16
www.NewYorkClassicalPlayers.org NEW YORK CLASSICAL PLAYERS Dongmin Kim, Music Director Excellence in Music for Everyone AUER MEETS CHOPIN cycle 5 Elgar / Penderecki / Chopin DONGMIN KIM conductor EDWARD AUER piano

Auer Meets Chopin

Embed Size (px)

DESCRIPTION

NYCP 2011-2012 Season Cycle5

Citation preview

Page 1: Auer Meets Chopin

www.NewYorkClassicalPlayers.org

NEW YORK CLASSICAL PLAYERS Dongmin Kim, Music Director

Excellence in Music for EveryoneAUER MEETS CHOPINcycle 5

Elgar / Penderecki / ChopinDONGMIN KIM conductorEDWARD AUER piano

Page 2: Auer Meets Chopin

2 0 1 1 – 2 0 1 2 S E A S O N

CONCERT CYCLE 5

AUER MEETS CHOPIN

DONGMIN KIM conductor EDWARD AUER piano

April 21 (Sat), 2012, 8pm at Good Neighbor Community Church (Huntington Station, NY) April 22 (Sun), 2012, 3pm at Church of the Heavenly Rest (New York, NY)

E. ELGAR (1857-1934)

K. PENDERECKI (1933-)

F. CHOPIN (1810-1849)

Serenade for Strings Op. 20 1. Allegro piacevole 2. Larghetto 3. Allegretto

Sinfonietta for Strings 1. Allegro molto 2. Vivace

= INTERMISSION =

Piano Concerto No. 1 in E minor, Op. 11 (Chamber version) 1. Allegro maestoso 2. Romanze: Larghetto 3. Rondo: Vivace

Please note that photography and the use of recording devices are not permitted. Remember to switch off your cell phones and other electronic devices

Page 3: Auer Meets Chopin

NOTES ON THE PROGRAM Serenade for Strings, Op. 20 EDWARD ELGAR (1857-1934) Elgar was a string-player, a violinist of considerable ability – the concerto and the sonata he wrote for the instrument are some of his most characteristic and personal works. Two works for string orchestra have both become firm repertoire favourites. The Introduction and Allegro, which he composed for string quartet and string orchestra in 1905, is in effect a Romantic enlargement of the concerto grosso principal. But the Serenade for Strings is altogether simpler. It is the earliest work by Elgar to have become well known – it preceded his ‘Enigma’ Variations by six years – but it is utterly characteristic. The opening movement (piacevole, as marked, means ‘pleasing’) has the same lilting rhythm as Hugo Wolf’s Italian Serenade (the orchestral version of which dates from the same year), but also a gentler, more dusky atmosphere of its own, in which the desire to please in the rise and fall of its phrases is expressed, at first, with a certain shyness. The melodic shapes of the slow middle movement (in C major) are typical, too, and intensify briefly to a central confession of feeling before sinking back into a threefold reminder of the opening phrase. The final movement returns to the alfresco character of the first, with some discreet reminders of its lilting rhythm. The slow movement was heard first, on its own, in Hereford in 1893, and all three movements were eventually performed in Antwerp in 1896. Much later in life Elgar singled the Serenade out as his favourite work and described it as ‘really stringy in effect’; he included it as one of his last gramophone recordings the year before he died.

Adrian Jack Sinfonietta for Strings KRZYSZTOF PENDERECKI (1933-) Krzysztof Penderecki, a Polish composer with a post-modern approach, has written the perfect example of a neo-classical work with heartfelt reference to Bartok in its sentiment and construction. The Sinfonietta is the orchestral equivalent of the String Trio from 1990/91 and is situated in the same compositional style as the opera Ubu Rex. Sinfonietta for Strings No. 1 (1992) was first heard in Warsaw on 17th February 1992 with Sinfonia Varsovia conducted by the composer. The piece falls into two very different movements, which, between them, add up to an unlikely unity whose sum is nevertheless greater for its overt polarity. It begins with an Allegro molto whose aggressive opening chords are contrasted starkly with a lengthy and increasingly impassioned viola solo. Further alternation of these two ideas brings about a fugitive motion

between groups of strings from which various soloists emerge in a subtle variation of texture, the mood at first calming then intensifying as the movement drives onward to a brief climax which is followed by an equivocal close. The ensuing Vivace is its complement in almost every respect—the trenchant initial activity opening out into brusque contrapuntal activity, followed by spectral pizzicato writing that presages a final headlong surge.

Richard Whitehouse

Piano Concerto No.1 in E minor, Op.11 FREDERIC CHOPIN (1810-1849) Chopin was born in Poland, the son of a French émigré father and Polish mother. He was proficient at the piano by age six and was publishing music in his early teens. In 1829 he left Poland for Vienna to begin a performing tour, and eventually settled in Paris in 1831, where he rubbed shoulders with aristocratic society and was readily welcomed into flourishing artistic circles. A shy, quiet person, he made a living as an elite piano teacher of the nobility. In fact, after 1835 he no longer gave public performances; instead, he preferred intimate performances with audiences comprised mainly of friends and supporters. He suffered from ill health for much of his life, eventually dying of tuberculosis before the age of 40. The Piano Concerto No. 1 is actually the second piano concerto he wrote; it just happened to be published first. Chopin himself was concerned with his ability to perform it well enough, as the piece pushed the limits of his own imagination. Written in 1830 when he was just 20 years old, he managed to overcome his insecurities to perform it at a private premier in Warsaw later that year. The concerto epitomizes many characteristics that are indicative of Chopin's unique style. In many ways the concerto is Classic in nature, with its non-programmatic three movement plan which utilizes Classic forms such as Sonata form in the first movement and Rondo in the last movement. His floridly lyric melodic lines sweep gracefully over the left hand accompaniment, reminiscent of Mozart. But the melancholy sentiment that nearly always imbues his music coupled with the ability to make this relatively new instrument sing in ways unheard up to this point make it innovative and very Romantic in nature. As is also typical with Chopin, his Polish heritage is evident—most notably in the last movement, which includes syncopated dance rhythms called krakowiak, from a duple-metered popular dance originating in Krakow, Poland.

