous two years. moved by Schubert’s early death in 1828, and he as his personal title musicien français—and Paul Morand, a world traveler, skilled diplomat, (Wagner was a notorious financial deadbeat largely gave up writing thereafter. He first tried found continual inspiration for his work in the and writer well known for his novels depicting throughout his life.) With his wife, Minna, and to commit suicide in 1831, and finally succeeded art of the Impressionists and the verses of the many cultures with clarity and realism. With Robber, their enormous Newfoundland dog, he

8 CAL PERFORMANCES CAL PERFORMANCES 9 PROGRAM NOTES ABOUT THE ARTISTS arrived in on September 17th by a circu- Acclaimed for his Carnegie Hall’s Zankel Hall and sang Bach can- itous route that led through London. Wagner’s commanding stage tatas with the Chamber Music Society of Lincoln time in the French capital was the most misera- presence and inven- Center. He also continued his work with the ble he ever endured. Though he met many of the tive artistry, American ’s Ring cycle, appearing as city’s important musicians, including Meyerbeer bass-baritone Eric Alberich in Siegfried and in Götterdämmerung. (a transplanted German), he spoke virtually no Owens has carved a He performed Beethoven’s Missa solemnis with French, and could make no professional head- unique place in the the Boston Symphony Orchestra at Carnegie way. He lived in poverty in a miserable garret, contemporary opera Hall, one of three appearances there in 2011– struggling to exist by writing journal articles world as both an es- 2012, including Jochanaan in Strauss’s Salome and undertaking such menial musical tasks as teemed interpreter of with the Cleveland Orchestra. Summer be- Dari oAcosta arranging selections from recent operatic hits. classic works and a gan with Mr. Owens reprising the role of the The nadir of his fortunes came in October 1840, champion of new music. Equally at home in Storyteller in A Flowering Tree by when he was briefly incarcerated in debtor’s pris- concert, recital, and opera performances, with the Atlanta Symphony Orchestra. He con- on. Though he was longing to bring his visions Mr. Owens continues to bring his powerful tinued his summer at Glimmerglass Festival as of vast operatic ventures to the stage (he had be- poise, expansive voice, and instinctive acting the Artist in Residence, appearing in Aida and gun Rienzi before leaving Riga), Wagner wrote faculties to stages around the world. Lost in the Stars, and performing a jazz concert. a few songs to French texts “in order to gain the During the 2012–2013 season, Mr. Owens Eric Owens has created an uncommon graces of the Parisian salon world through its fa- reprises his acclaimed role of Alberich in the niche for himself in the ever-growing body of vorite singers,” he recalled in his autobiography. Metropolitan Opera’s complete Ring cycles, contemporary opera works through his deter- “I composed several French songs, which, after directed by Robert Lepage, and returns to mined tackling of new and challenging roles. all my efforts to the contrary, were considered as Capellio in Bellini’s He received great critical acclaim for portray- too out of the way and difficult to be actually I Capuleti e i Montecchi and to Los Angeles Opera ing the title role in the world premiere of Elliot sung.” Wagner demonstrated his nascent sense as Sharpless in Puccini’s Madama Butterfly. He Goldenthal’s Grendel with Los Angeles Opera, of drama early in 1840 in a setting of Die beiden also joins jazz legends Bobby McFerrin, Chick and again at the Lincoln Center Festival, in Grenadiere (“The Two Grenadiers”) by Heinrich Corea, Dave Grusin, and Terence Blanchard a production directed and designed by Julie Heine that had been rendered into French for “Jazz and the Philharmonic,” a special Taymor. Mr. Owens also enjoys a close associa- by François-Adolphe Loève-Veimar. (Robert one-night-only concert at the Adrienne Arsht tion with John Adams, for whom he performed Schumann set Heine’s poem in the original Center in Miami. His concert calendar in- the role of General Leslie Groves in the world pre- German that April.) The poem, which Heine in- cludes Bach’s Mass in B minor with the New miere of at San Francisco Opera, cluded in his Buch der Lieder of 1827, imagines York Philharmonic under the baton of Alan and of the Storyteller in the world premiere of two of Napoleon’s soldiers captured in Russia Gilbert; the title role in Mendelssohn’s Elijah A Flowering Tree at ’s New Crowned who only learn of their emperor’s ultimate de- with the Pacific Chorale; appearances with Hope Festival in Vienna and later with the Los feat at Waterloo in June 1815 on their long trek Marin Alsop and the Baltimore Symphony, and Angeles Philharmonic. Doctor Atomic was later home. One says that it is time to return to his James DePriest and the Detroit Symphony; and recorded and received the 2012 Grammy Award wife and child, but the other experiences one last a New Year’s Eve gala with Ludovic Morlot and for Best Opera Recording. Mr. Owens made surge of patriotism that culminates in a fervent the Seattle Symphony. Together with pianist his Boston Symphony Orchestra debut under reference to La Marseillaise. Warren Jones, Mr. Owens appears in recital in the baton of David Robertson in Mr. Adams’s Berkeley, Nashville, and Milton, Massachusetts. Nativity oratorio, El Niño. In addition to his singing performances, Mr. Owens’s career operatic highlights in- © 2013 Dr. Richard E. Rodda Mr. Owens will be seen in cinemas worldwide clude his San Francisco Opera debut in Otello as the host of the Met’s Live in HD broadcast of conducted by Donald Runnicles; his Royal Wagner’s Parsifal. Opera, Covent Garden, debut in Norma; Aida Last season, Mr. Owens delighted audi- at Houston Grand Opera; Rigoletto, Il Trovatore, ences both in opera and recital halls. He em- and La Bohème at Los Angeles Opera; Die barked on a significant recital tour with pianists Zauberflöte for his Paris Opera (Bastille) debut; Robert Spano and Craig Rutenberg. With en- and Ariodante and L’Incoronazione di Poppea at gagements in Washington, D.C., Portland, and English National Opera. He sang Collatinus in a Philadelphia, Mr. Owens also performed at highly acclaimed Christopher Alden production

