insidewhat’s Welcome From the Director | 3 Zhou Family Band | 21

The Historian’s Corner | 4 Ying Quartet | 23

Leonard Slatkin Conducts Jeff Beal | 6 Voces8 | 26

Kat Edmonson | 15 Avi Avital & Bridget Kibbey | 32

Ying Quartet | 18 Schumann Quartet | 38

CONTACT US:

Location: Eastman School of Music—ESM 101 EASTMAN THEATRE BOX OFFICE Phone: (585) 274-1109 Mailing Address E-mail: [email protected] Eastman School of Music Concert Office 26 Gibbs Street Mike Stefiuk, Director of Concert Operations Rochester, NY 14604 Julia Ng, Assistant Director of Concert Operations Eastman Theatre Box Office Greg Machin, Ticketing and Box Office Manager 433 East Main Street Joseph Broadus, Box Office Supervisor Rochester, NY 14604 Ron Stackman, Director of Stage Operations, Eastman Theatre Phone Jules Corcimiglia, Assistant Director of Stage Eastman Theatre Box Office: (585) 274-3000 Operations (Kodak Hall) Lost & Found: (585) 274-3000 Daniel Mason, Assistant Director of Stage Eastman Concert Office: (585) 274-1109 Operations (Kilbourn Hall) Hall Rentals: (585) 274-1109 Michael Dziakonas, Assistant Director of Stage Operations (Hatch Recital Hall)

ADVERTISING This program is published in association with Onstage Publications, Onstage Publications 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the 937-424-0529 | 866-503-1966 publisher. JBI Publishing is a division of Onstage Publications, Inc. e-mail: [email protected] Contents © 2019. All rights reserved. Printed in the U.S.A. www.onstagepublications.com

EASTMAN PERFORMANCE SERIES 1 2 EASTMAN PERFORMANCE SERIES experience excellence! o you remember the first time you experienced a live Dperformance? For many of us, it was as children and that memory has stayed with us all these years.

The power of the performing arts lets us create lasting memories and experience a full range of human emotions. With the concerts in Eastman Presents, we offer invaluable experiences for you to share with someone — both young and old — and an opportunity for all of us to be brought closer together, building powerful connections with the world around us.

Over the next several months, Eastman Presents concerts will allow you to share moments where you will be mesmerized by the live music-to-screen performance of Battleground based on short stories of Stephen King (Slatkin Conducts Beal 11/8); treated to one of the most distinctive performers in contemporary music (Kat Edmonson 11/13); invited to join in on a raucous, musical celebration of the Chinese New Year (Zhou Family Band 1/29); amazed by the impeccably meticulous vocal artistry of one of the greatest ensembles in the world (Voces8 2/12)… and so much more!

Embark on a journey with us and participate in unforgettable live music making.

Thank you for being here tonight and enjoy the concert!

Mike Stefiuk Director of Concert Activity Eastman School of Music

P.S — Each year, Eastman’s students, faculty members, and guest artists present more than 900 concerts to the Rochester community — many of which are free or have a very low-ticket price. For a full listing of those concerts and presentations, please visit http://www.rochester.edu/Eastman/calendar/.

EASTMAN PERFORMANCE SERIES 3 the historian’s corner Alexander Leventon A Man with a Violin and a Camera by Vincent A. Lenti

lexander Leventon died almost seventy years Aago, and he deserves to be remembered as one of Rochester’s most interesting and distinguished residents. He was not only the second concertmaster of the Rochester Philharmonic Orchestra for a period of more than twenty years, but he was also a highly distinguished photographer whose work can still be found among the collections at the Minneapolis Institute of Art, the University of Arizona Center for Creative Photography, the George Eastman Museum, and the Art Institute of Chicago. During his life-time, his work was displayed in exhibitions throughout the United States as well as in Europe. Leventon’s photos were frequently Sergei Rachmaninoff encountered in the leading photographic journals of his time, including American Photography, Camera Craft, and Photo Era.

Alexander Leventon was born on November 11, 1895, in Rostov-on-Don in Russia. He studied music and law in Moscow, later going to Vienna to continue his musical training as a violinist. Interred by the Austrians at the outbreak of World War I, he escaped and made his way back to Russia. In 1921 he left Russia and went to Turkey. He then immigrated to the United States the following year. Leventon first lived in New York City with his aunt and played for a year as a member of the New York Symphony. In 1923 he came to Rochester to become concertmaster of the Eastman Theatre Orchestra and second concertmaster of the Rochester Philharmonic Orchestra. For a brief period of time he was also a member of the Kilbourn Quartet at the Eastman School of Music. Alfred Cortot

4 EASTMAN PERFORMANCE SERIES Fritz Kreisler Jascha Heifetz Leventon’s interest in photography only developed who taught at the Eastman School of Music after his arrival in Rochester, when he opened a or performed as members of the Rochester portrait studio in 1928. He soon established Philharmonic Orchestra. The latter includes himself as perhaps the premiere portrait pictures of the orchestra’s various conductors, photographer in the area. Although his work was including Eugene Goossens, José Iturbi, and not limited specifically to portraits of musicians, Erich Leinsdorf. An especially valued part of it was in this area that his work was most highly this photographic legacy are portraits that recognized and valued. Alexander Leventon died Leventon produced of important visiting suddenly on October 10, 1950 about one month artists such as pianists Sergei Rachmaninoff prior to his fifty-fifth birthday. and Alfred Cortot, violinists Fritz Kreisler and Jascha Heifetz, and conductors Charles Munch The Alexander Leventon Collection of prints and Leonard Bernstein. and negatives was donated to the Eastman School’s Sibley Music Library in 1984 by his wife, Gladys Leventon, a long-time member of the school’s piano faculty. Among the prints are portraits of George Eastman and University of Rochester President Rush Rhees, as well as portraits of many of the prominent musicians

EASTMAN PERFORMANCE SERIES 5 Kodak Hall Series Friday, November 8, 2019 at 7:30 PM Kodak Hall at Eastman Theatre Leonard Slatkin Conducts Jeff Beal with Hila Plitmann, soprano and Eastman Philharmonia Pollock Suite (2000) Jeff Beal (b. 1963) The Paper Lined Shack (2019)* Carefree Girl The Red Chair The Paper Lined Shack Our Garden My Heart

INTERMISSION

Battleground (2018)

*Commissioned by The St. Louis Symphony, in honor of Leonard Slatkin’s fifty years with the Orchestra Hila Plitmann, Soprano Leonard Slatkin, conductor St. Louis Symphony Orchestra, May 3, 4, 2019

Leonard Slatkin appears courtesy of COLUMBIA ARTISTS MANAGEMENT LLC Personal Direction: Stefana Atlas, Senior Vice President 5 Columbus Circle @ 1790 Broadway, 16th Floor, New York, NY 10019 www.columbia-artists.com

Hila Plitmann is an artist represented by CADENZA ARTISTS LLC 12021 Wilshire Blvd. #710, Los Angeles, CA 90025 www.CadenzaArtists.com 6 EASTMAN PERFORMANCE SERIES guest artists Slatkin has received six Grammy awards and 33 nominations. His recent recordings include works by Saint-Saëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninov, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads) and conducted the London Symphony Orchestra for an album featuring violinist Anne Akiko Meyers.

