Soovin Kim, Artistic Director

Virtuosity: In Performance & Composition August 17–25, 2013

to the doctor’s visit.Introducing Adagio

A concierge medical practiceLearn more at www.aliciacunningham.com

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Welcome to the 5th Lake Champlain Chamber Music Festival!This year’s festival explores the concept of virtuosity in music as it pertains to both bril-liant performers and to master composers. What mystical qualities pervaded the per-formances of legendary virtuoso instrumen-talists?   What special abilities make certain composers virtuosi of their craft?

Part of the festival week will be a celebration of the phenomenon of instrumental virtuosos such as 19th century icons Niccolò Paganini and Franz Liszt who melded their limitless musical and instrumental imagination to shape subsequent music history. In our Violin Tasting session we will compare the virtually unquantifiable sound qualities of a collection of modern and antique violins. Through a range of classics, transcriptions, and contemporary works, modern-day virtuoso Jason Vieaux will take us inside the intricacies of guitar playing. 

This year’s festival will also delve into the compositional tools and abilities that some of our greatest composers possess. We will examine the melody of Schu-bert, the inventiveness of Haydn and Bartók, the idiomatic fluency of Hindemith, and the marriage of all of these abilities in Mozart. Composer-in-Residence David Ludwig’s world-premiere work, Virtuosity: Five Microconcertos for the East Coast Chamber Orchestra, sums up the spirit of the week and promises to be a highlight of our 2013 festival.

In a short five years our Lake Champlain Chamber Music Festival has become firmly rooted in the cultural landscape of Vermont and is gaining a national repu-tation as one of the most interesting and engaging chamber music festivals in the U.S. We will continue to bring to you the highest quality programming and per-formers in this season and in future seasons. Thank you for joining and supporting our festival. I wish you much enjoyment during the coming week!

Saturday, August 1710 –11:45 A.M." Master Classes • Violin, Viola, Cello and Double Bass

12:30 P.M." Special Festival Opening Event" Paganini’s 24 Caprices performed by Soovin Kim

2 – 3:30 P.M." Violin Tasting

Sunday, August 182:15 P.M." Pre-concert Talk3 P.M." Festival Opening Concert5 P.M." Meet the Musicians • Discussion and Reception

Monday, August 1912 noon" Noon Onstage • Gilles Vonsattel, piano

2 P.M." Listening Club • Classical Virtuosi: Mozart and Haydn

Tuesday, August 2012:15 P.M." Bach on Church • Jason Vieaux, guitar" BCA Center, 135 Church Street, Burlington

7:30 P.M." Festival Concert • The Virtuoso Guitar" Flynn Space, 153 Main Street, Burlington

Wednesday, August 2110:30 A.M." Listening Club • Behind the Microphone

12 noon" Noon Onstage • Shai Wosner, piano

Festival at a Glance

Thursday, August 2210:30 – 11:30 A.M." Family Musical Workshop • Musical Stories" Fletcher Free Library, College Street, Burlington

12:15 P.M." Bach on Church • Marcy Rosen, cello" BCA Center, 135 Church Street, Burlington

3 P.M." Listening Club • 20th Century Virtuosi: Bartók and Hindemith

Friday, August 2311:30 A.M." Listening Club • Composer in Conversation: Steven Stucky

6:45 P.M." Pre-concert Talk7:30 P.M." Festival Concert9:30 P.M." Meet the Musicians • Discussion and Reception

Saturday, August 2412 noon" Virtuoso Showcase1:30 –3 P.M." Master Classes • Clarinet, Violin, Chamber Music, and Piano

3:30 P.M." Sounding Board" A reading of new work by the Festival’s Young Composers

Sunday, August 252:15 P.M." Pre-concert Talk3 P.M.! Festival Closing Concert5 P.M." Meet the Musicians • Discussion

Unless otherwise noted, all events take place at the Elley-Long Music Center at Saint Michael's College.

Dedication

Of the many aspects of the Lake Champlain Chamber Music Festi-val that make up its special spirit, perhaps the greatest is the loving ownership with which the community embraces the festival. In-deed, the festival did not begin with my going to supporters to pitch an idea; it began with supporters pitching the idea to me.

It was a sad year of loss for the original family of supporters that was instrumental in establishing LCCMF. Since last summer’s fes-tival we lost Arnold Golodetz, Elizabeth Pasti, and Ann Emery. All three embodied the LCCMF spirit: engagement, passion, apprecia-tion, and generosity. Arnold, Elizabeth, and Ann were to be seen at every concert, master class, and Listening Club during the festival weeks. They were often to be found in or near the front row, ab-sorbing the experiences so completely that it inspired me to try to feed their souls in a deeper way each subsequent festival. Each in their own way communicated to me that LCCMF was a highlight of their years during the sunset of their lives. They believed fully in the mission of the festival and contributed generously so that others in the community might be touched in a similar way.

Arnold, Elizabeth, and Ann gave me the best reasons for creating and developing our music festival. They made me believe in its im-portance for them and for the rest of the community. They will for-ever be linked with our festival spirit. I would like to dedicate this entire week to their memory.

Special Festival Opening EventNiccolò Paganini (1782 –1840)24 Caprices for Solo Violin, Op. 1 (1802 –1817)

Soovin Kim, Violin

There will be a brief intermission after the 12th Caprice.

Violin TastingHosted by Bruno Price of Rare Violins of New YorkJessica Lee, violinNelson Lee, violin

A demonstration and discussion of the unique sound qualities of an array of modern and antique violins.

Elley-Long Music Center at Saint Michael’s CollegeSaturday, August 17 • 12:30 P.M.

First Saturday

Wolfgang Amadeus Mozart (1756 –1791)Divertimento in B-flat, K.137 (1772)

AndanteAllegro di moltoAllegro assai

David Ludwig (b. 1972)Virtuosity: Five Microconcertos for String Orchestra (2013 -- World Premiere)

Erik Satie (1866 –1925)Selections from Gymnopédies and Gnossiennes (1888 and 1890)

Judd Greenstein (b. 1979)Four on the Floor (2006)

Intermission

Opening ConcertElley-Long Music Center at Saint Michael’s College

Sunday, August 18 • 3:00 P.M.

East Coast Chamber Orchestra

Carlo Gesualdo, Prince of Venosa (ca. 1561–1613)Selected Madrigals (1594 –1611)

Maurice Ravel (1875 –1937)String Quartet in F (1903)Arranged by East Coast Chamber Orchestra

Allegro moderato – Très douxAssez vif – Très rythméTrès lentVif et agité

There will be a short Meet the Musicians session on stage immediately following the concert.Please join the artists for a savory reception and art exhibit afterwards.

r5 www.lccmf.org

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

Allegro

Affeuoso

Allegro

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 vivace

Andante

Scherzo: Presto

Andanno

Finale: 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

Program Notes

W. A. Mozart (1756 –1791)Divertimento in B-flat, K.137 (1772)

After spending almost one and a half years in Italy with his father, Mozart returned to Salzburg in 1771. Having absorbed Italian style and gesture into his musical language, the young genius wrote three divertimenti (K. 136 –138) in the beginning of 1772. The diverti-mento is defined by its character rather than its form, which is typically light-hearted and en-tertaining. These were normally composed for occasions such as birthdays, feast days, New Year’s festivities or other traditional celebra-tions. The Divertimento in B-flat (K. 137) is in three movements. While most of Mozart’s di-vertimenti included minuets, this one does not. It begins in a leisurely fashion, but increasing tension soon culminates in the illustrious sec-ond movement, rich in thematic material, and ends with a dance-like finale.

© 2013 Riho Maimets

David Ludwig (b. 1972)Virtuosity: Five Microconcertos for String Orchestra (2013)

My confession: I am musically addicted to the idea of making something new in my mu-sic out of something old and pre-existing. I’m not alone, either – the practice of writing a new piece using the materials of an older work is almost as old as the act of composing itself. I think of it like a sculptor might, if that artist could take the clay a great master used in a piece and reshape it into his or her own newly personal work. Fortunately music isn’t made out of immutable solids, but exists on a page in abstract as a set of instructions to the performer to recreate sounds and ideas.

The title of my string orchestra piece, Virtuos-ity, was inspired by the programmatic theme of the 2013 Lake Champlain Chamber Music Festival. This piece started with that title, as I

was also thinking of the concept of virtuosity already as it related to the East Coast Cham-ber Orchestra, an extraordinary ensemble comprised of all-virtuoso players. I decided that the best way to explore the idea was to make a piece made of “micro-concertos,” so that I could express virtuosity in different ways with each string instrument.

The piece is built on the format of the Ba-roque Concertino, with parts for a core group of soloists surrounded by a larger ensemble. The first micro-concerto is for two violins (like the Baroque trio), and follows with solo viola, cello, and contrabass, with some movements eliding into each other without pause. The final movement is a concerto for the whole orchestra, including a double fugue for the ensemble and then soloists in the mid-dle of it (the fugue as a form is about a kind of compositional virtuosity that has chal-lenged composers for hundreds of years).

And here is the spoiler alert: if you’d just like to experience the piece, I recommend you stop reading here or at least skip over the next paragraph…

OK, then (who skipped?). By many accounts, the first truly canonic virtuosic work is the famous Chaconne from Bach’s D minor Par-tita for solo violin, and this is a piece that lives with all musicians, not just violinists. For me, it was the final ingredient to writing Virtuosity: a work familiar to everyone that I could use as the source for my piece—the old master’s clay from which I could sculpt my own work. The Chaconne is not just virtuosic in the fingers; it demands that the performer change expression, color, and approach con-stantly over the course of the long arc of the musical narrative. Everything in Virtuosity draws from this.

© 2013 David Ludwig

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Program Notes

Erik Satie (1866 –1925)Selections from Gymnopédies and Gnossiennes (1888 and 1890)

Eccentric, illustrious, colorful–these are the words most often used to describe the life of the com-poser and writer Erik Satie. Always seen with a gray suit, a bowler hat and umbrella, he traveled only by foot, and at one point, even founded his own church. In his music, he strived for perfection in simplicity, an absolute contrast to the rich and heavy Wagnerian music scene in Paris at the time. Perhaps most obvious in his quest for simplicity

are two of Satie’s earliest composi-tions: a set of three Gymnopédies (1888) and a set of seven Gnossiennes (1889-96) for piano.The works take their names from Greek roots. Gymnopédie refers to an Apollonic celebration performed by naked youths in ancient Greece. Gnossiennes refers to the inspiration Satie found in the excavations of the great Cretan palace, Knossos, that was being carried out at the time. These works are known for their ex-tremely simple structures, modal harmonies, and repetition, and as De-bussy proclaimed, are “a precursor” to the advances of 20th-century mu-sic, which moved from total chro-maticism to minimalism.© 2013 Rene Orth

Judd Greenstein (b. 1979)Four on the Floor (2006)

Four on the Floor was originally written for string quartet, then tran-scribed for string orchestra in 2009. It is an energetic, upbeat work that pushes relentlessly forward with a non-stop motor. Usually, there are at least two patterns trying to establish themselves, with pairs of instruments

working with and against each other, until they settle their differences and combine into a shared groove. Hidden underneath this frenetic surface lies a secret desire for reflection and even repose, peeking out from time to time, un-til it finally learns how to speak the language of perpetual motion, taking the piece to an unex-pected climax that I won't ruin for you in words. Many thanks to ECCO for taking on this work and giving it a wonderful new life.© 2013 Judd Greenstein

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Program Notes

Carlo Gesualdo (ca. 1561–1613)Selected Madrigals (1594 –1611)

Carlo Gesualdo is one of the more colorful — really notorious – composers in the history of music. Born into Italian nobility, he married his cousin in 1586 and subsequently arranged to have her assassinated four years later for infidel-ity (accounts differ about how directly involved he was in the killing). This being feudal times, Gesualdo was never punished (and given that he caught his wife in the act, there was likely no punishment even considered), and he retired to

his country estate for the remainder of his days to immerse himself in his true passion of music.