Enoch Moser

Page 4: Auer Meets Chopin

MEET THE ARTIST

EDWARD AUER piano Edward Auer has long been recognized as a leading interpreter of the works of Chopin. As the first American to win a prize in the prestigious International Chopin Competition in Warsaw, he has returned to Poland for well over 20 concert tours, playing in every major city and with every major orchestra. Auer has played solo recitals and concertos in over 30 countries on five continents, collaborating with such conductors as Zubin Mehta, Charles Dutoit, Herbert Blomstedt, Sergiu Comissiona and Riccardo Chailly. Auer grew up in Los Angeles, where he studied piano with Aube Tzerko, a protégé of Artur Schnabel, and composition with Leonard Stein, a Schoenberg student. A precocious chamber musician and the son of an accomplished amateur violist, he was playing the Mozart piano quartets and the Schumann quintet with his father and his friends at the ripe old age of eight. He won several competitions in the Los Angeles area, and frequently appeared in concerts there, both as soloist and in chamber music. Auer’s studies continued at the Juilliard School with Rosina Lhévinne and in Paris on a Fulbright Grant under Julius Katchen. Besides the Chopin Competition, Auer was a prizewinner in the Tchaikovsky Competition in Moscow, the Beethoven competition in Vienna and the Queen Elisabeth in Brussels, and took First Prize in the Concours Marguerite Long in Paris. Now, years later, these and other contests regularly invite him to be on their juries. For two years now, Mr. Auer has been at work on an ambitious series of recordings of the works of Chopin, to celebrate that composer’s 2010 bicentennial. As currently projected it will consist of at least eight volumes. The first, Chopin Nocturnes Volume 1, was released to great acclaim and a dazzling review from New York Concert Review’s Harris Goldsmith. Edward Auer is on the Piano faculty at the Jacobs School of Music Indiana University.

 

Page 5: Auer Meets Chopin

THE NEW YORK CLASSICAL PLAYERS     The New York Classical Players is a professional performing group of highly-gifted young instrumentalists from different cultures committed to bringing classical repertoire concerts to the public. Envisioned by Dongmin Kim in 2009, the New York Classical Players brings together seven nationalities combining personal and cultural strengths and a high level of chamber musicianship based upon democratic principles in the process of creating music. Trained at distinguished music institutions, members of the New York Classical Players are en route careers as critically acclaimed soloists, chamber musicians, and orchestral musicians in major American orchestras. Now in their second season in 2011-2012, the NYCP continues to present free concerts in different venues around the New York metropolitan area. Repertoire includes pieces spanning from Haydn and Beethoven to Pendercki and Isang Yun. This season’s guest artists include Stefan Jackiw(violin), Josef Spacek(violin), Kim Kashkashian(viola), Emily Smith(viola), Jasmine Choi(Flute), Uriel Vanchestein(clarinet), Edward Auer(Piano), and Daxun Zhang(double bass). In addition, the NYCP is highly committed to creating new repertoire to convey a different dimension of interest to the public by presenting pieces by young outstanding composers of today, including, Uriel Vanchestein, and Yoomi Paick. Today's most exciting young performing arts organization, the New York Classical Players takes responsible for being an emerging cultural source in connecting people with a broader world of musical art and culture.  

MISSION The New York Classical Players reaches out to diverse audiences in order to enrich the human spirit and enhance cultural vitality of life through performances at the highest artistic level by today's most exciting young instrumentalists making their artistic careers in New York metropolitan area and beyond.  

CORE VALUE Uncompromising artistic excellence Engagement with community Innovative vision Collaboration and Teamwork Committed to fiscal responsibility

Page 6: Auer Meets Chopin

ARTISTIC LEADERSHIP DONGMIN KIM music director / principal conductor

Dongmin Kim is quickly establishing himself as one of the most exciting and versatile conductors of his generation. He gave a critically acclaimed debut with the National Symphony Orchestra at the Kennedy Center in 2008. His conducting experience includes the Philadelphia Orchestra, the Baltimore Symphony,

