CAL PERFORMANCES PRESENTS PROGRAM

Tuesday, May 8, 2012, 8pm Hertz Hall (1770–1827) Thirty-Three Variations on a Waltz by , Op. 120 (1819, 1822–1823)

Peter Serkin, Thema — Vivace I. Alla Marcia maestoso II. Poco Allegro III. L’istesso tempo IV. Un poco più vivace PROGRAM V. Allegro vivace VI. Allegro ma non troppo e seriouso VII. Un poco più allegro (b. 1952) Variations for Piano, Op. 24 (1989) VIII. Poco vivace IX. Allegro pesante e risoluto X. Presto XI. Allegretto Toru Takemitsu (1930–1996) For Away (1972) XII. Un poco più moto XIII. Vivace XIV. Grave e maestoso XV. Presto scherzando (b. 1938) Adagio (2011) XVI. Allegro XVII. Allegro XVIII. Poco moderato XIX. Presto INTERMISSION XX. Andante XXI. Allegro con brio — meno allegro XXII. Allegro molto (alla “Notte e giorno faticar” from Mozart’s Don Giovanni) XXIII. Allegro assai XXIV. Fughetta. Andante X X V. A llegro XXVI. (Piacevole) Funded by the Koret Foundation, this performance is part of Cal Performances’ XXVII. Vivace 2011–2012 Koret Recital Series, which brings world-class artists to our community. XXVIII. Allegro XXIX. Adagio ma non troppo Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. XXX. Andante, sempre cantabile XXXI. Largo, molto espressivo XXXII. Fuga. Allegro XXXIII. Tempo di Minuetto moderato

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Oliver Knussen (b. 1952) Contemporary Music Group, and holder of adage that East and West would never meet by of 1957, inspired by the death of his friend and Variations for Piano, Op. 24 the Elise L. Stoeger Composer’s Chair with creating music that sings of universal human ex- fellow composer Fumio Hayasaka, drew praise the Chamber Music Society of Lincoln Center. perience. Takemitsu sought in his many works from Stravinsky and brought Takemitsu his Composed in 1989. Knussen’s many awards include Honorary to transmute dreams, water, trees, gardens, sky, first recognition abroad. He won international Memberships in the American Academy of Arts birds, wind, the flickering images of film, the fame with his 1967 November Steps for biwa Oliver Knussen is one of today’s leading British and Letters and Royal Philharmonic Society, quiverings of the human heart, the resonance of (a traditional Japanese lute-like instrument), musicians. Born on June 12, 1952, in Glasgow honorary doctorates from the Royal Scottish a read word into patterns of sounds and silence shakuhachi (a flute) and orchestra, commis- into a musical family (his father was Stuart Academy of Music and Drama and Birmingham that would penetrate to the quiet, inner place sioned for the 125th anniversary of the New Knussen, Principal Double Bassist of the London City University, 2004 Association of British where the spirit dwells. “When one life calls out York Philharmonic. Takemitsu thereafter came Symphony Orchestra for many years), he showed Orchestras Award, and 2006 Michael Ludwig to another,” he wrote, “sounds are born. Silence to be regarded among the world’s leading com- a remarkable precocity that recalls the early Nemmers Prize from Northwestern University. bordered with a necklace of sounds, which be- posers: designer and director of the spherical maturation of Benjamin Britten, playing piano He was made a Commander of the Order of the come scales. Little by little, the strands of scales Space Theater in the Steel Pavilion at Expo ’70 very young and composing by the age of six. On British Empire (C.B.E.) in 1994. are bundled into a sheath of light, rising into the in Osaka; guest lecturer at UC San Diego and April 7, 1968, when he was 15, he conducted the Knussen writes, “My Variations for Piano sky, or gushing out, splashing, like the body of a Columbia, Harvard, Yale and Boston universi- LSO in the premiere of his own First Symphony, were composed in September and October 1989, river finding liberation as it reaches the sea. They ties; composer-in-residence at the Tanglewood, and led the work again later that year in New partly from sketches made during the previous fill the universe: enormous, soundless sounds.” Colorado, Avignon, Stockholm, Canberra, York’s Carnegie Hall. He attended the Central spring. Although they are concise—the twelve Though Takemitsu’s music is meticulously Aldeburgh, Berliner Festwochen and other Tutorial School for Young Musicians in London variations play for a little more than six minutes structured and unified through the conventional leading festivals; recipient of many prestigious as a composition student of John Lambert from in all—I have tried to integrate highly con- European practice of transformation of thematic awards in his native Japan as well as from the 1963 to 1969, and from 1970 to 1973 stud- trasted textural and expressive