Competition Winners

chamber music society at yaleDavid Shifrin, Artistic Director

may 42010

music ofBrahmsCarterKagel

Robert Blocker, Dean

Woodwind Quintet (1948)AllegrettoAllegro giocoso

Itay Lanter, fluteCarl Oswald, oboeIn Hyung Hwang, clarinetLeelanee Sterrett, hornJeremy Friedland, bassoon

Clarinet Quintet in B minor, Op. 115AllegroAdagioAndantinoCon moto

Domenic Salerni, violinFarkhad Khudyev, violinEren Tuncer, violaSunhee Jeon, celloEmil Khudyev, clarinet

elliott carterb. 1910

johannes brahms1833-1897

may 4, 2010 · 8 pmMorse Recital Hall in Sprague Memorial Hall

Competition Winners

As a courtesy to the performers and audience members, turn off cell phones and pagers. Please do not leave the theater during selections. Photography or recording of any kind is not permitted.

intermission

Dressur (1976-77)

Yun-Chu Candy Chiu, percussionJohn Corkill, percussionIan Rosenbaum, percussion

mauricio kagel1931-2008

chamber music programWendy Sharp, Director

Special thanks to the coaches who worked with the ensembles:

Carter: David ShifrinBrahms: Kikuei Ikeda, David Shifrin Kagel: Robert van Sice

Taiwanese percussionist Yun-Chu Candy Chiu began studying percussion at the age of eleven. In 2001 she traveled to the Annie Wright School in Washington State to study with Michael Crusoe, principal timpanist of the Seattle Sym- phony. In 2004, Candy won first place in the Washington State High School Marimba Com-petition. She then transferred to the Interlochen Arts Academy. Candy received her bachelor’s degree in percussion performance from the Peabody Conservatory of Johns Hopkins University, where she was a student of Robert van Sice. During her undergraduate study at Peabody, Candy studied Renaissance percussion with Mark Cudek and performed with the Peabody Renaissance Ensemble. Candy is cur-rently a Master of Music student at the Yale School of Music. During her time at Yale, she has been active in many ensembles, including the Yale Percussion Group and the Duel Duo with flautist Dariya Nikolenko. She has performed as a chamber musician at the Millenium Stage at the Kennedy Center, Carnegie Hall, and at the Percussive Arts Society International Convention.

Percussionist John Corkill has performed in many prestigious venues across America such as Carnegie’s Zankel Hall and Stern Auditorium, the Kennedy Center’s Millennium Stage, La Poisson Rouge, and Millennium Park’s Jay Pritzker Pavilion. As a chamber musician, John has won several competitions, most recently the Yale Chamber Music Competition (2010) and the Percussive Arts Society International Convention (2007 and 2009). John has had the privilege of working with leading orchestral conductors and composers such John Adams, Oliver Knussen, Krzysztof Penderecki, Marin Alsop, Peter Oundjian, and Reinbert de Leeuw. This summer he will be attending the Norfolk Chamber Music and Chorale Festival as a fellow. John received his Bachelor of Music degree from

Northwestern University, where he graduated cum laude, and will earn his Master of Music degree from the Yale School of Music in May. His teachers include Robert van Sice, Michael Burritt, and James Ross.

Jeremy Friedland, bassoon, is currently a can- didate for a master’s degree at Yale as a student of Frank Morelli. Previously he studied with Harry Searing at the John J. Cali School of Music at Montclair State University. Jeremy has atten- ded the Sarasota Music Festival and the National Orchestral Institute, where he has participated in masterclasses with bassoonists William Winstead, Nancy Goeres, John Miller, Daniel Matsukawa, Christopher Millard, and Susan Heinemann. An experienced orchestral player, Jeremy has played with the Symphony in C (formerly the Haddonfield Symphony) Westchester Philharmonic, Colonial Symphony, Connecticut Masterworks Chorale Orchestra, Montclair State University Orchestra, the Sarasota Festival Orchestra, and the National Orchestral Institute orchestra. After his perfor- mance with the Colonial Symphony of a new version of Harold Meltzer’s concerto for two bassoons, the Daily Record called Jeremy’s playing “vigorous and exuberant.” This summer, Jeremy will be a fellow at the Norfolk Chamber Music Festival.

