Poetic Inspirations Alex Klein Works for Oboe, & Piano Richard Young viola Ricardo Castro piano August Klughardt (1847–1902) Schilflieder (Songs of the Reeds), Op. 28 (1872) (19:35) 1 1. Langsam, träumerisch (3:40) Producer: James Ginsburg 2 2. Leidenschaftlich erregt (2:38) 3 Engineer: Bill Maylone 3. Zart, in ruhiger Bewegung (5:40) 4 4. Feurig (2:47) Graphic Design: Melanie Germond 5 5. Sehr ruhig (4:38)

Cover: Immortalité by José Roosevelt Charles Martin Loeffler (1861–1935) Oil on canvas, 50 x 60 cm, 1994 / Private collection, Bulle () Two Rhapsodies for Oboe, Viola, and Piano (1901) (21:23) illustrations on pp. 7 & 12 also by José Roosevelt 6 I. L’Étang: Lento (un poco Andante) (9:30) 7 II. La Cornemuse: Un poco maestoso (11:50) Recorded: April 19, 20, 22 and 23, and October 16-17, 2007 at WFMT, Chicago Felix White (1884–1945) Publishers: 8 Modinha © Marco Aurélio Yano, 1984 The Nymph’s Complaint for the Death of her Fawn (1921) (8:08)* Trio for Viola, Heckelphone, and Piano, Op. 47 © B. Schott’s Söhne, Mainz, 1929 / © renewed P. Hindemith, 1957 Marco Aurélio Yano (1963–1991) The following instruments were used for this recording: 9 Modinha (1984) (2:45)* Viola: Peregrino di Zanetto (Brescia, ca. 1560) Oboe: F. Lorée Paul Hindemith (1895–1963) Piano: Steinway Technician: Charles Terr Trio for Viola, Heckelphone, and Piano, Op. 47 (1928) (14:44) Bass oboe (Hindemith): F. Lorée Erster Teil (7:03) bk Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation24 devoted to Solo: Sehr lebhaft, stürmisch— (1:00) promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are bl Arioso: Sehr langsam— (4:32) supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including bm Duett: Lebhaft (1:31) the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. Zweiter Teil: Potpourri (7:37) bn I. Schnelle Halbe— (2:39) bp III. Schnelle Halbe— (1:36) Contributions to The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or 773-989-2515. bo II. Lebhaft. Ganze Takte— (1:46) bq IV. Prestissimo (1:35) CDR 90000 102 P&C 2008 Cedille Records Trademark of The Chicago Classical Recording Foundation. All Rights Reserved. TT: (67:10) *World Premiere Recording August Klughardt — as in the second piece, when wind and pelt- Schilflieder (Songs of the Reeds) And I fancy I can hear 1–5 Schilflieder (Songs of the Reeds), Op. 28 ing rain envelop the familiar scene by the pond. Poems by Nikolaus Lenau the gentle music of your voice The third piece is a hushed and vulnerable while your charming song is sinking This recording project has revealed a number dream — a bittersweet recollection of happier 1 Over there the sun is setting, into the pond without a trace. of unexpected treasures, the most unlikely of days. ( used this same Lenau poem weary day sinks into sleep and the willows hang down low which might be Schilflieder because August for one of his Seven Early Songs.) In the fourth 4 The sun has gone down; to the pond, so calm so deep. Klughardt is virtually unknown today, even piece, a violent thunderstorm is in full fury black clouds are drifting, among most professional musicians. During when a burst of lightening suddenly illuminates And my love is lost forever, sultry and anxious his career as a Kapellmeister in Posen, Neus- what appears to be the woman’s face reflected flow, oh tears, which no one heeds, all the winds are fleeing! trelitz, Lubeck, and Dessau, he wrote numer- in the surface of the pond, her rain-soaked hair sad the wind through willows rustles, Furiously across the sky ous and symphonic works and some whipped about by the howling wind. weaving through the shivering reeds. pallid lightning sears . Not one of his compositions In the depth of desolation and her transient image has found its way into the standard repertoire, As colorful and dramatic as the music has been you shine brightly from afar, in the pond appears. thus