a musical tour around the world! - Chesapeake Music

Experience the Extraordinary

a musical tour around

the world!

JUNE 4–182017E A S T O N

Q U E E N S T O W N

O X F O R D

C H E S A P E A K E

C H A M B E R M U S I C

F E S T I V A L

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INSPIRING SURROUNDINGS EXCEPTIONAL MEETINGS

An ideal retreat setting with more than 1,000 acres on Maryland's Eastern Shore.

Privacy abounds on the grounds of two estates with state-of-the-art conference facilities, 51 distinctive accommodations, farm-to-table cuisine, striking water views and notable amenities.

FOR INSPIRING SURROUNDINGS WITH EXCEPTIONAL MEETINGS, VISIT WYERIVERCONFERENCECENTER.COM OR CALL 410.827.7400

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TABLE OF CONTENTS

President’s Welcome .................................................................................................................................7

Chamber Music Artistic Director Proiles .........................................................................................8–9

Artist Proiles .....................................................................................................................................11–21

Opening Concert | Avalon Theatre: June 4 .....................................................................................23

Program Notes for June 4 Concert.......................................................................................................25

Concert | Trinity Cathedral: June 6 ...................................................................................................27

Concert | Tred Avon Yacht Club: June 8 ...........................................................................................29

Program Notes for June 8 Concert.................................................................................................30–31

Concert|Christ Church: June 9 ...........................................................................................................32

Program Notes for June 9 Concert.................................................................................................33–34

Concert|Academy Art Museum: June 10 .........................................................................................35

Program Notes for June 10 Concert ..............................................................................................36–37

Concert | Aspen Institute: June 11 .....................................................................................................38

Program Notes for June 11 Concert .....................................................................................................39

Concert | Oxford Community Center: June 14 ...............................................................................43

Concert|Academy Art Museum: June 16 .........................................................................................44


Concert|Avalon Theatre: June 17 .......................................................................................................48


Angels Concert – Watermelon Point: June 18 ..................................................................................51

Board of Directors and Thank You .................................................................................................52–53

List of Advertisers ...................................................................................................................................54

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June 2017

Dear Friends,

Welcome to the 32nd Chesapeake Chamber Music Festival, a program of Chesapeake Music. We are looking forward to two weeks of experiencing the extraordinary and hope you will enjoy many of this year’s events.

Our top goal is to present the very best in the quality of our live performances. Thanks to our founding Artistic Directors, Marcy Rosen and Lawrie Bloom, and Executive Director, Don Buxton, we are able to bring extraordinary performers to our stage. Many are old friends of the Festival, each year we meet new talent. Every single musician is professionally recognized, many internationally, many by awards.

This year brings a fresh approach to Festival programming. Beginning with the opening Avalon Theater “Tour of the World”, each concert will feature the music of one nation’s composers. You may be surprised by the music we haven’t heard recently! The Festival will end with the music of Latin America at the Angel’s Concert on June 18.

Our venues will provide new event experiences at the Tred Avon Yacht Club and a return to the Aspen Institute Inn at River House. We hope you will enjoy the receptions at several of the concerts.

We have so many people to thank. Volunteers and staf work year-round to create the Festival. And, we would simply not be able to produce our programs without the generosity of our inancial supporters. Ticket prices cover only about a third of our costs.

Chesapeake Music presents The Chamber Music Festival in June, The Monty Alexander Jazz Festival on Labor Day weekend, the Bi-annual International Chamber Music Competition in April and YouthReach program in local schools.

I hope you enjoy Chamber Music Festival 2017!

Courtney M. KanePresident, Board of Directors

PO Box 461, Easton, MD 21601 • 410-819-0380 • ChesapeakeMusic.org

Gifts that Give Back

What is it that deines your passion for music and how will you ensure that the music you love

continues for years to come?

There are three simple ways that you can support

Chesapeake Music with gifts that give back:

• Include Chesapeake Music in your will or trust;

• Make Chesapeake Music a beneiciary in your life insurance policy, IRA, 401(k), or other retirement plan; and

• Take advantage of a Charitable Gift Annuity through our partnership with Mid-Shore Community Foundation. Are you considering remembering Chesapeake Music in your estate plans? Phone or write Executive Director, Donald Buxton, 410-819-0380 or [email protected].

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Noted for his incredible lexibility, J. LAWRIE BLOOM has been heard in recital, concerto, chamber, and orchestral settings performing on the clarinet, bass clarinet, basset clarinet, basset horn, Eb clarinet, and contra bass clarinet. He has been called a “super soloist...crisp, intense indeed” by the Chicago Tribune. Mr. Bloom has been with the Chicago Symphony Orchestra since 1980, when Sir George Solti invited him to join the orchestra in the position of clarinet and solo bass clarinet.

Mr. Bloom is a senior lecturer in clarinet at the Bienen School of Music at Northwestern University. He has presented master classes all over the world and he is also an artist performer and consultant for the Bufet Crampon Group, USA, maker of his clarinets. Bloom frequently performs in the Northwestern University Winter Chamber Festival and the Chicago Symphony Orchestra Chamber and Music NOW series. He has been a featured performer at numerous International Clarinet Association conferences; last year he and his former students were honored to perform at the ICA annual conference.

Cellist MARCY ROSEN has established herself as one of the most important and respected artists of our day. In March of 2016 The New Yorker magazine dubbed her “a New York legend of the cello” and the Los Angeles Times has called her “one of the intimate art’s abiding treasures.” She has performed in recital and with orchestras throughout the world and in all ifty of the United States. In recent seasons she has appeared in China, Korea, and Cartagena, Colombia.

During this year Ms. Rosen completed a recording project with the pianist Lydia Artymiw of the complete works of Mendelssohn that will be released by Bridge Records. In addition she performed in New York, Boston, Philadelphia, San Francisco, Minneapolis and many other cities across the United States.Ms. Rosen has collaborated with the world’s inest musicians, including Leon Fleisher, Richard Goode, Andras

J. Lawrie Bloom

Clarinet, Founder and Artistic Director Chesapeake Chamber Music Festival

Cello, Artistic DirectorChesapeake Chamber Music Festival

Schif, Mitsuko Uchida, Jonathan Biss, Peter Serkin, and Isaac Stern, among others, and with the Juilliard, Johannes, Emerson, Daedelus and Orion Quartets. She is a founding member of La Fenice as well as the Mendelssohn String Quartet. With the Mendelssohn she was Artist-in-Residence at the North Carolina School of the Arts and for nine years served as Blodgett-Artist-in-Residence at Harvard University. Since irst attending the Marlboro Festival in 1975, she has taken part in 21 Musicians from Marlboro tours and has performed in concerts celebrating the 40th, 50th, and 60th anniversaries of the festival.

A graduate of the Curtis Institute of Music, Ms. Rosen is currently professor of cello at the Aaron Copland School of Music at Queens College, and serves as Artistic Director of the Chamber Music Live concert series. She also serves on the faculty at the Mannes College of Music in New York City.

Mr. Bloom has been a featured performer at Ambler, Grand Teton, Ravinia, Skaneateles, Spoleto, and New York’s Mostly Mozart festivals. He toured with the Orpheus Chamber Orchestra, and he has collaborated with the Chester, Chicago Symphony and Mendelssohn string quartets, the Chicago Chamber Musicians, and members of the Ridge, Orion and Vermeer string quartets.

The Civitas Ensemble, of which Mr. Bloom is a founder and artistic director, performed in Prague in 2016 in collaboration with the Gipsy Way Ensemble. This collaboration, supported by a generous grant from the MacArthur Foundation International Connections Fund, included an exchange of concerts and presentations in Prague and Chicago. Civitas continues their residency at Valparaiso University and makes appearances in hospitals and senior citizen homes in the Chicago area.

The Robert Reynolds Clarinet Chair is held by J. Lawrie Bloom, Founding Artistic Director.

Marcy Rosen

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V I O L I N

CATHERINE CHO is recognized for her remarkable virtuosity, combining technical mastery of the violin with an extraordinary distinctive musicality. Praised by the New York Times for her “sublime tone,” she has appeared worldwide as a soloist with many orchestras and chamber ensembles as well as in recital. Her repertoire ranges from the traditional works by Bach, Beethoven, Mozart and Brahms to those of Bartók, Korngold and Berg, in addition to music of our time.

She has appeared on the prestigious stages of New York’s Lincoln Center, the Mozarteum in Salzburg, Casals Hall in Tokyo and the Kennedy Center in Washington, DC. She has played at the Metropolitan Museum of Art and the New York 92nd Street Y, the Gardner Museum in Boston and on Ravinia’s “Rising Stars” series in Chicago. In collaboration with pianist Mia Chung, she has performed the complete cycle of Beethoven’s violin sonatas in the United States and Asia.A regular guest on tour with Musicians from Marlboro, Ms. Cho has also been a frequent participant in their summer music festival in Vermont since 1993. She has performed at many chamber music festivals and was a founder of the chamber music ensemble La Fenice and a member of the Johannes String Quartet. A winner of the Avery Fisher Career Grant, Ms. Cho won top prizes at the Montreal, Hannover, and Queen Elizabeth International Violin Competitions. She has judged international competitions and taught master classes worldwide. She is a member of the violin and chamber music faculty at Juilliard and the Perlman Music Program. She is an artist member of Music for Food, a musician-led initiative to ight hunger in our local communities.