approaches to a motives, it gives the feeling of spontaneity and Akademie der Künste of the German Democratic ied on fellowship with Gunther Schuller at very limited amount of raw material (the theme freedom and space, of being released from the Republic, the American Academy and Institute Tanglewood, where his Second Symphony won is itself variations on its first six notes) within a earth, of being at once substantial and equivo- of Arts and Letters, and the French government the Margaret Grant Memorial Composition three-part dramatic design: an initial group of cal. He was preoccupied with timbre and texture (Ordre des Arts et des Lettres and membership Prize in 1971. Knussen’s creative catalog in- five character-variations, a central passacaglia rather than with traditional rhythmic and har- in the Académie des Beaux-Arts). His other dis- cludes three symphonies, concertos for horn and enclosing four more variations, and a final set of monic organization, with the aural point hover- tinctions include the UNESCO/IMC Music violin, several orchestral works, a Requiem (in three, more etude-like variations functioning as ing between sound and silence, with discovering Prize (1991), the Grawemeyer Award (1994) and memory of his wife, who died of a blood infec- a coda to the whole. I should like to acknowledge music that seems to issue from the very air and the Glenn Gould Prize (1996). Toru Takemitsu tion in 2003), songs (among which is the Vocalise some things which were constantly in my mind earth, with giving, he said, “a proper meaning to died in Tokyo on February 20, 1996. with Songs of Winnie-the-Pooh), chamber pieces, while composing this piece: the variations of the ‘streams of sounds’ that penetrate the world For Away, written in 1972 for Australian piano compositions and the companion fantasy Stravinsky, Copland and Webern, which proved which surrounds us.” His creative voice—quiet/ pianist Roger Woodward and premiered by him operas based on texts by noted children’s author positively intimidating models of richness of de- disturbing, joyous/sad, universal/personal—is that year at the Edinburgh Festival, drew upon Maurice Sendak, Where the Wild Things Are and sign and character in extreme concision; and the unique in modern music, a manifestation of a two of Takemitsu’s concerns of those years: the Higglety Pigglety Pop!. Knussen has also pursued artistry and musical intelligence of , world brought closer together by diversity and reading of James Joyce’s Finnegans Wake and a an active career as a conductor, appearing fre- for whom the work was commissioned and who expanded by individuality. visit to Bali to experience the remarkable me- quently with the and the was a constant source of encouragement during Takemitsu was born in Tokyo on October 8, tallic sounds and supple rhythms of gamelan Philharmonia Orchestra, and guest conducting the composition. My Variations are dedicated to 1930. He studied intermittently for a few years music at first hand—For Away was the first of widely in Europe, Japan, Australia and America; Peter and Regina Serkin.” with Yasuji Kiyose (1900–1981), a student of several works whose titles Takemitsu derived he has led more than 200 world and local pre- Alexander Tcherepnin, but was largely self- from Joyce, whose imagery, musicality of lan- mieres. He served as Principal Guest Conductor taught, a circumstance that helps account for his guage and themes of life, death and eternity res- of The Hague’s Het Residentie Orkest from 1992 Toru Takemitsu (1930–1996) highly individual style. A performance of his pi- onated deeply in his own work and thoughts; the to 1996, the ’s Co-Artistic For Away ano piece Futatsu no rento (“Lento for Two”) on a Balinese influence is heard in the music’s bell- Director from 1983 to 1998, and the London contemporary music series in 1950 brought him like attacks and sustained sonorities. Takemitsu Sinfonietta’s Music Director from 1998 to 2002; Composed in 1972. Premiered in August 1972 in to the attention of the composer Jogi Yuasa and wrote, “To be sure, the title For Away is a strange he is now the Sinfonietta’s Conductor Laureate. Edinburgh by Roger Woodward. the conductor Kazuyoshi Akiyama, with whom one. While it is a personal gift of mine to Roger He has also been Composer-in-Residence with he founded the Jikken Kobo (“Experimental Woodward, it is at the same time my expres- the Philharmonia Orchestra, Co-Coordinator of Japanese in birth and sensibility, and Western in Workshop”) for collaborations in mixed media sion of extolment and offering to the Galaxy Contemporary Music Activities at Tanglewood, his compositional techniques and instrumental combining traditional Japanese idioms with of Life—a galaxy that is not the sole domain of Artist-in-Association with the Birmingham sonorities, Toru Takemitsu belied Kipling’s old modernistic techniques. His Requiem for Strings mankind.” New York pianist and avant-garde

