The Pelican State Chamber Music Series thanks the following sponsors for their generous support of these concerts: The Pelican State TheArts Council of Greater Baton Rouge The Louisiana Division of the Arts Chamber Music Series PPC Mechanical Seals The Pointe Coupée Historical Society 2006-2007 Season The First United Methodist Church of Baton Rouge Program 2

The Julien Poydras Museum and Arts Center,New Roads Wednesday,November 29, 2006, 7:00 pm

The First United Methodist Church of Baton Rouge This program was supported in part by funds from the Louisiana State Arts Thursday,November 30, 2006, 7 :00 pm Council and the Louisiana Division of the Arts and by the Arts Council of Greater Baton Rouge throught the Decentralized Arts Funding Program Dennis Parker is Professor of Cello and Coordinator of String Chamber Music at LSU. He appears frequently as soloist, recitalist, collaborator and guest professor at Schubert’s Sportsman’s Paradise numerous universities and festivals. He has been on the LSU faculty since 1988 and he was principal cellist of the Baton Rouge Symphony from 1988 to 1998. He is a former member of the Detroit Symphony Orchestra and Dennis Jesse, baritone served as Principal Cellist of the Porto Alegre Symphony James Alexander, violin Orchestra in Porto Alegre, Brazil. Mr. Parker received his early training with Channing Robbins of the Juilliard Matthew Daline, viola School in New York City. He was also a student of Janos Dennis Parker, cello Starker at Indiana University and Aldo Parisot at Yale where he served as Mr. Parisot’s teaching assistant. In recent years, Parker has researched, performed Yung-chiao Wei, bass and recorded works of composers who perished in the Holocaust. His recording Gregory Sioles, piano “Cello Matters” featuring works by Pitombeira, Schnyder, David Baker and Piazzola is available from Centaur.

Yung-chiao Wei, currently Associate Professor of Double Program Bass at LSU, is a recipient of numerous awards and honors including the 2006 LSU Tiger Athlete Foundation Teaching Award, 2005 LSU Summer Research Stipend Grant, Four Songs for Baritone and Piano Franz Schubert 2003 Taiwan Young Concert Artist Competition, both the 2nd Prize and Audience prize in the 2001 Izuminomori (1797-1828 International Double Bass/Cello Competition in Japan, I. Der Fischer (D.225) the New World Symphony Concerto Competition, the II. Das Fischermädchen from Schwanengesang (D.957) Texas International Festival Concerto Competition, two consecutive years the Interlochen Arts Academy Concerto Competition, the III. Fischerweise (D.881) Academy’s Young Artist and Fine Arts Award, and first prize in the Taiwan IV. Die Forelle (D.550) National Music Competition. Wei has appeared at major concert halls around the world including Carnegie Hall, Davis Hall, Jordan Hall, Isabella Stewart Garden Museum, Ozawa Hall, Lincoln Center Alice Tully Hall, National Concert Hall (Taiwan), Izuminomori Hall (Japan). A native of Taiwan, she began playing the piano at age six and the bass at age twelve. She received her Master of Music ------degree with honors from the New England Conservatory in Boston and her Bachelor of Music degree with a Performance Certificate from the Eastman School of Music- the first bassist to be awarded such a certificate in twenty years. Quintet in A “The Trout” for Violin, Viola, Franz Schubert Gregory Sioles, piano, has been the recipient of numerous honors and awards Cello, Bass and Piano, D. 667 (Opus 114) (1797-1828 including an Atwater Kent Grand Prize and a Fulbright Scholarship for study in London. He has performed on three continents at such venues as the Kennedy Center in Washington, D.C., the Purcell Room on London’s South Bank, Berlin’s I. Allegro vivace Amerika Haus, and the Shanghai Conservatory of Music in China. At his London debut in 1983 Sioles was hailed by the London Times as “an exciting pianist . . II. Andante . with perfect poise and control.” Following his debut he III. Scherzo: presto made recital appearances in Spain, Germany, Switzerland, IV. Andantino and Scotland. He has also performed extensively throughout the United States and been a featured artist on V. Finale, Allegro giusto National Public Radio. Sioles is very active as a chamber musician and has collaborated with many artists, including Edgar Meyer, Barry Tuckwell, the Guarneri String Quartet, and members of the Baltimore and National Symphonies. He is currently Professional-In-Residence at Louisianna State University. Baritone Dennis Jesse has found much success in a wide range Der Fischer The Fisherman by Johann Wolfgang von Goethe (1749-1832) of vocal styles and characterizations in a career that has taken The water