The Lennox String Quartet:
Cecilie Jones and Joyce Rizzolo, violins
Robert Huesmann, viola
Jan Timbers, cello
with John Turner, tenor
The Program:
Dover Beach by Samuel Barber
Quartets of Mozart and Shostakovich
The One Hundred Thirty-Fifth Concert
Friday, March 28, 2008, 12:00 p.m.
The Georgetown Club
Featuring:
Gwyn Jones, flute
Jerry Schwarz, clarinet
David Ehrlich, piano
The Program:
Rondo, "Rage over a Lost Penny", op. 129 by Ludwig van Beethoven (1770-1827)
Andante from Concerto for Flute and Harp, K. 295 by W.A. Mozart (1756-91)
Variations on "Trock'ne Blumen: Introduction, Tema, Variation 1 by Franz Schubert (1797-1827)
Trio on "Standchen" (Serenade) by Franz Schubert
Irlandaise, from Suite for Flute and Jazz Piano by Claude Bolling (b. 1930)
Adagio from Clarinet Concerto, K. 622 by W.A. Mozart
"Carmen" Rhapsody (based on themes from Bizet's opera) by Michael Webster (b. 1952)
About Our Artists
The Southwest Chamber Players is a loose aggregation of more than 100 enthusiastic amateur musicians who have performed monthly at Saint Augustine's Episcopal Church in Southwest Washington for the last ten years. Though founder and director David Ehrlich's life's work was in the retail business, he never lost touch with performing music, honing his skills at chamber music workshops in North Carolina, South Carolina, and Vermont. SWCP has a few rules: (1) No required $$ change hands; (2) Performers are not paid; and (3) Admission to concerts is free.
Gwyn Jones, a performing member of the Friday Morning Music Club, holds a Master of Music from Florida State and was a teaching fellow at the University of North Texas, where her teachers included Claire Durand Racato, Charles Delaney, and Mary Karen Clardy. Gwyn takes time from her day job at the U.S. Green Building Council to perform with a range of ensembles: her own Zephyr Quintet, the Capital Wind Symphony, American University Symphony, and Columbia Flute Choir.
Jerry Schwarz began his musical studies in Los Angeles at age ten and was UC- Berkeley Symphony's principal clarinet. He served as a Peace Corps volunteer in Senegal and taught English at American University, broken by a year's Fulbright in Florence and Barcelona. An avid chamber musician (and father of two more), Jerry's appeared on nearly half of our SWCP programs since 1997 as well as founding the woodwind trios Con Brio.
David Ehrlich, vice chair of the Beethoven Society, learned piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at seven) he wasn't destined to be the next Horowitz, he's resigned himself to life as an amateur, playing for friends in Tiburon, Cal.; New York City; and Nagydorog, Hungary, and studying with Matthew Van Hoose at the Levine School.
Notes on the Program
Rutter’s Suite Antique was written in 1979 when he was asked to write a piece for the Cookham Festival, performed by Duke Dobing and the London Baroque Soloists in Cookham Parish Church. Since Bach's Brandenburg Concerto No.5 was on the program, he decided to write for the same combination of instruments – flute, harpsi-chord, and strings, in the form and style of Bach's day. He also wrote this evening’s piano reduction. The six movements range from a Bach-like aria to a Richard Rodgers-style waltz. Artfully juxtaposing the "old" with the "new," Rutter's own style comes through most clearly in the final two movements: the simple and plaintive chanson; and the rondeau with its characteristically forward-driving rhythms and beautiful melodic lines.
Copland’s Duo was composed on commission from a group of pupils and friends of the late Kincaid, for many years solo flutist of the Philadelphia Orchestra and considered to be the father of the Ameri-can school of flute playing. Although Copland studied in Paris with Nadia Boulanger, he used American folk music jazz, and serial tech-niques in his music. The duo draws on material from his sketchbooks of the 1940s, returning to the lyricism of Appalachian Spring . As a duo, the flute and piano engage in conversation-like fugues and intertwined passages throughout, from the elegiac opening movement through the playful and energetic third movement. The simple, direct melodies combined with intricate use of rhythm and meter mark this work as distinctly Copland.