A recipient of the National Medal of Arts, the highest award given to artists by the United States government, Slatkin also holds the rank of Chevalier in the French National Order of the Legion of Honor. Moreover, he has received LEONARD SLATKIN Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition nternationally acclaimed conductor Leonard Award for his debut book, Conducting Business. Slatkin is Music Director Laureate of the Detroit I His second book, Leading Tones: Reflections on Symphony Orchestra (DSO) and Directeur Musical Music, Musicians, and the Music Industry, was Honoraire of the Orchestre National de Lyon published by Amadeus Press in 2017. (ONL). He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. He holds honorary doctorates from many institutions, including The Juilliard School, New England Conservatory, Michigan State University, In the 2019–20 season, he will celebrate his 75th Indiana University, the University of Rochester, birthday year with several of the orchestras he the University of Maryland-College Park, George has led over the course of his 50-year career, Washington University, the University of Missouri- including the St. Louis Symphony Orchestra, St. Louis, and Washington University in St. Louis. National Symphony Orchestra, Nashville Symphony Orchestra, DSO, and ONL. Other highlights include return engagements with Slatkin has held posts as Music Director of the the Houston Symphony Orchestra, RTÉ National New Orleans Symphony, St. Louis Symphony Symphony in Dublin, Toronto Symphony Orchestra, Orchestra, and National Symphony Orchestra in and NHK Symphony Orchestra in Tokyo; debuts Washington, DC, and he was Chief Conductor with the KBS Symphony Orchestra in Seoul, of the BBC Symphony Orchestra in London. He NDR Radiophilharmonie in Hannover, and Würth has served as Principal Guest Conductor of Philharmonic in Künzelsau, Germany; and three London’s Royal Philharmonic Orchestra and weeks in Spain conducting orchestras in Castile- Philharmonia Orchestra, the Pittsburgh Symphony León, Bilbao, and the Balearic Islands. Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl, and the Minnesota Orchestra

EASTMAN PERFORMANCE SERIES 7 guest artists in Minneapolis, where he founded their annual Sommerfest. Furthermore, he has held titled conducting positions with the Blossom Music Center, and both the Grant Park and Great Woods music festivals.

He has conducted virtually all the leading orchestras in the world. Among those in America are the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Symphony Orchestra, San Francisco Symphony, and Los Angeles Philharmonic. Elsewhere he has worked with all five London orchestras, the Berlin Philharmonic, Munich’s Bayerischer Rundfunk, the Royal Stockholm Philharmonic Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, the Orchestre de Paris, the Oslo Philharmonic He began his musical training on the violin and Orchestra, and the Israel Philharmonic Orchestra. first studied conducting with his father, followed by Walter Susskind at Aspen and Jean Morel at Slatkin’s opera conducting has taken him to Juilliard. He is the father of one son, Daniel, the Metropolitan Opera, Lyric Opera of Chicago, and makes his home in St. Louis with his wife, Washington National Opera, Opera Theatre of composer Cindy McTee. St. Louis, Santa Fe Opera, Vienna State Opera, Stuttgart Opera, and Opéra Bastille in Paris. He is represented by Jeff Berger (manager responsible for the Americas), Julia Albrecht at Founder and former director of the St. Louis Konzertdirektion Schmid (manager responsible Symphony Youth Orchestra and National for Europe), and Maki Takemitsu at Kajimoto Conducting Institute in Washington, DC, Slatkin (manager responsible for Asia). remains a passionate music educator. He has conducted and taught at such institutions as the JEFF BEAL Manhattan School of Music, The Juilliard School, the Aspen Music School, the Jacobs School at eff Beal is an American composer of music Indiana University, the National Orchestral for film, media, and the concert hall. With Institute, the Music Academy of the West, and J musical beginnings as a jazz trumpeter and the New World Symphony. recording artist, his works are infused with an understanding of rhythm and spontaneity. Born in Los Angeles to a distinguished musical Steven Schneider for the New York Times wrote family, he is the son of violinist-conductor of “the richness of Beal’s musical thinking… Felix Slatkin and cellist Eleanor Aller, founding his compositions often capture the liveliness members of the famed Hollywood String Quartet. and unpredictability of the best improvisation.”

8 EASTMAN PERFORMANCE SERIES guest artists Beal’s seven solo CDs, including Three Graces, Beal’s commissioned works have been performed Contemplations (Triloka), Red Shift (Koch Jazz), by many leading orchestras and conductors, and Liberation (Island Records) established him including the St. Louis (Marin Alsop), Rochester, as a respected recording artist and composer. Pacific (Carl St. Clair), Frankfurt, Munich, and Detroit (Neeme Jaarvi) symphony orchestras. Beal’s eclectic music has been singled out Kent Nagano commissioned and premiered two with critical acclaim and recognition. His score works, Alternate Route for trumpet and orchestra and theme for Netflix drama, House of Cards, with Beal as soloist, and Interchange for string has received five prime time Emmy Award quartet and orchestra. Other commissions include nominations & two statues. Regarding his the ballet Oasis for Smuin Ballet, Light Falls compelling score for the documentary, Blackfish, for the World Science Festival, The Metropole the late film critic Roger Ebert wrote of Beal’s Orchestra, Ying Quartet, Debussy Trio, Henry ability to “invoke many genres; thriller, mystery, Mancini Institute, Chamber Music Festival of melodrama.” Another lauded documentary, The Lexington & Grammy winning guitarist Jason Queen of Versailles, opened the 2012 Sundance Vieaux. His score for Philip Haas’ art installation Film Festival. Michael Phillips of the Chicago Butchers, Dragons, Gods & Skeletons, was Tribune wrote that, “scored wittily by composer showcased at the Kimball Art Museum and Jeff Beal, the film glides along on Beal’s waltz the 2011 Venice Biennale. His first choral theme, a theme full of elegance and class and a commission, entitled The Salvage Men, is written discordant hint of storm clouds.” for the Los Angeles Master Chorale. Current commissions include new works for The Brooklyn Scoring Ed Harris’ beautifully balletic painting Youth Chorus, a concerto for flutist Sharon scenes in Pollock was an exceptional opportunity Bezaly, song cycles for Cantus, and the Brooklyn for Beal. Film critic for the Los Angeles Times, Youth Chorus. Kenneth Turan wrote “to watch Lisa Rinzler’s expressive shots of Harris as Pollock create his Born and raised in the San Francisco Bay Area, paintings, especially the famously acrobatic drip Beal’s grandmother Irene was a pianist who canvases, to Jeff Beal’s Aaron Copland-influenced performed on the radio and as accompanist for music is little short of thrilling.” silent movies. She was an avid jazz fan, and gave him Miles Davis’/Gil Evans’ Sketches of Spain He has received nineteen prime time Emmy album when he was beginning his trumpet nominations for his music, and has won five studies. Beal graduated from the Eastman School statues. Other scores of note include his dramatic of Music, where he was commencement speaker music for HBO’s acclaimed series Carnivàle and and honored alumnus in 2011. He now mentors Rome, as well as his comedic score and theme and encourages young composers as a participant for the detective series, Monk. Beal composes, in the Sundance Film Composer seminars and orchestrates, conducts, records and mixes as a guest lecturer at conservatories. Beal met his own scores, which gives his music a very his wife, soprano Joan Beal at Eastman School personal, distinctive touch. of Music where the couple recently donated $2 million to the creation of The Beal Institute for Film Music and Contemporary Media.

