2014 LCCMF Program Book

Cello 1 by Carol MacDonald

Soovin Kim, artistic director

August 23 – August 31, 2014www.lccmf.org 802 846-2175

POETRY IN MUSIC

This summer’s festival, Poetry in Music, centers on Art Song — one of the treasures of the chamber music repertoire. Composers such as Franz Schubert and Robert Schumann wrote some of their most beautiful melodies to the words of poets such as Wilhelm Müller and Heinrich Heine. We experience the sublime nature of these songs and explore the nuances of their French, German, Russian,

and English texts. Living composers discuss their process of creating musical structures for the poetry, setting the words to music. Larger chamber works without voice by musical poets such as W.A. Mozart, Johannes Brahms, and Maurice Ravel anchor the week’s programs.

Poetry in Music promises to be a deeply moving and fascinating LCCMF week!

Soovin Kim, Artistic Director

WELCOME!

Sarah Shafer, sopranoHyunah Yu, sopranoJoan Morris, mezzo-sopranoRandall Scarlata, baritoneBella Hristova, violinSoovin Kim, violin and Artistic DirectorPaul Neubauer, violaEdward Arron, celloMarcy Rosen, celloPeter Stumpf, celloRomie de Guise-Langlois,

clarinetGloria Chien, piano

Ellen Hwangbo, pianoIeva Jokubaviciute, pianoIgnat Solzhenitsyn, pianoShai Wosner, pianoDavid Ludwig, Composer-in-Residence

William Bolcom, DistinguishedComposer-in-Residence

Phillip Golub, YoungComposer-in-Residence

Leon Botstein, Guest SpeakerCori Ellison, Guest SpeakerKatie Ford, PoetAlan Bise, Recording Engineer

2014 FESTIVAL ARTISTS

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First Festival Saturday, August 239:30am Violin Master Class/Cello Master Class

12:00pm Noon OnStage: German and French Art SongHyunah Yu, soprano; Ieva Jokubaviciute, pianoLeon Botstein, guest speaker

2:00pm BOWS! presented by Bruno Price, Rare Violins of NY

4:00pm Opening Festival Reception

Festival Sunday, August 242:15pm Pre-concert Talk3:00pm Festival Opening Concert5:00pm Meet the Musicians Q&A

Post-concert Recepton

Festival Monday, August 2512:00pm Bach on Church*

Marcy Rosen, cello; Paul Neubauer, viola3:00pm David Ludwig’s Inside Pitch: The Poetry of

Maurice Ravel4:30pm Young Quartet-in-Residence:

Master Class with Marcy Rosen

Festival Tuesday, August 2610:30am David Ludwig’s Inside Pitch: Setting the Poet’s

Voice12:00pm Noon OnStage: Schubert’s “Die Winterreise”

Randall Scarlata, baritone; Gloria Chien, pianoCori Ellison, guest speaker

Festival Wednesday, August 277:30pm Festival Wednesday Concert

Refreshments and cash bar

Festival Thursday, August 2812:00pm Bach on Church*

Peter Stumpf, cello3:00pm David Ludwig’s Inside Pitch: The Poetry of

William Bolcom4:30pm Young Quartet-in-Residence:

Master Class with Soovin Kim

Festival Friday, August 296:45pm Pre-concert Talk7:30pm Festival Friday Concert9:30pm Meet the Musicians Q&A


Second Festival Saturday, August 3011:00am Young Quartet-in-Residence Concert1:30pm On Shostakovich’s Blok Songs with Ignat

Solzhenitsyn, pianist and guest speaker.Hyunah Yu, soprano; Soovin Kim, violin; Edward Arron, cello

3:00pm Sounding Board: Open Recording Session ofNew Compositions by the Festival’s YoungComposers

Festival Sunday August 312:15pm Pre-concert talk3:00pm Festival Closing Concert5:00pm Meet the Musicians Q&A


*All events take place at the Elley-Long Music Center at St. Michael’s College, with the exception of Bach on Churchwhich will be at the BCA Center, 135 Church Street, Burlington

2014FESTIVALATAGLANCE

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The Johannes String Quartet with Fred Child “Beethoven and Bartók”

“Phenomenal.” —Time Out New York

Sunday, January 18 at 7 pm $35

Fred Child, narrator and host; Soovin Kim, violin; Jessica Lee, violin; Choong-Jin (CJ) Chang, viola; Peter Stumpf, cello

Lake Champlain Chamber Music Festival Director Soovin Kim and the Johannes String Quartet continue their acclaimed collaboration with Performance Today host Fred Child. Child’s colorful narrative guides the audience as the quartet makes “the entire listening experience an

unadulterated pleasure” (Buffalo News). The group explores the musical connection between the high classical of the 18th century and dissonant 20th century modernism, pairing Beethoven’s immortal String Quartet in F Major, Op.135 with Bartók’s remarkable String Quartet No. 6.

Co-presented with the Lake Champlain Chamber Music Festival

Sponsored by Media Support from Vermont Public Radio and Seven Days

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SUNDAYOPENINGCONCERTSUNDAY, AUGUST 24, 2014, 3:00 PM

LUDWIG VAN BEETHOVEN (1770-1827)Piano trio in E-flat, Op. 1, No. 1 (1791)AllegroAdagio cantabileScherzo. Allegro assaiFinale. Presto

Soovin Kim, violinMarcy Rosen, celloIeva Jokubaviciute, piano

FRANCIS POULENC (1899-1963)Fiançailles pour rire (1939)La Dame d’André Dans l’herbeIl voleMon cadavre est doux comme un gantViolonFleurs

ROBERT SCHUMANN (1810-1856)Der NußbaumMeine RoseRöselein, RöseleinEr ist’s

Hyunah Yu, sopranoIeva Jokubaviciute, piano

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WOLFGANG AMADEUS MOZART (1756-1791)Divertimento for string trio in E-flat, K. 563 (1788)AllegroAdagioMenuetto: AllegrettoAndanteMenuetto: AllegrettoAllegro

Soovin Kim, violinPaul Neubauer violaMarcy Rosen, cello

Concert underwritten by

Join us for Meet the Musicians Q&A and reception immediately following the concert.Concert Grand Piano provided by Steinway & Sons, NY

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Beethoven’s Piano Trio in E-flat Op. 1 No. 1, along with thehis two other Op. 1 piano trios, were among the first

works he presented to Viennese audiences following hismove to Vienna in 1792. Although Beethoven had alreadypublished several other works by the time the trios wentto press in 1795, his decision to label the set ‘Op. 1’ indi-cates that to the composer, these works embodied a newsense of creative maturity.

By premiering and publishing a set of piano trios upon hisarrival in Vienna, Beethoven gave himself a chance to displayhis pianistic virtuosity, and took advantage of the pianotrio’s wide popularity among amateurs. But his triospushed an instrumentation used primarily for light enter-tainment music with piano-heavy textures into unchartedterritory. Instead of the typical three-movement layout, forinstance, Beethoven opted for more symphonic four-move-ment architectures in all three Op. 1 trios. In the E-flat trio,the smiling warmth and classical poise of the beginningmeasures might have drawn in listeners anticipating littlemore than a pleasant diversion. As the optimism of theopening sonata-allegro movement overflows into an ex-tended coda, a kind formal tension is set up that is at oddswith the relatively benign soiree music Viennese audienceshad come to expect from piano trios. Listeners would haverealized then that they were in an alien place.

Similarly, Beethoven’s conception of the piano trio as anintermingling of equal instruments would have struck con-temporary audiences as new and strange. Nowhere wouldBeethoven’s interest in playing instruments off each otherin different combinations have been more noticeable thanin the second movement. The piano introduces the theme,but when the violin and cello enter, the piano recedes intothe distance, casting an entirely new shade of meaning overthe solo piano that opens the movement. Later in themovement, the texture again thins away to a solo pianostatement of the theme – but this time, the violin’s en-trance turns the music over into a minor key, setting off achain of modulations that culminate in C major before re-turning to Ab.

Like his concern with large-scale formal tension,Beethoven’s interest here in instrumentation as a meansof musical expression foreshadows some of his symphonicwriting. In fact, that Beethoven later transcribed his Sym-phony 2 for piano trio suggests some affinity between hissymphonic writing and piano trio writing in particular. Soeven as the E-flat piano trio remains noticeably influencedby the music of Haydn (perhaps unsurprisingly, Haydn gavethe piece his wholehearted approval), to the extent that itwent against the grain of the genre it was laying the foun-dations not only for Beethoven’s later monumental pianotrios but possibly also some of his most well-known sym-phonic music.

© 2014 Niels Verosky

SUNDAY, AUGUST 24, 2014, 3:00 PM

LUDWIG VAN BEETHOVEN (1770-1827)Piano trio in E-flat, Op. 1, No. 1 (1791)

“As poetry is the harmony of words,” wrote Englishcomposer Henry Purcell way back in the 1600s “somusic is the harmony of notes; and as poetry is a riseabove prose and oratory, so is music the exaltation ofpoetry.” In other words: poetry and music together aregreater than the sum of the parts. Music may steal into

the heart mysteriously; words target both the heart andmind with touching or piercing precision. Together theyare formidable. For centuries the Catholic Church wellunderstood this, using the power of music and Latin tobind the faithful to the idea of God. In the secular world,Art Song ensnares the willing listener.

Poetry and Music

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FRANCIS POULENC (1899-1963)Fiançailles pour rire (Light-Hearted Betrothal) (1939)

Fiançailles pour rire (Light-Hearted Betrothal) (1939) Poems by Louise de Vilmorin (1902-1969); Translation © 2000 by Richard Stokes and Graham Johnson

La dame d’André

André ne connaît pas la dameQu’il prend aujourd’hui par la main. A-t-elle un coeur à lendemainsEt pour le soir a-t-elle une âme?Au retour d’un bal campagnard S’en allait-elle en robe vague Chercher dans le meules la bague Des fiançailles du hassard?A-t-elle eu peur, la nuit venue, Guettée par les ombres d’hier. Dans son jardin lorsque l’hiver Entrait par la grande avenue?Il l’a aimée pour sa couleurPour sa bonne humeur de Dimanche. Pâlira-t-elle aux feuilles blanchesDe son album des temps meilleurs?

André’s ladyfriend

André does not know the womanWhose hand he takes today. Has she a heart for the future,And for evening has she a soul? Returning from a country dance,Did she in her loose-fitting gownGo and seek in the haystacksThe ring of random betrothal? Was she afraid, when night fell, Watched by the ghosts of the past,In her garden, when winterEntered by the wide avenue?He loved her for her complexion,For her Sunday good humour.Will she fade on the blank pagesOf his album of better days?

Acontemporary Parisian critic summed up Poulenc’spersonality thus: “A lover of life, mischievous, ‘bon en-

fant,’ tender and impertinent, melancholy and serenelymystical, half monk and half delinquent.” His music is thesame. By eighteen he had already found Adrienne Mon-nier’s famous bookstore where he met James Joyce, Apol-linaire, and surrealist literature. With equal avant gardeinstinct he found Diaghilev, Stravinsky, Satie and the othercomposers who with him became known as Les Six, witty,irreverent, and serious.

Poulenc was a life-long sophisticated eccentric, largely self-taught and resolutely individual. He was at home with amajestic organ concerto or a witty serenade for winds, buthe excelled at vocal music. Anyone who has seen Dialoguesof the Carmelites knows that he could tackle existentialquestions head on with terrifying dramatic power. His artsongs may seem slight in comparison, but the atmosphereand insight into human nature can be equally penetrating.To put it in literary terms: both Tolstoi and Jane Austenwere great novelists – all a matter of scale, in both sensesof the word and pun intended. Words convey the idea; har-monics convey the mood.

His twenty-five year partnership with French baritonePierre Bernac shaped his songwriting. They both valuedclarity of diction and the power of atmosphere and mood.As Poulenc wrote, “It is not only the lines of the poem thatmust be set to music, but all that lies between the linesand in the margins.” Singing with sensitive enunciation andlegato line, Bernac too insisted: “there is no disunity be-tween the two conceptions an interpreter has to express:that of the poet and that of the musician.”

The unrelated texts of Fiançailles Pour Rire are by Louise deVilmorin, whom Poulenc admired for her “sensitive imper-tinence.” The poetry is slight, modest, elegant, nostalgic andreflective rather than full of action, creating a world-wearybittersweet atmosphere. How does a composer convey“bittersweet?” Consider as you listen how his underlyingshifting harmonics enhance his texts, how a melodic linesighs or behaves abruptly. But Poulenc once wrote, “Don’tanalyze my music. Love it.” In other words, just surrenderto it.

© 2014 Frederick Noonan

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Il vole

En allant se coucher le soleilSe reflète au vernis de ma table:C’est le fromage rond de la fableAu bec de mes ciseaux de vermeil.–Mais où est le corbeau? –Il vole.

Je voudrais coudre mais un aimantAttire à lui toutes mes aiguilles.Sur la place les joueurs de quillesDe belle en belle passent le temps.–Mais où est mon amant?–Il vole.

C’est un voleur que j’ai pour amant,Le corbeau vole et mon amant vole,Voleur de coeur manque à sa paroleEt voleur de fromage est absent.–Mais où est le bonheur?–Il vole.

Je pleure sous le saule pleureurJe mêle mes larmes à ses feuillesJe pleure car je veux qu’on me veuilleEt je ne plais pas à mon voleur.–Mais où donc est l’amour?–Il vole.

Trouvez la rime à ma déraisonEt par les routes du paysageRamenez-moi mon amant volageQui prend les coeurs et perd ma raison.Je veux que mon voleur me vole.

Stealing away

The sun as it setsIs reflected in my polished table –It is the round cheese of the fableIn the beak of my silver scissors.But where’s the crow? Stealing away.

I’d like to sew but a magnetAttracts all my needles.In the square the skittle playersPass the time playing game after game.But where’s my lover? Stealing away.

I’ve a stealer for lover,The crow steals away and my lover steals,The stealer of my heart breaks his wordAnd the stealer of cheese is absent.But where is happiness? Stealing away.

I weep under the weeping willowI mingle my tears with its leavesI weep because I want to be wantedAnd because my stealer doesn’t care for me.But where can love be? Stealing away.

Find the sense in my nonsenseAnd along the country waysBring me back to my wayward loverWho steals hearts and robs me of my senses.I want my stealer to steal me.

Dans l’herbe

Je ne peux plus rien direNi rien faire pour lui.Il est mort de sa belleIl est mort de sa mort belleDehorsSous l’arbre de la LoiEn plein silence En plein paysage Dans l’herbe.Il est mort inaperçuEncriant son passageEn appelant, en m’appelant Mais comme j’étais loin de lui Et que sa voix ne portait plusIl est mort seul dans les boisSous son arbre d’enfanceEt je ne peux plus rien direNi rien faire pour lui

In the grass

I can say nothing moreDo nothing more for him. He died for his fair oneHe died a fair deathOutsideBeneath the tree of JusticeIn utter silenceIn open countryIn the grass.He died unnoticedCrying out as he passed awayCalling, Calling meBut since I was far from himAnd since his voice no longer carriedHe died alone in the woods Beneath his childhood treeAnd I can say nothing moreDo nothing more for him.

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Fleurs

Fleurs promises, fleurs tenues dans tes bras,Fleurs sorties des parenthèses d’un pas,Qui t’apportait ces fleurs l’hiverSaupoudrés du sable des mers?Sable de tes baisers, fleurs des amours fanéesLes beaux yeux sont de cendre et dans la cheminéeUn cœur enrubanné de plaintes Brûle avec ses imagessaintes.Fleurs promises, fleurs tenues dans tes bras,Qui t’apportait ces fleurs l’hiverSaupoudrés du sable des mers?

Flowers

Promised flowers, flowers held in your arms, Flowers from a step’s parentheses,Who brought you these flowers in winterSprinkled with the sea’s sand?Sand of your kisses, flowers of faded lovesYour lovely eyes are ashes and in the hearthA moan-beribboned heart Burns with its sacred images.Promised flowers, flowers held in your arms,Who brought you these flowers in winterSprinkled with the sea’s sand?

Mon cadavre est doux comme un gant

Mon cadavre est doux comme un gantDoux comme un gant de peau glacéeEt mes prunelles effacéesFont de mes yeux des cailloux blancs.