The murder is one of two pieces of informa-tion known by every conservatory student on first learning of Gesualdo and his work. The other is that he was wildly avant-garde for his time, writing perhaps the most dissonant and chromatic vocal music to that point in music history (and, it could be argued, for some time after). While many contemporaries used dissonant harmonies to highlight particular sections in a text setting, Gesualdo layered dissonance unabashedly throughout his pieces

– like a Renaissance cubist where any one part in the music makes logical sense, but heard all together creates an abstract clash of sounds. While the composer’s music is un-deniably complex, the great ab-straction could be attributed to the 16th century trend of “Manner-ism,” where Renaissance visual artists who had absolutely mastered techniques of realism and perspec-tive turned toward flattened sur-faces, bizarre juxtapositions, and perplexing imagery. It is easy to compare that time to Modernism in the 20th century, where composers responded with similar levels of abstraction and discord to Roman-tic mastery of tonal harmony.

Gesualdo wrote in several genres, but he is best known for his work on the madrigal, which was a very popular form at the time across Europe. The word itself likely comes from the word “mother,” to imply the “mother tongue,” as madrigals are written in the vernacular. Beyond that, there is little to say about them formally: the term is applied to a wide variety of vocal works with a wide variety of affects and forms.

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Many madrigals are light hearted in character, but then some – very much including those by Gesualdo – are intense and dramatic.

Gesualdo had his own Renaissance in the 20th century, with Modern composers in full appreciation of his striking dissonances and wandering harmonies. Stravinsky, in particu-lar, was strongly influenced by him late in life; to the point of making arrangements of his works (perhaps the highest form of flat-tery from one composer to another). Ar-rangements of vocal works such as these lose the meaning of the text when set solely for instruments, but benefit from allowing the listener to focus on the notes alone. In Gesu-aldo’s case, there is much to hear.

© 2013 David Ludwig

Maurice Ravel (1875 –1937)String Quartet in F (1903)Arranged by ECCO

The history of classical music is fraught with sto-ries of feuding composers. Arguments about form, dedicatory snubs, and nasty remarks ut-tered by one composer about another are just as common as the stories of collaboration. Such is the nature of high art: when the best of one artist is on display, it can easily trigger the worst in an-other. One of the most public skirmishes of this type occurred in 1905, and has become known in some circles as “The Ravel Affair.” And it began with the String Quartet in F, completed in 1903.

This string quartet was to be Ravel’s final sub-mission to the Paris Conservatory and the Prix de Rome. Ravel dedicated it to his teacher, Gab-riel Fauré. Ravel was never a model student at the conservatory, and it was this lack of political standing that may have contributed to the piece’s passing over by the juries for both insti-tutions. The piece, in fact, did not even advance past the preliminary rounds. Fauré called the last movement “stunted, badly balanced, in fact a failure.” The press and public were dismayed

by these results, and all parties involved became embroiled in a debate: Ravel and his avant-garde compatriots, pitted against the conserva-tory’s more conservative faculty. Ravel left the conservatory, and with his newfound freedom and the support of the sympathetic public, em-barked on one of his most productive periods as a composer. His quartet is now a staple of the string quartet repertoire.

The piece begins quietly with a languid opening movement, beginning with one of Ravel’s sim-plest melodies. The piece’s signature movement may well be the second, with its trademark piz-zicato and hemiola rhythms - at the beginning of the movement, the cello and first violin subdi-vide each bar into three beats, while the second violin and viola subdivide the same bars into two beats. The instruments trade off these sub-divisions throughout the movement, giving it a forceful drive. After a calming respite in the third movement, the last movement hurtles the piece to an agitated conclusion.

The East Coast Chamber Orchestra presents its expansion of Ravel’s quartet this afternoon. The practice of expanding string quartets for full string orchestra is not a new one. Dmitri Mitropoulos famously transcribed some of Beethoven’s late quartets for string orchestra, captivating the young Leonard Bernstein, who would perform and record the transcriptions with the Vienna Philharmonic decades later. Like the Mitropoulos Beethoven transcrip-tions, ECCO’s version of the Ravel Quartet uses double bass at certain times to add depth to the sound and a greater foundation for the work’s harmonic structure. In the words of ECCO’s programming committee, the group’s arrangement of the Ravel Quartet is intended to “offer a fresh, virtuosic interpretation, breathing new life into a piece that's truly be-loved by the classical music world.”

© 2013 Joe Goetz

Program Notes

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2013-14 Season Highlights:

VYO Senior Soloists

Jeffrey� Domoto,� Music� Director�

Beethovenʼ’s Symphony No. 9

May 4, 2014

Guest Soloist Soovin Kim

January 26, 2014

Dvorakʼ’s New World Symphony

September 29, 2013

Ludwig van Beethoven (1770 –1827)Sonata No. 14 in C-sharp, Op. 27, No. 2, “Moonlight”

Adagio sostenutoAllegrettoPresto agitato

Franz Liszt (1811–1886)Les Jeux d'Eau à la Villa d'Este (1877)Funérailles, October 1849 (1849)

Frederic Rzewski (b. 1938) Winnsboro Cotton Mill Blues (1979)

Concert Grand Piano on loan from Steinway & Sons, New York City.

Elley-Long Music Center at Saint Michael’s CollegeMonday, August 19 • 12 noon

Noon on StageGilles Vonsattel, piano

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Mauro Giuliani (1781–1829)Grande Overture, Op. 61 (1820)

Johann Sebastian Bach (1685–1750)Lute Suite No. 1, BWV 996 (1708)Arranged by Jason Vieaux

Preludio – PrestoAllemandeCouranteSarabandeBourréeGigue

Isaac Albéniz (1860 –1909)Asturias, Sevilla (1886)Arranged by Jason Vieaux

Antônio Carlos Jobim (1927-1994)A Felicidade (1959)Arranged by Roland Dyens

The BCA Center, Church Street, Burlington, VermontTuesday, August 20 • 12:15 P.M.

Bach on ChurchJason Vieaux, guitar

Paulo Bellinati (b. 1950)Jongo (1978)

Ástor Piazzolla (1921–1992)Arranged by Julian LabroOblivion (1982)

Susie Park, violinNayoung Baek, cello

Pierre Jalbert (b. 1966)Sonatina (1999)

Susie Park, violin

Niccolò Paganini (1782–1840)Terzetto Concertante (1833)

Maurycy Banaszek, violaEfe Baltacigil, cello

Intermission

The Virtuoso GuitarAn evening with Jason Vieaux

FlynnSpace, Flynn Center for the Performing ArtsTuesday, August 20 • 7:30 P.M.

José Luis Merlin (b. 1952)Suite del Recuerdo (1990)

Ástor Piazzolla (1921–1992)L’Histoire du Tango (1986)

Bordello 1900Café 1930Nightclub 1960Concert d'aujourd'hui

Michi Wiancko, violin

Tonight’s concert is presented in generous partnership with

the Flynn Center for the Performing Arts.

r13 www.lccmf.org

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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Franz Schubert (1797–1828)

Drei Klavierstücke, D. 946 (1828)

Sonata in B-flat, D. 960 (1828)Molto moderatoAndante sostenutoScherzo: Allegro vivace con delicatezza – TrioAllegro ma non troppo – Presto

Concert Grand Piano on loan from Steinway & Sons, New York City.

Elley-Long Music Center at Saint Michael’s CollegeWednesday, August 21 • 12 noon

Noon on StageShai Wosner, piano

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Artist Faculty series of six concerts by internationally acclaimed chamber musicians

Four-week program of study for 130 serious young string players from throughout the United States and across the globe

GREEN MOUNTAINCHAMBER MUSIC FESTIVALKevin Lawrence, Artistic Director

For more information www.gmcmf.org 802-503-1220

Our 10th season—July 2014

Hear the Festival's first recording with flutist Carol Wincenc joining GMFMC string players for music of Joan Tower, Amy Beach and Arthur FooteBridge Records, no. 9373

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Georg Philipp Telemann (1681–1767)Fantasia for solo celloTranscribed by Valter Despalj

PrestoLargoAllegro

George Crumb (b.1929)Sonata for solo cello (1955)

FantasiaTema pastorale con variazioniToccata

Domenico Gabrielli (1651–1690)Three Ricercar

John Corigliano (b. 1938)Fancy On a Bach Air (1996)

Johann Sebastian Bach (1685–1750)Suite No. 1 in G, BWV 1007 (1717–1723)

PreludeAllemandeCouranteSarabandeMenuet I and IIGigue

Presented in cooperation with Burlington City Arts and the Burlington Violin Shop.

The BCA Center, Church Street, Burlington, VermontThursday, August 22 • 12:15 P.M.

Bach on ChurchMarcy Rosen, Cello

Franz Liszt (1811–1866)Arranged by Camille Saint-Saëns (1835 –1921)Orpheus, S. 98 (1854)

Gilles Vonsattel, pianoHye-Jin Kim, violinMarcy Rosen, cello

Franz Joseph Haydn (1732 –1809)Piano Trio No. 32 in A, Hob. XV:18 (1793)

Allegro moderatoAndanteAllegro

Gilles Vonsattel, pianoPhilip Setzer, violinMarcy Rosen, cello

Steven Stucky (b. 1949)Rain Shadow (2012)

Rain ShadowStone GatheringIcicle Star Yellow and Red

Shai Wosner, pianoHye-Jin Kim, violinJulianne Lee, violaChristopher Costanza, cello

Intermission

Friday ConcertElley-Long Music Center at Saint Michael’s College

Friday, August 23 • 7:30 P.M.

Wolfgang Amadeus Mozart (1756 –1791)Clarinet Quintet in A, K. 581 (1789)

AllegroLarghettoMenuettoAllegretto con variazioni

Ricardo Morales, clarinetSoovin Kim, violinHye-Jin Kim, violinMisha Amory, violaMarcy Rosen, cello

There will be a short Meet the Musicians session on stage immediately following the concert.Please join the artists for a dessert reception and art exhibit afterwards.

Concert Grand Piano on loan from Steinway & Sons, New York City.

Johann Sebasan Bach (1685-1750)

Gamba Sonata in D MajorAdagio

Allegro

Andante

Allegro

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, violin

Misha 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)Allegro

Andante

Allegro

Jonathan Biss, piano • Soovin Kim, violin • Sae Chonabayashi, violin

Misha 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

Elley-Long Music Center at Saint Michael’s College

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

Concert Sponsors Recepon Sponsor

r17 www.lccmf.org

CharlesDinklage,

AXA

Program Notes

Franz Liszt (1811–1866)Arranged by Camille Saint-SaënsOrpheus, S. 98 (1854)Franz Liszt’s Orpheus was first was premiered in its original orchestral form on February 16, 1854, as an introduction to Gluck’s opera Orfeo ed Euridice, which Liszt produced as part of his du-ties as music director of the Weimar Court. Or-pheus was then published in 1856 within a col-lection of six of new symphonic poems. Around 1853 Liszt introduced the term Symphonische Dichtung (Symphonic Poem) to describe a grow-ing body of one-movement orchestral composi-tions, programmatically conceived.