EASTMAN PERFORMANCE SERIES 9 guest artists HILA PLITMANN

rammy award-winning vocalist and actress, GHila Plitmann, is a glittering jewel on the international music scene, known worldwide for her astonishing musicianship, light and beautiful voice, unique expressive quality, and the ability to perform challenging new works. She has performed with many leading conductors, including Leonard Slatkin, Esa-Pekka Salonen, Thomas Adès, Carl St. Clair, Giancarlo Guerrero, Robert Spano and JoAnn Falletta, working with the likes of the Los Angeles Philharmonic, the New York Philharmonic, the National Symphony and the London Symphony Orchestra.

Hila is also emerging as a unique crossover In constant demand as a singer of new and artist, and her own songs and arrangements contemporary music, Ms. Plitmann shines as can be heard and seen on YouTube and in live a soloist in many world premieres, including: concert. She has accumulated an impressive Frank Zappa’s orchestral staged version of catalogue of varied recordings, including Hans 200 Motels with the Los Angeles Philharmonic; Zimmer’s Grammy winning soundtrack for the Dallas Opera world premiere of Mark Adamo’s The Da Vinci Code, Eric Whitacre’s Good Night Opera Becoming Santa Claus; Yuval Sharon and Moon with the LSO, and Oscar winner John Annie Gosfield’s War of the Worlds with the Corigliano’s song-cycle Mr. Tambourine Man with Los Angeles Philharmonic; and upcoming Emmy the Buffalo Symphony (for which she won a best Award winner, Jeff Beal’s The Paper Lined Shack, female vocalist Grammy). Some of her recent with St. Louis Symphony Orchestra under Leonard discs are Richard Danielpour’s Toward A Season Slatkin, and Richard Danielpour’s The Passion of Peace and Corigliano’s Vocalise, both released of Yeshua, with Buffalo Symphony Orchestra, to critical acclaim on NAXOS. under JoAnn Falletta; She has a black belt in Tae Kwon Do and lives with her son and their cat in Los Angeles.

Did you know...

Leonard Slatkin was the recipient of an honorary doctorate from the Eastman School of Music on October 25, 1994. At the time when he was so honored, Slatkin was the music director of the St. Louis Symphony and the director of the Blossom Festival of the Cleveland Orchestra. Vincent Lenti

10 EASTMAN PERFORMANCE SERIES program notes Notes On The Paper Lined Shack think Della would be pleased to have her story brought to life by one of our very finest American About twenty years ago, my wife Joan and I were orchestras, and their dedicated and visionary unpacking boxes in our new home in southern conductor, Leonard Slatkin. California. We stumbled across a written diary of my great grandmother Della and we were both -Jeff Beal struck by her writing. I knew well the outline of her story from my grandfather Harold (her son) Text from the memoir of Della Holsinger – primarily that she was widowed suddenly at a (1881-1977) compiled by Joan Beal young age with six children. Della persevered, and managed to raise her family on a ten acre farm I. Carefree Girl out West in Idaho, where she had recently moved I was just a carefree girl, carefree. with her young husband Franklin. Our family was seven boys, my parents and myself. Having no sisters, I played with my brothers, My mother Rosemary had given us Della’s And became quite a tomboy collection of pages, composed for her children To my mother’s dismay. near the end of her life. There was a compelling vision of strength, love, humor, and humility in Climbing, riding horse sticks, jumping rope. her story which I had long wanted to set, or do My brother Jess, he had some goats and a harness something with; but soon enough other deadlines, And a wagon to hitch them up. life, and raising our own family intervened and I One day, he let me ride with him forgot about them. And the goats ran, ran too fast And turned the wagon over! In receiving this commission for Leonard, I That was my last goat ride. decided on a narrative song cycle for soprano Hila Plitmann (a soloist with whom he has collaborated I was used to boys, frequently, and I also admire greatly). In the midst They didn’t interest me too much, of my search for a strong female-driven text for Until later. Hila, I recalled Della’s writings. Re-reading these pages some twenty years later, I noticed even My father bought me a girl’s bicycle, more nuance and meaning in her words. Della A Crawford that cost eighty-five dollars! seemed as compelling and relevant as some of I was proud of it and rode and rode many miles. the more contemporary subjects I was exploring, I was just a carefree girl, carefree, carefree. and of course personal. I’m very grateful to Joan Beal for spending the time to help select these II. The Red Chair lines from her memoir into this libretto. Your father Franklin and I Had been going steady for two years or more A relationship between an orchestra and its And we were very much in love. conductor spanning fifty years could be thought So, we were married, and spent our first year in Indiana of as a remarkable marriage; an artistic garden Where Glenn was born. with deep roots for both the garden and its gardener, with a rich history of it own. I’d like to

EASTMAN PERFORMANCE SERIES 11 program notes Glenn was our pride and joy, our pride and joy! We made you children sit on chairs Your Papa said that his hat was too small ‘Til we could warm you up just a little. So, he bought a new one That was the last Christmas together with Papa To celebrate the occasion. And it seemed alright then.

My father, known to you all as Grosse-daddy, IV. Our Garden He had a small red chair Papa made a large bed, He was saving for the first Granddaughter. Cabbage, tomato, sweet potato plants ready to set out. Rosella won the red chair. We had a strawberry patch, Rosella was the prize, and it was beginning to have a few ripe berries. as there were no girls among the grandchildren. We had plans for a fruitful summer. We were so very proud of her. Rosella and Glenn, I was in the garden cutting rhubarb. You children were our pride and joy, A messenger boy brought me a telegram You were our pride and joy. Bearing the sad news of my mother’s death.

Your Papa said that his hat was too small, It was my very first sorrow, So, he bought a new one to celebrate the occasion. And I felt I must go to be with my father, A new hat and a red chair. To be with my brothers.

III. The Paper Lined Shack I was making plans to go, We had only one hundred dollars and four children My dear husband became ill, When we landed here in Idaho, And on the sixth of June, And it seemed alright then. He too, slipped away from me.

We rented a small house, The sun was shining, We bought very little furniture, As I looked out, Used a large box we had shipped for a table the sweet peas he’d planted for me were blooming. And sat on apple boxes, rather than chairs. The garden looked the same, And it seemed alright then. But everything had changed.

It was sagebrush land, No words can express how lost and helpless I felt, But we had some nice grass around our shack. But life had to go on for you children. There were jack rabbits everywhere. Soon I was aware that I was pregnant Papa had set out a large strawberry bed, And would now have six children to love and care for. And enjoyed it so much. Life had to go on.