22 CAL PERFORMANCES CAL PERFORMANCES 23 PROGRAM NOTES PROGRAM NOTES composer “Blue” Gene Tyranny commented Santa Fe Chamber Music Festival and other “Wuorinen has used three significant har- his musical work as a pupil of Michael Haydn, perceptively, “Thus, it would seem, that this noted institutions. monic intervals—the minor second; its close who encouraged his composing and helped to piece concerns (is ‘for’) the rest of the universe Charles Wuorinen has received many priz- relative, the minor ninth; and the perfect fifth— oversee the publication of a half dozen of his out there (‘away’) that is not particularly about es and grants, including four BMI Awards, to create both tension and suspension through- Masses in 1799. In 1800, Napoleon defeated the existence of humankind. The work seems to two Guggenheim fellowships, an American out Adagio. The very opening tones, in fact, are the forces of Bavaria, which then controlled depict this balance as it moves from intimate, Academy of Arts and Letters Award, two grants a combination of a perfect fifth in the right hand Salzburg and western Austria (Mozart was ac- meditative, gently obsessive repetitions of single from the National Endowment for the Arts, (the notes G and D) and a minor second (G and tually born German, not Austrian), and three notes, from chords that are contained within three Rockefeller Foundation grants, an honor- A-flat) in the left, played forte, assertively. In years later dissolved the monasteries and gave the small range of an octave or two, to large and ary doctorate from William Paterson University the following measure, the left hand relaxes the their properties to the state. Diabelli’s ecclesi- dramatic gestures that spread across almost the in New Jersey, and the Pulitzer Prize for his 1969 tension created by the tight minor second (the astical studies were terminated, and he chose entire range of the keyboard.” electronic composition Time’s Encomium; he is a G–A-flat combination) and moves, piano, less instead to follow a career in music. In 1803, he member of both the American Academy of Arts forcefully, to the much looser dissonance of a settled in , where he taught piano and and Letters and the American Academy of Arts low F-natural followed by an F-sharp—a minor guitar, composed pedagogical and entertain- Charles Wuorinen (b. 1938) and Sciences. Wuorinen has written more than ninth higher. ment pieces fitted to the bourgeois tastes of the Adagio 250 works, including music for the stage, cham- “And so he continues, with consonant in- day, and worked as a copyist and proofreader ber ensembles, voices, piano and electronics. tervals maintaining quiescence and restful- for local music publishers. By the 1810s, he had Composed in 2011. Premiered on December 4, His current projects include an opera based on ness, while the insistence of the seconds and established himself with the important publish- 2011, in Rockport, Maine, by Peter Serkin. Annie Proulx’s 1997 novel Brokeback Mountain ninths provides an undercurrent of restlessness ing firm of Sigmund Steiner, and in 1817, he set (whose 2005 film version won three Academy and tension. Wisps of melodies and occasional up his own company; the following year he took Charles Wuorinen, born in New York on Awards), scheduled for its premiere in January small outcries—a forte tone here and there, a on the art dealer and engraver Pietro Cappi as a June 9, 1938, is the son of a history professor 2014 at Madrid’s Teatro Real. surprising octave—break through the quietude. partner. Cappi & Diabelli issued their first pub- at Columbia University, where he studied pia- Wuorinen and pianist Peter Serkin have en- The pianist ranges widely over the keyboard, lication in December 1818, and quickly became no as a boy and later took composition lessons joyed a long and fruitful association: Mr. Serkin’s occasionally raising the pulse slightly, and re- known as a supplier of popular dance pieces and with his father’s faculty colleagues Jack Beeson, ensemble TASHI (violist , cellist turning immediately to the tempo of the title. operatic arrangements for the amateur market. Vladimir Ussachevsky and Otto Luening. Fred Sherry and clarinetist Richard Stoltzman) Eventually, the music finds itself where it began, To bring artistic balance to the firm’s catalog, Wuorinen started composing when he was five, premiered the eponymous Tashi in 1975 (and with an insistent perfect fifth—that same G–D Diabelli signed up the promising