August 22–29, 2010

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LakeChamplainChamber

MusicSoovin Kim, Artistic Director

Festival Program

August 22, 2010Dear Friends -This year has flown past, and it seems scarcely possible that I am sitting down to write again so soon. When we launched the Festival last year, it was my hope that it would become an integral part of the Vermont arts community. Looking back a year later, I am humbled by the many ways in which the community has embraced the Festival, and thrilled by how much we continue to grow.

We have been blessed with over 150 donors and a host of sponsors who believe in the festival and have made generous contributions. Thanks to this outpouring of support, we were able to hold two concerts this past February, including one in Plattsburgh, New York where

we played to 450 people (our largest audience to date), and we have expanded the number of Festival concerts and our free outreach events!

Recently, the American Society for Composers, Authors, and Publishers (ASCAP) honored composer Tim Woos for the piece he wrote during our Young Composers Seminar last year and the program has again attracted a stellar group of aspiring artists. The Young Writers Project and the Vermont Midi Project are here with us again - their contributions are sure to add much to the week. The Vermont Youth Orchestra continues to grow and this year welcomes a new Music Director in Ronald Braunstein, with whom we look forward to a long and fruitful collaboration. My especial thanks go to the Festival’s Board of Directors who have worked tirelessly behind the scenes to make all of this possible.

I had opportunities earlier this summer to perform with some of our Festival Artists. I have been dazzled and inspired by their unique artistic abilities, and can not wait to share them with you. We open the Festival with a bang - the East Coast Chamber Orchestra (ECCO) is preparing to take the Festival by storm with their orchestral performance and multiple chamber group performances throughout the city.

If you can make time in your week, I encourage you to come along to some of our free outreach concerts in downtown Burlington. This year we have 4 concerts, including a family concert at the Fletcher Free Library. Bring your children and grandchildren (or borrow some for the day!) We would love to see you there.

This is your Festival, and your participation is a huge part of the Festival experience. I look forward to our conversations, concerts, rehearsals, talks, and seminars, and to the richness of all the activity surrounding the main Festival concerts. Powerful chamber music experiences remind us that people working together can create great miracles. I hope that this week will stretch your imagination, touch your senses, and inspire and enrich you as only music can.

With appreciation,

– Soovin

Sunday, August 223 P.M. Festival Concert • East Coast Chamber Orchestra *

Monday1–2 P.M. Listening Club • Brahms String Sextet in G major

Tuesday12:15 P.M. Bach on Church • Firehouse Center for the Visual Arts3:15 P.M. ECCOs Around Town • Family Concert, Fletcher Free Library5:15 p.m. ECCOs Around Town • Unitarian Church

Wednesday7:30 P.M. Festival Concert • Ensembles from ECCO *

Thursday12:15 P.M. Bach on Church • Firehouse Center for the Visual Arts1:30 –2:30 P.M. Listening Club • Russian Music and Films

Friday11 A.M.–12 noon Listening Club • Ligeti Horn Trio7:30 P.M. Festival Concert • An Evening in Russia *

Saturday10 –11:30 A.M. Piano and Violin Master Classes11:30 –12:30 P.M. Chamber Music Master Classes1 P.M. Virtuoso Showcase2 –3 P.M. Horn and Cello Master Classes3 P.M. Sounding Board • Young Composers Seminar6 P.M. Public Reading • Young Writers Project

Sunday, August 293 P.M. Festival Closing Concert *

All events will be held at Elley-Long Music Center at Saint Michael’s College unless otherwise noted.

* Please join us for a pre-concert lecture 45 minutes prior to the concert and a short Meet the Musicians session immediately following each concert.

Festival at a Glance

Elley-Long Music Center at Saint Michael’s CollegeSunday, August 22, 2010, 3:00 P.M.

Francesco Geminiani (1687–1762)arranged by Michi Wiancko (b. 1987)Variations on La Follia for String Orchestra (1729)

Wolfgang Amadeus Mozart (1756–1791)Violin Concerto No. 5 in A major “Turkish,” K. 219 (1775)

Allegro apertoAdagioRondo: Tempo di minuetto

Intermission

Pyotr Ilyich Tchaikovsky (1840–1893)Serenade for Strings in C major, Op. 48 (1880)

Pezzo in forma di SonatinaValseÉlégieFinale (Tema Russo)

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

ECCO Management by Frank Salomon Associates, New York City

Festival Opening Concert

East Coast Chamber OrchestraSoovin Kim, violin

Program Notes

Francesco Geminiani (1687–1762) arranged by Michi Wiancko (b. 1987)Variations on La FolliaLa Follia in its purest form refers to a simple harmonic structure which has been borrowed and used by over 150 composers over the course of three centuries. My arrangement of the La Follia variations is based on Geminiani’s Concerto Grosso which was, in turn, fashioned around Corelli’s Sonata for violin and accompaniment (1700). Though my variations incorporate modern technique and texture, I wanted to highlight some of the things we have in common with the music made 300 years ago: improvisation, drama, joy, and the occasional moment of irreverence.

W. A. Mozart (1756–1791)Violin Concerto No. 5 in A majorIt is a great mystery (and a severe test of today’s liberal parenting theories!) that such a sublime talent as Wolfgang was able to harness such miraculous joy into music while being pushed, manipulated, and exploited by his father Leopold. While it is easy for us to accuse Leopold of being the worst stage parent in history, we have to credit Leopold for lovingly nurturing his son’s immense musical gifts as a keyboardist, violinist, and composer. Leopold was himself a noted violinist, and he wished that young Wolfgang would fulfill his talent on the violin to become “the finest violinist in Europe.” Perhaps it is an early sign of rebellion that Wolfgang never wrote another violin concerto after the age of 19. Still, the five violin concertos that Wolfgang wrote in 1775 have remained the most important set of its kind, and the A major “Turkish” is the crown of the set.The concerto opens in a remarkable way. The orchestra begins with a bridled excitement, running 1/16th notes bubbling under the surface while an arpeggio line in the violins

rises into the sky. The soloist’s first entrance comes as a surprise, a tranquil but transcendent aria that is built on the orchestra’s initial arpeggiated line. Just as everything seems to be at peace, Mozart repeats the opening of the concerto but this time with the soloist playing a variation of the aria that is one of the most joyous outbursts in the violin concerto repertoire. As with most of Mozart’s music, character changes lie at every turn like an opera with a convoluted, comical plot. The middle slow movement and the Rondo third movement have various episodes that always return to their opening refrains. One of these episodes in the third movement gives the concerto its nickname, the “Turkish” march with its Eastern, exotic harmonies and a drumbeat played by the cellos. The concerto ends with a wink, a variation of the piece’s opening arpeggio that evaporates playfully. © 2010 Soovin Kim

Pyotr Ilyich Tchaikovsky (1840–1893)Serenade for Strings in C majorTchaikovsky wrote two of his best known scores in 1880: the bombastic and hugely popular 1812 Overture and the elegant and beloved Serenade for String Orchestra. While the composer was dismissive of the former work as not serious, he described his feeling toward the Serenade as a “fervent and violent love.” Audiences since its premiere have felt the same fervent love for the piece, and it makes frequent appearances in the concert hall and ballet stage (Balanchine created one of his most famous choreographies to the full score).Architecturally, the Serenade takes many of its cues from Mozart’s serenades. Mozart was Tchaikovsky’s greatest musical idol and this piece is the Russian’s homage to the master. It is not just in the structure of the work that we find a nod to Mozart’s classical sensibility, however. Those more accustomed to

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Program Notes

Tchaikovsky’s emotive symphonic works will be struck by the restrained Classical expressivity of this music. There is emotional restraint in the very opening of the work, in fact–a grand introduction that is more majesty than pathos.The first movement, Pezzo in forma di sonatina adheres to the Classical era sonatina form of a long introduction, followed by thematic development and fleet accompaniment. The stately opening of the piece is echoed in the graceful waltz of the second movement. The listener is transported to the fantasy world of Tchaikovsky’s regal ballet scores. The third movement, Elegie, has humble beginnings that grow into lush and rollicking Romantic chords looking nostalgically back to some imagined memory of those passed. The inner two movements are regarded by many as some of the composer’s best work, but the fourth

movement belongs right up there with them. Tchaikovsky writes “Russian Theme” in the score for this movement, and after a melancholic opening, he uses vibrant Russian folk melodies to bring all of the music we’ve heard before back down to Earth. Out of the elegant passages in the first, second, and third movements Tchaikovsky offers a new take with the music of the Russian countryside, which is both rhythmic and incisive. Before he ends, however, he returns to the opening introduction of the piece, which has been hiding in this folk music all along (listening to the active accompaniment and melody reveals the notes of the opening as an “Easter Egg,” just in less royal clothes). Tchaikovsky called this last movement a “festive merriment of the people” in a letter to his benefactor, and suddenly the listener realizes just how great the journey has been all along.©2010 David Ludwig

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All concerts at the Flynn Center for the Performing ArtsTickets: 802-86-FLYNN or www.flynntix.org

Information: www.vyo.org

Celebrate our inaugural season

with Ronald Braunstein!