the Minnesota Orchestra, the Indianapolis Symphony, the Jacksonville Symphony, the Memphis Symphony, the Florida Orchestra, the Virginia Symphony, the San Antonio Symphony, the Winnipeg Symphony, the Orquesta Filarmonica de la UNAM, the Rheinland-Pfalz State Philharmonic and the Ensemble Zandonai, among many others. Dongmin has conducted Opera The Magic Flute at the Seoul Arts Center with “9-sold-out” performances. He was the first to conduct a new opera Lorenzo de Medici by P.Q.Phan in 2007. He led Die Flut by Boris Blacher, and Bastien und Bastienne by Mozart. As assistant conductor at the IU Opera Theater, he covered La Traviata, Don Giovanni, Madama Butterfly, The Tale of Hoffman, and West Side Story among others. Dongmin was awarded the distinguished The Karajan Fellowship and served a residency with the Wien Philharmonic at the Salzburg Music Festival. He has also studied and worked together with Kurt Masur, Lorin Maazel, Leonard Slatkin, Christoph Eschenbach, Mstislav Rostropovich, Sergiu Comissiona, and Gustav Meier. As one of conducting staffs at the Indianapolis Symphony Orchestra as the Schmidt Conducting Fellow, a position he has held until 2006, Dongmin covered entire classical series for such artists as Andrew Litton, Christoph Poppen, Garrick Ohlsson, Lynn Harrell and Lang Lang. As a fine violist, Dongmin Kim has held the principal viola positions at the Pacific Music Festival Orchestra under the music directorship of Michael Tilson-Thomas, the Yonsei Symphony Orchestra in Seoul and the IU Symphony Orchestra. He was the first violist ever to win First Prize in the Yonsei Symphony Orchestra Concerto Competition where he appeared as solo violist with great success. As a recitalist and chamber musician, he has given numerous concerts in Korea, Japan, Hong Kong, Singapore as well as the United States. A native of Seoul, Dongmin Kim studied orchestral conducting at the Jacobs School of Music, Indiana University under David Effron, Thomas Baldner and Imre Pallo. As associate instructor, he taught the graduate conducting courses, and served as the music director of the IU All Campus Orchestra. Prior to his study in the States, he graduated from Yonsei University, where he was awarded the Music Merit Scholarship.

DAXUN ZHANG leader / double bass

"If the bass is finally to produce a headliner, the instrument can have no better champion than Zhang,"

- The Washington Post DaXun Zhang received Japan’s prestigious Aoyama Award in 2010. In April 2007, Mr. Zhang won an Avery Fisher Career Grant, only the second

double bassist in the history of this prestigious award. He is the first double bass player to win the Young Concert Artists International Auditions and start a career under the auspices of Young Concert Artists. He also won the La Jolla Music Society Prize, the Orchestra New England Soloist Prize, and The Fergus Prize. In April 2006, Mr. Zhang performed his arrangement of Waxman's Carmen Fantasy in at Jazz at Lincoln Center's Rose Hall with Keith Lockhart conducting the Orchestra of St. Luke's. Mr. Zhang was the first double bassist ever to win first prize in the 2003 WAMSO Competition, leading to a performance with the Minnesota Symphony Orchestra with Osmo Vanska, conducting. In 2001, Mr. Zhang was the youngest artist ever to win the International Society of Bassists Solo Competition. He has also received the Grand Prize of the American String Teachers Association National Solo Competition. Mr. Zhang has performed extensively with the Silk Road Project, including concerts with the Chicago Symphony Orchestra, at Carnegie Hall, and in China and Japan. He recorded the soundtrack to a 10-part documentary series with the Silk Road Project and its Artistic Director, Yo-Yo Ma, which aired in Japan on NHK Television. As concerto soloist, Mr. Zhang has appeared with prominent orchestras such as the Minnesota Orchestra, Orchestra of St. Lukes, the Tokyo Symphony, Edmonton Symphony Orchestra and the Pacific Symphony, etc. He has given recitals in US, Canada, UK, Italy, Panama, Japan, Korea and China. As a chamber musician, Mr. Zhang has appeared in music festivals such as the La Jolla Summer Fest, Music@Menlo, Strings in Mountains, Vancouver Summer Combustion and Hong Kong International Chamber Music Festival. He was also a member of the Chamber Music Society of Lincoln Center Two. A native of Harbin, China, He studied at the Central Conservatory of Music in Beijing and continued his studies in the U.S. at the Interlochen Arts Academy and received his Artist Diploma at the Indiana University School of Music. He has served on the faculty of Northwestern University and is Assistant Professor of Double Bass at the University of Texas at Austin.

Page 7: Auer Meets Chopin

BOARD OF DIRECTORS DONGMIN KIM Music Director/Principal Conductor BRIAN B. CHANG President, Cogent Global, Inc. JAIHYUN PARK Associate Professor, Baruch College JINA CHOI Violinist JULIE C. KIM Pianist ABEL RYU President, Abel & Associates Consulting SEUNGHAE YANG Novelist/Writer YEJI CHA General Manager

STAFF YEJI JULIE CHA general manager Carnegie Hall YEJIN KIM art director La Prairie/ Joliyou by Ye Jin, Inc. ANNA CHAE BMW of North America EUNSHIK PARK sound designer Pianist YOOMI PAICK music arranger/librarian Tennessee Tech University

ARTISTIC ADVISORY JANOS STARKER cello Jacobs School of Music Indiana University JAIME LAREDO violin/conductor Music Director, Vermont Symphony Orchestra CHEE-YUN violin Concert Violinist DAVID KIM violin Concertmaster, Philadelphia Orchestra ALEXANDER KERR violin Concertmaster, Dallas Symphony Orchestra TSUYOSHI TSUTSUMI cello President, Toho Gakuen School of Music, Japan SHARON ROBINSON cello Faculty at Cleveland Institute of Music MICHELLE KIM violin Assistant Concertmaster, New York Philharmonic Orchestra DANIEL HEIFETZ violin Founder/Director, the Heifetz Music Institute  