Inhyung Hwang, a native of South Korea, be- gan playing clarinet at age 11. A year later, she performed as soloist with the Seoul Chamber Orchestra. As a pre-college student at the Korean National University of Arts (KNUA), she won the Nanpa, Music Journal, and Music Chun-chu competitions. In 2001, Inhyung gave a solo recital in Korea, sponsored by Kumho/Asiana Airlines. After a succesful audition for the Korean National University of Arts, she graduated high

artist profiles

school in only two years and began studying with Kwang-Ho Oh at the University. Inhyung performed as principal clarinetist in the KNUA Orchestra and performed in the Kwangjin Symphony Orchestra and Clarinet Choir Seoul 24. As a chamber musician, Ms. Hwang has given concerts at such festivals as the 2006 Jeju International Music Festival and the 2007 Beijing International Music Festival for Clarinet and Saxophone. She is currently pursuing her Master of Music degree at the Yale School of Music with David Shifrin. This summer, she will attend the Sarasota Music Festival, where she will study with Charles Neidich, Eli Eban, and Franklin Cohen.

Prize-winning cellist Sunhee Jeon has performed throughout the United States, Finland, France, Germany, Italy, Russia, Sweden, and her native South Korea. Following her initial musical stu- dies on the piano at the age of four, she started playing the cello at the age of eleven. Within several years she gained public recognition as a cellist by winning several competitions. At the age of eighteen she moved to Europe to further her musical endeavors, studying with Ventin Erben at the University of Music in Vienna and Arto Noras at the Sibelius Academy in Helsinki. She is currently an artist diploma student of Aldo Parisot at the Yale School of Music.

Born in December 1986 in Turkmenistan, Emil Khudyev began his musical training under the auspices of the Moscow Conservatory. At the age of seven, Emil was admitted to the Special Music School of Turkmenistan. In 2001, he won a full scholarship to attend the Interlochen Arts Camp. He was then offered a full scholarship to the Interlochen Arts Academy, where he stu-died for four years with Nathan Williams. In 2005 Emil began studying with Franklin Cohen

at the Cleveland Institute of Music, and in 2006 he was selected to participate in the Carnegie Hall Workshop Young Artist Concert under the conductor David Robertson. Mr. Khudyev has won numerous awards and competitions, inclu- ding the Turkmen National Wind Competition, Presidential Scholarship, the Arthur Foote Prize from the Harvard Musical Association, Inter-national Yamaha Performing Artists (Chicago), Lake Shore Competition, Glenn Miller Scholar-ship Concerto Competition, and Tuesday Music Club Competition (Akron, Ohio), among many others. Mr. Khudyev has played with orchestras including the Cleveland Orchestra and the Mansfield Symphony, and currently holds a position with Opera Naples Orchestra (Florida). He has attended the Tanglewood Music Festival, Colorado College Music Festival, and the Sarasota Music Festival. Currently Mr. Khudyev is working toward a master’s degree at Yale University, studying with David Shifrin.

Farkhad Khudyev is originally from Ashgabad, Turkmenistan, where he studied violin and composition with Zinaida Ahmedzhanova and Vera Abaeva at the Special Music School. At age ten, he became the youngest performer to play with the National Violin Ensemble of Turkmeni- stan, and at twelve he won a scholarship to the New Names Festival (Suzdal, Russia), where he earned the top award and was named the most promising musician. Mr. Khudyev has per- formed in Ashgabad, Suzdal, Moscow, and Odessa as both a soloist and a member of the Violin Ensemble. He came to the U.S. in 2001 to study with Paul Sonner and Michael Albaugh at Interlochen, and then completed his BM at Oberlin with Milan Vitek. Currently a second-year MM student at Yale, he studies with Shinik Hahm. Mr. Khudyev won the Grand Prize and the Gold Medal at the Fischoff Chamber Music Competition in 2007 as a member of the Prima

Trio, and received an honorable mention in the 2004 ASCAP Foundation Morton Gould Young Composer awards for his symphonic work Turkmenistan. Other awards include a prize at the 30th Annual Glenn Miller Competition and the Neil Rabaut Composition Prize from the Interlochen Arts Academy. He has served as assistant conductor of NOYO orchestra and has conducted the Chamber Orchestra of Ashgabad.

