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FACULTY RECITAL KENNETH GOLDSMITH, Violin NORMAN

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FACULTY RECITAL KENNETH GOLDSMITH, Violin NORMAN FACULTY RECITAL KENNETH GOLDSMITH, violin NORMAN FISCHER, cello BRIAN CONNELLY, piano Thursday, September 19, 2013 8:00 p.m. Lillian H. Duncan Recital Hall PROGRAM Trio in G Major, XV: 25 (1795) Franz Joseph Haydn Andante (1732-1809) Poco Adagio Finale: Rondo (in the Gypsies’ style) Presto Fantasy Pieces, Op. 88 (1842) Robert Schumann Romance: Nicht schnell, mit innigem Ausdruck (1810-1856) Humoresque: Lebhaft Duet: Langsam, und mit Ausdruck Finale: Im Marsch-Tempo PAUSE Trio in D Minor, Op. 49 (1839) Felix Mendelssohn Bartholdy Molto Allegro agitato (1809-1847) Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking of photographs and use of recording equipment are prohibited. BIOGRAPHIES BRIAN CONNELLY’s performances span an unusually broad range of historical and modern repertoires. Born in Detroit, he attended the University of Michigan, where he studied with pianists György Sándor and Theodore Lettvin. Mr. Connelly has premiered works by a host of contem- porary composers such as William Albright, Karim Al-Zand, Derek Ber- mel, William Bolcom, Paul Cooper, Curtis Curtis-Smith, David Diamond, Ross Lee Finney, and many others. He is a frequent guest with new-music groups such as the Pittsburgh New Music Ensemble and the Chicago Con- temporary Players, and he was featured in the Carnegie Hall series Mak- ing Music in a tribute to composer William Bolcom. Known for his affinity for the works of Olivier Messiaen, Connel- ly’s recent performances include Messiaen’s complete Vingt Regards sur l’Enfant-Jésus and Catalogue d’Oiseaux for piano, the complete song cycles with sopranos Lucy Shelton and Carmen Pelton, all of the cham- ber music, the Oiseaux exotiques with conductor Larry Rachleff and the Shepherd School Chamber Orchestra, and the Trois petites liturgies de la Présence Divine with conductor Donald Runnicles at the Grand Teton Music Festival. Mr. Connelly is also widely respected as a scholar and performer of historical instruments, appearing in the U.S. and Europe on 18th and 19th century pianos by Walther, Rosenberger, Graf, Pleyel, Bösendorfer, and Streicher. He is Artistic Director of the renowned ensemble CONTEXT, now in its 18th season; his recent recordings with that group—of music by Robert Schumann and Prince Louis Ferdinand—have received exuberant praise. Mr. Connelly has appeared with many of today’s most respected solo- ists, such as violinists Sergiu Luca and Stephanie Chase, cellists Roel Diel- tiens, Gary Hoffman, and Lynn Harrell, flutist Carol Wincenc, clarinetist Charles Neidich, hornist Gail Williams, fortepianists John Gibbons and Riko Fukuda, and pianists Robert Levin, Ian Hobson, and Andre-Michel Schub. He has shared ragtime recitals with jazz pianist Marcus Rob- erts. He teaches piano performance and chamber music at the Shepherd School, and directs the graduate program in piano chamber music and accompanying. NORMAN FISCHER first graced the international concert stage as cellist with the Concord String Quartet, a group that won the Naumburg Chamber Music Award, an Emmy and several Grammy nominations, and recorded over 40 works on RCA Red Seal, Vox, Nonesuch, Turnabout and CRI. The New York Times recently said, “During its 16 years, the super virtuosic Concord String Quartet championed contemporary work while staying rooted in the Western tradition.” He has performed in 49 of the 50 United States and on 5 continents. In addition to performing the major concerti, Mr. Fischer has premiered and recorded many new scores for cello and orchestra including two re- corded with the Cleveland Chamber Symphony by Augusta Read Thomas and Ross Lee Finney. Recitals of unaccompanied cello works have received rave reviews such as “Inspiring” [New York Times] for his New York debut recital of the complete Bach Suites in one evening and “Coruscating” [Boston Globe] for his performance of Osvaldo Golijov’s Omaramor at the open- ing of the 1998 Tanglewood festival. During the 1994 Broadway season, Mr. Fischer’s recording of William Bolcom’s score was used for the premiere of Arthur Miller’s Broken Glass. His chamber music expertise has led to guest appearances with the American, Audubon, Blair, Cavani, Chester, Chiara, Ciompi, Cleveland, Dover, Enso, Emerson, Jasper, Juilliard, Mendelssohn and Schoenberg string quartets, the Santa Fe Chamber Music Festival, Banff, Chamber Music International, CONTEXT, and Houston’s Da Camera Soci- ety. Mr. Fischer joins pianist Jeanne Kierman and violinist Andrew Jennings as the Concord Trio, a group that has been performing together for over 30 years. For the last 10 years, Mr. Fischer also joined Ms. Kierman and violin- ist Curtis Macomber as co-artistic directors of the autumn chamber music extravaganza Musica Viva Festival headquartered in Norwich, VT. A devoted teacher and mentor to young players, Mr. Fischer has been on the faculty of Dartmouth College and the Oberlin Conservatory of Music and is currently Herbert S. Autrey Professor of Violoncello and Coordina- tor of Chamber Music at the Shepherd School of Music at Rice University. Since 1985, he has taught at the Tanglewood Music Center (summer home of the Boston Symphony), in Lenox, MA where he holds the Charles E Culpep- per Foundation Master Teacher chair and is also Coordinator of Chamber Music. Mr. Fischer is also on the board of Chamber Music America. KENNETH GOLDSMITH, Professor of Violin at the Shepherd School of Music at Rice University, is now in the sixth decade of an active career as a chamber musician, soloist, concertmaster, and teacher. He has championed stylistic performances with appropriate instruments for fifty years and his students enjoy careers in major orchestras, in period music ensembles, and in chamber ensembles throughout Europe, Asia, Canada, and the United States. Mr. Goldsmith was the youngest member of the Detroit Symphony in 1958 and in 1962 he won both the Young Concert Artists and the Concert Artist Guild Competitions. With the Mirecourt Trio, he was a finalist at the Naumberg Chamber Music Competition in 1976. In addition to the Mirecourt Trio, his professional chamber ensembles include Da Camera Society of Houston, the Fromm Foundation Quartet, CONTEXT, the Camerata Quar- tet, the American Arts Quartet, the Stanford Chamber Players, the Nashville String Quartet, and the Lyric Art Quartet. Mr. Goldsmith’s extensive dis- cography includes recordings on ABC, Genesis, Audax, Grand Prix, Innova, Cinnabar Records, Music & Arts, Varese Sarabande, Zephyr, and Albany. His teachers include violinists Mischa Mischakoff, William Kroll, and Nathan Milstein, and he earned degrees at George Peabody College for Teachers and Stanford University. Mr. Goldsmith’s academic posts include Stanford University, California State University, Fullerton, Pomona College, Grinnell College, and the University of Houston. Many of Professor Gold- smith’s students may be found teaching in public and private schools, in pri- vate studios, and in colleges and universities throughout the United States. Mr. Goldsmith plays violins made in 1965 and 1975 by Sergio Peresson. .
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