Vermont Youth Orchestra

Sponsors

Welcome Maestro Braunstein!Sunday, September 26 at 3:00 pmAntonin Dvorak - Slavonic Dances,J.S. Bach - "Air" from the Overture No. 3 in D majorLeonard Bernstein - �“West Side Story�” OvertureLudwig van Beethoven - Symphony No. 5 in C minor

Winter ConcertSunday, January 30 at 3:00 pmJuliana Matthews, fluteRobert Paterson, composer-in-residenceRobert Paterson - Suite for String OrchestraCarlos Chavez - Toccata for PercussionW.A. Mozart - Flute Concerto No. 2 in D majorPytor Tchaikovsky - Symphony No. 5 in E minor

Spring ConcertSunday, May 1 at 3:00 pmJoshua Morris, celloAntonin Dvorak - Cello Concerto in B minorJohannes Brahms - Symphony No. 2 in D major

Robert Paterson’s residency is made possible through “Music Alive,” a residency program ofthe League of American Orchestras & Meet The Composer.

David Ludwig (b. 1972)Aigaios (2006)

Annaliesa Place, violinAyano Ninomiya, violinMaurycy Banaszek, violaDaniel McDonough, cello

Antonín Dvořák (1841–1904)Nocturne in B major, Op. 40 (1882–83)

Ayano Ninomiya, violinAnnaliesa Place, violinMaurycy Banaszek, violaDaniel McDonough, celloWilliam Tilley, bass

Elley-Long Music Center at Saint Michael’s CollegeWednesday, August 25, 2010, 7:30 P.M.

Ensembles from ECCOEast Coast Chamber Orchestra

Gioachino Rossini (1792 –1868)String Sonata No. 1 in G major (1804)

ModeratoAndantinoAllegro

Susie Park, violinMichi Wiancko, violinDaniel McDonough, celloWilliam Tilley, bass

Intermission

Johannes Brahms (1833 –1897)String Sextet No. 2 in G major, Op. 36 (1864–65)

Allegro non troppoScherzo: Allegro non troppoPoco AdagioPoco Allegro

Nelson Lee, violinMichi Wiancko, violinBeth Guterman, violaJonathan Vinocour, violaDenise Djokic, celloTom Kraines, cello

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

ECCO Management by Frank Salomon Associates, New York City

Program Notes

David Ludwig (b. 1972)Aigaios“Aigaios” was written at the request of the Newburyport Chamber Music Festival. The festival wanted a piece that depicted the events from the novel “The Perfect Storm” by Sebastian Junger – the events of which occurred just a few miles down the coast from the concert hall. Rather than try to recreate a kind of blow-by-blow recounting of what happens in the book in the piece, I instead aimed to convey a single image. “The Perfect Storm” centers on a deadly excursion at sea taken by the fishing boat the Andrea Gail. It’s hard to believe, but the storm that took the boat under happened twenty years ago next October.For those not familiar with the story, the Andrea Gail travelled headlong into what was the greatest Nor’easter of the 20th century. Junger describes vividly what the storm would be like from the perspective of the sailors on board the boat, and I was moved by the terrifying imagery. The music attempts to capture this impression and convey the violent raging of the storm, only to be followed by the serenity of the day after, when all of the sailors had been lost.“Aigaios” is the name of the titan god of sea storms in ancient Greek mythology (and from where the Aegean gets its name).©2010 David Ludwig

Antonín Dvořák (1841–1904)Nocturne in B majorDvořák wrote his fourth String Quartet in 1870. He decided not to have the work published, but in 1875 he extracted the slow movement Andante Religioso and revised it, adding a part for double bass. He included it as the Intermezzo: Nocturne movement in his five-movement String Quintet for two violins, viola, cello and bass, Op. 77. However, he later removed the Nocturne from the quintet due to

his concern about having two slow movements in the piece and expanded it, resulting in the individual work that is played today.The piece is calmly beautiful, reminiscent of some of Beethoven’s and Brahms’s slow movements. The first violin melody floats over legato eighth notes in the second violin and viola, long notes in the cello, and pizzicatos in the double bass. Some tension is produced later when the inner voices switch to a syncopated ostinato and the bass pizzicatos turn into steady eighths, but the peaceful mood prevails, bringing the piece to its conclusion.The Nocturne exemplifies Dvořák’s mastery in writing slow movements. One distinguishing aspect of his work is the range of human emotions that are conveyed. The mood of the second movement of his Ninth Symphony, for example, ranges from calm to anguish to joy, enabling the listener to connect to the music in a different way to that of other composers. This is just one of the reasons why many concertgoers look forward to hearing Dvorak’s pieces on a program.©2010 Joshua Morris

Gioachino Rossini (1792 –1868)String Sonata No. 1 in G majorFrom humble and colorful beginnings (son of an itinerant opera singer who could not read music and a horn player who doubled as a trumpeter and as an inspector of local slaughterhouses; student of a man who could play a keyboard scale with two fingers only and often fell asleep standing up while teaching) Rossini had plenty of chance to find wit in the world about him. He rose to be the toast of Europe and addressed many serious topics in his time – grand opera with the usual mayhem of tyranny, love, blood and betrayal – but his lasting legacy remains the astonishing melodious geniality and wit infusing his work. “Give me a laundry list,” he famously said “and I will set it to music.” Entirely appropriate then that his final serious opera, Guilliaume Tell,

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Program Notes

remains familiar today not for its revolutionary fervour rebelling against political oppression but for its overture which has trotted into our communal memory as the theme for ‘The Lone Ranger.’ (Pause here to hum it to yourself.) The six string sonatas, early works written in Italy during a summer stay at the home of his friend Agostini Triossi, show already his innate capacity for ingratiating entertainment – relaxed, insouciant, and of course insidiously tuneful. A rich merchant and amateur bassist, Triossi held frequent chamber music evenings where, Rossini reported, “everyone played like dogs, except me”. So, the available friends account for the odd instrumentation of the works – two violins, cello, and double bass. Since Triossi’s own cousin got to play first violin, Rossini found consolation in writing a substantial part for his role as second. In his old age Rossini revised these sonatas for publication, but for years the original manuscripts were lost and the sonatas were played in various transcriptions, even wind ensembles. When the manuscripts finally turned up in 1954 in that most unwitty of cities – Washington, D.C. – Rossini’s unusual choice of instruments was reconfirmed. The neighboring Malerbi family had a fine library of Haydn and Mozart and the sonatas unabashedly reflect Rossini’s delight in the great Austrian composers. He later touchingly confessed: “Mozart was the admiration of my youth, the desperation of my mature years, and the consolation of my old age.” In the Austrian tradition, these sonatas follow the conventional fast-slow-fast movement structure, but instead of the treble and bass instruments always doubling or paralleling each other, as would be expected at the time, each instrument often carries its own line. One hears them smiling and bowing to each other in a social minuet, stately, saucy, innocent, virtuoso, deferential, slyly seductive.The opening bars of the G major Sonata seem to nudge the listener in the ribs, forecasting harmless fun, and the whole movement indeed

has a cheeky gracefulness, interrupted by flurries of virtuoso display. Even the double bass gets to trundle along at amusing speed. The second movement is startlingly pensive and serves notice that Rossini is not always light-hearted. Note how the violins sigh downwards and give way to the serious growling rumination of the double bass. A dancing rondo closes the sonata.One parting thought on this charming work: check the composition date, then Rossini’s birth date – February 29th, by the way, the ultimate in witty birthdays. And do your arithmetic. What were you, or any of your brilliant children or grandchildren, doing at that age which will still be providing such pleasure over 200 years later? ©2010 Frederick Noonan