Israeli-born flutist Itay Lantner is a graduate student at the Yale School of Music, where he expects to complete his Master of Music degree in May 2010. He holds a Bachelor of Music degree from the Tel Aviv University Buchmann-Mehta School of Music. From 2003 to 2008 he held an America-Israel Cultural Foundation’s scholar- ship. He served in the IDF’s prestigious Excellent Musicians Program and appeared as a soloist with the Thelma-Yelin Symphony Orchestra in Israel. He has participated in the master classes of world-renowned flutists Aurele Nicolet, Patrick Gallois, Ransom Wilson, Michel Debost, and others.

Carl Oswald began his oboe studies in fall of 1994, studying privately with Mary Poling at the Peabody Preparatory School and then with Fatma Dagler, current principal oboist of the Annapolis Symphony Orchestra. In 2003, Carl won the Young Artists Concerto Competition in Baltimore County, performing the first move- ment of the Mozart Oboe Concerto with the Baltimore Symphony Orchestra. At the University of Maryland, Carl studied primarily with Mark Hill as well as will Ray Still. Carl graduated from the University of Maryland in May 2008 and returned that November to perform the Goossens Oboe Concerto with the University of Maryland Symphony Orchestra as a result of winning first place in the school-wide concerto

competition in 2007. He has also performed with the orchestras of the Pacific Music Festival in Sapporo, Japan; Texas Music Festival; and the National Orchestral Institute. Most recently, Carl was chosen as a winner of the 2010 Woolsey Competition at the Yale School of Music, and will be performing the Strauss Oboe Concerto with the Yale Philharmonia in the 2010-2011 season.

Percussionist Ian Rosenbaum recently made his Carnegie Hall debut performing John Cage’s Third Construction with members of the critically-acclaimed Yale Percussion Group. Born and raised in New York, Ian was a finalist at the 2009 Salzburg International Marimba Festival. In 2009, Ian was chosen to represent the Yale School of Music as a soloist at the Kennedy Center. He has been a fellow of the Norfolk and Yellow Barn Chamber Music Festivals, and toured the world in the 2007 and 2008 seasons as a member of the Verbier Festival Orchestra. He also performs with the renowned percussion quartet So Percussion. Deeply committed to new music and the expansion of the percussion re-pertoire, Ian has helped commission many of the leading composers of our time, including Martin Bresnick, Paul Lansky, and Charles Wuorinen. Ian received his bachelor’s degree from the Peabody Institute of Johns Hopkins University and is earning his master’s degree from the Yale School of Music, studying at both schools with virtuoso Robert van Sice.

Domenic Salerni, laureate of the 2009 Sion- Valais International Violin Competition and a winner of the Cleveland Institute’s Concerto Competition, has performed in such venues as Zankel Hall, Alice Tully Hall, the Kennedy Center, and Severance Hall. Since 2008, he has performed with the ensemble Sejong on tour in the U.S. and Korea. He twice participated in the

New York String Orchestra Seminar, and re-turned for its fortieth anniversary gala concert in Carnegie Hall last December. Domenic has performed alongside such artists as Gil Shaham, Orli Shaham, Paul Schoenfield, and Jan Opalach. He was a featured performer at the Amelia Island Chamber Music Festival, Norfolk Chamber Music Festival, encore School for Strings, and the Mimir Chamber Music Festival. An honors graduate of the Cleveland Institute of Music, Domenic studied with William Preucil and Linda Cerone. Domenic started violin under the Suzuki Method with Linda Fiore at age three. At age twelve, he was the featured soloist for the E.U. Conference on Human Rights in Venice. Recently, Domenic performed his original film score to Giuseppe di Liguorno’s L’Inferno with bassist/composer Samuel Adams as part of Yale’s Dante Graduate Symposium. He is currently in Yale’s master of music program, studying with Hyo Kang.