far, Klughardt saves the best for last. For however, although his woodwind quintet is while through reeds and rushes brightly In the stormy light occasionally mentioned by wind players. Nev- in the fifth piece, the two lovers appear at last shines the gentle evening star. ertheless, despite its obscurity, this piece for to “talk” to each other! After a soul-wrench- I seem to see your form piano, oboe, and viola is hauntingly beautiful ing outpouring in the viola comes a heav- and your loosened hair 2 and deserves to be heard. enly 2-note “cry” in the oboe. Just as Robert Waning light, the clouds are scurrying blowing in the storm! Schumann evokes his beloved “Cla-ra” with a and the rain falls like a stone, and the noisy winds cry sadly: Schilflieder (Songs of the Reeds) was composed 2-note falling fifth (in his third 5 Motionless upon the pond “Pond, where has your starlight flown?” in 1872 in a grand romantic spirit reminiscent and the ), the woman here calls lies the moonlight’s gentle glow, of , to whom it was dedicated. Its five out with a 2-note falling sixth. What follows is Seeking the light, extinguished weaving her pallid roses pieces are based on poems by Nikolaus Lenau, a touchingly poignant “conversation” — his in the depths, whipped by the storm. into the reed’s green wreath below. whose verses are printed in the score above the still-tormented soul expressed by the viola, Never more your love will smile Stags, roving on the hills, relevant passages. They tell the story of a man her more reassuring voice by the oboe. The on my heart’s profoundest gloom! look up into the night, who has lost the love of his life. Overwhelmed two eventually “harmonize” one another in sometimes the dreaming birds music of sincere and heartfelt rapture. And in by despair, he withdraws to a secluded place 3 Oft on secret forest paths stir in the depths of the reeds. by a pond where reeds grow in the shallow wa- one extraordinary moment near the end, just I creep in the evening glow I drop my tearful gaze; ters near the shore. Here he grieves and remi- after “a quiet evening prayer,” the oboe’s ten- to the lonely banks of rushes, my soul is pierced to the core nisces about his lost love. der melody is seamlessly passed to the viola, as darling girl, and think of you. though the lovers’ salty tears are mingling one by sweet memories of you, From the earliest moments of the first piece, last time. All prior despair is reconciled as this When the shrubs begin to darken like a quiet evening prayer. one is overwhelmed by the man’s private pa- deeply moving work concludes with a soft but the reeds tell of mysteries deep, thos. Different memories are subsequently wistful “cry” — yet again, a falling sixth. and a plaintive, whispering voice tells me I must weep, must weep. Translation by Gery Bramall evoked by changes in the weather and the light — Richard Young 4 5 Charles Martin Loeffler At age 13, Loeffler resolved to become a of the moon’s “ghostly face, with flattened influenced by his Prussian origins. Yet if his 6–7 Two Rhapsodies professional musician. He studied in nose and weirdly vacant jaw, like death’s heart still carried bitterness toward those with and composition head lit from within.” The second rhapsody who took away his father when he was 12 Of all the works on this CD, this comes clos- in Paris with . At age 20, he (The Bagpipe) imitates the characteristic years old, there is no hint of it in his music. est to occupying a place in today’s “standard emigrated to America, where only one year sounds of that primitive yet hauntingly ex- For what is so compellingly expressed in repertoire.” It turns up with surprising fre- later he become assistant concertmaster of pressive instrument, in a lush setting that these Two Rhapsodies is the wondrous ex- quency, not only on mixed chamber music the Boston Orchestra — a post