Johannes Brahms (1833 –1897)String Sextet No. 2 in G majorBrahms was extremely reticent about his private life and was well aware that later fans and commentators would try to pry into it after his death. Not wanting his affairs to be known posthumously, the composer went so far to as demand that his correspondents return letters going all the way back to his youth. Brahms threw many of the most personal missives into the fire, along with many pieces of music that he didn’t deign to be worthy of his exacting standards. A good part of Brahms’s legacy is wrapped up in the composer’s concern for his legacy, itself.It may a surprise, then, to learn about works where Brahms gives us a “secret code” allowing a window into his personal life. As with many composers, this code takes the form of a motive or melody in some of his pieces. Brahms used notes to represent words, such as the motive that used the pitches “F-A-E” to stand for Frei aber einsam (“free but alone”) or “F-A-F” to stand for Frei aber froh (“free but happy”) in several pieces. In these cases, both of these messages are commentaries on the relationship status of himself and his friends. Another device is to set names into melodies (thinking of B-A-C-H and

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Program Notes

the D-S-C-H motive of Shostakovich) Brahms uses the motive “A-G-A-H-E” (“H” is the German letter for B-natural) in his String Sextet in G major as the musical setting of the name “Agathe,” thus enshrining the first name of Agathe von Siebold into musical history.Brahms fell in love with Siebold when he was twenty-five. After a period of courtship, he exchanged rings secretly with her. What unfortunately followed must have stayed with Brahms for some time. He wrote Siebold a letter expressing that he loved her but that he was not ready to have “fetters.” Devastated by his lack of commitment, she sent him a curt note that the engagement was off and she refused to be with him again. It wasn’t until several years later that Brahms would write her name into the second theme of the first movement of his String Sextet in G major. Perhaps he felt guilt or perhaps it was nostalgia; he later wrote to a friend that he “played the role of the scoundrel” to Siebold and that she was the last love he tore himself away from.The work opens with an expansive first theme that rises and falls in the first violin. The “Agathe” melody comes in second, and these two musical

thoughts are developed not just through the first movement, but throughout the piece.The second movement Scherzo is more muted in character than other scherzos of Brahms’s predecessors and contemporaries. It features a lilting duet in the upper strings accompanied by pizzicatos in the lower strings. This leads to a waltz-like trio in the middle of the movement that contrasts with a bright rhythmic energy. We are brought to stillness after in the third movement Adagio, a hauntingly beautiful reworking of the music from the first. The critic Edward Hanslick famously called this movement “Variations on a Theme of Nothing,” but thankfully our ears do not hear it this way a hundred and fifty years later!The rich and exciting fourth movement brings the full sound of the sextet to the fore as ideas are exchanged between instruments and constantly developed (in Brahms, it is always “the same but different.”) The piece ends triumphantly in a flurry of cascading scales and counterpoint, perhaps as Brahms looks forward (“free but happy”) to an unfettered life of brilliant musical creations.©2010 David Ludwig

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DKM_ad_7.5x4.875.eps 1 8/2/10 11:32 AMDKM_ad_7.5x4.875.eps 1 8/2/10 11:32 AM

Dmitri Shostakovich (1906 –1975)Piano Trio No. 2 in E minor, Op. 67 (1944)

AndanteAllegro con brioLargoAllegretto

Soovin Kim, violinColin Carr, celloIgnat Solzhenitsyn, piano

Intermission

Sergei M. Eisenstein (1898–1948)The Battleship Potemkin (1925)

Matan Porat, piano

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

Concert Piano on loan from Steinway Hall, New York City.

Elley-Long Music Center at Saint Michael’s CollegeFriday, August 27, 2010, 7:30 P.M.

Reception SponsorCharles Dinklage

Concert Sponsor

An Evening in Russia

Program Notes

Dmitri ShostakovichPiano Trio No. 2 in E minorShostakovich began work on his Piano Trio in E Minor in late 1943 while at Kuybishev, a city just west of the Ural Mountains where his family was sent after the siege of Leningrad. On February 11, 1944, while still working on the first movement of the trio, Shostakovich’s closest friend Ivan Ivanovich Sollertinsky died of a heart attack at the age of 41. Sollertinsky was a brilliant, largely self-taught polymath, a well-known lecturer and music critic, and shared Shostakovich’s mischievous sense of humor. His death left Shostakovich devastated, and he stopped composing all together. Upon hearing of Sollertinsky’s death, Shostakovich wrote to Sollertinsky’s widow: “It is impossible to express in words all the grief that engulfed me on hearing the news about Ivan Ivanovich’s death. Ivan Ivanovich was my closest and dearest friend…to live without him will be unbearably difficult.” In August of 1944 he resumed work on the trio, finishing the last three movements in less than two weeks. He dedicated it to Sollertinsky’s memory.The first movement, Andante, begins with a bleak and ghostly theme played entirely on muted cello harmonics. This theme is developed through a range of characters and violent mood swings: despair, joy, irony, fury, until it finally retreats into oblivion at the end of the movement. The second movement, Allegro con brio, is a furiously-paced and sardonic scherzo in a relentlessly driving triple-meter. Sollertinsky’s sister wrote that the movement was “an amazingly exact portrait of Ivan Ivanovich, whom Shostakovich understood like no one else. That is his temper, his polemics, his manner of speech, his habit of returning to one and the same thought, developing it.” The third movement, Largo, is a quietly lamenting passacaglia, a series of variations over a chord progression that repeats itself every eight bars. It leads directly into the fourth movement without

a break. The fourth movement, Allegretto, is a violent, wailing, screaming dance of death based on various Jewish melodies. Shostakovich was fascinated by klezmer music. He wrote: “It seems I comprehend what distinguishes the Jewish melos. A cheerful melody is built here on sad intonations…Why does he sing a cheerful song? Because he is sad at heart.”©2010 Gabriella Smith

Sergei M. Eisenstein (1898–1948)The Battleship PotemkinSergei Eisenstein’s Battleship Potemkin is as important to film as Beethoven’s Ninth Symphony is to symphonic repertoire. Released in 1925 and lasting just 75 minutes, Potemkin began as a Russian Communist propaganda movie and grew into a model for decades of film to follow. Even occasional moviegoers will recognize scenes from Potemkin that have made their way in various incarnations into other films, just as strains of Beethoven since have echoed in so many symphonies.The plot of the movie is based on historic accounts of the mutiny on the naval warship Potemkin in 1905 and the uprising that grew up around it. Though this uprising of 1905 was ultimately unsuccessful, the Communist government saw it as an important precursor to their own revolution that would happen a little over a decade later. In depicting these events on screen, it was Eisenstein’s stated goal to produce unconditional sympathy for the sailors and revulsion at their masters to strengthen the citizens resolve to the state.Potemkin is the story of the working class–in this case sailors on a navy vessel at the turn of the century–and their struggles against the ruling class–in this case their commanders. After repeated abuses in their daily life, the sailors mutinied against their masters by taking over the ship while it was stationed by the city of Odessa. This unrest was also found in the city, and the city revolt was violently

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Program Notes

repressed by Czarist forces (the scenes of this conflict in the movie are some of the best known in cinema). Conversely, other navy vessels were ordered to fire on the Potemkin, but refused. This part of the story became a symbol of victorious class struggle for the Communists after the massacre in the city.The narrative of the movie is broken into five parts:

• “Of Men and Maggots”• “Incident at the Harbor”• “An Appeal from a Dead Man”• “The Staircase at Odessa”• “Conflict with the Squadron”

After being forced to eat maggot-infested meat (while their commanders lead the good life) the sailors on the Potemkin revolt. The mutiny leader is killed in the second part, and the decision to revolt after mourning his death is arrived at in the third. The fourth part shows the vicious military repression of the revolt in Odessa, which is then counterbalanced by the refusal of the squadron to fire upon the Potemkin in the fifth.