It got very cold that winter. The sun was shining as I looked out, We didn’t keep warm in our paper-lined shack. The sweet peas he’d planted were blooming. At times we would find snow on our bed covers, The garden looked the same, And our clothes froze to the walls. But everything had changed.

12 EASTMAN PERFORMANCE SERIES program notes V. My Heart When winter comes, find kindling, My dearest children, Stoke the fire. I leave you with these stories, Hold fast to one another. So that someday you can share my heart. You can carry my heart.

It was love that brought me from my father’s house It was love that we planted in the garden To be your Mama. There our hearts bloomed, It was love that we planted in the garden Our hearts opened. There our hearts bloomed, and you were born. Carry my heart.

But I could not protect my heart from deep sorrow. I had to carry on. It was love that saved me.

EASTMAN PERFORMANCE SERIES 13 14 EASTMAN PERFORMANCE SERIES Kilbourn Concert Series Wednesday, November 13, 2019 at 7:30 PM Kilbourn Hall Kat Edmonson Matt Munisteri, guitar Roy Dunlap, piano Bob Hart, bass

Selections to be announced from the stage

EASTMAN PERFORMANCE SERIES 15 guest artists KAT EDMONSON

“[Old Fashioned Gal] is a handsome showcase for her songwriting, which has grown ever more confident over the last decade, nostalgic in tone but clear-eyed in the application.” —NPR Music “Songs We Love”

“Kat Edmonson’s Old Fashioned Gal sounds like an alternate soundtrack to an Audrey Hepburn film, 11 self-penned songs of gentle romance and vulnerability in a decades-old style sparkling with modern sensibilities…and then there’s her voice. Part bashful debutante, part starry-eyed fiancée, part world-wise seductress, it possesses a singular expressiveness.” —Associated Press ritically acclaimed vocalist and songwriter, Cactor and dancer, Kat Edmonson has played “An intimate journey from doubt to resolve and major stages across the United States, Europe, implied triumph.” and Japan. She’s appeared in major motion —Billboard pictures, performed on radio and television, and released four groundbreaking albums to date. “This is someone who knows what they want to say.” Her newest album, Old Fashioned Gal, is out now —Relix on Spinnerette Records. Her tour supporting the full-length album continues with major tour stops “…creating a new Great American Songbook.” throughout the U.S. —No Depression Of writing Old Fashioned Gal, Edmonson says, “I “Her blend of traditional jazz and singer- wrote these songs while holed up in my Brooklyn songwriter pop is unusual but not without apartment during the winter of 2016. I had a analogues…Willie Nelson, Rufus Wainwright, terrible, reoccurring cold that winter and was Gregory Porter, and Edmonson’s longtime often laid up in bed. I’d go back and forth from champion, Lyle Lovett have all explored similar watching 1930s movies on Turner Classic Movies territory. And there is something so distinctive to working on a song. While writing this album, about Edmonson’s voice and song-writing that she I realized that I was seeing what looked like deserves a place among those fellow travelers.” scenes from a film in my head—a film not yet —Texas Music made. I ultimately sat down and wrote an entire

16 EASTMAN PERFORMANCE SERIES guest artists outline for a screenplay—a musical, of course— 2012’s Way Down Low was described by The New with this music, the score. I processed a great York Times as “fresh as a spring bouquet” while deal of self-doubt in order to write this hopeful The Boston Globe’s Steve Greenlee heralded it record. Old Fashioned Gal is about believing in as “one of the greatest vocal albums I’ve ever yourself even when it seems no one else will.” heard.” The record debuted at #1 on the Billboard Heatseekers Albums Chart and was featured on Old Fashioned Gal was entirely written and several major year-end lists including Downbeat produced by Edmonson with associate production Magazine, WNYC Soundcheck’s “Best Live by band member and drummer Aaron Thurston. Performances” and Daytrotter’s “Best Sessions It was recorded over several sessions throughout of 2012.” Edmonson was featured on NPR an the summer and fall of 2016 at Atomic Sound impressive five times that same year. Studios in Brooklyn with Grammy-winning engineer Fernando Lodeiro. This is her third time Growing up in Houston, Edmonson wrote her first working with twenty-two-time Grammy-winning song on a school bus at age nine. The Texas native engineer Al Schmitt who mixed the record at evolved her signature style in Austin’s local club Capitol Studios in Hollywood. circuit for several years before self-releasing Take To The Sky in 2009. In the proceeding years, The album follows Edmonson’s critically Edmonson toured throughout the U.S., Europe, acclaimed 2014 release The Big Picture, which and Japan while also supporting high profile acts debuted #1 on the Billboard Heatseekers, #1 on including Lyle Lovett, Chris Isaak, Gary Clark, Jr., Contemporary Jazz Chart and #2 on the Total Jazz Jaime Cullum, Shawn Colvin, Smokey Robinson, Chart. NPR First Listen described the record, George Benson, Michael Kiwanuka, Nick Lowe, “She’s a savvy student of ‘60s film soundtracks, and Willie Nelson. jazz-pop stylists and Brill Building songcraft.” Her 2015 performance on “CBS This Morning: Edmonson lives in Brooklyn, New York. Saturday” garnered the program’s highest rated viewership since 2006. She recently appeared in Woody Allen’s Cafe Society as a 1930s jazz singer and is highlighted on the official soundtrack performing her version of “Mountain Greenery.”

EASTMAN PERFORMANCE SERIES 17 Eastman-Ranlet Series Sunday, November 17, 2019 at 3:00 PM Kilbourn Hall Ying Quartet

String Quartet in A Major, Op. 41, No. 3 Robert Schumann Andante espressivo—Allegro molto moderato (1810–1856) Assai agitato Adagio molto Finale: Allegro molto vivace

String Quartet No. 2 “Intimate Letters” (1928) Leoš Janáček Andante—Con moto—Allegro (1854–1928) Adagio—Vivace Moderato—Andante—Adagio Allegro—Andante—Adagio

INTERMISSION

String Quartet in A Minor, Op. 51, No. 2 Johannes Brahms Allegro non troppo (1833–1897) Andante moderato Quasi Minuetto, moderato Finale. Allegro non assai

Robin Scott, violin Janet Ying, violin Phillip Ying, viola David Ying, cello

18 EASTMAN PERFORMANCE SERIES guest artists

THE YING QUARTET the Ying Quartet’s constant quest to explore the creative possibilities of the string quartet has “The Ying Quartet came as close to the led it to an unusually diverse array of musical ideal as possible, delivering chamber projects and interests. music of astonishing, refreshing exaltation and exhilaration.” The Ying’s ongoing LifeMusic commissioning —The Los Angeles Times project, created in response to their commitment to expanding the rich string quartet repertoire, he Ying Quartet occupies a position of has already achieved an impressive history. Tunique prominence in the classical music Supported by the Institute for American Music, the world, combining brilliantly communicative Ying Quartet commissions both established and performances with a fearlessly imaginative view emerging composers to create music that reflects of chamber music in today’s world. Now in its third contemporary American life. Recent works include decade, the Quartet has established itself as an Billy Childs’ Awakening; Lera Auerbach’s Sylvia’s ensemble of the highest musical qualifications. Diary; Lowell Liebermann’s String Quartet No. 3, Their performances regularly take place in many To the Victims of War; Sebastian Currier’s Next of the world’s most important concert halls; at Atlantis; and John Novacek’s Three Rags for String the same time, the Quartet’s belief that concert Quartet. In August 2016 the Ying Quartet released music can also be a meaningful part of everyday a new Schumann/ Beethoven recording on Sono life has also drawn the foursome to perform in Luminus with the cellist Zuill Bailey, and in settings as diverse as the workplace, schools, 2016–17 the five toured with the Schumann Cello juvenile prisons, and the White House. In fact, Concerto transcribed for cello and string quartet