Camille Saint-Saëns’ arrangement of this particu-lar symphonic poem, for violin, cello and piano, is one of the many results of their close friend-ship. Saint-Saëns, born in 1835 and 24 years younger than Liszt, quickly became enamored by the master’s compositions. Liszt generously showed his appreciation and mutual respect for the younger composer by arranging pieces of Saint-Saëns for performances in Weimar. They soon became champions of each other’s music, programming each other on various concerts in Paris and Weimar, and frequently made transcrip-tions of each other’s works especially for these occasions. In a letter sent to Saint-Saëns, Liszt expresses his appreciation of this arrangement of Orpheus. “Your transcription of my Orpheus for piano, violin and violoncello charms me, and I beg that you will… publish it at once.”

Saint-Saëns went even further in his dedication to Liszt, and discussed his merits in his many pub-lished writings. In his book, Harmonie et Melodie, published in 1885, he discusses at length Liszt’s contribution to symphonic form. “It is not long since orchestral music had only two forms at its disposal: the symphony and the overture. Haydn, Mozart, and Beethoven didn’t write anything else; who would dare to depart from their example? … Liszt dared. This brilliant and influential creation will be his title to immortality and, when time has

removed the vivid trace of the greatest pianist who ever lived, it will inscribe on its roll of honor the name of the man who set instrumental music free.”

© 2013 Alyssa Weinberg

Franz Joseph Haydn (1732 –1809)Piano Trio No. 32 in A (1793)In the years between 1766 and 1797, Franz Jo-seph Haydn wrote over forty trios for piano, violin, and cello. The first seventeen of these trios came in a short burst that ended in 1774, and these trios are rarely performed in our time. The second group of trios was composed after a decade-long hiatus from the genre, beginning in 1784, and these works represent some of Haydn’s most mature and ingenious composi-tional output. All of Haydn’s piano trios are char-acterized by a dominant keyboard part, with the violin and cello often serving as a doubling or echoing voice. This is due to the relative weak-ness of pianos during Haydn’s time; the instru-ment greatly benefitted from support from the other instruments. It wasn’t until piano technol-ogy improved during the first part of the 19th century that the violin and cello were “liberated” from their supporting roles in the piano trio, as evidenced by the mature trios of Beethoven and the monumental trios of Schubert. Nevertheless, musicologist Charles Rosen, in The Classical Style, asserts that the late piano trios of Haydn are “along with the Mozart concertos the most bril-liant piano works before Beethoven.”

The Piano Trio No. 32 in A was written during a time of great transition in Haydn’s life. For over 25 years, he had been Kapellmeister at the es-tate of Prince Nikolaus Esterhazy in rural Hun-gary. Haydn’s workload was tremendous; his daily access to Esterhazy’s court orchestra was part of the reason he churned out over one hun-dred symphonies over the course of his life, in addition to dozens of string quartets and his prodigious piano trios. In 1790, the prince died, succeeded by his son Anton. Not a great lover of

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Program Notes

music, Anton wished to cut costs, greatly re-ducing the role of Haydn and his band. Many musicians were dismissed entirely, but due to Haydn’s reputation he was retained on a limited basis and with a limited salary. Anton gave Haydn permission to seek commissions and concerts elsewhere, and in 1791 Haydn em-barked on the first of two year-long visits to London. The piano trio we hear tonight was composed in 1793 upon his return from the first of these London trips, and is one of three trios dedicated to Anton’s wife, the Princess Maria Anna. After traveling to London a second time, Haydn settled in Vienna, but still returned to the Esterhazy estate every summer for a number of years until his health began to decline. This trio, along with Haydn’s summertime activities, shows his devotion to the wealthy family that, while perhaps shackling his professional life at the outset, provided him with a musical labora-tory that enabled him to develop the revolution-ary musical ideas that cement him as one of the great compositional virtuosos in music history.

The piece begins with a grand outburst, gradu-ally works its way through a series of modula-tions, and after a brief quiet passage it ends with a flourish. The second movement begins in sorrowful a-minor, briefly breaking into the sunshine in A-major before settling back into minor. A quiet dominant cadence launches us without pause into the third movement, a sprightly dance in triple meter. Though not as well-known as the famous Gypsy Rondo, the movement’s popularity spurred Haydn to cre-ate a solo piano arrangement.

© 2013 Joe Goetz

Steven Stucky (b. 1949)Rain Shadow (2012)When violinist Ida Kavafian invited me to be the 2012 composer-in-residence at her New Mexico chamber music festival, Music from Angel Fire, she suggested that I compose a

piano quartet for the occasion. I already had one Piano Quartet (2005) in my catalog, and I wasn’t sure there were enough ideas left over for another piece in the same medium.

So I turned elsewhere for inspiration. For many years, painters, sculptors, and writers have been the most powerful forces in my life: they remind me that if human beings are capable of such depths of insight and heights of imagination, there must be some good in our species after all. One of my very favorite artists is Andy Gold-sworthy, a British sculptor, photographer, and site-specific environmental artist about my own age who now lives and works in Scotland. The intensity of his imagination, the subtlety of the relationships he uncovers, and his profoundly original mind are a constant source of wonder, and a constant spur to try harder for imagina-tion, subtlety, and originality in my own work.

Many of Goldsworthy’s works are ephemeral — made of twigs, thorns, leaves, ice, or even raindrops — so that they exist afterward only as photographs. My Rain Shadow responds to four of these works. The first movement, itself titled Rain Shadow, refers to his technique of lying on a flat surface in the rain, leaving a ghostly figure on the ground after the rain has stopped. Stone Gathering (a more permanent structure) seems to pile up increasing weight and force the longer we look at the boulders piled up within a dry-stone wall. Icicle Star — real icicles fused into a starburst using the artist’s saliva, then balanced miraculously for a few brief moments in a per-fect light — glistens as if magically. And Yellow and Red is an archetypal Goldsworthy image: a circle with a deep black center surrounded by vivid red and yellow leaves.

Rain Shadow was first performed by Opus One (Ida Kavafian, violin, Steven Tenenbom, viola, Peter Wiley, cello, Anne-Marie McDermott, piano) on August 22, 2012, at Music from Angel Fire.

© 2013 Steven Stucky

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Program Notes

W. A. Mozart (1756–1791)Clarinet Quintet in A, K. 581 (1789)A virtuoso performer steps boldly forward, readily identifiable, quick to astonish. But the virtuoso composer is quite a different creature. The obvious virtuosity is a breath-taking battery of percussion and a frenzy of rhythm hitting the listener over the head -- in the Rite of Spring or the Symphonie fan-tastique, for instance. But sometimes the virtuoso composer will choose to ensnare his listener with a handful of instruments, subtly arming the players with writing of wit and invention and disarming the listeners with melody and complex emotional appeal. Enter Mozart with the “effortless” virtuoso magic of his Clarinet Quintet.

The soft timbre and mellow expressive human quality of the clarinet sound fascinated Mozart from childhood. He pioneered its use in sym-phonic writing and even elevated it to opera stardom in Clemenza di Tito. (Check out “Parto, parto” on YouTube.) This charming quintet re-sulted from Mozart's friendship with one of Vi-enna's less charming characters, the scurrilous Anton Stadler, who caroused with Mozart, mooching both lodging and money uncon-scionably from the easy-going composer. On Mozart's death he owed him thousands. But the guy was a marvelous clarinetist and the friend-ship was -- for posterity, at least -- a fortuitous one. The geniality of their relationship surely affected the composition, but the brilliance of the quintet consists of the way Mozart weaves together his understanding of all the genres he was master of -- the string quartet, solo con-certo, opera aria, the grand symphony, and even country dance music, everything blended seam-lessly and given to only five instruments.

Employing the conventional structure of the Classical quintet, Mozart slyly parades his mas-tery -- a sonata-form opening with symphonic dignity and an abundance of themes; an operatic lyrical slow movement; a set of dances with a double trio, muscular first for strings alone, then a twirling country solo dance; finally a set of

variations with concerto ambitions. At the heart of the piece, the larghetto unfolds as a leisurely nocturne, the warm strings sometimes just sup-porting the dreamy flights of the clarinet, other times drawing the clarinet into a dialogue. The whole quintet displays a rich emotional depth -- a whisper of “world enough and time” -- with all roles distributed evenly but the clarinet first among equals. The listener feels privy to a nar-rative of intimate confidences.

Aside from the scurrilous clarinetist who in-spired all this, the work has other ironic distinc-tions. A Major is usually a key of heroic outgo-ing cheerfulness, but Mozart diabolically em-ploys it here for quite the opposite effect -- ma-ture inner reflection. Brahms in his 60s wrote his clarinet quintet entirely aware of its autum-nal nature. Mozart unfurls a work of the same pensive stature when still a young man in his 30s, a farewell composition only because nature played a mean trick on him -- and us. He had no idea that death was around the corner. On the one hand the majestic inner security of this quintet confirms what many listeners have re-sorted to saying about his work: the music of Beethoven and others may strive for Heaven; the music of Mozart comes from Heaven. As Einstein observed, “his music is of such purity and beauty that one feels he merely found it – that it has always existed as part of the inner beauty of the universe waiting to be revealed.” But of course Mozart did not “merely find” this music. He crafted it with his unparalleled clev-erness, beyond ordinary imagination, and you can bet he had a rollicking good time playing viola with Stadler when the quintet premiered, knowing there would be drinks afterwards, but also knowing that as a composer he was better than anybody. Anybody. And in this quintet he is throwing it all at you. Critics and scholars may find lots to work with here, but perhaps it is best not to wonder why this virtuoso music is so good. Just take Shaw's sound advice about lis-tening to Mozart: “Admire. Admire. Admire.”

© 2013 Frederick Noonan

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Lake Champlain Chamber Music Festival

“Musical Stories”Family Music Workshop

At the Fletcher Free LibraryThursday, August 22nd

10:30-11:30 a.m.

Members of the Lake Champlain Chamber Music Festival’s Young Composers Seminar will lead a fun, hands-on

workshop for you to compose your own music.Geared to children ages 5-11 and their adult friends.

Free. No preregistration needed.Information: 865-7216

Fletcher Free Library Youth Desk

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

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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

� � � � � � �

� � � � � � �

Sept 1, 2

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

Béla Bartók (1881–1945)44 Duos for Two Violins (1931)

#16 Burlesque#19 Fairy Tale#38 Rumanian Whirling Dance#37 Prelude and Canon #42 Arabian Dance#43 Pizzicato#28 Sadness#44 Ardeliana

Phil Setzer, violin • Hye-Jin Kim, violin

Gaspar Cassadó (1897–1966)Requiebros (1934)Dance of the Green Devil (1926)

Shai Wosner, piano • Christopher Costanza, cello

André Messager (1853 –1929)Solo de Concours (1899)

Gilles Vonsattel, piano • Ricardo Morales, clarinet

Camille Saint-Saëns (1835 –1921)Afrique (1891)

Gilles Vonsattel, piano

Concert Grand Piano on loan from Steinway & Sons, New York City.

Elley-Long Music Center at Saint Michael’s CollegeSaturday, August 24 • 12 noon

Virtuoso Showcase

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The Young Composers Seminar brings together some of the country’s most outstanding young composers to work and learn together under the direction of Composer-In-

Residence David Ludwig. New works by this year’s Seminar participants will be read and recorded by Festival Artists as part of the Sounding Board on Saturday, August 24th.