Unlike Eisenstein’s epic Alexander Nevsky, the score for Potemkin never really took hold (for Nevsky, it helped that Prokofiev was the film’s composer). There have been many attempts to score the film since its release, and wide array of contributors has offered music to the film, from jazz bands, to someone who placed Shostakovich’s Fifth on top of the movie, to the members of the 1980’s pop group Pet Shop Boys. As there is no definitive score, a tradition of live improvisatory music has come into vogue with the film, and in many ways this will remind the viewer of the performance practice of the keyboard player creating live accompaniment in the silent films of the earlier part of the 20th Century.As a work of propaganda, Battleship Potemkin was clearly effective. It was banned and controlled in many Western countries (some until as late as 1978!) and thoroughly edited to remove the more dangerous elements of its message in others. The film was reconstructed in 2004 to include as much footage and narrative as possible in the order in which Eisenstein originally intended.©2010 David Ludwig

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Music (Muse)A thousand dots and lines fill the page; a black and white language that is composed of/by emotion. It is with this language that instruments speak. It is how they move and run and yell and laugh. It is how they tell us stories that make us cry salty tears and smile so sweet at the same time. It is with these words that they whisper sweet nothings in our ears. This is how they remind us of heartbreak and half-frozen nights. With a sweet, harsh language we call music. It kisses us sweetly, then bites our tongue. It tells only the truth, even when that's the last thing we want to hear. This language is our devilish muse. It gives us sweet words we didn't even knew existed, then steals them away before we can scribble them down. It teaches us that we can't always be recognized and sometimes, we have to live with only the sweet melody inside our heads for company. Music breaks our hearts, and then sews them back together with a gentle hand, leaving only a scar to remember by. This language is beautiful and mysterious and sad and haunting and though not all of us speak it, it is our life. --!by utagirl, August 2009! Young Writers Project

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Green Mountain Chamber Music Festival

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We applaud the

Lake Champlain

Chamber Music

Festival in our joint

endeavor to

encourage young

musicians and bring

fine chamber music

to Vermont.

Johannes Brahms (1833 –1897)Liebeslieder Waltzes for piano four hands, Op. 52a (1869)

Matan Porat, pianoIgnat Solzhenitsyn, piano

György Ligeti (1923–2006)Trio for Violin, Horn and Piano “Hommage à Brahms” (1982)

Andante con tenerezzaVivacissimo molto ritmicoAlla marciaLamento. Adagio

Soovin Kim, violinEric Ruske, hornMatan Porat, piano

Intermission

Ludwig van Beethoven (1770–1827)Piano Trio in B-flat major, Op. 97 “Archduke” (1810 –11)

Allegro moderatoScherzo: AllegroAndante cantabile, ma però con motoAllegro moderato

Soovin Kim, violinColin Carr, celloIgnat Solzhenitsyn, piano

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

Concert Piano on loan from Steinway Hall, New York City.

Elley-Long Music Center at Saint Michael’s CollegeSunday, August 29, 2010, 3:00 P.M.

Festival Closing Concert

Program Notes

Johannes Brahms (1833 –1897)Liebeslieder Waltzes for piano four handsJohannes Brahms was born in Hamburg in 1833 and died in Vienna in 1897. He composed the Liebeslieder Waltzes, for vocal quartet and four hand piano in 1869. The first public performance of the songs took place on the 5th of January in 1870.The Liebeslieder Waltzes is one of his most cherished lighter works, and it contributed greatly to his already gaining popularity throughout the early 1870s. He composed it during a period of his career in which he was writing much vocal music, from solo songs to choruses. He composed four vocal quartets during his lifetime, in which Liebeslieder Waltzes is the second. Liebeslieder Waltzes also follows the success of his perhaps greatest vocal work, the German Requiem, which enjoyed immediate popularity in Germany and abroad.Although the German Requiem was quickly popularized, many of the choral and orchestral works that Brahms is best known for were rarely heard during his lifetime. They were usually best known in four-hand piano arrangements for performance at home. Therefore Liebeslieder Waltzes, although difficult to perform at the time, was able to be performed more often in its original form.The text of the waltzes is from a volume of popular European poetry, Polydora, ein weltpoetisches Liederbruch. The original texts were translated from Hungarian, Russian, and Polish, and the words address the varied aspects of love, such as humor, irony, and solemnity. The order of the songs was not set immediately by Brahms, as it is evident that the order was changed from the autograph edition to the first published edition.©2010 Molly Joyce

György Ligeti (1923–2006)Trio for Violin, Horn and Piano“The Avante-garde, to which I am said to belong,” said György Ligeti in an oft-quoted exchange with Claude Samuel in 1981, “has become academic. As for looking back, there’s no point in chewing over an outmoded style. I prefer to follow a third way: being myself, without paying heed either to categorizations or to fashionable gadgetry.”Completed in 1982, the twenty-one minute “Trio for Violin, Horn and Piano” is one of only a handful of works ever written for the ensemble. The most famous of such pieces is the “Horn Trio in E flat major, Op. 40,” by Johannes Brahms, which he wrote in 1865 and was subsequently unable to compose another work for chamber ensemble for eight years. The primary reason for the horn trio’s scant numbers in the classical repertoire is that the ensemble is categorically incapable of balance of volume or blending of timbre. The violin has enough trouble being heard against the 88 keys of a piano, but the horn has the ability to wipe out all traces of the violin with only a meager breath. The prospect of counterpoint and interplay between these radically different instruments was enough to scare away even the most talented of baroque, classical, and romantic composers. Even today the number of recognizable works for the horn trio can be counted on one hands (alright, maybe two if you have a good memory or you play the horn).Perhaps it is strangely fitting then, that György Ligeti, the great innovator whose music is known to far more people than many of the other experimenters of the mid-twentieth century because of its place in such movies as The Shining and 2001: A Space Odyssey, chose the horn trio as the ensemble for a work which is widely considered the beginning of his later, more conservative, more classically inspired period. The “Trio for Violin, Horn and Piano” is

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Program Notes

subtitled Hommage à Brahms, and contains various classical forms, including a subtle passacaglia. Ligeti’s “Trio…” can hardly be seen as “looking back,” because the classical repertoire of horn trios is virtually bare. Perhaps Ligeti saw the ensemble as a blank slate.©2010 Dylan Mattingly

Ludwig van Beethoven (1770–1827)Piano Trio in B-flat major “Archduke”It is not quite like the Sistine Chapel where God, having created the world, reaches out and with the mere touch of his finger brings Adam to life. But almost. The sonata a tre, a modest child of the baroque, emerged in the late 18th century as the mighty piano trio and Beethoven was the godly, anointing finger. In its “original form” the violin or flute summoned the keyboard and cello to kneel down and serve as a platform for their treble virtuosity. When the sonata a tre edged its way into the attention of Mozart and Haydn, both did their part in promoting a little more democracy within the group, though hauling the forte piano into prominence. The keyboard builders did their part too, giving the forte piano more muscle than the poor plucked harpsichord ever dreamed of having. When Beethoven began his series of eleven piano trios (all still sounding out from concert stages the world around), the piano trio was soon seriously muscling aside the string quartet to claim a leading role in 19th-century chamber music.At the turn of that century, the rising middle class were taking the world of chamber music away from the idle princes with their candle-lit palaces and smiling mistresses and bringing it into the new open world of public concerts. To satisfy this growing body of amateur musicians in Vienna, Beethoven even transcribed his own symphonies to be played as piano trios, more likely in a parlor than a palace. A bit of an irony then that his last great piano trio should carry a noble name. But the Archduke Rudolph (1788–

1831) was no idle prince, even though he was the youngest brother of the emperor. He was a serious student, a pianist and composer of some talent, and most importantly: a true friend and devoted supporter of his stormy-tempered teacher. Beethoven repaid his unflagging kindness with numerous heart-felt dedications, including the Les Adieux sonata, the “Emperor” Concerto, the Missa Solemnis, and this great trio.The “Archduke” premiered at a charity concert for the military in a hotel ballroom on April 11, 1811 with Beethoven at the piano. The ubiquitous memoirist Ludwig Spohr reported: “It was not a treat. The piano was badly out of tune, which Beethoven minded little, since he could not hear it…the poor deaf man pounded on the keys till the strings jangled…I was deeply saddened at so hard a fate. If it is a great misfortune for anyone to be deaf, how shall a musician endure it without giving way to despair?” In fact, after the “Archduke” Beethoven never played in public again.The trio however survived this mistreatment to become the cherished icon it is today. From the very opening notes a leisurely-paced grandeur is evident, drawing the listener into a world of expansive humanity and emotion. Modern ears hear now an affinity to the Romanticism of Brahms (not even born for another twenty years) and the theme repetitions have a mantra-like quality liberated from the familiar classical dictates of form. The unhurried, noble, spacious, even symphonic, nature of this movement, savouring its excellence, must have been in those days both unsettling and reassuring. One is immediately in the presence of something great.The Scherzo theme skips in on unaccompanied cello, is snatched up by the violin, and then passed around for several light-hearted variations until a trio waltz introduces a new tension of dark against light. Finally the cheerful original theme reasserts itself, more robust and mature.