 

COMMUNITY OUTREACH ADVISORY DANIEL SONG Former Executive Vice President Korean American Association of Greater New York

 

 

Page 8: Auer Meets Chopin

   

Page 9: Auer Meets Chopin

MUSICIANS MUSIC DIRECTOR DONGMIN KIM LEADER DAXUN ZHANG, double bass ARTIST-IN-RESIDENCE STEFAN JACKIW, violin VIOLIN DAVID SOUTHORN EMILY SMITH KATIE HYUN JINA CHOI MARIE-EVE POUPART ROBIN SCOTT, concertmaster SIWOO KIM VIOLA ANDY LIN BRENTON CALDWELL SUNGHEE CHOI CELLO BROOK SPELTZ HYERI JANG PETR SPACEK SE-DOO PARK DOUBLE BASS KRIS SAEBO MUSIC ARRANGER/LIBRARIAN YOOMI PAICK

ROBIN SCOTT violin/concertmaster Robin Scott has competed internationally, winning 1st prizes in the California International Young Artists Competition and the WAMSO Young Artist Competition, and 2nd Prizes in the Yehudi Menuhin International Violin Competition, the Irving M Klein International String Competition, and the Stulberg International String Competition. As a soloist he has appeared with the Indianapolis Symphony, the Orchestre National de Lille (France), the Springfield (OH) Symphony, and the Carmel Symphony, New York Classical Players and others. He has given numerous recitals and performances throughout the United States and France. Highlights of the 2012 season include a debut with the Minnesota Orchestra, and two tours with Musicians from Marlboro. Also an avid chamber musician, he has performed at the Kennedy Center, the Library of Congress, Jordan Hall, and has attended the Marlboro Music Festival, Ravinia Festival, the Yellow Barn Festival, the Maine Chamber Music Festival and others. This year marks his first of two years as concertmaster of the Montgomery Symphony Orchestra. Scott was recently a student of Donald Weilerstein and Kim Kashkashian at the New England Conservatory (NEC) in Boston. He received his BM with Miriam Fried at NEC, where he was the recipient of the Presidential Award. In 2006, he completed an Artist Diploma at IU. Scott plays on a Vuillaume violin generously lent to him by the Marlboro Festival. DAVID SOUTHORN violin New York City based violinist David Southorn is pursuing a versatile career as a soloist, chamber musician, and Concertmaster. As a member of the Amphion String Quartet he will be performing this season at the MET and on the New School’s Schneider Concert Series in NYC. As soloist he has performed with the Fremont, Nova Vista and Portland Festival Symphonies. A passionate orchestra leader, Southorn will be Concertmaster in performances with the Delaware Symphony this November and will serve as guest Principal Second of the Miami Symphony this season. He has appeared at numerous festivals, including the Banff Centre, Spoleto USA, Kneisel Hall, Tanglewood, Music@Menlo

and most recently at the OK Mozart Festival and Chamber Music Northwest with the Amphion Quartet. David holds degrees from the Manhattan School of Music, Yale University and the San Francisco Conservatory. EMILY SMITH violin In 2009, Ms. Smith won first place in the Juilliard concerto competition and made her New York concerto debut in Alice Tully Hall, with the Juilliard Orchestra. As an active chamber musician, Ms. Smith has performed in venues around the world with such artists as Andrés Diaz, Claude Frank, Joseph Kalichstein, Orion Weiss and Eugenia Zukerman. Ms. Smith has performed at various festivals including the Seattle Chamber Music Society, Steans Institute, Banff Masterclasses, Kneisel Hall, and the NY String Orchestra Seminar. All of her performances from the Seattle Chamber Music Society have been broadcast live on Classical King FM. She has also appeared on PBS's national broadcast, Live from Lincoln Center, as well as twice on NPR's From the Top. Ms. Smith received her Bachelor and Master of Music degrees from The Juilliard School. Ms. Smith has performed as Concertmaster of the Juilliard Orchestra under the direction of DePreist, Slatkin, and Tilson-Thomas. Her teachers have included Ronald Copes, Nick Eanet, Joel Smirnoff, Laurie Smukler, Masuko Ushioda, and Donald Weilerstein. KATIE HYUN violin Violinist Katie started violin at the age of five and made her recital debut in 1994. She has performed as a soloist with the Houston Symphony, Dallas Chamber orchestra, Concerto Soloists Orchestra in Philadelphia, the Philadelphia Orchestra, and "Up Close and Musical," a string orchestra composed of members of the Colorado Symphony. Winner of the Philadelphia Orchestra Albert M. Greenfield Student Competition, she has also won the Stony Brook Concerto Competition, Aspen Academy Orchestra Concerto Competition, and Houston Symphony League Competition among many others. Katie has appeared on the television program "Good Morning Texas," and "Prairie Home Companion", NPR, with bassist Nathan