EASTMAN PERFORMANCE SERIES 19 guest artists along with Beethoven’s Kreutzer Sonata, also The Ying Quartet first came to professional reimagined for cello quintet. The Quartet’s 2018- prominence in the early 1990s during their years 19 season featured performances with the jazz as resident quartet of Jesup, Iowa, a farm town pianist Billy Childs, a tour of China, performances of 2000 people. Playing before audiences of six for the Philadelphia and Phoenix Chamber Music to six hundred in homes, schools, churches, and Societies, and performances in the group’s role as banks, the Quartet had its first opportunities to quartet-in-residence at the Bowdoin International enable music and creative endeavor to become Music Festival, while 2019-20 sees the Quartet an integral part of community life. The Quartet returning to the Los Angeles’s Clark Library, Palm considers its time in Jesup the foundation of its Beach’s Flagler Museum, and taking part in the present musical life and goals. Metropolitan Museum of Art’s celebration of the Guarneri Quartet. As quartet-in-residence at the prestigious Eastman School of Music in Rochester, NY, the The Ying Quartet’s many other recordings reflect Ying Quartet teaches in the string department many of the group’s wide-ranging musical and leads a rigorous, sequentially designed interests and have generated consistent, chamber music program. One cornerstone of enthusiastic acclaim. The group’s CD American chamber music activity at Eastman is the noted Anthem (Sono Luminus), heralding the music of “Music for All” program, in which all students Randall Thompson, Samuel Barber, and Howard have the opportunity to perform in community Hanson, was released in 2013 to rave reviews; settings beyond the concert hall. The Quartet their 2007 Telarc release of the three Tchaikovsky is the ensemble-in-residence at the Bowdoin Quartets and the Souvenir de Florence (with International Music Festival and at Arizona State James Dunham and Paul Katz) was nominated University, and from 2001–2008, the members for a Grammy Award in the Best Chamber Music of the Ying Quartet were the Blodgett Artists-in- Performance category. Residence at Harvard University.

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The Kilbourn Quartet was the first faculty string quartet at the Eastman School of Music. It was named in honor of George Eastman’s mother, Maria Kilbourn Eastman. Its initial personnel consisted of Arthur Hartmann, Gerald Kunz, Samuel Belov, and Gerald Maas. Both Hartmann and Maas left after only one year, and they were replaced by Vladimir Resnikoff and Joseph Press. Vincent Lenti

20 EASTMAN PERFORMANCE SERIES Barbara B. Smith World Music Series Wednesday, January 29, 2020 at 7:30 PM Hatch Recital Hall Zhou Family Band Zhou Benxiang, suona (shawm), bazuanzi (front part of suona), shuangguan (double reed), dangzi (gong), xiaocha (small cymbal), daluo (big gong), dacha (big cymbal) Zhou Benling, sheng (mouth-blown free reed instrument), suona, xiaoluo (small gong) Zhou Benming, suona, drum, xiao (vertical flute), dangzi (gong) Zhang Surong, suona, sheng, dizi (flute), yunluo (gong set), bangzi (wooden block) Zhou Zhonghua, suona, sheng, dizi, yunluo Zhou Jiyong, sheng, shuangguan

Selections to be announced from the stage

EASTMAN PERFORMANCE SERIES 21 guest artists

ZHOU FAMILY BAND sheng mouth organ, dizi flute, Chinese drums and cymbals, kaxi (a combination of voice and hou Family Band ( 周 家 班 ) plays blown instrument played by the same musician to Ztraditional wind and percussion music which imitate opera singing), and often blend theatrical accompany birth and death celebrations of the stunts and music, to make their performance people of Central-Eastern China for more than even more spectacular. 600 years. Coming from Lingbi, Anhui Province, part of the Central Plain area which formed the Zhou Jingzhi, founder of the Zhou Family Band, cradle of Chinese civilization, the Zhou family played in the Royal Court of the Qing Dynasty. have been musicians for seven generations, After the era of dynastic China came to an end, and are bearers of a tradition that represents later generations of the family made their living the finest of Chinese folk music—Bolin Laba, a by playing at local ceremonies. Now more than national intangible cultural heritage of China as 100 members of the Zhou family and over 1000 declared by the Chinese government. students are active in playing at rituals in their hometown and the adjacent areas. The Zhou Family Band performs at weddings, funerals, and rituals of worship to their ancestors and welcoming deities. They play suona shawm,

22 EASTMAN PERFORMANCE SERIES Eastman-Ranlet Series Sunday, February 2, 2020 at 3:00 PM Kilbourn Hall Ying Quartet

Quartettsatz, D 703 Franz Schubert (1797–1828)

Dark Vigil (1999) Kevin Puts (b. 1972)

INTERMISSION

String Quartet No. 15 in G Major, D. 887 Franz Schubert

Robin Scott, violin Janet Ying, violin Phillip Ying, viola David Ying, cello

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THE YING QUARTET creative possibilities of the string quartet has led it to an unusually diverse array of musical “The Ying Quartet came as close to the projects and interests. ideal as possible, delivering chamber music of astonishing, refreshing exaltation The Ying’s ongoing LifeMusic commissioning and exhilaration.” project, created in response to their commitment —The Los Angeles Times to expanding the rich string quartet repertoire, has already achieved an impressive history. he Ying Quartet occupies a position of Supported by the Institute for American Music, Tunique prominence in the classical music the Ying Quartet commissions both established world, combining brilliantly communicative and emerging composers to create music that performances with a fearlessly imaginative view reflects contemporary American life. Recent works of chamber music in today’s world. Now in its third include Billy Childs’ Awakening; Lera Auerbach’s decade, the Quartet has established itself as an Sylvia’s Diary; Lowell Liebermann’s String Quartet ensemble of the highest musical qualifications. No. 3, To the Victims of War; Sebastian Currier’s Their performances regularly take place in many Next Atlantis; and John Novacek’s Three Rags for of the world’s most important concert halls; at String Quartet. In August 2016 the Ying Quartet the same time, the Quartet’s belief that concert released a new Schumann/ Beethoven recording music can also be a meaningful part of everyday on Sono Luminus with the cellist Zuill Bailey, and life has also drawn the foursome to perform in in 2016–17 the five toured with the Schumann settings as diverse as the workplace, schools, Cello Concerto transcribed for cello and string juvenile prisons, and the White House. In fact, quartet along with Beethoven’s Kreutzer Sonata, the Ying Quartet’s constant quest to explore the also reimagined for cello quintet. The 2017–18