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Program Notes

The lofty third movement, Andante cantabile, unfolds a hymn-like theme through elaborate variations, each with subtly rhythmic imagination but always maintaining a prolonged serene character. This emotional meditation is finally impudently interrupted, mid-cadence, by a lively dance theme and without pause the fourth movement is off and running. This abrupt trick Beethoven evidently relished when he improvised for friends. A contemporary observer reports: “It was Beethoven’s habit, after catching everyone up in the magic of his music, to slam his fist down on the keys and burst into raucous laughter, as though embarrassed by the spiritual experience they had just shared.” The last movement is more like a witty teasing piano concerto, dancing for its own pleasure with whirling exuberance, as if the emotional weight of the first three movement needed some dispelling relief.

A reminder of the trio's tumultuous historical context: when Beethoven wrote the “Archduke”, his recently created “Eroica” and Fidelio, plus the hammering of the Fifth Symphony, were resonating in his head, and the sounds and terror of the Napoleonic armies marching through the streets of Vienna in 1805 still fresh and terrible. The high ideals of the French Revolution were simmering there, too. Years later in 1819 in a letter to the Archduke Rudolph, still his friend, Beethoven wrote: “In the world of art, as in the whole of creation, freedom and progress are our main goals.” No doubt this aspiration stamped the creation of the “Archduke”. The innately rich human and emotional qualities which would later flower in the Romantic movement still speak to us 200 years later through Beethoven's prescient mature voice.© 2010 Frederick Noonan

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Jaime Laredo, Music Director

Featuring: Alon Goldstein, pianoAnna Polonsky, pianoBella Hristova, violinYo-Yo Ma, cello Masterworksseries

2010 /2011

at the flynn center

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Visit our websitefor the calendar of events for2010/2011.

VSO.011.10 : LCCMF : 1/2 horizontal (7.5 x 4.875)

www.vso.org

www.nsbvt.com 800-NSB-CASH

100% of the local bank you want+10% of profits to our community

What does this mean?

Starting in Fall 2010, burlington ensemble will launch the inaugural season of its 90/10 series. This concert series will feature partnerships with various local nonprofits.90% of concert proceeds will benefit the nonprofit, 10% will benefit burlington ensemble, and 100% will benefit the community. We are a group of musicians helping community. Future dates and our nonprofit partners include:

Sep 18, 2010 Stern Center for Language and Learning

Nov 6, 2010 Vermont Children’s Trust Foundation

Feb 12, 2011 KidsSafe Collaborative

Apr 9, 2011 COTS

www.burlingtonensemble.com

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Tuesday, August 24, 2010, 12:15 P.M.Firehouse Center for the Visual ArtsChurch Street, Burlington

Johann Sebastian Bach (1685–1750)Goldberg Variations for string trio, BWV 988

Soovin Kim, violinBeth Guterman, violaNa-Young Baek, cello

Thursday, August 26, 2010, 12:15 P.M.Firehouse Center for the Visual ArtsChurch Street, Burlington

Johann Sebastian Bach (1685–1750)Cello Suite No. 6 in D major, BWV 1012

PreludeAllemandeCouranteSarabande

Colin Carr, cello

Firehouse Center for the Visual ArtsChurch Street, Burlington

Bach on ChurchFree Outreach Concerts

Tuesday, August 24, 2010, 3:15 P.M. Family ConcertFletcher Free Library,College Street, Burlington

Pieces will be introduced during the concert.Members of the East Coast Chamber Orchestra

Tuesday, August 24, 2010, 5:15 P.M. Unitarian Universalist ChurchPearl and Church Street, Burlington

Wolfgang Amadeus Mozart (1756–1791)String Quintet No 4. in G minor, K. 516 (1787)

AllegroMenuetto: AllegrettoAdagio ma non troppoAdagio – Allegro

Members of the East Coast Chamber Orchestra

ECCOs Around TownFree Outreach Concerts

10:00 – 11:30 A.M. Piano Master Class Ignat Solzhenitsyn10:00 Greg Tyler10:25 Sasha Torrens-Sperry10:50 Sammy Angstman

10:00 – 11:30 A.M. Violin Master Class Soovin Kim10:00 Samantha Bottom Tanzer10:25 Lydia Herrick10:50 Victoria Bergeron

11:30 – 12:30 P.M. Chamber Music Master Class Soovin Kim11:30 Samantha Bottom Tanzer, violin Adele Woodmansee, violin Devon Govett, viola Joshua Morris, cello Cara Turnbull, double bass11:55 Allie Harris, violin Toni Marie Martin, violin Grady Ward, viola Lindsey Kelley, cello

1:00 - 1:45 P.M. Virtuoso Showcase

2:00 – 3:00 P.M. Cello Master Class Colin Carr2:00 Joshua Morris2:25 McKinley James

2:00 – 3:00 P.M. Horn Master Class Eric Ruske2:00 Lauren Donnelly2:25 Konrad Herath

3:00 – 4:00 P.M. Sounding Board • Young Composers Seminar

6:00 – 6:45 P.M. Public Reading • Young Writers Project

Elley-Long Music Center at Saint Michael’s CollegeSaturday, August 28, 2010

Master Class Saturday

Georg Philipp Telemann (1681-1767)Canonic Sonata #1

Allegro

Eric Ruske and Katherine Jordan, horns

Vitorrio Monti (1868-1922)Csárdás

Eric Ruske, hornIgnat Solzhenitsyn, piano

Felix Mendelssohn (1809-1847)Song Without Words

David Popper (1843-1913)Pieces for cello and piano, Op. 55

No. 1 – Spinning Song

Colin Carr, celloMatan Porat, piano

Matan Porat (b. 1982)(More than) One note Samba

Matan Porat, piano

Concert Piano on loan from Steinway Hall, New York City.

Elley-Long Music Center at Saint Michael’s CollegeSaturday, August 28, 2010, 1:00 P.M.

Virtuoso Showcase

East Coast Chamber Orchestra

In 2001, a group of some of today’s most exciting young string players envisioned the creation of a conductor-less chamber orchestra, based upon democratic principles, whose focus is purely on music-making. This organic approach, their passion, and commitment resulted in the creation of ECCO – the East Coast Chamber Orchestra. Its members are soloists, principals in major American orchestras, and marvelous chamber musicians, many trained at Marlboro. ECCO combines the strength and power of a great orchestral ensemble with the personal involvement and sensitivity of superb chamber music. Their New York City “Town Hall” debut in February of 2004 and their US debut tour in April 2006, which included the Kennedy Center, confirmed ECCO’s position as the most exceptional ensemble of today’s generation whose fresh interpretations of new and old works coupled with passionate and joyous playing earned them standing ovations and an immediate re-engagement. ECCO made their international debut in 2007 at the Seoul Music Festival and Academy in Korea. The members of ECCO are accomplished musicians who have soloed and played with the top orchestras and chamber ensembles in the United States and Europe.The artists of ECCO have soloed with such great orchestras as the Philadelphia Orchestra, Los Angeles Philharmonic, New York Philharmonic, Chicago Symphony, Richmond Symphony, Austin Symphony, Boston Symphony. Members of ECCO may also be seen performing with various chamber ensembles throughout the country, including Los Angeles Piano Quartet, Metamorphosen Ensemble, Time for Three, Jupiter String Quartet, Silk Road Ensemble, Elsner String Quartet, Delancey Quartet, Enso String Quartet, Momenta String Quartet.