Page 10: Auer Meets Chopin

Farrington. In 2006, she was invited by bassist Edgar Meyer to collaborate with him at the Laguna Beach Chamber Music Festival and she also participated in his Carnegie Hall Workshop. During the summers, she has attended Encore School for Strings, Kneisel Hall, Music Academy of the West, Aspen, Taos Festival of Music, Music@Menlo, Yellow Barn, and Masterclass at Apeldoorn. Katie Hyun received her Artist Diploma at the Yale School of Music, studying with Ani Kavafian. She received her Master’s Degree at the Stony Brook, where she studied with Pamela Frank, Ani Kavafian, and Philip Setzer. She studied with Aaron Rosand and Pamela Frank at the Curtis Institute of Music where she received her Bachelor’s degree. JINA CHOI violin Jina Choi is internationally active as an orchestral musician, chamber player, and soloist. She has appeared as a soloist with the Budapest Chamber Orchestra, the Pucheon Philharmonic, the Hwaum Chamber Orchestra, and has given numerous solo and chamber music recitals across the United States. Recently Jina has appointed the Concertmaster at the Ridgewood Symphony Orchestra(NJ), and also held concertmaster positions including in the New York Symphony Orchestra, Pucheon Philharmonic, the PMF Orchestra (Japan), the Mannes Orchestra, and the Greater Newburgh Symphony. Jina Choi completed her BM and MM at Seoul National University, and the Professional Study Diploma at the Mannes College of Music. Her past instructors include Michelle Kim, Namyoon Kim, Jong-Sook Lee, and Ik-Hwan Bae. She is currently pursuing her doctoral study with Arnold Steinhardt at Rutgers University under a full scholarship. MARIE-ÈVE POUPART violin Marie-Ève Poupart is regarded as one of Canada’s most promising young violinists. She began studying the violin at the age of four and went on to work with Angèle Dubeau, Anne Robert and Johanne Arel. She has also taken lessons from Maxim Vengerov, Pinchas Zukerman, Igor Oistrakh, Maurcio Fuks, and Aaron Rosand. In 2007, she received her diploma with honors from the Conservatoire de musique in Montréal. Ms Poupart has also won numerous prizes and

awards, including the Canadian Music Competition, the Orchestre symphonique de Trois- Rivières competition, the Repentigny Music Competition and the Joseph McAbbie Foundation. Marie-Ève Poupart is also the recipient of the 2008 Peter Mendell Prize by the Jeunesses Musicales of Canada Foundation. She has appeared as soloist with the Amati Ensemble, the Montreal Symphony, and the Metropolitan Orchestra of Greater Montreal among others. As concertmistress, she performed the opening concert of the Montreal Symphony’s 2007-2008 season conducted by Kent Nagano. Currently she is on the Artist diploma program studying Pamela Frank at the Peabody Institute. SIWOO KIM violin Siwoo Kim is a multifaceted artist active in solo, chamber and orchestral settings. Kim took first prize at the Sejong Music and Columbus Symphony Young Musician competitions; was awarded the Elaine Louise Lagerstorm Violin Award at the WAMSO Young Artist Competition; and placed second at the Corpus Christi International Competition, where he was awarded special prizes for the Best Performance of Bach and Best Violin Performance. He also won the Crescendo Music Awards, the Hellam Young Artist Competition, and the Ima Hogg Young Artist Competition among others. Additionally, he has received scholarships from the National Federation of Music Clubs, the Korean-American Scholarship Foundation, the Rachel Barton-Pine Foundation and the NFAA Young ARTS Awards. His concerto engagements included with the Columbus and Westerville, Tulsa and Springfield symphony orchestras. He also has appeared on the popular NPR’s From The Top. As a full scholarship recipient, he is currently an undergraduate student at the Juilliard School where he studies under Donald Weilerstein and Ronald Copes. Previous teachers include Robert Mann and Roland & Almita Vamos. Kim performs on a G. B. Guadagnini, on generous loan from The Juilliard Collection. ANDY LIN viola Wei-Yang Andy Lin, born in Taiwan, holds his Bachelor and Master’s Degree from The

Juilliard School and is currently a Doctoral Candidate at the Stony Brook University of New York. He has won numerous competitions including the Taiwan National Viola Competition, Top Prize in the 2008 Juilliard Viola Concerto Competition and subsequently made his Avery Fisher Hall solo debut with the Juilliard Orchestra. He was also the winner of the 2009 Stony Brook University Concerto Competition. In addition to his solo career Mr. Lin is an avid chamber musician and is a member of the award winning string quartet, the Amphion String Quartet. The quartet was a winner of the 2011 Concert Artists Guild Victor Elmaleh Competition and was recently selected to join the roster of the Lincoln Center’s Chamber Music Society Two for a three-year residency. He currently serves as principal violist of the Solisti Ensemble, the New York Classical Players and the Salome Chamber Orchestra. Additionally he has been privileged to perform for the former President of the United States, Bill Clinton and the former President of Taiwan, Teng-Hui Lee. He is currently the artistic director of the New Asia Chamber Music Society and the New York Formosa Choir. BRENTON CALDWELL viola Since beginning viola studies at the age of twelve, Brenton Caldwell has performed throughout the US, Canada, Europe, and Japan. Brenton has received numerous awards including top prizes in the 2009 National Young Artist in Texas and the Watson Forbes International Viola Competition in Scotland. As a soloist he has performed with the Curtis and Banff chamber ensembles, and the East Texas Symphony Orchestra. A dedicated chamber musician, he has appeared at the Amelia Island Chamber Music Festival, Music@Menlo, Banff, Ravinia, Verbier, Tanglewood, and the PMF. Brenton regularly performs with Roberto Díaz, Gary Graffman, Ida Kavafian, and Eugenia Zukerman. He served as teaching assistant to Karen Tuttle, and has studied chamber music with Pam Frank, Joseph Silverstein, members of the Beaux Arts Trio and the Cleveland, Guarneri, and Orion string quartets. He has worked with Kim Kashkashian and Nobuko Imai, and Tabea Zimmermann. He earned his BM at the Cleveland Institute of Music with