he could not be more “Romantic.” hilaration, curiosity, and rapture of a young programs that have become the norm at so held for over 2 decades. This prestigious po- person’s private imaginary realm. Despite many summer festivals, but also at conserva- sition enabled him to have numerous com- Loeffler embraced a musical philosophy all the comfortable trappings of Charles tory concerts and viola and oboe “congress- positions performed by that great orchestra, post-Romantic literature called “decadent.” Martin Loeffler’s very successful and satisfy- es” the world over. In fact, violists and oboists and to be a frequent concerto soloist. In fact, He and composers such as Frank Bridge ing adult life, could this realm have been a have probably played this piece more often Loeffler gave the American premieres of believed that one could not fully appreci- still-necessary escape from the nightmares than any other chamber work that combines violin concertos by Saint-Saëns, Bruch, and ate happiness without first confronting the of Martin Karl Löffler’s childhood? these two instruments — with the possible Lalo. He used these valuable opportunities depths of sadness. The promise of “enlight- — Richard Young exception of the Mozart oboe quartet. to cultivate personal relationships with many enment” comes only to those who first navi- influential musicians including Gabriel Fauré, gate “the darkness.” In these Two Rhapsodies, Until fairly recently, it was widely believed , Eugène Ysaÿe, and even Rollinat’s sometimes morbid images should that Charles Martin Loeffler was born in . Unlike the unfortunate Fe- therefore be seen in a larger context — as (France) to German parents. Through- lix White, Loeffler was in the right place at the part of the sometimes harsh and shocking out his long and successful career, his right time, with direct access to the highest landscape which lines the path that ulti- “cosmopolitan” upbringing and the “typi- echelons of the music profession. mately leads to a more serene and fulfilling cally Alsatian character” of his music were destination. Loeffler’s musical expression often mentioned. Loeffler himself did little to The Two Rhapsodies for Oboe, Viola, and Piano of this poetry is even more powerful than discourage these misleading impressions. date from 1901. But they were originally con- the words alone. Not unlike a mini-, He rarely admitted that his actual birth name ceived in 1898 as a set of Three Rhapsodies it presents colorful and dramatic tone- was Martin Karl Löffler, that he was born in for Voice, , Viola, and Piano. When the pictures that capture the spirit of French Schöneberg, not far from Berlin, and that clarinetist for whom they were intended was Impressionism, but are also imbued with a both sides of his family were of Prussian tragically killed, Loeffler reworked the mate- wide-eyed New World freshness. origin. It was some years after the Prussians rial so it could be performed by an oboist he imprisoned and tortured his father that had befriended. Based on evocative poems The New World had a similar effect on An- Loeffler turned his back on his true ancestry by Maurice Rollinat, the Two Rhapsodies are tonin Dvořák when he settled in the United and “became” Alsatian. This helps to explain reminiscent of Fauré and Chausson. The first States around the same time. But unlike his musical style that was far more French rhapsody (The Pool) expresses a vivid fantasy- Dvořák, whose “American” musical language than German. world of “aged fish struck blind… goblins… always reflected his Czech heritage, Loeffler and consumptive toads,” all under the glow rarely allowed the flavor of his music to be 6 7 Felix White pieces. Though he had submitted countless 8 The Nymph’s Complaint others, they had all been rejected or were Poems by Maurice Rollinat for the Death of her Fawn never performed.