Deux cailloux blancs dans mon visage,Dans le silence deux muetsOmbrés encore d’un secretEt lourds du poids mort des images.

Mes doigts tant de fois égarésSont joints en attitude sainteAppuyés au creux de mes plaintesAu nœud de mon cœur arrêté.

Et mes deux pieds sont les montagnes,Les deux derniers monts que j’ai vusÀ la minute où j’ai perduLa course que les années gagnent.

Mon souvenir est ressemblant,Enfants emportez-le bien vite,Allez, allez, ma vie est dite.Mon cadavre est doux comme un gant.

My corpse is as soft as a glove

My corpse is as soft as a gloveSoft as a glove of frozen skinAnd my hidden pupilsMake two white pebbles of my eyes.

Two white pebbles in my faceTwo mutes in the silenceStill darkened by a secretLaden with the dead weight of what they’ve seen

My fingers that roved so oftenAre joined in a saintly poseResting on the hollow of my sorrowsAt the centre of my arrested heart.

And my two feet are mountains,The last two hills that I sawAt the very moment I lost the raceThat the years always win.

My memory is resembling—Children, bear it swiftly away,Go, go my life is over.My corpse is as soft as a glove.

Violon

Couple amoureux aus accents méconnusLe violon et son joueur me plaisent. Ah! j’aime ces gémissements tendus Sur la corde des malaises.Aux accords sur les cordes des pendusÀ l’heure où les Lois se taisentLe coeur en forme de fraiseS’offre à l’amour comme un fruit inconnu.

Violin

Loving couple of misapprehended soundsViolin and player please me. Ah! I love these long wailings Stretched on the string of disquiet. To the sound of strung-up chords At the hour when Justice is silent The heart shaped like a strawberryGives itself to love like an unknown fruit.

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ROBERT SCHUMANN (1810-1856)

The son of a bookseller and steeped in literature, Schu-mann became a pivotal character in 19th-century

music by bringing a love of words to both writing and com-posing. As editor of a music journal he gave critical supportto such totally unknown composers as Mendelssohn,Chopin, and Brahms; as a composer he is credited with in-venting program music, the fusion of literature and sound –poetry and music – which blossomed in the Romantic era.

The arc of Schumann’s career has a German orderlinessto it as he polished off each genre and moved on: piano,song, symphony and finally chamber music. Each advancewas personal. In 1840 his love for Clara Wieck, the way-under-age daughter of his piano teacher, brought voice tohis piano music, though the piano retained its own identity,never subsiding into mere accompaniment. He poured outover 160 songs in a year while storming in and out of court

battling for Clara’s hand against her father’s wishes. DerNußbaum was a gift to Clara on their wedding day.

Romantic poetry found nature a mirror of human feelingsand the music actually embodies this. In Nußbaum, listento the underlying rustle of the piano, wind in the leaves,and note the way voice and piano echo each other, wordsunifying with music. Each of these songs tours a differentaspect of human emotion. Schumann’s setting of Er Ist’sturns the coming of spring into a whole opera in a minuteor two – the winds stroll across the fields in their ownpiano passage, anticipation sleeps in violet dreams, then thepiano urges all forward until words and music unite in thethrill of spring’s arrival, reaffirmed by repeated chords, re-solving finally into a brief, satisfied piano postlude.


Der Nußbaum, from Myrthen, Op. 25 (1840)

Der Nußbaum The Walnut Tree

Es grünet ein Nußbaum vor dem Haus, Green before the house a walnut stands.Duftig, luftig breitet er blättrig die Blätter aus. Spreading, fragrant, airy its leafy branchesViel liebliche Blüten stehen dran; Many lovely blossoms gleam thereon;Linde Winde kommen, sie herzlich zu umfahn. Gentle winds visit them with loving embrace.Es flüstern je zwei zu zwei gepaart, they whisper always paired in twos,Neigend, beugend zierlich bending, bowing gracefullyZum Kusse die Häuptchen zart. For a kiss their frail little heads.

Sie flüstern von einem Mägdlein, They whisper of a maiden, das Dächte die Nächte und Tage lang, who was thinking all night and all day,wußte, ach, selber nicht was. But alas! Knew not what.

Sie flüstern, sie flüstern, They whisper, they whisper–Wer mag verstehn so gar leise Weis’? who can understand so soft a song?–Flüstern von Bräut’gam und nächstem Jahr. Whisper of the bridegroom and of next year.

Das Mägdlein horchet, es rauscht im Baum; The maiden listens, the tree rustles;Sehnend, wähnend sinkt es yearning, hoping, she sinks,Lächelnd in Schlaf und Traum. Smiling into sleep and dream.

Poem by Julius Mosen (1803-1867) Translation © 2009 by Shula Keller

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Meine Rose, from Sechs Gedichte von N. Lenau und Requiem, Op. 90 (1850)

Röselein, Röselein

Röselein, RöseleinMüssen denn Dornen sein?Schlief am schatt’gen BächeleinEinst zu süssem Träumen ein,Sah in goldner Sonne-ScheinDornenlos ein Röselein,Pflückt’ es auch und küsst’ es fein.

,,Dornloses Röselein!”Ich erwacht’ und schaute drein:,,Hatt’ ich’s doch! wo mag es sein?”Rings im weiten SonnenscheinStanden nur Dornröselein!Und das Bächlein lachte mein:,,Lass du nur dein Träumen sein!Merk’ dir’s fein, merk’ dir’s fein,Dornröslein müssen sein!”

Little rose, little rose!

Little rose, little rose,Must there then be thorns?I slept once by a shady brookAmid sweet dreaming,And saw in golden sunshineThornless then a little rose,Plucked it too, and kissed it fine.

“Thornless little rose!”I awoke and looked about:“I had it! Where could it be?”All around in shining sunStood only thorny little roses!And the brook, it laughed at me:“Just let your dreaming be!Remember well, mark it well,Thorny roses needs must be!”

Röselein, Röselein, from Sechs Gesänge, Op. 89 (1850)

Meine Rose

Dem holden Lenzgeschmeide,Der Rose, meiner Freude,Die schon gebeugt und blasserVom heißen Strahl der Sonnen,Reich’ ich den Becher WasserAus dunklem, tiefem Bronnen.

Du Rose meines Herzens!Vom stillen Strahl des SchmerzensBist du gebeugt und blasser;Ich möchte dir zu Füßen,Wie dieser Blume Wasser,Still meine Seele gießen!Könnt’ ich dann auch nicht sehenDich freudig auferstehen.

My Rose

To the lovely vernal ornament,The rose, my joy,Which is already bowed and palerFrom the sun’s hot rays,I give the cup of waterFrom a dark, deep well.

Thou rose of my heart!From silent ray of painArt thou bowed and paler;At thy feet I wish,Like water for this flower,To pour out quietly my soul!Even though I could not witness thenThy joyous resurrection.

Poem by Nikolaus Lenau (1802-1850) Translation by Philipp Naegele © Marlboro Music

Poem by Wilfried von der Neun (1826-1916) Translation by Philipp Naegele © Marlboro Music

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WOLFGANG AMADEUS MOZART (1756-1791)Divertimento for string trio in E-flat, K. 563 (1788)

Mozart’s Divertimento for string trio in E-flat, in additionto being one of his most profound works of chamber

music, also has the distinction of being the high point onan otherwise less-than-memorable journey. He completedthe piece in 1788, but it was not performed until the fol-lowing spring on the first stop of a tour that would takehim to Dresden, Leipzig, and Berlin. The concert went verywell according to most accounts, except for Mozart, whogave the piece’s premiere only lukewarm praise: “It wasplayed quite decently” he wrote in a letter the week afterthe performance. The rest of the tour went less swim-mingly; Mozart was snubbed by King Friederich Wilhelmof Prussia, endured abysmally small crowds in Leipzig, andbecame indebted to a traveling companion to the tune ofover 1,400 florins. This companion was none other thanKarl Alois, Prince Lichnowsky of the Austrian ImperialCourt, a patron of Mozart and (years later) Beethoven. Theprince eventually sued Mozart, successfully, for the fullamount of the debt only six weeks before Mozart’s deathin 1791. In any event, Mozart returned to Vienna nearly two

months after he left, much poorer and grumpier for his ef-forts.

Its circumstances notwithstanding, the Divertimento is agem. Other than some transcriptions of Bach fugues, thepiece represents the only work Mozart wrote for the com-bination of violin, viola, and cello. In six movements, it rep-resents an expansion of typical sonata form. An openingallegro is followed by a sublimely beautiful slow movementand a playful minuet. The centerpiece of the work is per-haps its fourth movement, in which Mozart constructs acharming set of variations on an original theme. After an-other minuet (with two trios – bonus!), the work con-cludes with one of his most recognizable rondos. It’s aremarkable musical journey of about 45 minutes, andMozart’s ability to draw so much material and gravitas outof three instruments will continue to inspire and delightperformers and audiences alike for generations to come.

© 2014 Joe Goetz

Er ist’s, from Lieder-Album für die Jugend, Op. 79 (1849)

Er ist’s

Frühling läßt sein blaues BandWieder flattern durch die Lüfte;Süße, wohlbekannte DüfteStreifen ahnungsvoll das Land.Veilchen träumen schon,Wollen balde kommen.Horch, ein Harfenton!Frühling, ja du bist’s!Dich hab ich vernommen!Ja du bist’s!

’Tis you

Springtime lets its azure ribbonFlutter through the air again;Sweet and old-familiar fragranceTouches with presentiment the land.Violets already dream,Soon would come anon.Hark, the sound of harps!Springtime, yes ’tis you!’tis you I heard!Yes, ’tis you!

Poem by Eduard Mörike (1804-1875) Translation by Philipp Naegele © Marlboro Music

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CONCERTWEDNESDAY, AUGUST 27, 2014, 7:30 PM

DAVID LUDWIG (B. 1972)Our Long War (2012)

Sarah Shafer, sopranoBella Hristova, violinEllen Hwangbo, piano

WILLIAM E. BOLCOM (B. 1938)Let Evening Come (1994)Ailey, Baldwin, Floyd, Killens, and Mayfield’Tis Not That Dying Hurts Us SoLet Evening Come

Sarah Shafer, sopranoPaul Neubauer, violaEllen Hwangbo, piano

-INTERMISSION-

BOLCOM & MORRIS PERFORM THE CLASSIC POPULAR SONG

Featuring songs by Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, Rodgers & Hart,and others

Concert Grand Piano provided by Steinway & Sons, NY

Cash Bar is open beginning at 6:45pm and throughout the concert.Complimentary refreshments will be available at an extended intermission.

Cabaret tables are reserved for Grand Festival Pass holders. Open seating for all other ticket holders.

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WEDNESDAY, AUGUST 27, 2014, 7:30 PM

Our Long WarBy Katie FordIf we are at war let the orchards show it, let the pear and fig fall prior to their time, let the hounds freeze over their meat, let the balconies crack their planked backs as we recline, let the horses pulling at the fields wither beneath us.

Let each year decay, and each decade:

to receive report is not enough, the equations of the mathematician must each come wrong, strangely, inexplicably, the remedies must run dry, the violet must let no more tincture and the waters let no more cool.When, at mudtimes, we trek to the waterfall, there it should no longer be– nothing should be where the guidebook says, not the orchids, not the taro, not the market, not the fishmonger thrashing carpagainst rockwhere once we bought it bloody on the board.

If we are at war with a holy book in our hands let itshrivel to slag; its teachings cannot survive the droneand will not gleam while villagers drink the ditch.

If we wage it, let the war breach up into the light, let it unseam our garments where they hold fast, let each button and string fail until we run to hide ourselves in the alleys where at least rats and refuse and the sleeping poor show some partial ghost of what’s abroad–

If we war there ought to be a sign, our lives should feel like cut-outs of lives, our bodies paper dolls drifting to the ground, ready for chalk outlines…

But still our horses ripple their flanks and the orange grove shakes green in the warm wind itloves.We laze on the balcony with clear water in the glass. At the newsstand stacks of cigarettes with their sure wrappings and that little red pull, candiesand juices made of the wildly thriving corn. In winter we ornament fountains with Christmas lights,in spring more falsely and more falsely the scent of heather and sedge grows rich through thetransom.

DAVID LUDWIG (B. 1972)Our Long War (2012)

Composers keep poetry around in their brains likethose important parts to appliances that you have to

keep in a safe place where you won’t forget them, eventhough you might not use them every day. The poem hasto be there waiting for just when you need it; if you’ve mis-placed it in the cupboards and drawers of your mind you’llmiss out on that perfect text that speaks for your piece.So we composers scour through books and the internetand make little mental notes to ourselves...when the com-mission for a song comes up, we have to reach into thatstorage space where all of the wonderful poetry we’ve en-countered lives, and then find what text resonates mostfor that moment.

Around the time I got the commission to write a songcycle for the Lake Champlain Festival a mutual friend in-troduced me to the extraordinary work of Katie Ford. Iknew right away the quality of her poetry embodied whatI have been looking to create in my music. To me, it is ele-gant and clear and incredibly expressive, like so many of

the best works of art that hit us in the gut and we don’thave to reason through why. I read through several of herbooks, but it was the poem she brought to a coffee meet-ing one day that focused my thoughts and feelings. Ford'sOur Long War will bring to mind the work of other wartimepoets, but it is absolutely contemporary in its call to feelthe effects of our many ongoing wars where there is enor-mous sacrifice in the midst of our relative comfort milesaway. It’s a powerful message, and one that hit me in thegut the first time I read it and every time thereafter. I wantmy music to be another vehicle to convey the poet's mean-ing; more like a frame to the poem than any interpretationof my own.

I would like to thank Katie Ford for allowing me to set hermoving words to music and the Lake Champlain Festivalfor the opportunity to do so as the commissioner of OurLong War.

© 2012 David Ludwig

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Before the war what is called the soul spoke so clearly we took it for an imbecile.

But now the war can’t know what it wants:we make meals, pay a tax and dream nothing hard enough to wake us.

Not once have I dreamt of the war. I forgot it quietly, unwantingly, and because there were peaches everywhere, the bounty in the field so sudden– it shouldn’t have happened– nor the idea of blessing at sundown, the orchard lit into an avenue of torchlight.

W illiam Bolcom’s commission was originally to writea duet piece for Metropolitan Opera stars soprano

Benita Valente and mezzo-soprano Tatiana Troyanos. How-ever, while the composition was in development, Troyanosunexpectedly died. The design was then changed, repre-senting the late mezzo-soprano with a viola instead. Thecomposer selected three poems about the acceptance of

death for the set: Ailey, Baldwin, Floyd, Killens and Mayfield(Maya Angelou), ’Tis not that Dying hurts us so (Emily Dick-inson), and Let Evening Come (Jane Kenyon). Let EveningCome was recorded by soprano Benita Valenti, pianist Cyn-thia Raim and violist Michael Tree, and released on CentaurRecords.

WILLIAM E. BOLCOM (B. 1938)Let Evening Come (1994)

Ailey, Baldwin, Floyd, Killens, and MayfieldBy Maya Angelou

When great trees fall,rocks on distant hills shudder,lions hunker downin tall grasses,and even elephantslumber after safety.

When great trees fallin forests,small things recoil into silence,their senseseroded beyond fear.

When great souls die,the air around us becomeslight, rare, sterile.We breathe, briefly.Our eyes, briefly,see witha hurtful clarity.Our memory, suddenly sharpened,examines,gnaws on kind wordsunsaid,promised walksnever taken.

Great souls die andour reality, bound tothem, takes leave of us.Our souls,dependent upon theirnurture,now shrink, wizened.Our minds, formedand informed by theirradiance,fall away.We are not so much maddenedas reduced to the unutterable ignoranceof dark, coldcaves.

And when great souls die,after a period peace blooms,slowly and alwaysirregularly. Spaces fillwith a kind ofsoothing electric vibration.Our senses, restored, neverto be the same, whisper to us.They existed. They existed.We can be. Be and bebetter. For they existed.

Tis Not That Dying Hurts Us SoBy Emily Dickinson

Let Evening ComeBy Jane Kenyon

’Tis not that Dying hurts us so –’Tis Living – hurts us more –But Dying – is a different way –A Kind behind the Door –

The Southern Custom – of the Bird –That ere the Frosts are due –Accepts a better Latitude –We – are the Birds – that stay.

