LCCMF 2012 Festival

WORLD-CLASS MUSICIANS CREATING EXTRAORDINARY MUSIC TOGETHER

ARTISTIC DIRECTOR, SOOVIN KIM

Concert Series

Sunday, aug 19

monday, aug 20

tueSday, aug 21

friday. aug 24

Sunday, aug 26

Bach on Church

Virtuoso Showcase

Sounding Board

Listening Clubs

young Composers Seminar

masterclasses

2012

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Photos: Michael GW Stein

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Dear Friends,Welcome! For our 4th Lake Champlain Chamber Music Festival we are exploringa number of works by Johann Sebastian Bach as well as works by other composersthat demonstrate Bach’s great influence on the art of composition. Fugue and coun-terpoint–two compositional elements used by Bach to elevate his art–fascinate meas metaphors for the way people interact with one another in life. As do the vari-ous voices in fugues, we grow into adults by imitating our elders, eventually developing our own personalities through variation. And like the independentvoices in counterpoint we interact with one another, complementing or opposingone another, highlighting one another’s differences, and ultimately working together to create something greater than the individual.

Bach’s shadow is found throughout our Festival week. Listen for his influence inGabriella Smith’s world-premiere Brandenburg Interstices, Charles Ives’s cacophonouscontrapuntal lines in his violin and piano sonata, Mozart and Beethoven’s fugalstring quartets, and the obsessive canonic voices that will close the festival inSchumann’s piano quartet. One could even say that much of Western music history after Bach is a fugal response to his music.

We will get to know Guarneri Quartet first violinist Arnold Steinhardt’s favorite violinists through film and audio recordings, become familiar with composer JoanTower’s energetic musical personality, and experience pianist Frank Glazer’s ninedecades of performance experience. As usual we have our Bach-on-Church concerts,Listening Clubs, Virtuoso Showcase, and the Young Composers’ Sounding Board. I look forward to spending this stimulating week of musical exploration with you!

Soovin Kim

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Festival ArtistsJoan Tower, DISTINGUISHED VISITING COMPOSER

Sae Chonabayashi, VIOLIN

Bella Hristova, VIOLIN

Hye-Jin Kim, VIOLIN

Soovin Kim, VIOLIN

Arnold Steinhardt, violinMisha Amory, VIOLA

Burchard Tang, VIOLA

Marc Johnson, CELLO

Sophie Shao, CELLO

Evan Premo, DOUBLE BASS

Tara Helen O’Connor, FLUTE

Jonathan Biss, PIANO

Frank Glazer, PIANO

Ellen Hwangbo, PIANO

Jeewon Park, PIANO

Maho Sone Grazzini, HARPSICHORD

Alan Bise, RECORDING ENGINEER

Gabriella Smith, VISITING YOUNG COMPOSER

Young Composers SeminarSerena Creary Phillip Golub Tamzin Ferré Elliott

Vermont Youth OrchestraYoung Quartet in ResidenceCameron Zweber, VIOLIN

David Horak, VIOLIN

Amanda Milne, VIOLA

Noah Marconi, CELLO

Soovin Kim, ARTISTIC DIRECTOR

David Ludwig, COMPOSER-IN-RESIDENCE

Martha Ming Whitfield, EXECUTIVE DIRECTOR

Advisory CommitteeRobert AnkerFrank BayleyFred ChildGlen KwokJamie LaredoSharon RobinsonMalcolm SeveranceDana vanderHeyden

Board of DirectorsJohn CanningSomak ChattopadhyayCharles DinklageAnn EmeryJoe GoetzValerie GrahamMartin LeWinterBuff LindauFrederick NoonanLiz PastiJoan SableMary ScollinsKate SteinNancy de TarnowskyJody Woos

Piano TechnicianAllan Day

PhotographyJan CannonMichael GW Stein

InternsKameron ClaytonManuel FieberDevon GovettLiam JohnSebastian MaierJonas Powell

Junior InternsAmira SilvermanCharlie GrahamSydney SkoraAna Jimena Sotelo-Emery

Our generous sponsors include:

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Festival at a Glance All events at the Elley-Long Music Center unless otherwise noted.

Saturday, August 1810:30 am

Violin Masterclass: Soovin KimCello Masterclass: Sophie ShaoFlute Masterclass: Tara Helen O’ConnorPiano Masterclass: Ellen Hwangbo

12:15 pmThe Art of Violin: film screening

2:30 pmViolin Dreams: discussion with Soovin Kim and

Arnold Steinhardt

Sunday, August 192:15 pm

Pre-Concert Talk3:00 pm

Festival Concert Series: Concert OneFollowed by a Meet the Artist Discussion andReception

Monday, August 201:00 pm

Listening Club: Behind the Microphone 6:45 pm


Festival Concert Series: Concert TwoNewman Center, Plattsburgh, NYFollowed by a Meet the Artist Discussion

Tuesday, August 2110:00 am

Listening Club: Baroque Mozart/Classical Bach 12:15 pm

Bach on Church: Hye-Jin Kim, violinBCA Center, Church Street Burlington

7:30 pmFestival Concert Series: Concert Three:

Chaconne Anyone?FlynnSpace, Main Street, Burlington

Wednesday, August 221:00 pm

Listening Club: Glazer Plays Bach Recital

Thursday, August 2310:30 am

Family Workshop: Musical DreamsFletcher Free Library, Burlington

12:15 pmBach on Church: Sophie Shao, cello

BCA Center, Church Street Burlington3:00 pm

Listening Club: Beethoven’s Grand Fugue

Friday, August 2411:00 am

Listening Club: Joan Tower, Composer inConversation

6:45 pmPre-Concert Talk

7:30 pmFestival Concert Series: Concert Four

Followed by a Meet the Artist Discussion andReception

Saturday, August 2512:00 pm

Virtuoso Showcase1:30 pm

Chamber Music Masterclass: Sae ChonabayashiCello/Chamber Music Masterclass:

Marc JohnsonPiano Masterclass: Jeewon ParkViola Masterclass: Misha Amory

3:15 pmSounding Board

Sunday, August 262:15 pm


Festival Concert Series: Concert FiveFollowed by a Meet the Artist Discussion

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On display all week in the Orchestra Room at the Elley-Long Music Center

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Family WorkshopMusical Dreamsk

Thursday, August 23, 10:30–11:30 amFletcher Free LibraryCollege Street, Burlington

Members of the Festival’s Young ComposersSeminar lead a free family music workshop atthe library for children ages 5-11 and theiradult friends. Join us for a fun, hands-on work-shop, and try your hand at composing yourown music that celebrates the night.

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Johann Sebasan Bach (1685-1750)Brandenburg Concerto No. 5 in D Major (1721)

AllegroAffeuosoAllegro

Tara Helen O’Connor, flute • Soovin Kim, violin • Hye-Jin Kim, violinBurchard Tang, viola • Sophie Shao, cello • Evan Premo, double bass • Maho Sone Grazzini, harpsichord

Gabriella Smith (b. 1991)Brandenburg Interstices (2012) World Premiere

Tara Helen O’Connor, flute • Hye-Jin Kim, violin • Soovin Kim, violinBurchard Tang, viola • Sophie Shao, cello • Evan Premo, double bass • Maho Sone Grazzini, harpsichord

Johann Sebasan Bach (1685-1750)Ricercar a 6 from The Musical Offering (1747)

Tara Helen O’Connor, flute • Soovin Kim, violin • Hye-Jin Kim, violinBurchard Tang, viola • Sophie Shao, cello • Evan Premo, double bass • Ellen Hwangbo, harpsichord

Intermiss ion

Franz Schubert (1797-1828)Piano Quintet in A Major, “Trout” (1819)

Allegro vivaceAndanteScherzo: PrestoAndannoFinale: Allegro giusto

Hye-Jin Kim, violin • Burchard Tang, viola • Sophie Shao, celloEvan Premo, double bass • Ellen Hwangbo, piano

Pre-concert talk at 2:15 pm Meet the Arst discussion follows the concertPlease join us for a recepon in the Orchestra Room to meet the performers,

browse the Vermont Arsts Gallery, and enjoy music by The Hippocrac Five Minus Two.

Festival Concert SeriesSunday, August 19, 3:00 pm

Elley-Long Music Center at Saint Michael’s College

Concert Sponsor

The Steinway Concert Grand Piano is on loan from Steinway Hall, New York, NYThe Flemish double manual harpsichord is by Robert Hicks Harpsichords, Lincoln, VT

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Program NotesAugust 19 & August 20

e Johann Sebastian Bach (1685-1750)

Brandenburg Concerto No. 5 in D Major, BWV 1050 (1721)

Although the six individual works now known as theBrandenburg Concertos were not originally intended to bepresented to the Margrave of Brandenburg, Johann Sebast-ian Bach did write them to be presented together. At thetime of their composition, Bach was living and workingwith several other highly-skilled players from the recently-disbanded Berlin court orchestra in the small town ofCöthen. Since Bach had access to such wonderful instru-mentalists, each concerto made use of instrumentationthat showcased these local musicians. For example, thefirst features two horns, and the fourth shows off the talents of the solo violinist. The most original of these interms of instrumentation was the fifth Brandenburg concerto.

Alongside the flute and violin as soloists, the new Cöthenharpsichord (or cembalo) makes a grand appearance.Modestly, Bach would play viola in the ripieno (small sup-porting ensemble) when performing his own works. How-ever, being a renowned keyboardist, Bach used the fifthBrandenburg concerto as an opportunity to demonstratehis dexterity on the instrument. Even in the slower-pacedsecond movement, Bach has the harpsichord make use of16th notes and held trills to identify it as a predominantinstrument. This is the first known example of bringingthe keyboard out of its underlying role as continuo and elevating it to solo status. Although there is a sixth con-certo, it is this advanced style of writing in the harpsi-chord part that leads to the common belief that the fifthwas written last.

This concerto, along with four of the others, follows theconcerto grosso structure, in which at least two solo instru-ments are contrasted with a ripieno. The slow secondmovement, in the relative minor key, is surrounded by twomovements set at faster tempos. The last movement alsohas a ritornello (or “return”) of the tutti played in the open-ing movement. The first movement is, however, unusuallylong thanks to the harpsichord’s cadenza. Where in laterconcertos, the other instruments would eagerly build up tothe cadenza’s entrance, this piece has the flute and violincourteously drop off to make way for the harpsichord’spremiere.

Seeking employment, Bach offered this collection of piecesto the Margrave of Brandenburg in 1721, readapted to instruments available in the margrave’s court, and accom-panied by a flattering note:

“Your Royal Highness; As I had a couple of years ago thepleasure of appearing before Your Royal Highness, by virtueof Your Highness’ commands, and as I noticed then that YourHighness took some pleasure in the small talents whichHeaven has given me for Music, and as in taking leave of YourRoyal Highness, Your Highness deigned to honor me with thecommand to send Your Highness some pieces of my Composi-tion: I have then in accordance with Your Highness’ most gracious orders taken the liberty of rendering my most humbleduty to Your Royal Highness with the present Concertos,which I have adapted to several instruments... For the rest,Sire, I beg Your Royal Highness very humbly to have the good-ness to continue Your Highness’ gracious favour toward me,and to be assured that nothing is so close to my heart as thewish that I may be employed on occasions more worthy ofYour Royal Highness and of Your Highness’ service...”

The margrave never responded.

© Nicolas Chlebak, 2012

eGabriella Smith (b. 1991)

Brandenburg Interstices (2012) World Premiere

In Brandenburg Interstices, which pays homage to Bach’s5th Brandenburg Concerto, I tried to incorporate Bach asnaturally as possible into my wide range of other musicalinfluences (from minimalism to blues, American folkmusic, Ligeti, and Xenakis, among others). I envisioned apiece that would celebrate the way in which Bach has inspired me as well as demonstrate the connections I seebetween Bach and my other influences – by creating amusic that morphs fluidly through the centuries and gen-res, suddenly emerging into spaces of Bach in the form ofBach-inspired textures and passages as well as directquotes before again submerging back into the patchwork.The form mirrors Bach’s three-movement fast-slow-veryfast structure, however I combined this three-part struc-ture into a single movement. I organized each of my threeparts around one quote from each of Bach’s movements.

© Gabriella Smith, 2012

continued on page 8

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Johann Sebasan Bach (1685-1750)Brandenburg Concerto No. 5 in D Major (1721)

AllegroAffeuosoAllegro

Tara Helen O’Connor, flute • Soovin Kim, violin • Hye-Jin Kim, violinBurchard Tang, viola • Sophie Shao, cello • Evan Premo, double bass • Maho Sone Grazzini, harpsichord

Gabriella Smith (b. 1991)Brandenburg Interstices (2012) World Premiere


Johann Sebasan Bach (1685-1750)Ricercar a 6 from The Musical Offering (1747)

Tara Helen O’Connor, flute • Soovin Kim, violin • Hye-Jin Kim, violinBurchard Tang, viola • Sophie Shao, cello • Evan Premo, double bass • Ellen Hwangbo, harpsichord

Intermiss ion

David Ludwig (b. 1974)Flute Sonata No. 2 Canzoniere (arr.) (2010)

I. SospesoII. Con motoIII. FluidoIV. Con moto


Ernö Dohnányi (1877-1960)Serenade for string trio (1902)

MarciaRomanzaScherzoTema con variazioniRondo

Hye-Jin Kim, violin • Burchard Tang, viola • Sophie Shao, cello

Pre-concert talk at 6:45 pm Meet the Arst discussion follows the concert

Festival Concert SeriesMonday, August 20, 7:30 pm

Newman Center, Plasburgh, NY

The Flemish double manual harpsichord is by Robert Hicks Harpsichords, Lincoln, VT

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Program Notes (continued)

eJohann Sebastian Bach (1685-1750)

Ricercar a 6 from The Musical Offering, BWV 1079 (1747)

Bach developed the beginning of The Musical Offering dur-ing a visit to the court of Frederick the Great of Prussia.Bach was invited to the Prussian court by Graf HermannKarl von Keyserlingk (a Russian royal envoy and commis-sioner of Bach’s famous Goldberg Variations). A musicianhimself, Frederick the Great insisted that Bach play hisnew Silbermann pianos and gave him a theme to impro-vise on. Bach conceived the three-part Ricercar as he im-provised on the instruments and assured the king that hewould write a six-part fugue. Within two months, Bach de-livered the complete manuscript, including the two ricer-cars, a number of canons incorporating the royal theme,and a trio sonata; a collection now known as The MusicalOffering.