Throughout music history there have been Sadly, this has been the reality faced by many 6 THE POOL many fine musicians who were more tal- struggling composers, before and after Felix Full of old fish, blind-stricken long ago, the pool, under a near sky rumbling dull ented than successful. One such was British White. They have found themselves caught thunder, bares between centuries-old rushes the splashing horror of its gloom. composer Felix White, who wrote a surpris- in the middle of two questions that pull in ingly large number of works, few of which opposite directions: How can you become well Over yonder, goblins light up more than one marsh that is black, sinister, were known beyond his own circle of friends known unless you receive important perfor- unbearable; but the pool is revealed in this lonely place only by the croakings of and associates. Today, over a hundred of his mance and recording opportunities? But how consumptive frogs. compositions are listed in the British Library’s can you get these opportunities if you are not catalogue of British music, including sym- already well known? As a consequence, com- Now the moon, piercing at this very moment, seems to look here at herself phonic poems, chamber music, songs, pieces posers toil all too often in obscurity, taking fantastically; as though, one might say, to see her spectral face, her flat nose, for string orchestra, and solo piano works. He music-related jobs as they come along. They the strange vacuity of teeth — a death’s-head lighted from within, about to peer also orchestrated many piano pieces, includ- try to take advantage of their limited access into a dull mirror. ing Beethoven’s Diabelli Variations. Though to the “music establishment” — sometimes he was labeled “one of the most character- through colleagues who (for reasons that are istic” English composers during the 1920s, often inexplicable) have become relatively this is a far cry from the praise that others of successful. They knock on many doors, figu- 7 THE BAGPIPE similar ability received at the time. ratively and literally, but for the most part His bagpipe groaned in the woods as the wind that belleth; and never has stag at end up living in the shadows of the music bay, nor willow, nor oar, wept as that voice wept. Why is this? First of all, White never wrote a profession. Their greatest satisfaction is more major symphony or choral work — the kind private than public — derived from the con- Those sounds of flute and hautboy seemed like the death-rattle of a woman. of music that might have made a grand viction that they have written music that is Oh! his bagpipe, near the cross-roads of the crucifix! impression on the British public. Moreover, worthy, even if it is not successful. none of his music was recorded during his He is dead. But under cold skies, as soon as night weaves her mesh, down deep lifetime and relatively few works were pub- Felix White was born into a Jewish family in my soul, there in the nook of old fears, I always hear his bagpipe groaning as lished. Most have existed solely in manu- whose original name was Weiss. He was en- of yore. script form, only occasionally acknowledged tirely self-taught, except for piano lessons in the small print of music journals or library he received from his mother at an early age. Translation by Philip Hale catalogues. Even a Google search has little In 1931, he joined the London Philharmonic to offer about Felix White. His greatest pub- Orchestra as the celesta and piano player. lic success probably came during the 1930s, He wrote many articles, did a number of when the BBC finally aired a couple of his translations, and edited works by other 8 9 composers. Hopes were high when John The Nymph’s Complaint Said he, ‘Look how your huntsman here It is a wondrous thing, how fleet Barbirolli asked him to write a Poem for For the Death of Her Fawn Hath caught a fawn to hunt his dear.’ ‘Twas on those little silver feet. and piano — a work White considered one Poem by Andrew Marvell But Sylvio soon had me beguiled. With what a pretty skipping grace, of his very best. But any chance this might This waxed tame, while he grew wild, It oft would challenge me the race: have led to important future opportunities The wanton troopers riding by And quite regardless of my smart, And when ‘t had left me far away, vanished when Barbirolli gave up the cello Have shot my fawn, and it will die. Left me his fawn, but took his heart. ‘Twould stay, and run again, and stay. to pursue his hugely successful career as a Ungentle men! They cannot thrive — For it was nimbler much than hinds; conductor. Neither Barbirolli nor anyone To kill thee! Thou ne’er didst alive Thenceforth I set myself to play And trod, as on the four winds. else (to our knowledge) ever performed the Them any harm: alas, nor could My solitary time away piece in public. Thy death yet do them any good. With this: and very well content, I have a garden of my own I’m sure I never wished them ill; Could so mine idle life have spent. But so with roses overgrown, Perhaps the only reason The Nymph’s Com- Nor do I for all this; nor will: For it was full of sport; and light And lilies, that you would it guess plaint for the Death of her Fawn is known to But if my simple prayers may yet Of foot, and heart; and did invite To be a little wilderness. us today is that it won a Carnegie Award Prevail with heaven to forget Me to its game: it seemed to bless And all the springtime of the year in 1922. This, in turn, brought it to the at- Thy murder, I will join my tears Itself in me. How could I less It only loved to be there. tention of Ralph Vaughan Williams, who Rather than fail. But, O my fears! Than love it? O I cannot be Among the beds of lilies, I praised it. If not for that, it would probably It cannot die so. Heaven’s King Unkind, t’a beast that loveth me. Have sought it oft, where it should lie; have been long forgotten, along with most Keeps register of everything: Yet could not, till itself would rise, of White’s other efforts. The piece is based And nothing may we use in vain. Had it lived long, I do not know Find it, although before mine eyes. on a psychologically complex poem by An- E’en beasts must be with justice slain, Whether it too might have done so For, in the flaxen lilies’ shade, drew Marvell. Unlike Klughardt’s Schilflieder, Else men are made their deodands. As Sylvio did: his gifts might be It like a bank of lilies laid. the music appears to be influenced by the Though they should wash their guilty hands Perhaps as false or more than he. Upon the roses it would feed, words in mostly general ways rather than In this warm life-blood, which doth part But I am sure, for ought that I Until its lips e’en seemed to bleed: by specific references. Nevertheless, the From thine, and wound me to the heart, Could in so short a time espy, And then to me ‘twould boldly trip, listener can follow the poem’s dark and Yet could they not be clean: their stain Thy love was far more better than And print those roses on my lip. tragic story. The work is in three parts. It Is dyed in such a purple grain, The love of false and cruel men. But all its chief delight was still begins with a slow and anguished lament There is not such another in On roses thus itself to fill: (Andante con moto), proceeds to a nervous The world, to offer for their sin. With sweetest milk, and sugar, first And its pure virgin limbs to fold and breathless chase (Allegro molto vivace), I it at mine own fingers nursed. In whitest sheets of lilies cold. then returns (Come Prima) to the tortured Unconstant Sylvio, when yet And as it grew, so every day Had it lived long, it would have been character of the beginning. It is colorful, I had not found him counterfeit, It waxed more white and sweet than they. Lilies without, roses within. evocative, and very skillfully composed — One morning (I remember well), It had so sweet a breath! And oft certainly deserving far more attention than Tied in this silver chain and bell I blushed to see its foot more soft, O help! O help! I see it faint: it has received. Gave it to me: nay, and I know And white (shall I say than my hand?) And die as calmly as a saint. — Ricardo Castro What he said then; I’m sure I do. Nay, any lady’s of the land. See how it weeps. The tears do come 10 11 Sad, slowly dropping like a gum. First my unhappy statue shall Marco Aurélio Yano munity. The influence of Japanese culture is So weeps the wounded balsam: so Be cut in marble; and withal, 9 Modinha not difficult to hear in his music, as a distant The holy frankincense doth flow. Let it be weeping too — but there calling in the way he delineates his phrases, The brotherless Heliades The engraver sure his art may spare, Marco Aurélio Yano wrote Modinha in 1984 in the passing nostalgia of his musical char- Melt in such amber tears as these. For I so truly thee bemoan, as a friendly gift to me. We were both at- acters, and in the way he treats all climaxes That I shall weep though I be stone: tending college composition classes at the within the work. I in a golden vial will Until my tears (still dropping) wear Universidade