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Eric Trudel AMERICAN CLASSICS A native of Quebec, Canada, Eric Trudel graduated from the Quebec Conservatory of Music with the highest honours. He won the prestigious Prix d’Europe competition, which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude Pennetier, Marc Durand and Louis Lortie. He has worked as a pianist at the Banff Center Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets Charles Canadiens, the OK MOZART Festival and the Pro Arte Singers. His faculty appointments include the Banff Centre for the Performing Arts, the Conservatoire de Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, the Université IVES du Québec-Montréal and formerly Yale University’s School of Music (2001-2005). On CD he can be heard on the CBC and Star labels. Songs • 4

Leah Wool Majority Mezzo-soprano Leah Wool is rapidly garnering critical acclaim on stages across the United States. In addition to engagements with the Metropolitan Opera and New York City Opera, her career highlights include the title rôle in Cendrillon at Central City Opera, Memories Hansel in Hansel and Gretel at Opera Theatre of Saint Louis, Erika in Vanessa at Central City Opera, Stéphano in Roméo et Juliette at Toledo Opera, Hermia in A Midsummer Night’s Dream at Utah Opera, and Cherubino in Le nozze di Figaro at Yale Opera. Mists Concert appearances have included Handel’s Messiah in her Carnegie Hall début, and Haydn’s Theresienmesse with the New Jersey Symphony. My Native Land A Night Song

1 Majority (Text: Ives) (1921) 7:07 & The New River (Ives) (1921) 1:03 Enrico Sartori Robert Gardner, Baritone • Eric Trudel, Piano David Pittsinger, Bass • Eric Trudel, Piano 2 Maple Leaves (Thomas Bailey Aldrich) (1920) 0:56 * Night of Frost in May (George Meredith) (1899) 1:24 In the 2002/03 season the Italian flautist Enrico Sartori was principal flute at the Academy of Ian Howell, Countertenor • Douglas Dickson, Piano Tamara Mumford, Mezzo-soprano 3 Marie (1) (Rudolf Gottschall) (1896) 2:03 the Teatro alla Scala of Milan. He maintains an intense concert schedule as a soloist in Europe Douglas Dickson, Piano and the United States, and has played as a guest artist with many orchestras, including the Michael Cavalieri, Baritone • Douglas Dickson, Piano ( 4 Marie (2) A Night Song (Thomas Moore) (1895) 1:08 Orchestra Sinfonica della Valle d’Aosta (Italy), Chamber Orchestra Dumitrescu (Romania), (Rudolf Gottschall, trans. Elisabeth Rücker) (1901) 2:38 Ian Howell, Countertenor • Douglas Dickson, Piano Maribor’s Festival Orchestra (Slovenia), and the University of Nebraska Symphony Robert Gardner, Baritone • Douglas Dickson, Piano ) A Night Thought (Thomas Moore) (1916) 1:00 Orchestra, among others. He is the winner of many national and international competitions 5 Memories: a. Very Pleasant (Ives) (1897) 0:50 Michael Cavalieri, Baritone • Douglas Dickson, Piano such as the XIV Franz Schubert International Competition, the Genoa International Leah Wool, Mezzo-soprano • Douglas Dickson, Piano ¡ No More (William Winter) (1897) 3:55 Competition, and the Festival Mid-South. Enrico Sartori took his master’s degree at Yale 6 Memories: b. Rather Sad (Ives) (1897) 1:55 Lielle Berman, Soprano • Eric Trudel, Piano University in 2005 and his bachelor’s degree at the Turin Conservatorio G. Verdi in 2001 with Leah Wool, Mezzo-soprano • Douglas Dickson, Piano ™ Nov. 2, 1920 (An Election) (Ives) (1921) 3:44 full honours. Until 2007 he held a scholarship from the De Sono – Music Association financed 7 Minnelied Robert Gardner, Baritone • J. J. Penna, Piano by the Praemium Imperiale Grant for Young Artists (Japan). In September 2007 he joined the (Ludwig H. C. Hölty, rev. J. H. Voss) (1901) 2:17 £ An Old Flame (Ives) (1898) 2:23 wind ensemble Campo Aperto, with concerts in Mexico in summer 2008. He is currently Patrick Carfizzi, Baritone • J. J. Penna, Piano working on his DMA at Stony Brook University, New York. 8 Mirage (Christina Rossetti) (1902) 1:13 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano Leah Wool, Mezzo-soprano • Eric Trudel, Piano ¢ Old Home Day (Ives) (1920) 4:48 9 Mists (Harmony Twichell) (1910) 1:45 Patrick Carfizzi, Baritone • Douglas Dickson, Piano Jennifer Casey Cabot, Soprano • Eric Trudel, Piano Enrico Sartori, Flute 0 My Dear Old Mother (Aasmund Olafsson Vinje, ∞ The Old Mother (Aasmund Olafsson Vinje, Kenneth