The pinnacle movement of The Musical Offering, the Ricer-car for six voices is often considered one of the most sig-nificant keyboard compositions in history. A ricercar is a16th and 17th-century musical structure that precedes afugue. The name is derived from the Italian word “ricercare,”meaning “to seek.” This fittingly describes both ricercarswithin The Musical Offering, in which Bach creates manymusical puzzles, challenging the audience to work out thecomplicated musical constructions. In addition to musicalriddles, Bach loved verbal conundrums. He created a Latinacronym for “ricercar” which he inscribed on the beginningof the score: “Regis Iussu Cantio Et Reliqua Canonica ArteResoluta.” And which translates as “according to the orderof the King, the tune and the remainder are resolved withcanonic art.” This royal theme can be recognized by thetwelve entrances of the motif.

© Serena Creary, 2012

eFranz Schubert (1797-1828)

Quintet for piano and strings in A Major, D. 667,“Trout” (1819)

Ah, Schubert, what pleasure he has given us, so manywonderful encounters. Schubert himself said: “Some peo-ple come into our lives, leave footprints on our hearts, andwe are never the same.” Indeed, how grateful we are forthat Schubert footprint.

Schubert had in Vienna many friends, but alas no power-ful advocates, so his world was quite provincial and circum -scribed. Imagine if he were with us today, how amazed he

would be by the modern world — the email invitation, theflight to get here, the TV interview given yesterday appear-ing today, the polished performance and the powerfulpiano. But what would astonish him most profoundlywould be the fact that anyone outside Austria had evenheard of him and that the music for his Trout Quintet hadfinally been published.

His sad history is well-known from same-old-story pro-gram notes — born in Vienna , son of a school master,learned music from his father, sang in the Vienna Boy’sChoir, taught occasionally but was always poor, too poorto marry even, jolly though with lots of friends, both ama-teur and professional musicians who came together forevenings of chamber music called Schubertiads, a vast out-put of work hardly published, devoted to lieder especially,died young. Syphilis probably. Short. Fat. Near-sighted.

And peripheral to the glittering music world of Vienna. InSchubert’s lifetime even his work that was commissionedand paid for, such as the Trout, did not reach the printers.Schumann came early to the rescue, visiting the family in1838 and pawing through cupboards and closets, takingthe manuscript of the unplayed “Great” Symphony in C toMendelssohn who premiered it in Leipzig. Later SirGeorge Grove of music dictionary fame saved more of hismusic for posterity. Gradually nearly 1000 works, some“unfinished”, have been pulled together, nearly 600 ofthem songs, one Die Forelle – the Trout.

The original poem by Christian Schobert concerns a care-free trout swimming in clear water until a fisherman mud-dies the brook as a trick to catch the fish – meant as awarning to innocent maidens that men will do anything toget what they want. In keeping with the sunny character ofthis quintet however, Schubert uses only the first part ofthe Lied, the fish swimming freely, memorably portrayedby a swirling figuration in the piano. In the summer of1819 Schubert went walking in the upper Austrian Alpswith his baritone friend Michael Vogl who introduced himto Sylvester Paumgartner, a wealthy amateur cellist. Paum-gartner asked Schubert for a work modeled on a Hummelquintet (with doublebass) he liked and suggested it in-clude a set of variations on his favorite Schubert song.Schubert set happily to work and with his unique ability toconceive the whole piece without creating a score, he sim-ply wrote out each part individually.

Cheerful arpeggios set the mood immediately and an expansive succession of glorious Schubertian melodiesunfolds, wandering happily through a variety of keyswhile adhering to sonata form. The “key” to the pleasureof Schubert is the subtle way he leads us by the ear fromkey to key giving each repetition an ingratiating freshness.Listen to this happen with the lyrical tranquil themes in

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the Andante as the piano and strings swap melody withflowing accompaniment. The Scherzo entertains quite dif-ferently with sharp contrasts of dynamics. The fourthmovement, Andantino, passes the delicious trout around ina feast of six variations, each instrument given a chancewith the melody, the famous swirling figure teasingly with-held until the last minute. The privilege of singing thetune the final time through falls to guess who?—the com-missioning cellist, a thoughtful Schubertian touch. The Finale brings back the lively triplet spirit of the opening inan energetic gypsy mode and with a sly witty trick thequintet swims and dances to genial conclusion.

Writing home about Schubert, Schumann observed:“Where other people keep diaries in which they recordtheir momentary feelings, etc, Schubert simply kept sheetsof music by him and confided his changing moods tothem; and his soul being steeped in music, he put downnotes when another man would resort to words.” In hislater work (in the C Major Cello Quintet or the Piano Sonatain B flat, Op. Posth., for instance) when he knew he wasdying. Schubert used glowing melodies to dispel the effectof his somber pensive movements. “More often than not”wrote Alfred Brendel “happiness is but the surface of despair.” In the end it is the very human dimension ofSchubert that reaches us. The Trout Quintet is his diary ofa carefree happy summer spent in beautiful countrysidewith friends. What could possibly be better?

© Frederick Noonan, 2012

eDavid Ludwig (b. 1974)

Flute Sonata No. 2 Canzoniere (arr.) (2010)

I could have just called this piece “Sonata for Flute andPiano No. 2,” but that would not have captured the inspi-ration for the music, which is a madrigal from Monteverdi’swonderful setting of the Petrarchan sonnet Or che ‘l ciel ela terra.

Like in so much of Petrarch’s poetry, Or che ‘l ciel e la terrais full of descriptions of love and longing, all set in adream-like world balanced between nature and the man-made. Monteverdi saw the opportunity in this text to cre-ate a vivid and varied work inspired by Petrarch’s words. Iwas inspired by both the words and the music, and so setout to write my own piece reflecting on the works of thesetwo authors.

The first movement is a direct quote from Monteverdi thatone might not notice on the surface. I used his harmonies(all of them!) but stretched chords to the extreme ends ofthe piano’s range. The second movement draws less

directly from the composer’s work, and more from thetext: “War is my state of being, of both anger and pain/And only thinking of her brings some peace.” The thirdmovement takes inspiration from both the music of Mon-teverdi (beginning with a literal quotation from the madri-gal), and the text from the Petrarch (referring to flowingfountains). The final movement alternates between myown close canon of flute and piano and Monteverdi’s lastchords– the ending to his madrigal is one of the mostbeautiful passages in music that I know; I was so hauntedby these notes that I was sure I had to include them in myown piece.

Petrarch’s entire collection of sonnets is called the “Can-zoniere,” which means simply “Songbook.” The piece wascommissioned through the Anthony P. Checchia Com-posers Project of the Philadelphia Chamber Music Societyand was funded by a grant from William M. Hollis and Andrea Baldeck, M.D. Canzoniere was written for MarinaPiccinnini and was premiered with pianist BenjaminHochman in November 2010 at the American Philosophi-cal Society. This version has been arranged for the LakeChamplain Chamber Music Festival ensemble of stringsand harpsichord.

Or che ‘l ciel e la terra

Or che ’l ciel e la terra e ’l vento taceE le fere e gli augelli il sonno affrena,Notte ‘l carro stellato in giro mena,E nel suo letto il mar senz’ onda giace,

Veggio, penso, ardo, piango; e chi mi sfaceSempre m’è in anzi per mia dolce pena:Guerra e il mio stato d’ira e di duol piena;E sol di lei pensando ho qualche pace.

Così sol d’una chiara fonte vivaMove ‘l dolce l’amaro ond’ io mi pasco;Una man sola mi risana e punge.Perchè ‘l mio martir non giunge a rivaMille volt’il dì moro e mille nasco;Tanto da la salute mia son lunge.

Now, while the heavens and earth and wind are stillAnd beasts and birds are locked in sleep,Night’s chariot of stars makes its circlesAnd within its bed, the ocean lies without waves,I watch, I ponder, I burn, I weep; and she who causes thisIs always present to my sweet pain:War is my state of being, of both anger and pain;And only thinking of her brings some peace.

And so, from a single pure fountainFlows the sweetness and bitterness of my passion;A single hand restores me and wounds me.Since my suffering knows no endA thousand times a day I die, a thousand times am born;So great is the distance to my salvation.

Petrach, Translation by David Ludwig

© David Ludwig, 2012

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eErnő Dohnányi (1877-1960)

Serenade for string trio, Opus 10 (1902)

This Serenade for string trio oddly reflects its composer inboth its staunch adherence to the 19th century Serenade’smulti-movement levity as well as its honest pioneeringtreatment of harmony and of material. A formidable musi-cal force in Eastern Europe during his time, Dohnányi wasan interesting figure in that he could have jumped shipfrom Hungary to more prestigious Vienna or Berlin as aninternational musical celebrity and composer-on-the-edge,but adamantly stuck to his father’s proverbial guns in hishome country. In his level of responsibilities to the coun-try’s cultural standing he was much the first born son of20th century Hungarian music.

Dohnányi wrote the Serenade is 1902 – and though only26 at the time, was already established as a world-class pi-anist and a major figure in the Hungarian music scene. Acomposer, conductor, pianist and teacher, Dohnányi was atrump card of a cultural figure. All the same, with the turnof the century and the death of Dvorák (coincidentallyalso in 1904, the year the Serenade was written), he waslanded in an odd position. He had to account for making astrong stance for Hungarian music while navigating thewaters of rapid change in 20th century music. His musicwas honestly inventive, yet even the fact that this trio is aSerenade in form and title shows us he had at least someof his chips on the 19th century.

It seems in retrospect that Dohnányi’s major function in20th Century music was to establish the Budapest Acad-emy of Music as a significant point on the map and topave the way for next son of Hungarian music: Bartók.Bartók, though only three years younger, flourished differ-ently than Dohnányi in the newly prodigious music scene.Bartók had little love for the governments of Hungary,especially after the revolution in 1919. While Dohnányihad the strings to pull and rode the political rapids well(and had the performances to show it), at one pointBartók was jilted by the Hungarian Fine Arts Competitionover his opera Bluebeard’s Castle, and subsequently driveninto his extensive research of eastern European folk music.This research sculpted and matured his style and becamecentral to his legacy. From the vantage of public successes,this foray into folk music would look like a setback for someone like Dohnányi. However, in the longterm the political difficulties that Bartók had may haveaided the longevity of his work.

By the 1930’s Dohnányi was director of the BudapestAcademy, music director of Hungarian Radio, and chief

conductor of the Budapest Philharmonic, and revered forit. Bartók was composing some of his most importantworks as well as protesting the Nazis and the Fascistregime, and suffering for it. By the 1940’s Dohnányi wasaccused of pushing his own agendas by cooperating withthe Nazis (though cleared of collaboration charges by theAmerican occupation authorities), his career sufferingdearly for it. Bartók had emigrated to New York, and wasalive for it.

The Serenade itself fulfills its traditional role as lightevening entertainment in five snack-box movements –even if the snacks themselves are eccentric. Each shortmovement has its simple lyricism and somewhat casualdevelopments of themes – much in line with the tradi-tional Serenade form. However, it seems that each move-ment’s material has complexity enough to be stretched formany more miles. The short and lightly-handled move-ments lend a feel of curious levity to the piece, but the material has a level of sincerity that rises above the simplerole of light entertainment.

The piece begins with a March in which two Brahmsianthemes bow each other away into a corner of the room,each repeatedly surrendering elegantly under the pressureof the simple two-minute task of welcoming the patroninto the listening hall (a task a Serenade March must tradi-tionally do). The piece then moves on to a Romance: acurio that ends on the dominant. Formally it is a sandwichbreaded with beautiful and simple solo/accompanimentsections (that leave you playing the “where’s the down-beat?” game) and filled with a muscular and dramatic in-terlude. The piece gathers nervous steam with a Scherzo,fugue-like and chromatic (that leaves you playing the“what’s the meter?” game). The movement develops froman initial phrase and motivic behavior that, with repeti-tion, gets filled with more material. We proceed onto atheme and five variations, which feels a lot more like bask-ing in a beautiful place as opposed to true reinvention ofthe theme. All the same, the movement functions well ascontrast to the Scherzo, and as a needed somber note be-fore the last movement (in which we find out that the twoBrahmsian themes had simply left the room to continuetheir discussion, and have now returned as a coda to moretruly fulfill their material).

© Tamzin Ferré Elliott, 2012

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Johann Sebasan Bach (1685-1750)Partita No. 2 in D minor for solo violin (1717-1723)

AllemandaCorrenteSarabandaGigaCiaccona

Arnold Steinhardt, violin

Intermiss ion

Charles Ives (1874-1954)Sonata No. 3 for violin and piano (1914-1917)

Verses 1–3, RefrainAllegroAdagio cantabile

Soovin Kim, violin • Ellen Hwangbo, piano

In partnership with the Flynn Center for the Performing Arts

Festival Concert SeriesChaconne Anyone?