Estadual Paulista (UNESP) in Keep these two crystal tears; and fill My breast, themselves engraving there. São Paulo, Brazil. Marco wrote for this com- What is most striking in Marco’s music, both It till it do o’erflow with mine; There at my feet shalt thou be laid, bination as an addendum to the limited here and in the Concerto, is the depth of his Then place it in Diana’s shrine. Of purest alabaster made: repertory for oboe, viola, and piano, after involvement with it even where it relates For I would have thine image be I first discovered the Loeffler Rhapsodies. to music written for friends. Perhaps one Now my sweet fawn is vanished to White as I can, though not as thee. Modinha is a common term used to describe would expect such music to express the ca- Whither the swans and turtles go: a traditional melody in Brazil. maraderie we see in works other composers In fair Elysium to endure, wrote for their close buddies: an inside joke With mild-white lambs, and ermines pure. Marco generously wrote short works for sev- or two, or a reference to a particular quirk of O do not run too fast: for I eral of his colleagues, including works for the dedicatee’s personality. We see this in Will but bespeak thy grave, and die. viola, dedicated to our friend João Mauricio Mozart, Brahms, and Nielsen (for example) Galindo, and the two solo oboe works he when a close friend is the inspiration for a wrote for me (Seresta and Improviso). A few work. Not so with Yano. Music for him was years later, it was my recollection of these an escape, a closely guarded form of expres- beautiful works and his labor of love that sion in a world which had denied him other inspired me to commission a new oboe con- means of movement. certo from Marco. It was to be his first and only large scale work. (I recorded Marco’s It would be improper to mention Yano’s Concerto for Oboe and Orchestra for Cedille physical condition as means to magnify his Records in 2003, with Paul Freeman leading musical talent, or to give it special value. Do- the Czech National Symphony Orchestra.) ing so would belittle his work, if not insult it. Yet the two — the talent and the condition Yano was a nissei, the name used to describe — need to be addressed to understand the the first generation of Japanese immigrants reality from which Marco created his music. born in a foreign land. Brazil received a large Marco was quadriplegic from birth, which influx of Japanese nationals in the last cen- gave him a perception of our world the rest tury and boasts the largest Japanese com- of us cannot begin to comprehend. Speech, munity outside of Japan. Marco Aurélio movement, motor control, and the expres- Yano was a member of this tightly knit com- sion of common emotions took on a burden 12 13 capable of muffling emotional and artistic Paul Hindemith was not the only famous company in 1904 and first used the The Second Part (Zweiter Teil: Potpourri) output — or in the case of Marco, provid- composer who was at his very best only a following year by in the opera consists of four contrasting sections, played ing an avenue of expression that was all his, small percent of the time. This is difficult to Salome. Because the heckelphone’s baritone without pause. The first section (Schnelle arguably the only one freely given to him prove, however, since most composers tend range falls somewhere between the bassoon Halbe) relies heavily on contrapuntal tech- (other than the constant support and love to withhold pieces that don’t represent their and the English horn, the viola is here able niques such as fugue and canon. Its angular of his parents and family). Yano’s short life highest standard. This was true of Brahms, for to transcend its traditional inner-voice role and confident theme is independently em-

the Performers(1963–1991) is remembered in the few works example, who discarded many compositions to find itself perched atop the ensemble tex- bossed over a strict five or six-note ostinato mentioned here, and also several pieces for he considered unworthy. But Hindemith ture much of the time. But Hindemith must in the piano’s left hand. This is later contrast- electronic media. published virtually everything he wrote. have felt there should be certain “virtuosic ed by nervous figures that scurry and scuttle — Alex Klein This helps explain the noticeable gap be- responsibilities” required of those who are about. The second section (Lebhaft — Ganze About tween works like the gorgeous Op. 11, No. 4 allowed to breathe that rarified air normally Takte) continues the same metric pulse