The Shrivers round Farmers’ doors –For whose reluctant Crumb –We stipulate – till pitying SnowsPersuade our Feathers Home.

Let the light of late afternoonshine through chinks in the barn, movingup the bales as the sun moves down.

Let the cricket take up chafingas a woman takes up her needles and her yarn. Let evening come.

Let dew collect on the hoe abandonedin long grass. Let the stars appearand the moon disclose her silver horn.

Let the fox go back to its sandy den.Let the wind die down. Let the shedgo black inside. Let evening come.

To the bottle in the ditch, to the scoopin the oats, to air in the lunglet evening come.

Let it come, as it will, and don'tbe afraid. God does not leave uscomfortless, so let evening come.

Our approach toComprehensive Wealth Management

Is like abeautifully written

concerto

AXA Advisors, LLC(NY, NY 212-314-4600) member FINRA, SIPC // AXA Network, LLC. Sequoia Financial Group is not owned or operated by AXA Advisors or AXA Network. AXA Advisors and AXA Network do not provide tax or legal advice. PPG- 96134(07/14)(exp.07/16)

Charles N. Dinklage

Our ap

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CONCERTFRIDAY, AUGUST 29, 2014, 7:30 PM

FELIX MENDELSSOHN-BARTHOLDY (1809-1847)Abendlied, Op. 77, No. 2 (1836-38)Sechs zweistimmige Lieder, Op. 63 (1836-44) HerbstliedGrußMaiglöckchen und die Blümelein

Sarah Shafer, sopranoRandall Scarlata, baritoneEllen Hwangbo, piano

PHILLIP GOLUB (B. 1993)Fireflies (2014)

Romie de Guise-Langlois, clarinetBella Hristova, violinPeter Stumpf, celloEllen Hwangbo, piano

FRANZ SCHUBERT (1797-1828)The Shepherd on the Rock, D. 965 (1828)

Hyunah Yu, sopranoRomie de Guise-Langlois, clarinetShai Wosner, piano

-INTERMISSION-

JOHANNES BRAHMS (1833-1897) Trio for clarinet, cello and piano in a minor, Op. 114 (1891)AllegroAdagio Andante grazioso Allegro

Romie de Guise-Langlois, clarinetPeter Stumpf, celloShai Wosner, piano

Concert underwritten by

Reception underwritten by

CHARLES N. DINKLAGE


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Abendlied

Wenn ich auf dem Lager liege,In Nacht und Kissen gehüllt,So schwebt mir vor ein süßes,Anmutig liebes Bild.

Wenn mir der stille SchlummerGeschlossen die Augen kaum,So schleicht das Bild sich leiseHinein in meinen Traum.

Doch mit dem Traum des MorgensZerinnt es nimmermehr;Dann trag ich es im HerzenDen ganzen Tag umher.

Evening song

When I lie upon my bed,In night and pillow shrouded,Arises then before me,A sweet and charming image.

When silent slumberHas barely closed mine eyes,Then doth the image softlySteal itself into my dream.

Yet with the morning reverie,It never melts away,And I then carry it within my heartAbout with me all day.

Abendlied, Op. 77, No. 2 (1836-38)

Poem by Heinrich Heine (1797-1856) Translation by Philipp Naegele © Marlboro Music

Felix Mendelssohn-Bartholdy was a German composer,pianist, and organist of the early Romantic period.

Mendelssohn’s lieder were not considered to be groundbreaking (as are the lieder of Schubert, Schumann, andBrahms). However, this does not take away from the qualityof his songs, which are often enjoyed for their elegance,simplicity, and craft. Stylistically, they are more comparableto the early lieder of Mozart and Haydn.

From Mendelssohn’s set of Op. 77 vocal duets, Abendlied(Evening Song) is believed to be inspired by a German folk-song. With an overall mood of evening, this calming songdescribes the pleasant feelings that sleep and dreams bring.

Herbstlied, Grüß, and Maiglöckchen und die Blümelein arethree selections from Mendelssohn’s Six Duets, Op. 63. Al-though published as an entire set in 1845, the pieces werecomposed at various times between 1836 and 1844.

Herbstied (Autumn Song) is the fourth song from Six Duets,Op. 63. The text, written by Carl Klingemann, who was acolleague of Mendelssohn, mourns the end of summer andthe coming of autumn. Grüß (Greeting) is the third songfrom the Op. 63 duets, with text by Josef von Eichendorff.As a good example of Mendelssohn’s simplicity in writinglieder, it uses beautifully well-written vocal lines. The sixthsong of the Op. 63 duets, Maiglöckchen und die Blümelein(Lily of the Valley and the Little Flowers) has text by AugustHeinrich Hoffmann von Fallersleben. This lively song de-scribes the lilies and the flowers dancing. The dance is in-terrupted by Jack Frost, who “arrives in the valley and thelilies play no longer.” But once spring comes again, the flow-ers continue to dance and play.

© 2014 TJ Cole

FELIX MENDELSSOHN-BARTHOLDY (1809-1847)

FRIDAY, AUGUST 29, 2014, 7:30 PM

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Sechs zweistimmige Lieder (Six duets), Op. 63 (1836-44)

Herbstlied

Ach, wie so bald verhallet der Reigen,Wandelt sich Frühling in Winterzeit!Ach, wie so bald in trauerndes SchweigenWandelt sich alle die Fröhlichkeit!

Bald sind die letzten Klänge verflogen!Bald sind die letzten Sänger gezogen!Bald ist das letzte Grün dahin!

Alle sie wollen heimwärts ziehn.Ach, wie so bald verhallet der Reigen,Wandelt sich Lust in sehnendes Leid.Wart ihr ein Traum, ihr Liebesgedanken?Süss wie der Lenz und schnell verweht?

Eines, nur eines will nimmer wanken:Es ist das Sehnen, das nimmer vergeht.

Autumn song

Ah, how soon fades the dancing,And spring turns into wintertime!Ah, how soon into sorrowing silenceTurns all this gaiety!

Soon the last sounds have vanished!Soon the last bards are gone!Soon the last verdure is faded!Homeward returning all.

Oh, how soon fades the dancing,And joy turns to pining pain.Were ye a dream, ye thoughts of love?Sweet as the spring and swiftly dispersed?

One, only one though will never falter:It is the yearning, that never will fade.

Gruß

Wohin ich geh und schaue,In Feld und Wald und Tal,Vom Hügel hinauf die Aue,Vom Berg aufwärts weit ins Blaue,Grüß ich dich tausendmal.

In meinem Garten find ichViel Blumen, schön und fein,Viel Kränze wohl d'raus wind ichUnd tausend Gedanken bind ichUnd Grüsse mit darein.

Dir darf ich keinen reichen,Du bist zu hoch und schön,Sie müssen zu bald verbleichen,Die Liebe ohnegleichenBleibt ewig im Herzen stehn.

Greeting

Where'er I walk and gaze,In field and woods and dale,From hill up to the pasture,From mountain into the blue,A thousand times I greet thee.

In my garden I findBountiful flowers, fair and fine,Many a garland I wind from them,And a thousand thoughts and greetingsI bind therein as well.

To thee I may not give one,Thou art too high and fair,Too soon they must expire,But love without its equalStays ever steadfast in the heart.

Poem by Karl Klingemann (1798-1862) Translation by Philipp Naegele © Marlboro Music

Poem by Josef von Eichendorff (1788-1857) Translation by Philipp Naegele © Marlboro Music

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Maiglöckchen und die Blümelein

Maiglöckchen läutet in dem Tal,Das klingt so hell und fein;So kommt zum Reigen allzumal,Ihr lieben Blümelein.

Die Blümchen, blau und gelb und weiß,Die kommen all herbei,Vergissmeinnicht und EhrenpreisUnd Veilchen sind dabei.

Maiglöckchen spielt zum Tanz im NuUnd alle tanzen dann;Der Mond sieht ihnen freundlich zu,Hat seine Freude dran.

Den Junker Reif verdroß das sehr,Er kommt ins Tal hinein;Maiglöckchen spielt zum Tanz nicht mehr,Fort sind die Blümelein.

Doch kaum der Reif das Tal verlässt,Da rufet wieder schnellMaiglöckchen zu dem FrühlingsfestUnd läutet doppelt hell.

Nun hält's auch mich nicht mehr zu Haus,Maiglöckchen ruft auch mich;Die Blümchen gehn zum Tanz hinaus,Zum Tanze geh auch ich!

Lily-of-the-valley and the little flowers

Lily-of-the-Valley rings in the dale,It sounds so clear and fine;So come to the dance now,Ye delightful flowers all.

The little flowers, blue and yellow and white,They all arrive,Forget-me-not and VeronicaAnd Violets among.

Lily-of-the-Valley quickly strikes up the bandAnd all are dancing then;The moon looks kindly on,And finds his joy therein.

Squire Frost is sour though,He comes into the vale;Lily-of-the-Valley plays the dance no more,Gone are all the flowers.

But scarce the frost has left again,Then quickly comes the callFrom Lily-of-the-Valley to spring-festivity,And rings out doubly clear.

Now I as well must leave the house,Lily-of-the-Valley calls me too;The flowers to the dance go out,To the dance I, too, shall go!

Poem by Hoffmann von Fallersleben (1798-1874) Translation by Philipp Naegele © Marlboro Music

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PHILLIP GOLUB (B. 1993)Fireflies (2014)

My parents lived in Bennington, VT for many years be-fore I was born and until I was two years old. I did

not come back to the state during my childhood, exceptfor one brief visit when I was twelve, until suddenly in highschool I found myself in Vermont every summer for fouryears straight. I attended the Yellow Barn Young Artist’sProgram in Putney these summers, where I met David Lud-wig. It was he who invited me to come to LCCMF twoyears ago. It goes without saying, but I love Vermont in thesummer.

I am very fortunate that the first year I was not able to goto Putney David and Soovin re-invited me to Burlington. Iwanted to take the opportunity to try to give you, a realVermont audience, some musical version of this Angelino’smemories of spending time in the woods, meadows, ponds,and mountains, listening to magnificent performances ofthe literature’s greatest music alongside my own at Yellow

Barn and LCCMF, devouring delicious food, making lifelongfriends, and particularly the nightly fireflies.

The sentiments associated with all of these memories arewhat I aimed for in writing this piece. The piece is scoredfor a quartet of instruments that sound very resonant to-gether. For this reason, all four instruments are playing foralmost the entire six and a half minute span of the piece.Full of the summer’s energetic motion, the music is veryrhythmically driven and quite syncopated throughout. Eachinstrument has extended passages where it is prominentlyfeatured playing a “tune” of sorts. In other parts, the tunesplayfully pass around the ensemble like the blinking lightsof the fireflies in a meadow. My hope is that in the VermontI have seen, you true Vermonters can find something thatyou also hold close to heart.

© 2014 Phillip Golub

FRANZ SCHUBERT (1797-1828)Der Hirt auf dem Felsen (The Shepherd on the Rock), D. 965 (1828)

Though any composer yearns for popular recognitionamong his contemporaries, there is no greater honor

than to be asked by a leading performer of your day towrite a piece. Pauline Anna Milder-Hauptmann was a fa-mous operatic soprano of the early ninetieth century, per-forming and touring frequently in the German lands. Sheboasted a bio that included singing the leading role ofLeonore in Beethoven’s Fidelio in the premieres of allthree versions of the piece and being Mendelssohn’s so-prano of choice in his famous revival of Bach’s SaintMatthew’s Passion. Four years before the composition ofThe Shepherd on the Rock, she had premiered Schubert’ssong Die Forelle.

At some point, Anna Milder, as she was known, asked Schu-bert for a concert aria that would allow her to show offan ability to express a wide range of feelings and be suitablefor a large audience. In 1828, just months before Schubert’searly death, he wrote what is quite possibility the last songor even composition he would ever write. She premieredthe piece a year and a half after his death in Riga in early1830 and performed it again soon after in Berlin.

A few of these aspects in the background story of the

piece perhaps shed some light on why it is so very unlikenearly anything else Schubert wrote. Virtually every singleone of Schubert’s 600+ songs is for voice and piano alone,does not contain dramatically contrasting sections, and hasa text comprised of one poem by one poet. But this piecehas three distinct sections each with its own poem andown musical material, not to mention the added elementof the clarinet weaving lines between the soprano and thepiano. The work, in this way, at once feels like chambermusic and lieder, a sort of Schubertian cantata, for lack ofa better term.

The first poem is by Wihelm Müller, a poet deeply part ofSchubert’s world. He wrote the poems of Schubert’s DieSchöne Müllerin and Die Winterreise. This poem depicts alonely shepherd on top of a mountain. But the shepherd isnot yet stricken with grief: he amuses himself listening tothe echo of song in the valley from below, coyly and bril-liantly echoed in the clarinet and piano, too.

The second poem is by Karl August Varnhagen von Ense,another poet closely associated with Schubert, the authorof Rosamunde. Here the shepherd laments his loneliness.The “sound of longing” replaces the “echoes” in the first

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Der Hirt auf dem Felsen

Wenn auf dem höchsten Fels ich steh',Ins tiefe Tal herniederseh',Und singe, und singe:Fern aus dem tiefen dunkeln TalSchwingt sich empor der Widerhall,Der Widerhall der Klüfte.

Je weiter meine Stimme dringt,Je heller sie mir widerklingtVon unten, von unten.Mein Liebchen wohnt so weit von mir,Drum sehn ich mich so heiß nach ihrHinüber, hinüber.

In tiefem Gram verzehr ich mich,Mir ist die Freude hin,Auf Erden mir die Hoffnung wich,Ich hier so einsam bin.So sehnend klang im Wald das Lied,

So sehnend klang es durch die Nacht,Die Herzen es zum Himmel ziehtMit wunderbarer Macht.

Der Frühling will kommen,Der Frühling, meine Freud,Nun mach ich mich fertig,Zum Wandern bereit.

The Shepherd on the Rock

When on the highest crag I stand,Into the deep valley downward peer,And sing, and sing:Far from within the deep dark valeSoars upward then th' echoing sound,The echo of the depths.

The farther off my voice doth reach,The brighter it returns to meFrom below, from below.My belovèd lives so far from me,Most ardently I yearn for herYonder, yonder.

In deepest grief I waste away,For me all joy is done,On earth all hope has gone from me,So lonesome am I here.

So longingly swelled through the woods the song,So longingly it sounded through the night,Our hearts are drawn to heav'n aboveWith wondrous-magic might.

Spring is a-coming,Springtime, my delight,So now I make ready,For wandering prepared.

FRANZ SCHUBERT (1797-1828)Der Hirt auf dem Felsen (The Shepherd on the Rock), D. 965 (1828)

Poems by Wilhelm Müller (1794-1824) and Wilhelmina von Chézy (1783-1856)Translation by Philipp O. Naegele © Marlboro Music

part. And the last part returns to the poetry of Müller, fora brief and optimistic anticipation of spring’s arrival. His ea-gerness to “go out walking,” washes away the loneliness ofthe second part. Schubert even recalls the lines “Je weitermeine Stimme dringt, / Je heller sie mir wieder klingt— Thefarther off my voice doth reach, /The brighter it returnsto me,” from the first section.

Though it is unclear whether Anna Milder or Schubert se-lected the theme or the text for the piece, we could say

that it is both coincidence and fate that the subject ofSchubert’s last song is the wanderer, a character ever-pre-sent in Schubert’s songs and song cycles. There is a con-stant push and pull in his music between the exuberancein freedom and the grief in loneliness that these wanderingcharacters encounter. This strange and great work was tobe his final contribution.

© 2014 Phillip Golub

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In 1894, Brahms had declared his work to be done. Likemany people of a certain age, he began to write a will.

And in this will, he announced his retirement. No morewriting music. Done.

….Or not.