Tuesday, August 21, 7:30 pmFlynnSpace, Main Street, Burlington

An enlightening and entertaining discussion of Arnold Steinhardt’s relationshipwith Bach’s masterpiece, the Chaconne from Bach’s D minor Partita for solo violin,

followed by a performance of the entire work that culminates in the great Chaconne itself.

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Program NotesAugust 21


Partita No. 2 in D minor for solo violin,BWV 1004 (1717-1723)

There is no greater challenge for a violinist to face than thethree sonatas and three partitas Bach wrote for the solo violin. While there are plenty of mountains to climbthroughout the repertoire, most of them become easierwith familiarity. With solo Bach familiarity only breeds agreater knowledge of the yet-unfamiliar aspects of themusic. It can be turned around again and again, studiedfrom the perspectives of harmony, rhythm, melody, dance,and the endless counterpoint of voices, all in an effort toget to the emotion at the heart of the music. This is true ofthe journey with all great music. But with Bach’s solo violinworks this search is both more daunting and rewarding.The limitations of the instrument to simultaneously playall of the voices that Bach heard in his head are both thecurse and the miracle in these pieces. The textures areoften sparse compared to that of a keyboard or larger ensemble. But Bach miraculously suggests music andsound far exceeding the violin’s capabilities. This room forimagination is what inspires us to be engaged, creative per-formers and listeners, and this is what makes this musicendlessly absorbing. The sounds and voices that Bach wrotecould represent music played by various instruments andensembles of all sizes ranging from an orchestra (with individual voices passed around that orchestra) with fullchoir to an organ or harpsichord or a small string group.Every once in a while the music he wrote for solo violin actually feels like it is to be played by a solo violin!

As in the other partitas, the D minor is a set of dancemovements. But here the sense of dance is less noticeablethan the intensity and depth of the music itself. The rhythmof the dance serves to maintain the flow of the music. Thepiece on the whole is a portrayal of a dark view of life andhuman emotion, from melancholy to tempestuousness.Most of all there is a resignation and acceptance of fatethat cannot avert the inevitable momentum of the greatCiaccona. Even the beauty and hope of its middle sectionultimately give way to the return of the timeless maintheme.

© Soovin Kim, 2012

e Charles Ives (1874-1954)

Sonata No. 3 for violin and piano (1914-1917)

Had Charles Ives’ talent been limited to music would wenow be less inclined to consider him the insurance sales-man who merely dabbled in composition in his free evenings?Would he have been appreciated more widely as one ofthe most forward-thinking composers of his time, who experimented with compositional techniques before mostof his better-known peers were doing so? Even thoughsome of the musical establishment of his time did not consider him a serious composer he was at least an icono-clast who used new techniques to express his late 19th-century New England upbringing in a vivid way. Ives fanstend to be musical zealots who find his music to be simul-taneously thrilling, witty, and touching.

Young Charles grew up in Danbury, Connecticut, providedwith a liberal musical education by his father. As a resulthe became an accomplished pianist and organist; challengedto compose using polytonality from an early age. Hymntunes and traditional songs were a major part of his upbringing and became an essential part of his formalcompositions. He would develop fragments of these tunes,often interweaving different songs at the same time in different keys.

The melodic first movement of his third violin sonata borrows tunes from the hymns Need and Beulah Land aswell as using the latter hymn’s overall form as a largerstructure for the movement. There are four “verses” of thethematic material, each one developing different rhythmicand intervallic aspects of the theme. Each verse is followedby a “refrain” section. The second movement containsthemes from a ragtime dance that Ives heard performed inNew York City and is an overwhelming hodgepodge ofsongs, mixed rhythms, and even drunken wrong notesthat build to a terrific, noisy climax before ending simplywith a twinkle in the eye. The final movement of thissonata teases us with fragments drawn once again fromthe hymn Need. The climax of the third movement liesnear the end after a long buildup culminates in a completestatement of Need’s refrain accompanied by cacophonouspiano chords representing church bells. One final, exhaustedstatement of the refrain closes the movement reflectively.

© Soovin Kim, 2012

Joshua Morris, cello

Photo: Stina Booth

photo: John Canning

All concerts at Flynn Center for the Performing Arts

Tickets: 802.86.Flynn or www.flynntix.org | Info: www.vyo.org

Fall Concert: Sunday, September 30 at 3:00pm

Grieg – Im Herbst

Kabalevsky – Allegro molto e con brio,

from the Violin Concerto in C major

Lea Martin, violin

Sibelius – Symphony No. 2 in D major

Orchestrapalooza: Sunday, December 9 at 4:00 pm

Mozart–Rondo, from the Flute Concerto No 1 in G major

Lauren Zwonik, flute

Winter Concert: Sunday, January 20, 2013 at 3:00 pm

With the Metropolitan Opera’s Latonia Moore, soprano

& Jesus Garcia, tenor, and the VYO Chorus

Arias and duets from operatic masterpieces, including

Lucia del Lammermoor, Don Giovanni, Die Fledermaus,

Tosca, Cavalleria Rusticana , Carmen & Manon

Spring Concert: Sunday, May 5, 2013 at 3:00 pm

With the VYO Chorus

Svendson – Romance in G major

Lydia Herrick, violin

Vaughn Williams – Toward the Unknown Region

Hindemith–Symphonic Metamorphosis

The 2012-13 VYOA Concert Season is made possible by the National Endowment for the Arts

Justin Truell

Lydia Herrick

Lea Martin

Jesus Garcia

Liam JoVYOAVAVYOA Photos: Stina Booth

Lauren Zwonik

Music for youth. Music for life.

2012-13 Concert SeasonJeffrey Domoto, Music Director

We are proud of ourcreative partnershipwith the Lake ChamplainChamber Music Festival

Shelburne, Vermontwww.futurad.com

G R A P H I C D E S I G N S E R V I C E S

Charles N. DinklageRetirement Planning Specialist

Retirement Planning Specialist title awardedby AXA Advisors, based upon receipt of aCertificate in Retirement Planning from theWharton School, University of Pennsylvania.

AXA Advisors, LLC95 Saint Paul St., Suite 300Burlington, VT 05401

Tel. (802) 660-8999Fax (802) 864-6068

[email protected]

*Underwritten by a third-party insurer.**Funded through the use of life insurance and other financial products.© 2009 AXA Equitable Life Insurance Company. All rights reserved.Securities and investment advisory services offered through AXA Advisors, LLC (NY, NY 212-314-4600),member FINRA, SIPC. Annuity and insurance products offered through an affiliate, AXA Network, LLC andits subsidiaries. AXA Equitable Life Insurance Company (NY, NY), AXA Advisors and AXA Network areaffiliated companies. GE-47657(a) (1/09)

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Johann Sebasan Bach (1685-1750)Gamba Sonata in D Major

AdagioAllegroAndanteAllegro

Marc Johnson, cello • Jeewon Park, piano

Joan Tower (b. 1938)Holding a Daisy (1996)Throbbing Still from “No Longer Very Clear” (2000)

Jeewon Park, piano

Wolfgang Amadeus Mozart (1756-1791)Adagio and Fugue in C minor, K. 546 (1788)

Soovin Kim, violin • Sae Chonabayashi, violinMisha Amory, viola • Marc Johnson, cello • Evan Premo, double bass

Intermiss ion

Wolfgang Amadeus Mozart (1756-1791)Piano Concerto in C Major, K. 415 (1782-1783)

AllegroAndanteAllegro

Jonathan Biss, piano • Soovin Kim, violin • Sae Chonabayashi, violinMisha Amory, viola • Marc Johnson, cello • Evan Premo, double bass

Pre-concert talk at 6:45 pm Meet the Arst discussion follows the concertPlease join the musicians for a recepon in the Orchestra Room following the concert,

and a chance to browse the Vermont Arsts Gallery.

Festival Concert SeriesFriday, August 24, 7:30 pm


The Steinway Concert Grand Piano is on loan from Steinway Hall, New York

Concert Sponsors Recepon Sponsor

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CharlesDinklage,

AXA

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Gamba Sonata in D Major, BWV 1028

Bach’s vast body of work – including his BrandenburgConcertos, the Mass in B minor, his hundreds of cantatasand chorales, the Passions, Well-Tempered Clavier, andpartitas and suites for solo violin, cello, and piano – whollyindentifies an entire era where Western music comes to-gether as we know it today. In those great works, Bachcombined melody with harmony and harmony withmelody on a level never paralleled since, where the two become one in sometimes astonishingly dense counter-point. The four movements of this Sonata No. 2 in DMajor for viola da gamba and harpsichord display thatvery phenomenon, each in a unique way.

The performers today will be playing two familiar instru-ments, the cello and the piano, but the Sonata was origi-nally written for viola da gamba and harpsichord. The violfamily of instruments came from the 16th century. Theyare string instruments with a flatter body than the violinfamily, strung with gut strings at a lower tension. Theyalso have frets akin to those on a guitar but can be bowed, unlike a guitar. Today, with the exception of performancesby Baroque performance specialists, Bach’s Sonatas for theviola da gamba are performed, as they will be today, onthe modern cello, which has a similar range to that of theviola da gamba.

The viola da gamba or gamba was mostly used as a con-tinuo (or bass) instrument in the Baroque time. Bach’sSonatas for the gamba feature the instrument’s virtuosicpossibilities by asking the performer to engage in imitativecall-and-response-like dialogue or harmonizing and color-ing with the right hand of the harpsichord player. Thecontinuo-like bass parts, when present, are instead usuallyplayed by the keyboard’s left hand.

Today’s sonata opens with a brief introductory Adagio. Itconsists of a continuous imitative dialogue between thecello and piano right hand. The left hand holds a mostlysteady bass part until near the end of the movement whereit temporarily joins in the conversation. The movementends unresolved with a question on the dominant A Major,leading into a euphoric Allegro back in D Major, reminis-cent of the celebratory Gloria in the same key from Bach’sMass in B minor. This Allegro features a three-note ascend-ing motif heard at the very start of the movement in the

cello and piano right hand. Bach moves the three-note ideafreely from those two voices and through the left handbass part as well. He harmonizes different versions atonce, displaces them rhythmically and in a playful naturesurprises the close listener with each subsequent occur-rence of the three rising (or sometimes even falling) notes.Towards the end of the movement a harmonic surprise inthe area of D minor darkens the mood before a sturdy ending in D Major.

The third movement calms down again for an Andante inthe related key of B minor. The cello and piano right handtake turns singing the main theme, always begun with adignified rising forth, as the other voice plays othercounter-melodies implying oftentimes surprising har-monies along the way in synchronization with the con-tinuo bass part of the piano left hand. On three occasionsin the movement (one being the opening) Bach gives thekeyboardist only a bass note and an indication of the har-mony (in figured bass notation); it is up to the performerto plan or improvise the bulk of his or her part in these situations, where Bach didn’t write in his intricate contra-puntal melodies. Listen for a more free, spontaneous, andunique keyboard part. The last third of the movementholds a few surprises in store, including a momentaryinterjection from the bass part where the piano’s left handplays 12 sixteenth notes in a row before backing away againinto its continual walking line of eighth notes. The finalsection also features a few extraordinarily long held trillsin both instruments. The onset and unforeseen durationof these trills changes the texture and makes for a beauti-ful rejoining of the three voices each time it concludes.

Finally Bach closes with another joyous Allegro in thedance meter six-eight. The movement contains all of thedevices discussed above and more. Melodies are tradedand imitated while other melodies are also often harmo-nized between the two instruments in thirds or sixths.Fragments of the opening bars are repeatedly sequencedup and down D Major or closely related scales throughoutthe movement as rhythmic jabs on trilled notes oftenseemingly one beat off add buoyancy to the dance. A momentary keyboard cadenza-like section in the middle ofthe movement seems to recall the fifth Brandenburg Con-certo; this is soon followed by a similarly virtuosic passagefor the cello part. Lastly, Bach displays the movement’sthemes once more and a falling down the scale degrees ofD Major ensues, finally in all three parts of the Sonata’svoices at once, until the inevitable cadence is unanimouslyreached.

In the time of Bach and in many performances today itcontinues to be common practice to take great libertieswith ornamentation and articulation, and for the

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keyboardist to fill out chords and sonorities even whenthey are not specifically or discretely written. Listen for thespontaneous gestures in this piece, whether in Bach’s textor in today’s performer’s interpretation nearly 300 yearsafter the date of composition.

© Phillip Golub, 2012

e Joan Tower (b. 1938 )

Holding a Daisy (1996)

Holding a Daisy (1996) was commissioned by the pianistSarah Rothenberg for a recital she was giving in New YorkCity. The image is of a Georgia O’Keefe flower painting,not as innocent as it appears.

© Joan Tower

Throbbing Still from “No Longer Very Clear”(2000)

Vast Antique Cubes/Throbbing Still (2000) was commis-sioned by Franklin and Marshall College for the pianistJohn Browning who premiered both works at The Ann andRichard Barshinger Center for Musical Arts in Hensel Hallat Franklin & Marshall College on September 16, 2000. InVast Antique Cubes, I wanted to create a sense of a verylarge space that moved quite slowly from low to high andhigher still. Within this reaching upwards, are suggestionsof Debussy and Chopin-two composers whom I played fre-quently as a pianist. By contrast, in the much more ener-getic and faster Throbbing Still, the music of Stravinsky andthe Latin Inca rhythms that I grew up with in South Amer-ica, continue to play a powerful role-to “throb still” in mymusic.