Young Composers SeminarDavid Ludwig, Composer-in-Residence and Seminar Director

Loren Loiacono, (b. 1989) a native of Stony Brook, New York, is currently pur-suing her Doctorate in Composition at Cornell University, where she is a student of Steven Stucky and Kevin Ernste. Her works have been performed by the St. Pe-tersburg Chamber Philharmonic, Eastern Connecticut Symphony Orchestra, and the Yale Philharmonia, and have been featured on NPR. She received awards from ASCAP's Morton Gould Awards (2013, 2005), and the Minnesota Orchestra Com-posers Institute (2013). This summer, she was a fellow at Copland House's CUL-TIVATE Festival, the Atlantic Music Festival and the Lake Champlain Chamber Music Festival. Loren is also a founding member of Kettle Corn New Music.

The music of Riho Esko Maimets (b. 1988) has been described as “enchantingly beautiful”, having a “unique emotional and communicative impact”. With a grow-ing number of international commissions, Riho is enjoying increasing exposure both at home in Canada and abroad. Over the last year, Riho's music has received over 50 performances in 7 countries. Upcoming highlights include a work for a 600-voice massed children’s choir, to be performed in the summer of 2014 in Tartu, Estonia and a commission for choir and string orchestra in Toronto in Octo-ber 2013. He is currently studying at the Curtis Institute of Music in Philadelphia with David Ludwig and Richard Danielpour.

Originally from Dallas, Texas, Rene Orth (b. 1985) is a composer, audio engineer, and educator. Recent performances of her work include premieres by members of the Fifth House Ensemble in Chicago, cellist Paul York, and the University of Louisville University Chorus. She is a 2012 recipient of a Kentucky Foundation for Women Artist Enrichment Grant. Rene recently earned a M.M. degree in Music Composition at the University of Louisville as a Moritz von Bomhard Fellow and holds degrees from MediaTech Institute and Rhodes College. She will study with Dr. Richard Danielpour this coming fall at the Curtis Institute of Music. She is an avid swimmer and a private pilot.

The Festival is committed to inviting past participants of the Young Composers Seminar to return to the Festival to have their work performed as part of a Festival concert. In 2011 Tim Woos’ String Quartet was performed on the Festival’s Winter Encore Series. Last summer, Gabriella Smith returned with a new commission, Brandenburg Interstices. This year, we welcome back Alyssa Weinberg and will perform her new piece, Contemplations.

Loren Loiacono (b. 1989)a la siciliana

Gilles Vonsattel, pianoSoovin Kim, violin

Riho Esko Maimets (b. 1988 )String Quartet No. 2

Hye-Jin Kim, violinSoovin Kim, violinJulianne Lee, viola Christopher Costanza, cello

Rene Orth (b. 1985)You Shattered My Deafness

Hye-Jin Kim, violinSoovin Kim, violinJulianne Lee, violaChristopher Costanza, cello

Order of the program will be announced from the stage.

Concert Grand Piano on loan from Steinway & Sons, New York City.

Elley-Long Music Center at Saint Michael’s CollegeSaturday, August 24 • 3:30 P.M.

Sounding BoardA reading and recording of new works by

the Young Composers

Paul Hindemith (1895–1963)Sonata for solo viola (1937)

Lebhafte HalbeLangsame Viertel - Lebhaft. Pizzikato - Wieder wie früherMäßig schnelle Viertel

Misha Amory, viola

Alyssa Weinberg (b. 1988)Contemplations (2013)

Shai Wosner, pianoPhilip Setzer, violinRicardo Morales, clarinet

Béla Bartók (1881 –1945)Contrasts (1938)

Verbunkos (Recruiting Dance)Pihenö (Relaxation)Sebes (Fast Dance)

Shai Wosner, pianoPhilip Setzer, violinRicardo Morales, clarinet

Intermission

Elley-Long Music Center at Saint Michael’s CollegeSunday, August 25 • 3:00 P.M.

Closing ConcertIn honor of Ann Emery

Felix Mendelssohn-Bartholdy (1809–1847)String Quintet in B-flat, Op. 87 (1845)

Allegro vivaceAndante scherzandoAdagio e lentoAllegro molto vivace

Soovin Kim, violinPhilip Setzer, violinJulianne Lee, violaMisha Amory, violaChristopher Costanza, cello

There will be a short Meet the Musicians session on stage immediately following the concert.Concert Grand Piano on loan from Steinway & Sons, New York City.

Tonight’s concert was made possible by a generous donation from the Emery Family in honor of Ann.

Program Notes

Paul Hindemith (1895–1963)Sonata for solo viola (1937)

A titan of the 20th century canon, Paul Hin-demith's composition legacy is not only defined by the music he left behind, but by the philoso-phy that inspired it. Born in Germany in 1895, Hindemith is the musical figure most associated with Gebrauchsmusik, or “utility music,” a movement originating in 1920's Germany that promoted the idea of practical music for daily use, as opposed to music for its own sake. Not only did Gebrauchsmusik refer to music with a specific purpose, such as a military march or a dance, but also included music intended for places other than the professional concert hall, such as educational pieces, or the Hausmusik played by amateurs at home. Though Hindemith eventually distanced himself from the movement, Hindemith's works are permeated by a sense that music could exist not only for its own sake, but also for the sake of the musicians playing it. Hin-demith wrote sonatas not only for the perennial favorites of the instrumental world, such as violin or cello, but for each major orchestral instrument, and even a few traditionally auxiliary instru-ments, such as English horn and viola d'amore. Among the instruments he championed, perhaps none benefitted as much as the viola; a violist by training, Hindemith wrote an astonishing three accompanied and four unaccompanied sonatas for his primary instrument.

Written in 1937, Sonata for Solo Viola is the last of the four unaccompanied viola sonatas Hindemith wrote. At that time, Hindemith was now well known around the world as a composer in addition to being a preeminent violinist and violist. The years leading up to the composition of this piece were quite tumultuous. His works were declared degenerate art and were banned from being per-formed in Germany. This lead him to leave his post as Professor of Composition in Berlin and emigrate first to Switzerland in 1936 and later to the United States in 1940. While living in Switzer-land he took several trips to the United States. On one such trip in 1937, he issued a proclamation in New York that he would compose a new Sonata

for solo viola in two days and perform it once he arrived in Chicago. He was true to his word and composed the piece while traveling by train from Chicago to New York. He premiered his new work at the Chicago Arts Club on April 21, 1937. In his own words, he noted that after writing out the so-nata, “there was little time to practice.”

Music historians point out that this piece was writ-ten at a time in his life when he was focusing on accessibility and that he puts an emphasis on conso-nant sounding intervals, notably the perfect fourths and fifths. The first movement Lebhafte Halbe (Lively half notes), evokes memories of his train journey. He wrote to a dear friend “The train is called 'Commodore Vanderbilt' and travels quickly and calmly until the arrival, which the engineer has apparently not yet found out how to manage, thus causing us dreadful jerks.” The second movement, Langsame Viertel (Slow quarter notes), starts as one would expect and the features some of Hindemith's most beautiful slow writing. The middle of the movement evolves in to a pizzicato section before returning to the original opening material, now in the key of D. The final movement, Mäßig schnelle Viertel (Moderately fast quarter notes) brings an exciting close to the piece, allowing the performer to demonstrate his or her virtuosity.

© 2013 Loren Loiacono

Alyssa Weinberg (b. 1988)Contemplations (2013)

In this piece I intended to create a window into four different sound worlds, exploring the differ-ent colors that can be produced by the various combinations of the three instruments. These four miniatures each focus on the exploitation of their own succinct idea. The work opens with a playful exploration of the nature of attack versus reso-nance, and the shifting colors that occur as a re-sult. The second miniature, entitled The Sick Moon, was inspired by a movement of Arnold Schoenberg’s Pierrot Lunaire. There is a quota-tion of Schoenberg’s melody from the seventh movement, Der Kranke Mond, which I wove into my own music material in order to recreate

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Program Notes

my interpretation of that same atmosphere. The third movement is centered on an aggressive, re-petitive scalar passage, whose energy in trans-ferred back and forth among the instruments. The final miniature is meditative in nature, intended to linger in the minds of the audience.

© 2013 Alyssa Weinberg

Béla Bartók (1881 –1945)Contrasts (1938)

Of all the 20th century pieces, Bartók's Contrasts takes the prize for a distinguished and surprising pedigree. The trio inhabits the world of “modern music”, for sure, with angular challenges to a lis-tener living complacently in the tuneful world of 19th-century chamber music. But the unique char-acter of the music is a nod to the joint commis-sioners --- predictably Bartók's friend the famous Hungarian violinist Joseph Szigeti and unpredicta-bly Benny Goodman, then at the height of his ca-reer as a big-band leader and a jazz clarinetist.

Goodman had developed a serious interest in classical music, even recording the Mozart Clarinet Quintet with the Budapest Quartet . He had befriended many distinguished classical musicians, including Szigeti who sent Bartók several Goodman recordings and asked him to write “a six-to-seven minute clarinet/violin duo with piano accompaniment”. He also suggested none too subtly: “Goodman and I would be pleased if we were given brilliant cadenzas.” Not shy, those musicians. The proposed dura-tion reflected the space available on two sides of a 12-inch 78 rpm phonograph record. Ever prac-tical too, those musicians.

Bartók was not accustomed to working within such limits. He did send the requested two-movement version, but he also enclosed an ex-tra movement with a note: “Generally the salesman delivers less than he is supposed to. There are exceptions, however.” The two-movement version was performed at Carnegie Hall on January 9, 1939; the expanded work, re-titled Contrasts, was heard at Carnegie a year

later on April 21, 1940 with Bartók himself at the keyboard, having just that year fled Europe.

Folk music lies at the heart of all Bartók and he admired the stylish freedom of jazz, so the excep-tionally diverse talents of the Hungarian and American joint commissioners provided natural inspiration. The title Contrasts refers to the treatment of the same material by musicians emerging from different traditions. Bartók ex-ploits the timbral and idiomatic contrasts between violin and clarinet as well. A unique work.

The opening movement, Verbunkos (Recruit-ing Dance), is a popular dance form from the 18th century used by army recruiters in rural villages -- with the help of a drink or two, no doubt. What an unimaginably distant tradition! The march-like figuration in a moderate tempo gradually becomes a rather intricate weaving of melodic lines and harmonic coloring. Near the end the requested impressive clarinet ca-denza appears, a jazz club riff. The uninvited central slow movement, Pihenö (Relaxation) unfolds as a lyrical night piece, offering sounds of nature with a relaxed free-flowing quality. The concluding Sebes (Fast Dance) begins with an energetic violin motif on a deliberately mistuned instrument. Known as scordatura – from the Italian “detuned” -- this alternative tuning allows otherwise impossible note se-quences, creating unusual timbres and a rougher sound. After 30 measures the conven-tional tuning returns and the impact of this contrast is primitive, shocking, and delightful.

Contrasts demands inventive superior musician-ship. Offering music fresh and varied in character and rich in picturesque suggestions, it makes full use of Bartók's artists, his repertory of string ef-fects, and his impressionistic piano devices -- tone clusters, tremolos, glissandi. The writing for the piano is less percussive than usual in Bartók, so the piano recedes to allow the commissioning instruments their freedom and, of course, a chance to shine with the requested cadenzas. The work ends with a quiet coda.

© 2013 Frederick Noonan

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Program Notes

Felix Mendelssohn-Bartholdy (1809–1847)Quintet in B-flat, Op. 87 (1845)

Mendelssohn's privileged background gave him a life-long sunny confidence and no great urge to change the world around him. He was born “established” and at twelve was already writing symphonies still played today. His grandfather was the brilliant philosopher Moses Mendels-sohn; his father was a wealthy banker, modestly fond of boasting, “I am but a hyphen between two geniuses.” There was of course the awk-ward stain of being Jewish, later disguised by the additional name Bartholdy, but society ex-cused them as being at least “the best sort of Jews.” The fashionable elite of Europe therefore gathered on Sundays for music and elevated talk at the grand Mendelssohn house in Berlin (now replaced by a Mobil station). There his standing as a musical prodigy was widely acknowledged, anointed by no less a personage than Goethe himself who, true to the political correctness of his time, withheld that confirmation from Felix's equally-talented sister Fanny, a mere woman.