Two months after writing his will, Brahms had the oppor-tunity to hear clarinetist Richard Mühlfeld perform worksby Weber and Mozart (including the wonderful Mozartquintet featured in last summer’s Festival that was playedso brilliantly by Ricardo Morales). Brahms was so taken byMühlfeld’s playing that he picked up his pen and wrote aletter to Clara Schumann, exulting the sound he had heard.He also wrote four of the most fantastic chamber worksever conceived for the clarinet: the two Op. 120 Sonatas,the Op. 115 Quintet, and this Trio for clarinet, cello, and piano.In addition to these four pieces, Brahms also sent Mülfelda set of silver teaspoons, engraved with Mülfeld’s initials.While the four works for clarinet are performed regularlytoday, the fate of the tea set is unclear.

Brahms first sent this manuscript of his newly-completedtrio to his good friend Eusebius Mandyczewski, who re-sponded with a letter: “The inventive conception of thethemes, born of the spirit of the wind instrument and,more especially, the harmonious blending of the tones ofthe clarinet and the cello, are magnificent; it is as thoughthe instruments were in love with each other.” The piecebegins with a soaring line in the cello, which is then echoedby the clarinet. The piano announces the change to allegro

with a rather ominous-sounding melody in triplets, andthen we’re off and running into the deeply rhapsodic firstmovement which ends quietly in A major. The secondmovement begins with the clarinet in full siren song mode,which soon evolves into a duet with the cello. The thirdmovement is a lovely diversion that neither fits the moldof a waltz or a minuet, but in triple meter, it still dances.The final movement wastes no time re-entering the inten-sity of the first movement, but rather than hurtling forwardto an agitated conclusion, it comes in fits and startsthrough its relatively brief length, ending rather abruptly intragic A minor.

The list of pieces for the combination for clarinet, cello,and piano is actually quite large, but very few composerswe would consider “major” have written works for thisgroup of instruments. Beethoven’s Op. 11 Trio comes tomind, but beyond that, the list trails off into the deep, dark,dusty corners of the classical music repertoire. It’s worthnoting, though, that a young Austrian named AlexanderZemlinsky composed a trio for these instruments imme-diately after Brahms completed his trio. The young manworked up the courage to send Brahms the manuscript,and Brahms passed it along to his publisher – and the pieceended up being published as Zemlinsky’s Op. 3. It’s not awell-known piece, but this early success likely propelledZemlinsky to his eventual status as one of the foremostcomposers of the early 20th century. Ah, the power of theclarinet trio.

© 2014 Joe Goetz

JOHANNES BRAHMS (1883-1897)Trio for clarinet, cello and piano in a minor, Op. 114 (1891)

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CONCERTSUNDAY, AUGUST 31, 2014, 3:00 PM

ROBERT SCHUMANN (1810-1856)Five Pieces in Folk Style, Op. 102 for cello and piano (1849)Mit HumorLangsamNicht schnell, mit viel Ton zu spielenNicht zu raschStark und markiert

Peter Stumpf, celloGloria Chien, piano

DMITRI SHOSTAKOVICH (1906-1975)Seven Romances on Poems of Alexander Blok (1967)Song of OpheliaGamayun, the bird of prophecyWe were togetherGloom enwraps the sleeping cityThe tempestSecret signsMusic

Hyunah Yu, sopranoSoovin Kim, violinEdward Arron, celloIgnat Solzhenitsyn, piano

-INTERMISSION-

MAURICE RAVEL (1875-1937)Piano trio in a minor (1914)ModéréPantoum. Assez vitePassacaille. Très largeFinal. Animé

Bella Hristova, violinEdward Arron, celloGloria Chien, piano

– In honor of Ann B. Emery –

Today’s concert is made possible by a generous donationfrom the Emery family in honor of Ann.


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SUNDAY, AUGUST 31, 2014, 3:00 PM

ROBERT SCHUMANN (1810-1856)Fü� nf Stü� cke im Volkston (Five Pieces in Folk Style), Op. 102 for cello and piano (1849)

The Romantic Era saw no shortage of pieces composedfor the rich, amorous violoncello. Robert Schumann

made his most important contributions to the cello reper-toire with his Cello Concerto Op. 129 of 1850 and these FünfStücke im Volkston (Five Pieces in Folk Style), written one yearearlier. Schumann later wrote another collection of piecesfor cello and piano, the Fünf Romanzen or Phantasiestücke,but these remained unpublished. It is interesting that Schu-mann had waited until his later years to write pieces forcello, as cello, along with piano, was the instrument he hadlearned to play in his youth. Schumann recorded the com-pletion of the Fünf Stücke im Volkston in his diary in mid-April 1849. He likely played them for his wife Clara a fewdays later, as an April 19 entry in her diary revealed herenthusiastic reaction: “These are the pieces in folk style,which absolutely beguiled me with their freshness and orig-inality.” Robert dedicated the work to Johann AndreasGrabeau, a cellist in Leipzig’s Gewandhaus Orchestra, whopremiered the work alongside Clara at the piano on June8, 1850 for Robert’s fortieth birthday. Grabeau was simi-larly enthralled by the little pieces and wrote a letterthanking Robert for the dedication and relating that he hadperformed them multiple times to great acclaim.

The five pieces in this set are short, simple, light-heartedcaricatures of an imaginary folk idiom. They are not basedon existing folk tunes, nor do they explicitly represent thefolk tradition of any particular culture. Nonetheless, theydo seem to capture the ideals of a simpler time and place,

albeit imagined, with their sweet simplicity and endearingrhythmic asymmetry. The cello is almost always the fea-tured melodic voice in any given moment, with the pianoproviding extremely simple accompaniment reminiscent ofan accordion, an instrument that was becoming popular atthe time of this composition, or at times a hurdy-gurdy.Schumann would not have been the first Romantic-eracomposer to imitate the sound of the hurdy-gurdy (themost obvious example being Schubert’s Der Leiermann (TheHurdy-Gurdy Man) from Winterreise; though Schumann’s im-itation of the instrument, if intended, is more subtle). Oneof the most striking characteristics of the set is the con-stant unevenness of phrase length, keeping the listener hap-pily guessing as to the location of the next downbeat orphrase. Schumann was an avid user of the traditional four-bar phrase answered by four-bar phrase, so his abandon-ment thereof in this work is an indication that his unevenphrase lengths were a deliberate part of his portrayal ofthe folk. Interestingly enough, it is this very characteristicof uneven phrase length that removes the possibility ofthese pieces being grounded in Schumann’s own Germanheritage, as German folk dances tend to adhere strictly toa four-bar pattern. The rhythmic groupings in the work arecloser to Bulgarian folk music than to German, though atthe same time the pieces are dripping with German Ro-mantic sensibility in melodic figuration and gesture.

© 2014 Chelsea Komschlies

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Shostakovich composed the Seven Romances in the lastyears of his life, choosing to set poetry by the great

Russian symbolist poet Alexander Blok. After decades ofoppressing the country and imposing strict controls onartistic expression, Stalin was dead, and Shostakovich en-joyed relative artistic freedom after the end of that tyranny.His later years reflect a creative and professional rebirth,despite his failing health and deteriorating ability to per-form publicly. The composer was exploring new tech-niques, including simple uses of Schoenberg’s twelve tonesystem. Works that had been banned by the state weregradually allowed into performance repertoire again. In thislast decade, his music became even darker and more seri-ous than before, at times obsessively focused on death anddying. Though the Blok cycle is commonly called Seven Ro-mances, Shostakovich preferred the terms “poems” or“verses” for his songs, feeling that “romances” was toolight.

The cycle was born when Mstislav Rostropovich ap-proached the composer to write a new work for himselfand his new wife, the extraordinary Russian soprano GalinaVishnevskaya. Rather than write a set of works for celloand soprano alone, Shostakovich decided to expand hismusical and expressive options by adding violin and pianoto the ensemble. David Oistrakh was enlisted to play, andthe composer himself was to perform the piano part forthe premiere — quite a group! But Shostakovich was tooill to follow through in the performance and a fellow com-poser was asked to play in his place.

Though there is a wide range of emotions expressed inthese songs, rarely does the music depart from the serious.

Shostakovich uses the simple device of adding instrumentssong by song, featuring first the cello with voice for thehaunting Song of Ophelia, then the piano for the broodingand dramatic Gamayun, bird of prophecy, then the plaintiveviolin for We were together. He then sets strings and pianoin combination for the serene fourth song, The city sleeps,and the fifth, The tempest. The full ensemble finally meetsin the beautiful last song, aptly titled Music. In this final of-fering, the music trails off into a quiet sunset at the end,with slight and distant interruptions in the piano, as if toleave the listener curious as to what might come next.

Shostakovich explores many diverse compositional andperformance techniques in the piece, all with striking ef-fect. The fifth song opens with a raspy sul ponticello, a sonicdescription of a torrential nighttime storm outside. Thesixth song Secret signs, has its own kind of coded messagewith a chromatic instrumental melody reminiscent of atwelve-tone row. The composer experimented with someof these techniques before the reign of Stalin, and at thislate juncture in his life was returning to taste a little ofwhat had been avant-garde decades before.

One can only wonder what direction Shostakovich wouldhave taken in his music had he the artistic freedoms af-forded composers in the West from early on. Ironically,without the populist accessibility forced into his music bythe Soviet state, he may not have enjoyed the popularityhe does today. Regardless of his circumstances, there is nodoubt that he would be ranked as one of the great mastersof the twentieth century.


DMITRI SHOSTAKOVICH (1906-1975)Seven Romances on Poems of Alexander Blok (1967)

Seven Romances on Poems of Alexander Blok (1967)

Песня Офелии

Разлучаясь с девой милой, друг,Ты клялся мне любить!...Уезжая в край постылый,Клятву данную хранить!...

Там, за Данией счастливой,Берега твои во мгле...Вал сердитый, говорливыйМоет слёзы на скале...

Милый воин не вернётся,Весь одетый в серебро...В гробе тяжко всколыхнётсяБант и чёрное перо...

Song of Ophelia

When you left me, my dear friendyou promised to love meYou left for a distant land,and swore to keep your promise!

Beyond the happy land of Denmark,the shores are in darkness...The angry waves washover the rocks...

My warrior shall not return,all dressed in silver...The bow, and the black feather willrestlessly lie in their grave.

translation © 2009 by Anne Evans

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Гамаюн птица вещая

На гладях бесконечных вод,Закатом в пурпур облечённых,Она вещает и поёт,Не в силах крыл поднять смятённых...

Вещает иго злых татар,Вещает казней ряд кровавых,И трус, и голод, и пожар,Злодеев силу, гибель правых...

Предвечным ужасом объят,Прекрасный лик горит любовью,Но вещей правдою звучатУста, запекшиеся кровью!

Gamayun, the bird of prophecy

On endless waters’ smooth expanse,By sunset clad in purple splendour,In Delphic tone she ever sings,But cannot spread her weakened pinions...

She prophesies the Tartar yoke,Its course of bloody executions,And quake, and famine, and alarm,The righteous’ downfall, evil’s power...

In dark primeval terror wreathed,Her countenance aflame with passion,She speaks; and prophecies resoundThrough truthful lips with bloodstains clotted!

translation © 2005 by David Angell

Мы были вместе

Мы были вместе, помню я...Ночь волновалась, скрипка пела,Ты в эти дни была моя,Ты с каждым часом хорошела.

Сквозь тихое журчанье струй,Сквозь тайну женственной улыбкиК устам просился поцелуй,Просились в сердце звуки скрипки…

We were together

We were together, I recall...Violins sang in vibrant darkness;Day after day you were my own,With every hour you grew more fair.

The secrets of a woman’s smile,The quiet whispering of breezesSet tender kisses on my lips,And filled my heart with violin songs…


Город спит

Город спит, окутан мглою,Чуть мерцают фонари...Там далёко, за Невою,Вижу отблески зари.

В этом дальнем отраженьи,В этих отблесках огняПритаилось пробужденьеДней, тоскливых для меня…

Gloom enwraps the sleeping city

Gloom enwraps the sleeping city,Lanterns flickering and pale...Daybreak’s distant scintillationsGleam beyond the dark Neva.

In this faraway reflection,In these glimmerings of flameLay concealed the originOf my forsaken, joyless days...


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Буря

О, как безумно за окномРевёт, бушует буря злая,Несутся тучи, льют дождём,И ветер воет, замирая!

Ужасна ночь! В такую ночьМне жаль людей, лишённых крова,Сожаленье гонит прочь -В объятья холода сырого!

Бороться с мраком и дождём,Страдалцев участь разделяя...О, как безумно за окномБушует ветер, изнывая!

The tempest

Beyond my window, fierce and wild,The savage tempest roars and rages,With scudding stormclouds, streaming rainAnd howling wind that fades to silence!

An awful night! On such a nightI pity those bereft of shelter:A deep compassion drives me forthTo share the winter’s damp embraces!...

To strive against the gloom and rain,At one with outcasts, doomed to suffer...Beyond my window, fierce and wild,The raging wind sinks in exhaustion!


Тайные знаки

Разгораются тайные знакиНа глухой, непробудной стене.Золотые и красные макиНадо мной тяготеют во сне.

Укрываюсь в ночные пещерыИ не помню суровых чудес.На заре голубые химерыСмотрят в зеркале ярких небес.

Убегаю в прошедшие миги,Закрываю от страха глаза,На листах холодеющей книги -Золотая девичья коса.

Надо мной небосвод уже низок,Чёрный сон тяготеет в груди.Мой конец предначертанный близок,И война, и пожар - впереди...

Secret Signs

The secret signs appearon the impenetrable wall.Golden and crimson poppiesblossom in my dreams.

I drown in the caverns of night,and forget the magic of my dreams.My fanciful thoughtsare reflected in the bright heavens.

These short moments will disappear,and the beautiful maiden’s eyes will close,like the pages of a book.

The canopy of the stars is now low, the darkest dreams lie heavy in the heart. My end is near, fate has ordained it, with war and fire that lie before me…


Музыка

В ночь, когда уснёт тревогаИ город скроется во мгле,О, сколько музыки у бога,Какие звуки на земле!

Что буря жизни,Если розы твои цветут мне и горят!Что человеческие слёзы,Когда румянится закат!

Прими, Владычица вселенной,Сквозь кровь, сквозь муки, сквозь гробаПоследней страсти кубок пенныйОт недостойного раба.

Music

When the night brings peace,and the city is bathed in darkness,how heavenly is the music,what wonderful sounds can be heard!

Forget the stormy hours of life,when you can see the roses bloom!Forget the sorrows of mankind,when you see the crimson sunset.

O Sovereign of the Universe,accept through pain, through blood,this cup, filled to the brimwith the last passions of your unworthy slave.


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MAURICE RAVEL (1875-1937)Piano trio in a minor (1914)

Maurice Ravel was ahead of his time. In our post-mod-ern world, we take for granted the practice of mixing

styles, genres, and historical references to create new art;the act of combining many (sometimes disparate) influ-ences in order to find a unique voice is the norm. In thetradition of the eighteenth and nineteenth century com-mon practice, however, artists had much more limited ac-cess to sounds from around the world and the influenceof history. That started to change around the turn of thecentury, and the seeds of post-modernism were plantedwith the dawn of globalization and mechanization. FromDebussy’s use of chant and Asian scales to Stravinsky’s neo-Classical new translation of music of the past, the distancesof the world and its long history got much closer veryquickly.

Even with the genre explosion of the early twentieth cen-tury, few composers of Ravel’s time were as inclusive of somany influences, and his piano trio from 1914 exemplifieshis eclectic style. The first movement of the trio, Modéré,features rhythms that remind listeners of Spanish dance,and we can trace this influence to the composer’s birth-place in the Basque region that borders France and Spain.Many, if not all, of Ravel’s works have some Spanish influ-ence in them (from simple rhythmic patterns to theBolero).

The second movement Ravel calls a Pantoum referring toa form from Malay poetry where alternating lines are re-cited in a fixed rhythm and rhyme (this format is mirroredin the musical phrases). The movement takes the traditionalplace of the scherzo as short and lighter contrasting musicbridges between the first and third, more substantial move-ments. That Ravel chooses the pantoum form is interest-ing—Malay culture wasn’t exactly in the mainstream at thetime the trio was composed. Some might hear distantsounds of Indonesian percussion in this movement amidstthe Spanish melodies.

The third movement is a Passacaille or Passacaglia, which isan archetypical dance form from the Baroque period. Thepassacaglia is usually in a three-beat pattern, features a re-peating bass-line, and is frequently somber in character. Themovement has a meditative quality, in stark contrast to

what has come before and what will come after, and it cul-minates in a passage of duet between violin and cello.