© Joan Tower

e Wolfgang Amadeus Mozart (1756-1791 )

Adagio and Fugue in C minor for string quartet,K. 546

A composer’s command of counterpoint is for many thebest way to judge his or her craft. Composers followingBach have explored increasingly intricate and skillfulcounterpoint, but ultimately, no one has surpassed him.Bach was the first master in this domain, though he hadPalestrina to look to as his own musical forefather (andPalestrina many before him). Mozart was similarly

inspired by the abilities of Bach, and so upon discoveringhis music as an adult set out to create his own examples ofcontrapuntal mastery.

Mozart’s Adagio and Fugue in C minor is a short but intense work that the composer arranged from a pianopiece into a string quartet. The Adagio is a most seriousprelude to the fugue that follows, and it is appropriatelycomplex and dark in hue. The music begins with heavy,dotted rhythms that evoke the Baroque French Overturestyle. A descending chromatic bass line at the movement’send suggests another favorite device of Baroque com-posers to invoke solemnity (Purcell’s “Dido’s Lament”from Dido and Aeneas and Bach’s “Crucifixus” from the B minor mass are two examples of works that use thiskind of bass line throughout).

The fugue subject (theme) itself can’t help but to be a littleless severe than the prelude, but it takes the harmonic lan-guage to a new level of complexity. This second part Fugueis not much longer than the brief Adagio, but Mozart fitsan incredible amount of information in it. As in all fugues,the subject is introduced one by one in the individualvoices: this lithe theme appearing first in the cello, fol-lowed by entrances in the other strings. It is after this in-troductory exposition that Mozart’s incredible wit andcleverness shows through the weaving lines that follow.He uses traditional procedures of fugal counterpoint tomorph the subject into every kind of alteration, until attimes it is hard to recognize. Among its many transforma-tions, Mozart writes the subject backwards (retrograde),upside down (inverted), and layered immediately on topof itself between instrumental voices (stretto). That he canso manipulate the musical material with such skill is a testament to the mastery of efficient composition thatMozart is known for. There is not one extra note to befound in the score.


e Wolfgang Amadeus Mozart (1756-1791 )

Concerto for piano and string quartet in C Major,K. 415 (1782-1783)

For Mozart 1784 was the Year of the Piano Concerto. Hebundled together three of them he had worked on earlierin Paris into a set to be premiered in Vienna and then hewrote a prodigious six more from scratch. Some of theearly concertos, like this one, were published in two ver-sions, one for small orchestra, the other arranged for sim-ply keyboard and string quartet for wider sales. Mozartwas quite new to Vienna, living without the security andirritation of a court appointment, newly married, newly inexpensive lodgings, soon to be newly a parent again — all

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of which put one thing uppermost in his mind: money. To-keep his name before the public, he became a self-promot-ing entrepreneur, renting concert halls, posting ads, hiringmusicians, and performing his own works with his owndazzling self as soloist and selling copies of the music inthe lobby. Numerous other pianist/composers earned aliving in this way too and soon the question of the day became: Who is the best pianist in Vienna? To settle that,the Emperor himself organized a contest – a sort of Aus-tria’s Got Talent – with Muzio Clementi pitted againstMozart. Mozart won, of course, and Clementi retreatedinto history with only 486,000 Google references com-pared to Mozart’s 132,000,000.

In the late 18th century the keyboard was evolving frommodest plucked harpsichord into the percussive fortepiano, soon to be in every bourgeois drawing room.Mozart exploited in a masterly way the mixture of subtleand brilliant possibilities the new instrument offered tohim as both composer and player. When you listen to thisperformance, imagine how astonished the Viennese audi-ence must have been, accustomed as they were to the thin“tinkling” of the harpsichord, when they listened to thesustained dreamy sound of the Andante after already beingstartled by the piano’s forceful equal dialogue with the “orchestra” in the boisterous first movement.

The concerto opens with rich writing for the strings wherein this quartet setting they are required to take on the tex-tural duty the horns, bassoons, oboes, and trumpets ordi-narily supply. In Mozart’s deft arrangement, thoseinstruments are not even missed as the music marchesbriskly along in the strings. They take plenty of time intro-ducing the theme, a long tantalizing wait for the pianovoice to restate the theme. The strings and piano create adialog, tossing the melodies back and forth in typicalsonata form of statement, development, and restatementwith an abundance of other material thrown in and a cadenza written out by Mozart.

The slow movement contrasts the two energetic outermovements with a gently dreaming Andante, expressive,poised and elegant. The closing movement starts with theusual rondo romp but turns into a series of surprises, especially when the music slips into a minor key with dra-matic pauses and a slow pondering tempo. The romp triesto reassert itself but the music descends at last into a laconic muttering and takes leave without saying goodbye,surely an ending to baffle the original audience. Instead ofrising to applaud the usual C Major splash of triumph, weare left to chuckle with surprise.

Nicely providing his own program note for what wouldlater be designated as K 413–415, Mozart wrote to his

father: “These concertos, are a happy medium betweenwhat is too easy and too difficult; they are very brilliant,pleasing to the ear, and natural without being vapid. Thereare passages here and there from which connoisseursalone can derive satisfaction; but these passages are writ-ten in such a way that the less learned cannot fail to bepleased, though without knowing why.” If after the con-cert you overhear someone talking about Mozart’s odd in-troduction of new material in the sonata form or hissurprising key shifts in the final movement, and youmissed it – never mind. Mozart doesn’t care if you don’tget it all. As he said over two hundred years ago, he knewyou were going to be pleased anyway, even if you don’tknow why.

Schumann summed up this Mozart admiringly as “noth-ing but lightness, grace, and charm.” If he was thinking ofthe dark “Kyrie” of the C minor Mass the year before or thestormy Piano Concerto in D minor the year after, he wasright in putting this work in the “charm” column, thoughthe Andante here does lure some listeners into a pensivemood and the minor rondo ending is not to be dismissedas mere charm. From light and graceful to dark and pas-sionate, however, Mozart provided it all and though timecannot touch him, he touches us every time we hear him.


BoomBy Peter Sinn NachtriebOctober 3 - 21, 2012

Winter TalesCreated by Mark NashDecember 5 - 9, 2012Annual Holiday Celebration

Time Stands StillBy Donald MarguliesJan. 30 - Feb. 17, 2013

4000 MilesBy Amy HerzogMarch 13-31, 2013

Good PeopleBy David Lindsay-AbaireApril 24 - May 12, 2013

2nd Annual Directing BAKE OFFJune 10 -16, 2013

Subscriptions on Sale Now!Starting at $83

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100 Dorset StreetSouth Burlington, Vermont

(802) 863-1000

Pulcinella’s�� restaurant 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

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Sept 1,

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9th season – July 2013Kevin Lawrence, Artistic Director

www.gmcmf.org802-503-1220

“passionate, involved and full ofthe joy of music-making”

—Jim Lowe, The Times Argus

•Artist Faculty series of 6 concerts by

internationally acclaimed chamber musicians

Conservatory for 140 serious young string players fromthroughout the U.S. and across the globe

•

Hear GMCMF artists on The University of Vermont Lane Series

November 30, 2012, 7:30pmat UVM Recital Hall

Piano Quartet in G minor (K. 478)Wolfgang Amadeus Mozart

Contrasts (1938)Béla Bartók

Piano Quintet in A major, D. 667 “Trout”Franz Schubert

Kevin Lawrence, violinSheila Browne, viola

Brooks Whitehouse, celloPaul Sharpe, bass

Dmitri Shteinberg, pianoDaniel McKelway, clarinet

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Joan Tower (b. 1938)Trio Cavany (2007)

Bella Hristova, violin • Sophie Shao, cello • Jeewon Park, piano

Ludwig van Beethoven (1770-1827)Grosse Fuge for string quartet, Op. 133 (1826)

Soovin Kim, violin • Sae Chonabayashi, violinMisha Amory, viola • Marc Johnson, cello

Intermiss ion

Robert Schumann (1810-1856)Piano quartet in E-flat Major (1842)

Sostenuto assai–Allegro ma non troppoScherzo: Molto vivaceAndante CantabileFinale: Vivace

Jonathan Biss, piano • Bella Hristova, violinMisha Amory, violin • Sophie Shao, cello

Pre-concert talk at 2:15 pm Meet the Arst discussion follows the concert

Festival Concert SeriesSunday, August 26, 3:00 pm


The Steinway Concert Grand Piano is on loan from Steinway Hall, New York

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e Joan Tower (b. 1938)

Trio Cavany for piano trio (2007)

Trio Cavany was commissioned by La Jolla Music Festival,the Chamber Music Society of Lincoln Center, and the Virginia Arts Festival. It is dedicated to violinist Cho-LiangLin who gave the premiere in the summer of 2007 at theLa Jolla festival with cellist Gary Hoffman and pianistAndré-Michel Schub. The title covers the three states thatthe festivals are in. It is in one movement, about 18 min-utes long, and features all three instruments in solo and incombination.

© Joan Tower

e Ludwig van Beethoven (1770-1827)

Grosse Fuge for string quartet, op. 133 (1826)

The last period of Beethoven’s output features some of themost complex and innovative music ever composed. In addition to his final three piano sonatas and the DiabelliVariations from this period, there is the Missa Solemnis, his ubiquitous Ninth Symphony, and the final five master-pieces, the late string quartets Op. 127, 130, 132, 133, and135. These works set the stage for much revolution to fol-low in 19th and even 20th century compositional tech-nique. Beethoven is known for his daring harmonies andoften surprising (and shocking at the time) musical lan-guage, but his approach to writing counterpoint, the inter-action of individual melodic lines to create the greaterwhole, is just as daring and equally surprising.

A striking example of this is his Op. 133, the Grosse Fugue(the “Great Fugue”). One of the most avant-garde pieces inthe repertoire, the work began life as the last movement toanother string quartet, Op. 130. In the original place, it isan epic summary of the five highly individual movementsthat precede it. When Op. 130 was premiered, the othermovements got encore requests from the audience andwere played again, but not the final Grosse Fugue move-ment. One can imagine just how bewildering and complexthis music must have seemed to the contemporary listener,and all this after over half an hour of challenging music already played. Beethoven was not amused by the lack ofrecognition of his Fugue, and he was terribly discouragedthat the audience didn’t ask to hear the movement again.

Perhaps because of this initial reaction, combined with theurging of his publisher, the composer decided to cut theGrosse Fugue out of Op. 130. The new plan was to write anew, lighter ending for Op. 130, make the Fugue its own

single movement work, and arrange it for piano four handsso that people could get to know the piece at home (themanuscript for this arrangement, Op. 134, was recentlydiscovered in Pennsylvania after disappearing for well overa hundred years). All of this recasting was cushioned byextra fees that the publisher offered for the new Op. 130last movement and for the more publicly accessible four-hands arrangement. And so “The Great Fugue” was rebornas Op. 133, which is now performed both alone asBeethoven remade it, and in its original place at the end ofOp. 130 as he first intended. The piece works well in bothcapacities: both as an anchor for the many characters ofOp. 130, and as a work that lays out its own unique jour-ney for the listener.

And what a journey it is. After a short and somber intro-duction comes the intense exposition of the fugue subject,full of kinetic energy that builds out of dotted rhythms.The intensity grows through the development of the open-ing, never wavering, until the listener is in a sound worldof nearly abstract instability. The disjunctive and angularmusic that follows could be imagined as four people talk-ing, all speaking of something similar, but all at differenttimes. It is music as avant-garde as would be possible atthe time; as abstract and challenging as the most chaoticpassages of Ives and volatile moments of Elliott Carter.

But just as soon as this raging storm establishes itself, it isgone, yielding to introspective, almost worshipful music.What were sharp edges are now mollified into smooth undulating harmonies. But this, too, passes as the musicprogresses into a third contrasting section described bysome observers as “Gemütlichkeit” — a term for the stateof pleasant cheerfulness attributed to 19th century Ger-man culture. This jaunty passage alternates with moreweighty material through until the end, contrasting lightand dark, until a rather unexpected conclusion with littleceremony in closing. Many will hear in these sounds thework of a very troubled, very brilliant mind, while themusic abruptly evolves from prayerful sublimity to cheeryGemütlichkeit, from wistful nostalgia to painful despair.This interpretation will come as no surprise to those whoknow about the personal burdens of Beethoven’s life andthe tremendous physical and psychological challenges hehad to bear.

The fugue is a favored form in Beethoven’s later period,both as a nod to the past (he was increasingly fascinatedby Bach and other Baroque masters as he got older), andas a forward look into the future. The fugue subject servesas a thread that keeps all of the disparate musical fabricsof the Grosse Fugue woven together. Beethoven needed thiskind of unifying device to keep order amidst the instabilityof form, harmony, and texture he creates in the process ofexploring new sounds and ideas. The notion of using onekernel to inform the entirety of a piece predates Haydn,but Beethoven made it into one of the most importantcompositional practices in history. A closer look showsthat the core DNA of the fugue subject and most all of the

music to follow is introduced in the very first measures.Out of one simple cell grows the entire musical organism.And so, despite the fact that the piece takes us on a wildride through constantly changing emotional states and idioms, the music is deeply rooted in a single musical ideathat ties it all together.

