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Laureate Series 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 Leonard Slatkin, John Nelson, Myung Whun Chung, and Sixten Ehrling. 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 Juilliard School where he studied with famed peda­ gogues Dorothy DeLay, Ivan Galamian, and Josef Gingold, 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 David Oei, 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 United States. 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 Detroit, 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 Theodore Presser Company. His numerous writings on music were published in 1984 under the title, The Aesthetics of Survival.
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