roared, the water swelled; him from the madcap world of operetta to the dramatic depths Das Wasser rauscht’, das Wasser schwoll, a fisherman sat beside, of grand opera. His operatic credits include the title roles in Ein Fischer saß daran, gazing calmly at his fishing line, Rigoletto, Don Giovanni, Gianni Schicchi, and Il Barbiere di Sah nach dem Angel ruhevoll, cool to his very heart. Kühl bis ans Herz hinan. And as he sits there and as he listens, Siviglia, as well as lead baritone roles in I Pagliacci, Madama Und wie er sitzt und wie er lauscht, the waves split Butterfly, Faust, Le Nozze di Figaro, Die Zauberflöte, La Teilt sich die Flut empor: and from the turbulent water Boheme, Cavalleria Rusticana, Carmen, Romèo et Juliette, Aus dem bewegten Wasser rauscht a watery woman bursts up. and The Crucible. He has appeared in numerous productions Ein feuchtes Weib hervor. She sang to him, and spoke to him: with Des Moines Metro Opera, Arizona Opera, Eugene Opera, Sie sang zu ihm, sie sprach zu ihm: “Why do you lure my children Knoxville Opera, Nevada Opera, Sacramento Opera, Pensacola Opera, Triangle “Was lockst du meine Brut with your human wit and cunning, Opera Theater, Amarillo Opera, Metro Lyric Opera, El Paso Opera, Opera Idaho, Mit Menschenwitz und Menschenlist up here to this deadly glow? Chautauqua Opera, Opera Southwest, and Ohio Light Opera. Mr. Jesse will appear Hinauf in Todesglut? Ah, if you only knew how pleasant the tiny fish with the LSU opera department in their spring production of Carlisle Floyd’s Willie Ach wüßtest du, wie’s Fischlein ist find it below the surface, So wohlig auf dem Grund, you would come down, just as you are, Stark and will make his directing debut with Nevada Opera’s spring production of Du stiegst herunter, wie du bist, and you would be well for the first time. Offenbach’s Orpheus in the Underworld. Und würdest erst gesund. Does not the dear sun refresh itself Labt sich die liebe Sonne nicht, and the moon as well, in the sea? James Alexander is a graduate of Louisiana State University. Der Mond sich nicht im Meer? Do they not turn their faces, breathing the waves He continued his violin studies in New York with Ivan Kehrt wellenatmend ihr Gesicht and thus becoming doubly fair? Nicht doppelt schöner her? Aren’t you tempted by the deep sky, Galamian and later in London with Yfrah Neaman and Lockt dich der tiefe Himmel nicht, the moist and transfiguring blue? Edith Vogel. He was awarded the Concert Recital Diploma Das feuchtverklärte Blau? Aren’t you tempted by your own face (Premiere Prix) from the Guildhall School of Music in Lockt dich dein eigen Angesicht shining in the eternal dew?” London. He served for three years as Associate Principal of Nicht her in ew’gen Tau?” The water roared, the water swelled, the second violins in the Southwest German Philharmonic Das Wasser rauscht’, das Wasser schwoll, and moistened his naked foot; and held the same position for nine years in the St Gallen Netzt’ ihm den nackten Fuß; and his heart filled with the longing Symphony Orchestra in Switzerland. He has also worked Sein Herz wuchs ihm so sehnsuchtsvoll that he felt at the greeting of his beloved. regularly with the OSESP Orchestra in Sao Paulo, Brazil. Wie bei der Liebsten Gruß. She spoke to him, and sang to him; Sie sprach zu ihm, sie sang zu ihm; then all was done for him; Since 1998, Mr Alexander has been a member of the faculty at Louisiana State Da war’s um ihn geschehn; half pulled by her and half sinking himself, University teaching violin. In addition, he is an active chamber musician and soloist Halb zog sie ihn, halb sank er hin he went down and was never seen again. having performed throughout central Europe, the United States and in Brazil. Most Und ward nicht mehr gesehn. recently, he has given master classes in Brazil and Romania and performed in the Translation from German to English copyright © Offenburg Festival in Germany and in Fortaleza Brazil. by Emily Ezust

Matthew Daline You Beautiful Fishermaiden , viola, began his violin studies with Michele Auclair of the Paris Du schönes Fischermädchen Conservatory, and continued his studies on the viola with Marcus Thompson of the by Heinrich Heine (1797-1856) New England Conservatory. He received his Bachelor’s Degree from The Juilliard You beautiful fishermaiden, School where he was a Teaching Assistant for Karen Tuttle and his Master’s Degree Du schönes Fischermädchen, Pull your boat toward shore; from Yale University where he studied with Jesse Levine. Mr. Daline pursued Treibe den Kahn ans Land; Come to me and sit down, Komm zu mir und setze dich nieder, We will speak of love, hand in hand. his studies at The New England