From his child prodigy years Mendelssohn did not really evolve; he just stayed just as good. He deeply admired Bach and Mozart (who wrote six viola quintets) and felt no need to be Wagner or Berlioz who were stirring up the music of the fu-ture. In many ways, he was right. He rescued Bach from the past for us and nearly two hundred years later we are still marching down the aisle to his own Wedding March. He was a pioneer in one way, leading the first truly international musical career, multi-tasking as composer, pianist, conduc-tor, teacher, scholar, and music director, outshining his virtuoso contemporaries such as Liszt and Pa-ganini. But his prodigious activity eventually tired him out and in 1845 he turned down an invitation from the New York Philharmonic to “educate America” as a musical missionary and instead re-tired to a secluded spa near Frankfurt to get some much-needed rest. This quintet stems from that recharging period, along with Elijah, a symphony in C, Oedipus at Colonos, the c-minor piano trio, and various other piano and chamber works. Some “rest” he took.

The work opens with characteristic energy remi-niscent of his “Italian” symphony, but darker in mood. Vigorous rising arpeggios are followed by a second gently falling theme, both of which Men-delssohn takes through the traditional path of de-velopment and recapitulation. But a feeling of dramatic narrative pervades, the movement is through-composed without repeats, and one won-ders if he is toying with a new style after all, espe-cially with the ghostly threatening tremolos which hint at Romantic programmatic scene painting.The Scherzando is more a stately dance than his signature fleeting elfin whirl. Mischievous, very knowing, and quite dignified with its contrapun-tal references to Bach, this arch and witty amusement parades too briefly before it is stopped by an encounter with discord and we move into the heart of the quintet. The Adagio e lento movement begins as a funeral march and sounds like Schubert at his most serious -- dra-matic but contained emotional writing, at times almost symphonic, trudging from a dour begin-ning to a transcendent ethereal close. The final movement scurries with traditional energy, ex-ploiting the luxury of two violas in tandem.Mendelssohn was not happy with this work and left it in a stack of some 750 other unpublished pieces. Perhaps he could feel the exciting threats of changing style in the first three movements and felt let down by his return to simply Being Mendelssohn, however fine, in the last. Whatever dissatisfied him has certainly not bothered audi-ences since and this viola quintet stands as the sole important bridge between the genius of Mo-zart and the profound work of Brahms and Dvo-rak to come. Because Mendelssohn wrote with such fluid brilliance from the first, many critics see his work as “facile”, overlooking the obvious depth of feeling flowing through the violin con-certo or the slow movement of this quintet, for instance. “I consider it impermissible to compose something that I do not feel with every fiber of my being,” Mendelssohn wrote: “Genuine music fills the soul with a thousand things better than words.” Indeed. That is why we all cherish chamber music as part of our lives.

© 2013 Frederick Noonan

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The Emery Family and the Board of the Festival extend their deepest and most sincere thanks to the individuals and families that

contributed to the Festival to sponsor the 2013 Festival’s Closing Concert in the memory of Ann.

Thomas Bates • Debra Bergeron • Renee Bergner • Nancy BlackettJohn Canning • Mike & Adri Canning • Mr. & Mrs. Richard Clark

Alida & John Dinklage • Stan Emery • Margaret EmeryManuel Fieber • Mark & Judy Fleming • Roger Foster, Jr. & Baiba Grube

Margaret & David Galinas • William & Valerie GrahamRobert W. Hamill • Sandra Herschberg • Aldis Hill Playground Trust

Mousa Ishaq & Kristin Peterson-Ishaq • David & Susan JenkinsJohanna Kebabian • Soovin & Joanne Kim

Ken & Blanche Podhajski Kreiling • Nancy Gates Le Roy & Newbold Le RoyCarolyn E. Long • Dr. & Mrs. William Luginbuhl • William Luginbuhl

Pamela MacPherson • William Mares • Joan C. MartinDeborah & Jonathan New • Frederick Noonan • Carol Lee PhillipsBarbara Rippa • Alan & Cynthia Rubin • Charlotte Emery RussellKay Schepp • Michael & Mary Scollins • Peter & Cynthia SeyboltMartha Simpson • Department of World Languages & Literatures at

Southern Connecticut State University • Glenn & Marga SproulDr. & Mrs. John Tampas • Abbie Verner • Helen Wetherbee

Sara Withington • Margaret & Cary Woodward

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2013 Festival ArtistsViolinist Soovin Kim is Artistic Director of the Lake Champlain Chamber Music Festival which is quickly gaining national attention for its innovative program-ming, educational outreach, and work with young composers. Soovin received first prize at the Paganini International Competition when he was only 20 which launched his international concert career. He later was a recipient of such distin-guished prizes as the Henryk Szeryng Career Award, the Avery Fisher Career Grant, and the Borletti-Buitoni Trust Award. He performs around the world as a concerto soloist and recitalist as well as with the Johannes String Quartet.

Soovin has released nine commercial CD recordings in recent years including Niccolò Paganini’s demanding 24 Caprices and a French album of Fauré and Chausson with pianist Jeremy Denk and the Jupiter Quartet. Soovin grew up for much of his child-hood in Plattsburgh, NY. He joined the Vermont Youth Orchestra as its then-youngest

member at age 10 and later served as its concertmaster for three years. He is often heard in the Champlain Valley through his performances with the Vermont Symphony Orchestra, on the Lane Series at the University of Vermont, at Middlebury College, with the Burlington Chamber Orchestra, and on Vermont Public Radio. Soovin is passionate about music educa-tion and is a on the faculty at Stony Brook University and the Peabody Institute of Johns Hopkins University.

David Ludwig’s music has been called “entrancing,” and that it “promises to speak for the sorrows of this generation,” (Philadelphia Inquirer). It has further been described as “arresting and dramatically hued” (The New York Times) and has been noted for “music supercharged with electrical energy and raw emotion” (Fanfare). The Chicago Tribune says that he “deserves his growing reputation as one of the up-and-comers of his generation.” In 2013, Ludwig's choral work, The New Colossus, was selected to open the private prayer service for the 57th Presidential inauguration of Barack Obama.

David has written for many prominent artists, including soloists Jonathan Biss and Jaime Laredo, ensembles like eighth blackbird and ECCO, and orchestras including the Philadelphia, Minnesota, and National Symphonies. Residencies with arts institutions at home and abroad include Marlboro, the Gardner Museum, and the Ravinia Steans Music Institute. David directs summer composition programs at the Lake Champlain Festival and the Atlantic Music Festival

Born in Bucks County, P.A., David comes from a family lineage of musicians that includes his grandfather Rudolf Serkin, and great-grandfather Adolf Busch. He holds degrees from Oberlin, the Manhattan School, Curtis, and Juil-liard, as well as a PhD from the University of Pennsylvania. Ludwig is on the composition faculty of Curtis where he serves as the Dean of Artistic Programs and as the director of the 20/21 Ensemble.

Steven Stucky, born in 1949, has an extensive catalogue of compositions ranging from large-scale orchestral works to a cappella miniatures for chorus. He is also active as a con-ductor, writer, lecturer and teacher. For 21 years he enjoyed a close partnership with the Los Angeles Philharmonic: in 1988 André Previn appointed him composer-in-residence of the Los Angeles Philharmonic, and later he became the orchestra’s consulting composer for new music, working closely with Esa-Pekka Salonen. Commissioned by the orchestra, his Second Concerto for Orchestra brought him the Pulitzer Prize in music in 2005.

Steven Stucky started teaching at Cornell University in 1980 and now serves as Given Foundation Professor of Composition. A world-renowned expert on Lutosławski’s music, he is a recipient of the Lutosławski Society’s medal. He is a frequent guest at colleges and conservatories, and his works appear on the programs of the world’s major orchestras.

East Coast Chamber Orchestra (ECCO) – In 2001, a group of musicians – colleagues and friends from leading conser-vatories and music festivals across the country collectively – envisioned the creation of a democratically-run, self-conducted chamber orchestra that would thrive on the pure joy and camaraderie of classical music making. This organic approach and high level of passion and commitment resulted in ECCO, a dynamic collective that combines the strength and power of a great orchestral ensemble with the personal involvement and sensitivity of superb chamber music.

ECCO is comprised of some of today’s most vibrant and gifted young string players -- soloists, chamber musicians, principals of major American orchestras, and GRAMMY award winners. ECCO members play with the symphony orchestras of Phila-delphia, Los Angeles, San Francisco, Chicago, St. Louis, Seattle and Boston among others. Members also play with the Enso, Jasper, Johannes, Jupiter, Parker, and Ying Quartets, as well as the Horszowski Trio, Trio Cavatina, Sejong Soloists, Time for Three, Konomichi and Chamber Music Society II. For a few concentrated periods of time each year, the members of ECCO meet for rehearsal and musical exploration. Cooking, eating, enjoying close friendships and now sharing tips for raising the next generation of ECCO are important aspects of ECCO gatherings. Along with musical exploration, there is always an in-tense discussion to be had about the joys and challenges of maintaining a truly communal creative organization.

In 2012 ECCO celebrated its first decade of friendship and discovery with the release of its first commercial re-cording. It includes Tchaikovsky’s Serenade for Strings in C Major Opus 48, Shostakovich’s Chamber Symphony in C minor, Opus 110a and the exuberant and surprising “La Follia” Variations for String Orchestra, arranged by ECCO’s own Michi Wiancko after Francesco Geminiani’s Concerto Grosso No. 12 in D minor.

ECCO’s 2013-14 season includes the premiere of David Ludwig’s Virtuosity – Five Micro-Concertos for String Orchestra commissioned for the orchestra by Lake Champlain Chamber Music Festival. In addition, ECCO debuts at Music Worcester, New York’s Kau✴an Center and Sarasota Concert Association and returns to many festivals including Philadelphia Cham-ber Music Society, Peoples’ Symphony Concerts, and the Lake Champlain Chamber Music Festival.

Festival Artists

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ViolinsJ FreivogelMeg FreivogelJessica LeeNelson LeeKaren KimSusie ParkAnnaliesa PlaceMichi Wiancko

ViolasMaurycy BanaszekRebecca GitterJessica ThompsonJonathan Vinocour

CellosNayoung BaekEfe BaltacigilDenise DjokicDan McDonough

BassesNate FarringtonJoe Campagna

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Violinist Hye-Jin Kim, winner of the 2009 Concert Artists Guild Competition, has been lauded by The Strad for her “…heart-stopping, unrivalled beauty…well-thought out, yet of the moment.” Hye-Jin crafts extraordinary programs often reflecting her interests in art and literature which, paired with her rare sensitivity and intellect, set her apart in today’s music scene. This remarkable artistry brought her to international prominence quite early in her career when she was awarded First Prize at the Yehudi Menuhin Competition at the age of nineteen.

Hye-Jin performed as a soloist with the Philadelphia Orchestra, the New Jersey Symphony, the BBC Concert Orchestra, Seoul Philharmonic Orchestra, and the Hannover Chamber Orchestra, where she led the ensemble in Mozart’s Violin Concerto in A at age 12. Hye-Jin served as a cultural representative for Korea in Switzerland, Australia, New Zea-land, Kazakhstan and Uzbekistan through concert and outreach engagements.