The final movement, Animé, lives up to its name and startswith quick arpeggios of high-pitched harmonics to give ita distinct sound and character. Here there is a hint of Chi-nese traditional music—certainly an Asian character—de-rived from Ravel’s broad vocabulary of scales andharmonies influenced by music of the world. Like Debussy,Ravel writes parallel moving chords across the piano, butunlike Debussy, Ravel explores incisive rhythms and goal-directed harmonies that drive much more than they hover.

That we often group Ravel in with Debussy in the confinesof the “Impressionist” box is a disservice to both com-posers. Debussy may have more in common with themovement in visual art, but for Ravel, his own interest ininstrumental color and nature is just one piece of a muchmore eclectic voice. Later in his output he would exploreNeo-classicism and American Jazz, amongst the many sub-jects of his music.

A broad range of composers in the early 20th century re-acted against the gushing emotions of the Romantic style,and Ravel led the way in distancing his personal feelingsfrom the music he was writing–a new objectivity that leantitself well to the classical and balanced structures in hiscomposition. If one didn’t read it in program notes, onewouldn’t know that the world was at the breakout ofWorld War I at the time of the trio’s composition. Or thatRavel finished the piece in a hot streak just before volun-teering for the French military—and that he was ardentlypassionate about serving. He described working in an epicfury, and that at any moment he thought he might go “mador lose my mind;” Ravel was inspired to work even harderby his outrage at the war.

The trio betrays none of this anger or rage, but insteadtakes the listener on a journey across multiple musicallandscapes. Ravel was a great anti-Romantic; capable ofwriting sublimely beautiful music that stands separatedfrom his own ego and personal life. It instead lives in a placeof rich color, nuance, and objectivity.


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STAGESATURDAY, AUGUST 23, 2014, NOON

TUESDAY, AUGUST 26, 2014, NOON

FRANZ SCHUBERT (1797-1828)Die Winterreise (1828)

Randall Scarlata, baritoneGloria Chien, pianoCori Ellison, guest speaker

Die Winterreise is a collection of 24 poems by minor poet Wilhelm Müller that Schubert transformed into a major dramatic song cycle encompassinglove, wandering, loneliness, and death.

FRENCH AND GERMAN ART SONGFRANCIS POULENC (1899-1963)

Il voleViolonFleurs

ROBERT SCHUMANN (1810-1856)Meine RoseRöselein, RöseleinEr ist’s

Hyunah Yu, sopranoIeva Jokubaviciute, pianoLeon Botstein, guest speaker

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Imagine dining each night with your neighbors who are writers, musicians, professors, activists, and artists. These are just some of the people who live at Wake Robin. Be part of a community that dances, debates, paints, writes and publishes, makes music, works with computers, and works with wood.

Live the life you choose—in a vibrant community of interesting people. We’re happy to tell you more.

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music-comp.orgProud to collaborate with LCCMF to provide opportunities for young composers.

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CHURCH

MONDAY, AUGUST 25, 2014, NOON

MARCY ROSEN, CELLO, AND PAUL NEUBAUER, VIOLAJOHANN SEBASTIAN BACH (1685-1750)Suite No. 2 in d minor, BWV 1008 (ca. 1720)PreludeAllemandeCouranteSarabandeMenuet 1 and Menuet 2Gigue

Marcy Rosen, cello

KRZYSZTOF PENDERECKI (B. 1933)Cadenza for solo viola (1984)

ALAN HOVHANESS (1911-2000)Chahagir for solo viola, Op. 56, No. 1 (1944)

Paul Neubauer, viola

JOHANN SEBASTIAN BACH (1685-1750)Suite No. 5 in c minor, BWV 1011 (ca. 1720)PreludeAllemandeCouranteSarabandeBourree 1 and Bourree 2Gigue

BENJAMIN BRITTEN (1913-1976)Suite for solo cello No. 2, Op. 80 (1967)Declamato: LargoFuga: AndanteScherzon: Allegro moltoAndante lentoCiaccona: Allegro

THURSDAY, AUGUST 28, 2014, NOON

Concerts underwritten by

PETER STUMPF, CELLO

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GALLERY

ORCHESTRA ROOM, ELLEY-LONG MUSIC CENTER

Early in the last century Kandinsky attended a concertin a hotel ballroom in Munich and floated home on a

cloud of glorious impressions. The next day, he painted theconcert. With Impressions III – Concert, Abstract Art wasborn.

In an admittedly less earthshaking way, our art gallery wasborn. The board of LCCMF realized that the euphoric im-pressions made by our concerts, the scrumptious food atour receptions, and the post-concert conversations of ourhappy community deserved an appropriate environment.So each year we transform the utilitarian orchestra re-hearsal room into an art gallery. Curators Eloise Beil ofthe Creative Space Gallery in Vergennes and FrederickNoonan, Festival board member, draw together work byVermont artists in a rich variety of media and styles.

Visit our gallery anytime all week before and after concertsand during intermissions. All the works of art are for sale.30% of the proceeds of each sale goes directly to supportthe Festival. Moreover, everyone benefits: Vermont artistsare supported, the Festival is supported, and you will gaina permanent treasure for yourself.

Somehow, mysteriously but indubitably, all the arts are partof our DNA. We don't know when a parent first sang alullaby or people first beat drums and danced around acampfire. But we do know that cavemen felt the need forimages on the wall at least 40,000 years ago. We invite youto continue this fine tradition by taking home to your owncave or palace something from our gallery.

Two important relationships have grown out of our artgallery. The first is the Festival’s collaboration this year

with artist, Carol MacDonald. Carol’s work, Cello I, was dis-played at our 2012 gallery, and became the centerpiece forall of our 2014 promotional materials.

The second is a unique collaboration be-tween the Festival and the Vermont StateCraft Center at Frog Hollow. Vermontartists were asked to respond to thisyear’s Festival theme, Poetry in Music. A variety of unique responses came from

sculptors, printmakers, printers, painters and jewelers.Theshow, curated by Rob Hunter, Frog Hollow’s Executive Di-rector, features works by Carol MacDonald, SuzanneLeGault, Judith Rey, Barbara Hoke, Denis Versweyveld, IreneLederer LaCroix, and Lynn Rupe. The show runs for theentire month of August at the Frog Hollow Gallery, 85Church Street, Burlington.

Lend your ears to music, open your eyes topainting, and stop thinking! Just ask yourselfwhether the music or art has enabled you tostroll into a hitherto unknown world. If the answer is yes, what more do you want?

– Wassily Kandinsky

The arts give a soul to the universe, wings tothe mind, flight to the imagination, a charm tosadness, and a gaiety and life to everything.

– Plato

To learn more about our entire 80th Anniversary Season please visit vso.org.

October 25, 2014 December 6, 2014 January 24, 2015 March 14, 2015 May 2, 2015 Jaime Laredo, conductor Anthony Princiotti Jaime Laredo, conductor Jaime Laredo, conductor Jaime Laredo, conductor Jonatahn Biss, piano conductor Elena Urioste, violin William Short, bassoon Orion Weiss, piano

2014/2015

Fauré, Beethoven, Dvořák, Rimsky-Korsakov, Tchaikovsky, Stravinsky, Gabriela Lena Frank, Schubert, Elgar, Mozart, David Ludwig, Schumann, Mendelssohn, Bruckner

Celebrating 80 years of Great Perfomances throughout Vermont.

Flynn Center for the Performing Arts, Burlington, 8:00 pm

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STRINGS

The Integrated Arts Academy (IAA) at the H.O.Wheeler School is in its fourth year as an arts magnet

school, having been identified as a tier-one failing school.The school has 300 K-5 students from 23 countries, speak-ing 30 languages. ONE (Old North End) Strings pro-vides in-schools strings instruction and related activitiesfor students at the school, seeking to eliminate traditionalbarriers to entry for instrument instruction. We have basedONE Strings on El Sistema, whose most visible advocate isGustavo Dudamel, Music Director of the LA Philharmonic.Drawing on the work of other El Sistema-inspired organi-zations, we are building a program that is uniquely suitedto the Integrated Arts Academy and to the school’s diversecommunity in the Old North End of Burlington.

During the 2013-14 academic year, all 4th and 5th gradersat IAA had group violin lessons twice a week for 20 weeks.During 2014-15, the program will expand to 24 weeks forall 4th and 5th graders and their teachers, with an 8-weekintroduction for all 3rd graders in the spring. Eventually, allstudents ages 8 and up at IAA will have strings instruction,

participate in after-school stringsprograms, join Vermont Youth Or-chestra ensembles, and continuewith music as they enter middleand high school.

The staff and board of the Festivalare deeply committed to ONE Strings as a key part of ourmission to inspire a passion for chamber music by encour-aging and providing educational programs for schoolchild-ren. We would like to thank the Vermont CommunityFoundation, as well as the IAA Parent-Teacher Organiza-tion, William and Valerie Graham, Jody Kebabian, BrianneChase, and Marc and Dana vanderHeyden for their supportof this important program.

ONE Strings is an educational project of the Lake ChamplainChamber Music Festival, the Integrated Arts Academy, the Ver-mont Youth Orchestra and Burlington City Arts.

“Music is immensely important in the awaken-ing of sensibility, in the forging of values andin the training of youngsters to teach others.”

– Jose Antonio Abreu, founder, El Sistema

“This is the most rewarding musical project inmy life; I imagine that ONE Strings will havepotent long-term ramifications for those students’ lives.”

– Soovin Kim, Festival Artistic Director

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A dedicated chamber musician, vio-linistAlexi Kenney has collaboratedwith artists including Pamela Frank,Miriam Fried, Gary Graffman, WuHan, Frans Helmerson, Arnold Stein-hardt, Roger Tapping, and Peter Wiley.Alexi has performed as part ofCaramoor’s Rising Stars, Yellow Barn,and the Ravinia Festival’s Steans Insti-tute. From the age of 9, Alexi was a

Young Performer at Music@Menlo’s Chamber Music Insti-tute, returning in 2011 for their Winter Residency andagain in summer 2013 as an International Program artist.In 2013 Alexi performed with his quartet at Carnegie Hall,at the Isabella Stewart Gardner Museum and at JordanHall. Born in Palo Alto, California, Alexi currently studieswith Donald Weilerstein at the New England Conserva-tory of Music in Boston.

Called “precociously gifted” byGramophone, violinist CarolineGoulding has performed as a soloistsince her debut at age 13 with someof North America’s premier orches-tras. Caroline has appeared in recitalat Carnegie Hall, Lincoln Center,Merkin Hall, the Kennedy Center,Beijing’s Forbidden City Concert Halland the Isabella Stewart Gardner

Museum. During the 2013-14 season, Carolyn made herrecital debuts in Lincoln Center’s Great Performers Seriesand Bad Kissingen’s Sommerfestival, as well as orchestraldebuts with the Deutsche Radio Philharmonie, PasadenaSymphony, Pacific Symphony, Lexington Philharmonic Or-chestra, Grand Rapids Symphony and Reno Chamber Or-chestra. Violinist Jaime Laredo called Caroline “one of themost gifted and musically interesting violinists I have heardin a long time; her playing is heartfelt and dazzling.” Carolinecurrently studies with Donald Weilerstein and ChristianTetzlaff as a Young Soloist at Kronberg Academy.

Violist Steven Laraia has won the2012 New England ConservatoryConcerto Competition, 2nd Prize inthe 2012 MUSICCAS InternationalYoung Artists Competition and wasa 3rd place laureate in the 11th An-nual Sphinx Competition. Steven hasperformed with the Sphinx Virtuosi,A Far Cry, and the Boston Philhar-monic. Steven’s past festivals include

the Yellow Barn Music Festival and the Ravinia Festival.Steven is a full scholarship student at the New EnglandConservatory pursuing his Master’s degree with KimKashkashian. His former teachers include Byrnina Socolof-sky, Che-Hung Chen and Dimitri Murrath.

Cellist Emily Taubl has attracted at-tention for her expressive playingand uncommon poise. She has beenfeatured in The New York Times as amusician of great promise, and wascalled “an outstanding cellist with abright future” by the HartfordCourant. Having performed through-out the country, she has appeared asa concerto soloist with a number of

New England orchestras. She has been featured as a per-former at the Piatigorsky International Cello Festival in LosAngeles, as well as a soloist for The Colors of Claude De-bussy: A 150th Birthday Celebration on Boston’s WGBH.Emily studied at the Julliard School, Yale School of Music,New England Conservatory, and Hartt School; her majorteachers include Paul Katz, Aldo Parisot, Ardyth Alton, andMihai Tetel.

Our residency program creates an opportunity for ayoung chamber music ensemble, this year a string

quartet, to be in residence during the Festival itself, andto return during the 2014-15 season for performancesand community workshops. Like our Young Composers,the Young Quartet is fully engaged this week in all aspectsof the Festival.

Members of the Young Quartet start their week byteaching violin and cello master classes for local students

on Saturday, 8/23, beginning at 9:30am. On Monday, 8/25,and Thursday, 8/28, at 4:30pm, the Quartet will them-selves perform in a master class with Festival artists,working on Schumann’s String Quartet in A. They will endtheir week by performing this Schumann Quartet forFestival audiences on Saturday morning, 8/30, at 11 am.

Hear them again this Fall at the FlynnSpace with SoovinKim and Fred Child, Saturday, 9/27 at 8 pm.

NEW this year

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YOUNGQUARTETCONCERTSATURDAY, AUGUST 30, 2014, 11:00 AM

ROBERT SCHUMANN (1810-1856)String Quartet in A, Op. 41, No. 3 (1842)Andante espressivo. Allegro molto moderatoAssai agitatoAdagio moltoFinale. Allegro molto vivace. Quasi Trio

Alexi Kenney, violinCaroline Goulding, violinSteven Laraia, violaEmily Taubl, cello

Schumann’s composing career moved in an orderly waythrough linear periods of great productivity, one genre

at a time. His early fame rested nicely on his discerningmusic criticism and his considerable body of solo pianoworks. Then in 1838 he wrote to Clara who was on tour:“The piano is getting too narrow for me. In composingnow I often hear a lot of things I can barely suggest on thepiano.” His love of literature and love of Clara led him firstto an out-pouring of Lieder in 1840. 1841 was dedicated tothe symphony. In 1842 he began his foray into chambermusic, resulting in the two great warhorses for piano andstrings. At the beginning of this period, in a fit of melancholywhile Clara was yet again away on tour, Schumann had im-mersed himself in the quartets of the Viennese masters.He wound up creating three quartets, all dedicated to FelixMendelssohn whose talent in every genre he deeply admired.

Earlier as a critic Schumann had established two require-ments of quartet composing: “First, the proper quartetshould avoid symphonic furor and aim rather for a con-versational tone in which everyone has something to say.Second, the composer must possess an intimate knowl-edge of the genre's history, but should strive to producemore than mere imitations of Haydn, Mozart, andBeethoven.” Quartet in A, Op. 41, No.3 fulfills those demandsin a genial and inventive way.

The initial Andante espressivo indeed avoids the “symphonicfuror” and opens simply with a dreamy sigh of falling fifths,an idea pervading the entire movement, showing up in boththe first and second themes (underpinned by the trade-mark Schumann syncopated accompaniment) and bringingthe movement to an end with a sigh from the cello.

Nothing could be more inventive than the second move-ment, essentially a set of variations in tonal ambiguity onan unstated theme the audience is left to guess. First wehear hunting sounds, then Bach, then Schubert. The actual“theme” appears to materialize when the syncopations andtempo slow down and the first violin and the viola play acanon.

The Adagio molto is an extended rhapsodic aria, simple butunpredictable, set above agitated rhythms. Following hisown first rule for quartet composers, Schumann gives eachinstrument something to say in the conversation. The lastmovement is a deceptively well-organized rondo with awealth of contrasting melodies, each distinctly character-ized episode played twice (ABACAD - ABACAD, for thosewho keep track of such things). It all ends in a jolly rompof a coda blithely defying Schumann's own rule of “NoSymphonic Furor.”