Tarver trans. Frederick Corder) (1902) 2:26 trans. Frederick Corder/Ives) (1898) 2:55 Michael Cavalieri, Baritone • Douglas Dickson, Piano Matthew Plenk, Tenor • Douglas Dickson, Piano Kenneth Tarver enjoys a career in the most important international opera theatres and ! My Lou Jennine (Anon.) (1894) 1:35 § Omens and Oracles (Owen Meredith) (1902) 2:16 Kenneth Tarver, Tenor • Laura Garritson, Piano festivals. He has sung at the Vienna State Opera, Deutsche Oper Berlin, the Berlin, @ My Native Land (1a) (Heinrich Heine, Kenneth Tarver, Tenor • Eric Trudel, Piano Hamburg and Bavarian State Operas, Semperoper Dresden, Royal Opera Covent Garden, trans. Eduard Lassen) (1900) 2:24 ¶ On Judges’ Walk (Arthur Symons) (1901) 1:29 the Liceu in Barcelona, the Metropolitan Opera, Naples Teatro San Carlo, and at the David Pittsinger, Bass • Eric Trudel, Piano Kenneth Tarver, Tenor • Eric Trudel, Piano Festivals of Aix-en-Provence and Edinburgh. His repertoire encompasses rôles by # My Native Land (1b) (Heinrich Heine, • On the Antipodes (Ives) (1923) 3:01 Mozart, Rossini, Donizetti, Gluck, Verdi and Berlioz as well as repertoire by Bach, trans. Eduard Lassen) (1900) 1:30 Ryan MacPherson, Tenor • Douglas Dickson Beethoven, Debussy, Shchedrin and Stravinsky. Appearances include Rossini’s La donna Tamara Mumford, Mezzo-soprano and Laura Garritson, Piano 4 hands del lago at the Edinburgh Festival and as Don Ottavio in Don Giovanni directed by René Douglas Dickson, Piano ª On the Counter (Ives) (1920) 1:34 Jacobs in Brussels, Cologne and Paris, a rôle which he also performed at the Aix-en- $ My Native Land (2) (Heinrich Heine, Lielle Berman, Soprano • Eric Trudel, Piano Provence Festival with both Claudio Abbado and Daniel Harding. Other performances trans. Eduard Lassen/Ives) (1900) 2:38 º The One Way (Ives) (1923) 2:50 range from Mozart’s Così fan tutte and Die Entführung aus dem Serail, and Berlioz’s Les Sara Jakubiak, Soprano • Douglas Dickson, Piano Troyens and Béatrice et Bénédict, to Shostakovich’s The Nose with Mstislav % Nature’s Way (Ives) (1909) 1:23 Kenneth Tarver, Tenor • Eric Trudel, Piano Lielle Berman, Soprano • Eric Trudel, Piano ⁄ The Only Son (Rudyard Kipling) (1898) 0:46 Rostropovich, and Verdi’s Falstaff with Zubin Mehta and Bernard Haitink. ^ Naught That Country Needeth Kenneth Tarver, Tenor • Eric Trudel, Piano (Henry Alford) (1898) 4:20 ¤ Over all the Treetops (Harmony Twichell) (1903) 1:55 Robert Gardner, Baritone • J. J. Penna, Piano Sumi Kittelberger, Soprano • Eric Trudel, Piano Recorded in Sprague Hall, Yale University, New Haven, USA, from May to June, 2005 Producer: Andrew Lang (K&A Productions Ltd.) • Engineer: Eugene Kimball • Editor: Peter Newble Publishers: Merion Music Inc. (tracks 1, 9, 11, 14, 17, 18, 20, 22, 27, 28, 31); Peer International Corporation (tracks 3-8, 10, 12, 13, 15, 16, 19, 23, 24, 26, 29, 32); Associated Music Publishers Inc. (tracks 2, 21, 25, 30) 8.559272 211 8.559272 559272 bk Ives US 14/7/08 12:15 Page 10

Mary Phillips Charles Ives (1874-1954) Songs • 4 American mezzo Mary Phillips’s opera appearances include the Metropolitan Opera, Canadian Opera, Barcelona and Edinburgh in rôles of Wagner, Strauss, Handel, Mozart, When, in 1922, Charles Ives published a volume entitled Aldrich, its limpidity offset by the teasing gesture that Verdi, Bizet and Heggie. Her concert appearances with the New York, Los Angeles, and 114 Songs, he was indirectly drawing attention to the fact points up the ‘moral’ of the close. Hong Kong philharmonic and symphony orchestras in Atlanta, Dallas, Honolulu, Houston, that the genre had played a central part in his output. 85 To a poem by Rudolf Gottschall, Marie (1896) is Indianapolis, Phoenix, and Pittsburgh have included repertoire by Glass, Mahler, years on and, for all that his wider reputation rests on his among the most unaffected of Ives’s German songs, voice Szymanowski, Prokofiev, Bruckner, de Falla and Tchaikovsky. She has appeared in recital at orchestral, chamber and piano music, the songs still and piano in poised accord (see also below, track 4). Carnegie Hall, the Marilyn Horne Foundation and New York Festival of Song. represent the heart of his creative thinking. Nor was that While not superior, the English version of Marie initial volume comprehensive; Ives having written almost (1901, translated by Elisabeth Rücker) does open-out 200 songs, of