ViolinsMeg FreivogelNelson LeeAyano NinomayoSusie ParkAnnaliesa PlaceHarumi RhodesMichi Wiancko

ViolasMaurycy BanaszekJonathan VinocourBeth Guterman

CelliNa-Young BaekDenise DjokicTom KrainesEarl LeeDan McDonough

BassesThomas Van Dyke (Aug 22)William Tilley

OboesNick MastersonJames Austin Smith

HornsAnn Ellsworth (guest artist)Katherine Jordan (guest artist)

(guest artist Aug 25)

For more information about ECCO, please visit: eastcoastchamberorchestra.com or youtube.com/user/ECCOrchestraManagementFrank Salomon Associates121 West 27th Street, Suite 703 | New York, NY 10001-6262Tel: 212-581-5197 | Fax: 212-581-4029 | www.franksalomon.com | info@franksalomon.com

Artist Biographies

Cellist Colin Carr appears throughout the world as a soloist, chamber musician, recording artist, and teacher. He has played with major orchestras worldwide, including the Royal Concertgebouw Orchestra, BBC Symphony, and the orchestras of Chicago, Los Angeles, Washington, Philadelphia, and Montréal. Colin’s most memorable performances include the Dvořák Concerto to close the Prague Autumn Festival, and Beethoven’s Triple Concerto, with Sir Colin Davis conducting, at Royal Festival Hall in London. As a member of the Golub-Kaplan-Carr Trio, he recorded and toured extensively for 20 years. He is a frequent visitor to international chamber music festivals worldwide and has appeared often as a guest with the

Guarneri and Emerson string quartets and with New York’s Chamber Music Society of Lincoln Center. Colin’s GM recordings of the unaccompanied cello works of Kodaly, Britten, Crumb, and Schuller, as well as his Bach Suites, are highly acclaimed.Colin first played the cello at the age of five. He was made a professor at the Royal Academy of Music in 1998, having been on the faculty of the New England Conservatory in Boston for 16 years. In 1998, St. John’s College, Oxford created the post of “Musician in Residence” for him, and in September 2002 he became a professor at Stony Brook University in New York. Colin’s cello was made by Matteo Gofriller in Venice in 1730. He makes his home with his wife Caroline and three young children, Clifford, Frankie and Anya, in an old house outside Oxford.

Horn soloist Eric Ruske is an artist of international acclaim. At the young age of 20 he was named Associate Principal Horn of The Cleveland Orchestra and also toured and recorded extensively during his six-year tenure as hornist of the Empire Brass Quintet. His impressive solo career began when he won the 1986 Young Concert Artists International Auditions, First Prize in the 1987 American Horn Competition, and in 1988, the highest prize in the Concours International d’Interprétation Musicale in Reims, France. Eric appears on numerous recordings including the complete Mozart Concerti with Sir Charles Mackerras and the Scottish Camber Orchestra, and four solo discs including a collection of unaccompanied horn repretoire entitled “Just me and my horn.”Eric is an active chamber musician, and has appeared with the Lincoln Center Chamber Music Society, the Santa Fe Chamber Music Festival, the Festival de Música de Santa Catarina in Brazil, and the Moab Music Festival. A student of Dale Clevenger and Eugene Chausow, he grew up in LaGrange, Illinois and is a graduate of Northwestern University. He is Professor of Horn and a member of the faculty of Boston University and directs the Horn Seminar at the Boston University Tanglewood Institute. He lives in Boston with his wife Jennifer Frautschi and their lovely daughter Siena.

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Artist Biographies

Regarded as a musician of great insight and sensitivity, Israel-born pianist and composer, Matan Porat has appeared as soloist with the Chicago Symphony Orchestra, Jerusalem Symphony Orchestra, Irish National Symphony Orchestra, Israel Chamber and Symphony Orchestras with such conductors as James Conlon, Lawerence Foster and Mendi Rodan. An avid chamber music player, Matan has participated in many distinguished festivals, including Marlboro, Ravinia, Verbier, Bath, the Jerusalem International Chamber Music Festival, and upon invitation of Daniel Barenboim in the West-Eastern Divan workshops. Other chamber appearances include performances with the Ysaÿe and Jerusalem Quartets, Kim Kashkashian, Renaud and Gautier Capuçon, Mathieu Dufour, Emmanuel Pahud and David Soyer. Matan Porat currently resides in Berlin.

Recognized as one of today’s most gifted artists, and enjoying an active career as both pianist and conductor, Ignat Solzhenitsyn’s lyrical and poignant interpretations have won him critical acclaim throughout the world. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Saint Louis, Los Angeles, Seattle, Baltimore, Washington, Montreal, Toronto, London, Paris, Naples, St. Petersburg, Israel, and Sydney, and collaborations with such distinguished conductors as André Previn, Herbert Blomstedt, Yuri Temirkanov, Wolfgang Sawallisch, Mstislav Rostropovich, Gerard Schwarz, Charles Dutoit, James DePreist, Krzysztof Penderecki, David Zinman, Jerzy Semkov, James Conlon, Lawrence Foster and Maxim Shostakovich.

Ignat is in his sixth season as Music Director of the Chamber Orchestra of Philadelphia, having served as its Principal Conductor for the previous six years and serves as Principal Guest Conductor of the Moscow Symphony Orchestra. Ignat is also in demand as guest conductor, having recently led the orchestras of Baltimore, Dallas, Seattle, Indianapolis, Buffalo, North Carolina, Toledo, New Jersey, Virginia, and Nashville. A winner of the Avery Fisher Career Grant, he serves on the piano faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, most recently CBS Sunday Morning and ABC’s Nightline. Born in Moscow, but raised in Vermont, he resides in the United States with his wife and three children.

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Artist Biographies

Composer David Ludwig’s music is performed by today’s leading musicians in some of the world’s most prestigious venues. His music has been called “wonderfully satisfying,” and that it “promises to speak for the sorrows of this generation,” by the Philadelphia Inquirer. The New York Times recognizes it for its “expressive directness” and the Baltimore Sun notes its “yearning, poetic quality.” His works have been performed in such venues in the United States as Carnegie Hall, Lincoln Center, and the Library of Congress, and have been heard on PBS and NPR’s Weekend Edition. David has received commissions from many prominent artists and ensembles, including groups like the Grammy Award-winning “eighth blackbird” ensemble, soloists like violinist Soovin Kim and pianist

Jonathan Biss, and orchestras including the Minnesota, Vermont, and Richmond Symphony.

David has won numerous awards and participated in many residencies with orchestras, summer music festivals, and artist colonies. He holds degrees from Oberlin, The Manhattan School, The Curtis Institute, Juilliard and a Ph.D. from the University of Pennsylvania. David joined the faculty of Curtis in 2002 where he serves on the composition faculty, as the acting chair of musical studies, and as the artistic director of the 20/21 Contemporary Music Ensemble.

Recording Engineer Alan Bise is the owner of Thunderbird Records, 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 successful 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 broadcast 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.

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Artist Biographies

Violinist Soovin Kim is the founder and Artistic Director of the Lake Champlain Chamber Music Festival. He is increasingly sought after for the character, nuance, and excitement of his performances as concerto soloist, chamber musician and recitalist, both in the U.S. and abroad. Particularly known for his breadth of repertoire, Soovin typically takes on everything from solo Bach and Paganini to the big romantic concertos to new commissions.

Soovin is an artist-in-residence at both Stony Brook University in New York, and Kyung Hee University in Seoul. Soovin released his second recording with Azica Records in the summer of 2008, a French album of Fauré and Chausson with Jeremy Denk and the Jupiter Quartet. His first CD with Azica Records, Niccolò Paganini’s demanding 24 Caprices for solo violin, was released in 2006. Soovin grew up for much of his childhood 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 VYO, the Vermont Symphony, on the Lane Series at the University of Vermont, at Middlebury College, and on Vermont Public Radio.

His primary studies were at the Cleveland Institute of Music and then the Curtis Institute of Music from which he graduated. He received first prize at the Paganini International Competition when he was only 20, and was later named the recipient of the Henryk Szeryng Career Award, an Avery Fisher Career Grant, and a Borletti-Buitoni Trust Award. He performs regularly as a concerto soloist, recitalist, and as a founding member of the Johannes String Quartet. He maintains a close relationship with the Marlboro Music Festival where he often spends his summers. Soovin plays the 1709 “ex-Kempner” Stradivarius.