This is what Schoenberg was going for with his tone rowsa hundred years later, believing that the unifying elementof a primary series of pitches could hold together a wholepiece amidst a seemingly chaotic absence of tonality. WhatBeethoven presents here is similarly modern in approach,offering many levels of musical information all at once,still unified by one idea, rather than stretched out over anhour of gradual unraveling as we might hear in one of hissymphonies. The Grosse Fugue is just sixteen minuteslong, but after listening, we feel like we’ve read through anovel far more than a short story. This compressed layer-ing of musical material would lead Stravinsky to declarethe Fugue “this absolutely contemporary piece of musicthat will be contemporary forever.” If history is any judge,he was absolutely right.


e Robert Schumann (1810-1856)

Piano quartet in E-flat Major, op. 47 (1842)

On reading through the story of Robert and Clara Schu-mann, one immediately thinks: Oh, man. This could be amovie. Too late. It’s already been a movie. Twice. First wasSong of Love with Katherine Hepburn and Paul Henreid,with Robert Walker as an improbably slim Brahms. Andthen Spring Symphony with Nastassja Kinsky, sexier andmore rebellious. Clara was a child-prodigy pianist touringEurope at eleven already. Schumann was also a pianistuntil he wrecked his hand, who knows how – some sort ofstretching device or the eternal favorite in music biogra-phy: syphilis or its mercury treatment. He was a promisingpupil of Clara’s father Friedrich Wieck until he developedan undue interest in the way-under-age Clara. They stormedin and out of court for five years seeking permission tomarry against the father’s will and finally insolently didmarry one day short of Clara’s coming of age. Wieck re-fused to see them again, but softened when grandchildrenstarted to appear – a stunning eight in all despite Clara’sactive career as a pianist and Schumann’s battle with severe depression ending in a suicide attempt, commit-ment to an asylum, and death by uncertain causes. Yeah,quite a movie, including Brahms hovering with devotionin the wings. But the marriage proved unshakable – theyeven kept a joint diary.

Schumann became a pivotal character in 19th-centurymusic, bringing his love of art and literature as well as his

understanding of the history of music to his criticism, hisown composing, and to his perceptive support of the nextgeneration of composers – Mendelssohn, Chopin, Brahms,Berlioz and retroactively Schubert. He can be credited withthe invention of program music, the fusion of literatureand sound which blossomed in the Romantic era and ismost clearly seen in the contrasting piano-music charac-ters of Florestan and Eusebius. The arc of his own com-posing career has a German orderliness to it, first primarilypiano, then a year of song (in which he poured out over160 Lieder), then symphonies, then chamber music in1842.

Summing up the character of this quartet a critic wrote: “It is a wonder of clarity and concision with traits thatseem to reflect Schumann’s mode of production: a concen-trated and highly integrated composition that manages tonaturally incorporate all the key features of Classicalchamber music. Melody, counterpoint, motivic develop-ment, heart-felt song, quicksilver scherzo, and even fuguecome together for a rich composite that pays tribute toSchumann’s ardent study of the masters: Haydn, Mozartand especially Beethoven.

The short hymn-like opening passage before the firsttheme of the Allegro does bring to mind the dignity ofBeethoven and predicts the nature of this work, providingthe shape of themes to come and reappearing at crucialmoments later before the development and the coda. TheScherzo, opening as an urgent fugue in minor mode, con-tains two trios instead of the usual one, though they arenot set apart as in most scherzi but scampered acrossseamlessly by the propulsive fugal style and then poof ! –the movement is gone. In the Andante the cello and violinfirst swoon together in a Romantic song which deepensinto a contemplative hymn. The movement nearly sinksinto silence but the cello starts singing again and sets offan elaborately entwined passage of strings and piano be-fore the movement floats upwards to an ethereal ending.

Embedded in the final movement is the golden thread ofBach’s influence again as Schumann shows his skill weav-ing counterpoint into the sonata form – statement, devel-opment, recapitulation and the coda, distilling the fournotes of the first movement into three for a theme. Schu-man unifies the whole quartet by traversing the moods ofthe previous three movements – dignified power, nervousliveliness, singing lyricism.

“The study of the history of music and the hearing of mas-terworks of different epochs will quickly cure you of vanityand self-adoration,” commented Schumann. But most im-portantly: “it is music’s lofty mission to shed light on thedepths of the human heart.” Music immerses us in time,both historical and personal: the past a history we retain,the future a mystery we contemplate, the present a giftwhere we listen and live.



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Since 1995, we!ve brought music composition into the lives of students.

Formerly the Vermont MIDI Project, Music-COMP now serves students in

Vermont and beyond with:

• online mentoring by professional composers

• live performance opportunities

• resources for young composers

• professional development for teachers

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

Sept 1,

2011 - Oct 31, 2012

Oct 31, 2012 at 5pm.

r27 www.lccmf.org

Serena Creary, is a resident of Natick,Massachusetts, and is a graduate ofThe Walnut Hill School for the Arts.She is currently enrolled at WellesleyCollege and will attend Oberlin Collegeand Conservatory. Serena studies com-position with Jonathan Bailey Holland.

She is a National Foundation for Advancement in the ArtsYoungArts 2011 Winner in Music Composition, and receivedthe ASCAP Foundation Young Composer’s Scholarship at theYoung Artists Composition Program, Boston University Tanglewood Institute in 2010 and 2011. The New York Art Ensemble Young Composers awarded her the title of Emerg-ing Composer. She attended the Young Artist CompositionPrograms at Cleveland Institute of Music (2008) and KinhavenMusic Festival (2007).

Tamzin Ferré Elliott, age 19, is fromCardiff by the Sea, in northern San Diego,and is a freshman at Bard College andConservatory. For the past 4 years Tamzinhas studied with Roger Reynolds at University of California, San Diego, andcurrently studies with Joan Tower and

George Tsontakis at the Bard Conservatory. She was one offour Los Angeles Philharmonic Composer Fellows from 2009-2011, studying composition with James Matheson and A.J.McCaffrey. Tamzin has attended the Yellow Barn SummerMusic Program for the 2007-2011 seasons, and studies com-position with Stephen Coxe. She was recently awarded the National Foundation for the Advancement in the Arts, YoungArts Top Artist’s 2010 award.

Phillip Golub, 18 years old and living inLos Angeles, is a graduate of the CrossroadsSchool. He recently completed a two-yearComposer Fellowship Program at the LosAngeles Philharmonic, where his piece wasperformed by the LA Phil. The 2011 & 2012NFAA YoungArts Scholarship awardedPhillip a Music Merit award and the 2010

New York Art Ensemble young composer competition namedhim an “emerging composer.” He also received a 2010 ASCAPMorton Gould Award. Phillip is an active jazz pianist andcomposer. His accomplishments as a composer in both classical and jazz were recognized by the Jazz Composers Orchestra Institute at Columbia University Center for JazzStudies in the summer of 2010. He will join the freshmanclass at Harvard this fall.

Young Composers Seminar

Gone are the days where composers could sequesterthemselves in studios, sending off music to a pub-lisher and teaching here and there to supplementtheir income. In today’s world, speaking eloquentlyabout your music, giving pre-concert talks, partici-pating in panel discussions, applying for grants, providing workshops, and doing school residenciesare all essential elements of developing a flourishingcareer. The Lake Champlain Chamber Music Festivalhas helped me start to put the pieces together to pre-pare for the rest of my life as a musician–in a waythat I haven’t experienced anywhere else.

Zachary Sheets, Young Composers Seminar 2011

“

”

Young Composers SeminarDavid Ludwig

Composer-in-Residence and Seminar Director

Joan TowerDistinguished Visiting Composer

The Young Composers Seminar brings together someof the country’s most outstanding young composers towork and learn together, under the direction of composer-in-residence David Ludwig. Admission to the Seminaris by invitation.

The Festival is committed to inviting past participantsof the Young Composers Seminar to return to the Festivalto have their work performed as part of a Festival con-cert. In 2011 Tim Woos’ String Quartet was performedon the Festival’s Winter Encore Series. For 2012 GabriellaSmith returns with a new commission, Brandenburg Interstices.

Join the Young Composers for

Sounding BoardSaturday, August 25, 3:00 pm

Each member of the Young Composers Seminarbrings a new piece with them to the Festival

to be read by Festival musicians during Sounding Board on August 25.

Please join them as their new piecesare revealed to the world!

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Young Writers Project

Lake Champlain Chamber Music Festival and the Young Writers Projectare excited to partner for the fourthyear. Our collaboration brings a bevy

of young writers to the Festival to blog about what they seeand hear. While some students who participate are alreadyinvolved in music, for others this is their first experience.You may find them sitting on the floor during rehearsals,chatting to musicians during breaks, or sitting in a cornerto write. We encourage you to visit their online Festivalblog often during the week to read their impressions. Readtheir writing at http://tinyurl.com/ywp2012

To learn more contact Doug Demaio at [email protected]

Help us to Celebrate the Young Writers!

The Festival and the Young Writers Project are compilingan anthology of writing from the first four Festivals–to bepublished in 2013 as the Festival celebrates its fifth season.Please help us to reach our goal of raising $3,500 to coverthe costs of editing and printing the anthology. You canmail a check to the Festival and specify Young Writer’sProject in the memo line. Or hand your donation to a Festival staff member–just make sure we know who youare so that we can thank you! All donors who give $25 ormore to the project will be listed in the anthology, and willreceive a complimentary copy.

Young Writers Project

Pause

the silence

between movements

is like a breath –

everyone seems to

wake up,

momentarily,

out of the lull

the music puts us into.

the musicians smile,

their perfect posture relaxes;

they breathe too.

pages turn,

stands are adjusted,

and then, soon,

they’re off,

and we fall under their spell

once more.

by Love to Write

Beginning

And so—

it has begun.

Once more in the hall,

watching this which I have seen from its start,

two years ago on this self-same bench,

watching the familiar people gather.

Once more in the hall,

the empty hall—

not yet filled

with musicians and audience;

filled instead with the music—

yes, music, drumroll, rolling beat—

of moving chairs and echoing voices.

And so—

it has begun.

by Titania

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Non-Periodic Passacaglia

(based on the piece of the same name by Clancy Newman)

Where do you get the certaintyto place your fingers on the string andbow sostressfully sointensely sosureyou’ve hit the perfect pitchyou can’t affordimperfection

An wheredo you get the confidenceto break a few bowhairswith yourhead tuckedin the curve of your cello

Maybeyou’ve got the binarycodesstashed somewhere,secretly,in your head.

(I can only imagine how thoseones and zeroes must lookto you, aSecret Codean internalmasterpiece.)

Maybe you keep yourhead tuckedagainst the neckchin resting therebecause you don’t need to look upto see itMaybe you justcan’tlook upCan’t bear tolook away.

by iseeyousee

Dvorak Sextet

Simple, sweet line

passed lightly from one instrument to the next

like a greeting among friends.

Concerted, flowing, coy and coquettish—

a dance of favors.

How much sweeter,

sitting in a sea of empty chairs,

leaning in to catch every note,

to clutch longingly after the thread

as they pull apart the weave

to perfect a note, a phrase;

a pause filled with murmurs,

and once more they dive into the dance.

by Titania

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2012/2013

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VermontArtistsGallery]

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Violinist Soovin Kim is Artis-tic Director of the Lake Cham-plain Chamber Music Festivalwhich is quickly gaining national attention for its inno-vative programming, educa-tional outreach, and work withyoung composers. Soovin received first prize at the Paganini International Com-petition when he was only 20which launched an interna-

tional concert career. He later was a recipient of such dis-tinguished prizes as the Henryk Szeryng Career Award,the Avery Fisher Career Grant, and the Borletti-BuitoniTrust Award. He performs around the world as a concertosoloist and recitalist as well as with the Johannes StringQuartet.

Soovin has released nine commercial CD recordings in recent years including Niccolò Paganini’s demanding 24Caprices and a French album of Fauré and Chausson withpianist Jeremy Denk and the Jupiter Quartet. Soovin grewup for much of his childhood in Plattsburgh, NY. Hejoined the Vermont Youth Orchestra as its then-youngestmember at age 10 and later served as its concertmaster forthree years. He is often heard in the Champlain Valleythrough his performances with the Vermont SymphonyOrchestra, on the Lane Series at the University of Vermont,at Middlebury College, with the Burlington Chamber Orchestra, and on Vermont Public Radio. Soovin is pas-sionate about music education and is a professor at StonyBrook University and a visiting international scholar atKyung Hee University in Seoul.

Composer David Ludwig’s musichas been performed internationallyby leading musicians in some of theworld’s most prestigious locations.His music has been called “entranc-ing,” and that it “promises to speakfor the sorrows of this generation,”(Philadelphia Inquirer). It has furtherbeen described as “arresting, dra-matically hued...” (The New YorkTimes) and has been noted for “a

yearning, poetic quality” (Baltimore Sun). The New Yorkermagazine calls him a “musical up-and-comer” and theChicago Tribune says that he “deserves his growing repu-tation as one of the up-and-comers of his generation.” Hehas had performances in such venues in as Carnegie Hall,

Lincoln Center, and the Library of Congress, and has beenplayed on PBS and National Public Radio’s Weekend Edition.NPR Music listed him as one of the Top 100 ComposersUnder Forty in the world in 2011.

David has written for many prominent artists and ensem-bles, including soloists Jonathan Biss and Jaime Laredo,ensembles like eighth blackbird and Network for NewMusic, and orchestras including the Philadelphia, Min-nesota, and National Symphonies. He has held residencieswith many arts institutions like Meet the Composer andthe Isabella Gardner Museum, and with summer festivalsthat include the Marlboro Music School, and the MacDow-ell and Yaddo artist colonies. He has won numerous awardsand honors from nationally recognized arts organizations.