Conservatory of Music with Martha Katz and a Wir kosen Hand in Hand. Doctorate of Musical Arts at The State University of New York. Mr. Daline is the Lay your little head on my heart, newest addition to the string faculty in the School ofMusic Leg an mein Herz dein Köpfchen And do not be too frightened; Und fürchte dich nicht zu sehr; Indeed, you trust yourself fearlessly at Louisiana State University. Since making his solo recital Vertraust du dich doch sorglos Daily to the wild sea! debut in Carnegie Hall as the winner of the Artists International Täglich dem wilden Meer. Competition 2000, New York City, Matthew Daline has My heart is just like the sea, performed as a soloist, chamber musician, and principal violist Mein Herz gleicht ganz dem Meere, Having storms and ebb and flow, Hat Sturm und Ebb’ und Flut, And many beautiful pearls in most of the major concert halls of North America. Recent Und manche schöne Perle Rest in its depths. performances include Lincoln Center’s Alice Tully Hall, Avery In seiner Tiefe ruht. Fisher Hall and at Carnegie Hall. Mr. Daline performs on a Translation from German to English copyright © viola from 17th century Brescia, Italy labeled “Gasparo Da Salo by Michael P. Rosewall in Brescia”. He is a faculty member at The Marrowstone Music Festival USA. Fischerweise Fisherman’s Song &&& Notes on the Program &&& by Franz Xaver von Schlechta (1796-1875) The fisherman’s not worried Nowadays, with plagiarism easy to spot, no self-respecting musician would intentionally lift an Den Fischer fechten Sorgen By sorrow and by care; old tune for an ostensibly new, original piece (other than through sampling or other conscious Und Gram und Leid nicht an; He sets sail in the morning, Er löst am frühen Morgen tributes to respected forebears). But in earlier times when publication was rarer and unhurried, and His heart as light as air. copyright was far less lucrative, there were few such qualms. Composers often wrote variations on Mit leichtem Sinn den Kahn. Peace is all around him, others’ themes and were sorely tempted to get maximum use out of killer themes of their own. Franz Da lagert rings noch Friede In meadows and in streams Schubert recycled three of his most popular songs to create three of his most beloved instrumental Auf allen Flur und Bach, With his songs he wakens pieces. Er ruft mit seinem Liede The golden sunshine’s beams. Die gold’ne Sonne wach. He sings while he is fishing By the summer of 1819, although not a single one of his hundreds of compositions had yet been Er singt zu seinem Werke From full land cheery breast, published or performed in concert, manuscript copies of his wonderful songs were being sung Aus voller frischer Brust, His works fills him with vigour, informally. The famous opera baritone Johann Vogl, then 50, became an early admirer and took Die Arbeit gibt ihm Stärke, His vigour gives him zest. Schubert, then 22, on his first real vacation to Vogl’s birthplace of Steyr, an Alpine arts colony. (A Die Stärke Lebenslust. rather nasty caricature sketch by their “friend” Schober shows the timid, potbellied, bespectacled Then in the depths below him composer trailing behind the tall pompous singer.) Schubert was enthralled. In a letter to his brother, Bald wird ein bunt Gewimmel A tumult starts to break, he remarked not only of the natural wonders (“more beautiful than anyone could imagine”) but the In allen Tiefen laut And splashes through the heavens eight girls in the house where he stayed (“nearly all of them pretty”). He soon found himself the Und plätschert durch den Himmel, Reflected in the lake. center of attention at evening musicales sponsored by Sylvester Paumgartner, an amateur cellist, arts Der sich im Wasser baut. patron and wealthy local mine owner, who particularly liked one of Schubert’s songs, “Die Forelle” But he who will a fish catch (“The Trout”). Whether commissioned or intended as a “thank you” gift, Schubert used the song Doch wer ein Netz will stellen, Needs eyes that clearly see, Braucht Augen klar und gut, as the basis of a quintet which he wrote upon his return to Vienna and sent to Paumgartner, who A heart as light as ether, struggled to perform it, as Schubert apparently had over-estimated his skill, and then shelved the Muß heiter gleich den Wellen And as waves so free. Und frei sein wie die Flut. score, which was to be published only after Schubert’s death. And on the bridge sits angling Dort angelt auf der Brücke The shepherdess so sweet. Die Hirtin. Schlauer Wicht, Pray cease your tricks and cunning, The vast majority of chamber music is written for established combinations – sonatas for an Gib auf nur deine Tücke, The fish you cannot cheat. instrument