which this present edition includes all of the song’s overall expressive range (see also above, those he completed. The expressive variety encountered track 3). is accordingly vast: indeed, the gradual evolution of Among the earliest instances of Ives’s penchant for Ives’s songwriting, from those which draw overtly on the contrast, Memories (1897) consists of two separate David Pittsinger Austro-German Lieder and English parlour-song tradition impressions set to his own words. ‘Very Pleasant’ to ones that evince anarchic humour as keenly as others evokes a breathless expectancy waiting for the curtain to American bass David Pittsinger is renowned as a stage performer of the greatest distinction, do profound vision, is analogous to the evolution of rise at the opera-house: a coup-de-théâtre in the piano appearing in the world’s major opera houses. His Escamillo has been heard at festivals in American music over the last quarter of the nineteenth leading to the second impression, ‘Rather Sad’, which Montpellier, Santa Fe and Denver. He has received Artist of the Year awards for his portrayals and first quarter of the twentieth centuries. evokes the composer’s uncle humming a wistful ditty as of Boito’s Mefistofele, Méphistophélès in Gounod’s Faust at the Pittsburgh Opera, and for Although it would be possible to collate Ives’s he shuffles about his business, and which features one of Zoroastro in Handel’s Orlando, and Figaro in Mozart’s The Marriage of Figaro for New York songs according to type, the alphabetic approach the young Ives’s most poignant melodies. City Opera. He has also sung Count Almaviva for L.A. Opera under the Direction of Kent adopted by this edition ensures each volume (of which A mid-Romantic perspective on minstrelsy, Nagano, and Count Des Grieux in Manon conducted by Placido Domingo. He has performed at this disc is the fourth) offers a representative cross- Minnelied (1901) sets verse by Ludwig H. C. Hölty the festivals of Salzburg, Dresden, Macerata, Tanglewood, and Santa Fe, and his other notable section of his achievement. A wide range of poets is set, (revised by J. H. Voss) in a warmly expressive if orchestral engagements have included Frank Martin’s Golgotha with the Vienna Philharmonic, including a number of (mainly early) German settings as impersonal manner (see also below, track 16). Photograph: Christian Steiner Verdi’s Requiem with Zubin Mehta and the L.A. Philharmonic, and staged performances with well as forays into French and Italian writers. The To a poem by Christina Rossetti, Mirage (1902) the English National Opera. He has sung at the Metropolitan Opera, and can be heard on the temporal distance (1887-1926) traversed by these songs tells of false hope and heartbreak, subtly underscored by Virgin Classics recording of Carlyle Floyd’s Susannah, and Cavalli’s La Calisto on the Harmonia Mundi label. is as little compared to their stylistic diversity or Ives (see also Volume 3, track 3, Naxos 8.559271). emotional range. Setting a poem on transience and memory by the Matthew Plenk The extent to which Ives reworked songs composer’s wife, Harmony Twichell Ives, Mists (1910 - throughout his career is considerable, whether two earlier and incomplete versions have been excluded The tenor Matthew Plenk made his Metropolitan Opera début in the 2007-2008 season, under the substituting a text or reworking the actual music. To this here) comes from the earlier years of Ives’s marriage baton of James Levine, as the Voice of the Young Sailor in Tristan und Isolde. In the same season end, songs with a musical or textual connection are and is among his most intimate expressions of feeling. he joined the Lindemann Young Artist Development Program at The Met. With Yale Opera he has crosslinked accordingly (i.e. in brackets at the end of the One of several songs set in German and English, My performed Rodolfo, La Bohème, Ferrando in Così fan tutte, Flute in A Midsummer Night’s Dream, relevant paragraph). Dear Old Mother (1902) brings a keen nobility to Nanki-poo in The Mikado, the Italian tenor in Capriccio, and Kudrjàs in Janàãek’s Kat’a Majority (1921) ranks among Ives’s most Aasmund Olafsson Vinje’s sentimental text of filial Kabanova. While earning his Bachelor of Music at the Hartt School of Music, he was featured in uncompromising statements of belief; its Utopian devotion, though less so in the heavy-handed