The International Violin Competition of Indianapolis presents

2004-200$ Chamber Jvfusic Series

Laureate Series

The world is watchina...

Chin Kim, 1986 IVCI Laureate with Ronen Chamber Ensemble

Tuesday, December 7, 2004 7:30 PM Indiana History Center Theater

rb° program °^>

BACH Ciaccona from Partita No. 2 for Solo Violin in D minor, BWV 1004 0685-1750)

ROCHBERG Trio for Clarinet, French horn and Piano (1948, rev. 1980) (b. 1918) Liberamente; Allegro con moto Adagio - Adagio - Allegro

David Bellman, clarinet Robert Danforth, horn Sylvia Patterson-Scott, piano

rb° intermission °&

• BEETHOVEN Septet for Winds and Strings in E-flat major, Op. 20 (1770-1827) Adagio - Allegro con brio Adagio cantabile Tempo di Menuetto Tema con variazioni: Andante Scherzo: Allegro molto e vivace Andante con moto alia Marcia - Presto

Chin Kim, violin Nancy Agres, viola Ingrid Fischer-Bellman, cello Gregory Dugan, double bass David Bellman, clarinet Samuel Banks, bassoon Robert Danforth, horn Artist biographies

Guest Artist Chin Kim has been concertizing extensively throughout North America, Asia and Europe as a guest artist with the orchestras of Philadelphia, St. Louis, Montreal, and Atlanta collaborating with conduc­ tors , John Nelson, Myung Whun Chung, and . As a recitalist, Mr. Kim appears in major halls in New York, Boston, Philadelphia, Chicago, Montreal, Toronto, Brussels, and Seoul. He is currendy on faculty at the Mannes College of Music in New York. A graduate of the Curtis Institute of Music and The where he studied with famed peda­ gogues Dorothy DeLay, , and , Mr. Kim rose to prominence through prize winning performances in several of the most prestigious international violin competitions including the Concours International de Musique de Montreal, the Queen Elisabeth Competition, the Paganini Competition, and the International Violin Competition of Indianapolis. Mr. Kim's critically acclaimed debut recording of Prokofiev's Violin Concerto No. 2 with the St. Petersburg Philharmonic (Russia) and the Prokofiev Sonata No. 2 in D Major with pianist , was released on the Pro Arte/Fanfare label. Kim has also recorded the Glazunov and Tchaikovsky violin concertos, re­ leased by Inter sound/Fanfare label following performances with the Moscow Philharmonic in Tchaikovsky Hall.

Ronen Artistic Directors David Bellman has held the Robert H. Mohlman Principal Clarinet Chair in the Indianapolis Sym­ phony Orchestra since 1981. He has performed with the Rochester Philharmonic Orchestra, the Chi­ cago Symphony Orchestra, and the Lyric Opera of Chicago. Prior to arriving in Indianapolis, he was principal clarinet with the Oklahoma Symphony. Mr. Bellman has been a summer music festival par­ ticipant at the Marlboro Festival in Vermont and the Sebago-Long Lake Festival in Maine. As a soloist, he has been engaged on numerous occasions by the ISO, and has also appeared with the Carmel, Terre Haute and Lafayette symphonies. Bellman graduated with a Performer's Certificate and a Bachelor's Degree from the Eastman School of Music, and has done graduate work at the Northwestern Univer­ sity School of Music. His major teachers have included D. Stanley Hasty and Larry Combs, the Princi­ pal Clarinetist of the Chicago Symphony Orchestra.

Ingrid Fischer-Bellman is a member of the Indianapolis Symphony Orchestra cello section and appears frequently at the Christel DeHaan Fine Arts Center. She has performed at the Indianapolis Museum of Art, the University of Illinois, Wabash College, in New Harmony, and at the Sebago-Long Lake Chamber Music Festival in Maine. She has also performed as soloist with the Carmel Symphony Orchestra and the Philharmonic Orchestra of Indianapolis. Ms. Fischer-Bellman is devoted to bringing music to young people, and has an active private studio as well as a busy schedule with the ISO educa­ tion department's public school initiative, where she presents thematic programs that coordinate with teachers' curriculums. Ms. Fischer-Bellman was a scholarship recipient of the American Israeli Foun­ dation for Young Artists and she has concertized in Israel and the . She holds a Master's Degree from Indiana University where she studied with Janos Starker.