plus piano; trios for violin, cello and piano; and quartets for two violins, viola and a cello Den Fisch betrügst du nicht. Translation from German to English copyright © or piano. An unconventional array of instruments suggests unusual circumstances or a customized 2002 by Maureen Oberli , purpose. (Perhaps the most famous modern example is the Quartor pour le fin de temps (“Quartet Die Forelle for the End of Time”) for violin, cello, clarinet and piano, which Messian wrote as a prisoner of by Christian Friedrich Daniel Schubart (1739-1791) The Trout war for himself and three other inmates.) Here, Schubert used the unusual combination of violin, viola, cello, bass and piano. (Interestingly, the only other quintet known to have used this grouping In einem Bächlein helle, In a bright little brook was written by Hummel two decades before; scholars still speculate whether the works arose Da schoß in froher Eil there shot in merry haste independently or if Schubert might have seen the score in Paumgartner’s library.) Since Paumgartner Die launige Forelle a capricious trout: was an amateur cellist, Paul Meyer has suggested that Schubert added a bass to relieve his host from Vorüber wie ein Pfeil. past it shot like an arrow. the cello’s normal duty of anchoring the bass line in order to share in the melodies with which the Ich stand an dem Gestade I stood upon the shore work abounds. Und sah in süßer Ruh and watched in sweet peace Des muntern Fisches Bade the cheery fish’s bath Im klaren Bächlein zu. in the clear little brook. The “Trout” song is based on a rather cute but trite 1783 poem by Christian Daniel Schubart (no Ein Fischer mit der Rute relation to the composer) – a fish darts joyously about in a clear stream to elude a fisherman, who A fisher with his rod finally, to the poet’s ire, muddies the brook and catches the trout. (A final stanza, wisely omitted by Wohl an dem Ufer stand, stood at the water-side, Und sah’s mit kaltem Blute, and watched with cold blood Schubert, concluded with a strained and rather blatantly Freudian warning that girls flee the tempter Wie sich das Fischlein wand. as the fish swam about. with a rod, lest they bleed.) The repeated melody, typical for Schubert, is effortless, thoroughly So lang dem Wasser Helle, So long as the clearness of the water enchanting -and instantly memorable, and further enlivened by a leaping, joyous figure in the piano So dacht ich, nicht gebricht, remained intact, I thought, accompaniment the evokes the subject fish. The fourth of the five movements is a set of variations So fängt er die Forelle he would not be able to capture the trout on the “Trout” melody, brightened by a dotted rhythm and a shift from D-flat to D major. As Myers Mit seiner Angel nicht. with his fishing rod. notes, Mozart or Beethoven would have derived their structure from bold thematic and harmonic transformations, but for Schubert the melody is paramount, and so his variations consist of passing Doch plötzlich ward dem Diebe But finally the thief grew weary the melody among instruments, as if to delight in examining it from all angles. To tease his patron, Die Zeit zu lang. Er macht of waiting. He stirred up he withholds until the very end the wonderful piano figure from the original song. Das Bächlein tückisch trübe, the brook and made it muddy, Und eh ich es gedacht, and before I realized it, So zuckte seine Rute, his fishing rod was twitching: While the variations movement is the centerpiece, the entire quintet is delightful. Massimo Mila Das Fischlein zappelt dran, the fish was squirming there, calls it a “holiday poem” that reflects Schubert’s ecstatic delight with the open country after being Und ich mit regem Blute and with raging blood I pent up in the city his entire life; “in it is enshrined the memory of a delightful summer, of carefree Sah die Betrogene an. gazed at the betrayed fish. leisure days; the music is bathed in sunshine and the spirit of youth, ... friendship and humanity woven into the very texture of the music.” Indeed, the rest of the quintet (an unusual five, rather Die ihr am goldenen Quelle At the golden fountain Der sicheren Jugend weilt, than four, movements) is breezy and beguiling, brimming with effortless melody and warm, gentle of youth, you linger so confidently; modulations, the instrumentation lending a rich, satisfying and kaleidoscopic blend of evolving Denkt doch an die Forelle, But think of the trout, Seht ihr Gefahr, so eilt! and if you see danger, flee! sonority. Meist fehlt ihr nur aus Mangel Mostly it is from lack der Klugheit, Mädchen, seht of cleverness that maidens Verführer mit der Angel! miss the angling seducers. - excerpted from Peter Gutmann’s “Franz Schubert, a Trout, a Maiden and a Wanderer”, http: Sonst blutet ihr zu spät! So beware! otherwise you may bleed too late! //www.classicalnotes.net/classics/trout.html The Pelican State Chamber Music Series thanks the following sponsors for their generous support of these concerts: The Pelican State TheArts Council of Greater Baton Rouge The Louisiana Division of the Arts Chamber Music Series PPC Mechanical Seals The Pointe Coupée Historical Society 2006-2007 Season The First United Methodist Church of Baton Rouge Program 3