Born in Seoul, Hye-Jin Kim began her violin studies with Dong-Hyun Kim at the age of 8. When she was 14, Ms. Kim entered the Curtis Institute of Music in Philadelphia, studying with Jaime Laredo and Ida Kavafian. She earned her Masters degree studying with Miriam Fried at New England Conservatory. She is an Assistant Professor of Violin on the faculty of East Carolina University in Greenville, NC. Ms. Kim plays a Gioffredo Cappa violin, crafted in Saluzzo, Italy in 1687.

Violinist Philip Setzer, a founding member of the Emerson String Quartet, was born in Cleveland, Ohio, and began studying violin at the age of five with his parents, both former violinists in the Cleveland Orchestra. He continued his studies with Josef Gingold and Rafael Druian, and later at the Juilliard School with Oscar Shumsky. He has appeared with the National Symphony, Aspen Chamber Symphony (David Rob-ertson, conductor), and the Cleveland Orchestra (Louis Lane). He has also partici-pated in the Marlboro Music Festival. Philip has been a regular faculty member of the Isaac Stern Chamber Music Workshops at Carnegie Hall and the Jerusalem Music Center. His article about those workshops appeared in the New York Times on the occasion of Isaac Stern's 80th birthday celebration. He also teaches as Professor of Violin and Chamber Music at SUNY Stony Brook and has lead master classes at schools around the world, including the Curtis Institute, London's Royal Academy of Music, and the San Francisco Conservatory. The Noise of Time, a groundbreaking theater collaboration between the Emerson Quartet and Simon McBurney--about the

life of Shostakovich--was based on an original idea of Mr. Setzer's. Recently, Mr. Setzer has also been touring and recording the piano trios of Schubert and Mendelssohn with David Finckel and Wu Han.

Since winning the 1991 Naumburg Viola Award, Misha Amory has been acclaimed as one of the leading American violists of his generation. He has performed with orchestras in the United States and Europe, and has been presented in recital at New York's Tully Hall, Los Angeles' Ambassador series, Philadelphia's Mozart on the Square festival, Bos-ton's Gardner Museum, Houston's Da Camera series and Washington's Phillips Collec-tion. He has been invited to perform at the Marlboro Festival, the Seattle Chamber Music Festival, the Vancouver Festival, the Chamber Music Society at Lincoln Center and the Boston Chamber Music Society, and he released a recording of Hindemith sonatas on the Musical Heritage Society label in 1993. Misha is a founding member of the Brentano String Quartet, which enjoys a distinguished concert career in the United States and abroad. Winners of the inaugural Cleveland Quartet Award and the 1995 Naumburg Chamber Music Award, the Quartet was also the inaugural group for the Chamber Music Society at Lincoln Center's new program, Chamber Music Society II. The Quartet has been in residence at Princeton University since 1999. He holds degrees from Yale University and the Juilliard School. His principal teachers were Heidi Castleman, Caroline Levine, and Samuel Rhodes. Himself a dedicated teacher, Misha serves on the faculties of the Juilliard School in New York City and the Curtis Institute in Philadelphia.

Festival Artists

Julianne Lee has a distinctive career as both a violinist and violist, appearing fre-quently as a soloist, chamber musician, and orchestral player. Currently Acting Assis-tant Concertmaster of the Boston Symphony, she has been a member of the violin section since 2006. Julianne toured with the Marlboro Music Festival as well as mul-tiple international tours with the Australian Chamber Orchestra as Guest Principal Violist. In past summers she has been invited to perform at numerous music festivals including the Santa Fe Chamber Music Festival, Chamber Music at the Banff Centre, and the Marlboro Music Festival.

Julianne graduated with an unanimous First prize at the Conservatoire Superieur de Paris in France. She holds a Bachelor's Degree in both Violin and Viola Performance from the Curtis Institute of Music in Philadelphia, and a Master's Degree from the New England Conservatory. She is currently on faculty at the New England Conser-vatory Preparatory School, and Berklee College of Music.

Marcy Rosen has established herself as one of the most important and respected artists of our day. Los Angeles Times music critic Herbert Glass has called her “one of the inti-mate art’s abiding treasures.” She has performed in recital and with orchestras throughout Canada, Europe, and all fifty of the United States. In recent seasons she has given master classes and appeared on stage in Beijing and Shanghai, and the Seoul Arts Center.

A consummate soloist, Marcy’s superb musicianship is enhanced by her many chamber music activities. She has collaborated with the world’s finest musicians including Leon Fleisher, Richard Goode, Andras Schiff, Mitsuko Uchida, Peter Serkin, Isaac Stern, and the Juilliard, Emerson, and Orion Quartets. She is a founding member of the ensemble La Fenice, a group comprised of oboe, piano and string trio, as well as a founding member of the world renowned Mendelssohn String Quartet. She appears regularly at festivals both here and abroad and since 1986 has been Artistic Director of the Chesa-peake Chamber Music Festival in Maryland. Her involvement with the Marlboro Mu-sic Festival began in 1975. Since then, she has taken part in 20 of their “Musicians from Marlboro” tours and per-formed in concerts celebrating the 40th, 50th and 60th Anniversaries.

Marcy was born in Phoenix, Arizona and her teachers have included Gordon Epperson, Orlando Cole, Marcus Adeney, Felix Galimir, Karen Tuttle, and Sandor Vegh. She is a graduate of the Curtis Institute of Music. Marcy is currently Profes-sor of Cello at the Aaron Copland School of Music at Queens College where she is also Artistic Coordinator of the concert series Chamber Music Live, and she serves on the Faculty at the Mannes College of Music in New York City.

For over two decades cellist Christopher Costanza has enjoyed a varied and exciting ca-reer as a soloist, chamber musician, and teacher. A winner of the Young Concert Artists International Auditions and a recipient of a prestigious Solo Recitalists Grant from the Na-tional Endowment for the Arts, Chris has performed in nearly every state in the U.S., and throughout Europe, Asia, Australia, and New Zealand. He received a Bachelor of Music and an Artist Diploma from the New England Conservatory of Music in Boston, where he studied cello with Bernard Greenhouse, Laurence Lesser, and David Wells, and chamber music with Eugene Lehner, Louis Krasner, Leonard Shure, and Benjamin Zander.

In 2003 Chris joined the St. Lawrence String Quartet, Ensemble in Residence at Stan-ford University, which tours extensively, performing over 100 concerts annually throughout the world. A strong proponent of contemporary music, he works regularly with some of the world's most notable composers, such as John Adams, Osvaldo Goli-jov, Pierre Boulez, William Bolcom, John Corigliano, and Bright Sheng. Chris's dis-cography includes numerous chamber music and solo recordings on the EMI/Angel,

Nonesuch, Naxos, and Albany labels. In 2006, he received a Grammy nomination for his recording of major cham-ber works for winds and strings by Mozart.

Festival Artists

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Ricardo Morales is the principal clarinetist of the Philadelphia Orchestra. Prior to this, he was principal clarinet of the Metropolitan Opera Orchestra, a position he assumed at the age of 21. He began his professional career as principal clarinet of the Florida Symphony at age 18. A native of San Juan, Puerto Rico, Ricardo began his studies at the Escuela Libre de Musica along with his five siblings, who are all distinguished musicians. He continued his studies at the Cincinnati Conserva-tory of Music and Indiana University, where he received his Artist Diploma. An active chamber musician, Ricardo has performed in the MET Chamber Ensemble series at Carnegie Hall with James Levine at the piano, at the Santa Fe Chamber Music Festival and with the Chamber Music Society of Lincoln Center. He has performed with many distinguished ensembles such as the Juil-liard Quartet, the Pacifica Quartet and the Kalichstein-Laredo-Robinson Trio. He currently serves on the faculties of the Juilliard School, Temple University and the Curtis Institute of Music.

Pianist Shai Wosner has attracted international recognition for his exceptional artistry, musical integrity, and creative insight. His performances of a broad range of repertoire from Beethoven and Mozart to Schoenberg and Ligeti, as well as music by contemporary composers, communicates his imaginative programming and intellectual curiosity. Shai's 2012 –13 season included a seven-city tour throughout Germany and Belgium, a Schu-bert recital at the Kennedy Center, as well as solo appearances with various orchestras. He appeared in duo-recitals with violinist Jennifer Koh at the Philadelphia Kimmel Cen-ter followed by performances in Virginia, Arizona, and Georgia. In 2011 Shai released his second recital album on the Onyx label featuring solo piano works by Schubert. Review-ing the disc, BBC Music Magazine declared, “this puts him straight into the front rank of Schubertians”. This album follows his critically acclaimed debut recording, which juxta-posed works by Brahms and Schoenberg, released by Onyx in October 2010. Born in Israel, Shai enjoyed a broad musical education from a very early age, studying piano with Emanuel Krasovsky as well as composition, theory, and improvisation with André Hajdu. He later studied at the Juilliard School with Emanuel Ax.

Recipient of an Avery Fisher Career Grant and winner of the Naumburg and Geneva competitions, pianist Gilles Vonsattel recently made his Boston Symphony, Tanglewood, and San Francisco Symphony debuts, while performing recitals and chamber music at the Tonhalle Zürich, Ravinia, Wigmore Hall, the Gilmore festival, and the Munich Gasteig. He made his Alice Tully Hall recital debut in 2002 and has appeared with the Warsaw Philharmonic, the Calgary Philharmonic, and l'Orchestre de Chambre de Genève. Deeply committed to the performance of contemporary works, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Ned Rorem, Jörg Widmann, John Harbison, and Heinz Holliger. His 2011 recording for the Honens label of music by Debussy, Honegger, Holliger, and Ravel was named one of Timeout NY's classical albums of the year. He received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from the Juilliard School. Gilles is an assistant professor at the University of Massachusetts at Amherst.

Jason Vieaux, “among the elite of today's classical guitarists” (Gramophone), is the classical guitarist who goes beyond the classical. He has earned a reputation for putting his expressive gifts and virtuosity at the service of a remarkably wide range of music, and his schedule of recital, concerto, chamber music, teaching, and recording commit-ments is distinguished with return engagements throughout the U.S. and abroad. This year, Jason’s performances included returns to the Caramoor Festival, New York's 92nd Street Y “Guitar Marathon”, and the Elgin Symphony. In May 2012, the Jason Vieaux Guitar Academy was launched in partnership with ArtistWorks Inc., an unprecedented technological interface that provides a one-on-one online study exchange between Vieaux and guitar students around the world. His passion for new music has fostered premieres of works by Dan Visconti, David Ludwig, Jerod Tate, Eric Sessler, José Luis Merlin, and Gary Schocker. Jason is a member of the guitar faculty at both the Curtis Institute of Music and the Cleveland Institute of Music.

Festival Artists

Bruno Price became a dealer of fine instruments over 25 years ago. He has established many important and trusting relationships with the world’s foremost musicians, collectors and dealers of great instruments. Born in Great Britain to a musical family, Bruno has been surrounded by music and instruments since early childhood. He trained as a cellist at the Royal Northern College of Music in Manchester (UK), and later earned his graduate de-gree in Cello Performance at the University of Northern Illinois, Dekalb, where he studied with Marc Johnson of the Vermeer Quartet. Mr. Price transitioned from cellist to instru-ment dealer in 1986 when he joined Bein & Fushi in Chicago. He later moved to the East Coast, where in 2002 he formed Rare Violins of New York with Ziv Arazi.