24 EASTMAN PERFORMANCE SERIES guest artists season will see the Quartet continuing its work of 2000 people. Playing before audiences of six in the relatively new field of medicine, music, to six hundred in homes, schools, churches, and and healing with the staff at Houston Methodist, banks, the Quartet had its first opportunities to while simultaneously maintaining its busy enable music and creative endeavor to become touring schedule. an integral part of community life. The Quartet considers its time in Jesup the foundation of its The Ying Quartet’s many other recordings reflect present musical life and goals. many of the group’s wide-ranging musical interests and have generated consistent, As quartet-in-residence at the prestigious enthusiastic acclaim. The group’s CD “American Eastman School of Music in Rochester, NY, the Anthem” (Sono Luminus), heralding the music of Ying Quartet teaches in the string department Randall Thompson, Samuel Barber, and Howard and leads a rigorous, sequentially designed Hanson, was released in 2013 to rave reviews; chamber music program. One cornerstone of their 2007 Telarc release of the three Tchaikovsky chamber music activity at Eastman is the noted Quartets and the Souvenir de Florence (with “Music for All” program, in which all students James Dunham and Paul Katz) was nominated have the opportunity to perform in community for a Grammy Award in the Best Chamber Music settings beyond the concert hall. The Quartet Performance category. is the ensemble-in-residence at the Bowdoin International Music Festival and at Arizona State The Ying Quartet first came to professional University, and from 2001–2008, the members prominence in the early 1990s during their years of the Ying Quartet were the Blodgett Artists-in- as resident quartet of Jesup, Iowa, a farm town Residence at Harvard University.

EASTMAN PERFORMANCE SERIES 25 Kilbourn Concert Series Wednesday, February 12, 2020 at 7:30 PM Kilbourn Hall Voces8 Andrea Haines, soprano Eleonore Cockerham, soprano Katie Jeffries-Harris, alto Barnaby Smith, countertenor Blake Morgan, tenor Euan Williamson, tenor Chris Moore, baritone Jonathan Pacey, bass

Since the first music was created, music and dance have been constantly entwined. From chapels and courts to cinemas and clubs, this program rejoices in choral music inspired by dance. Juxtaposing Renaissance music with jazz and pop creates a rare mix of the ethereal and angelic, along with pure foot-tapping fun: a showcase for VOCES8’s inimitable stage presence.

Vigilate William Byrd (c. 1539–1623)

Choral Dances from Gloriana, Op. 53 (1954) Benjamin Britten Time (1913–1976) Concord Time and Concord Country Girls Rustics and Fishermen Final Dance of Homage

26 EASTMAN PERFORMANCE SERIES Kilbourn Concert Series Wednesday, February 12, 2020 at 7:30 PM Kilbourn Hall

Straighten Up and Fly Right (1943) Nat ‘King’ Cole (1919–1965) arr. Jim Clements

“So in Love” from Kiss Me, Kate (1948) Cole Porter (1891–1964) arr. Naomi Crellin

Bogoroditse Devo from Vsenoshchnoe bdenie, Op. 37 Sergei Rachmaninoff (1873–1943)

Regina Caeli á 8 Tomás Luis de Victoria (c. 1548–1611)

INTERVAL

Bourrée from English Suite No. 2, BWV 807 J.S. Bach (1685–1750) arr. Ward Swingle

Hard by a Crystal Fountain from The Triumphs of Oriana Thomas Morley (c. 1557–1602)

As Vesta Was from Latmos Hill Descending Thomas Weelkes from The Triumphs of Oriana (1576–1623)

EASTMAN PERFORMANCE SERIES 27 Kilbourn Concert Series Wednesday, February 12, 2020 at 7:30 PM Kilbourn Hall

Moondance (1970) Van Morrison (b. 1945) arr. Alexander L’Estrange

“Cheek to Cheek” from Top Hat (1935) Irving Berlin (1888–1989) arr. Jim Clements

Sway (1953) Luis Demetrio/Pablo Beltrán Ruiz (1931–2007) / (1915–2008) arr. Alexander L’Estrange

One Note Samba (1960) Antônio Carlos Jobim (1927–1994) arr. Naomi Crellin

Voces8’s exclusive North American booking representative is Opus3 Artists, 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.Opus3Artists.com

Voces8’s General Manager is Edition Peters Artist Management, 2-6 Baches Street, London, N1 6DN ikonarts-editionpeters.com

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VOCES8 Camerata, the Edvard Grieg Kor, Hugo Ticciati, the Orchestre Philharmonique de Monte-Carlo, he British vocal ensemble VOCES8 is proud to and with baroque violinist Rachel Podger, with Tinspire people through music and share the joy whom the critically acclaimed ‘Guardian Angel’ of singing. Touring globally, the group performs project will continue. Touring highlights of the an extensive repertory both in its a cappella season include concerts throughout the UK and concerts and in collaborations with leading Europe, across USA and Japan, and debut visits orchestras, conductors and soloists. Versatility to Australia and Lithuania. and a celebration of diverse musical expression are central to the ensemble’s performance and With an on-going programme of recordings, education ethos. videos and live broadcasts, VOCES8 is heard regularly on international television and radio. VOCES8 has performed at many notable venues The ensemble is a Decca Classics artist and including Wigmore Hall, Bridgewater Hall, has released acclaimed recordings that have Elbphilharmonie, Cité de la Musique, Vienna all reached the top of the classical charts. Konzerthaus, Tokyo Opera City, NCPA Beijing, A new album is planned for 2019. VOCES8 has Mariinsky Theatre Concert Hall, Victoria Concert premiered commissions from Roxanna Panufnik, Hall Singapore and the Palacio de Bellas Artes Alexander Levine, Alec Roth, Ben Parry, Ola Gjeilo, Mexico City. This season they will add the Sydney Philip Stopford, Graham Lack, Thomas Hewitt Opera House, Muziekgebouw aan’ t IJ and La Jones, and Owain Park. 2019 will see the premiere Seine Musicale Paris to that list. Keen musical of a commission by Jonathan Dove to mark the collaborators, this season will see concerts culmination of his period as the group’s Composer with the Academy of Ancient Music, Manchester in Residence.

EASTMAN PERFORMANCE SERIES 29 guest artists VOCES8 is passionate about music education renowned and unique teaching tool is available and is the flagship ensemble of the music charity in four languages and adopts music to VCM Foundation. Engaging in a broad range of enhance development in numeracy, literacy and outreach work that reaches up to 40,000 people linguistics. Also available are two anthologies a year, the group runs an annual programme of of its arrangements, and an ever-expanding workshops and masterclasses at the Foundation’s ‘VOCES8 Singles’ range. This season the home in London, the Gresham Centre at St Anne ensemble becomes Ambassador for the Tido & St Agnes Church. Dedicated to supporting App, an inspirational resource and learning tool promising young singers, the group awards created by Edition Peters. The VOCES8 Method eight annual choral scholarships through the and music arrangements will be made available VOCES8 Scholars initiative. These scholarships via Tido during the 2018/19 season. are linked to the annual Milton Abbey Summer School at which amateur singers of all ages are VOCES8 is very grateful for support from Arts invited to work and perform with VOCES8. The Council England, the Merchant Taylors’ Company, ensemble is proud to be the Associate Ensemble the Worshipful Company of Plaisterers, Holman for Cambridge University and delivers a Masters Fenwick Willan, and T.M.Lewin. programme in choral studies.