Page 11: Auer Meets Chopin

Jeffrey Irvine and Lynne Ramsey and an Artist Diploma from the Curtis Institute of Music with Roberto Díaz and Misha Amory. SUNGHEE CHOI viola A native of South Korea, Sunghee Choi made her solo debut with the Seoul Symphony. She also soloed with the Sunhwa Symphony. She finished her BM from Seoul National University, and continued her graduate studies at NEC. Choi has won the Rutgers Symphony Concerto Competition, Kumho Young Artists Award, Korean-American Young Artists Competition, and Nanpa Awards. Choi won a coveted substitute position with the Philadelphia Orchestra and also participated The Grant Park Music Festival. She has participated in a number of music festivals such as Sarasota, Spoleto, Kuhmo(Finland), and Music Alps(France). She has participated for the master classes with Pinchas Zukerman, Josef Silverstein, Ani Kavafian, Pamela Frank, and Mauricio Fuks. She has studied with Arnold Steinhardt, CJ Chang, James Buswell, Lisa Kim, Ik-Hwan Bae, and Min Kim. She is currently a member of Beaubliss Quartet and pursuing her doctoral degree from Rutgers University where she is the recipient of the Arnold Steinhardt Scholarship. PETR SPACEK cello Petr has extensive performance experience as a chamber musician. He recorded a CD for NHK and toured Japan in the fall of 2007 with his brother, Josef Spacek, and pianist, Marek Sedivy. Petr is a founding member of the Starling Quartet and the Prague Cello Quartet. In 2006, he was accepted into the European Union Youth Orchestra, which toured Europe under the direction of Vladimir Ashkenazy. Petr has also won several competitions and scholarships. He received the grand prize at the International Radio Competition Concertino Praga and was invited to perform as a soloist with the Czech Radio Symphony. He also performed with Bohuslav Martinů Philharmonic at the Talentinum festival in Czech Republic. Petr also attended the International Music Academy in Pilsen and the Aspen Music Festival. He began playing the cello at the age of six. He studied in the Prague

Conservatory. Currently, he is a student of Laurence Lesser at the NEC in Boston. SE-DOO PARK cello Grand prize winner of the National Music Competition of Korea, the Korean TV-Radio Competition, Kiwanis Music Competition, Academy Symphony Competition, and Indiana University Cello Competition, Se-Doo Park's performances have been nationally broadcasted in Canada. Park has appeared as a soloist with Indiana University Orchestra, Academy Symphony, and Oakwood Symphony. Most recently she was the prizewinner for the Montreal Symphony Concerto Competition. Park has appeared at numerous music festivals including Ravinia, Sarasota, Aspen, Banff, Centre d'arts Orford, and Le Domaine Forget, all on scholarship. She has premiered numerous chamber music, and continues to perform actively in Canada, London, Berlin and USA. Ms. Park's mentors include Bryan Epperson, Miriam Fried, Charles Neidich, Menahem Pressler, Sharon Robinson, and Tsuyoshi Tsutsumi. She has been educated at Indiana University, Royal Conservatory of Music of Canada, Juilliard School. Park is currently pursuing her Artist diploma at Colburn School in California. BROOK SPELTZ cello Brook Speltz, born in Los Angeles, graduated from the Curtis Institute of Music in 2009, following studies with Peter Wiley and Carter Brey. As a soloist, Speltz has performed with the Curtis Chamber Orchestra, the Music Academy of the West Festival Orchestra, and the Mozart Orchestra of Laguna Beach, among others. He has appeared as recitalist at the Montecito Music Festival, Pacific Serenades, the New Music New Haven series and the Idyllwild Arts Festival. Speltz has received top prizes in the Houston Symphony’s Ima Hogg Competition, ASTA National Competition and the LA Philharmonic Bronislaw Kaper Awards. He has performed at the Music Academy of the West, ENCORE Music and the Oregon Bach festivals. As a member of the Vuilliaume String and Ares String quartets, Speltz has participated in the BRAVO Vail Valley Music Festival, Music From Angel Fire as part of a quartet in residence, and the Marlboro Festival. A regular performer with the