translation Don Giovanni, as Don Ottavio. Other rôles include Roméo in Roméo et Juliette, Nemorino in sentiments (his own words) as to the potential unleashed by Frederick Corder (see also Volume 2, track 5, Naxos L’elisir d’amore, Frederic in The Pirates of Penzance, and Sam in Susannah. His concert career has when the human Masses strive to act as one are 8.559270, and below, track 26). brought performances with the Orchestra Sinfonica di Milano Giuseppe Verdi, Hartford expressed in a fearlessly rhetorical vocal line, with a To an anonymous text, My Lou Jennine (1894) is Symphony, Hudson Valley Philharmonic, Los Angeles based Musica Angelica Baroque, piano part ranging from the starkest of common chords among Ives’s earliest songs, witness its over-wrought Connecticut Chamber Orchestra, Intermezzo Opera, and Bel Canto Northwest. With Sir Neville Marriner conducting, he to the most densely elaborate clusters. vocal line and overly busy piano part. has also performed with Yale Philharmonia. He was a National Finalist in the Metropolitan Opera Guild Competition. Maple Leaves (1920) sets lines by Thomas Bailey From a translation by Eduard Lassen, Ives made his 8.559272 10 3 8.559272 559272 bk Ives US 14/7/08 12:15 Page 4

own adaptation of Heinrich Heine’s My Native Land emotion is never cloying (see also Volume 3, track 8, Ryan MacPherson (1900), which exists in two versions. The first has a Naxos 8.559271). prelude that sets the scene for the poem’s fervent Set to his own words, Nov. 2, 1920 (An Election) Ryan MacPherson has toured the United States twice with San Francisco Opera, and expressions of homesickness and fond memory (see also (1921) is described by Ives as the “Soliloquy of an old man completed a lengthy tour of Japan with the New York City Opera. Some of the tenor’s below, track 13). whose son lies in ‘Flanders Fields’”, and expounds his venues have included the Kennedy Center, New York City Opera, Opéra National de Paris The second version goes straight into the text and indignation that said election was a blow for the ideals that – Bastille, Opéra de Nice, Central City Opera, Opera Theatre of St Louis, Opera Memphis, dispenses with its second verse, making for a greater motivated the United States during the First World War. Opera Omaha, Toledo Opera, Long Beach Opera, Western Opera Theatre and Dublin self-containment (see also above, track 12). A very different song to his own text, An Old Flame Ireland’s National Concert Hall. He has performed at numerous summer festivals, including Ives earlier set My Native Land (1897) to a near- (1898) is a true ‘sentimental romance’ such as Ives San Francisco Opera’s Merola Program, Santa Fe Opera’s Apprentice Program for Singers identical translation, and this setting broadly keeps within bounds through the elegance of its vocal and the Aspen Music Festival. Performance highlights include: Faust (Faust), Rodolfo (La corresponds both in its length and overall expression writing and poise of the piano accompaniment. Bohème), Ferrando (Così fan tutte), Don Ottavio (Don Giovanni), Rinuccio (Gianni with the first version of his later setting (see also above, Ives at his most inimitable, Old Home Day (1920) Schicchi), Eisenstein and Alfred (Die Fledermaus), Fenton (Falstaff), Vodemon (Iolanta), Sam (Susannah) tracks 12 and 13). has an other-worldly prelude, then a sequence of two Flamand (Capriccio), Laurie (Little Women), Henry (Die schweigsame Frau), Anatol (Vanessa), Ruggero (La Adapted from an earlier German song, here set to verses with chorus brings childhood memories vividly rondine) and many others. He received his Master of Music and Artist Diploma from Yale University and his Ives’s own verse, Nature’s Way (1909) is a calm but to life, and with an obbligato contribution from flute Bachelor’s Degree from the University of Missouri-Columbia. eloquent evocation of nature’s beneficent influence on during the second chorus. The text is by Ives, though the human race (see also above, track 8). with an epigraph from Virgil: “Draw home from the Tamara Mumford The earlier of two ‘arias’ incorporated into his city, my songs, draw Daphnis home”. sacred cantata The Celestial Country, Ives’s setting of An earlier setting of Aasmund Vinje’s eulogy, The The mezzo-soprano Tamara Mumford made her Metropolitan Opera début in 2006 as Laura Henry Alford’s Naught That Country Needeth (1898) Old Mother (1898) finds Ives making several changes to in Luisa Miller. Other opera performances include the title rôles in The Rape of Lucretia builds up a considerable emotional power through its Frederick Corder’s translation that improve the text as under the baton of Lorin Maazel, L’Italiana in Algeri at Palm Beach Opera, La Cenerentola at reiteration of the text’s salient phrases (see also Volume sung (see also Volume 2, track 5, Naxos 8.559270, and Utah Festival Opera, Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the 2, track 18, Naxos 8.559270). above, track 11). Orchestra Sinfonica di Milano Giuseppe Verdi, and appearances in War and Peace, Manon Set to his own lines on the despoiling of the natural A further setting of an Owen Meredith poem, Lescaut, Cavalleria rusticana, Idomeneo, and The Magic Flute, at the Metropolitan Opera. In environment, The New River (1921) is Ives at his most Omens and Oracles (1902) impulsively considers the concert she has appeared in major venues, making her Carnegie Hall début in 2005. A native combative and also provocative. quandary over whether to declare one’s true feelings, of Sandy, Utah, Tamara Mumford studied at Utah State and at Yale before joining the A setting of George Meredith, Night of Frost in May with voice and piano locked in expressive accord. Lindemann Young Artist Development Program at the Metropolitan Opera. She has received (1899) is a modest though attractive song that eschews With its coursing vocal line (the melody related to top awards in the Opera Index, Palm Beach Opera, Sullivan Foundation, Connecticut Opera any deeper resonance within its text (see also Volume 3, the main theme in the first movement of Ives’s First Guild and Joyce Dutka Foundation Competitions. track 9, Naxos 8.559271, and Volume 6, track 12, Symphony) and excitable piano part, On Judges’ Walk Naxos 8.559274). (1901) sets Arthur Symons’ poem with appreciation of J.J. Penna Ives’s deft and urbane setting of Thomas Moore’s its often gothic nocturnal imagery (see also Volume 5, A Night Song (1895) is among his most fetching early track 17, Naxos 8.559273). J.J. Penna has performed in recital with such notable singers as Kathleen Battle, Harolyn songs (see also Volume 2, track 13, Naxos 8.559270). One of Ives’s last songs, On the Antipodes (1923) is Blackwell, David Daniels, Denyce Graves, Kevin McMillan, Florence Quivar, Andreas Another setting of Thomas Moore, the unassuming among the most extreme with its largely declaimed Scholl, Sharon Sweet, Christopher Trakas, Indra Thomas and Ying Huang. He has been heard reticence of A Night Thought (1916) might be thought vocal line and frequent recourse to cluster chords in a at the Kennedy Center in Washington, D.C., at Weil Hall and Merkin Recital Hall in New backward-looking had it not been adapted from an piano part requiring two players. The composer’s text is York City, at the Palacio de Bellas Artes in Mexico City, in Seiji Ozawa Hall at Tanglewood, earlier song (see also Volume 3, track 19, Naxos a series of epigrams on the essence of Nature, and the as well as on concert tours throughout the United States, Europe, Asia, the Far East, South 8.559271). music draws on material for his never-to-be-completed America, and the former Soviet Union. He has performed and held fellowships at prestigious To a poem by William Winter, No More (1897) Universe Symphony. festivals such as Tanglewood, Chautauqua Institution, Banff Center for the Arts, Norfolk, the risks seeming a typical drawing-room song of its era, On the Counter (1920) is both a recreation of the Music Academy of the West, and San Francisco Opera Center’s Merola Program, and has but Ives’s varying of mood across verses ensures its ‘parlour songs’ from Ives’s youth and (as set to his own been on the faculties of the Juilliard School, Norfolk Chamber Music Festival, Yale University Photograph: Lisa Kohler School of Music and Westminster Choir College of Rider University. 8.559272 49 8.559272 559272 bk Ives US 14/7/08 12:15 Page 8