As official Ambassadors for Edition Peters, the ensemble publishes educational material including the ‘VOCES8 Method’. Developed by Paul Smith, co-founder of VOCES8, this

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Kilbourn Concert Series Friday, February 20, 2020 at 7:30 PM Kilbourn Hall Avi Avital, mandolin Bridget Kibbey, harp

Sonata in E-flat Major, BWV 1031 J.S. Bach Allegro moderato (1685–1750) Siciliano arr. Avital/Kibbey Allegro

Siete Canciones Populares Españolas Manuel de Falla El paño moruno (1876–1946) Seguidilla murciana arr. Avital/Kibbey Asturiana Jota Nana Canción Polo

Three Jewish Dances, Op. 192 (1945) Marc Lavry Sher (1903–1967) Yemenite Wedding Dance arr. Avital/Kibbey Hora

INTERMISSION

32 EASTMAN PERFORMANCE SERIES Kilbourn Concert Series Friday, February 20, 2020 at 7:30 PM Kilbourn Hall

Sonata in G Minor, H 542.5 C.P.E. Bach Allegro (1714–1788) Adagio arr. Avital/Kibbey Allegro

The Seasons, Op.37a Pyotr Ilyich Tchaikovsky January: By the Hearth (1840–1893) February: The Carnival arr. Avital/Kibbey March: Song of the Lark April: Snowdrop May: White Nights June: Barcarole July: Reaper’s Song August: The Harvest September: The Hunt October: Autumn Song November: On the Troika December: Christmas-Tide

Cuatro madrigals amatorios (1948) Joaquín Rodrigo ¿Con qué la lavaré? (1901–1999) Vos me matásteis arr. Avital/Kibbey ¿De dónde venís, amore? De los álamos vengo, madre

EASTMAN PERFORMANCE SERIES 33 guest artists AVI AVITAL

“A musician who recognizes no boundaries except those of good taste and who has the artistry to persuade listeners to follow him anywhere.” —Gramophone

“The words ‘superstar’ and ‘mandolinist’ still look odd next to each other. Yet in the classical world they are starting to be joined with some frequency…Avi Avital…was nothing short of electric.” —The New York Times

he first mandolin soloist to be nominated Tfor a classical Grammy, Avi Avital has been compared to Andres Segovia for his Between Worlds (2014), a cross-generic chamber championship of his instrument and to Jascha collection exploring the nexus between classical Heifitz for his incredible virtuosity. Passionate and traditional music. and “explosively charismatic” (New York Times) in live performance, he is a driving force behind In 2018/19, Avital returns to Carnegie Hall the reinvigoration of the mandolin repertory. More to make his debut on the main stage with the than 100 contemporary compositions have been Orpheus Chamber Orchestra. Highlights of that written for him, 15 of them concertos including by season in the U.S. also include play-directing the Anna Clyne, Avner Dorman, and Giovanni Sollima Seattle Symphony, and performances with the which will be premiered in 2019/20. Enhanced by Detroit Symphony, San Diego Symphony, and Los his infectious spirit of adventure and the warm Angeles Chamber Orchestra. He also returns to rapport he fosters with his audience, Avital’s Canada to perform with Les Violons du Roy, ahead championship of his instrument is taking the of a North American tour in the following season. mandolin centre stage. In the Spring of 2019, following on from his most recent Deutsche Grammophon recording, Avital An exclusive Deutsche Grammophon artist, he tours North America with bassist Omer Avital. has made four recordings for the label. Recently Recent appearances in the U.S. also include released Avital meets Avital (2017) with oud/ performances with the St. Louis Symphony, Los bassist, Omer Avital, explores their shared Angeles Philharmonic, Montreal Symphony, and cultural heritage and brings their differing Chicago Symphony. classical and jazz musical backgrounds into dialogue. Earlier releases featured original Avital’s inspired music-making has electrified concerti and transcriptions by Vivaldi (2015) his audiences in performances around the world. own Bach concerto transcriptions (2012) and He has performed with orchestras such as the

34 EASTMAN PERFORMANCE SERIES guest artists Juan Diego Flórez, Dawn Upshaw, Giora Feidman, Ray Chen, David Greilsammer, Richard Galliano, Ksenija Sidorova, percussionist Itamar Doari, and the Dover and Danish String Quartets. He was featured artist in a Zeitsinsel at the Dortmund Konzerthaus where he curated a weekend of programmes featuring classical, jazz, and improvisations and a new collaboration with the Venice Baroque Orchestra and Georgian puppet theatre, Budrugana Gagra.

Born in Be’er Sheva in southern Israel, Avital began learning the mandolin at the age of eight and soon joined the flourishing mandolin youth orchestra founded and directed by his charismatic teacher, Russian-born violinist BBC Symphony Orchestra, Deutsche Symphonie Simcha Nathanson. He later graduated from the Orchester Berlin, Maggio Musicale Fiorentino, Jerusalem Music Academy and the Conservatorio Tonhalle Zurich, Israel Philharmonic, Dresden Cesare Pollini in Padua, Italy, where he studied Phiharmonic, and Tasmania Symphony Orchestra, original mandolin repertoire with Ugo Orlandi. under conductors such as Zubin Mehta, Kent Winner of Israel’s prestigious Aviv Competition Nagano, Osmo Vänskä, Ton Koopman, and in 2007, Avital is the first mandolinist in the Giovanni Antonini. Performances have taken him history of the competition to be so honoured. to Beijing’s National Centre for the Performing He plays on a mandolin made by Israeli luthier Arts, London’s Wigmore and Royal Albert Arik Kerman. Halls, Berlin Philharmonie, Zurich’s Tonhalle, Barcelona’s Palau de la Música Catalana, Paris Instrument: Arik Kerman (1998) Philharmonie, Vienna Konzerthaus, New York’s Strings: Thomastik-Infeld (154, Medium) Carnegie Hall, and Palais de Versailles with a live telecast on TV Arte. BRIDGET KIBBEY

He is a favourite on the international festival ccording to the New York Times, harpist circuit having appeared at the Aspen, Salzburg, ABridget Kibbey “…makes it seems as though Tanglewood, Spoleto, Ravenna, Cheltenham the instrument had been waiting all its life to and Verbier Festivals, amongst others, and he explode with the energetic figures and gorgeous was Portrait Artist at the Schleswig-Holstein colors she was getting from it.” Music Festival in 2017 which involved over 20 performances of 10 different programmes. Called the “Yo-Yo Ma of the harp,” by Vogue’s Artistic partners in a variety of genres with Senior Editor Corey Seymour, Bridget Kibbey is whom he collaborates include Andreas Scholl, a winner of a prestigious Avery Fisher Career