The Ensemble Nancy Agres, violist, joined the Indianapolis Symphony Orchestra in 1987. After graduating from the Indiana University School of Music, Ms. Agres played several seasons with the San Diego Sym­ phony Orchestra and Milwaukee Symphony before coming to Indianapolis. An active chamber musi­ cian, she regularly performs with Suzuki & Friends and the Ronen Chamber Ensemble.

Samuel Banks became a member of the bassoon section of the Indianapolis Symphony Orchestra in June 2004. Born in the San Francisco Bay area, Banks began his instrumental career on the clarinet at age nine and switched to bassoon at age eleven. His father, Ridgway Banks, was a composer who stud­ ied with Nadia Boulanger and provided early encouragement to Samuel's pursuit of music. Samuel Banks earned a B.M. degree from Northwestern University. Before coming to Indianapolis, he played with the Chicago Civic Orchestra, the Elgin Symphony and as a substitute with the Chicago Symphony Orchestra. He won first prize in the Van Waynen Winds Competition and has played with the Na­ tional Repertory Orchestra, the New York String Orchestra and the Kent-Blossorh Music Festival.

Robert Danforth became principal horn of the Indianapolis Symphony Orchestra in 1990, after serving in the same post with the Grand Rapids Symphony Orchestra. Previously he had held posi­ tions with the orchestras of Toledo and Omaha as well as the Cincinnati Chamber Orchestra. Born in , Mr. Danforth holds a Bachelor of Music degree from the Cincinnati-College Conservatory of Music. He has been a fellow at the Tanglewood Music Center and a member of the Civic Orchestra of Chicago, and has performed with both Suzuki & Friends and the Ronen Chamber Ensemble. He has also appeared as soloist with the ISO on several occasions.

Gregory Dugan is a graduate of Indiana University where he studied with Murray Grodner. He is a member of the Indianapolis Symphony Orchestra bass section, and has played as principal in the Na­ tional Symphony of Costa Rica and the Hong Kong Philharmonic. Mr. Dugan has also performed with the Australian Chamber Orchestra and the Shanghai Symphony. He teaches at DePauw University, is principal bass in the Oregon Coast Festival of Music, and on occasion is a substitute bassist with the Chicago Symphony Orchestra. In September 2002, he returned to Costa Rica and performed a con­ certo with the Sinfonica Nacional.

Sylvia Patterson-Scott is pianist and harpsichordist with the Scott Chamber Players, Quartet-in- Residence at the Indianapolis Museum of Art, and performs frequently with the Indianapolis Sym­ phony Orchestra on piano, harpsichord, celesta and organ. She also has appeared with Suzuki & Friends and the Ronen Chamber Ensemble. In addition to teaching piano, she coaches professional singers and has performed with vocal groups, including "Mon Choeur" of the University of Indianapo- Program notes

Johann Sebastian Bach: Ciaccona from Partita No. 2 for Solo Violin in D minor, BWV 1004 —notes by Cathleen Partlow Strauss From 1717 to 1723 Bach lived and worked in Kothen. He was in his early thirties and had already fa­ thered seven children (four living) when his first wife died. Shortly after his wife's passing he met and married Anna Magdelena. This time frame is also notable musically because of Bach's chamber music compositions, inspired by his service to the 23-year-old talented music enthusiast, Prince Leopold von Anhalt-Kothen. Prince Leopold hand-picked his court orchestra from virtuosos found in Berlin and spent nearly a quarter of the total revenue from his princedom on his hobby. Matters of state ultimately pres­ sured his ability to fund such an expensive hobby and motivated Bach to move on to a new position. However, this period saw the creation of some of Bach's most popular instrumental works including the Brandenburg Concertos, the solo violin sonatas and partitas, the cello suites and the Well-Tempered Cla­ vier Book I. In the Partita No. 2 in D minor, Bach added a chaconne (or ciaccona) to the four common dance move­ ments. It follows the Gigue to conclude the Partita. This Chaconne is one of Bach's most beloved instru­ mental movements. Its sixty-four variations demonstrate the full range of eighteenth-century violin tech­ nique. It is frequently performed separately from the Partita, and has been transcribed for other instru­ ments. Originally a dance from Spain, it has a slow pulse in three and is often in a minor key. Bach's Cha­ conne uses the rhythm of a sarabande, with the stress on the second beat. The chaconne is a continuous theme and variations in which a four-measure subject is repeated and varied. The subject or theme occurs as a scheme of harmonies. The first and last chords are generally fixed, but the middle ones can be substi­ tuted, giving the movement its feel of variation. Bach demonstrated his genius in the D minor Chaconne effecting changes in the variations mostly by the use of thematic transformations and chord substitutions.