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TJ Cole (b. 1993) is an Americancomposer from Atlanta. She is cur-rently studying at the Curtis Instituteof Music. TJ was awarded the Inter-lochen Neil Rabaut Memorial in 2010and she won the first annual AtlantaMusic Club Composition Competi-tion in 2011. Between the ages of 6and12, she wrote a series of pianopieces and self-produced her first

album entitled Solace (2005). Following her first album, An-thology (2009) included her second set of original pianomusic. She has recent commissions from the University ofGeorgia and the Lawrence Symphony Orchestra. Herworks have been performed by the Interlochen Arts Acad-emy Orchestra, the Sewanee Symphony Orchestra, theCurtis Symphony Orchestra, and ensemble39.

Chelsea Komschiles (b. 1991), anative of Appleton, Wisconsin, is cur-rently pursuing her masters degreein composition at the University ofColorado at Boulder, where shestudies with Daniel Kellogg. In May of2013 she completed her B.M. in fluteperformance at Wartburg Collegewith additional studies in composi-tion and musicology with Geoffrey

Wilson. Making deep, instinctual associations with hermusic, be they emotional, visual, or otherwise abstract, is

an important goal for Chelsea in her composing. She haswritten for a wide variety of performing ensembles, includ-ing Chicago’s Fifth House Ensemble. During the past twosummers Chelsea studied at the Fresh Inc Festival, theWintergreen Summer Music Festival, and the AtlanticMusic Festival.

Niels Verosky (b. 1991) is a com-poser from San Francisco, CA. In2014, he received a BA with HighHonors from Swarthmore College,where he completed majors in musicand computer science and studiedcomposition with Gerald Levinson.During his time at Swarthmore,Niels received a Eugene M. LangSummer Initiative Grant for summer

music study and his works have been performed by groupsincluding the Junction Saxophone Quartet and Swarth-more College Orchestra. Niels has participated in theBowdoin International Music Festival, the Yellow BarnMusic School and Festival Young Artists Program, and theCleveland Institute of Music Young Composers Program.

SEMINARDAVID LUDWIG, COMPOSER-IN-RESIDENCE AND SEMINAR DIRECTOR

Under the direction of Festival composer-in-residence David Ludwig, the Young Composers

Seminar brings together some of the country’s mostoutstanding young composers. They are immersed in allaspects of the Festival, meeting with community artsleaders and interacting with the Festival staff, musicians,donors and audience members. Admission to the Sem-inar is by invitation. Each young composer creates a newwork for the Festival, which will be recorded during theSounding Board by Festival artists on Saturday, 8/30 at 3 pm.

The Festival is committed to inviting back and premier-ing works of past participants as featured compositionsat the Festival Concerts. In 2011 Tim Woos’ String Quartetwas performed on the Festival’s Winter Encore Series.In 2012, Gabriella Smith returned with a new commis-sion, Brandenburg Interstices, and in 2013 Alyssa Weinbergwith Contemplations. This year, we welcome back PhillipGolub, whose new piece, Fireflies, will be premiered onthe Festival Friday Concert on 8/29, at 7:30pm.

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SATURDAY, AUGUST 30, 2014, 3:00 PM

TJ COLE (B. 1993)Trio for clarinet, violin and cello

Romie de-Guise Langlois, clarinetCaroline Goulding, violinPeter Stumpf, cello

CHELSEA KOMSCHILES (B. 1991)Narrow are the Broken Spines

Sarah Shafer, sopranoSoovin Kim, violinSteven Laraia, violaEmily Taubl, cello

NIELS VEROSKY (B. 1991) We are Geese Absorbed into the Thirsty Sky

Romie de-Guise Langlois, clarinetSoovin Kim, violinEdward Arron, celloGloria Chien, piano

Order of the program to be determined and will be announced from the stage.

Concert Grand Piano on loan from Steinway & Sons, NY

An Open Recording Session of New Compositions by The Young Composers

Saturday, September 27 at 8 pm $25

See the next generation of classical music stars joined by award-winning first violinist of the Johannes String Quartet, Soovin Kim. The performance features a string quartet from Lake Champlain

Chamber Music Festival’s Young Performers Seminar Group, led by violinist Alexi Kenney, who recently won the Concert Artists Guild and was praised for his “beautiful, aching tone” (Strings Magazine).

The evening is rounded out by insightful commentary from NPR’s Performance Today host Fred Child.

Co-presented with the Lake Champlain Chamber Music Festival

Sponsored by Media Support from Vermont Public Radio and Seven Days “Elegant.” —San Francisco Chronicle

Soovin Kim & Fred Child with Alexi Kenney, Yoo Jin Jang, Steven Laraia, and Jin Lee

The 2014 Festival Young Quartet-in-Residence Returns!

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FESTIVALARTISTS

Internationally renowned violinistSoovin Kim performs as a concertsoloist, a recitalist and with the Jo-hannes String Quartet. In 2009 hefounded the Lake Champlain Cham-ber Music Festival in Burlington, Ver-mont, which has quickly gainednational attention for its innovativeprogramming, educational outreach,and work with young composers.

Soovin received first prize at the Paganini InternationalCompetition when he was only 20 which launched an in-ternational concert career. He later was a recipient of suchdistinguished prizes as the Henryk Szeryng Career Award,the Avery Fisher Career Grant, and the Borletti-BuitoniTrust Award.

Soovin’s nine commercial CD recordings include Nic-colò Paganini’s demanding 24 Caprices and a French albumof Fauré and Chausson with pianist Jeremy Denk and theJupiter Quartet. He is currently working on a recording ofthe Bach works for solo violin. Soovin grew up in Platts-burgh, NY, and joined the Vermont Youth Orchestra as itsthen-youngest member at age ten. He is often heard in Ver-mont through his performances with the Vermont Sym-phony Orchestra, on the Lane Series at the University ofVermont, on the Rochester Chamber Music Society series,at Middlebury College, with the Burlington Chamber Or-chestra, and on Vermont Public Radio. Soovin is passionateabout music education and will join the violin faculty at theNew England Conservatory of Music this fall.

David Ludwig is a “composer withsomething urgent to say” (PhiladelphiaInquirer). His music has been describedas “arresting and dramatically hued”(The New York Times) as well as “super-charged with electrical energy and rawemotion” (Fanfare). In 2013 his choralwork, The New Colossus, was selectedto open the private prayer service forPresident Obama and his cabinet at his

second inauguration. Last season featured an extensivetour with the East Coast Chamber orchestra (Virtuosity), anew work for Benjamin Beilman commissioned byCarnegie Hall (Swan Song), and the premiere of his bassoonconcerto (Pictures from the Floating World) commissionedby the Philadelphia Orchestra. NPR Music selected him asone of the Top 100 Composers Under Forty in the worldin 2011.

Born in Bucks County, PA, Ludwig comes from severalgenerations of eminent musicians. His grandfather was thepianist Rudolf Serkin and his great-grandfather, violinistAdolf Busch. His teachers include John Corigliano, RichardDanielpour, Jennifer Higdon, Richard Hoffmann, and NedRorem. He holds degrees from Oberlin, The ManhattanSchool, Curtis Institute, Juilliard School and a PhD from theUniversity of Pennsylvania. David is on the compositionfaculty of the Curtis Institute where he serves as the Deanof Artistic Programs and as the director of the Curtis20/21 Contemporary Music Ensemble.

A distinguished composer of opera,cabaret songs, and serious classicalworks, William Bolcom is a win-ner of Grammy awards, a PulitzerPrize, and the National Medal ofArts. Born in Seattle, he began com-posing at the age of eleven at theUniversity of Washington. The influ-ence of his studies with GeorgeFrederick McKay, renowned for his

voracious appetite for all American music, is reflected inBolcolm’s eclectic, thoroughly American work.

Bolcom studied serialism and was drawn to the fusionof jazz and classical while studying with Darius Milhaud. Heis well known for erasing the artificial boundaries in musiccomposition. His early admiration for the poems of WilliamBlake culminated in Songs of Innocence and of Experience, amassive work employing a mix of forces and styles as dis-parate as gospel, blues, chorus, and symphony orchestra.

Bolcom taught composition at the University of Michi-gan, Ann Arbor, from 1973 to 2008. There he befriendedpoet Jane Kenyon, author of Let Evening Come. Scores ofartists and institutions have commissioned his work, including the Boston and Philadelphia Symphony Orches-tras. In 1975 he married mezzo-soprano Joan Morris andtogether they embarked on a long rollicking career per-forming American popular songs, Broadway show tunes,and his own cabaret works.

David Ludwig

William Bolcomb

Soovin Kim

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FESTIVALARTISTS

Acclaimed for her passionate andpowerful performances, beautifulsound, and compelling command ofher instrument, violinist Bella Hris-tova is a musician with a growing in-ternational career as a soloist andrecording artist. Her talent earnedher a prestigious 2013 Avery FisherCareer Grant. The Strad praised,“Every sound she draws is superb”,

and The Washington Post says that she is “a player of impres-sive power and control”.

Bella’s 2013-2014 season featured a mix of solo, recitaland chamber music performances, including concertos byKorngold, Vivaldi, Prokofiev, Mendelssohn, Saint-Saëns,Brahms, Barber, Beethoven and Bruch. Her most recentCD, Bella Unaccompanied, earned rave reviews and featuresCorigliano’s Red Violin Caprices and Bach’s Violin Partita No. 2.

Born in Bulgaria, Bella began violin studies at the age ofsix. In 2003, she entered The Curtis Institute of Musicwhere she worked with Ida Kavafian and studied chambermusic with Steven Tenenbom. She received her ArtistDiploma with Jaime Laredo at Indiana University in 2010.Bella plays a 1655 Nicolò Amati

Violist Paul Neubauer’s excep-tional musicality and effortless play-ing style distinguish him as one of hisgeneration’s quintessential artists.Appointed principal violist of theNew York Philharmonic at age 21, heis currently the chamber music di-rector of the OK Mozart Festival inOklahoma and the “Chamber MusicExtravaganza” in Curaçao. A two-

time Grammy Award nominee, his recordings includeworks by Schumann, with pianist Anne-Marie McDermott,as well as numerous pieces that were composed for himsuch as Joan Tower’s Purple Rhapsody for viola and orches-tra and Wild Purple for solo viola.

Paul regularly appears as a soloist with orchestral en-sembles, including the leading symphony orchestras ofNew York, Los Angeles, Helsinki, Saint Louis, Detroit, Dallas,and San Francisco. Working with Bartók’s son, he helpedrevise and then performed the world premiere of the re-vised Bartók Viola Concerto. Paul is a faculty member of TheJuilliard School and Mannes College.

Cellist Edward Arron is recog-nized worldwide for his elegant mu-sicianship, impassioned performances,and creative programming. A nativeof Cincinnati, Ed made his New Yorkrecital debut in 2000 at the Metro-politan Museum of Art. Earlier thatyear, he performed Vivaldi’s Concertofor two cellos with Yo-Yo Ma and theOrchestra of St. Luke’s. Ed regularly

performs as a soloist with orchestras and as a chambermusician, throughout the United States, Europe, and Asia.

Ed is an active participant in summer music festivals andserved as Artistic Director of the Metropolitan MuseumArtists in Concert, the Musical Masterworks series in OldLyme, and the Caramoor Virtuosi, the resident ensembleof the Caramoor International Music Festival. He partici-pated in the Silk Road Project and toured and recorded asa member of MOSAIC, an ensemble dedicated to contem-porary music.

Ed began his studies on the cello at age seven in Cincin-nati. He moved to New York City at age ten where he con-tinued his studies with Peter Wiley. He is a graduate of theJuilliard School and serves on the faculty of New York Uni-versity.

Marcy Rosen is one of the mostimportant and respected artists ofour day. Los Angeles Times music criticHerbert Glass called her “one of theintimate art’s abiding treasures.” Sheperforms in recital and with orches-tras throughout Canada, Europe,Japan, and all fifty of the UnitedStates.

A consummate soloist, Marcy’ssuperb musicianship is enhanced by her many chambermusic activities. Regular collaborators include LeonFleisher, Richard Goode, Andras Schiff, Mitsuko Uchida,Peter Serkin, Isaac Stern, and the Juilliard, Emerson, andOrion Quartets. She is a founding member of the ensem-ble La Fenice, an oboe, piano, and string trio, as well as afounding member of the world renowned MendelssohnString Quartet. She appears regularly at festivals both hereand abroad and directs the Chesapeake Chamber MusicFestival, a position she assumed in 1986. Marcy is a regularparticipant in Musicians from Marlboro tours and per-formed in concerts celebrating the 40th, 50th and 60th

Bella Hristova

Paul Neubauer

Edward Arron

Marcy Rosen

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FESTIVALARTISTS

anniversaries of the Festival.Marcy is currently Professor of Cello at the Aaron Cop-

land School of Music at Queens College where she is alsoArtistic Coordinator of the concert series Chamber MusicLive. She also serves on the Faculty at the Mannes Collegeof Music in New York City.

Cellist Peter Stumpf enjoys amulti-faceted career. After serving12 years as the Associate PrincipalCellist of the Philadelphia Orches-tra, Peter became the Principal Cel-list of the Los Angeles Philharmonicat the beginning of the 2002 season.He now teaches full time at IndianaUniversity’s Jacob School of Music.

Peter is in great demand as achamber musician around the world performing on seriesat Carnegie Hall, the Concertgebouw in Amsterdam, andCasals Hall in Tokyo. Peter performed concertos with theBoston Symphony, the Philadelphia Orchestra, the Los An-geles Philharmonic, and the Virginia Symphony. Most re-cently he performed the Six Suites for Solo Cello of J. S. Bachon the Philadelphia Chamber Music Society Series and theChamber Music in Historic Sites Series in Los Angeles.Peter is the founding cellist of the Johannes String Quartet.

As a member of the Boston Musica Viva Peter exploredextended techniques including microtonal compositionsand numerous premieres. Peter served as guest artist fac-ulty at the Curtis Institute of Music, the Yellow Barn MusicFestival and the Musicorda Summer String Program. He re-ceived a Bachelor’s degree from the Curtis Institute ofMusic and an Artist Diploma from the New England Con-servatory of Music.

Praised as “extraordinary” and “aformidable clarinetist” by The NewYork Times, Romie de Guise-Lan-glois performs as soloist and cham-ber musician on major concertstages throughout the U.S., Canada,Europe, and Asia. She won AstralArtists’ 2011 National Auditions andwas awarded First Prize in the 2009Houston Symphony Ima Hogg Com-

petition. An avid chamber musician, Romie joined the roster of

Chamber Music Society Two in 2012. She spent her recent

summers at the Marlboro Music Festival and she touredwith Musicians from Marlboro. She appeared on numerousconcert series including the Metropolitan Museum of Art,Philadelphia Chamber Music Society, and the 92nd StreetY, and has collaborated with such distinguished artists asMitsuko Uchida, Yo-Yo Ma, Jeremy Denk, and David Shifrin.

A native of Montréal, Romie received her bachelors de-gree from McGill University. She holds a masters degree,and an Artist Diploma from the Yale School of Music. Herprincipal teachers include David Shifrin, Michael Du-mouchel, and André Moisan. Romie recently completed herfellowship at The Academy, a Program of Carnegie Hall, TheJuilliard School, and The Weill Music Institute. Romie is aYamaha Artist.

Applauded by The New York Times forher luminous voice and intensely ex-pressive interpretations, sopranoSarah Shafer is a “singer to watch”according to Opera News. Althoughshe is quickly emerging as a sought-after artist in opera, she still re-serves plenty of time for theconcert stage as well.

Sarah made her professionalopera debut as Barbarina in Le Nozze di Figaro at England’sprestigious Glyndebourne Festival, also appearing at theBBC Proms in London. She created Mary Lennox in theworld premiere of San Francisco Opera’s The Secret Gardenand returns this season to create Rosetta in Two Women, anew opera based on Moravia’s novel and Sophia Lorenmovie, La Ciociara.

On the concert stage, Sarah soloed this season atCarnegie Hall in Respighi’s Laud to the Nativity and recentlysang Barber’s Knoxville: Summer of 1915, Fauré’s Requiem,and Mozart’s Mass in c minor with various American or-chestras. Her international appearances showcase her ver-satility: Mexico’s National Symphony in St. John Passion, inEngland with the early music Orchestra of the Age of En-lightenment, and in Poland with the Wroclaw Philharmonicin Lutoslawski’s Chantefleurs et Chantefables. Sarah holdsdegrees in voice and opera from the Curtis Institute ofMusic and is currently based in Philadelphia.