C E L L O

Cellist EDWARD ARRON has garnered recognition worldwide for his elegant musicianship, impassioned performances, and creative programming. Mr. Arron made his New York recital debut in 2000 at the Metropolitan Museum of Art. Since then, he has appeared in recital, as a soloist with major orchestras, and as a chamber musician throughout North America, Europe and Asia.

In 2013, Mr. Edward Arron completed a ten-year residency as the artistic director of the critically acclaimed Metropolitan Museum Artists in Concert, a chamber music series created in 2003 to celebrate the 50th anniversary of the Museum’s prestigious Concerts and Lectures series. Currently, he is the artistic director, host, and resident performer of the Musical Masterworks concert series in Old Lyme, Connecticut, as well as the Festival Series in Beaufort, South Carolina and Chamber Music on Main at the Columbia Museum in Columbia, SC. Additionally, Mr. Arron curates a series, “Edward Arron and Friends,” at the Caramoor International Music Festival, and is the co-artistic director along with his wife, pianist Jeewon Park, of the new Performing Artists in Residence series at the Clark Art Institute in Williamstown, Massachusetts. With violinists James Ehnes and Amy Schwartz Moretti, and violist Richard O’Neill, Mr. Arron tours as a member of the internationally acclaimed Ehnes Quartet.

Edward Arron began playing the cello at age seven in Cincinnati, Ohio and continued his studies in New York with Peter Wiley. He is a graduate of the Juilliard School, where he was a student of Harvey Shapiro. In 2016, Mr. Arron joined the faculty at University of Massachusetts Amherst, after having served on the faculty of New York University from 2009 to 2016.

Edward Arron Catherine Cho

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V I O L I N

Described by critics as “scintillating” and celebrated for her “rich, expressive playing” (MusicalAmerica), violinist FRANCESCA DEPASQUALE was the First Prize winner of the 2010 Irving M. Klein International String Competition and recipient of the prestigious 2014-2016 career grant from the Leonore Annenberg Fellowship Fund for the Performing and Visual Arts. Earning the 2015 Classical Recording Foundation Young Artist Award, her self-titled debut album released in March 2016 includes works ranging from Bach to a new commission from composer Paola Prestini for violin and electronics. For the album and accompanying recital tour, Francesca was praised for “sincerity, intensity” and “individual voice” (Philadelphia Inquirer).

Since her debut as a soloist at age nine touring Spain with the Main Line Chamber Orchestra, Francesca has appeared as a soloist with numerous orchestras, including the Bach Festival of Philadelphia, Colburn Orchestra, Galesburg Symphony, Peninsula Symphony, and Santa Cruz Symphony. An avid chamber musician, she has performed for Marinus Ensemble, Fort Worth Chamber Music Society, Jupiter Symphony Chamber Players, Manhattan Chamber Players, Music in the Vineyards, Olympic Music Festival, Music@Menlo, Colburn Chamber Music Society, and the Perlman Music Program. Ms. dePasquale is the violinist of the Aletheia Piano Trio alongside pianist Fei-Fei Dong and cellist Juliette Herlin. A member of the violin faculty at Rutgers University Mason Gross School of the Arts, she served as the Starling Fellow teaching assistant to Itzhak Perlman from 2013-2016 at the Juilliard School, where she is currently teaching assistant to Catherine Cho. Additionally, she is a member of the violin faculty at the Heifetz Institute Program for the Exceptionally Gifted.

Francesca dePasquale

H O R N

Praised by the New York Times for her “consistent strong” and “smooth and full” horn playing, WEI-PING CHOU was the irst and only horn player in the Juilliard School history ever to be awarded the Artist Diploma to this day. A native of Taoyuan, Taiwan, she began playing the horn at the age of nine and continued her study at Idyllwild Arts Academy under Kurt Snyder. She received her bachelor degree from the Manhattan School of Music with Jerome Ashby, and her masters of music from the Juilliard School under the tutelage of Juile Landsman.

Prior to her return to New York in 2011, she was acting assistant principal horn for the San Diego Symphony from 2007-2011. As an active freelancer in New York City, she performed regularly with orchestras and chamber groups, such as The Orpheus Chamber Orchestra, Orchestra Of The St Luke’s, American Symphony Orchestra, The Knights, Wind Soloists of New York, The Metropolis Ensemble, and Genghis Barbie. She can be heard in their newest album “Amp It Up”. As a chamber musician, she spent many of her summers at the Marlboro Music Festival as well as on Musicians from Marlboro tours.

As an orchestra musician, Wei-Ping is currently the 4th horn player of the Kennedy Center Opera House Orchestra/Washington National Opera Orchestra, and she also regularly performs with the National Symphony Orchestra among others. When not playing the horn, Wei-Ping enjoys cooking, baking, crafting, and last but deinitely not the least, lying trapeze!

Wei-Ping ChouP I A N O

Lithuanian pianist IEVA JOKUBAVICIUTE’s powerfully and intricately crafted performances have earned her critical acclaim throughout the United States and Europe. Her ability to communicate the essential substance of a work has led critics to describe her as possessing “razor-sharp intelligence and wit” (the Washington Post) and as “an artist of commanding technique, reined temperament and persuasive insight” (the New York Times). In 2006, she was honored as a recipient of a Borletti-Buitoni Trust Fellowship. Labor Records released Ms. Jokubaviciute’s Alban Berg Tribute CD to critical acclaim in 2010. The New York Times described her as “an authoritative and compelling guide throughout this fascinating disc.” She has given solo recitals In New York, Chicago, Philadelphia, Baltimore, Washington DC, Vilnius and in Toulouse, and made her orchestral debuts with the Chicago Symphony and in Rio de Janiero, Brazil. Her piano trio, Trio Cavatina, won the 2009 Naumburg International Chamber Music Competition and made its Carnegie Hall debut in 2010.

Ms. Jokubaviciute’s chamber music endeavors have brought her to major stages around the world, such as Carnegie Hall’s Stern Auditorium, London’s Wigmore Hall and Washington DC’s Kennedy Center. She appears at music festivals including Marlboro, Ravinia, Bard, Caramoor, Chesapeake Chamber Music, Prussia Cove in England and the Katrina Festival in Finland. Earning degrees from the Curtis Institute of Music and from Mannes College of Music, her principal teachers have been Seymour Lipkin and Richard Goode. She is currently assistant professor, piano at the Shenandoah Conservatory in Winchester, VA.The Harold and Martha Quayle chair is held by Ieva Jokubaviciute.

Ieva Jokubaviciute

V I O L A

KIM KASHKASHIAN is recognized internationally as a unique voice on the viola. She studied viola with Karen Tuttle and legendary violist Walter Trampler at the Peabody Conservatory of Music in Baltimore. She has taught viola and chamber music at the New England Conservatory since 2000.

Ms. Kashkashian received a 2012 Grammy Award in the “Best Classical Instrumental Solo” category for Kurtág and Ligeti: Music for Viola on the ECM Records Label. Kim Kashkashian’s recording, with Robert Levin, of the Brahms Sonatas, won the Edison Prize in 1999. Her 2000 recording of concertos by Bartók, Eötvös, and Kurtág won the 2001 Cannes Classical Award for a premiere recording by a soloist with orchestra. In 2016 Ms. Kashkashian was elected a Fellow of the American Academy of Arts and Sciences.As an advocate of contemporary music, she has worked to broaden the scope of the viola’s voice and repertoire in collaboration with composers Tigran Mansurian, Peter Eötvös, Ken Ueno, Betty Olivero, Lera Auerbach and Toshio Hosokawa.

Marlboro and the Viennese School, represented by her mentor, Felix Galimir, were major inluences in developing her love of chamber music. She is a regular participant at the Verbier, Salzburg, Lockenhaus, Marlboro, and Ravinia festivals. As soloist, she has appeared with the major orchestras of Berlin, London, Vienna, Paris, Milan, New York, and Cleveland and presented duo recitals in New York, Boston, Baltimore San Fransisco, Philadelphia, Pittsburgh, Cleveland, Frankfurt, Berlin, Vienna, Munich, Paris, Athens, and Tokyo.

Ms. Kashkashian, who resides in Boston, is a founding member of Music for Food, an initiative by musicians to ight hunger in their home communities.

Kim Kashkashian

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V I O L I N

Winner of a 2016 Avery Fisher Career Grant and the Naumberg International Violin Competition, TESSA LARK is praised for her astounding range of sounds, technical agility, captivating interpretations, and multi-genre programming and performance. Ms. Lark received a career grant from the Lenore Annenberg Fellowship Fund for the Performing and Visual Arts in 2014 and a silver medal that same year from the International Violin Competition of Indianapolis. She took top prize in the 2012 Fischof National Chamber Music Competition with her piano trio, Trio Modêtre.

In addition to recent performances with the Lexington, Evansville and Illinois Philharmonic Orchestras, along with the Richardson, Alabama and South Florida Symphony Orchestras, Ms. Lark has been a soloist with the Cincinnati Symphony Orchestra, Louisville Orchestra, New Haven, Hawaii, Santa Fe, Indianapolis, and Peninsula Symphonies. This year she performed for Carnegie Hall’s Distinctive Debut recital series in Weill Hall and undertook an international recital tour which included performances in the Netherlands.