Born in Bucks County, PA, David holds degrees fromOberlin, The Manhattan School of Music, Curtis, and Juil-liard, as well as a PhD from the University of Pennsylvania.David is on the composition faculty of the Curtis Institutewhere he serves as the Artistic Chair of Performance Stud-ies and as the director of the Curtis 20/21 ContemporaryMusic Ensemble.

Joan Tower is widely re-garded as one of the mostimportant American com-posers living today. Duringa career spanning morethan fifty years, she has madelasting contributions to mu-sical life in the United Statesas composer, performer,conductor, and educator.Her works have been com-missioned by major ensem-

bles, soloists, and orchestras, including the Emerson,Tokyo, and Muir quartets; soloists Evelyn Glennie, CarolWincenc, David Shifrin, and John Browning; and the or-chestras of Chicago, New York, St. Louis, Pittsburgh, andWashington DC among others. Tower was the first com-poser chosen for a Ford Made in America consortiumcommission of sixty-five orchestras. Leonard Slatkin andthe Nashville Symphony recorded Made in America in2008 (along with Tambor and Concerto for Orchestra).The album collected three Grammy awards: Best ClassicalContemporary Composition, Best Classical Album, andBest Orchestral Performance. In 1990 she became the firstwoman to win the prestigious Grawemeyer Award for Sil-ver Ladders, a piece she wrote for the St. Louis Symphonywhere she was Composer-in-Residence from 1985-88.Other residencies with orchestras include a 10-year

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Festival Artists (continued)

residency with the Orchestra of St. Luke’s (1997-2007) andthe Pittsburgh Symphony (2010-2011). Tower studied pianoand composition at Bennington College and ColumbiaUniversity. Her earliest works were serial in concept, buther music soon developed the lyricism, rhythmic drive,and colorful orchestration that characterize her subse-quent works. She co-founded the Da Capo Chamber Play-ers in 1969 as pianist — its accolades included the 1973Naumburg Chamber Music Award — but also wrote severalwell-received pieces for the ensemble. She is currentlyAsher Edelman Professor of Music at Bard College, whereshe has taught since 1972. Her music is published byAssociated Music Publishers.

Sae Chonabayashi, violin, wasborn in Ibaragi, Japan andbegan playing violin at agethree. She attended the presti-gious Toho Gakuen School ofMusic in Japan from the age offifteen, where she completedher studies with KoichiroHarada, a founding member ofthe Tokyo String Quartet. In2001, Sae came to the United

States to study with Donald Weilerstein at the ClevelandInstitute of Music. As a full scholarship student, she con-tinued her studies with Mr. Weilerstein at the New EnglandConservatory, where she received undergraduate andgraduate diplomas. She won third prize in the 2006Swedish Duo International Competition. At Rice UniversitySae studied with Cho-Liang Lin.

Sae is a member of the Jasper String Quartet, hailed as“sonically delightful and expressively compelling” (TheStrad). Based in New Haven, Connecticut, the quartetholds ensemble-in-residence positions at Oberlin Conser-vatory of Music and Classic Chamber Concerts in Naples,Florida.

With her “commanding stage pres-ence” (The Strad), Bulgarian violin-ist Bella Hristova engagesaudiences with equal mastery of“impressive power and control”(The Washington Post) and “expressive nuance” (The NewYork Times). Highlights from her2012-13 season include perform-

ances as soloist with the Mississippi, Modesto, JohnsonCity, Youngstown, and Richardson symphonies and with

the Orchestra of St. Luke’s at Alice Tully Hall on the YoungConcert Artists Series; appearances at the Atlantic MusicFestival, the Cactus Pear Festival; and performances with“Curtis on Tour” in China. An accomplished chamber musician, Bella also performs in the inaugural season ofthe miXt ensemble, comprised of soloists from the YoungConcert Artists roster.

Past seasons have included appearances as soloist with theFresno Philharmonic; the National Arts Centre Orchestrain Canada, the Ulster Orchestra, and with the New YorkString Orchestra at Carnegie Hall, as well as performancesat the Santa Fe Chamber Music Festival, the MarlboroMusic Festival, the Grand Teton Festival, Music@Menlo,Ravinia’s Steans Institute, and Music from Angel Fire.

First Prize Winner in the 2008-09 Young Concert ArtistsInternational Auditions, Bella made her debut in the YCASeries during the 2009-10 season at Merkin Concert Hallin New York, sponsored by the Rhoda Walker Teagle Prize,and at the Kennedy Center in Washington DC. At the Auditions, she was the first recipient of the Helen Arm-strong Violin Fellowship.

Born in Pleven, Bulgaria in 1985, Bella began violin studiesat the age of six and since age 13 has lived in the UnitedStates. Bella worked with Ida Kavafian and studied cham-ber music with Steven Tenenbom at the Curtis Institute ofMusic. She received her Artist Diploma with Jaime Laredoat Indiana University in 2010. Bella plays a 1655 NicolòAmati violin, once owned by the violinist Louis Krasner.

Describing the artistry of vio-linist Hye-Jin Kim, Winner ofthe 2009 Concert Artists GuildInternational Competition, TheStrad proclaimed: “…heart-stopping and unrivaledbeauty...supremely musicalplaying, well-thought out, yetof the moment…” Hye-Jin pos-sesses depth and passion as

evidenced by her First Prize win at the 2004 YehudiMenuhin International Competition when she was onlynineteen.

Highlights of her 2011-12 recital tours include perform-ances in the Kravis Center Young Artist Series in WestPalm Beach and LeFrak Hall at Queens College’s CoplandSchool of Music. With orchestra, she will be the featuredconcerto soloist with the Greenwich Village Orchestra(NY), the Minnesota Sinfonia (Minneapolis), and East Car-olina University Symphony Orchestra. Also this season,

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she will tour with Musicians from Marlboro and OpenChamber Music at Prussia Cove.

Hye-Jin has performed with the Philadelphia Orchestrawith Christoph Eschenbach, the New Jersey SymphonyOrchestra, BBC Concert Orchestra, Seoul Philharmonic,Pan Asia Symphony, Minnesota Sinfonia, and HannoverChamber Orchestra. As a chamber musician, she has per-formed at Marlboro, Ravinia, Music@Menlo, Music fromAngel Fire and Prussia Cove.

Hye-Jin studied with Miriam Fried, Ida Kavafian, andJaime Laredo at The Curtis Institute of Music and NewEngland Conservatory. Currently, she is an Assistant Pro-fessor of Violin at East Carolina University. Korean-born,Hye-Jin plays a 1687 Gioffredo Cappa violin.

Arnold Steinhardt was born inLos Angeles, receiving his earlytraining from Karl Moldrem,Peter Meremblum and ToschaSeidel, and making his solodebut with the Los Angeles Phil-harmonic Orchestra at age four-teen. He continued his studieswith Ivan Galamian at the CurtisInstitute of Music and withJoseph Szigeti in Switzerland in

1962 under the sponsorship of George Szell.

Winner of the Philadelphia Youth Competition in 1957,the 1958 Leventritt Award, and Bronze Medallist in theQueen Elizabeth International Violin Competition in1963, Arnold has appeared throughout North Americaand Europe as a recitalist and soloist with orchestras in-cluding the New York Philharmonic, Detroit Symphony,and the Cleveland Orchestra, among others.

Arnold is first violinist and a founding member (1964) ofthe internationally acclaimed Guarneri String Quartetwith which he has made innumerable tours across theglobe and recorded dozens of albums for RCA Victor,Philips, Arabesque and Surrounded By Entertainment.The quartet retired in 2009. He is professor of violin andchamber music at Colburn Music School, the University ofMaryland, Bard College, and the Curtis Institute of Music.

Arnold has written two books: Indivisible by Four: A StringQuartet in Pursuit of Harmony (Farrar, Straus and Giroux,1998); and Violin Dreams (Houghton Mifflin, 2006). Recip-ient of Honorary Doctorates from the University of SouthFlorida and Harpur College, he has also received an awardfor distinguished cultural service from the City of New

York presented by Mayor Koch. He was inducted into theAmerican Academy of Arts and Sciences in 2010.Arnold plays a Lorenzo Storioni violin from Cremona,Italy, late 18th century.

Since winning the 1991 NaumburgViola Award, Misha Amory hasbeen acclaimed as one of the lead-ing American violists of his genera-tion. He has performed withorchestras in the United States andEurope, and has been presented inrecital at New York’s Tully Hall, LosAngeles’ Ambassador series,Philadelphia’s Mozart on the

Square festival, Boston’s Gardner Museum, Houston’s DaCamera series and Washington’s Phillips Collection. Hehas been invited to perform at the Marlboro Festival, theSeattle Chamber Music Festival, the Vancouver Festival,the Chamber Music Society at Lincoln Center and theBoston Chamber Music Society, and he released a record-ing of Hindemith sonatas on the Musical Heritage Societylabel in 1993.

Misha is a founding member of the Brentano String Quar-tet, which enjoys a distinguished concert career in theUnited States and abroad. Winners of the inaugural Cleve-land Quartet Award and the 1995 Naumburg ChamberMusic Award, the Quartet was also the inaugural group forthe Chamber Music Society at Lincoln Center’s new pro-gram, Chamber Music Society II. The Quartet has been inresidence at Princeton University since 1999.

Misha holds degrees from Yale University and the JuilliardSchool. His principal teachers were Heidi Castleman, Caroline Levine and Samuel Rhodes. Himself a dedicatedteacher, Misha serves on the faculties of the JuilliardSchool in New York City and the Curtis Institute inPhiladelphia.

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Burchard Tang began his musicalstudies on the violin at the age of 3and at 16 switched to viola, studyingwith Choong-Jin Chang, principalviola of The Philadelphia Orchestra.He continued his musical educationat the Curtis Institute of Music,where he studied with Joseph dePasquale, former principal violist ofThe Philadelphia Orchestra. Upon

graduation, he was appointed to the viola section of ThePhiladelphia Orchestra, with which he has appeared assoloist. As a chamber musician, Mr. Tang has appeared atmany of the country’s top festivals, including Marlboro,Ravinia, Music from Angel Fire, Seattle, and Caramoor. Heis a founding member of the Dolce Suono Ensemble. Hehas toured with Music from Marlboro, and the Branden-burg Ensemble. He has soloed with the Temple University,and Temple University Music Prep Orchestras. He is cur-rently on faculty at Temple Music Prep, where he teachesviola and chamber music.

Marc Johnson was born to a musi-cal family in Lincoln, Nebraska.Under the tutelage of his first teacherCarol Work, he won several nationalcompetitions and was accepted as ascholarship student at the EastmanSchool of Music where he studiedwith Ronald Leonard and John Celentano. He continued his studiesat Indiana University as a student of

Janos Starker and Josef Gingold.

For thirty-five years, Marc performed as the cellist of therenowned Vermeer Quartet. The Quartet appeared regu-larly in the world’s musical capitals on five continents,and made extensive tours yearly in Europe and NorthAmerica. Their recordings gathered critical acclaim onboth sides of the Atlantic, and include a version of thecomplete Beethoven string quartets on the Teldec label.

Marc continues to pursue an active career since the quar-tet’s retirement in 2007, appearing in recital, and as soloistwith orchestras in North America and Europe, and is a fre-quent presenter of master classes here and abroad. He andhis late wife, the pianist Katherine Johnson, were co-direc-tors of Bay Chamber Concerts, the Next Generation, a se-ries of free chamber music seminars for students from thestate of Maine. He joined the faculty of Boston Universityin September, 2007. In 2008 he was granted an HonoraryDoctorate of Humane Letters by Dominican University. He

was also awarded the Chevalier du Violoncelle by the EvaJanzer Cello Center at Indiana University. His cello is afine, old Italian instrument made c. 1730 by FrancescoStradivarius.

Both of Marc’s children are musicians. Nicole is the cellistof the Cassatt Quartet in New York, and Kirsten is the As-sociate Principal Violist of the Philadelphia Orchestra. Helives in Cushing, Maine.

At the age of nineteen, cellistSophie Shao received the pres-tigious Avery Fisher CareerGrant, and has since performedthroughout the United States,Europe, and Asia. Winner oftop prizes at the Rostropovichand Tchaikovsky competitions,the New York Times has ap-plauded her “eloquent, power-ful” interpretations of

repertoire ranging from Bach and Beethoven to Crumb.

Sophie’s recent performances include Beethoven’s TripleConcerto with Hans Graf and the Houston Symphony, TanDun’s Ghost Opera with Cho-Liang Lin in Indianapolis,the world-premiere of Richard Wilson’s Concerto for celloand mezzo-soprano with the American Symphony Orches-tra, and recital and chamber music appearances at theChamber Music Society of Lincoln Center, Chamber MusicNorthwest, and Music Mountain (with the Shanghai Quar-tet) among many other presenters across the country. Sheis also a frequent guest at many leading festivals aroundthe country.

Sophie can be heard on EMI Classics, Bridge Records (forthe Marlboro Music Festival’s 50th Anniversary recording),Albany Records and Koch Records.

A native of Houston, Texas, Sophie began playing the celloat age six, and was a student of Shirley Trepel, formerprincipal cellist of the Houston Symphony. At age thirteenshe enrolled at the Curtis Institute of Music in Philadel-phia, studying cello with David Soyer. After graduatingfrom the Curtis Institute, she continued her cello studieswith Aldo Parisot at Yale University, receiving a B.A. in Re-ligious Studies from Yale College and an M.M. from theYale School of Music, where she was enrolled as a Pauland Daisy Soros Fellow. She is on the faculty of VassarCollege and the Bard Conservatory of Music and plays ona cello made by Honore Derazey from 1860 once ownedby Pablo Casals.