Philadelphia Orchestra and San Diego Symphony, Brook is currently pursuing a diploma at the Juilliard School, studying with Joel Krosnick. HYE-RI JANG cello Hye-ri Jang began studying the cello at the age of ten. She won the Sun-Hwa Arts School competition, Eumyoun Competition, Coca-Cola Foundation Scholarship Competition, and Korea Times Competition. She made her solo debut with Seoul Philharmonic Orchestra. After earning her BM from Seoul National University, she continued her graduate studies at The Juilliard School with Fred Sherry. She had many solo recitals and chamber recitals in New York City, including the Alice Tully Hall. She has participated and performed in Aspen and Kronberg Cello Festival. Also, she participated in master classes with Arto Noras, David Geringas, Bernard Greenhouse, Daniel Shafran. Hye-ri moved to Indiana, and has served as associate principal and principal of IU Festival Orchestra and appeared as a substitute cellist with the Cincinnati Symphony Orchestra. In 2009, She performed in Morelia, Mexico where she was a semi-finalist in the Carlos Prieto International Cello Competition. She is currently finishing her Doctoral studies at the Indiana University Jacobs School of Music as the assistant of Janos Starker. KRIS SAEBO double bass Bassist Kris Saebo is chamber musician, recording artist, and teaching artist. Kris enjoys playing in a variety of musical forms: classical, contemporary, folk, and funk. He is a member of Ensemble ACJW, SONYC, The Carnegie Ensemble, The Chris Norman Ensemble, and performs regularly with Wordless Music Orchestra, Argento Chamber Ensemble, and Grammy Award-Winner Paul Halley. In 2008, Kris finished a two year residency teaching and playing chamber music with The Academy- a program of Carnegie Hall, The Juilliard School, and The Weill Music Institute. He teaches bass privately and in Manhattan at Bloomingdale School of Music. Mr. Saebo received his Master and Bachelor of Music Degrees from the Juilliard School in 2006 as a student of Orin O'Brien and in 2004 as a student of Homer Mensch.

Page 12: Auer Meets Chopin

GK AD for NYCP.indd 1 9/15/11 4:07:04 PM

 

Page 13: Auer Meets Chopin

SUPPORT US The New York Classical Players is a non-profit 501(c)(3) tax-exempt organization. Pursuant to the laws and regulations of the U.S., all gifts are tax-deductible. YOU MAKE THE MUSIC POSSIBLE The NYCP is committed to bringing uncompromised quality music through passionate instrumentalists, and your support is an essential part of making that a reality. WHO BENEFITS FROM THE NYCP? You, your friends and family, and other music lovers in the New York metropolitan area are the primary beneficiaries of the NYCP. The NYCP will bring world-class performances concert after concert, and your support makes that possible. REMEMBERING THE NYCP IN YOUR YEAR-END TAX PLANS The NYCP strongly believes in giving back to the community by offering free concerts. In order for the NYCP to keep serving the local community, please remember the NYCP in your year-end tax plans. The most common method of support is through cash gifts, but we also welcome support through non-cash items (car, computer, instrument, etc. Consult your accountant or tax professional in determining the best timing and manner of your support. SUPPORT THE NEW YORK CLASSICAL PLAYERS During the season of 2011-2012, the NYCP receives donation through mail. Upon deposit, the NYCP will send you a letter acknowledging receipt and confirming the amount. Please mail your checks to the address below: Payable to: NEW YORK CLASSICAL PLAYERS

Address: 101 Lafayette Ave. Apt 17B Brooklyn, NY 11217

MATCHING GIFTS PROGRAM WITH YOUR COMPANY Enjoy greater privileges, while you increase the impact of your contribution, through your company's matching gift program. Ask your human resources manager or benefits administrator to see if your company will match your gift. Simply send in the completed form with your check. CORPORATE SPONSORSHIP Support of the arts makes good business sense. Leaders in the business community know firsthand the importance a strong arts community plays in the economic strength and quality of life within a community. The NYCP provides corporate, foundation, and government donors with tremendous value through sponsorships and community recognition for your dedication and support. Aligning your brand with the New York Classical Players also gives you a direct connection to the region’s most influential and engaged consumers and decisions-makers, all sharing a commitment to artistic achievement and community enhancement The NYCP creates a customized sponsorship program designed to meet your individual corporate goals and objectives. Sponsors receive numerous benefits, including prominent print recognition and opportunities to meet musicians and guest artists. For further information about contributing to the New York Classical Players, please call Yeji Julie Cha, General Manager at (617) 285-4627 or email at [email protected]

Page 14: Auer Meets Chopin

ACKNOWLEDGEMENTS The NYCP would like to recognize those individuals, corporations who have made contributions to the New York Classical Players.

 

<2011-2012 SEASON> CORPORATE SPONSOR BMW of North America, LLC $10,000~$12,499 Anonymous $2,500~$3,999 Anonymous Main Violin Hyeon Shin and Gisun Kim $1,500~$2,499 Anonymous Fa Young Park and Hye-Ran Park Hyun Ho Lee and Sunmee Lee $1,000~$1,499 Sisters of Charity New York David Howe and Charlene Howe Jaejin Yoon and Seunghwa Yang Soong Ahn and Kyunga Min Jina Choi $500~$999 John Chae and Doreen Chae Kiheon Cho and Eunjae Cho Bomie Han and Jongsun Lim Digital Right Brain, LLC Jaihyun Park and Connie Park Julie C. Kim Eun-Gyu Kim and Sarah Park Mingi Choi and Heather Won Wuijin Koh Dong-In Kang and Jiyoung Cho

$200~$499 Friends of Grace Seniors, Inc. Hye-ri Jang Shawn Hale and David Hale Jasmine Choi Jane G Hong Herbert Spann and Mun Spann Young Pak and Sharon Pak Joseph Lee and Yoonjun Lee J.B. Park Hank Choi and Hannah Choi Sungjoo Kim and Myonghee Kang Yong Kwon and Kyung Kim Jaehoon Yoo Wonshin Park Sun L. Riehm, Francesca H. Park Jung Han Lee and Youwha Lee ~$199 Myeong Kyu Ahn and Bok Jun Ahn James Jordan and Margaret Jordan Woosik Ju and Anna Ju David Segal Violins, Ltd. Lee’s Tailoring, Inc. Yeji Julie Cha Anna Jieeun Chae Ellen Ensig-Brodsky Sung Jae Kim and Taein lee Juny Jung, LLC Woojin Jeon Sang Hak Shin and Hye Sook Kim Yonseok Suh and Won Chang Kwangbin Lim and Songhee Han-Lim Jungwoo Lee and Meeyoung Park Jongkug Yoon and Jeeyeon Kim Jong I. Kim and Young S. Park Heung C. Moon and Hannah Lee Dongchoon Lee and Jay Lee Ruth Lepp and Stephen M Lepp