and won the Young in a version with orchestra the following year), combination that opened the piece—emerging as one of his clients—the Erlkönig and Gretchen Composers’ Prize before he was out of high Fortune (1979) and arrangements (2007) of in the center of the keyboard. It tolls repeatedly, am Spinnrade, issued by Cappi & Diabelli in school. He followed a liberal arts curriculum pieces by Josquin (Ave Maria…Virgo Serena) enhanced by traces of other sonic fragments. But April 1821, were Schubert’s first works to ap- as an undergraduate at Columbia but remained and Thomas Morley Christes( Crosse); as a re- be warned: the quiet sonorities of those bell-like pear in print—and submitted a waltz melody active as a composer, pianist, choral singer and citalist, Mr. Serkin introduced Bagatelle (1988) tones lull the listener. The intervals widen, the of his own composition to every significant recording engineer; he won an Alice M. Ditson and Scherzo (2007); Wuorinen wrote the Second pace slows. Silence. And then, a bold and ring- Austrian composer known to him as the subject Fellowship and an Arthur Rose Fellowship be- Piano Quintet (2008) for him and the Brentano ing chord, forte, subito forte (‘suddenly strong’), for single variations to be published collectively fore graduating in 1960. While doing graduate String Quartet; and as a soloist, Mr. Serkin brings Wuorinen’s Adagio to a close.” in a volume patriotically titled Vaterländischer work in music at Columbia in 1962, Wuorinen gave the first performances of the Fourth Piano Künstlerverein (“National Society of Artists”). By and Harvey Sollberger founded the University- Concerto (2003), Flying to Kahani (2005) and 1824, some 50 composers—including Schubert, funded Group for Contemporary Music, which Time Regained (2008). Adagio was composed for Ludwig van Beethoven (1770–1827) Czerny, Hummel, Kalkbrenner, Moscheles, came to be an important force in the perfor- Mr. Serkin in 2011 as a sequel to Scherzo. Thirty-Three Variations on a Waltz by Tomášek, Franz Xaver Mozart (Wolfgang’s son), mance and recording of new music during the On his web site, the composer provided the Anton Diabelli, Op. 120 Beethoven’s pupil the Archduke Rudolph, and following years. Wuorinen has since held faculty following information about Adagio, written the eleven-year-old Liszt—had submitted varia- appointments at Columbia, School by Sandra Hyslop for Mr. Serkin’s premiere of Composed in 1819 and 1822–1823. tions, and the anthology was published. The of Music and Rutgers University, served as vis- the work in Rockport, Maine, on December 4, submission of the 51st composer, Ludwig van iting lecturer at Yale, Princeton, New England 2011: “Adagio makes a dreamy companion to the Anton Diabelli, an Austrian musician of lim- Beethoven, exploded into a massive collection of Conservatory of Music and elsewhere, and been jaunty and kinetic Scherzo that Wuorinen wrote ited creative ability but excellent entrepreneur- 33 variations, and had to be issued separately. Composer-in-Residence with the San Francisco for Serkin four years earlier. The title predicts ial skills, was born in Salzburg on September 6, After Cappi’s retirement in 1824, Diabelli ran Symphony, University of Iowa, University the slow and leisurely character of the piece. This 1781, and sang in the choirs of a local monas- the firm with considerable success with busi- of South Florida, UC San Diego, Berkshire time, the composer creates a sonic world whose tery and Salzburg Cathedral as a boy. He began ness help from Anton Spina, creating a catalog Music Festival, American Academy in Rome, wide horizons suggest not adventure, but stasis. studying for the priesthood, but also continued in which the profits from his popular pieces

24 CAL PERFORMANCES CAL PERFORMANCES 25 PROGRAM NOTES PROGRAM NOTES were used to underwrite publications of a more variations, but then put the work aside until he Except for the half-dozen miniatures com- serious nature. In 1852, he sold the company finished the Missa in 1822, when he brought prising the Bagatelles, Op. 126, the Diabelli to Anton’s son, Carl Spina, who gave his own the set to its finished, hour-long state. is Beethoven’s last music for piano, name to the firm and published much music by published the score as Beethoven’s Op. 120 the and some of his greatest. The distinguished the Strauss family. Diabelli died in Vienna on following year. English musicologist Sir Donald Tovey com- April 7, 1858. Beethoven’s dedication of the Diabelli pared the work to Bach’s Goldberg Variations in Beethoven came to know Diabelli after he Variations bears a special biographical sig- its stylistic and emotional range and profundity, went to work