The Julien Poydras Museum and Arts Center,New Roads Friday,February 16, 2007, 7:00 pm

The First United Methodist Church of Baton Rouge This program was supported in part by funds from the Louisiana State Arts Saturday,February 17, 2007, 7 :00 pm Council and the Louisiana Division of the Arts and by the Arts Council of Greater Baton Rouge throught the Decentralized Arts Funding Program Bach, Brazil & Bohuslav James Ryon is currently the Principal Oboist of the Baton Rouge Symphony and a member of the Timm Quintet, woodwind quintet in residence at Louisiana State University, where he serves as Associate Professor of Oboe. He holds James Ryon, oboe bachelor’s and master’s degrees in music from the Juilliard School and has James Alexander, violin received fellowships from the Aspen, Berkshire, Blossom, Kneisel Hall and New College Music Festivals. He has also served as Principal Oboist with the Dennis Parker, cello Akron Symphony, the Florida Orchestra, the Orquesta Filarmonica de Caracas Luciana Soares, piano and the Orchestra Estadual de Minas Gerais, Brazil. Past appointments include the University of Akron, Baldwin Wallace Conservatory and the University of South Florida. He has performed with the Pittsburgh Symphony, the Cleveland Program Orchestra, the Cleveland Opera, the Louisiana Philharmonic, the Charleston Symphony, the Bach Aria Group and the British rock group Emerson, Lake and Palmer. His CD of 20th Century Brazilian Chamber Music for Oboe, Cello and Piano is available on Jeanné Digital. Born in San Juan, Puerto Rico, Selections from the Art of Fugue Johann Sebastian Bach Mr. Ryon also holds a degree in Engineering and Applied Science from Yale University (1685-1750) . I. Ricercar à 3, BWV 1079.1 Arr. James Ryon James Alexander is a graduate of Louisiana State University. He continued his II. Canon à Quaerendo invenietis, BWV 1079.4 violin studies in New York with Ivan Galamian and later in London with Yfrah Neaman and Edith Vogel. He was awarded the Concert Recital Diploma (Premiere III. Canon à 2 in Unisono, BWV 1979.3b Prix) from the Guildhall School of Music in London. He served for three years as IV. Canon à 2 per Motum contrarium, BWV 1979.3c Associate Principal of the second violins in the Southwest German Philharmonic V. Canon à 2 per Augmentationem contrario Motu, BWV1979.3b and held the same position for nine years in the St Gallen Symphony Orchestra VI. Canon à 2 cancrizans, BWV 1079.3a in Switzerland. He has also worked regularly with the OSESP Orchestra in Sao VII. Fuga canonica in Epidiapente, BWV 1079.4 Paulo, Brazil. Since 1998, Mr Alexander has been a member of the faculty at Louisiana State University teaching violin. In addition, he is an active chamber musician and soloist having performed throughout central Europe, the United Nordestinada for Violin and Piano José Alberto Kaplan States and in Brazil. Most recently, he has given master classes in Brazil and Romania and performed in (b. 1935) the Offenburg Festival in Germany and in Fortaleza Brazil. I. Esquenta-Mulher Dennis Parker is Professor of Cello and Coordinator of String Chamber Music at II. Procissão do Divino LSU. He appears frequently as soloist, recitalist, collaborator and guest professor III. Dança do Cavalo-do-Cão at numerous universities and festivals. He has been on the LSU faculty since 1988 and he was principal cellist of the Baton Rouge Symphony from 1988 to 1998. He is a former member of the Detroit Symphony Orchestra and served as Principal Seresta No. 13 for Oboe, Violin, Cello & Piano Liduino Pitombeira Cellist of the Porto Alegre Symphony Orchestra in Porto Alegre, Brazil. Mr. Op 104, 2005 (b. 1962) Parker received his early training with Channing Robbins of the Juilliard School in New York City. He was also a student of Janos Starker at Indiana University and Aldo Parisot at Yale where he served as Mr. Parisot’s teaching assistant. In I. Modinha recent years, Parker has researched, performed and recorded works of composers II. Maculelé who perished in the Holocaust. His recording “Cello Matters” featuring works by Pitombeira, Schnyder, ------David Baker and Piazzola is available from Centaur.