MEDIA SPONSOR MPlus Creative Media PHOTO Teacup Story, Jennifer Lim CONCERT VENUE SPONSORS Bohemian National Hall Church of the Heavenly Rest Chodae Community Church College of Mount Saint Vincent Good Neighbor Community Church

Page 15: Auer Meets Chopin

8 THINGS TO KEEP IN MIND WHEN WATCHING A CONCERT

DRESS APPROPRIATELY What you wear depends on the type of concert you are going to. Since we're talking about classical concerts, it's best to wear something that's in between; not too casual and yet not too formal. For example, wear something that you would to a job interview or a business meeting. It's also advisable not to wear hats as this will obstruct the view of the person behind you. MIND YOUR TIME Make sure that you arrive before the concert starts. This will give you enough time to find your assigned seat. Also, stay in your seat until the end of the performance. Standing up, wandering about or leaving the concert hall before the end of a performance is disrespectful. STAY QUIET This is the most important rule in concert etiquette. As best you can, avoid talking, whispering, whistling, singing along or humming to the music while the concert is ongoing so as not to distract other people. Listening attentively to the music and paying attention to the performers on stage will help you appreciate the concert more. ALARM OFF If possible, leave items like cellphones and wristwatches with alarms at home. If you really need to bring these things with you, make sure to turn it off or set it to vibrate/silent mode before the concert starts. HOLD YOUR APPLAUSE It is a common practice when watching classical concerts to hold your applause until the end of a music piece. However, this might get confusing if you're unfamiliar with the piece being performed. Your safest bet is to clap when most of the audience starts clapping STAY STILL Of course nobody expects you to sit perfectly still; however, stretching while you're seated, tapping your feet, cracking your knuckles or chewing gum are inappropriate. These actions also distract other viewers and the musicians themselves. Try your best to stay put while the concert is ongoing. FLASHES OFF Flash photography is usually not allowed during concerts. The reason behind this is the flash from your camera can distract the musicians. Other items like camcorders and camera phones are usually not allowed and may pose copyright violations. When in doubt, ask organizers first before you use these gadgets. TAKE ADVANTAGE OF INTERMISSIONS Concerts usually have intermissions; this is the time when it's OK to leave your seat. If you need to, you can go to the restroom, get a drink or a snack, or call someone on your cellphone during intermissions.

By Espie Estrella

Page 16: Auer Meets Chopin

&ODVVLFDO�3OD\HUV�LV�DQ�XQIRUJHWWDEOH�MRXUQH\��HYHU\� MRXUQH\� LQ�D�%0:�*URXS�YHKLFOH� LV�DQ�XQIRUJHWWDEOH�H[SHULHQFH��

:H� DW� WKH� %0:� *URXS� SURXGO\�VSRQVRU� DQG� VDOXWH� WKH�1HZ�<RUN�&ODVVLFDO� 3OD\HUV� IRU� EULQJLQJ��WKURXJK� WKHLU� IUHH� FRQFHUWV�� WKH�SOHDVXUHV�DQG�LQVLJKWV�RI�FODVVLFDO�PXVLF�WR�WKH�SXEOLF��

([FLWLQJ��,QQRYDWLYH��8QFRPSURPLVLQJ��7KH�1HZ�<RUN�&ODVVLFDO�3OD\HUV�VKDUH�PDQ\�WUDLWV�ZLWK�WKH�FRPSDQLHV�RI�WKH�%0:�*URXS��%RWK� WKH�1<&3�DQG�WKH�%0:�*URXS�KDYH�DFKLHYHG�H[FHOOHQFH� LQ� WKHLU� ÀHOGV� WKURXJK�WLJKW� WHDPZRUN�� GHPDQGLQJ� WKH�KLJKHVW�OHYHOV�RI�SURIHVVLRQDOLVP��DQG�UHDOL]LQJ�KRZ�GLYHUVLW\�FDQ�EURDGHQ�SHUVSHFWLYHV� WR� FUHDWH� D� VLQJXODU�H[SHULHQFH�� $QG� MXVW� DV� HYHU\�SHUIRUPDQFH� RI� WKH� 1HZ� <RUN�

(9(5<�3(5)250$1&(�$1��81)25*(77$%/(�-2851(<�

������%0:�RI�1RUWK�$PHULFD��//&��7KH�%0:��0,1,��5ROOV�5R\FH�0RWRU�&DUV��DQG�+XVTYDUQD�QDPHV��ORJRV�DQG�PRGHO�QDPHV��DUH�UHJLVWHUHG�WUDGHPDUNV��2WKHU�WUDGHPDUNV�DUH�WKH�SURSHUW\�RI�WKHLU�UHVSHFWLYH�RZQHUV��3ULQWHG�LQ�86$