Recording Engineer Alan Bise is the owner of Thunderbird Re-cords, dedicated to releasing musical works of contemporary American Indians. Its catalog includes artists such as the San Francisco Symphony and Chorus, and the string quartet ETHEL. For over 10 years, he has served as the Classical Producer for Azica Records and has produced projects for many labels and clients across the world. Known for helping to create exciting and passionate projects, Alan has produced records that have received Grammy Nominations and appeared on the Billboard Classical Chart and Amazon Best Sellers list. He is also committed to new audience development and created and produced Offbeat, a success-ful radio show that gives listeners an inside look in the world of classical music in a unique manner. Alan has produced records for numerous labels includig Azica, Naxos, Albany/Troy, and EMI/Universal. He serves as Broadcast Producer and Director of Audio for the Cleveland

International Piano Competition, the Kneisel Hall Chamber Music Festival in Blue Hill, Maine and the Lake Champlain Chamber Music Festival. In 2009 he was appointed to summer faculty of the Interlochen Arts Academy.

Alan is a graduate of the Cleveland Institute of Music (CIM) and spent his summers working at the Aspen and Tanglewood Music Festivals. Alan began his professional career in Dallas working at TM Century, the nation’s leading provider of broad-cast services. There, he rose to the rank of senior mastering engineer and was responsible for recordings reaching over 4,000 stations worldwide. Alan returned to CIM in 1999 where he was appointed Director of Audio Services. Dedicated to audio education, he trained 20 students annually in recital recording, and was a faculty member in the Audio Recording Degree Program. Alan is a member of the National Academy of Recording Arts and Sciences, and the Audio Engineering Society.

Alyssa Ilene Weinberg, a young American composer, was born in 1988. Her first work, Loss for Words, was premiered by the Euclid String Quartet at the Hartwick Music Festival and Institute. In 2012 she attended the American Conservatory at Fontainebleau, France, where she studied with composers Allain Gaussin, Francois Paris, and Phillipe Leroux. Her piece, Four Stanzas, received its premiere at the Fontainbleau Chateau, where she also worked on a collaborative performance installation with the young architects-in-residence. She has participated in a number of summer festivals include the Atlantic Music Festival and the Lake Champlain Chamber Music Festival during its inaugural season.

Her recent works have been selected for performance by the New York based ensemble Contemporaneous (music directors David Bloom and Dylan Mattingly are alums of the Lake Champlain Chamber Music Festival Young Composer Seminar), as well as the New Lens Music Series, where her Four Stanzas was performed by the ensemble Panic Duo across the west coast. She has received commissions by Dr. Thomas Verrier. con-ductor, and the Vanderbilt University Wind Ensemble, Tristan McKay, Chris James, and the Lake Champlain Cham-ber Music Festival, supported by a 2013 grant from New Music USA.

Alyssa received her B.M. in Composition and Theory at Vanderbilt University and her M.M. in from the Manhattan School of Music. Her past teachers include Richard Danielpour, Stan Link, David Ludwig and Michael Slayton, as well as studies in Horn with Leslie Norton, principal of the Nashville Symphony. Alyssa is the co-founder of Festi-val Daniou, which will have its inaugural season in the summer of 2013. She will be entering the Curtis Institute of Music this fall as an Artist Diploma Candidate, where she will be study with David Ludwig.

Festival Artists

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Welcome back to another season of outstanding music with Vermont’s only statewide professional symphony orchestra. We invite you to join Musical Director Jaime Laredo, world-class guest artists, and our own wonderful VSO musicians as we visit communities large and small with masterful, transportive musical experiences.

2013/2014

seriesJaime Laredo, Music DirectorFlynn Center for the Performing Arts

October 26, 2013December 7, 2013

Holiday Pops, December 14, 2013January 25, 2014

March 8, 2014May 3, 2014

Visit us at www.vso.org. For series subscriptions call (802)864-5741 ext. 10.

Musically Speaking ~ 7:00 pm Concert ~ 8:00 pm

StraussBlochDanielpourCoplandMozartShostakovichTchaikovskyBernsteinBrahmsRossiniGriegRavelSchubert/SteinDebussyVaughan WilliamsMahler...and more.

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Welcome to The Lodge at Shelburne Bay in Shelburne, Vermont and The Lodge at Otter Creek in Middlebury, Vermont.

At The Lodges we offer a range of all-inclusive rental options that provide our residents with luxury, amenities and elegance—

Spacious Cottages, Independent Living, Residential Care, Assisted Living apartments and The Haven Memory Care Programs.

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It’s All About Community

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W elcome to The Lodge at Shelburne Bay and The Lodge at Otter Creek Adult Living Communities

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.

Dream on... see you at the library!

In partnership with the Fletcher Free Library

F L E T C H E R F R E E L I B R A RY

Booksand other good things...

235 College Street

Burlington, VT 05401

802.865.72216www.fletcherfree.org

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The virtuosic performers, the East Coast Chamber Orchestra, meet the virtuosic composer, David Ludwig, in a newly commissioned work, Virtuosity: Five Microconcertos for String Orchestra, premier-ing Sunday, August 18th at the Festival Opening Concert.

For the first time this year, the Lake Champlain Chamber Music Festival ventured into the world of crowdfunding via the IndieGoGo website to finance this commission. We thank all 90 donors for their vision and support and for helping to bring this work to life!

Supporting New Music

Executive ProducerMayneal Wayland

Concerto SponsorElizabeth Serkin

Featured Commissioning Partners

John CanningSomak Chattopadhyay & Pia

SawhneySoovin & Joanne KimCarolyn LongWhitfield, Silverman, and Monk

families in memory of Frances Whitfield

Commissioning PartnersAnonymous (2)Rowan Bauman SwainDaniel J. BernsAlan BiseBrianne ChaseMichael Dabrowski & Jill

Rinehart MDElizabeth Cho & Lucas DixonStephen ChoAlida & John DinklageKendra & Charles DinklageEvan & Elizabeth DreyfussPamela DrexelAnuradha DuggalStan & Ann EmeryDana & Michael EngelThe Fieber FamilyValerie & William GrahamLori GoldfingerRoger Foster & Baiba GrubeBarbara & Richard HeilmanMary HollandBarbara & Martin LeWinterP & S Leval

Manuel MattkeHank MouFrederick NoonanAlice OutwaterDarrilyn PetersEdward ReitlerSusan Roney DrennanMary & Michael ScollinsSteven StuckyJody & Dennis WoosGwen Zweber

Commissioning CircleSusan AngermeierMargaret M. BerlinDavid BloomCamilla & Michael BowaterAnne S. BrownLaurie BurkeSteven Andre DibnerLiz EvansDiana FanningReid M. FigelJoe & Meghann GoetzStan & Kay GreenbergStephane Levy

Anne LezakBuff Lindau & Huck GutmanBen & Nan MasonJoshua MorrisAnnaliesa PlaceBarbara RippaMostafa SadeghiLea SherkJudith Rey-VersweyveldDouglas P. WoosTim Woos

BackersJedidiah Alpert AnonymousBarbara GreenJane HillEleanor Long Rachel MillerRobert & Dorsey NaylorKate & Michael SteinJudith Selin

Special ThanksEast Coast Chamber OrchestraHank Mou

Since 1995, weʼve 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.

Anonymous (2) ❂ ✪Anonymous (6)George AbrahamSusan Yuan & Eric AdlerGail & Ken AlbertMichael AlcamoJedidiah AlpertJane AmbroseSusan AngemeierMeredith & David Babbott, M.D. ✴Christopher & Elizabeth BadgerThomas BatesCindy & Mark Baum-Baicker ✴Rowan Bauman SwainFrank Bayley ❂Debra Bergeron & Les AllenEleine BergeronSusan BergeronDebby BerghRenee BergnerMargaret BerlinDan BernsElizabeth & Richard BernsteinSusan BettmannAlan BiseLeora Black & Jacob Morton-BlackNancy BlackettRuth BlocksmaDavid BloomMichael & Camilla BowaterAngela Brown & Kellum Smith ✴Anne BrownLaurie BurkeCA Technologies Matching GrantsKevin & Linda CallahanJohn Canning ❂ ✪John & Beverly Canning ❂ ✪

Michael & Adrianne Canning ✴Luanne CantorBrianne & David Chase ❂Harold & Erin ChaskeyPia Sawhney & Somak

Chattopadhyay ❂Stephen ChoElizabeth Cho & Lucas Dixon ✴Mr. & Mrs. Richard ClarkJill & James CoffrinMargaret CollinsKorean Concert Society ✴Karan & Steve CutlerMichael Dabroski & Dr. Jill RinehartJack Daggitt & Anne StellwagenRita & Casimir DanielskiArt DeQuasieDanielle Devlin & Brian Blair ✴Steven Andre DibnerJoseph & Jennifer Dickerman ✴Alida & John Dinklage ❂Charles Dinklage & Kendra Sowers ❂John & Ann DinseFrank & Ducky Donath ✴Pamela DrexelEvan & Elizabeth DreyfussJacquelin DuffekAnuradha DuggalAnn & Stan Emery ❂ ✪Margaret EmeryCharlotte Emery RussellDana & Michael Engel ✴Liz EvansSylvia EwertsDiana & Emory FanningKatherine FeltyRobert & Sally Fenix ✴

Horace Wilkinson Fund ✴The Fieber FamilyReid M. FigelDaniel & Joan FlemingMark & Judy FlemingFusin FloydPatricia FontaineRoger Foster, Jr. & Baiba Grube ❂Isabel W. FoxDavid FrenchMegan & Seth Frenzen ✴Aldis Hill Playground TrustPaul Irish & Suzanne Furry-Irish ✴Keith & Beth GaylordMargaret & David GalinasGeoffrey Gevalt & Virginia RobertsJoe & Meghann GoetzLori GoldfingerChristine & Richard GoldsboroughArnold & Virginia Golodetz ❂ ✪The estate of Arnold GolodetzAlex GrahamWilliam & Valerie Graham ❂ ✪Barbara GreeneBarbara GreenewaltRobert HamillElena HanThe Hand FamilyRuth HardingMarlene HarrisonChip & Shirin HartWinston & Mary HartGabriel Hartstein & Gale GoldenRichard & Barbara Heilman ❂ ✪John & Brigitte Helzer ✴Janet Rood & Fred

Herbolzheimer, Jr. ✴

Donor Honor Roll

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The generosity of the people, foundations, and companies listed here has made this year’s Festival possible. Once again, their contributions have covered all of the essential costs associated with the production and operation of the Festival, thus allowing all Festival ticket sales and new contribu-tions to be used for the costs the 2014 season! 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 your own tax-deductible contribution toward the Festival’s 2014 season.

Thank you!