Duo Sonatina for Oboe & Cello (2006) João Guilherme Ripper Luciana Soares, piano, has received many awards in national competitions in her native Brazil and (b. 1959) appears frequently as both soloist and collaborative pianist at concert halls throughout Brazil and the I. Allegro United States. She began her early musical training at the age of five in the school II. Calmo of pianist Belkiss Spenziéri Carneiro de Mendonça, and was later a student of III. Rondo-Tango Caio Pagano at Arizona State University (M.M. in Piano Performance) and Mary Ann Stringer at the University of Southern Mississippi (D.M.A. in Piano Performance and Pedagogy). In addition to teaching and performing a variety Quartet for Oboe, Violin, Cello & Piano (1947) Bohuslav Martinu of repertoires ranging from Baroque to contemporary, Soares is also strongly (1890-1952) dedicated to promoting the music of her native country. Her accomplishments as a researcher and performer have placed her on the forefront of presenting lectures I. Moderato poco allegro and recitals of Brazilian music at universities, concert series, and conferences II. Adagio; Andante; Poco allegro throughout the United States. Her solo recording Brasileira: Piano Music by Brazilian Women was released on the Centaur Records label. The Pelican State Chamber Music Series thanks the following sponsors for their generous support of these concerts: The Pelican State TheArts Council of Greater Baton Rouge The Louisiana Division of the Arts Chamber Music Series PPC Mechanical Seals The Pointe Coupée Historical Society 2006-2007 Season The First United Methodist Church of Baton Rouge Program 4

The Julien Poydras Museum and Arts Center,New Roads Monday,April130, 2007, 7:00 pm

The First United Methodist Church of Baton Rouge This program was supported in part by funds from the Louisiana State Arts Tuesday,May 1, 2007, 6:00 pm Council and the Louisiana Division of the Arts and by the Arts Council of Greater Baton Rouge throught the Decentralized Arts Funding Program Dennis Parker is Professor of Cello and Season Finale Coordinator of String Chamber Music at LSU. He appears frequently as soloist, recitalist, collaborator Katherine Kemler, flute and guest professor at numerous universities and James Ryon, oboe festivals. He has been on the LSU faculty since Justin O’Dell, clarinet 1988 and he was principal cellist of the Baton William Ludwig, bassoon Rouge Symphony from 1988 to 1998. He is a James Alexander, violin former member of the Detroit Symphony Orchestra Matthew Daline, viola and served as Principal Cellist of the Porto Alegre Symphony Orchestra Dennis Parker, cello in Porto Alegre, Brazil. Mr. Parker received his early training with Yung-chiao Wei, double bass Channing Robbins of the Juilliard School in New York City. He was also a student of Janos Starker at Indiana University and Aldo Parisot at Program Yale where he served as Mr. Parisot’s teaching assistant. In recent years, Parker has researched, performed and recorded works of composers who perished in the Holocaust. His recording “Cello Matters” featuring Quartet for flute, oboe, clarinet & bassoon (1933) Jean Françaix works by Pitombeira, Schnyder, David Baker and Piazzola is available (1912-1997) I. Allegro from Centaur. II. Andante III. Allegro molto Yung-chiao Wei, currently Associate Professor of IV. Allegro vivo Double Bass at LSU, is a recipient of numerous awards and honors including the 2006 LSU Tiger Concertino for flute, viola & contrabass Erwin Schulhoff Athlete Foundation Teaching Award, 2005 LSU (1894-1942) Summer Research Stipend Grant, 2003 Taiwan I. Andante con moto nd II. Furiant Young Concert Artist Competition, both the 2 III. Andante Prize and Audience prize in the 2001 Izuminomori IV. Rondino - Allegro International Double Bass/Cello Competition in Japan, the New World Symphony Concerto Competition, the Texas ------International Festival Concerto Competition, two consecutive years the Interlochen Arts Academy Concerto Competition, the Academy’s Serenade for String Trio in D, Op 8 Ludwig van Beethoven Young Artist and Fine Arts Award, and first prize in the Taiwan National (1770-1827) Music Competition. Wei has appeared at major concert halls around I. Marcia; Allegro the world including Carnegie Hall, Davis Hall, Jordan Hall, Isabella II. Adagio Stewart Garden Museum, Ozawa Hall, Lincoln Center Alice Tully Hall, III. Menuetto; Trio National Concert Hall (Taiwan), Izuminomori Hall (Japan). A native IV. Scherzo; Adagio; Molto allegro of Taiwan, she began playing the piano at age six and the bass at age V. Allegretto alla Polacca VI. Thema con Variazioni twelve. She received her Master of Music degree with honors from VII. Marcia; Allegro the New England Conservatory in Boston and her Bachelor of Music degree with a Performance Certificate from the Eastman School of Music- the first bassist to be awarded such a certificate in twenty years. James Alexander is a violinist who has enjoyed success Notes on the Program as a soloist, teacher, chamber and orchestra musician He has been violin teacher and Professional-in-Residence at Jean Françaix’s natural gifts were encouraged from an early age by his family: his father a musicologist, composer, and pianist, and his mother, a teacher of singing . He was only Louisiana State University for the past nine years. He six when he took up composing, and his first publication in 1922 caught the attention of was a student of Ivan