Ms. Lark has been invited to many chamber music festivals including Marlboro, Seattle Chamber Music Society, Yellow Barn, Ravinia’s Steans Music Institute, the Perlman Music Program’s Chamber Music Workshop, and Music@Menlo. She is a member of the Caramoor Virtuosi as a result of her participation in Caramoor’s Rising Star Series. She has collaborated with renowned artists including Mitsuko Uchida, Itzhak Perlman, Miriam Fried, Donald Weilerstein, and Pamela Frank. A graduate of the New England Conservatory, she currently holds a Jerome L. Greene Fellowship and the Ryoichi Sasakowa Young Leaders Fellowship in Juilliard’s Artist Diploma program, studying with Sylvia Rosenberg, Ida Kavaian and Daniel Phillips.

Tessa Lark

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B A S S

ANTHONY MANZO enjoys performing in a broad variety of musical forums—despite the ever-present complications of travel with a double bass! An artist with the Chamber Music Society of Lincoln Center, Mr. Manzo is a sought-after chamber musician who performs regularly at such noted venues as Lincoln Center in NYC, and the Spoleto Festival in Charleston, SC. Mr. Manzo is also the Solo Bassist of San Francisco’s New Century Chamber Orchestra, and a regular guest artist with the National Symphony Orchestra and the Baltimore Symphony when he’s at home in Washington DC. Formerly the Solo Bassist of the Munich Chamber Orchestra, he has also been a guest principal with Camerata Salzburg in Austria, where collaborations have included their summer residency at the Salzburg Festival, as well as two tours as double bass soloist alongside bass/baritone Thomas Quasthof, performing Mozart’s “Per questa bella mano.”

Mr. Manzo is an active performer on period instruments with groups including The Handel & Haydn Society of Boston (where his playing has been lauded as “endowed with beautiful and unexpected plaintiveness” by the Boston Musical Intelligencer) and Philharmonia Baroque in San Francisco. Additionally, Mr. Manzo is a member of the double bass and chamber music faculty of the University of Maryland.

Mr. Manzo performs on a double bass made around 1890 by Jerome Thibouville Lamy in Paris (which now has a removable neck for travel!).

Anthony Manzo

LABOR DAY WEEKENDSeptember 1–3at the

Avalon TheatreEaston, MD

NAVY’S JAZZ COMMODORES

Tickets available at chesapeakejazz.org, 410-819-0380

Jazz on the Chesapeake is a program of Chesapeake Music

JAZZ FESTIVALT H E M O N T Y A L E X A N D E R

RENÉ MARIE SEAN JONESBRIA SKONBERG

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V I O L A

Born in Brussels, Belgian American violist DIMITRI MURRATH has made his mark as a soloist on the international scene, performing regularly in venues including Jordan Hall and the Kennedy Center in the United States, Wigmore Hall, Purcell Room and Royal Festival Hall in London, Tokyo’s Kioi Hall, the National Auditorium in Madrid, and Théâtre de la Ville de Paris.

Mr. Murrath received the 2014 Avery Fisher Career Grant which gives professional assistance to instrumentalists judged to have exceptional career potential. He graduated from the New England Conservatory in 2008, the same year he won First Prize at the Primrose Viola Competition. Other awards include Second Prize at the 1st Tokyo International Viola Competition and special prize for contemporary work at the ARD Munich Competition. In 2012, he was named Laureate of the Juventus Festival, an award recognizing young European soloists.

An avid chamber musician, Mr. Murrath is a member of the Boston Chamber Music Society and of Mistral Music. He has collaborated with musicians including Richard Goode, Miriam Fried, Gidon Kremer, Laurence Lesser, Menahem Pressler, David Soyer, Mitsuko Uchida, Donald Weilerstein, and Kim Kashkashian. He has performed in festivals that include Ravinia’s Steans Institute for Young Artists, Verbier Festival Academy, Caramoor Rising Stars, Chamberfest Cleveland, Bridgehampton Chamber Music Festival, Juventus Festival, and Marlboro Music Festival.

Mr. Murrath is currently on the faculties of the New England Conservatory and the Bowdoin International Music Festival. In September 2017, he will join the faculty at San Francisco Conservatory of Music. Mr. Murrath participates in the Music for Food Project.

Dimitri Murrath P I A N O

ROBERT MCDONALD has performed extensively as a soloist and chamber musician throughout the United States, Europe, Asia, and South America. He has appeared with major orchestras in the United States and was the recital partner for many years to Isaac Stern and other distinguished instrumentalists.

He has participated in the Marlboro, Casals and Lucerne festivals, the Chamber Music Society at Lincoln Center, and has broadcasted for BBC Television worldwide. He has appeared with the Takas, Vermeer, Juilliard, Brentano, Borromeo, American, Shanghai, and St. Lawrence string quartets as well as with Musicians from Marlboro.

His discography included recordings for Sony, Classical, Bridge, Vox, Musical Heritage Society, ASV, and CRI. Mr. McDonald’s prizes include the Gold Medal at the Busoni International Piano Competition, the top prize at the William Kapell International Competition and the Deutsche Schallplatten Critics Award. He has studied with Theodore Rehl, Seymour Lipkin, Rudolf Serkin, Mieczyslaw Horszowski, Beveridge Webster, and Gary Grafman. He holds degrees from Lawrence University, the Curtis Institute of Music, the Juilliard School, and the Manhattan School of Music. A member of the piano faculty at the Juilliard School since 1999, Mr. McDonald joined the faculty of the Curtis Institute of Music in 2007, where he holds the Penelope P. Watkins Chair in Piano Studies.During the summer, he is the artistic director of the Taos School of Music and Chamber Music Festival in New Mexico.

Robert McDonald

V I O L A

MAIYA PAPACH is the principal violist of the Saint Paul Chamber Orchestra. She has made frequent national and international appearances as a chamber musician, displaying a versatile range of both traditional and contemporary repertoire in her performances. A member of the orchestra since 2008, she has made solo appearance with the SPCO in Mozart’s Sinfonia Concertante with concertmaster Steven Copes, solo directed Benjamin Britten’s Lachrymae and was a soloist in Woolrich’s Ulysses Awakes.

Ms. Papach is a founding member of the International Contemporary Ensemble (ICE), with whom she has performed frequently at Lincoln Center’s Mostly Mozart Festival, New York’s Le Poisson Rouge, Chicago’s Museum of Contemporary Art, and dozens of experimental venues. She has toured extensively in the former Soviet Union with the Da Capo Chamber Players, across North America with Musicians from Marlboro, and has made appearances at Prussia Cove (UK), the Boston Chamber Music Society, the Chesapeake Chamber Music Festival, the Chattanooga Chamber Music Festival, and Chamber Music Quad Cities. She is currently a member of Accordo, a Twin Cities-based chamber music group. Ms. Papach is a 2013 recipient of the McKnight Fellowship for Performing Musicians administered by the MacPhail Center for Music. Through this fellowship and in collaboration with ICE, she co-commissioned a viola concerto by Anthony Cheung, which she performed with ICE at the Mostly Mozart Festival to critical acclaim by the New York Times. She is a graduate of the Oberlin Conservatory and the Juilliard School, and her principal teachers include Roland Vamos, Karen Tuttle, Benny Kim, and Hsin-Yun Huang. She performs on a 19th century Turinese viola by Annibale Fagnola.

Maiya PapachF L U T E

TARA HELEN O’CONNOR is a charismatic performer noted for her artistic depth, brilliant technique and colorful tone spanning every musical era. Recipient of an Avery Fisher Career Grant and a two-time Grammy nominee, she is now a Season Artist of the Chamber Music Society of Lincoln Center. A Wm. S. Haynes lute artist, Tara regularly participates in the Santa Fe Chamber Music Festival, Music@Menlo, Chamber Music Festival of the Bluegrass, Spoleto Festival USA, Chamber Music Northwest, Mainly Mozart Festival, Music from Angel Fire, the Banf Centre, the Great Mountains Music Festival, Chesapeake Music Festival and the Bravo! Vail Valley Music Festival.

Tara is a member of the woodwind quintet Windscape, the legendary Bach Aria Group and is a founding member of the Naumburg Award-winning New Millennium Ensemble. She has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet and Emerson Quartet. Tara has appeared on A&E’s Breakfast for the Arts, Live from Lincoln Center and has recorded for Deutsche Grammophon, EMI Classics, Koch International, CMS Studio Recordings with the Chamber Music Society of Lincoln Center and Bridge Records.

Tara is Associate Professor of Flute, Head of the Woodwinds Department and the Coordinator of Classical Music Studies at Purchase College School of the Arts Conservatory of Music. Additionally, Tara is on the faculty of Bard College Conservatory of Music, the Contemporary Performance Program at Manhattan School of Music and is a visiting artist, teacher and coach at the Royal Conservatory of Music in Toronto. Tara and her husband Daniel Phillips live in Manhattan.

Tara Helen O’Connor

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V I O L I N

Violinist DANIEL PHILLIPS enjoys a versatile career as an established chamber musician, solo artist, and teacher. A graduate of Juilliard, his major teachers were Ivan Galamian, Sally Thomas, Nathan Milstein, Sándor Végh and George Neikrug. He is a founding member of the 30-year-old Orion String Quartet, which is in residence at Mannes College of Music and performs regularly at the Chamber Music Society of Lincoln Center. Available on recording are the complete quartets of Beethoven and Leon Kirchner.