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of Britten’s The Rape of Lucretia at Glimmerglass Mr. Jones performs regularly with many of to- Institute at Carnegie Hall. For ten years he Opera. A former member of the Houston Grand day’s best known artists, including Stephanie was Assistant Conductor at the Metropolitan Opera Studio, Mr. Owens has sung Sarastro, Blythe, Eric Owens, Denyce Graves, Dame Kiri Opera, and for three seasons served in the same Mephistopheles in Faust, Frère Laurent, Te Kanawa, , Bo Skovhus, capacity at San Francisco Opera. Mr. Jones is Angelotti in Tosca, and Aristotle Onassis in Thomas Hampson, John Relyea, Joseph Alessi, also a prominent musical jurist, having been a the world premiere of Jackie O (available on the and Richard “Yongjae” O’Neill, and is the judge for the Van Cliburn International Piano Argo label) with that company. Mr. Owens is Principal Pianist for the California chamber Competition, the Walter Naumberg Foundation featured on two Telarc recordings with the music group Camerata Pacifica. In the past, he Awards, and the Metropolitan Opera Auditions. Atlanta Symphony: ’s and has partnered such great performers as Marilyn Born in Washington, D.C., Mr. Jones grew scenes from Strauss’s Elektra and Die Frau ohne Horne, Samuel Ramey, Håkan Hagegård, up in North Carolina and graduated with hon- Schatten, both conducted by Donald Runnicles. Kathleen Battle, Barbara Bonney, Carol Vaness, ors from the New England Conservatory of He is featured on the Nonesuch Records release Judith Blegen, , and Martti Music in Boston, Massachusetts—where he cur- of A Flowering Tree. Mr. Owens has been recog- Talvela—and performed with the Juilliard, rently serves on the Board of Visitors. A resident nized with multiple awards, including the 2003 Borromeo, and Brentano quartets. of New York City, Mr. Jones enjoys cooking, Marian Anderson Award, a 1999 ARIA award, Mr. Jones has often been a guest artist at exercise, historical novels, and lively political and second prize in the Plácido Domingo Carnegie Hall and in Lincoln Center’s Great discussion. Please visit www.warrenjones.com, Operalia Competition, the Metropolitan Opera Performers” series, as well as the American which features a full listing of his recordings National Council Auditions, and the Luciano summer festivals at Tanglewood, Ravinia, and and itinerary. Pavarotti International Voice Competition. Caramoor. Internationally, he has appeared at A native of Philadelphia, Mr. Owens began every major venue in Europe, South America, his musical training as a pianist at the age of six, Japan, Korea, and Hong Kong. Mr. Jones has followed by formal study at age eleven un- been invited three times to the White House der Lloyd Shorter of the Delaware Symphony and by American Presidents to perform at concerts Louis Rosenblatt of the Philadelphia Orchestra. honoring the President of Russia, and Prime He studied voice while an undergraduate at Ministers of Italy and Canada—and three times Temple University, and then as a graduate stu- he has appeared at the U.S. Supreme Court as a dent at the Curtis Institute of Music. He cur- specially invited performer for the Justices and rently studies with Armen Boyajian. He serves their guests. on the Board of Trustees of both the National In recent years, Mr. Jones has conducted Foundation for Advancement in the Arts and sold-out, critically acclaimed performances of Astral Artistic Services. Mascagni’s L’amico Fritz with the Merola Opera Eric Owens appears by arrangement with Program at San Francisco Opera and Rossini’s IMG Artists, Carnegie Hall Tower, 152 West Il barbiere di Siviglia at the Music Academy of 57th Street, New York, New York 10019. the West, and in 2013 returns to the podium there for Mozart’s Die Zauberflöte. Warren Jones enjoys a Mr. Jones’s discography includes 29 record- widely diverse and cele- ings; he can be heard on every major record brated career in music. label, in wide-ranging repertory from Schubert In 2011 he received the and Brahms to more esoteric compositions of “Achievement Award” Gretchaninoff, Clarke, and Smit, as well as in from the Music Teachers contemporary works by Harbison and others. National Association of Mr. Jones is a member of the faculty at the America—their highest Manhattan School of Music in New York City, honor. He was named and each summer he teaches and performs at the Lisa Kohler Lisa “Collaborative Pianist Music Academy of the West in Santa Barbara, of the Year” in 2010 by Musical America, and in California. He often participates as a mentor the same year received an Honorary Doctorate for young musicians in Professional Training from the San Francisco Conservatory of Music. Workshops as part of the Weill Education

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