Originally from Manton, Michigan, Leelanee Sterrett is completing her Master of Music degree as a student of William Purvis. She previously earned a Bachelor of Music degree from the University of Wisconsin-Madison and also attended the Interlochen Arts Academy. In addition to being active in ensembles at Yale, Leelanee has been a member of the New Haven Symphony Orchestra and the La Crosse and Fox Valley Symphony Orchestras in Wisconsin. Leelanee was the second-prize winner in the 2007 International Horn Competition of America, and that year was named a Yamaha Young Per- forming Artist. Leelanee is an alumna of the Tanglewood Music Center, Pacific and Sarasota Music Festivals, the National Orchestral Insti- tute, and the Banff Centre’s Summer Arts Programs. This fall, she will be a new Fellow of the Academy, a program of Carnegie Hall, The Juilliard School, and the Weill Music

Institute in partnership with the New York City Department of Education.

Eren Tuncer studied violin at Bilkent University (Ankara, Turkey) with Muhammedjan Turdiev. In 2005, while pursuing his violin studies, he also began to play viola in chamber ensembles. As a soloist, he has performed with the Bilkent Youth Symphony and Bilkent Youth Chamber Orchestra. He participated in the World Youth Orchestra’s concert tour of Turkey and Germany, performing at the Young Euro Festival. In 2007, Eren Tuncer began his master’s studies on violin and viola in the Pittsburg (Kansas) State University music department, where he was the assistant to Dr. Selim Giray. After completing his master’s studies with Dr. Giray, Eren Tuncer began working toward his second master’s degree, in viola performance, in 2009. He cur-rently studies with Italian violist Ettore Causa at the Yale School of Music.

was more heavily guided by tradition in the final movement, as its theme and variations form resembles that of the finale to Mozart’s Clarinet Quintet (K. 581). Yet, with the third and fifth variations expressing the theme more clearly than the others, this movement simulta- neously suggests a rondo form. Even more ingenious is how the coda organically reintro-duces the first movement’s primary theme. While an autumnal atmosphere pervades the entire work, one senses here an element of downright nostalgia. The Quintet looks back to its beginnings, just as the elderly Brahms may have been looking back to his own.

In 1890, Brahms resolved to give up composing altogether; but hearing Richard von Mühlfeld, the clarinetist of the Meiningen Court Orchestra, perform the following year was enough to drag him out of retirement. “It is impossible to play the clarinet better than Herr Mühlfeld does,” Brahms wrote to Clara Schumann in the summer of 1891. “He is absolutely the best I know.” While many of Brahms’s last works (including the Op. 120 Clarinet Sonatas and Op. 114 Clarinet Trio) were written for Mühlfeld, the Quintet is fre-quently regarded as the masterpiece among them.

The two violins open the work, their wistful theme suggesting D major before settling into B minor as the clarinet enters. Much of this move- ment – and of the work as a whole – grows out of these opening bars. The ensuing Adagio initially sounds like a love aria, with a tender clarinet melody hovering above muted strings. A new theme characteristic of Brahms’s “Hungarian gypsy” style works its way into the middle of the second movement; and while it no doubt outlines a contrasting section, it is clearly related to the main theme of the Adagio and the initial theme of the entire work.

The third movement alters the typical Scherzo form by adding an introduction in a moderate tempo, and by presenting the music in duple meter rather than the standard triple. Brahms

johannes brahms Quintet for Clarinet and Strings in B minor, Op. 115

“Composers were in the habit of overlooking the fact that each of these instruments has a different sound,” wrote Elliott Carter about the woodwind music that predated his 1948 quintet. “I, on the other hand . . . decided to write a work that would emphasize the individuality of each instrument and that made virtue of their inability to blend completely.” This individualism is clearly audible from the work’s opening passage, in which the flute announces a steady melody, the oboe mechanically ticks an eighth-note pulse, the clarinet sweeps through grand gestures, and the horn provides sustained tones. The bassoon seems to fuse the horn drone and the oboe pulse, and indeed, as the first movement progresses, the instruments progressively borrow each other’s characteristic traits. Such “textural counterpoint” was to become very significant in Carter’s sub- sequent compositions, perhaps most notably in his famous string quartets.