in a viola/, and the clever but sin- reserved for first violinists. As a very skillful similar robust fugal style. But here the addi- gularly unbeautiful octet. Hindemith’s music violist himself, he knew how to exploit and tional layers of music contribute even more Paul Hindemith was always highly intelligent. Indeed, there radically stretch the viola’s technical range to contrast and drama. The effect is similar to bk–bq Trio for Viola, Heckelphone, was no finer craftsman in the 20th century. a degree rarely seen in the standard cham- what one hears in culminating choruses of and Piano, Op. 47 It was not always inspired, however — as ber music repertoire. In fact, this trio requires Mozart operas — where individual charac- he admitted to Otto Luening with such un- uncommon virtuosity from all three instru- ters have their own unique style, pace, and The respected American composer Otto varnished candor. Nevertheless he saw this mentalists. But it always strives to achieve a temperament as they sing simultaneously Luening once told me about an interview of as a necessary consequence of his personal balance between expression and technique, from different parts of the stage. After a Paul Hindemith he conducted for The New “creative process” — a process that might between emotion and logic, between fan- light and capricious beginning, the third York Times. Otto was an engaging and trust- not have been so different from that of other tasy and structure — which is a hallmark of section (Schnelle Halbe) grows increasingly inspiring gentleman who made you feel im- great composers. Hindemith just allowed us the very best chamber music. ominous. It is suddenly interrupted by a loud mediately comfortable. But in unguarded to see more of it. sustained tritone in the piano that serves as a moments, you could find yourself revealing The Op. 47 trio has tremendous variety connection to the fourth and final section: a things you would normally never share. This Like the Op. 11, No. 4 sonata, the magnificent packed into a tight and efficient framework. dangerous Prestissimo. Hearts pounding, the must have been what happened when he got Op. 22 string quartet, and orchestral works It consists of two large parts, each of which three players gradually thicken the texture Hindemith to admit, “Eighty percent of my mu- such as Mathis der Maler, this Op. 47 Trio for is divided into smaller sections. The First Part and broaden the tempo before triumphantly sic is crap!” Otto earnestly followed up: “Then Viola, Heckelphone, and Piano is definitely in (Erster Teil) begins with a wild, schizophrenic converging on a fortissimo unison C-natural. why did you write it, Paul?” Hindemith thought the twenty percent category that is not just Solo for piano. Though brief, it contains virtu- for a moment, then said something you’d not “pretty good,” but truly extraordinary. Com- ally all the “musical DNA” Hindemith employs — Richard Young likely find in a music history textbook, pro- posed in 1928, it sizzles with drama from through the rest of the piece. Next comes a gram notes for a CD, or The New York Times for beginning to end. One reason might be that brooding Arioso for heckelphone and piano, that matter: “I had to write that eighty percent Hindemith was excited by the colorful new followed by a more animated and disquiet- in order to come up with twenty percent that’s possibilities of the heckelphone — a double- ing Duett for viola and heckelphone with really pretty good.William” Ferris (1937–2000) and thereed 2007 instrument William Ferris introduced Chorale by the Heckel piano accompaniment. 14 15 ALEX Klein richard young oboe viola

Alex Klein began his musical studies in his native Brazil at the age of nine, and made his solo At age thirteen, Richard Young was invited to perform for Queen Elisabeth of Belgium at the orchestral debut the following year, beginning his professional engagements at the age Royal Palace in Brussels. Since then he has soloed with various orchestras and has given solo of eleven. Klein earned two degrees in music performance from the Oberlin Conservatory, and chamber music recitals throughout North and South America, Europe, the Far East, Afri- studying with James Caldwell. ca, and Australia. A special award winner at the Rockefeller Foundation American Music Com- petition, he was a member of the New Hungarian Quartet as well as the violinist of the Rogeri Klein won first prize in the first New York International Competition for Solo Oboe Players, . From 1985 to 2007 he was the violist of the renowned Vermeer String