EASTMAN PERFORMANCE SERIES 35 guest artists Grant, a Salon de Virtuosi SONY Recording Grant, Kibbey has toured and recorded with luminaries an artist with the Chamber Music Society of Placido Domingo, Dawn Upshaw, and Gustavo Lincoln Center, and winner of Premiere Prix at Santaollalo for SONY Records and Deutsche the Journées de les Harpes Competition in Arles, Grammaphon; and, her own debut album, Love France. Kibbey has fast gained a reputation for is Come Again, was named one of the Top Ten her diverse, energetic programming that spans Releases by Time Out New York. the baroque, French Masterworks, and rhythmic migration in South America. Bridget Kibbey’s solo performances have been broadcast on NPR’s Performance Today, New Upcoming highlights include: Multiple tours York’s WQXR, WNYC’s Soundcheck, WETA’s Front of her own adaptations of J.S. Bach’s keyboard Row Washington, WRTI’s Crossover, and on concerti alongside the Dover Quartet in the U.S. television in A&E’s Breakfast with the Arts. Most and Canada, a ten-city duo collaboration with recently she was named “Best in Studio 2018” by mandolinist Avi Avital, and various solo recitals WQXR for her performance of her own adaptation around the United States. She premieres a new of J.S. Bach’s Toccata and Fugue, live on air. harp concerto with four American Orchestras— written by composer João Luiz Rezende—exploring Kibbey appears frequently as soloist and chamber the evolution of Brazilian popular dance forms on musician at festivals and series across the the harp, alongside her own Bach transcriptions globe, including Schloss Elmau, Pelotas Festival, with string orchestra, starting with the Orlando Lincoln Center’s Mostly Mozart, Aspen, Bravo!Vail, Philharmonic, paired with Bach’s Harpsichord Santa Fe, Spoleto, Big Ears Knoxville, Chamber Concerto in F Minor. Music Northwest, Bridgehampton, Bay Chamber, Savannah Music Festival, and Music@Menlo. She returns to the Chamber Music Society of Lincoln Center and Boston’s Isabella Stewart Gardner, presenting French Masterworks by Debussy, Ravel, and Caplet.

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Eastman-Ranlet Series Sunday, February 23, 2020 at 3:00 PM Kilbourn Hall Schumann Quartet

String Quartet No. 20 in D Major, K. 499 Wolfgang Amadeus Mozart (“Hoffmeister”) (1756–1791) Allegretto Menuetto and Trio. Allegretto Adagio Allegro

String Quartet No. 9 in E-flat Major, Op. 117 Dmitri Shostakovich Moderato con moto (1906–1975) Adagio Allegretto Adagio Allegro

INTERMISSION

String Quartet in E Minor, Op. 44, No. 2 Felix Mendelssohn Allegro assai appassionato (1809–1847) Scherzo. Allegro di molto Andante Presto agitato

Erik Schumann, violin Ken Schumann, violin Liisa Randalu, viola Mark Schumann, cello

Schumann Quartet is represented by ARTS MANAGEMENT GROUP 130 West 57 th Street, Suite 6A, NYC 10019

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SCHUMANN QUARTET among the quartet’s current partners. A highlight in the 2018/19 season continues to be its three- “Personal and profound” (BBC Music Magazine); year residency at Chamber Music Society of the “With no ifs or buts, the ‘Schumanns’ are among Lincoln Center in New York City, which began back the best quartets in the world” (Süddeutsche in December 2016. Furthermore, the quartet will Zeitung); and certainly “one of the most exciting go on tour in Israel and twice in the U.S., will string quartets of the present day” (Fono Forum). give guest performances at festivals in Germany, Austria, France, the Netherlands, and Bulgaria he Schumann Quartet has reached a stage and will also perform concerts in the big musical ​Twhere anything is possible, because it metropolises of London, Amsterdam, Vienna, has dispensed with certainties. This also has Hamburg, and Berlin. In addition, the ensemble is consequences for audiences, which from one “artiste étoile” at the Oraniensteiner Konzerte and concert to the next have to be prepared for all is looking forward to their two annual concerts eventualities: “A work really develops only in a as part of its long-term residency at the Robert- live performance,” the quartet says. “That is the Schumann-Saal in Düsseldorf. ‘real thing,’ because we ourselves never know what will happen. On the stage, all imitation ​ The quartet’s current album Intermezzo (2018 | disappears, and you automatically become honest Schumann, Reimann with Anna-Lucia Richter with yourself. Then you can create a bond with and Mendelssohn Bartholdy) has been hailed the audience—communicate with it in music.” enthusiastically both at home and abroad and This live situation will gain an added energy in is celebrated as a worthy successor to its award- the near future: Sabine Meyer, Menahem Pressler, winning LANDSCAPES album, in which the quartet Andreas Ottensamer, and Anna Lucia Richter are traces its own roots by combining works of Haydn,

EASTMAN PERFORMANCE SERIES 39 guest artists Bartók, Takemitsu, and Pärt. Among other prizes, Teachers and musical partners, prestigious the latter received the Jahrespreis der deutschen prizes, CD releases—it is always tempting to Schallplattenkritik, five Diapasons, and was speculate on what factors have led to many selected as Editor’s Choice by the BBC Music people viewing the Schumann Quartet as one Magazine. For its previous CD Mozart Ives Verdi, of the best in the world. But the four musicians the Schumann Quartet was accorded the 2016 themselves regard these stages more as Newcomer Award at the BBC Music Magazine encounters, as a confirmation of the path they Awards in London. have taken. They feel their musical development in recent years represents a quantum leap. “We The three brothers Mark, Erik, and Ken Schumann really want to take things to extremes, to see have been playing together since their earliest how far the excitement and our spontaneity as a childhood. In 2012, they were joined by violist group take us,” says Ken Schumann, the middle Liisa Randalu, who was born in the Estonian of the three Schumann brothers. They charmingly capital, Tallinn, and grew up in Karlsruhe, sidestep any attempt to categorize their sound, Germany. Those who experience the quartet approach, or style, and let the concerts speak in performance often remark on the strong for themselves. connection between its members. The four musicians enjoy the way they communicate And the critics approve: “Fire and energy. The without words: how a single look suffices to Schumann Quartet plays staggeringly well […] convey how a particular member wants to play without doubt one of the very best formations a particular passage. Although the individual among today’s abundance of quartets, […] personalities clearly manifest themselves, a with sparkling virtuosity and a willingness to common space arises in every musical work in a astonish” (Harald Eggebrecht in Süddeutsche process of spiritual metamorphosis. The quartet’s Zeitung). So there is plenty of room for adventure. openness and curiosity may be partly the result of the formative influence exerted on it by teachers ​Quotes taken from an interview with journalists such as Eberhard Feltz, the Alban Berg Quartet, from the online classical music magazine VAN or partners such as Menahem Pressler. (van-magazin.de).

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