Peter Stumpf

Romie de Guise-Langlois

Sarah Shafer

Craftsbury Chamber Players

2014 C hamberMusic Season

July 16 through August 21

Burlington and Hardwick

For more information call:1-800-639-3443

www.craftsburychamberplayers.org

100 Dorset Street

South Burlington, Vermont

(802) 863-1000

Pulcinella’srestaurant of the Lake Champlain

Chamber Music Festival.

Please join us for dinner before or after a concert. Everything is home-

made and we are only a seven minute drive from the Elley-Long Music

Center.

Chef Sam’s grandfather at work

Oct 31, 2011 at 5pm.

FuturaDesigngraphic design services

Shelburne, Vermont802.985.3299

Designing for print and web since 1992.

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FESTIVALARTISTS

South Korean-born American so-prano Hyunah Yu was happilyworking as a molecular biologistuntil her life was changed by thesudden death of her husband justtwo years after they were married;he was the victim of a car-jacking.She sought solace in music by study-ing voice at the Peabody Conserva-tory, won the Naumburg prize, and

gained recognition as a soloist in St. Matthew Passion withthe New England Bach Festival.

Described by The Baltimore Sun as “a rising star – a lovelyvoice with diamond purity,” Hyunah performed at ShriverHall in hometown Baltimore, with the Rotterdam Philhar-monic, in Cologne with the West Deutsche Rundfunk, atthe Aspen Festival in Beethoven’s Ninth, and often at theMarlboro Music Festival and the New England Bach Festi-val. A highlight of Hyunah’s opera career was singing thetitle role in Peter Sellars’ new production of Zaide. Thejoint production of the Lincoln Center’s Mostly MozartFestival and the Wiener Festwochen played in Vienna, NewYork, Holland, and in London.

Hyunah recorded two solo recitals for BBC Radio 3’sVoices program. Her first CD was picked as one of Radio3’s Best of 2004. Her second, an EMI Debut Disc, featuresMozart arias and Bach cantatas recorded with the PraguePhilharmonia. Hyunah resides in Baltimore with her collegeaged son.

Born in Portland, Oregon, JoanMorris moved to New York tostudy at the American Academy ofDramatic Arts. With Clifford Jacksonand Frederica Schmitz-Svevo sheperfected her astonishing diction,the delight of audiences everywhereand the inspiration and despair of allactors and singers who hear her. Shesang at the Cafe Carlyle and the

Waldorf-Astoria and appeared off-Broadway and in roadproductions learning to embody dramatic characters.

In 1975, Joan Morris launched a successful partnershipwith her husband William Bolcom, singing music fromBroadway, vaudeville, and the music hall. Together, theybring to life songs from the ragtime era to the end of the20th century, including Bolcom’s own cabaret songs. Shetaught music performance at the University of Michigan

and regularly produced and directed new musicals.The Chicago Tribune observed “Her voice is notable for

ease, flexibility, expressiveness; you understand every wordshe sings, and in these songs the words deserve to beheard. She projects not just a song, but the charactersinging it, and gives that character her own irresistiblyfunny and winning personality.” Bolcom-Morris have 24recordings to their credit, from their legendary debutalbum After the Ball to their newest CD Someone Talked!

With warm sound, consummatemusicianship, and communicativepower, Randall Scarlata estab-lished himself as a artist comfortablein Bach oratorio, Rossini operas,German lieder, Tin Pan Alley, and thenewest of new music. He appearswith orchestras such as Philadelphia,San Francisco, Minnesota, and Vi-enna’s Tonkünstler, as well as Early

Music ensembles and is regularly invited to internationalfestivals including Ravinia, Marlboro, Salzburg, Spoleto, andnow LCCMF.

Randall’s repertoire spans four centuries and sixteenlanguages. A champion of new music, he premiered worksby Crumb, Musgrave, and Ludwig. With Tin Pan Alley songshe wins over lovers of art songs and popular music alike.

Randall studied at Eastman, Vienna’s Hochschule fürMusik, and Juilliard. Personally influenced by the Frenchbaritone Gérard Souzay, he performed at the SalzburgMozarteum, the Académie Internationale d’Été in Nice, theAspen Music Festival, and the Marlboro Festival.Winterreise with Gilbert Kalish, Bernstein’s Mass, the

premiere of Crumb’s American Songbook, and Wolf ’s Ital-ienisches Liederbuch with Hyunah Yu are highlights of Ran-dall’s current season. He makes his home in Philadelphia, ison the faculty of the College of Visual and Performing Artsin West Chester, and conducts master classes here andabroad.

Hyunah Yu

Joan Morris

Randall Scarlata

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FESTIVALARTISTS

Picked by The Boston Globe as one ofthe Superior Pianists of the year, “…who appears to excel in everything,”pianist Gloria Chien made her or-chestral debut at the age of 16 withthe Boston Symphony Orchestra.She appeared as a soloist under thebatons of Sergiu Comissiona, KeithLockhart, and Irwin Hoffman. Shepresented recitals at the Alice Tully

Hall, Gardner Museum, and the Caramoor and VerbierMusic Festivals.

Gloria became the resident pianist with the ChameleonArts Ensemble of Boston in 2000. She recorded for Chan-dos Records and recently released a CD with clarinetistAnthony McGill. In 2009, Gloria launched String Theory, achamber music series in downtown Chattanooga, as itsFounder and Artistic Director. The following year, she wasappointed Director of the Chamber Music Institute at theMusic@Menlo Festival by Artistic Directors, David Finckeland Wu Han. A native of Taiwan, Gloria is a graduate of theNew England Conservatory of Music (DMA ’04, MM ’01,BM ’99) where she was a student of Russell Sherman andWha-Kyung Byun. She is an Associate Professor at Lee Uni-versity in Cleveland, Tennessee, and is a member of Cham-ber Music Society Two of Lincoln Center. Gloria is aSteinway Artist.

Pianist Ellen Hwangbo is knownfor her expressive power and pas-sionate interpretations. A top-prizewinner of the Music Teachers Na-tional Association’s National YoungArtist Competition in 2006, she per-formed to great acclaim across Asia,Europe, and North America. As aspirited chamber musician, Ellen per-forms with world-renowned musi-

cians such as Soovin Kim, Colin Carr, and JenniferFrautschi. As a founding member of Consortium Ardesia, anew-music ensemble with horn player Ann Ellsworth andclarinetist Marianne Gythfeldt, she premiered andrecorded compositions by Sheila Silver, William Pfaff, andPerry Goldstein. Her performances have been broadcaston several radio stations, including VPR Classical and WRCJDetroit.

Ellen has appeared at the Music@Menlo, Yellow Barn,Lake Champlain, Sarasota, and Aspen music festivals, as well

as Pianofest and the Banff Centre. She is a doctoral candi-date at SUNY Stony Brook, where she studies under lu-minary pedagogue Gilbert Kalish. Ellen also served for twoyears as administrator of the Stony Brook Piano Project, aconcert series featuring faculty and graduate student pi-anists of SUNY Stony Brook, and for four years as a teach-ing assistant under Mr. Kalish.

Known for her deep musical andemotional commitment to a widerange of repertoire, Lithuanian pi-anist Ieva Jokubaviciute performsregularly throughout the US and Eu-rope. Her ability to communicatethe essential substance of a work isthe main reason critics describe heras possessing “razor-sharp intelli-gence and wit” (The Washington Post)

and as “an artist of commanding technique, refined tem-perament and persuasive insight” (The New York Times).

Labor Records released Ieva’s Alban Berg Tribute to crit-ical acclaim in 2010. The New York Times described her as“an authoritative and compelling guide throughout this fas-cinating disc.” Over the last seasons, Ieva made herChicago Symphony debut and her orchestral debut in Riode Janeiro, Brazil. Ieva’s piano trio, Trio Cavatina, won the2009 Naumburg International Chamber Music Competi-tion and made its Carnagie Hall debut in 2010.

Ieva’s chamber music endeavors bring her to majorstages around the world including recent performances atCarnegie Hall’s Stern Auditorium, London’s Wigmore Hall,and Washington DC’s Kennedy Center. She regularly ap-pears at international music festivals including Marlboro,Ravinia, Prussia Cove in England, and the Katrina Festivalin Finland.

Ieva earned degrees from the Curtis Institute of Musicand from Mannes College of Music; her principal teacherswere Seymour Lipkin and Richard Goode.

Gloria Chien

Ellen Hwangbo

Ieva Jokubaviciute

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FESTIVALARTISTS

Ignat Solzhenitsyn’s probing intel-lect and risk-taking won him early anAvery Fisher Career Grant as a pi-anist. Since then he won interna-tional critical acclaim for his lyricaland poignant interpretations as botha pianist and a conductor. As a con-certo soloist with major orchestrasincluding Boston, Chicago, Philadel-phia, and Los Angeles, he collabo-

rated with distinguished conductors, eventually becominga conductor himself. He led Baltimore, Seattle, Toronto, theNordwestdeutsche Philharmonie, and the Czech NationalSymphony, among others, as well as many of the major or-chestras in Russia. He became Music Director of theChamber Orchestra of Philadelphia in 2004. After six sea-sons he became Conductor Laureate and then the Princi-pal Guest Conductor of the Moscow SymphonyOrchestra.

Ignat studied in London with Maria Curcio, a student ofSchnabel, and at Curtis with Gary Graffman. Since his NewYork debut at the 92nd Street Y, he continues to giverecitals in major halls from coast to coast as well in Europeand the Far East in such major musical centers as London,Milan, Zurich, Moscow, Tokyo, and Sydney.

Ignat serves on the piano faculty of the Curtis Instituteof Music, where he was himself a student, and at the Tan-glewood Music Center. Born in Moscow and growing upin southern Vermont, Ignat resides in New York City withhis wife and three children.

Pianist Shai Wosner attracts inter-national recognition for his excep-tional artistry, musical integrity andcreative insight. His performances ofa broad range of repertoire commu-nicate his imaginative programmingand intellectual curiosity. His virtu-osity and perceptiveness make hima favorite among audiences and crit-ics, who praise him for his “keen mu-

sical mind and deep musical soul” (NPR’s All ThingsConsidered) and for exemplifying a “remarkable blend of theintellectual, physical and even devilish sides of perform-ance” (Chicago Sun Times).

This season, Shai’s orchestral engagements includeMozart piano concertos with the Hamburger Sym-phoniker, the BBC Scottish Symphony, and the Discovery

Ensemble at Boston’s Jordan Hall. He made his highly ac-claimed subscription debut with the Chicago SymphonyOrchestra in 2010 and was returned later that year to per-form with the orchestra at the Ravinia Festival.

Shai is a recipient of an Avery Fisher Career Grant, aswell as a Borletti-Buitoni Trust Award. Born in Israel, heenjoyed a broad musical education from a very early age,studying piano with Emanuel Krasovsky as well as compo-sition, theory and improvisation with André Hajdu. He laterstudied at The Juilliard School with Emanuel Ax. He nowresides in New York City with his wife and two children.

Phillip Golub grew up in Los An-geles in a musical family. He beganstudying piano at the age of five,playing jazz at the age of twelve, andcomposing as a teenager. Phillip’s in-terests and experiences are wide-ranging, and include chamber music,improvisation, and poetry in music.He wrote a song cycle on the fourseasons with new poems by his

friend and young poet Pablo Uribe, which was premieredby the National Children’s Chorus. The New York VirtuosoSingers recently commissioned him to set a poem by AnneCarson to music. Phillip studies at the five-yearHarvard/New England Conservatory program, concur-rently pursuing a BA with a concentration in English andan MM in Jazz Studies at the two universities. His teachersinclude James Matheson, Kati Agócs, and Samuel Adler forcomposition, and Fred Hersch, Tamir Hendelman, BruceBrubaker, and Sophia Rosoff for piano, both jazz and clas-sical. Phillip loves Vermont in the summer and attended theLake Champlain Chamber Music Festival and the YellowBarn Young Artists Program. He is very happy to be backin the Green Mountain State.

Ignat Solzhenitsyn

Shai Wosner

Phillip Golub

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FESTIVALARTISTSWith visionary zeal Leon Botsteinchampions masterpieces unfairly ig-nored by history and creates pro-grams to engage the head as well asthe heart. President of Bard Collegesince 1975, he serves as Co-ArtisticDirector of the Summerscape andBard Music Festivals. He recentlycelebrated his 20th year as MusicDirector of the American Symphony

Orchestra and is Conductor Laureate of the JerusalemSymphony Orchestra.

As a music historian he edits The Musical Quarterly. Hismost recent book is an anthology of his essays, VonBeethoven zu Berg: Das Gedächtnis der Moderne. He is cur-rently revising into book form his Tanner Lectures fromthe University of California, Berkeley on “The History ofListening.” He was inducted into both the American Acad-emy of Arts and Letters and the American PhilosophicalSociety and honored by Harvard, the Carnegie Foundation,the Bruckner Society, and even the government of Austriafor his services to music.

The Los Angeles Times praised his recent concert withthe Los Angeles Philharmonic as “the all-around most com-pelling performance heard all summer.” This season he wasthe first non-Venezuelan conductor invited by El Sistemato conduct the Sinfónica Juvenil de Caracas on tour.

Cori Ellison, a leading creative fig-ure in the opera world, serves asDramaturg at Glyndebourne FestivalOpera and recently joined the VocalArts Faculty at the Juilliard School toteach History of Singing. For thir-teen years, she worked as the staffDramaturg at New York City Opera.Active in developing new Americanopera, she teaches opera drama-

turgy at American Lyric Theater’s Composer Librettist De-velopment Program. She creates supertitles for operacompanies across America, and helped launch Met Titles,the Met’s simultaneous translation system. Her Englishsinging translations include Hansel and Gretel (NYCO), Lavestale (English National Opera) and Cheryomushki (Bard).She writes for The New York Times, appears on the Metro-politan Opera’s radio broadcasts, leads master classes foryoung singers worldwide, and lectured at venues includingthe Royal Opera, Lincoln Center, and Carnegie Hall.

Katie Ford is the author of Deposi-tion and Colosseum, which wasnamed a “Best Book of 2008” byPublisher’s Weekly and by the VirginiaQuarterly Review. Her work appearsin the New Yorker, the Paris Review, Po-etry, and Poetry International. Herhonors include a Lannan LiteraryFellowship and the Larry LevisReading Award. She teaches in the

Department of Creative Writing at the University of Cal-ifornia, Riverside, and lives with the writer Josh Emmonsand their young daughter. Blood Lyrics, her third book, willbe published this October.

Alan Bise served as the ClassicalProducer for Azica Records for 12years. He is the owner of Thunder-bird Records which is dedicated toreleasing musical works of contem-porary American Indians. Thunder-bird’s catalog includes artists such asthe San Francisco Symphony andChorus, and the string quartetETHEL. Known for helping to create

exciting and passionate projects, Mr. Bise produces recordsthat receive Grammy Nominations and which appear onthe Billboard Classical Chart. He is committed to new au-dience development and created and produced Offbeat, asuccessful radio show that gives listeners an inside look inthe world of classical music in a unique manner.

A graduate of the Cleveland Institute of Music, Alan pro-duced records for Azica, Naxos, and Albany/Troy. He servesas Broadcast Producer and Director of Audio for theCleveland International Piano Competition, the KneiselHall Chamber Music Festival, and the Lake ChamplainChamber Music Festival.

In 1999, Alan was appointed the Director of Audio Serv-ices and a faculty member in the Audio Recording DegreeProgram at the Cleveland Institute of Music. Alan is a mem-ber of the National Academy of Recording Arts and Sci-ences, the Latin Recording Academy, the Native AmericanMusic Awards, and the Audio Engineering Society.