Serena CrearyTodesfuge

trio for violin, viola, and piano

Tamzin Ferré EllioFixation

violin duo and piano

Phillip GolubOrange Windows

quintet for two violins, viola, cello and piano

Jean-Bapste Barrière (1707-1747)Allegro Prestissimo from

Sonata for two cellos Sophie Shao & Marc Johnson, cellos

Béla Bartók (1881-1945)Selections from 44 Duos

for two violins Sae Chonabayashi & Soovin Kim, violins

Joan Tower (b. 1938)String Force

Bella Hristova, violin

Frédéric Chopin (1810-1849)Andante Spianato and

Grand Polonaise, op. 22 Jeewon Park, piano

V irtuoso Showcase Sounding Board

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Double bassist and composerEvan Premo is an active chambermusician who performs regularlywith Ensemble ACJW at CarnegieHall in New York City as well asinternationally. Evan has per-formed concerti with numerousorchestras including the 2009world premiere of his own doubleconcerto for violin and double

bass with Andrés Cárdenes and the Pittsburgh SymphonyChamber Orchestra. Evan has also collaborated withYizhak Schotten, Katherine Collier, and the FormosaString Quartet. He has been featured as a soloist andchamber musician numerous times on National PublicRadio shows Performance Today and From the Top.

Flutist Tara Helen O’Connor isa charismatic performer soughtafter for her unusual artisticdepth, brilliant technique andcolorful tone in music of everyera. Tara is a member of the in-novative woodwind quintetWindscape, a founding memberof the 1995 Naumburg Awardwinning New Millennium

Ensemble, and the flute soloist of the world renownedBach Aria Group.

A 2001 Avery Fisher Career Grant recipient, she also received two Grammy nominations in January of 2003 forOsvaldo Golijov’s recording entitled “Yiddishbbuk.” Tarahas recorded for Deutsche Gramophon, EMI Classics, Arcadia, CRI, Koch, and Bridge Records. She was the firstwind player to be chosen to participate in the ChamberMusic Society of Lincoln Center’s Chamber Music SocietyTwo program for emerging artists.

Tara now performs regularly with the Chamber Music Society of Lincoln Center, Orpheus, Santa Fe ChamberMusic Festival, Spoleto USA, Chamber Music Northwest,Music from Angel Fire and the Brandenburg Ensemble. An enthusiastic chamber musician and soloist, Tara hascollaborated with such artists as Jaime Laredo, PeterSerkin, David Shifrin, Dawn Upshaw, Ida Kavafian, Ran-som Wilson, Paula Robison, Charles Wadsworth, theOrion String Quartet, the Saint Lawrence Quartet, theTokyo Quartet and the Kalichstein-Laredo-Robinson Trio.She has been featured on A&E’s Breakfast for the Arts andhas appeared on a “Live from Lincoln Center” broadcast.

Tara received a Doctorate from the State University of NewYork at Stony Brook and she is professor of flute at thePurchase College Conservatory of Music. An avid photog-rapher, she has photo credits in Time Out, Strad, andChamber Music America magazines.

American pianist JonathanBiss is widely regarded forhis artistry and deeply felt interpretations, winning inter-national recognition for hisorchestral, recital, and cham-ber music performances andfor his award-winning record-ings.

In January 2012 Onyx Clas-sics released the first CD in a nine-year, nine-disc record-ing cycle of Beethoven’s complete sonatas. The first CDfeatures Opus 10, No. 1 in C minor, Opus 22 in B flatmajor, Opus 26 in A flat major and Opus 81a in E flatmajor, Les Adieux. Jonathan’s previous recordings includean album of Schubert Sonatas in A Major, D. 959 and CMajor, D. 840 and two short Kurtág pieces from Játékokon the Wigmore Hall Live label, a live recording of MozartPiano Concertos 21 and 22 with the Orpheus ChamberOrchestra, and Schumann and Beethoven recital discs released by EMI Classics which were recognized with a Diapason d’Or Award and an Edison Award, respectively.

Jonathan, whom The New Yorker describes as playing with“unerring sophistication”, made his New York Philhar-monic debut in 2001, and since then has appeared withthe foremost orchestras around the world. He is a frequentperformer at leading international music festivals andgives recitals in major music capitals both at home andabroad. Last season Jonathan made his much-anticipatedCarnegie Hall recital debut.

Among Jonathan’s numerous awards are the LeonardBernstein Award, the Andrew Wolf Memorial ChamberMusic Award, an Avery Fisher Career Grant, and the 2003Borletti-Buitoni Trust Award. He was the first American toparticipate in the BBC’s New Generation Artist program.In 2010 Jonathan was appointed to the piano faculty ofThe Curtis Institute. In December 2011 Jonathan’s 19,000-word essay Beethoven’s Shadow was published by Rosetta-Books as a Kindle Single on Amazon online stores andsubsequently became a top-selling Music e-book in theU.S. and the U.K.

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Frank Glazer, 97,has performed as asoloist with majorsymphonies all overthe world, has beenartist in residence atEastman School ofMusic and BatesCollege and has per-

formed in a variety of chamber groups including CantelinaChamber Players and the New England Piano Quartet. Heopened the 1980 Olympics in Lake Placid, debuted atCarnegie Hall with Aaron Copland in the audience andstudied under Schoenberg and Schnabel. He continues topractice 4-6 hours a day, keeps a busy concert scheduleand says he’s busier now than he was as a teenager. Hecontinues to teach and perform at Bates College. He wasmarried to Ruth Gevalt Glazer, a soprano, who died in2007. He lives in Topsham, Maine.

Ellen Hwangbo, equally at homewith solo and collaborative reper-toire, is known for her expressivepower and passionate interpreta-tions. A top prizewinner of the2006 MTNA National Young ArtistsCompetition, she also receivedfirst prize in the RichardsonAward National Scholarship Com-petition in the same year. She hasperformed to great acclaim across

Asia, Europe, and North America, with recent perform-ances in Lincoln Center and Merkin Hall.

As an active chamber musician, Ellen has performed withworld-renowned musicians such as Soovin Kim, ColinCarr, Daniel Panner, Aaron Berofsky, and Ann Ellsworth.Recent new music collaborations include premieres ofcompositions by Sheila Silver, William Pfaff, and LauraSchwindiger at New York City’s Symphony Space.

Ellen was a fellowship recipient at the Sarasota Music Festival, Aspen Music Festival, and the Banff Centre,among many others, and this summer will be performingat the Yellow Barn Music Festival in Vermont. She is cur-rently pursuing a doctorate at SUNY Stony Brook, whereshe is a teaching assistant under luminary pedagogueGilbert Kalish.

Praised for her “deeply reflec-tive playing” (IndianapolisStar) and “infectious exuber-ance” (New York Times), pi-anist Jeewon Park is rapidlygarnering the attention of au-diences for her dazzling tech-nique and poetic lyricism.Since making her debut at theage of 12 performing Chopin’sFirst Concerto with the Korean

Symphony Orchestra, Ms. Park has performed on presti-gious stages such as Carnegie Hall, Alice Tully Hall,Merkin Hall, 92nd Street Y, Metropolitan Museum of Art,and Seoul Arts Center in Korea.

This season takes Jeewon to major concert halls across theU. S. and Korea. She performs as soloist with the Hwa UmChamber Orchestra in the Inaugural Festival of the IBKChamber Hall at the Seoul Arts Center, and returns to theCaramoor International Music Festival as a member ofCaramoor Virtuosi where she was a Rising Star in 2007, theBridgehampton Chamber Music Festival, and the SeattleChamber Music Festival, as well as venues such as Barge-Music, the Tilles Center for the Performing Arts, the VilarPerforming Arts Center, and the Kumho Art Hall in Seoul.

Jeewon has been heard in numerous live broadcasts onNPR and New York’s Classical Radio Station, WQXR. Ad-ditionally, her performances have been nationally broad-cast throughout Korea on KBS television. Jeewon is agraduate of The Juilliard School and Yale University, whereshe was awarded the Dean Horatio Parker Prize. She holdsthe DMA degree from SUNY Stony Brook.

Recording Engineer Alan Bise isthe owner of ThunderbirdRecords, dedicated to releasingmusical works of contemporaryAmerican Indians. Its catalog includes artists such as the SanFrancisco Symphony and Chorus,and the string quartet ETHEL.For over 10 years, he has servedas the Classical Producer forAzica Records and has produced

projects for many labels and clients across the world.Known for helping to create exciting and passionate proj-ects, Alan has produced records that have receivedGrammy Nominations and appeared on the BillboardClassical Chart and Amazon Best Sellers list. He is alsocommitted to new audience development and created and

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produced Offbeat, a successful radio show that gives lis-teners an inside look in the world of classical music in aunique manner. Alan has produced records for numerouslabels including Azica, Naxos, Albany/Troy, and EMI/Uni-versal. He serves as Broadcast Producer and Director of Audio for the Cleveland International PianoCompetition, the Kneisel Hall Chamber Music Festival inBlue Hill, Maine and the Lake Champlain Chamber MusicFestival. In 2009 he was appointed to the summer facultyof the Interlochen Arts Academy.

Alan is a graduate of the Cleveland Institute of Music(CIM) and spent his summers working at the Aspen andTanglewood Music Festivals. Alan began his professionalcareer in Dallas working at TM Century, the nation’s lead-ing provider of broadcast services. There, he rose to therank of senior mastering engineer and was responsible forrecordings reaching over 4,000 stations worldwide. Alanreturned to CIM in 1999 where he was appointed Directorof Audio Services. Dedicated to audio education, hetrained 20 students annually in recital recording, and wasa faculty member in the Audio Recording Degree Program.Alan is a member of the National Academy of RecordingArts and Sciences, and the Audio Engineering Society.

Gabriella Smith (b. 1991)is a composer from theSan Francisco Bay Areawho currently attends TheCurtis Institute of Musicwhere she studies withDavid Ludwig, JenniferHigdon, and RichardDanielpour. Her musichas been performed

throughout the United States and internationally (in Turkey,Switzerland, and France) by Dinosaur Annex, Ensemble39,Contemporaneous, members of Eighth Blackbird, the AspenContemporary Ensemble, the Azure Ensemble, Palo AltoChamber Orchestra, Classical Revolution, and the BerkeleySymphony.

In addition to this wonderful opportunity to compose anew work for the Lake Champlain Chamber Music Festi-val, Gabriella has received commissions from One BookOne Philadelphia, Dinosaur Annex, the Rock School ofBallet, Monadnock Music, and the Palo Alto Chamber Orchestra. Gabriella has participated in many summermusic festivals, including the American Conservatory atFontainebleau, France, Music11 in Blonay, Switzerland, the 2010 Lake Champlain Chamber Music Festival, AspenMusic Festival and School, Monadnock Music, and the

Yellow Barn Young Artists Program. Gabriella was named awinner in the 2009 ASCAP/Morton Gould Young ComposerCompetition and received the First Place Prize in the 2009Pacific Musical Society Composition Competition. Whenshe is not making music, she enjoys backpacking, birding,scuba diving in the beautiful kelp forests of the ChannelIslands, Scottish dancing, and studying science, math,Mandarin Chinese and Spanish.

Maho Sone Grazzini is aversatile harpsichordsoloist and continuo accompanist, specializingin music of the Italian seventeenth century. Origi-nally from Japan, she iscurrently pursuing her doctoral degree at Indiana

University’s Early Music Institute, where she studies withElisabeth Wright, Nigel North and Stanley Ritchie. Beforecoming to Indiana, Maho studied at the San FranciscoConservatory with Corey Jamason.

Maho has appeared as a soloist and chamber musician inJapan, Europe, and North America. She is a frequent guestaccompanist of the Bloomington Bach Cantata Project andthe San Francisco Bach Choir, with whom she has performedseveral of Bach’s Cantatas and Motets and the St. John Pas-sion. She also appeared with the SFCM Baroque Ensembleat the Kennedy Center in Washington, D.C. And she is themother of an adorable ten-month-old, Dario.

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Monday, August 20, 1:00 pmBehind the Microphone Alan Bise

Tuesday, August 21, 10:00 amBaroque Mozart/Classical Bach David Ludwig

Wednesday, August 22, 1:00 pmGlazer Plays Bach*Frank Glazer

*see program below

Thursday, August 23, 3:00 pmBeethoven’s Grand FugueDavid Ludwig

Friday, August 24, 11:00 amJoan Tower: Composer in ConversationJoan Tower

Listening ClubsElley-Long Music Center at Saint Michael’s College

Glazer P lays BachWednesday, August 22

Frank Glazer, piano

Johann Sebasan Bach (1685-1750)Toccata in D major, BWV 912 (Fantasia con Fuga)

Ludwig van Beethoven (1770-1827)Sonata in C minor, Op.13, “Pathétique”

Grave – Allegro di molto e con brioAdagio cantabileRondo: Allegro

Frédéric Chopin (1810-1849)Mazurka in A minor, Op.17 No.4

Ballade in G minor, Op.23

Franz Liszt (1811-1886)Consolation No. III in D flat minor

Guiseppe Verdi (1813-1901) – Franz LisztRigoletto: Paraphrase

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Tuesday, August 21, 12:15 pm

Johann Sebasan Bach (1685-1750)Sonata No. 3 in C Major for solo violin (1720)

AdagioFugaLargoAllegro assai

Eugène Ysaÿe (1858-1931)Sonata No. 4 for solo violin (1923)

AllemandaSarabandeFinale

Hye-Jin Kim, violin

Thursday, August 23, 12:15 pm

Johann Sebasan Bach (1685-1750)Suite No. 1 in G Major for solo cello (1717-1723)

PreludeAllemandeCouranteSarabandeMinuetGigue

Suite No. 6 in D Major for solo cello (1717-1723)PreludeAllemandeCouranteSarabandeGavoeGigue

Sophie Shao, cello

Following each Bach on Church Concert, Vermont Violins invites you to visit their workshopat 23 Church Street. Go behind the scenes and see how stringed instruments are made,

maintained, and repaired by Vermont Violins’ resident luthiers.