Ian Howell text) their ironic critique. The piano postlude hints at With its whimsical poem by Rudyard Kipling, The Auld Lang Syne, while a footnote expresses the hope Only Son (1898) is among the most resourceful of Ives’ Praised by The New York Times for his “…clear voice and attractive timbre,” countertenor “that this song will not be taken seriously, or sung - at earlier songs, not least for the tonal ambiguity of its Ian Howell has performed on major concert stages across the United States, Europe, South least in public”. piano writing (see also Volume 3, track 1, Naxos America, Mexico, Canada, Japan and Taiwan. In 2006 he took First Prize at the American Another self-penned sarcasm from Ives’s later 8.559271). Bach Soloists International Solo Competition and Third Prize at the Oratorio Society of years, The One Way (1923) fires broadsides at the Set to an English text by Harmony Twichell (later New York’s Competition. He can be heard with the all male chamber choir Chanticleer on second-hand nature of what passes for ‘serious music’: Mrs Ives), Over all the Treetops (1903) utilises the one DVD and seven CDs, including the GRAMMY award-winning Lamentations and hence its inscription ‘The True Philosophy of all Nice warmly restrained music found in Ives’s setting of Praises. In recent seasons, he has performed the rôles of Endimion in Cavalli’s La Calisto, Conservatories of Music and Nice “MUS. DOC’S”, Goethe’s Ilmenau (see also Volume 3, track 14, Naxos Oberon in Britten’s A Midsummer Night’s Dream, and in several Handel operas including “IMBCDGODAMLILY”’. 8.559271). Hercules (Lichas), Semele (Athamas), Solomon (Solomon) and Belshazzar (Daniel). He has appeared as a soloist with such groups as the American Bach Soloists, the Oratorio Society Richard Whitehouse of New York, Musica Sacra, the Berkshire Choral Festival, the Portland Baroque Orchestra, the Amherst Early Music Festival, and the Choir of St Thomas Fifth Ave. Sara Jakubiak Photograph: Eric Mull The young American soprano Sara Jakubiak has performed the rôle of Giorgetta in Il tabarro and appeared in Purcell’s Fairy Queen with the Orchestra Sinfonica Giuseppe Verdi di Milano, Italy, as well as both the Countess in Le nozze di Figaro and Blanche in Dialogues des Carmélites with the Cleveland Institute. As a studio artist at Central City Opera she appeared in a program of opera scenes as the title rôle in Floyd’s Susannah and Elettra in Idomeneo and performed the rôle of Musetta in concert excerpts with Paul Nadler and the Southwest Florida Symphony. Her concert performance credits include appearing as soloist in Britten’s War Requiem, Mahler’s Symphony No. 2, and Penderecki’s Credo Lielle Berman conducted by the composer with the Yale Philharmonic, as well as Beethoven’s Mass in C at the Beethoven Festival in Warsaw and Messiaen’s Poèmes pour Mi in recital at Yale. American soprano Lielle Berman’s rôles include Cunégonde in Candide with the New York City Opera, Tytania in Britten’s A Midsummer Night’s Dream and Sumi Kittelberger Cunegonde with the Orchestra Sinfonica di Milano Giuseppe Verdi, Lauretta in Gianni Schicchi with Yale Opera, Despina in Così fan tutte with Indianapolis Opera, Sumi Kittelberger studied voice with Roland Hermann in Karlsruhe and with Doris Yarick the Second Niece in Peter Grimes with the Opéra National de Paris, Lucia in Lucia di Cross at Yale University. In 2006 she became a member of the International Opera Studio in Lammermoor, Sophie in Werther and Tatyana in Eugene Onegin with the Pittsburgh Zürich. In the 2007/08 season she joined the ensemble of the Luzern Theater, singing Opera Center. As a member of the Lyric Opera Center at the Lyric Opera of Chicago Olympia in Les contes d’Hoffmann and Nanetta in Falstaff. She has sung with the she performed and covered numerous rôles, including Nannetta in Falstaff, Adèle in Kammeroper in Frankfurt am Main as well as with the Theater in Ulm. In 2006 she sang the Die Fledermaus, Frasquita in Carmen, Daisy Buchanan in The Great Gatsby, and the child in L’enfant et les sortilèges and Lauretta in Gianni Schicchi as well as Queen of the Night in Die Zauberflöte. She has appeared with the Chicago Symphony Merlina/Silberklang in the Italian première of Le disavventure teatrali with the Orchestra Orchestra, the Festival de Musique de St Barth, the Colorado Symphony Orchestra, Sinfonica di Milano Giuseppe Verdi. In concert she has appeared with the Musica Angelica and the New Haven Symphony Orchestra, among others. Lielle Berman was a 2006 Baroque Orchestra at the Schwetzingen Festival and in Carnegie Hall. semi-finalist in the Metropolitan Opera National Council Auditions, and received her Master of Music degree at Yale University School of Music in May 2005.