Since winning the 1976 Young Concert Artists, he has been an emerging artist who has performed as a soloist with the Pittsburgh, Houston, New Jersey, Phoenix, San Antonio, and Yakima symphonies. Last season marked his concerto debut with the Yonkers Symphony. Mr. Phillips appears regularly at the Spoleto USA Festival, Santa Fe Chamber Music Festival, Chamber Music Northwest, Chesapeake Music Festival, and has participated in the International Musicians Seminar in Cornwall, England since its inception by Sándor Végh. He was a member of the renowned Bach Aria Group, and has toured and recorded in a string quartet for SONY with Gidon Kremer, Kim Kashkashian, and Yo-Yo Ma. Mr. Phillips is a professor at the Aaron Copland School of Music at Queens College and on the faculties of the Mannes College of Music, Bard College Conservatory, and The Juilliard School. He also serves on the summer faculty of the Heifetz Institute. He lives with his wife, lutist Tara Helen O’Connor on Manhattan’s upper west side.

Daniel PhillipsO B O E

Oboist PEGGY PEARSON is a winner of the Pope Foundation Award for Outstanding Accomplishment in Music. Lloyd Schwartz, who received the 1994 Pulitzer Prize for Criticism, called her “my favorite living oboist.” Ms Pearson has performed solo, chamber and orchestral music throughout the United States and abroad. A member of the Bach Aria group, Ms. Pearson is also solo oboist with the Emmanuel Chamber Orchestra. According to Richard Dyer of the Boston Globe, “Peggy Pearson has probably played more Bach than any other oboist of her generation; this is music she plays in a state of eloquent grace.” Ms. Pearson is founding director of, and oboist with, Winsor Music, Inc., and also a founding member of the chamber music group La Fenice.

She has toured internationally and recorded with the Orpheus Chamber Orchestra, has appeared as principal oboe with the Boston Symphony Orchestra, St. Paul Chamber Orchestra, the Orchestra of St. Luke’s and has performed with the Chamber Music Society of Lincoln Center, and Music from Marlboro. Peggy Pearson has been an active exponent of contemporary music. She was a fellow of the Radclife Institute in contemporary music and as artistic director of Winsor Music, has commissioned and premiered over 30 works.

Peggy Pearson has been on the faculties at SongFest, Tanglewood Music Center (Bach Institute), Boston Conservatory, the College-Conservatory of Music (University of Cincinnati), Wellesley College, the Composers Conference at Wellesley College, Boston Conservatory and the Longly School of Music of Bard College. She is currently on the faculty at MIT.

Peggy Pearson

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C E L L O

PETER STUMPF is professor of cello at the Indiana University Jacobs School of Music. Prior to this appointment, he was principal cellist of the Los Angeles Philharmonic.

Mr. Stumpf received his bachelor’s degree from the Curtis Institute of Music and an Artist’s Diploma from the New England Conservatory. His professional career began when he joined the cello section of the Hartford Symphony Orchestra. He was the associate principal cellist of the Philadelphia Orchestra for twelve years.

A dedicated chamber musician, he is a member of the Johannes String Quartet and has appeared in chamber music series at Carnegie Hall, Kennedy Center, Concertgebouw, Casals Hall in Tokyo, and at the concert halls of Cologne. He has performed with the chamber music societies of Boston and Philadelphia and at the Casals Festival in Puerto Rico, as well as at the Marlboro, Santa Fe, Bridgehampton, Ottawa, Great Lakes, Ojai, Spoleto, and Aspen festivals. He has toured with Music from Marlboro, and with pianist Mitsuko Uchida in performances of the complete Mozart Piano Trios.

Concerto appearances have been with the Boston Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic, and the Boston Philharmonic. As a recitalist, he has performed at the Universities of Hartford, Syracuse and Delaware, at Jordan Hall in Boston, and at the Philips and Corcoran Galleries in Washington, DC. His awards include irst prize in the Washington International Competition, the Graham-Stahl Competition and the Aspen Concerto Competition. He has conducted master classes at the Hong Kong Academy of the Performing Arts, Manhattan and Mannes Schools of Music, the Royal Conservatory of Music in Toronto, and Seoul National University.

P I A N O

The award-winning Steinway Artist DIANE WALSH has performed concerti, solo recitals and chamber music concerts worldwide. Reviewers have praised her “soulful outpouring,” “intelligent virtuosity,” and “exquisite care and loving touch.”

Ms. Walsh has toured the globe with performances in forty-six of the ifty states and in twenty-one countries. Highlights include recitals at Weill Recital Hall at Carnegie, Merkin Concert Hall, Kaufmann Auditorium and Miller Theater in New York City, the Kennedy Center in Washington, Orchestra Hall in Chicago, Wigmore Hall in London, the Concertgebouw in Amsterdam, the Philharmonia Great Hall in St. Petersburg, and Dvořák Hall in Prague.This season she was the piano soloist in Bach’s Brandenburg Concerto No. 5 in Suzhou, China with the Portland Bach Festival Orchestra, and she performed Mozart’s Concerto No. 20 with the New Bedford Symphony and Chopin’s Concerto No. 2 with the Portland Symphony. Ms. Walsh has been soloist with the San Francisco, Indianapolis, Austin, Rochester, Delaware, Syracuse and American symphonies and the Munich, Frankfurt, Stuttgart and Berlin radio symphonies. She has toured Europe with the Orpheus Chamber Orchestra and soloed with orchestras in Brazil, Russia, the Netherlands and the Czech Republic.

In 2009 she was the onstage pianist in the Broadway production of Moises Kaufman’s play 33 Variations, starring Jane Fonda, during which she gave 113 performances of Beethoven’s Variations on a Waltz of Diabelli.

Ms. Walsh has performed at many summer chamber music festivals including the Marlboro Festival, Santa Fe Chamber Music Festival and Bard Music Festival. She is a founding member of the quintet La Fenice and the Walsh-Drucker-Cooper Trio.

V I O L I N

Violinist TODD PHILLIPS has been a member of the Orpheus Chamber Orchestra since 1983, and is also a member of the highly acclaimed Orion String Quartet. Mr. Phillips made his solo debut with the Pittsburgh Symphony at the age of thirteen and has since performed as guest artist with leading orchestras throughout North America, Europe and Japan.

He made his Carnegie Hall debut in 1982 with the New York String Orchestra, and solo performances in Avery Fisher Hall, Alice Tully Hall, the Kennedy Center and Boston’s Symphony Hall soon followed. He has appeared at the Mostly Mozart, Ravinia, Santa Fe, and Spoleto music festivals, and with the Chamber Music Society of Lincoln Center, and the New York Philomusica. He has collaborated with such renowned artists as Rudolf Serkin, Jaime Laredo, Richard Stolzman, Peter Serkin, and Pinchas Zukerman, and has participated in eighteen Musicians from Marlboro tours. He has recorded for the Arabesque, Delos, Deutsche Grammophon, Finlandia, Koch International, Marlboro Recording Society, New York Philomusica, RCA Red Seal, and Sony Classical labels.

Mr. Phillips began his violin studies at age four with his father, Eugene Phillips, a composer and former violinist with the Pittsburgh Symphony, and later with Sally Thomas at the Juilliard School and Sándor Végh at the Mozarteum in Salzburg. He serves on the violin and chamber music faculties of the Mannes College of Music, the Mason Gross School of the Arts at Rutgers University, the Manhattan School of Music, and Bard College Conservatory. Mr. Phillips lives in Brooklyn, New York with his wife, violinist Catherine Cho, and is the father of Lisa, Eliza, Jason and Brandon.

Peter Stumpf Diane WalshTodd Phillips

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Josef Suk Elegy for Piano, Violin and Cello, Opus 23 (1874–1935) Czechoslovakia

Gabriel Fauré ‘Après un Rêve’ for Cello and Piano, Opus 7, No. 1 (1845–1924) France

Frédéric Chopin Ballade No. 3 in A-lat major, Opus 47 (1810–1849) Poland

Moritz Moszkowski Suite for Two Violins and Piano in g minor, Opus 71 (1854–1925) Poland

Felix Mendelssohn Song without Words for Cello and Piano in D major, (1809–1847) Op. 109 Germany

Fritz Kreisler Liebesfreud und Liebesleid (1875–1962) Austria

Astor Piazzolla Three Tangos for Cello and Piano (arr. Pablo Zinger) (1921–1992) Argentina

OPENING CONCERT | AVALON THEATRE

Easton, Maryland Sunday, June 4, 2017 5:30 p.m.

“A Tour of the World”

Catherine Cho, Todd Phillips, Marcy Rosen, Diane Walsh

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Artists and program selections are subject to change.crackerjackstoys.com

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took place, for the most part, in salons. His compositions were virtuosic and this marvelous Suite is no exception.

Felix MendelssohnSong without Words for Cello and Piano, Opus 109

The particular concept of a song without words appears to have been Mendelssohn’s own invention. Opus 109, written in 1845 but published posthumously, was the last work by Mendelssohn for cello and piano. These lyrical miniatures occur throughout his composing life starting in the year 1830.

Fritz KreislerLiebesfreud, Liebesleid

These delicious melodies, familiar to most of us in the audience, carry an almost electrical charge of pure romanticism. They represent the last, glorious glimpses of Vienna as it was before the war. Kreisler often performed these pieces as encores, his own playing style a feast of vibrato liberally laced with portamento. Irresistible.