Cori Ellison

Katie Ford

Alan Bise

Leon Botstein

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2014DONORHONORROLL

Thomas Achenbach & Leslie Rescorla

Gail & Ken Albert

J. Derek & Helen W. Allan

Jane Ambrose

Jean Anderson

Patricia & Robert Anker

Anonymous � �

Anonymous

Anonymous

Arnie Malina

Michael Atkinson’s Box of Goodies, a Donor-Advised Fund

Katherine Banks

Frank Bayley � �

Nancy & Roy Bell

Sandy Berbeco

Debra Bergeron & Les Allen

Susan Bergeron

Jean R. Berggren

Debby Bergh

Nancy R. Blackett

Michael & Camilla Bowater

Richard & Pat Branda

Angela Brown & Kellum Smith �

Anne Brown

John & Beverly Canning � �

John Canning � �

Michael & Adrianne Canning �

Luanne Cantor �

Anthony & Eleanor Carey

Brianne & David Chase � �

Harold & Erin Chaskey

Pia Sawhney & Somak Chattopadhyay �

Kathy Clarke

Stuart & Lucy Comstock-Gay

Josephine Corcoran

Karan & Steve Cutler

Jack Daggitt & Anne Stellwagen

Joseph & Jennifer Dickerman �

Alida and John Dinklage � �

Roger & Kathryn Dodge

Frank & Ducky Donath � �

Pamela Drexel

Elizabeth Edgerton

Carolyn Elliott

Joe & Betty Ellovich

Stan Emery � �

Ann B. Emery Memorial Fund

Dana & Michael Engel �

Sylvia Ewerts

Eberhard Faber

Robert & Sally Fenis �

Manuel Fieber

Joyce & Ted Flanagan

Daniel & Joan Fleming

Marjorie Flory

Fusun Floyd

Patricia Fontaine

Roger Foster, Jr. & Baiba Grube � �

David French

Paul Irish & Suzanne Furry-Irish �

Petchers Foundation Inc.

Hyun & Peter Gaillard

Connell & Nancy Gallagher

Robert & Leslie Gensburg

Cathleen Gleeson & David Maughan

Richard & Christine Goldsborough

Yoine Goldstein

Alex Graham

William & Valerie Graham � �

Mary Gundel

Sonia Guterman

Chip & Shirin Hart

Pat & Ray Harwick

William Harwood

Richard & Barbara Heilman � �

Marjorie Hennessey

Janet Rood & Fred Herbolzheimer, Jr. �

David & Judy Hershberg

Carol & Bruce Hewitt

Patricia Hickcox

Anne Hinsman

David & Mary Hinsman

Ginger Hobbes

Audrey Holm-Hansen �

Mr. & Mrs. Donald Horenstein

Gerald & Virginia Hornung Family Foundation �

The generosity of the people, foundations, and companies listed here has made thisyear’s Festival possible. This year, your contributions have covered all of the essential

costs associated with the production and operation of the Festival, thus allowing all Fes-tival ticket sales and new contributions to be used to meet the costs of the 2015 season!You are the reason that our organization is such a vibrant community resource, and weare hugely grateful for your support. Not a donor? We hope that you will consider joiningus with your own tax-deductible contribution toward the Festival’s 2015 season. Thank you!

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Oda Hubbard

IBM Corporation, Matching Grants Program

Kristin Peterson-Ishaq & Mousa Ishaq

Janine & Paul Jacobs �

Tina & Howard Kalfus

Nancy Karlson

Johanna Kebabian � �

Kevin & Kristin Kenlan

Marc & Judith Kessler

Jin & Soon Young Kim �

Brenda Kissam

Harvey & Debra Cohen Klein

Jeffrey Klein & Judy Tam

Arthur S. Kunin, MD

Madeleine Kunin & John Hennessey

Shelly LaFleur-Morris & Kevin Morris

Kendall & Joan Landis �

Bart & Cettina Larrow

Marc Law �

LeWinter Family � �

He K. & Byung H. Lee

Julie Simpson & Matthys Levy

Robert & Margaret Lichtenstein �

Buff Lindau & Huck Gutman � �

Ann Livingston

Carolyn E. Long � �

Evan & Mary MacEwan

Lidia Maston

Miriam Mayer

Susan B. McGarvey

Barbara McGrew in lovingmemory of Daniel Fivel � �

Betty Miles

John & Robin Milne �

Glenn A. Mitchell

Maureen Molloy, MD �

Jenry & Amy Morsman

Barbara Myhrum �

Paul & Jennifer Nelson

Debbie & Jonathan New �

Stephen Nissenbaum & Dona Brown

Katherine C. Norris, P.E.

Samuel P Oh, MD � �

Amy Otten

Alice Outwater

Ann & Charles Parker �

Pamela Pasti

Fran & Bob Pepperman Taylor

Neils Petchers �

Junius L. Powell, Jr. � �

Louise B. Ransom

Gay Regan

Paul & Rosemary Reiss

Elma Rickards

Barbara Rippa �

Serge Rizzo

Sylvia Robison �

Alfred & Maggie Rosa

Jerry & Bernice G. Rubenstein �

Alan & Cynthia Rubin

Johanna Ruess

Mary S. Rutherford

David & Joan Sable �

Lisa Schamberg & Pat Robins �

Robert & Gail Schermer �

Michael & Mary Scollins �

Evelyne & Douglas Skopp �

Haviland & Dolores Smith

Kay Stambler & Stanley Greenberg � �

John & Robbie Stanley

Kate & Michael Stein � �

Andrea G. Stillman

Lesley & Larry Straus �

Susan Stuck

Judith Sweeney

Dr. & Mrs. H. Tabechian

Bert & Frank Ultee

Denis Versweyveld & Judith Rey

William Walsh

Kenneth Wayland �

Mayneal Wayland � �

Norma & George Webb

Martha Ming Whitfield &Jonathan Silverman � �

Jane & Herbert Wilgis

Horace Wilkinson Fund � �

Doug & Meghan Williamson

Judy Wizowaty �

Constance & Lawrence Woolson

Sheryl Worrall

David Adair & Barbara York �

Nancy & Nixon de Tarnowsky

Marc & Dana vanderHeyden �

ONE StringsAnonymous

Brianne & David Chase

Johanna Kebabian

Vermont Community Foundation

In honor ofSylvia Adams

Raymond Anderson

John Canning

Ducky & Frank Donath

Valerie Graham

Joanne Kim

Lake Placid Sinfonietta

Sharon Mount-Finette

Ben Parker

Joshua Sherman

2014DONORHONORROLL

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In memory ofAnn Emery

Arnold Golodetz

George & Elizabeth Pasti

TURNMusic Donors, Anne Decker, Artistic Director

FD & PM Abraham

Marie Blaukamp & Karen Bos

Brookside Books

John Canning

Alchemy Canning, Ltd.

Michael & Joan Conroy

James & Arla Decker

Green Mountain Artisanal Cellars

Kraig & Jamie Kirby

Darby, Thorndike, Kolter & Nordle, LLP

Todd R. Lockwood

Carolyn E. Long

STM Manufacturing, Inc.

Nancy Marconi

Lisa Meyer

Sunflower Natural Foods

Claire & Milner Noble

Lauren Shanard, DDS

John D. Sherman

Snowfire, LTD

SunCommon

Waterbury Veterinary Hospital

Founders Circle �Members of the Founders Circlecontributed at least $5000 to theFestival during the first five yearsof operation.

Founding Members�

Founding Members contributedat least $1250 to the Festival during the first five years of operation.

Gold Circle �

Members of the Gold Circle haveprovided at least $1000 this yearto the Festival.

2014DONORHONORROLL

Festival Sponsor

Media Sponsor

Piano generously supplied by Steinway & Sons, New York

The 2014 Festival is made possible in part by grants from the Vermont Community Foundation’s Concert

Artists and Community Funds, the Vermont Arts Council, and the National Endowment for the Arts.

Sept 1, 2014 - Oct 31, 2014

“Consummate virtuosity” — Fanfare

11th season: July, 2015www.gmcmf.org 802-503-1220

Seven-concert series by internationally acclaimed chamber musiciansFour-week program of study for 160 serious young string players from across the U.S. and around the globe

Kevin Lawrence, Artistic Director

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THANKYOU

Vermont Youth OrchestraAssociationRosina Cannizzaro

Jeffrey Domoto

Thomas Wood

Flynn Center for the Performing ArtsJohn Killacky

Steve MacQueen

Chelsea Lafayette

AJ Fucile and the FlynnTixBox Office Staff

Burlington City ArtsDoreen Kraft

Meredith Berriman

Steinway & SonsVivian Chiu

Front of the HouseEllen Gurwitz

Graphic Design and PrintingFutura Design

Steve Alexander

Phyllis Bartling

Dennis Bruso and East Coast Printers

Vermont State Craft CenterRob Hunter

Festival Art GalleryEloise Beil

Frederick Noonan

HospitalityLiane Mendez and Let’s Pretend Catering

Sam Palmisano and Pulcinella’s Restaurant

Barbara and Martin LeWinter

Leslie Mercy andthe Sheraton Hotel

Patty and Tom Bergeron

Mary and Mike Scollins

Judy Wizowaty

Ducky and Frank Donath

Heather Bauman

Vermont Community FoundationPatrick Berry

Christopher Kaufman Ilstrup

Music-CompSandi MacLeod

Burlington Chamber OrchestraJohn Vickery

Gerald Holmes

ONE Strings, Integrated ArtsAcademy at H.O. WheelerSchoolBobby Riley

Victor Prussack

Judy Klima

Kathleen Kono

Legal and Accounting Thomas Carlson, Esquire

Wallace Tapia, CPA

Donna Renaud, CPA

Media Coverage Walter Parker, VPR

Kari Anderson, VPR

Brent Hallenbeck, Burlington Free Press

Jim Lowe, Times-Argus

Amy Tilly, Seven Days

Benjamin Pomerance, Lake Champlain Weekly

Technical AssistanceDeb Bergeron

Jen Loiselle

Special ThanksRoger Foster and Baiba Grube

Jin and Soon Young Kim

Barbara and Dick Heilman

Jody Kebabian

Carolyn Long

Asiat Ali

Horsford Gardens and Nursery

Stan Emery and Family

Hippocratic Five Minus Two

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LCCMF

Soovin Kim, Artistic DirectorDavid Ludwig, Composer-in-Residence

Jody Woos, Executive Director

Advisory CommitteeRobert Anker

Frank Bayley

Fred Child

Glen Kwok

Jamie Laredo

Sharon Robinson

Malcolm Severance

Dana vanderHeyden

Board of DirectorsJohn Canning

Elizabeth Cho

Nancy de Tarnowsky

Charles Dinklage

Ducky Donath

Roger Foster

Joe Goetz

Valerie Graham

Stanley Greenberg

Martin LeWinter

Buff Lindau

Frederick Noonan

Mary Scollins

2014 Festival Artists Sarah Shafer, soprano

Hyunah Yu, soprano

Joan Morris, mezz-soprano

Randall Scarlata, baritone

Bella Hristova, violin

Soovin Kim, violin

Paul Neubauer, viola

Edward Arron, cello

Marcy Rosen, cello

Peter Stumpf, cello

Romie de Guise-Langlois,clarinet

Gloria Chien, piano

Ellen Hwangbo, piano

Ieva Jokubaviciute, piano

Ignat Solzhenitsyn, piano

Shai Wosner, piano

William Bolcom, Distinguished Composer-in-Residence

Phillip Golub, Young Composer-in-Residence

Leon Botstein, Guest Speaker

Cori Ellison, Guest Speaker

Katie Ford, Poet

Alan Bise,Recording Engineer

Young Composers SeminarTJ Cole

Chelsea Komschiles

Niels Verosky

Young Quartet-in-ResidenceAlexi Kenney, violin

Caroline Goulding, violin

Steven Laraia, viola

Emily Taubl, cello

Piano Technician Allan Day

Photography Jan Cannon

Dana Govett

Jonas Powell

InternsVictoria Bergeron

Kameron Clayton

Manuel Fieber

Devon Govett

Sam Graf

Sebastian Maier

Tim Woos

20 Winooski Falls Way, Suite 7Winooski, VT 05404802.846.2175www.lccmf.org

Artistic DirectorSoovin Kim

Composer in ResidenceDavid Ludwig

Distinguished Visiting ComposersWilliam BolcomMarc NeikrugJoan TowerSteven Stucky

Distinguished Guest SpeakersLeon BotsteinCori EllisonKatie Ford

Individual ArtistsMisha Amory, violaEdward Arron, celloJonathan Biss, pianoNatasha Brofsky, celloColin Carr, celloGloria Chien, pianoChristopher Costanza, celloSae Chonabayashi, violinJohn Dalley, violinAnn Ellsworth, hornRomie de Guise Langlois,clarinet

Jennifer Frautschi, violinFrank Glazer, pianoBella Hristova, violinHelen Huang, pianoHsin-Yun Huang, violaEllen Hwangbo, pianoMarc Johnson, celloIeva Jokubaviciute, pianoKatherine Jordan, hornHye-Jin Kim, violinSoovin Kim, violinEduardo Leandro, percussionJulianne Lee, violaRicardo Morales, clarinetJoan Morris, mezzo-sopranoPaul Neubauer, violaClancy Newman, celloTara Helen O’Connor, fluteMilena Pajaro-van de Stadt,viola

Jeewon Park, pianoMatan Porat, pianoEvan Premo, double bassMarcy Rosen, celloEric Ruske, hornRandall Scarlata, baritoneSarah Shafer, sopranoPhilip Setzer, violinSophie Shao, celloDavid Shifrin, clarinetJoshua Smith, fluteIgnat Solzhenitsyn, pianoArnold Steinhardt, violinPeter Stumpf, celloBurchard Tang, violaWilliam Tilley, double bassElena Urioste, violinJason Vieux, guitarGilles Vonsattel, pianoAlisa Weilerstein, celloPeter Wiley, celloShai Wosner, pianoHyunah Yu, soprano

The East Coast Chamber OrchestraMeg Freivogel, violinNelson Lee, violinAyano Ninomayo, violinSusie Park, violinAnnaliesa Place, violinHarumi Rhodes violinMichi Wiancko violinMaurycy Banaszek, violaJonathan Chu, violaBeth Guterman, violaNa-Young Baek, celloDenise Djokic, celloTom Kraines, celloEarl Lee, celloDan McDonough, celloRaman Ramakrishnan, celloThomas Van Dyke, double bassNick Masterson, oboeJames Austin Smith, oboe

The Dover String QuartetBryan Lee, violinJoel Link, violinMilena Pajaro-van de Stadt,viola

Camden Shaw, cello

The Jasper String QuartetJ Freivogel, violinSae Chonabayashi, violinSam Quintal, violaRachel Freivogel, cello

Recording EngineerAlan Bise

Young Composers SeminarDavid Bloom TJ ColeSerena CrearyTamzin Ferré Elliott Phillip Golub Molly JoyceChelsea Komschiles Katerina KramarchukLoren LoiaconoAndrés Martinez de ValascoRiho MaimetsDylan MattinglyJoshua MorrisRene OrthDaniel Shapiro Zach SheetsGabriella SmithNiels VeroskyAlyssa WeinbergTim Woos

Young Quartet-in-ResidenceCaroline Goulding, violinAlexi Kenney, violinSteven Laraia, violaEllen Taubl, cello

FESTIVAL ARTISTS 2008–2014

Upcoming 2014–15 Festival EventsSoovin Kim & Fred Child, with Alexi Kenney,

Yoo Jin Jang, Steven Laraia, and Jin Leeat the FlynnSpace

September 27 at 8pmpresented in collaboration with the Flynn Center for the Performing Arts

The Johannes String Quartet with Fred Child: Beethoven and Bartok

at the FlynnSpaceJanuary 18, 7pm

presented in collaboration with the Flynn Center for the Performing Arts

Soovin Kim with the Burlington Chamber Orchestraat the McCarthy Arts Center

February 7, 7:30pma joint presentation of the Burlington Chamber Orchestra and

the Lake Champlain Chamber Music Festival

2015 Summer FestivalAugust 22 – August 30, 2015

PCC is proud to be the official sponsor ofthe 2014 Lake Champlain Chamber Music Festival.

We are equally proud of our thirty year history of working with pediatricians across the country to improve the health of children.

Lake Champlain Chamber Music Festival20 Winooski Falls Way, Suite 7 • Winooski, VT 05404

(802) 846-2175www.lccmf.org www.facebook.com/lccmf

Documents

2014 LCCMF Program Book