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!

GONEThe music endsSilence fills the roomThe kind of silence that is so loud that it is frighteningI miss the music that once sang so sweetly to my earsThe music that is gone

-- by pupsygirl, August 2009 Young Writers Project

The Music ReturnsFebruary 25, 2011 in PlattsburghFebruary 26, 2011 at Elley-Long Music Center

118 Tilley Drive | Suite 202 | South Burlington, VT 05403(802) 658-1808

www.cpavt.com

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Festival Composer-in-Residence, David Ludwig leads a week-long intensive seminar for four of the country's most promising young composers. Students will discuss, review and revise their own works. One of the highlights of the Festival is Sounding Board: readings of new works composed by members of the Young Composers' Seminar. Join us as Festival musicians introduce these pieces to the world on Saturday, August 28 at 3:00 P.M.!This yearʼs Young Composers include:

Molly Joyce is an 18 year old composer from Pittsburgh, PA. She just received a 2010 ASCAP Morton Gould Young Composer Award and was selected as a finalist for the National Foundation for Advancement in the Arts 2010 Young Arts Competition. Following her participation in the Young Arts Competition, she was nominated as a candidate for the Presidential Scholar in the Arts in which she became a Semifinalist for this honor. Additional awards include being named a first place winner in the Pikes Peak Young Composers Competition, twice named honorable mention for the International Association of Women in Music New Music Competition Ellen Taafe Zwilich Prize, and placing first in the Pennsylvania and Northeastern Federation of Music Clubs Junior Composers' Contest.

Molly has twice attended the Brevard Music Center, and participated in the Cleveland Institute of Music Young Composers’ Program. Earlier this summer she studied at the Royal College of Music in London with Timothy Salter and also attended the European American Musical Alliance program in Paris. Molly plans to attend The Juilliard School in New York City in the fall to study with Christopher Rouse.

Dylan Mattingly began playing cello at the age of 5 and began writing music at the age of 7. He currently studies composition at the Bard College Conservatory of Music with George Tsontakis, Joan Tower, and Kyle Gann. His music has been performed in Sydney, Berlin, New York, San Francisco, and numerous other locations all over the world. He studied conducting with David Ramadanoff and Nathan Madsen, and worked with David Tcimpidis, Yiorgos Vassilandonakis, Katrina Wreede, and John Adams, as well as taken part in the John Adams Young Composer's Program.His work is influenced alike by John Adams, Olivier Messiaen, Magnus Lindberg, Joni Mitchell, the old American blues and folk field recordings of the Lomaxes, and the giants of post-Partch American microtonality such as Ben Johnston and James Tenney. For two years he was the co-director of Formerly Known as Classical, a San Francisco bay area new music ensemble consisting of young musicians playing only music written in their lifetimes, and is currently the co-artistic director and co-founder of Contemporaneous, a New York based youth-run new music ensemble, and is a frequently-performing cellist, bassist, pianist, guitarist, and singer. Dylan is also a painter, playwright, and a pitcher for Bard College's first ever club baseball team.

Young Composers Workshop

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Young Composers

Joshua Morris began seriously composing at the age of 12. Ensembles that have played his works include the Vermont Symphony Orchestra, the Vermont Youth Orchestra, and the Vermont Contemporary Music Ensemble. He has also benefited from numerous performance opportunities provided by the Vermont MIDI Project, an online mentoring program for student composers. His principal composition teachers are David Ludwig and Erik Nielsen. Joshua started playing cello at age 9, and currently studies with Dieuwke Davydov. He was named principal cellist of the Vermont Youth Orchestra in 2008 and was recently awarded a fellowship to the 2010 National Symphony Orchestra Summer Music Institute in Washington, D.C. In the spring of 2011, he will perform the first

movement of the Dvořák Cello Concerto as a soloist with the Vermont Youth Orchestra under the direction of Ronald Braunstein. Joshua plans to study cello performance at a conservatory after high school, but still hopes to find time for writing music. He is a native of Saint Albans, Vermont.

Gabriella Smith is a young composer from the San Francisco Bay Area who currently attends The Curtis Institute of Music where she studies with David Ludwig. Gabriella was named a winner in the 2009 ASCAP/Morton Gould Young Composer Competition and received the First Place Prize in the 2009 Pacific Musical Society Composition Competition. In June 2009, she received a commission from the Palo Alto Chamber Orchestra and music director Benjamin Simon for a new piece, which was performed in June 2010 and taken on their domestic and international tours. During the summers of 2009 and 2010, she took part in the Young Artists Program at the Yellow Barn Music School and Festival. This summer she will also attend the Aspen Music Festival. Earlier this year, she received a commission for a piece for soprano and string quartet for the 2010 Monadnock Music Festival in collaboration with poet Marcia Falk. Gabriella began composing when she was 8. When not making music, she enjoys backpacking, birding, scuba diving in the beautiful kelp forests of the Channel Islands, Scottish dancing, and studying science, math, Mandarin Chinese and Spanish.

“We packed the halls for every astonishing concert; we listened intently to the words of the musicians and asked them questions; the Vermont Youth Orchestra and the Young Writers Project became integral members of the festival…Perhaps most memorable…were the incredibly refined and moving performances, but they were by no means the most important. The most important aspect of this festival was the ethic of community involvement that stood at the core of the festival's mission. As for the four young composers, no experience could possibly compare to the one we had at LCCMF. The experiences that we had with the musicians and audiences provided invaluable practical preparation for the many times we will call on these skills in our careers. Maybe the most memorable moment of the festival for us was the reading of our pieces…I will never forget the humility of the performers. Any of them could have been doing much more rewarding playing anywhere in the world, but they humbled themselves to play four brand new pieces by a set of eager, young composers.” -- David Bloom, 2009 Young Composer

Donor Honor Roll

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Gail & and Ken AlbertJane AmbroseJean AndersonThe Anderson FundAnonymous ✹Anonymous ✹Meredith & David Babbott, M.D. ✳James & Anne BaileyCindy & Mark Baum-BaickerFrank Bayley ✹Deb BergeronPatty & Tom BergeronSusan BergeronDebby BerghRenee BergnerRuth BlocksmaAngela Brown & Kellum Smith ✳Sandra BruggemannJ Brooks Buxton ✳Robin Cameron-Phillips & William PhillipsJohn & Beverly Canning ✹John Canning ✹Jan Cannon & Mary Lee McIsaacLuanne, Devon, & Jonah Cantor ✳Tom & Nancy CarlsonBrianne & David Chase ✳Somak Chattopadhyay ✹Roberta & Larry CoffinNancy & Ed ColodnyCassandra & Jonathan CorcoranMichael Dadap & Yeou-Cheng Ma■ ✳Jack Daggitt & Anne StellwagenDanielle Devlin & Brian Blair ✳Joseph & Jennifer Dickerman ✳Charles Dinklage & Kendra Sowers ✹Alida & John Dinklage ✹

John & Ann DinseFrank & Ducky Donath ✳Ann & Stan Emery ✹Dana & Michael Engel ✳Sylvia EwertsRobert & Sally Fenix ✳Megan & Seth Frenzen ✳Paul Irish & Suzanne Furry-Irish ✳Connell & Nancy GallagherKeith & Beth GaylordTom & Marie Geno ✳Robert & Leslie GensburgArnold & Virginia Golodetz* ✹Alex GrahamWilliam & Valerie Graham ✹Marlene HarrisonWinston & Mary HartJohn & Brigitte Helzer ✳Fred Herbolzheimer, Jr. ✳Clarke & Harriet HermanceErnest Herz ✳Anne HinsmanAndrew & Sofia HirschMary Ann & Don HorensteinGerald & Virginia Hornung Family FoundationTed Marcy & Kimberly Hornung-Marcy ✳Oda HubbardGinger Irish ✳Janine & Paul Jacobs ✳Johanna Kebabian ✹Jin & Soon Young Kim ✳Brenda KissamTom & Lou KlehHarvey & Debra KleinJeffrey Klein & Judy TamLarry & Rhonda Kost

The people and foundations listed on the honor roll made this year’s festival possible.We did our best to use their money wisely.