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Patrick Carfizzi Douglas Dickson

American bass-baritone Patrick Carfizzi is a regular performer with the Metropolitan The pianist Douglas Dickson received his B.A. degree from Princeton University and his M.M.A. Opera. He recently sang Schaunard in La Bohème, Masetto in Don Giovanni, Haly in from the Yale School of Music. He has performed in the United States, Europe, Asia, and South L’Italiana in Algeri, Peter Quince in A Midsummer Night’s Dream and Antonio in Le America, in venues ranging from Japan’s Expo Hall to the Cincinnati Coliseum. While still in nozze di Figaro. Other engagements include Papageno in Die Zauberflöte and Don college he was the accompanist for the American Boychoir. As part of Duodecaphonia, a prize- Magnifico in La Cenerentola with Houston Grand Opera, Leporello in Don Giovanni winning piano duo, he has performed at the Kennedy Center and elsewhere. Douglas Dickson has with Minnesota Opera, Figaro in Le nozze di Figaro with Michigan Opera Theatre, been music director for productions at Quinnipiac University, the Yale School of Drama, Opera Bartolo in Il barbiere di Siviglia with the Canadian Opera Company and Opera Theatre Theater of Connecticut, and Connecticut Experimental Theater. He was music director and of St Louis, Pandolfe in Cendrillon with Central City Opera and Frank in Die conductor for Yale Opera’s production of Britten’s The Rape of Lucretia, and he conducted a Fledermaus with Seattle Opera. Additional credits in North America include concert featuring Yale Opera with the Orchestra Sinfonica di Milano Giuseppe Verdi. He has engagements with the Seattle Symphony, San Francisco Symphony and the Tanglewood served for fourteen years on the faculty of Quinnipiac University, and joined the Yale faculty in Festival. A graduate of the Yale University School of Music, Patrick Carfizzi is the winner of seven prestigious 1998. He recently made his Carnegie début in an all Ives concert at Weill Recital Hall. awards, most recently the 2002 Richard Tucker Career Grant Award and the 2001 George London Award. Robert Gardner Jennifer Casey Cabot The baritone Robert Gardner has appeared with numerous opera houses and orchestras in the Photograph: Christian Steiner Soprano, Jennifer Casey Cabot’s career includes many of opera’s great heroines: Violetta, United States, Europe, and Asia, including New York City Opera, Washington National Mimì, Manon, Susannah, Musetta, Donna Elvira, the Countess, Pamina and Konstanze with Opera, Bavarian National Opera, Santa Fe Opera, Aspen Music Festival, Spoleto Festival, the the following opera companies: Boston Lyric Opera, Washington Opera, New York City Munich Philharmonic, and the major orchestras in Pittsburgh, Dallas, Denver, San Diego, Opera, Calgary Opera, Florida Grand Opera and Central City Opera among others. She has Santa Rosa, New Haven, and Kansas City. His recent opera débuts include Marcello in La appeared with the National Symphony under Leonard Slatkin, in the Athens Concert Hall Bohème, Sharpless in Madama Butterfly, Zurga in The Pearl Fishers, and Robert Storch in with Sir Neville Marriner and with the New York Philharmonic with Alan Gilbert. Her Intermezzo. His recent concert performances include Ein deutches Requiem with the Dallas concert career has included Strauss’ Four Last Songs, Villa Lobos’ Bachianas Brazileiras Symphony Orchestra, and Mendelssohn’s Elijah. Robert Gardner has been named the 2007 No. 5, Mahler’s Fourth and Eighth Symphonies, Mozart’s Exsultate Jubilate and Mass in C winner of the Lili Boulanger Memorial Award by the foundation started in 1936 by Nadia Minor, Handel’s Messiah, and Beethoven’s Ninth. In the 2007-2008 season she joined the Boulanger. He is the third singer to win the award in its prestigious history. A 2001 Pro Metropolitan Opera for Mozart’s Le nozze di Figaro and La traviata and returned to the Musicis International Award winner, he is also the winner of the 1999 William Matheus Sullivan Foundation National Symphony for Handel’s Messiah. She was a resident soloist with the Deutsche Award, the 2000 Gerda Lissner Award, and the 2000 Denver Lyric Opera Guild Competition. He trained at Yale Oper Berlin and the Staatstheater