Galamian and received the a composer working for the publishing house who steered the gifted boy toward a gifted Premiere Prix from the Guildhall School of Music where teacher, Nadia Boulanger. Since he was a virtuoso pianist, many of his works feature the he studied with Yfrah Neaman and Edith Vogel. He piano, particularly his numerous chamber works which he wrote for nearly every orchestral instrument and standard ensemble. He was a skilled orchestrator, which was reflected in his began his professional career in Europe as a member of use of tone colors. Françaix wrote pieces in many of the major large musical forms, including the Southwest German Philharmonic as well as The St. Gallen Symphony concerti, symphonies, opera, theatre, ballet, and works drawing on traditions falling out of Orchestra in Switzerland. Alexander has performed as chamber musician and favor in the 20th century, such as the cantata. Though he often put his own modern spin on soloist throughout central Europe, Brazil and the US. He has most recently the old modes of expression, he was an avowed neoclassicist who rejected atonality and formless wanderings, and he drew from great literature of the past for his vocal settings. He given masterclasses in Romania and Brazil and appeared as guest artist at the also wrote ten film scores for directorSacha Guitry. Françaix’s style is marked by lightness Offenberg festival in Germany as well as the Icoh Chamber Music Festival in and wit (a stated goal of his was to “give pleasure”), as well as a conversational style of Brazil. Alexander is a regular instructor at the String Quartet Symposium in interplay between the musical lines. It changed little throughout his career; while he was Ernen, Switzerland. In addition, Mr Alexander is the director of the Pelican influenced by composers he admired (such asEmmanuel Chabrier, Igor Stravinsky, Maurice State Chamber Music Series funded by the Louisiana Division of the Arts. Ravel, and Francis Poulenc), he integrated what he picked up into his own distinct aesthetic, which was already evident in his early works including the Quartet for Winds. - from Beginning in the fall of 2007, he will begin directorship of a new string Wikipedia, the free encyclopedia program at Nicholls State University which will provide intensive instruction to talented students. Born in Prague of Jewish-German origin, Erwin Schulhoff was one of the brightest figures in a generation of European musicians whose successful careers were prematurely terminated Matthew Daline enjoys an international career as a by the rise of the Nazi regime in Germany. The contributions made by many of these chamber musician and viola soloist. He began his studies musicians, including Schulhoff, have largely languished in obscurity ever since, despite their pivotal importance to the development of classical music during the early 20th century. In on violin with Michele Auclair of the Paris Conservatory, his youth, Schulhoff studied composition and piano in Prague, Vienna, Leipzig and Cologne. and continued his studies on the viola with Martha He began to embrace the avant-garde influences ofjazz and Dadaism in his performance Strongin Katz and Marcus Thompson of the New England and writing after World War I. He was one of the first classical composers in Europe to find Conservatory. He received his Bachelor’s Degree from inspiration in the rhythms of jazz music. Schulhoff was a celebrated keyboard virtuoso and made extensive tours of Germany while also venturing farther afield toFrance and England. The Juilliard School where he was a Teaching Assistant for In the 1930s, Schulhoff ran into mounting personal and professional difficulties. Because of Karen Tuttle and his Master’s Degree from Yale University where he studied his Jewish descent and his radical politics, he and his work were blacklisted as “degenerate” with Jesse Levine. While pursuing the Doctorate of Musical Arts at The State by the Nazi regime. He could no longer give recitals in Germany, nor could his works be University of New York, Stony Brook, Daline has worked with Katherine publicly performed. His Communist sympathies, which became increasingly visible in his works, also brought him trouble in Czechoslovakia. In 1932 he created a music version of Murdock and served as a Teaching Assistant for the Department of Music. “The Communist Manifesto” (Op. 82). Taking refuge in Prague, he found employment as Daline was the top prizewinner at “The Artists International Competition, a radio pianist but earned barely enough to cover the cost of everyday essentials. When the 1999”, in New York City which provided a debut recital in Carnegie Hall. He Nazis invaded Czechoslovakia in 1939, he had to resort to performing under a pseudonym. has performed as a soloist, chamber musician, and principal violist in most In 1941, the Soviet Union approved his petition for citizenship, but he was arrested and of the major concert halls of North America including recent performances imprisoned before he could leave Czechoslovakia. In June 1941, Schulhoff was deported to the Wülzburg concentration camp, near Weißenburg, Bavaria. He died on August 18, 1942 in Lincoln Center’s Alice Tully Hall, Avery Fisher Hall and at Carnegie Hall. from tuberculosis. - from Wikipedia, the free encyclopedia Daline performs on a Brescian Viola from the 17th century, labeled Gasparo Da Salo in Brescia. This summer 2007 he will be teaching at