The generous contributions of these donors completely covered the essential costs of our second festival – the musicians, their housing, and all the direct production costs for the concerts and workshops. All the food and beverages for the receptions, postage, printing, and other non-essential items were either underwritten or donated in-kind. We hope you will also consider joining our donor honor roll. All future contributions will be used to cover the essential costs of the 2011 Festival.

Donor Honor Roll

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Edward & Laura Krawitt ✹Dr. & Mrs. Edward Kupic ✳Shelly LaFleur-Morris & Kevin MorrisKendall & Joan Landis ✳Carolyn & Henry Lemaire ✳Martin & Barbara LeWinter ✹Robert & Margaret Lichtenstein ✹Carolyn E. Long ✹Carol MacDonaldBarbara McGrew & Daniel Fivel ✳Barbara McGrew ✹ Jeff McMahan & Heather Ross ✳Barbara J. MaddenJoan MartinJohn & Robin Milne ✳Maureen Molloy, M.D. ✳Barbara Myhrum ✳Paul & Jennifer NelsonStephen Nissenbaum & Dona BrownClaire & Milner Noble ✳Frederick Noonan ✹George Tyler ✳Samuel P Oh, M.D. ✹Barbara OtsukaMr. & Mrs. Charles E. Pang ✳Ann & Charles Parker ✳Elizabeth Pasti ✹Joan Lardner Paul ✳Fran & Bob Pepperman TaylorDarrilyn Peters & Charles GluckJean PilcherKen & Blanche Podhajski KreilingNancy PortnowJunius L. Powell, Jr. ✳Barbara Rippa ✳Mr. & Mrs. Robert Rizos ✳Don & Mary Lou RobinsonSylvia Robison ✳

Catharine M. RogersJanet Rood ✳Jerry & Bernice G. Rubenstein Foundation ✳Alan & Cynthia RubinMary RutherfordDavid & Joan Sable ✳Lisa Schamberg & Pat Robins ✳Robert & Gail SchermerMichael & Mary Scollins ✳Peter & Cynthia SeyboltRita & Arthur Silverman ✳Haviland & Dolores SmithRobert & Lea Ann SmithGlenn & Marga SproulRosalee Sprout & Bud Ames ✳Kate & Michael Stein ✹Peter & Margie Stern ✳Lesley & Larry Straus ✳Dr. & Mrs. H. Tabechian ✳Chin-Wen & Carl TaylorPatricia ThimmReverend & Mrs. C. Leland Udell ✳Marc & Dana vanderHeyden ✳Mayneal Wayland ✳Korean Concert Society ✳Caroline WhiddonMartha Ming Whitfield & Jonathan SilvermanMr. & Mrs. Stewart K. Wichert ✹Judy Wizowaty ✳David Adair & Barbara York ✳In memory of George Pasti ✳In honor of George Pasti* - In honor of Carolyn Long■ - In honor of Soovin Kim✹ denotes Founders Circle✳ denotes Founding Member

The Donor Honor Roll is current as of August 1, 2010.

Founders CircleMembers of the Founders Circle have made a single contribution of at least $5,000 or an annual contribution of $1,000 or more for the first five years of the Festival.

Founding MemberFounding Members have made a single contribution of $1,250 or an annual contribution of $250 or more for the first five years of the Festival.

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Festival Sponsor

Festival Co-sponsorVermont Community Foundation

Concert SponsorCharles Dinklage, AXA Advisors, LLC

Reception SponsorsDinse, Knapp, McAndrew

Let’s Pretend CateringPulcinella’s Ristorante

Co-sponsorsBakeAria

Burlington City ArtsFletcher Free Library

Horsford Gardens and NurseryMcSoley, McCoy & Co.Northfield Savings Bank

Stern Center for Language and Learning

The 2010 Festival is made possible in part through the generous support of the Vermont Community Foundation Concert Artists Fund.

The Page TurnerIt's a mark of a good page turner when you can't tell that they're there. And although the teenaged girl sitting in a chair behind the pianist wears all black on a brightly lit stage, it is easy to forget that she's there. Page turning--it's one of those jobs that most people find horrible, sitting in the heat of the lights, always silent, always paying attention, reading the sheet music and being ready for a signal from the pianist to turn the page. It's a lot of work, but you don't get any credit. Not very fun. But I imagine that this girl loves her job. -- by lovetowrite, August 2009 Young Writers Project

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FuturaDesigngraphic design services

Shelburne, Vermont802.985.3299

Designing for print and web since 1992.

100 Dorset StreetSouth Burlington, Vermont

(802) 863-1000

Pulcinella’s is proud to be the official restaurant of the Lake Champlain

Chamber Music Festival.

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

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

Music Center.

Chef Sam’s grandfather at work

Festival Credits

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Vermont Youth Orchestra Association Asiat Ali Ronald Braunstein Art DeQuasie Anne Decker Mia Fritze Katie Graham Carolyn Long Caroline Whiddon

Catering Danielle Devlin & BakeAria Liane Mendez & Let’s Pretend Catering Sam Palmisano & Pulcinella’s Ristorante

Fund Raising Consultants Debby Bergh Elizabeth Cho Christine Graham

Legal and Accounting Thomas Carlson, Esquire Wallace Tapia, CPA Donna Renaud, CPA

Radio Coverage Joe Goetz Walter Parker Linda Radke Cheryl Willoughby

Technical Assistance Debbie Bergeron Jen Loiselle Brandon Smith

Wake Robin Events Ruth Blocksma Krista Malaney

Artist Housing Martin & Barbara LeWinter Joan Sable

Graphic Design and Printing Steve Alexander, Futura Design Phyllis Bartling, Futura Design Dennis Bruso, East Coast Printers

Vermont Midi Project Sandy MacLeod Sylvia Woodmansee

Young Writers Project Kate Fallone Geoff Gevalt

Festival Bloggers Luna Felke Lynn Mireault Sossina Gutema Isabella Woodward Avni Nahar Grady Rendino Carolyn Woodruff Ruby McCafferty Laura Connolly

Special Thanks Patty Bergeron Angela Brown Robin Caudell, Press Republican Vivian Chiu, Steinway Hall Derek Delaney Brant Dinkin, The Information Gallery Doubletree Hotel Burlington FlynnTix Box Office Staff Frank Salomon Associates AJ Fucile, Flynn Box Office Christina Fulton, Unitarian Universalist Society Rebecca Goldberg, Fletcher Free Library Harry Goldhagen Hill & Hollow Music Festival Jin & Soon Young Kim Joanne Kim Lake Placid Sinfonietta Mark Litchfield, Saint Michael’s College Middlebury College Performing Arts Series Mark Nash, Vermont Stage Company Paul Nelson Natalie Neuert, UVM Lane Series Liz Pasti Charlie Proutt, Horsfords Gardens & Nursery Leeeza Robbins, Flynn Box Office Rochester Chamber Music Society Seven Days Barbara Shatara, Fletcher Free Library Steinway Hall, New York City Vermont Arts Council Vermont Community Foundation Vermont Public Radio Vermont Youth Orchestra Association Jane Viens, Saint Michael’s College

Lake ChamplainChamber Music Festival

Soovin Kim, Artistic DirectorMartha Ming Whitfield, Festival Manager

Festival ArtistsEast Coast Chamber Orchestra (ECCO)

Soovin Kim, violinColin Carr, cello Eric Ruske, horn

Matan Porat, piano Ignat Solzhenitsyn, piano

David Ludwig, Composer-in-ResidenceAlan Bise, Recording Engineer

Young ComposersMolly Joyce Joshua MorrisDylan Mattingly Gabriella Smith

Board of DirectorsJohn Canning Carolyn LongCharles Dinklage Jeff McMahanAnn Emery Frederick NoonanValerie Graham Joan SableGinger Irish Mary ScollinsSoovin Kim Kate SteinMartin LeWinter Jody Woos

Piano TechnicianAllan Day

Festival PhotographersMichael & Kate Stein

Festival InternsManuel Fieber

Matthias MesserleSaejin Son

Page TurnerVictoria Bergeron

PCC is proud to be the official sponsor of

the 2010 Lake Champlain Chamber Music Festival.

We are equally proud of our twenty-seven year history of

working 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

Save the dates for the2011 Festival:

August 21-28, 2011