Astor PiazzollaThree Tangos

Tango, the bandoneon, the violin are three fundamental components of Piazzolla’s music that, a few decades ago, took the world by surprise. The percussive intensity of the bandoneon, an instrument that can also deliver a particularly seductive melodic line, and lovely, swooping lines for the violin characterize his original pieces. He studied classical composition briely with Nadia Boulanger who surprised him by telling him to concentrate on the tango. However, thanks in part to her teaching, a strong classical training underpins all his work including his jazz compositions. The Three Tangos for Cello are titled, ‘Michelangelo 70’; ‘The Butcher’s Death’; ‘Libertango’.

Josef SukElegy for Piano, Violin and Cello, Opus 23

This touching piece, written for the funeral of a fellow musician, was originally created for violin, cello, harmonium, string quartet and harp. The composer eventually rewrote it as a piano trio giving it a wider and more lasting audience.

Gabriel Fauré‘Après un rêve’, Op. 7/1

This song is a great favorite among singers, and here, shorn of its words (translated from an anonymous Tuscan poem by the poet Romain Bussine), the melody soars, gloriied by the cello. Over the propelling pulse of the piano accompaniment the melody, legato and tendu, is lifted to dreamy dimensions.

Frédéric ChopinBallade No.1 in g minor, Opus 23

In 1836, Robert Schumann told Chopin that the Ballade in g minor was one that he, Schumann, appreciated above all others. Chopin waited only a moment before saying that he was delighted to hear that because he fully agreed. What’s not to love, as folks say these days, in such an immense, passionate musical poem? It starts with a brief introduction, lento, followed by a long central Moderato, and inishes with a vast, stormy coda Presto con fuoco.

Moritz MoszkowskiSuite for Two Violins and Piano

Moszkowski’s full life: virtuoso pianist, renowned composer and highly respected teacher, took him from riches and international renown to poverty and illness. Just before his death, when he was deeply in debt, his friends arranged a concert on his behalf at Carnegie Hall, (involving 15 pianos on stage). During his lifetime, the many—and well-attended —performances of his music

PROGRAM NOTES FOR JUNE 4, 2017

Greetings to my friends at Chesapeake Music!

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Ludwig van Beethoven Violin Sonata No. 6 in A Major, Opus 30 No. 1 (1770-1827) Allegro Adagio molto espressivo Allegretto con variazioni

Johannes Brahms Piano Trio No. 2 in C Major, Opus 87 (1833–1897) Allegro Andante con moto Scherzo. Presto Allegro giocoso

CONCERT | TRINITY CATHEDRAL

Easton, Maryland Tuesday, June 6, 2017 5:30 p.m.

Germany

Catherine Cho, Marcy Rosen, Robert McDonald

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This concert is generously underwritten by

Catherine Cho and Family

Chesapeake Chamber Music is grateful for their support.

Artists and program selections are subject to change.

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Wolfgang Amadeus Mozart Quartet No. 23 in F Major, K.590 (arr. Pearson) (1756–1791) Allegretto moderato Allegretto Menuetto. Allegretto Allegro Peggy Pearson, Catherine Cho, Kim Kashkashian,

Marcy Rosen

Horn Quintet in E-lat Major, K. 407/K.386c Allegro Andante Rondo. Allegro Wei Ping Chou, Tessa Lark, Dmitri Murrath,

Kim Kashkashian, Edward Arron

Quintet in A Major for Clarinet and Strings, K. 581 Allegro Larghetto Minuet Finale. Allegretto J.Lawrie Bloom, Todd Phillips, Catherine Cho,

Kim Kashkashian, Edward Arron

CONCERT | TRED AVON YACHT CLUB

Oxford, Maryland Thursday, June 8, 2017 5:30 p.m.

Austria—“Mozart by the Sea”

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Betty Anderson and Ed Delaney



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Wolfgang Amadeus Mozart Quartet No. 23 in F Major, K. 590

The quartet in F major, published by Hofmeister in 1790, departs from the composer’s familiar, beguiling ways in that its tonal color could be called somewhat ascetic. It was written during the inal period of the composer’s life after Mozart had endured much disillusionment. In 1789 he had traveled to Berlin, hoping in vain for a post in the Prussian court, and returned bitterly disappointed. His opera, Cosi fan tutte, created in January 1790, only had ive performances before the death of Joseph II forced it to close..

Dedicated to the King of Prussia, Friedrich Wilhelm II, an ardent cellist, this third and inal of the so-called Prussian Quartets, turned out to be Mozart’s last completed string quartet. All three of the quartets are noted for the salient nature of the cello part. Subtle and alive with instrumental repartee and full of musical hyperactivity, it doesn’t really have any slow movement.

Unlike Mozart’s Haydn quartets in which each voice takes an equal role in the musical conversation, the concertante style ofers solo lines one voice at a time, while the other instruments provide accompaniment.

Horn Quintet in E-lat Major, K. 407/K.386c

The nature of the friendship between Mozart and one Ignatz Leutgeb provides a glimpse of the composer’s capacity for good-natured bufoonery. Mozart was an ardent practical joker; he himself named his raunchy side his “Hanswurst.”

Leutgeb was an eminent horn player from Salzburg who, when he moved to Vienna, opened a cheese shop. He did this with

considerable inancial help from Mozart’s father, Leopold, all the while continuing a brilliant musical career.

The virtuoso cheesemonger soon became the butt of all sorts of jokes from Mozart who nonetheless, had a real admiration for his talent. Between 1781 and 1786, he wrote no less than four concertos for Leutgeb, not counting this Quintet in E-lat Major. Judging by the level of diiculty in all these works, the cheesemonger must have had a formidable technique. Nonetheless, the manuscripts of the horn concertos written for his use are covered with jokes at his expense. On one of them Mozart wrote (among other things): “Take it easy… animal—oh, how lat you play—ouch – oh dear… Help!—Catch your breath—get going, get going!… What a bleating sheep’s trill – inished? Thank heaven!” the horn player bore up under all this levity, and later when Mozart was having his own inancial troubles, Leutgeb was one of those who loaned him money.

This Quintet dates from the second half of 1782; it’s impossible to be more precise. Note that it requires the participation of but a single violin, permitting beautiful dialogues between violin and horn. The two violas and cello join to provide an ideally rich tonal texture.

Quintet in A Major for Clarinet and Strings, K.581

Mozart wrote this quintet, inished on 29 September 1789, for the greatest clarinetist of his time, Anton Stadler (1753-1812), a fellow Freemason and close friend. Stadler performed the work in December at a charity concert, a concert, which unfortunately, paid absolutely nothing to the composer, although Mozart was in great need of money at the

time due to the frequent illnesses of his wife, Constance.

Here for the irst time in the history of music, a clarinet was associated with a string quartet, an instrumental combination gratefully copied by other composers in the years to come. The inspiration for this Clarinet Quintet is said to arise uniquely from the spirit of Freemasonry, a judgment based partly on the tonality: A Major, and the choice of instrument: the clarinet. Following his initiation into the Lodge in1784, the clarinet took on an esoteric role in many of Mozart’s compositions. Here he has given the instrument every possibility of timbre and expression, particularly in the lower register, where, it is said, Stadler was at his happiest.

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George Gershwin Lullaby for String Quartet (1898–1937) Catherine Cho, Todd Phillips,

Kim Kashkashian, Marcy Rosen

James Primosch Quintet for Oboe, Violin, Viola, Cello (1956) and Piano (Premiere)** Variations Dirge Poem (after Kathleen Norris) Signals and Dances Peggy Pearson, Catherine Cho,

Dmitri Murrath, Edward Arron, Diane Walsh

Samuel Barber Adagio from String Quartet, Opus 11(1910–1981) Todd Phillips, Catherine Cho,

Kim Kashkashian, Marcy Rosen

Amy Marcy Cheney Beach Piano Quintet in f-sharp minor, Opus 67(1867–1944) Adagio-Allegro moderato Adagio espressivo Allegro agitato-Adagio come prima-Presto Diane Walsh, Tessa Lark, Todd Phillips,

Dmitri Murrath, Edward Arron

CONCERT | CHRIST CHURCH

Easton, Maryland Friday, June 9, 2017 5:30 p.m.

United States of America

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James Primosch writes: “The variations of the irst movement of my Quintet are not on the melody but on a chord progression irst proposed by the string and piano. Four variations and a coda follow, increasingly rapid in their surface. Two slow movements, the irst very dark, marked “wailing” at its climax; the second consoling, inspired by a poem by Kathleen Norris called “Who Do You Say That I Am?” that ofers increasingly ecstatic responses to the biblical question. The inale opens with a raucous call to attention, and the various dances that follow are sometimes bluesy and sometimes folk-like. Late in the game, some fragments of the previous movements unexpectedly return, and what was left open at the end of the irst movement now inds airmation.With her request for this piece, Peggy Pearson granted me a third opportunity to write for her profoundly eloquent oboe, this time alongside the comparably gifted voices of her colleagues in La Fenice. I am deeply grateful.”

Samuel Barber Adagio from String Quartet, Opus 11

Barber’s Adagio for strings, originally composed as the second movement of his string Quartet No.1, Opus 11, has become one of the most frequently performed works in the American orchestral repertoire. The profound efect that the Adagio has upon its listeners appears to be universal, a meditation in music. Samuel Barber found initial inspiration for the work in a passage from Virgil’s Georgics, describing a widening rivulet becoming a river. Perhaps you can hear that long line slowly building and disappearing.