In partnership with Burlington City ArtsBach on Church Sponsor: Vermont Violins

Bach on ChurchBCA Center, Church Street, Burlington

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Festival SponsorPCC

Media SponsorVermont Public Radio

Concert and Reception SponsorsAXA FoundationDinse, Knapp & McAndrew, P.C.The Lodges at Otter Creek and Shelburne Bay

Hospitality and Travel SponsorsThe Sheraton, South BurlingtonBudget Avis Rental Group

Foundation and Grant SupportVermont Arts CouncilVermont Community Foundation

Founders CircleAnonymous (2)Frank BayleyJohn & Beverly CanningJohn CanningPia Sawhney & Somak ChattopadhyayAlida & John DinklageCharles Dinklage & Kendra SowersAnn & Stan EmeryArnold & Virginia GolodetzWilliam & Valerie GrahamJohanna KebabianSoovin & Joanne KimEdward & Laura KrawittMartin & Barbara LeWinterRobert & Margaret LichtensteinCarolyn E. LongBarbara McGrewFrederick NoonanSamuel P Oh, M.D.Elizabeth PastiJunius L. Powell, Jr.Kate & Michael SteinMartha Ming Whitfield & Jonathan Silverman

Mr. & Mrs. Stuart K. Wichert

Founding MembersMorris and Bessie Altman FoundationMeredith & David Babbott, M.D.Cindy & Mark Baum-BaickerAngela Brown & Kellum SmithJ Brooks BuxtonMichael & Adrianne CanningLuanne, Devon, & Jonah CantorBrianne & David ChaseKorean Concert SocietyDanielle Devlin & Brian BlairJoseph & Jennifer DickermanFrank & Ducky DonathDana & Michael EngelRobert & Sally FenixMegan & Seth FrenzenPaul Irish & Suzanne Furry-IrishTom & Marie GenoRichard & Barbara HeilmanJohn & Brigitte HelzerJanet Rood & Fred Herbolzheimer, Jr.Gerald & Virginia Hornung Family

FoundationTed Marcy & Kimberly Hornung-MarcyGinger IrishJanine & Paul JacobsJin & Soon Young KimEd & Mig KupicKendall & Joan LandisCarolyn & Henry LemaireBuff Lindau & Huck GutmanMichael Dadap & Yeou-Cheng MaCarol MacDonaldJeff McMahan & Heather RossJohn & Robin MilneMaureen Molloy, M.D.Barbara MyhrumGeorge TylerCharles E. PangAnn & Charles ParkerBarbara RippaMr. & Mrs. Robert RizosSylvia RobisonJerry & Bernice G. Rubenstein Foundation

David & Joan SableLisa Schamberg & Pat Robins

Michael & Mary ScollinsPeter & Cynthia SeyboltEvelyne & Douglas SkoppAnn & Frank SmallwoodRosalee Sprout & Bud AmesMorris & Bessie Altman FoundationLesley & Larry StrausMarc & Dana vanderHeydenMayneal WaylandJudy WizowatyDavid Adair & Barbara York

DonorsThomas Achenbach & Leslie RescorlaGail & Ken AlbertJ. Derek & Helen W. AllanJane AmbroseJean AndersonLisa AngstmanPatricia & Robert AnkerAnonymousJulius & Anola ArchibaldAra AsadourianJim & Anne BaileyJohn & Gussie BakerNancy & Roy BellDebra BergeronSusan BergeronDebby BerghRenee BergnerDan BernsSusan BettmannRichard & Patricia BrandaSandra BruggemannPat BurgmeierDavid & Carol CarpenterJack Daggitt & Anne StellwagenRita & Casimir DanielskiGerald S. DavisAllan & Victoria DayNancy & Nixon de TarnowskyJames & Emma DelucasJohn & Ann DinsePamela DrexelJeanne & David DustinJohn Ettling & Lisa LewisSylvia EwertsDaniel & Deborah Fitts

Donor Honor RollFestival Support

The generosity of the people, businesses, and foundations listed here has madethis year’s Festival possible. They are the reason that our organization

is such a vibrant community resource, and we are hugely grateful for their support. We hope that you will consider joining them with a tax-deductible contributionto help us to cover the essential costs of the Festival’s 2013 season. Thank you!

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Donor Honor RollJoyce & Ted FlanaganDaniel & Joan FlemingFusun FloydPatricia FontaineDrs. Roger Foster & Baiba J. GrubeConnell & Nancy GallagherKeith & Beth GaylordRobert & Leslie GensburgJudith Gervais & Robert LubyCathleen Gleeson & David MaughanJoe & Meghann Ellis-GoetzAlex GrahamLawrence & Elizabeth GriffinChip & Shirin HartWinston & Mary HartProfessor Clarke HermanceAndrew & Sofia HirschClaudia & Peter HornbyOda HubbardDina & Craig HurwitzWilmot IrishJoy & Julian JaffeJudith & Edward Joyce; CA, Inc.Howard & Tina KalfusMarc & Judith KesslerBrenda KissamHarvey & Debra KleinJeffrey Klein & Judy TamLarry & Rhonda KostArthur S. Kunin, M.D.Madeleine Kunin, John HennesseyShelly LaFleur-Morris & Kevin MorrisMarc LawHe K. & Byung H. LeeSandra & Dennis LindbergAnn & Gilbert LivingstonEvan & Mary MacEwanKristina MacKulin & Andrew DombekSandra MacLeodBarbara J. MaddenArnie MalinaBarbara & Orlando MarteloJoan C. MartinAudrey & Maurice McCoyGlenn A. MitchellPaul & Jennifer NelsonStephen Nissenbaum & Dona BrownKatherine C. Norris, P.E.Emma OttolenghiAlice OutwaterFran & Bob Pepperman TaylorDarrilyn PetersJean PilcherKen & Blanche Podhajski KreilingKate Pond

Nancy & Lloyd PortnowJoanna Rankin & Mary FillmoreLouise B. RansomGay ReganPaul & Rosemary ReissMr. & Mrs. John D. ReynoldsChristine & Robert RizosCatharine M. RogersRandy & Ginny RowlandAlan & Cynthia RubinMary RutherfordAndrew & Linda SabellaRobert & Gail SchermerDavid & Ann StrublerSusan StuckJudith SweeneyBonnie & Andrew TangalosStephanie TaylorPatricia ThimmRobert Thompson & Phoebe EversonDr. & Mrs. Frank UlteeFrank & Agnes VeressAlan & Jacqueline WalkerElizabeth K. WallmanCarol P. WaltersNorma & George WebbSari WeismanJody and Dennis WoosElizabeth Woods

In Honor of:Raymond AndersonDr. Kim Bergner and Jai & Tej MalhotnaDaniel FivelSoovin & Joanne KimThe Lake Placid SinfoniettaGeorge PastiLiz PastiJames TobinMayneal WaylandJudy Wizowaty

This list reflects donations received between August 1, 2011 and August 1,2012. Many thanks to those whose gifts arrived after this program went to print.

In-Kind DonationsMany individuals and businesses havegiven significant donations of time, space,sustenance, hospitality, and services. We thank them for their wonderful contributions to the Festival:Eloise Bell and Creative Space, VergennesDeb BergeronBurlington City Arts

Burlington Tennis ClubJan CannonJohn CanningDanielle Devlin and BakeAriaDan’s ChocolatesFletcher Free LibraryThe Flynn Center for the

Performing ArtsHorsfords Gardens and NurserySoovin KimLet’s Pretend CateringJen LoiselleThe Newman Center, PlattsburghFrederick NoonanPulcinella’s RistorantePCCMichael GW SteinSteinway Hall, New YorkSUNY Plattsburgh Music DepartmentVermont Public RadioVermont Youth Orchestra AssociationJody Woos

Special ThanksHeather BaumanVivian ChiuClassical New England–

Cheryl WilloughbyCasey Ann FitzsimmonsFutura Design–Phyllis Bartling, Steve Alexander

Dorit GaedtkeValerie and William GrahamEllen Gurwitz and WBKM.org The Hippocractic Five Minus Two–Tony Hall, Ben Littenberg, Martin LeWinter

Alan JordanMusic-COMP–Sandi MacLeodMcSoley, McCoy & Co.Newman Center, Plattsburgh–Fr. Mundy, Mary Skillan

North Country Cultural Center for theArts

Barbara RippaVermont Youth Orchestra Association–

Rosina Cannizzaro, Jeffrey Domoto,Mia Fritze, Art DeQuasie, Asiat Ali

Young Writers ProjectGeoffery Gevalt, Doug Demaio,Kate Stein

All of our wonderful ushers and volunteers

All of the artists exhibiting in theVermont Artists Gallery

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Lake Champlain Chamber Music FestivalArtists 2008 -2012

Misha Amory, VIOLA

Edward Arron, CELLO

Jonathan Biss, PIANO

Natasha Brofsky, CELLO

Colin Carr, CELLO

Sae Chonabayashi, VIOLIN

John Dalley, VIOLIN

Ann Ellsworth, HORN

Romie de Guise Langlois, CLARINET

Jennifer Frautschi, VIOLIN

Frank Glazer, PIANO

Bella Hristova, VIOLIN

Helen Huang, PIANO

Hsin-Yun Huang, VIOLA

Ellen Hwangbo, PIANO

Marc Johnson, CELLO

Ieva Jokubaviciute, PIANO

Katherine Jordan, HORN

Hye-Jin Kim, VIOLIN

Soovin Kim, VIOLIN

Eduardo Leandro, PERCUSSION

Clancy Newman, CELLO

Tara Helen O’Connor, FLUTE

Milena Pajaro-van de Stadt, VIOLA

Jeewon Park, PIANO

Matan Porat, PIANO

Evan Premo, DOUBLE BASS

Eric Ruske, HORN

Sophie Shao, CELLO

David Shifrin, CLARINET

Joshua Smith, FLUTE

Ignat Solzhenitsyn, PIANO

Maho Sone Grazzini, HARPSICHORD

Arnold Steinhardt, VIOLIN

Burchard Tang, VIOLA

William Tilley, DOUBLE BASS

Elena Urioste, VIOLIN

Jason Vieux, GUITAR

Alisa Weilerstein, CELLO

Peter Wiley, CELLO

Hyunah Yu, SOPRANO

The East Coast Chamber OrchestraMeg Freivogel, VIOLIN

Nelson Lee, VIOLIN

Ayano Ninomayo, VIOLIN

Susie Park, VIOLIN

Annaliesa Place, VIOLIN

Harumi Rhodes, VIOLIN

Michi Wiancko, VIOLIN

Maurycy Banaszek, VIOLA

Jonathan Chu, VIOLA

Beth Guterman, VIOLA

Na-Young Baek, CELLO

Denise Djokic, CELLO

Tom Kraines, CELLO

Earl Lee, CELLO

Dan McDonough, CELLO

Raman Ramakrishnan, CELLO

Thomas Van Dyke, DOUBLE BASS

Nick Masterson, OBOE

James Austin Smith, OBOE

The Dover String Quartet(formerly Old City String Quartet)Bryan Lee, VIOLIN

Joel Link, VIOLIN

Milena Pajaro-van de Stadt, VIOLA

Camden Shaw, CELLO

Recording EngineerAlan Bise

Composer in ResidenceDavid Ludwig

Distinguished Visiting ComposersMarc NeikrugJoan Tower

Young Composers SeminarDavid BloomSerena CrearyTamzin Ferré ElliottPhillip GolubMolly JoyceKaterina KramarchukAndrés Martinez de ValascoDylan MattinglyJoshua MorrisDaniel ShapiroZachary SheetsGabriella SmithAlyssa WeinbergTim Woos

2011 Young Composers Seminar (le to right): David Ludwig, Katerina Kramarchuk,Zachary Sheets, Andrés Marnez de Valasco.

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Join the Festival Founders!We honor and thank all of our Festival Founders for their generosity and leadership. Their support is at the heart of every Festival concert, rehearsal, and discussion.

There is still time to become a Festival Founder! Pledge or donate by the final day of the 2012 Festival to be included in our permanent list of Founders.

Founders CircleContribute $5,000 or pledge $1,000 per year for 5 years.

Founding MembersContribute $1,250 or pledge $250 per year for 5 years.

Join the Founders Circle today and receive an invitation for two to the post-Festival dinner with the musicians on August 26 — always festive and delicious! Become a Founding Member today and receive a CD of the East Coast Chamber Orchestra’s performance at the 2010 Festival.

Please talk to any Festival board or staff member about the benefits of becoming a Founder, or for information about planned giving opportunities.

Or contact Martha at 802 846-2175 or [email protected]

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www.pcc.com

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

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

Save the dates for the2013 Season:

Friday, February 8Winter Encore Concert, Colchester, VT

Saturday, February 9Winter Encore Concert, Plattsburgh, NY

August 17–25Summer Festival

Documents

LCCMF 2012 Festival