George Rochberg: Trio for Clarinet, French horn and Piano (1948, rev. 1980) —notes by Larry Combs George Rochberg is one of the leading composers of 20th century America. He has written an opera, cho­ ral works, symphonies and numerous other orchestral pieces. His chamber works include seven string quartets and works for many instrument combinations from duos to octets. He has taught at the Curtis Institute and at the University of Pennsylvania, where he was chairman of the music department. From 1951 until 1960, he was Director of Publications for . His numerous writings on music were published in 1984 under the title, The Aesthetics of Survival. In his compositions he followed 20th century trends; however, in the 1960s, he confirmed his convictions about the role of music in soci­ ety when he said: "Music is not engineering and I stick fast to my conviction that music retains a deep connection with existence as we feel rather than think it." His Trio for Clarinet, French horn and Piano was revised more than 30 years after it was written, but no significant changes were made, according to Rochberg. He "just edited" the score from the vantage point that one is able to look at an earlier work with greater clarity. A tonal work, the first movement is based loosely on sonata form. Rochberg creates a powerful tension by combining two themes using counterpoint -- one with a fast melodic motion and the second (a cantus firmus or fixed melody) with slow melodic motion. The second movement, marked Adagio, falls into three sections. The very soft opening presents the clarinet and muted horn in a parallel melodic counter­ point. The piano then enters alone following with a varied repetition. In the second section, the wind instruments join the piano with the instruments calling one another using a melodic third interval. The composer writes in this section "out of the realm of personal, subjective feeling into the realm of nature." This atmospheric music builds and becomes more agitated, then subsides into a molto adagio with the muted horn "like a distant fanfare." The clarinet echoes, with an expressive line that leads to the softest moment in the piece. The piano makes a sudden crescendo to an intense fortissimo, and then reaches a louder climax with the entire ensemble. The opening material returns, now divided between all the in­ struments, and the piece closes quietly.

Ludwig van Beethoven: Septet in E-flat major for Winds and Strings, Op. 20 —notes by Larry Combs Considered by some to be Beethoven's most popular work, the opus 20 septet was very successful at the time of its composition. "They liked this septet," wrote Beethoven to his publisher. Indeed, many ar­ rangements for various combinations were made by the composer. Originally performed at a private party of Prince Schwarzenburg, this septet is perhaps modeled after Mozart's K. 334 Divertimento for Strings. The two works share the same number and arrangement of movements, including a theme and variations. The Septet's six movements display a wide variety of musical styles and moods. The brief Adagio intro­ duction announces the grand scale of the work with its full forte chords stated by the entire ensemble. The dominant role the violin plays throughout the work is made clear in this opening. A light-hearted Allegro con brio first movement is followed by a more introspective Adagio second movement, which has an elegant clarinet cantilena. In the third movement Minuet, Beethoven borrows a theme from his own opus 49 piano sonata in G (which was not yet published at the time). For the fourth movement, Beetho­ ven employs his favorite form, a theme with variations. The theme, in this case, is taken from a simple folk tune from the lower Rhine, "Ach Schiffer, lieber Schiffer. " The fifth movement is a genial Scherzo, be­ ginning with a horn call, and highlighting the cello in its elegant trio section. A brief march introduces the sixth movement, bringing to mind the funeral march that Beethoven used in his third symphony. The exu­ berant main theme is stated initially by the violin, and then by the winds. A solo cadenza by the violin precedes the recapitulation of the main theme, and the work is brought to a rousing conclusion with a flurry of virtuosic violin scales and arpeggios. UPCOMING CONCERTS Tuesday, February 8 7:30 PM Indiana History Center Theater Suzuki and Friends with former Fellows in Chamber Music Shostakovich: Piano Trio Mozart: Flute Quartet in D major, K. 285 Brahms: Horn Trio

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