The Adagio, irst created in 1936, soon appeared in an enlarged version for string orchestra. Both versions have a slightly diferent, but powerful efects. Interestingly,

George Gershwin Lullaby, for string quartet

George Gershwin had already written a few musicals by the time he composed “Lullaby” as a student exercise in 1919. Occasionally performed by friends in a private setting, and rediscovered by Larry Adler who transcribed it for harmonica and string quartet, “Lullaby” was not premiered in its original form until the Juilliard Quartet performed it at the Library of Congress in 1967.

James Primosch Quintet for Oboe, Violin, Viola, and Piano (Premiere) **

Born in Cleveland, Ohio in 1956, James Primosch studied at Cleveland State University, the University of Pennsylvania, and Columbia University; his principal teachers were Mario Davidovsky, George Crumb, and Richard Wernick. Ensembles performing Primosch’s music include the Los Angeles Philharmonic, the St. Paul Chamber Orchestra, Collage, the New York New Music Ensemble, and the 21st Century Consort. Commissioned works have been premiered by the Chicago Symphony, Speculum Musicae, and the Cantata Singers. Additional commissions have been awarded by the Koussevitzky and Fromm Foundations, and the Barlow Endowment, Awards include grants from the National Endowment for the Arts, a Guggenheim Fellowship, three prizes from the American Academy of Arts and Letters, the Stoeger Prize of the Chamber Music Society of Lincoln Center, and a fellowship to the Tanglewood Music Center, where he studied with John Harbison. Since 1988 he has served on the faculty of the University of Pennsylvania.


** This work was commissioned for Chesapeake Chamber Music through the generosity of Arnold and Zena Lerman.

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Mrs. H.H.A. Beach, a name that might seem curiously pompous and remote to modern audiences. At the turn of the century wives routinely lived behind the screen of their husband’s identity and that same wifely discretion only permitted her to give one concert every year, although her abilities as a pianist merited many more performances. What time she missed in the concert hall she devoted to creating a wide range of compositions including the irst symphonic work to be written by an American woman. Although her music may be classiied as Late Romantic, her vivid tonal range puts her in the vanguard of 20th century composers.

Barber constructs the whole theme from a musical sequence, a group of notes repeated slightly higher (as in this case) or lower. Generally, composers use sequence very sparingly, but in this case, the composer has built an entire piece from it.

Amy Marcy Cheney Beach Piano Quintet in f-sharp minor, Opus 67

This powerful piano quintet constitutes an important milestone in American chamber music literature. The emotional intensity of the piece is a clue to the indomitable character of the woman who wrote it. Throughout her working life Amy Beach was known as

Maurice Ravel Trio in a minor for Violin, Cello, and Piano (1875–1937) Modéré Pantoum: Assez vif Passacaille: Très large Final: Animé Diane Walsh, Catherine Cho, Marcy Rosen

Nicolas Bacri Night Music, Opus 73 for Clarinet and Cello(1961) Elegy Scherzo Lullaby J. Lawrie Bloom, Edward Arron

Camille Saint-Saëns Romance in F Major for Horn and Piano, Opus 36(1835–1921) Wei-Ping Chou, Robert McDonald

INTERMISSION

Gabriel Fauré Piano Quartet No. 1 in c minor, Opus 15 (1845-1924) Allegro molto moderato Scherzo: Allegro vivo Adagio Finale: Allegro molto Robert McDonald, Tessa Lark, Dmitri Murrath,

Edward Murrath

CONCERT | ACADEMY ART MUSEUM

Easton, Maryland Saturday, June 10, 2017 7:30 p.m.

France

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Adrienne Nassau and West Capital Management


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Maurice RavelTrio in a minor for Violin, Cello, and Piano

The Trio was composed at Saint-Jean-de-Luz in the spring of 1914, with much of the melodic material inluenced by Basque folklore. At the time, Ravel was engaged in writing a piano concerto based on Basque themes. Although the piano concerto was never completed, its Basque colorations efectively seeped into the Trio and are particularly evident in the opening movement of the piece.

When World War I broke out in August 1914, Ravel was determined to enlist in the Army and he speeded up work on the Trio with what he described as “the sureness and lucidity of a madman.” To his acute chagrin Ravel was not accepted into the Army, but eventually became a volunteer truck driver for the 13th Artillery Regiment.

The irst movement, Modéré, is notated in 8/8 time and recalls the zortziko, a Basque dance form. The second movement is labeled Pantoum, a Malaysian verse form in which the second and fourth lines of each four-line stanza become the irst and third lines of the next. The structure of the movement relects this alternating poetic form. The opening theme of the Passacaille starts out in the lowest register of the piano before its measured gravity is handed on irst to the cello, and inally to the violin. Final: Animé, the most orchestral of the four movements, is rounded of with a brilliant coda.


Nicolas BacriNight Music Opus 73 for Clarinet and Cello

Born in November 1961, Nicolas Bacri is one of France’s most frequently performed and recorded composers. After a period marked by highly polyphonic atonalism (his First Symphony is dedicated to Elliott Carter), his interest in the musical past is an earnest and constantly renewed exploration. In his music there is an interesting tension that disturbs the surface and results in subtle and unexpected moments of instability and ambiguity.

He has received such recognition as the Prix de Rome, Grand Prix de la Musique Symphonique 2006 and other prizes too numerous to list here. He has composed more than 140 works in many genres and made his debut as a conductor with the London Symphony Orchestra at the Chateau de Versailles in 2013.

In his own words, Nicolas Bacri expresses his ideas:

“My music is not neo-Classical, it is Classical, for it retains the timeless aspect of Classicism: the rigour of expression. My music is not neo-Romantic, it is Romantic, for it retains the timeless aspect of Romanticism: the density of expression. My music is Modern, for it retains the timeless aspect of Modernism: the broadening of the ield of expression. My music is Postmodern, for it retains the timeless aspect of Postmodernism: the mixture of techniques of expression.”

Camille Saint-SaënsRomance in F Major for Horn and Piano, Opus 36

The Romance (1874) for Horn and Piano is both quintessentially Saint-Saëns and quintessentially French in its elegance of line and clear proportions.

Saint-Saëns dedicated this work to the celebrated hornist Henri Garigue. The Romance is a ‘Song without words’ that fully savors the compellingly romantic sound of the horn. At the time it was composed there was a need for original concert works for various underutilized solo instruments whose repertoires were largely dependent on transcriptions; Saint-Saëns went on to create similar works for harp and for the lute.There is a sense of the waltz in this Romance brought on, no doubt, by its moderate tempo and triple meter. In its ternary form the work resembles a da capo aria with the inal section virtually mirroring the irst. The main theme is long and falls into two sections which both share the same rhythmic pattern.

“Pour moi, l’Art est la forme,” was the aesthetic credo of Saint-Saens as he deplored the Sacre du Printemps in 1913. Nonetheless, he cannot be accused of avoiding innovation for in 1908, he composed the irst ever music for ilm: ‘The Assassination of the Duc de Guise’.


Gabriel FauréPiano Quartet No. 1 in c minor, Opus 15

Gabriel Fauré composed during a period of dramatic transition in European music which began with the romantic style of Brahms and Schumann, bridged the revolutionary harmonies of Wagner, and ended up amongst the early twentieth century modernists such as Debussy, Schoenberg, and Stravinsky. This, his irst piano quartet, was composed early and reveals the inluence of Brahms in its form, but in its uncluttered simplicity and poignancy it is pure Fauré. Writing for strings and piano brought out Fauré’s exquisite sense of song and his unerring concept of a particular melody’s interaction with its accompaniment.

The irst movement adheres to the classical form in keeping with the style of Brahms. The second starts of with a lighthearted scherzo, the melody carried by the piano accompanied by pizzicato and dovetailing in the strings. The trio section is again light and played with muted strings; the melody is traced in delicate arpeggios before returning to the material of the Scherzo. The haunting Adagio beautifully demonstrates the emotional range of the cello; the strings answer the piano to develop the moving theme, and the piano gently brings the movement to a close. The concluding Allegro molto opens with an urgent, undulating piano part echoed in the strings and is followed by a second, more lyrical theme. The two themes intertwine and build to a climax in the piano part, which then restarts the coda with milder material, becoming impassioned again for the ending.

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Antonìn Dvorák Terzetto in C Major, Opus 74(1841–1904) Introduzione. Allegro non troppo Larghetto Scherzo. Vivace-Trio. Poco meno mosso Tema con variazioni Tessa Lark, Catherine Cho, Dimirti Murrath

Leos Janácek Pohádka for Cello and Piano(1854–1928) Con moto Con Moto Allegro Marcy Rosen, Robert McDonald

INTERMISSION

Bedřich Smetana Piano Trio in g minor, Opus 15(1824-1884) Moderato assai Allegro ma non agitato Presto Robert McDonald, Todd Phillips, Edward Arron

CONCERT | ASPEN INSTITUTE

Wye Woods, Maryland Sunday, June 11, 2017 3:00 p.m.

Czechoslovakia

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Antonìn Dvorák Terzetto in C Major, Op. 74

The Terzetto was originally intended to be Hausmusik to be played by Dvořák (on viola) along with two of his friends, violinist Jan Pelikan of the National Theater Orchestra and his student Josef Kruis. Dvořák had misjudged the talent of the amateur Kruis, and the inished work proved too diicult for him to play. (As consolation, Dvořák promptly wrote a second Terzetto in a much simpler style for the three of them to play.) The combination of one viola and two violins is unusual and gives this piece a delicate texture all its own.