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Sandra HerschbergDavid & Judy HershbergJames & Ina HeupCarol & Bruce HewittJane HillAnne HinsmanMary HollandAudrey Holm-Hansen ✴Gerald & Virginia Hornung

Family Foundation ✴Ted Marcy & Kimberly Hornung-

Marcy ✴Oda HubbardBeal HydeIBM Matching Grants ProgramGinger Irish ✴Wilmot IrishKristin Peterson-Ishaq & Mousa

IshaqJanine & Paul Jacobs ✴Andrew JanssDavid & Susan JenkinsSally JohnsonMargaret JuratTina & Howard KalfusJohanna Kebabian ❂ ✪Marc & Judith KesslerJin & Soon Young Kim ✴Soovin & Joanne Kim ❂ ✪Brenda KissamHarvey & Debra Cohen KleinJeffrey Klein & Judy TamEdward & Laura Krawitt ❂Ed & Mig Kupic ✴Kendall & Joan Landis ✴Janice Lange & Beverly Nichols ✴FH & AG LawMarc Law ✴Nancy Gates Le Roy & Newbold

Le RoyMartin & Barbara LeWinter ❂ ✪He K. & Byung H. LeeChris Leff & Alison MaynardCarolyn & Henry Lemaire ✴P & S LevalJulie Simpson & Matthys LevyStephane LevyAnne LezakRobert & Margaret Lichtenstein ❂Buff Lindau & Huck Gutman ✴Ann LivingstonCarolyn E. Long ❂Eleanor LongDavid Ludwig ✴Dr. & Mrs. William Luginbuhl

William LuginbuhlMichael Dadap & Yeou-Cheng Ma ✴Carol MacDonald ✴Pamela MacPhersonBarbara J. MaddenJoan MadisonArnie MalinaWilliam MaresTom & Nancy MartenisJoan C. MartinBen & Nan MasonLida MastonManuel MattkeBritt & Bill McDowellBarbara McGrew in loving

memory of Daniel Fivel ❂Jeff McMahan & Heather Ross ✴Jack MennigElizabeth B. MilesRachel MillerJohn & Robin Milne ✴Stephanie MinerMaureen Molloy, M.D. ✴Joshua MorrisHank MouSharon MountBarbara Myhrum ✴Robert NaylorDeborah & Jonathan New ✪Joan NewmanMark & Karen NiquetteStephen Nissenbaum & Dona BrownFrederick Noonan ❂Katherine C. Norris, P.E.George Tyler ✴Samuel P Oh, M.D. ❂Bengt & Polly OhmanAmy OttenEmma OttolenghiAlice OutwaterMr. & Mrs. Charles E. Pang ✴Ann & Charles ParkerElizabeth & George Pasti ❂Fran & Bob Pepperman TaylorDarrilyn PetersCarol Lee PhillipsAnnaliesa PlaceKen & Blanche Podhajski KreilingJunius L. Powell, Jr. ❂Louise B. RansomEllen ReidVermont ViolinsEdward ReitlerElma RickardsBarbara Rippa ✴

Mr. & Mrs. Robert Rizos ✴Serge RizzoSylvia Robison ✴Roby’s Piano ShopCatharine M. RogersSusan RoneyJerry & Bernice G. Rubenstein

Foundation ✴Alan & Cynthia RubinMary RutherfordDavid & Joan Sable ✴Mostafa SadeghiKathy & Andrew SaylorLisa Schamberg & Pat Robins ✴Kay ScheppRobert & Gail Schermer ✴Department of World Languages

& Literatures at Southern Connecticut State University

Michael & Mary Scollins ✴Judith SelinMarna SeltzerElizabeth Serkin ✴Peter & Cynthia Seybolt ✴Lea SherkMartha SimpsonEvelyne & Douglas Skopp ✴Ann & Frank Smallwood ✴Glenn & Marga SproulRosalee Sprout & Bud Ames ✴Kay Stambler & Stanley

Greenberg ✴Robbie StanleyKate & Michael Stein ❂The Morris & Bessie Altman

Foundation ✴Lesley & Larry Straus ✴David & Ann StrublerSusan StuckSteven StuckyJudith SweeneyDr. & Mrs. John TampasBonnie & Andrew TangalosCarl TaylorStephanie TaylorPatricia ThimmMrs. C. Leland UdellAbbie VernerJudith VerzweyveldJohn VickeryMayneal Wayland ✴Norma & George WebbHelen WetherbeeMartha Ming Whitfield &

Jonathan Silverman ❂ ✪

Donor Honor Roll

Whitfield, Silverman, and Monk Families

Mr. & Mrs. Stuart K. Wichert ❂Doug & Meghan WilliamsonRosemary & Robert WinklerSara WithingtonJudy Wizowaty ✴Elizabeth WoodsMargaret & Cary WoodwardConstance & Lawrence WoolsonDennis & Jody WoosDouglas P. WoosTim WoosSheryl WorrallDavid Adair & Barbara York ✴Gwen ZweberNancy & Nixon de TarnowskyMarc & Dana vanderHeyden ✴

In honor ofSylvia AdamsDr. Kim Bergner & Jai and Tej

MalhotnaJohn CanningCarolyn LongBen ParkerMary & Michael Scollins

In memory ofBarry CarrisAnn EmeryBuddy FloydArnold GolodetzGeorge & Liz PastiFrances Whitfield

Founders Circle ❂Members of the Founders Circle have contributed at least $5000 to the Festival during its first five years of operation.

Founding Members ✴Founding Members have contributed at $1250 to the Festival during its first five years of operation.

Gold Circle ✪Members of the Gold Circle have pledged to provide ongoing support of at least $1000 a year to the Festival.

Festival SponsorPhysician’s Computer Company

Media SponsorVermont Public Radio

Concert SponsorsThe Lodges at Shelburne Bay

and Otter CreekCharles Dinklage, AXA Advi-

sors, Sequoia GroupThe Emery Family

Reception SponsorsDinse, Knapp & McAndrewDan's ChocolatesLet's Pretend CateringPulcinella's Ristorante

Hospitality SponsorThe Sheraton, South Burlington

Co-SponsorsBurlington City ArtsDanielle Devlin and BakeAriaThe Flynn Center for the Per-

forming ArtsFletcher Free Library

Donor Honor Roll

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Festival Sponsor

Piano Generously Supplied by Steinway & Sons, New York

The 2013 Festival is made possible in part by the Vermont Community Foundation'sConcert Artists and Community Funds, the Vermont Arts Council,

and the National Endowment for the Arts

Vermont Youth Orchestra AssociationRosina CanizzaroJeff DomotoThomas Wood

Flynn Center for the Performing ArtsJohn KillackySteve MacQueenBrian JohnsonChelsea CockrellAJ Fucile and the FlynnTix Box Office

Staff

Fletcher Free LibraryRebecca Goldberg

Burlington City ArtsDoreen KraftKatie Beynnon

Steinway & SonsVivian Chiu

Front of the HouseEllen Gurwitz

Graphic Design and PrintingFutura DesignSteve AlexanderPhyllis BartlingDennis Bruso and East Coast Printers

HospitalityDanielle Devlin and BakeAriaLianeMendez and Let’s Pretend CateringSam Palmisano and Pulcinella’s RestaurantBarbara and Martin LeWinterLeslie MercyPatty and Tom BergeronValerie and Bill GrahamMary and Mike ScollinsDana and Michael EngelAmy TillyJudy WizowatyBarbara RippaBarbara and Dick Heilman

Vermont Community FoundationPeter EspanshadeChristopher Kaufman Ilstrup

Music-CompSandi MacLeod

Burlington Chamber OrchestraJohn VickeryGerald Holmes

ONE Strings, Integrated Arts Academy at H.O. Wheeler School

Bobby RileyVictor PrussackKathleen Kono

Young Writers ProjectGeoff GevaltKate SteinEvan Wing

Legal and AccountingThomas Carlson, EsquireWallace Tapia, CPADonna Renaud, CPA

Media CoverageWalter Parker, VPRLinda Radke, WCVTCheryl Willoughby, WBGHAmy Tilly, Seven Days

Technical AssistanceDeb BergeronJen Loiselle

Special ThanksMartha Ming WhitfieldRoger Foster and Baiba GrubeJoanne KimJin and Soon Young KimCarolyn LongAce AliHorsford Gardens and Nursery

Thank You

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Artistic DirectorSoovin Kim

Composer in ResidenceDavid Ludwig

Distinguished Visiting Composers

Marc NeikrugSteven StuckyJoan Tower

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

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

violaJeewon Park, pianoMatan Porat, piano

Evan Premo, double bassMarcy Rosen, celloEric Ruske, hornPhilip Setzer, violinSophie Shao, celloDavid Shifrin, clarinetJoshua Smith, fluteIgnat Solzhenitsyn, pianoArnold Steinhardt, violinBurchard Tang, violaWilliam Tilley, double bassElena Urioste, violinJason Vieux, guitarGilles Vonsattel, pianoAlisa Weilerstein, celloPeter Wiley, celloShai Wosner, pianoHyunah Yu, soprano

East Coast Chamber Orchestra

J Freivogel, violinMeg Freivogel, violinNelson Lee, violinAyano Ninomayo, violinSusie Park, violinAnnaliesa Place, violinHarumi Rhodes violinMichi Wiancko violinMaurycy Banaszek, violaJonathan Chu, violaBeth Guterman, violaNa-Young Baek, celloDenise Djokic, celloTom Kraines, celloEarl Lee, celloDan McDonough, celloRaman Ramakrishnan, celloThomas Van Dyke, double

bassNick Masterson, oboeJames Austin Smith, oboe

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

violaCamden Shaw, cello

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

Recording EngineerAlan Bise

Young Composers’ Seminar

David Bloom Serena CrearyTamzin Ferré Elliott Phillip Golub Molly JoyceKaterina KramarchukLoren LoiaconoAndrés Martinez de Va-

lascoRiho MaimetsDylan MattinglyJoshua MorrisRene OrthDaniel Shapiro Zach SheetsGabriella SmithAlyssa WeinbergTim Woos

Festival Artists 2008 – 2013

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

Jody Woos, Executive Director

Advisory CommitteeRobert AnkerFrank BayleyFred ChildGlen KwokJamie LaredoSharon RobinsonMalcolm SeveranceDana vanderHeyden

Board of DirectorsJohn CanningSomak ChattopadhyayElizabeth ChoNancy de TarnowskyCharles DinklageRoger FosterJoe GoetzValerie GrahamStanley GreenbergMartin LeWinterBuff LindauFrederick NoonanMary ScollinsKate Stein

East Coast Chamber Orchestra

J Freivogel, violinMeg Freivogel, violinJessica Lee, violinNelson Lee, violinKaren Kim, violinSusie Park, violinAnnaliesa Place, violinMichi Wiancko, violinMaurycy Banaszek, violaRebecca Gitter, violaJessica Thompson, violaJonathan Vinocour, violaNayoung Baek, celloEfe Baltacigil, cello Denise Djokic, cello Dan McDonough, celloJoe Campagna, bassNate Farrington, bass

2013 Festival ArtistsHye-Jin Kim, violinSoovin Kim, violinPhilip Setzer, violinMisha Amory, violaJullianne Lee, violaMarcy Rosen, celloChristopher Costanza, celloRicardo Morales, clarinetShai Wosner, pianoGilles Vonsattel, pianoJason Vieaux, guitar

Artists ContinuedSteve Stucky,

Distinguished Visiting Composer

Alyssa Weinberg, Returning Young Composer

Alan Bise, Recording Engineer

Young Composers Seminar

Loren LoiaconoRiho MaimetsRene Orth

Piano TechnicianAllan Day

PhotographyJan Cannon Michael GW SteinJonas Powell

InternsVictoria BergeronKameron Clayton Manuel Fieber Devon Govett Sebastian Maier Sam NashJonas PowellTim Woos

20 Winooski Falls Way, Ste 7Winooski, VT 05404

802.846.2165www.lccmf.org

PCC is proud to be the official sponsor of the 2013 Lake Champlain Chamber Music Festival.

We are equally proud of our thirty year history ofworking with pediatricians across the country to

improve the health of children.

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

Upcoming Festival EventsJohannes Quartet, with Fred Child

at the FlynnSpace Sept. 22, 2013 and Feb. 27, 2014

presented in collaboration with the Flynn Center for the Performing Arts

A Week of Excellence: Celebrating the VYO's 50 Years in Our Community —

A Collaboration between the Burlington Chamber Orchestra, the Lake Champlain Chamber Music Festival, and the

Vermont Youth Orchestra Association, with concerts on

January 18, 2014, January 22, 2014, and January 26, 2014

2014 Lake Champlain Chamber Music Festival August 23–August 31, 2014