Quartet. held at Carnegie Hall. He has received many awards worldwide, including at the 1988 Inter- national Competition for Musical Performers in Geneva, Switzerland, in which he was the first Mr. Young has performed at prestigious festivals throughout the world and recorded over oboist to be awarded the top prize since Heinz Holliger, three decades earlier. three dozen works for Teldec, Naxos, Orion, Cedille, Vox, Musical Heritage, Angelicum, and Alden Productions. He has received three Grammy nominations, and was the producer of the Mr. Klein joined the Chicago Symphony as principal oboe in 1995, leaving in 2004 due to the Vermeer Quartet’s CD of Haydn’s The Seven Last Words of Christ, which has been broadcast to onset of Musician’s Focal Dystonia. He has performed as soloist with the Chicago Sympho- over 60 million people throughout the world. Mr. Young is also the author of the best-selling ny, Philadelphia Orchestra, Orchestre de la Suisse Romande, and Chicago Sinfonietta and a book Echoes from Calvary (published by Rowman & Littlefield). number of orchestras and ensembles worldwide. He has recorded for Teldec, Boston Records, Newport Classics, Musical Heritage Society, and Cedille Records. Alex Klein won the 2002 Mr. Young has taught at Northern Illinois University, the University of Michigan, Northwest- Grammy Award for Best Instrumental Soloist with Orchestra for his recording of the Richard ern University, and North Park University, and was chairman of the string faculty at Oberlin Strauss Oboe Concerto with Daniel Barenboim and the Chicago Symphony Orchestra. Conservatory. He is also a Fellow of the Royal Northern College of Music in Manchester, Eng- land. In addition to his more traditional teaching activities, Richard Young does a substantial Klein currently performs as a soloist and conductor, is Professor of Oboe at the Oberlin Con- amount of volunteer work in inner-city Chicago for the benefit of disadvantaged children servatory, Principal Guest Conductor of the Sunflower Music Festival, Resident Conductor — at the People’s Music School, and as a supervisor of the International Music Foundation’s at the Saint Barths Music Festival, and Artistic Director of the Santa Catarina Music Festival extensive “outreach” program. in Brazil, where he unites his artistic background with social and cultural involvement with young musicians from throughout of the world.

William Ferris (1937–2000) and the 2007 William Ferris Chorale 16 17 ricardo castro piano

The outstanding Brazilian pianist Ricardo Castro received world-wide acclaim when he won the 1993 Leeds International Piano Competition, becoming the first Latin-American winner in the Competition’s history. He has given recitals in the world’s major concert halls and per- formed concertos with leading orchestras including the City of Birmingham Symphony Or- chestra, BBC Symphony, Academy of St.Martin-in-the-Fields, Royal Liverpool Philharmonic, Bournemouth Symphony, English Chamber Orchestra, Tonhalle Orchestra, Zurich Chamber Orchestra, Warsaw National Philharmonic, Bavarian Radio Symphony, Mozarteum of Salz- burg, Orchestre de la Suisse Romande, and Tokyo Philharmonic. Conductors with whom he has collaborated include Sir Simon Rattle, Yakov Kreizberg, Leif Segerstam, Alexander Lazarev, Gilbert Varga, Markus Stenz, Kazimierz Kord, and Libor Pešek.

Ricardo Castro was an exclusive recording artist for BMG Arte Nova Classics from 1995 to 2000, recording eight CDs, including Mozart piano sonatas, a Liszt recital, Manuel de Falla’s Nights in the Gardens of Spain, and a 5-CD set of Chopin Masterpieces which received great critical acclaim. He has also recorded four hand music of Schubert with Maria João Pires for Deutsche Grammophon.

Ricardo Castro was named artistic director of the Bahia Symphony Orchestra in January 2007 and started a system of youth orchestras in that Brazilian state. He also teaches at the Fribourg Conservatory in Switzerland and is involved in many social projects for children in his native Brazil.

richard young ricardo castro alex klein viola piano oboe

William Ferris (1937–2000) and the 2007 William Ferris Chorale 18 19 ALSO WITH ALEX KLEIN AND RICHARD YOUNG ON CEDILLE RECORDS

BRITTEN & BLISS Alex Klein, oboe • The Vermeer Quartet CDR 90000 093

“The string-playing is superb; add in Alex Klein’s oboe-playing, so expressive and delightfully piping in timbre, that Britten’s precocious talent is opened up quite marvelously.” FANFARE

Cedille1 Records • 5255 N Lakewood Avenue, Chicago IL 60640 • 773.989.2515 • www.cedillerecords.org1