The irst movement is not in the standard sonata form, but in ternary form introducing and linking the three following movements. In the second movement, Larghetto, Dvorák manages to create the impression of a countermelody in the second statement simply by taking the middle voice and moving it up to the top. The inal movement, a theme and variations, the key of which is shown as C major, contains phrases heard as being in c minor, which then resolve back into C major. Each of those variations has a distinct rhythm and dynamics. The last two variations, in C Major, which conclude the work, are marked molto allegro, featuring simple rapid rhythms.


Leos Janácek Pohádka for Cello and Piano

A Pohádka is a fairytale and this piece is inspired by Vasily Zhukovsky’s poem, The Tale of Tzar Bendvei, which itself is a modern poetic adaptation of old heroic tales. The plot involves a young warrior prince (Bendvei) who inds himself imprisoned by the king of the underworld. He must triumph in tests of valor and magic and the king’s daughter who has fallen in love with Bendvei aids him in this. The piece may be compared to a classic sonata form in three movements, but more closely resembles a melody in the manner of Dvorák, which is better suited to the two instruments. The work abounds with very short melodies typical of Janáček’s style allowing for brisk and efective musical storytelling.

Bedrich Smetana Piano Trio in g minor

At the time of the writing of this trio, Smetana sought refuge in music following the death of his little daughter, Bedriska, aged 4 ½, from scarlet fever. Stylistically, his musical inluences were many, but none marked him as profoundly as did the composer Franz Liszt. “He was my Master, my ideal, and, for all of us, certainly an inaccessible model.” The trio met with little enthusiasm from audience and critics when it had its debut at the Prague Seminary with Smetana at the piano. Only later did he receive wholehearted praise from Liszt who, “from the depths of his soul,” congratulated Smetana on his profound musical understanding.


The Boykin Group


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Endow a Chair: Give the gift of music to last a lifetime

Take center stage by endowing a musician’s chair at Chesapeake

Music’s Chamber Music Festival.

Our musicians are among the finest to perform world-wide. Support

their artistry and share your passion for a particular instrument by

endowing a chair in your name or in honor of someone special to you.

AVAILABLE CHAIRS:

Cello

Piano

Violin

Viola

Oboe

Flute

Bass

Bassoon

French Horn

All chair endowers will:

• Be listed alongside the name of the musician in our

festival program

• Receive recognition on the Chamber Music Festival’s

webpage

• Receive a special thank you from the musician who

occupies your chair

Donations toward a chair can be prorated and paid

over a ive-year period, if desired. The naming privilege

lasts for 10 years.

We are pleased to announce that donations have

been received to name the Clarinet Chair, The Robert

Reynolds Clarinet Chair held by J. Lawrie Bloom, and

the Piano Chair, The Harold and Martha Quale Chair

held by Ieva Jokubaviciute.

Don Buxton, Executive Director of Chesapeake Music

is happy to assist you at [email protected]

or 410-819-0380 to begin your legacy of music to

last a lifetime.

Christ Church Cambridge Concert Series

All concerts on Sundays at 4 p.m.

Admission $10Students Free

Reception after concert

October 22, 2017 Justus Parrotta, Organ Concert

December 10, 2017 Tidewater Singers, Christmas Concert

March 4, 2018 Thomas Pandoli, Piano Concert

April 8, 2018 Chesapeake Music Competition Finalist

May 6, 2018 Burnished Brass Quintet, Lyn Banghart, Soprano

Christ Episcopal Church, Church and High Streets, Cambridge, Maryland410-228-3161, christchurchcambridge.org

2017-18

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CONCERT | OXFORD COMMUNITY CENTER

Oxford, Maryland Wednesday, June 14, 2017 5:30 p.m.

Italy

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Antonio Vivaldi Cello Concerto in a minor, RV. 419 (1678–1741) Allegro Andante Allegro Peter Stumpf

Guiseppe Tartini Violin Concerto in e minor, D. 56(1692–1770) Allegro Adagio Allegro Daniel Phillips

Antonio Vivaldi Concerto in C Major for Piccolo, Strings & (1678–1741) Continuo, RV 443 Allegro Largo Allegro molto Tara Helen O’Connor

Ripieno: Catherine Cho and Francesca DePasquale, Violins

Maiya Papach, Viola, Marcy Rosen, Cello, Anthony Manzo, Bass, Ieva Jokubaviciute, Harpsichord

This artist showcase is generously underwritten by

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Zoltán Kodály Duo for Violin and Cello, Opus 7 (1882–1967) Allegro serioso,non troppo Adagio Presto Daniel Phillips, Marcy Rosen

Franz Liszt En Reve (Nocturne)(1811–1886) Les Jeux D’eaux a la villa d’este Ieva Jokubavicuite

Bela Bartok Contrasts for Clarinet, Violin and Piano, Sz. 111 (1881–1945) Moderato Lente Allegro vivace J. Lawrie Bloom, Catherine Cho, Ieva Jokubaviciute

CONCERT | ACADEMY ART MUSEUM

Easton, Maryland Friday, June 16, 2017 5:30 p.m.

Hungary

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Ellen and Norman Plummerand Benson & Mangold Real Estate



series. Liszt was a frequent guest of the acting cardinal at the Villa d’Este, situated in Tivoli near Rome. This piece describes the glittering fountains that were part of the villa.

Les jeux d’eau à la Villa d’Este (The Fountains of the Villa d’Este)—Over the music, Liszt placed the inscription, “Sed aqua quam ego dabo ei, iet in io fons aquae salientis in vitam aeternam” (“But the water that I shall give him shall become in him a well of water springing up into eternal life,” from the Gospel of John).

Bela BartokContrasts for Clarinet, Violin, and Piano, Sz.111

Violinist Joseph Szigeti was the instigator for this, the sole Bartók chamber work to feature a woodwind instrument. In 1938 Szigeti asked Bartók to write a piece that the two of them could play along with clarinetist Benny Goodman. To help Bartók with the style, Szigeti sent over a few records by the Benny Goodman Trio. To their surprise, Bartók came up with a three–movement work, twice the expected duration that they had planned to it on a single 78-RPM record. The piano writing is very restrained and limited to supporting the other two instruments, while the violin and the clarinet are both given brilliant and fairly strenuous material to work with. The title “Contrasts” is an indication that Bartók wished to highlight the diferent timbres of the three instruments rather than attempt a blend.

Although the composer employs Hungarian-style themes, he doesn’t quote any particular folk tune. There is a playful moment in the second movement’s inal “Sebes” (Fast Dance) where the clarinetist switches from an instrument in A to a B-lat clarinet, while the violinist takes up a deliberately mistuned instrument and starts to saw away like a village iddler.


Zoltán KodályDuo for Violin and Cello, Opus 7

This Duo for violin and cello was composed at the start of World War I (1914), but not played in public until a full decade later when it was heard in Salzburg (1924) at an international festival. Structurally, the Duo has the all the breadth and substance of a true sonata in three movements. Written during the summer in Budapest, the writing of this piece helped to prepare the composer for his Op. 8 Sonata for Solo Cello.The writing for the two solo voices is akin to Bach’s Two-Part Inventions in its linear counterpoint, whose agility was equaled only by the madrigalists of the Renaissance. Kodàly has given us an unusual and satisfying fusion of the two instruments—the violin known for its virtuosity and brilliance, the cello for its intensity and natural gravity.

In 1921, Bela Bartók thus described his compatriot’s chamber music: “A full and abundant melodic form, a perfect familiarity with classical forms, and a certain penchant for melancholy.”

Franz LisztEn rêve (Nocturne)

En rêve (Dreaming) was written in 1885 at the end of the composer’s life. Modest in its proportions, it shows Liszt’s compositional style at its most polished and mature. The piece has a dreamlike quality with a lilting melody supported by a lowing broken-chord accompaniment in the left hand. Not unlike some other late works by Liszt, the harmonies foreshadow 20th-century tonal experiments.Les Jeux d’Eau à la Villa d’Este

Franz Liszt captures the memories of his journey to Italy from 1837 to 1839 in his Années de Pèlerinage, deuxième année: Italie

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Dimitri Shostakovich Piano Trio No. 1 in c minor, Opus 8 (1906–1975) Andante Ieva Jokubaviciute , Catherine Cho, Marcy Rosen

Mikhaïl Glinka Trio Pathetique in d minor for Clarinet, Cello (1804–1857) and Piano Allegro Vivacissimo Allegro con spirito J. Lawrie Bloom, Marcy Rosen,

Ieva Jokubaviciute

INTERMISSION

Peter Ilyitch Tchaïkovsky Piano Trio in a minor, Opus 50(1840–1893) Pezzo elegiaco-Moderato assai-Allegro giusto Tema con variazioni: A. Andante con moto. B.

Variazione inale con fuoco. Andante con moto Ieva Jokubaviciute, Daniel Phillips,

Peter Stumpf

CONCERT | AVALON THEATRE

Easton, Maryland Saturday, June 17, 2017 7:30 p.m.

Russia

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Susan and Bill ThomasChesapeake Chamber Music is grateful for their support.

Dimitri ShostakovitchPiano Trio No. 1, Poème, in c minor

In the summer of 1923 Shostakovich was 17 and on vacation in the Crimean Peninsula. He was recovering from illness and anemia and had been sent there along with his sister to recover his health and gain strength. His sister wrote to their mother, “(he) has grown, got a suntan, is cheerful and has fallen in love.”