for Steiner, his principal Viennese nificance, since it was inscribed to Antonie and then assessed that Beethoven’s was “the publisher for the decade after 1812, and the Brentano, whom Maynard Solomon, in his 1977 greatest set of variations ever written.” Hans von two developed a jocular friendship: Beethoven study of the composer, convincingly identified Bülow, one of the pianistic titans of the late 19th nicknamed Diabelli “diabolus”—“devil.” In as the “Immortal Beloved,” the only salutation century, called the Diabelli Variations “a micro- 1816, Diabelli made a piano arrangement of that headed a love letter Beethoven wrote in cosm of Beethoven’s genius. Indeed, the whole Beethoven’s Seventh Symphony for Steiner, and 1812 but never posted. Antonie, the daughter of image of the world of tone is outlined here, the eagerly sought his contribution to the set of col- Joseph Melchior von Birkenstock, a trusted ad- whole evolution of musical thought and sound lective variations he initiated in 1819. Diabelli visor to the Empress Maria Theresia, married the fantasy, from the most contained contemplation published Beethoven’s C minor Sonata, Op. 111, Frankfurt businessman Franz Brentano in 1798, to the most abandoned humor—an unbeliev- in 1823, negotiated with him (unsuccessfully) when she was eighteen, but returned to Vienna ably rich variety.” The critic saw for the rights to the Missa Solemnis that same in 1809 to nurse her dying father. The Brentanos represented here the extremes of Beethoven’s year, and in 1824, commissioned from him a lived at the Birkenstock villa (which Beethoven’s musical personality: “We find side by side grim four-hand piano sonata, which was never writ- biographer Thayer called “a truly noble seat of uncouthness and unearthly serenity, wild pas- ten. During Beethoven’s final illness, Diabelli learning, high culture and refinement”) for the sion and noble majesty, inconsequential antics cheered the mortally ill composer with a copy next three years. Beethoven was introduced to and delicate charm, tortuous involutions and of the firm’s new engraving of Haydn’s birth- the family in May 1810 by Franz’s sister Bettina, limpid simplicity.” Few composers have been place in Rohrau, which Beethoven showed to who had barged into the composer’s study one able to capture the universality and human- all his visitors: “In this little house, a great man afternoon and announced that she was hence- ity locked within the musical art as well as was born,” he told them. Following Beethoven’s forth going to be his friend. (Bettina liked to Beethoven, and the Diabelli Variations is one of death, in March 1827, Diabelli edited and pub- collect eminent acquaintances—she was a regu- his most enduring legacies. lished the 1795 Rondo a capriccio under the lar correspondent of Goethe, and kept that ven- evocative title Rage over a Lost Penny (Op. 129), erable doyen of German culture informed about as well as a piano arrangement of sketches for events in Beethoven’s life.) Beethoven developed © 2012 Dr. Richard E. Rodda a string quintet (WoO 62) that Beethoven tin- a close relation with the Brentanos in 1811 and kered with in November 1826, which Diabelli 1812, later telling his amanuensis and eventual issued as “the composer’s last thoughts.” Despite biographer Anton Schindler that they were, at their friendly relationship, Beethoven was dis- that time, “his best friends in the world”: he was inclined to participate in Diabelli’s collabora- a frequent visitor at the Birkenstock villa, and tive variations project when he first received the the Brentanos would occasionally brave entry waltz theme in 1819, having recently begun into his lodgings; he improvised at the piano in work on the massive Missa Solemnis and set in an anteroom when Antonie was not feeling well; motion court proceedings to wrest custody of he acted as intermediary for her proposed sale of his nephew Karl from the boy’s recently wid- some rare manuscripts to his patron Archduke owed and, Beethoven thought, incompetent Rudolph. On July 6, 1812, Beethoven poured his mother. Though Beethoven initially referred to most intimate thoughts into a letter to Antonie, Diabelli’s dance tune as a Schusterfleck—a “cob- and then never sent it. That fall, after the death bler’s patch”—its melodic and harmonic atoms of her father, she and her family moved back to played in his mind, and plans for an encyclo- Frankfurt. Beethoven never married. The du- pedic work in the genre, a kind of compendi- rability of his feelings for her, however, may be um of variations technique, began to grow. By judged by the dedication to her a decade later of early 1820, he had written down a half dozen his Diabelli Variations.