The second and final movement of the concise quintet is driven by continual effervescent bursts, with the energy diminishing only in the playful- ly understated finish. The influence of ragtime is evident throughout, with syncopation shaping the various “licks” played by the agile upper instruments.

Carter dedicated the quintet to his former teacher Nadia Boulanger, the effective matron of twentieth-century American composition. He would later say that he wrote it in the style Boulanger had always encouraged – light, vi-brant, and highly contrapuntal – causing many to declare the quintet his final work in the “Parisian” style. But if it bids farewell to France, it also greets American jazz, along with a new distinctively Carterian focus on individuality.

elliott carter Woodwind Quintet (1948)

mauricio kagelDressur

German-Argentine composer Mauricio Kagel is one of the most intriguing composers of the twentieth century. Many of his diverse works contain undercurrents of surrealism and anar- chism in an effort to shed light on—and often confront—the musical tradition. His film Ludwig Van refashions Beethoven scores as furniture; his chamber work Der Schall employs cash registers and household appliances as its main instruments; and in his opera Staatstheater, members of the chorus perform overlapping solos, soloists sing in a chorus, and non-dancers present a ballet.

The half-hour percussion trio Dressur (1977) is rooted in Kagel’s concern for how audio record- ings have altered the tradition of audience experience. “In the nineteenth century people still enjoyed music with their eyes as well, with all their senses,” Kagel has expressed. “Only with the increasing dominance of the mechanical reproduction of music, through broadcast and records, was this reduced to the purely acous-tical dimension. What I want is to bring the audience back to an enjoyment of music with all senses. That’s why my music is a direct, exaggerated protest against the mechanical reproduction of music.”

Like many of the other works in Kagel’s “instrumental theater” idiom, Dressur therefore combines the visual element with the auditory, the theatrical with the musical.

Using over fifty instruments and non-instruments, Kagel creates sound out of theater (such as when a percussionist slams a chair on the ground several times), and theater out of sound (such as when castanets mimic the sound of a type- writer). The percussionist is a particularly fitting conduit for the visual-aural convergence: even in the most traditional works, his or her striking a variety of instruments, often while clearly visible behind several seated performers, seems to possess an inherent theatricality.

Interestingly, Dressur has become somewhat of a YouTube hit lately, with a handful of video-taped performances (many by Yale’s own performers) totaling several thousand hits. If technological advances in the twentieth century resulted in audiences listening without seeing, those in the twenty-first may help bring us “back to an enjoyment of music with all senses.”

—Jacob Cooper

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concerts & mediaVincent OneppoDana AstmannMonica Ong ReedDanielle HellerElizabeth Martignetti

operationsTara DemingChristopher Melillo

piano curatorsBrian DaleyWilliam Harold

recording studioEugene KimballJason Robins

listen liveto select performances streamed from Sprague, Sudler, and Woolsey Halls music.yale.edu/media

May 5lunchtime chamber musicSprague Hall | Wed | 12:30 pm | Free Selections from chamber works by Beethoven, Debussy, Reinecke, and John Cage.

guitar chamber musicSprague Hall | Wed | 8 pm | Free Benjamin Verdery, director. Featuring the U.S. premiere of Verdery’s Give for eight guitars, Castelnuovo-Tedesco’s Quintet for guitar and string quartet, Stephen Goss’s Under Milk Wood Variations, and the Aria from Villa-Lobos’s Bachianas Brasileiras No. 5.

May 6baroque concertos & sinfoniasSprague Hall | Thu | 8 pm | Free Robert Mealy, director. Students in Mealy’s class in baroque instrumental performance practice perform concertos and sinfonias from Italy and Germany.

May 23commencement concertSprague Hall | Sun | 4 pm | Free Featuring outstanding performers from the Yale School of Music Class of 2010.

chamber music society at yale2010-11 season to be announced soon!