Braunschweig. A New York native, she holds a BA and a Opera of the Yale University School of Music and participated in young artist programmes with Santa Fe Opera, the BM from Oberlin College and an MM from the Yale School of Music. Bavarian National Opera in Munich, and the Steans Institute for Young Artists at Ravinia in Chicago. Laura Garritson Michael Cavalieri Laura Garritson is pursuing a Doctor of Musical Arts degree in piano performance at The Hartt Michael Cavalieri has sung a versatile range of styles and repertoire ranging from Mozart to School at University of Hartford, where she is an assistant to internationally-renowned pianist, Luiz de Gounod, Gershwin and Argento. He has sung with Arizona Opera, Yale Opera, Santa Fe Opera, Moura Castro. She has made solo and concerto appearances in over ten countries. In the United States the Orchestra Sinfonica di Milano Giuseppe Verdi, and the Chicago Symphony Orchestra. she has performed in venues such as Weill Recital Hall at Carnegie Hall in New York and The Sheldon in St Louis. Abroad she has been a featured soloist in the Liszt Festival in Brazil and the International Arts Festival in Venezuela, as well as festivals throughout Europe. A prizewinner in many competitions, she has won the Emerson String Quartet Competition at The Hartt School and the Artist Presentation Society Competition in St Louis, among others. She holds Bachelor and Master of Music degrees from The Hartt School and an Artist Diploma from Yale University. Her major teachers include Luiz de Moura Castro, Boris Berman, the late Jane Allen, and Laura Schindler. 8.559272 6 7 8.559272 559272 bk Ives US 14/7/08 12:15 Page 6

Patrick Carfizzi Douglas Dickson

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Get this free download from Classicsonline! Old Home Day Griffes: Three Poems of Fiona McLeod: The Rose of the Night Copy this Promotion Code Nax9YMg3jsR6 and go to http://www.classicsonline.com/mpkey/grif4_main. The Only Son Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Various Artists 8.559272 12 CMYK NAXOS Playing Charles Time: IVES 73:15 (1874-1954) Disc made in Canada. Printed and assembled USA. compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. 8.559272 Songs • 4 AMERICAN CLASSICS 1 Majority (1921) 7:07 Lielle Berman, Soprano % ¡ ª 2 Maple Leaves (1920) 0:56 Patrick Carfizzi, Baritone 7 ¢ 3 Marie (1) (1896) 2:03 9 4 Marie (2) (1901) 2:38 Jennifer Casey Cabot, Soprano 5 Memories: a. Very Pleasant (1897) 0:50 Michael Cavalieri, Baritone 3 0 ) 6 Memories: b. Rather Sad (1897) 1:55 Robert Gardner, Baritone 1 4 ^ ™ 7 Minnelied (1901) 2:17 Ian Howell, Countertenor 2 (

8 Mirage (1902) 1:13 $ 9 Sara Jakubiak, Soprano & Mists (1910) 1:45 ¤

0 Sumi Kittelberger, Soprano My Dear Old Mother (1902) 2:26 IVES:

2008 Naxos Rights International Ltd. ! My Lou Jennine (1894) 1:35 Ryan MacPherson, Tenor • @ My Native Land (1a) (1900) 2:24 Tamara Mumford, Mezzo-soprano # * # My Native Land (1b) (1900) 1:30 Mary Phillips, Mezzo-soprano £ $ My Native Land (2) (1900) 2:38 @ & % Nature’s Way (1909) 1:23 David Pittsinger, Bass Songs • 4 ^ Naught That Country Needeth (1898) 4:20 Matthew Plenk, Tenor ∞

Songs • 4 & The New River (1921) 1:03 Kenneth Tarver, Tenor ! § ¶ º ⁄ * Night of Frost in May (1899) 1:24 Leah Wool, Mezzo-soprano 5 6 8 ( A Night Song (1895) 1:08 ) A Night Thought (1916) 1:00 Enrico Sartori, Flute ¢ ¡ No More (1897) 3:55 Douglas Dickson, Piano IVES: ™ Nov. 2, 1920 (An Election) (1921) 3:44 2 3 4 5 6 0 # $ * ( ) ¢ ∞ • £ An Old Flame (1898) 2:23 Laura Garritson, Piano ! • ¢ Old Home Day (1920) 4:48 7 ^ ™ £ ∞ The Old Mother (1898) 2:55 J.J. Penna, Piano § Omens and Oracles (1902) 2:16 Eric Trudel, Piano ¶ On Judges’ Walk (1901) 1:29 1 8 9 @ % & ¡ § ¶ ª º ⁄ ¤ • On the Antipodes (1923) 3:01 ª On the Counter (1920) 1:34 Includes Free Downloadable Bonus Track º The One Way (1923) 2:50 at www.classicsonline.com ⁄ The Only Son (1898) 0:46 Please see inside booklet for full details ¤ Over all the Treetops (1903) 1:55

A detailed track list can be found on page 2 of the booklet. www.naxos.com 8.559272 8.559272 Available sung texts may be accessed at www.naxos.com/libretti/559272.htm Cover photograph: Fall Foliage by Xuguang Wang (Dreamstime.com) NAXOS