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and . Also a dedicated recitals in Matsumoto, Tokyo, Shanghai and chamber musician, Mr. Serkin has collaborated Beijing. His recent and upcoming engagements with , , Yo-Yo in Europe include appearances with the Vienna Ma, the Budapest, Guarneri and Orion string and Berlin philharmonics, the Deutsches quartets, and TASHI, of which he was a found- Symphonie Orchester Berlin, the Danish Radio ing member. Orchestra and the Bamberg Symphony. An avid proponent of the music of many Mr. Serkin’s recordings also reflect his dis- of the 20th and 21st century’s most important tinctive musical vision. The Ocean That Has No composers, Mr. Serkin has been instrumental West and No East, released by Koch Records in in bringing the music of Schoenberg, Webern, 2000, features compositions by Webern, Wolpe, Berg, Stravinsky, Wolpe, Messiaen, Takemitsu, Messiaen, Takemitsu, Knussen, Lieberson and Henze, Berio, Wuorinen, Goehr, Knussen and Wuorinen. That same year, BMG released his re- Lieberson, among others, to audiences around cording of three Beethoven sonatas. Additional the world. He has performed many impor- recordings include the Brahms violin sonatas tant world premieres, in particular, works by with Pamela Frank, Dvořák’s Piano Quintet Takemitsu, Lieberson, Knussen and Goehr, with the Orion String Quartet, quintets by Kathy Chapman all of which were written for him. Most re- Henze and Brahms with the Guarneri String ecognized as an artist of passion cently, Mr. Serkin played the world premieres Quartet, the Bach double and triple concerti Rand integrity, the distinguished American of Charles Wuorinen’s Piano Concerto No. 4 with András Schiff and Bruno Canino, and pianist Peter Serkin is one of the most thought- with the Boston Symphony and in Takemitsu’s Quotation of a Dream with Oliver ful and individualistic musicians appearing Boston, at Carnegie Hall and at Tanglewood as Knussen and the London Sinfonietta. His most before the public today. Throughout his career, well as a fifth piano concerto by Mr. Wuorinen recent recording is the complete works for solo he has successfully conveyed the essence of five with the Met Opera Orchestra and Mr. Levine, piano by for Arcana. centuries of repertoire and his performances also at Carnegie Hall; a solo work by Elliot Mr. Serkin’s recording of the six Mozart con- with symphony orchestras, recital appearances, Carter commissioned by Carnegie Hall and the certi composed in 1784 with Alexander Schneider chamber music collaborations and recordings Gilmore International Keyboard Festival; and and the English Chamber Orchestra was nomi- are respected worldwide. Mr. Wuorinen’s new piano quintet (commis- nated for a Grammy Award and received the Mr. Serkin’s rich musical heritage extends sioned by the Rockport, Massachusetts, Music prestigious Deutscher Schallplattenpreis, as well back several generations: his grandfather was Festival) with the . as “Best Recording of the Year” by Stereo Review. violinist and composer and his Highlights of Mr. Serkin’s recent and up- Other Grammy-nominated recordings include father pianist . In 1958, at age coming U.S. appearances include performances ’s Vingt regards sur l’enfant-Jésus eleven, he entered the Curtis Institute of Music with the New York and Los Angeles philharmon- and Quartet for the End of Time on BMG and in Philadelphia, where he was a student of Lee ics, the Philadelphia and Minnesota Orchestras, a solo recording of works by Stravinsky, Wolpe Luvisi, Mieczysław Horszowski and Rudolf and the Boston, Chicago, National, Detroit, and Lieberson for New World Records. Serkin. He later continued his studies with Ernst St. Louis, Toronto, Cincinnati and Atlanta sym- Mr. Serkin currently teaches at Oster, and . phonies; recitals in Carnegie Hall, the Kennedy Conservatory of Music and the Longy School In 1959, Mr. Serkin made his Marlboro Music Center, Orchestra Hall in Chicago, New York’s of Music. He resides in Massachusetts with his Festival and debuts with conduc- 92nd Street Y and at Cal Performances; and wife, Regina, and is the father of five children. tor Alexander Schneider, and invitations to per- summer festival appearances at Ravinia, Aspen, form with the and George Ojai, Caramoor, Tanglewood, Blossom, Mostly Szell in Cleveland and Carnegie Hall and Mozart, Saratoga and the Mann Center with the with the and Eugene Philadelphia Orchestra. Ormandy in Philadelphia and Carnegie Hall Internationally, in August and September soon followed. He has since performed with 2011, Mr. Serkin was the featured soloist at the the world’s major symphony orchestras, with Saito Kinen Festival in Matsumoto, Japan, where such eminent conductors as Seiji Ozawa, Pierre he appeared with both of the festival’s orchestras Boulez, , , led by Seiji Ozawa and Diego Matheuz and then , James Levine, toured China with the orchestras. He also plays

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