the Killington Beethoven apparently composed his early works for string trio as self-study projects, Music Festival and the Green Mountain Chamber Music Festival . not supervised by his teachers; he probably wanted to attempt creative approaches to an ensemble combination considered quite difficult to compose for, without being given too many restrictions. He took his time on this Serenade, working on it from 1795 to 1797; it was published by Artaria in 1797. - from sinfoniatoronto.com/Program Notes Katherine Kemler is Professor of Flute at LSU, flutist Justin O’Dell is the newest addition to the woodwind with the Timm Wind Quintet, and a regular visiting teacher faculty in the School of Music at LSU, where he teaches at the Oxford Flute Summer School in England. A graduate clarinet and performs with the Timm Wind Quintet. of Oberlin, she received her M.M. and D.M.A. degrees He is a recent Doctor of Musical Arts degree graduate from S.U.N.Y. at Stony Brook. Her major teachers include from the University of Michigan, where he was a Samuel Baron, Robert Willoughby, and Mark Thomas. fellowship student of Fred Ormand. O’Dell earned the She has also studied with Marcel Moyse, Jean-Pierre Master of Music degree from Yale University while Rampal, Julius Baker, William Bennett, Andras Adorjan, and Michel Debost. studying with David Shifrin and was a recipient of the She has taught master classes and performed solo recitals at the Shanghai Keith Wilson scholarship. He earned the Bachelor of Music degree from Conservatory of Music in China and the Hong Kong Academy of the Western Michigan University, where he studied with Bradley Wong. Performing Arts. She has also performed a solo recital in the Beijing Concert Before attending Yale, O’Dell received an Irving S. Gilmore Emerging Hall and taught flute master classes at the Central Conservatory of Music Artist Grant and a WMU Presidential Grant, which supported further there. She has performed at seven National Flute Association conventions study in Germany with Wolfgang Meyer at the Staatliche Hochschule für in Denver, New Orleans, Washington, D.C., Boston, Orlando, Chicago, and Musik in Karlsruhe. An active soloist and chamber musician, highlights Atlanta. She has appeared as soloist with the British Chamber Orchestra in of performances in Germany include a recital at the Karlsruhe Palace London’s Queen Elizabeth Hall, and with the Orchestra Medicea Laurenziana Renaissance Hall, in which the Badische Neuste Nachrichten proclaimed, throughout Italy, including Florence, Naples, and Salerno. She has recorded “O’Dell was brilliant with contrasting registers of his instrument,” and three CDs with Centaur Records and has also recorded on the Orion and a concert in the Karlsruhe Center for Art and Media Technology, which Opus One Labels. garnered critical praise, “his tonal beauty was shown at its best advantage.”

James Ryon has appeared as soloist in recital and with orchestras in the United States, South America and the William Ludwig is Professor of Bassoon at LSU, Middle East. He is currently the Principal Oboist of the principal bassoonist with the Baton Rouge Symphony Baton Rouge Symphony as well as Associate Professor Orchestra, bassoonist with the Timm Wind Quintet, of Oboe at LSU, where he is a member of the Timm and director of the LSU Chamber Winds. During recent Wind Quintet. He holds bachelor’s and master’s degrees summers, he has been in residence at the Brevard Music in music from the Juilliard School and has received Center and the Highlands (NC) Chamber Music Festival. performance fellowships at the Aspen, Berkshire, Blossom, Next Fall he will join the music faculty at Indiana Kneisel Hall and New College Music Festivals. His principal teachers are University. He has performed solo and chamber music Robert Bloom and John Mack. He has also served as Principal Oboist with recitals throughout the United States and Europe, including performances the Florida Orchestra in Tampa, Florida, the Orquesta Filarmonica de Caracas with the Orpheus Chamber Orchestra and with the Ars Nova Wind Quintet in Caracas, Venezuela, and the Orchestra Estadual de Minas Gerais in Belo at the Prague Spring International Music Festival. He has presented Horizonte, Brazil. His CD of 20th Century Brazilian Chamber Music for recitals and master classes at many universities and colleges, including Oboe, Cello and Piano with the Burle Marx Trio has been released by Jeanné the University of Illinois, University of Arkansas, University of Georgia, Digital. His two recordings with Solaris may be found on Capstone Records. Ohio State University, University of Michigan, Michigan State University, Mr. Ryon’s wide-ranging musical activities include tours and concerts with and Cincinnati College-Conservatory and has transcribed works of Bach, the Pittsburgh Symphony, the Cleveland Opera, the Cleveland Ballet, the Brahms, Beethoven, and Prokofiev for the bassoon. He has commissioned Canton Symphony, the Charleston Symphony, the Bach Aria Group and the works for bassoon and jazz trio, bassoon and interactive computer and solo British rock group Emerson, Lake and Palmer. Born in San Juan, Puerto bassoon. His recordings include a solo CD with Centaur Records and a Rico, Mr. Ryon also holds a degree in Engineering and Applied Science from series of wind quintet recordings for the Musical Heritage Society and two Yale University. soon to be released CDs with Mark Records.