Dimitri had fallen in love with a charming girl called Tatyana, and he remained faithful to her for ten years, until she married someone else. The Piano Trio, originally entitled “Poème,” all that remained of the romance, was composed in the heady atmosphere of irst love. The Trio, too, might have disappeared had one of Shostakovich’s students not rescued it, published it, and given it its irst hearing in 1925 at the Moscow Conservatory.

The broad shadow of Brahms—particularly that of Op. 101 (also in c minor)—loats over this Trio. Listen for a lovely dialogue between the cello and the violin where the composer has played with key changes to great efect.

Mikhail Glinka Trio Pathéthique in d minor, for Clarinet, Cello, and Piano

Glinka created a new direction for musical development in Russia. Russian musical culture had been primarily European up to the mid-1800s, but Glinka’s operas with their elements of folk music and innovative harmonies made their composer the irst to be recognized as a master of his own country’s music.

Most of Glinka’s chamber music was written early in his career, the product of a sojourn in Italy. In 1833 the Trio was presented with Glinka at the piano, accompanied by two soloists from La Scala. ‘Ma questo e disperazione! “But, such despair!”’ exclaimed the musicians, no doubt coming to grips for the irst time with truly Russian music. Glinka studied for three years in Italy, taking lessons at the Conservatory and learning counterpoint, which he found irksome. He became disenchanted with Italy and decided that he must return to Russia and write Russian music. On his return, Glinka began

immediately to write the ravishing operas, orchestral pieces, and melodies that were to inluence the entire Russian school of music.


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Consisting of four relatively brief and closely connected movements, this trio somewhat resembles a Fantasy (single movement). The irst three movements display sadness, lyricism, and a few glimmers of hope. The third movement Largo, a sort of cantilena, demands nearly every dynamic register available from the clarinet. The inale Allegro con spirito reprises the themes from the irst three movements and closes with a sumptuous coda.

Pyotr Ilyich TchaïkovskyPiano Trio in a minor, Op. 50

“My auditive organs are constructed so as to admit no combination involving the piano, the violin, or the cello,” Tchaikovsky declared in November of 1880. “The diferent timbres are

at war with one another and to listen to them is veritable torture.”

His benefactor, Mme. Von Meck, was unmoved. She begged him to write a trio, and having just engaged the 18-year-old Claude Debussy for the season, she had the right pianist to play it. Tchaikovsky resisted. He had written very little chamber music and his prejudice against the tonal combination of piano and strings appeared to be permanent.

The following spring, 1881, all that was forgotten. In the weeks following the death of Nikolai Rubinstein, revered teacher and mentor from the Moscow Conservatory, the grieving Tchaikovsky wrote the Piano Trio, Opus 50. Its richly Brahmsian piano part is a itting memorial to Rubenstein and the Trio itself a great addition to chamber literature.


Paquito D’Rivera From Aires Tropicales(b. 1948) Alborado Son Vals Venezolano Contradanza

Victor Young Beautiful Love(1900–1956) (arr. Kevin Walko) A Brazilian Choro A Habanera

Osvaldo Golijov Lullaby and Doina(b. 1960)

Astor Piazzola Histoire du Tango(1921–1992) (arr. Kevin Walko)

Heitor Villa-Lobos Choros #2 for lute and clarinet(1889–1959) (arr. Kevin Walko)

Pixinguinha Carlinhoso (Alfredo da Rocha Viana Filho (arr. Kevin Walko) 1897–1973)

Lalo Schifrin Tango a Borges(b. 1932) (arr. Kevin Walko)

ANGELS CONCERT | WATERMELON POINT

Easton, Maryland Sunday, June 18, 2017 4:00 p.m.

Music of Latin America

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Carolyn and Charlie Thornton


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eBroadcast MediaRobert B. Amdur

Press RelationsAmy Steward, Steward Writing

Graphic DesignJoanne Shipley Graphic DesignIT OperationsGayle Jayne, Monarch Web ServicesBen Jensen, Dr. Computer

Program NotesCecily Lyle

FESTIVAL COMMITTEEThe success of Festival 2017 is a direct relection of the dedication and enthusiasm of the Festival Committee, our artistic directors, Marcy Rosen and Lawrie Bloom and the staf of Chesapeake Music. I want to sincerely thank this group of highly talented and energetic people for all of their work that enables our audience to Experience the Extraordinary.

Congratulations and Thank YouCarolyn Rugg, Festival Chair

Bob AmdurBetty AndersonDon BuxtonLois Campbell Kaye DutrowGayle JayneCourtney KaneBarry Koh Susan KohLiz KoprowskiCecily LyleSara LyleBernice MichaelAnne MoranMary RiedlinJoanne ShipleyAmy Steward Carolyn Thornton

All programs during the Festival are underwritten in part by the Maryland State and Talbot County Art Councils.

We gratefully acknowledge all contributions given after this program book went to press.

2016-2017 BOARD OF DIRECTORSCourtney Kane, PresidentMarty Sikes, Vice PresidentCarolyn Rugg, SecretaryBob Burger, Treasurer

Lynn AckersonRobert Amdur Betty AndersonDonald BerlinMichael BracyBarry Koh Susan Koh Mariana Lesher Diane Rohman Carolyn ThorntonJohn WatersonKathleen WiseHanna Woicke

Directors EmeritaAnna LarkinChloe Pitard

ARTISTIC DIRECTORSJ. Lawrie BloomMarcy Rosen

Donald C. Buxton, Executive Director

Lois Campbell, Assistant to the Executive Director

Ray Remesch, House/Concert Manager

Janet Pfefer, Stage Manager

Carolyn Jafe, Lighting Director

Cynthia Quast, Bookkeeper

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eFESTIVAL 32 HOSTSThank you to the following who graciously opened their homes to our visiting artists:

Mary Riedlin, Chair Don and Norma BerlinElla and Mike BracySuzanne and Stephen BrighamNancy GrahamRita and Peter GrossScott and Courtney KaneSusan and Barry Koh Liz KoprowskiJudy and Bob LawrenceNancy and Curtis NelsonChloe and David PitardMary and Fritz RiedlinMary-Anne ShoebAndy and Edgar SmithEleanor and Al SmithCarolyn and Charlie ThorntonJohn and Lily WaterstonHanna and Peter Woicke

A SPECIAL THANK YOUAspen Institute, The Inn at River HouseRoss BenicasaChrist Church EastonDick Moore Piano ServicesEaston Business AllianceDavid Fike, APG Media of ChesapeakeLinda HaschenStephen MangasarianLouise Mehrota and Adre VanHoeckOxford Community CenterJonathan PalevskyPassport to the ArtsBob Porter, Sharper GraphicsPublic Radio WSDL 89.5 & 90.7 FMDoug Ridley Star Democrat The Academy Art MuseumThe Avalon TheatreCarolyn and Charles Thornton

Tidewater Camera ClubTred Avon Yacht ClubTrinity CathedralEmily and Antoine Van Agtmael, Watermelon PointJohn Waterston What’s Up MediaDave Wheelan, Talbot SpyDana Whitehair, General Manager of Delmarva WBJC 91.5 FMWHCP 101.5 FM

Chesapeake Music thanks the underwriters of this year’s concerts and the Chesapeake Chamber Music Festival! Their generosity helps the Chamber Music Festival ofer tickets at prices that will attract a growing audience to enjoy this wonderful chamber music and these superb musicians:

FESTIVAL SPONSOREdgra and Ira Ringler

CONCERT SPONSORS Catherine Cho and FamilyBetty Anderson and Ed DelaneyAdrienne NassauNorman and Ellen PlummerSusan and Bill ThomasCarolyn and Charles ThorntonSam and Rosemary Trippe Salisbury Gift & GardenThe Boykin GroupBenson & MangoldWest Capital Management

UNERWRITING OF PRIMOSCH COMMISSION AND PREMIERE Zena and Arnold Lerman

We thank all the volunteers who have helped with Chesapeake Music’s many projects and events throughout the year, and who have given so generously of their time, energy and talent!

MANY THANKS TO OUR SPONSORS

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eLIST OF ADVERTISERS

Anna Larkin, Benson & Mangold ............................................................................................... 24

The Aspen Institute Wye River Conference Center ................................................................... 2

Benson & Mangold Real Estate ................................................................................................... 34

The Boykin Group ......................................................................................................................... 31

Charles Paul Goebel Architect ..................................................................................................... 26

Charles Schwab ............................................................................................................... back cover

Christ Church Cambridge Concert Series.................................................................................. 40

Crackerjacks .................................................................................................................................... 22

Delmarva Public Radio ................................................................................................................... 3

Dr. Computer .................................................................................................................................. 46

Easton Utilities ............................................................................................................................... 47

Gourmet by the Bay ......................................................................................................................... 4

Grauls Market ................................................................................................................................. 22

Higgins and Spencer ..................................................................................................................... 18

Integrace .......................................................................................................................................... 40

Londonderry ................................................................................................................................... 10

Salisbury Gift & Garden ............................................................................................................... 50

Scossa Restaurant & Lounge ........................................................................................................ 42

Shore United Bank ......................................................................................................................... 47

The Star Democrat ...............................................................................................inside back cover

Summer Solstice Concert .............................................................................................................. 42

Suzanne Brigham Residential Design .......................................................................................... 4

The Monty Alexander Jazz Festival ............................................................................................ 14

Town and Country wine, liquor, etc. .......................................................................................... 28

Tyler Contracting Company......................................................................................................... 18

West Capital Management ........................................................................................................... 24

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a musical tour around the world! - Chesapeake Music