We think these charming waltzes make a nice counterpoint to our flute recital. Writing them in 1865 and dedicating them to Viennese critic Eduard Hanslick, Brahms said, "Your name came up in spite of itself...I was thinking of Vienna, of the pretty girls with whom you play duets, of you who like such things, my friend, and what not..."
The Sonata in D was Prokofiev’s only work for flute, but one of the most important works in the flute repertoire. Prokofiev was a virtuoso pianist in addition to his obvious gifts as a composer. He entered the St. Petersburg Conservatory at 13, and at 19 made his first public appearance in St. Petersburg. Although the he traveled widely from 1918 to 1934, he found he missed his homeland terribly and returned to the Soviet Union, where he was considered a leading composer of the Soviet School. Ironically, in later years, his works, along with those of Shostakovich and Khatchaturian, would be removed from the Soviet repertory because of their "bourgeois formalism" -- no doubt due to his years abroad. The Sonata was written in the summer of 1941 after Prokofiev had been evacuated from Moscow to avoid the dangers of the German invasion. In the relative quiet, close to nature, he wrote a work that perhaps reflects the many emotions of those challenging times, from serene simplicity to witty to pensive and brooding to strong and passionate. Premiered in Moscow, 1943 at the height of Prokofiev’s popularity in the Soviet Union, this piece is a traditional work in form and in character reminiscent of the composer’s Classical Symphony and Love for Three Oranges.
The One Hundred Thirty-Fourth Concert
FRIDAY, MARCH 21, 2008, 12:00 p.m.
Featuring:
Joyce Bouvier, soprano
Eunice Hawley, alto
John Turner, tenor
Eric Slaughter, baritone
David Ehrlich, piano
The Program:
Assisting in the service for Good Friday
The One Hundred Thirty-Third Concert
Tuesday, January 29, 2008, 7:30 p.m.
Featuring:
John Kaboff, cello
Lydia Frumkin, piano
The Program:
Sonatas of Locatelli, Schubert and Rachmaninoff
The One Hundred Thirty-Second Concert
Friday, December 14, 2007, 7:30 p.m.
MERRY CHRISTMAS!
Featuring:
Rosemarie Houghton and Joyce Bouvier, sopranos
Sarah Frook, alto
John Turner, tenor
Jonathan Ward, baritone
Jerry Schwarz, clarinet
David Ehrlich, piano
The Saint Charles String Quartet:
Neil Puzon and Victoria Liu, violins
Gabe Soloff, viola
Kirill Romanov, cello
The Program:
Wachet Auf, ruft uns die Stimme by J.S. Bach (1685-1750)
Alleluia by Antonio Vivaldi (1678-1741)
O Come all ye Faithful (Traditional)
Presto scherzando (Quartet Op.20, #4, in D Major) by Franz Josef Haydn (1732-1809)
Allegro (Quartet Op.51, #1, in C minor) by Johannes Brahms (1833-97)
Waltz of the Flowers from Nutcracker Suite by Peter I. Tchaikovsky (1840-93)
I N T E R M I S S I O N
Hark the Herald Angels Sing (Felix Mendelssohn (1809-47))
The Vagabond Song by Ralph Vaughan Williams (1872-1958)
Messiah, Part One by George Frideric Handel (1685-1759):
Overture
O thou that Tellest Good Tidings
Comfort Ye My People
Pastoral Symphony
Every Valley Shall Be Exalted
He Shall Feed His Flock
And the Glory of the Lord
There Were Shepherds in the Fields
Thus Saith the Lord
Glory to God
Who May Abide the Day of his Coming?
Adagio from Clarinet Concerto by W.A. Mozart (1756-91)
O Holy Night (Adolphe Adam (1803-56))
About the Quartet
Based in Southern Maryland, the St. Charles String Quartet was founded in 2004 by Neil Puzon and Gabe Soloff as an opportunity to read chamber music. Since then, the quartet has evolved and participated in educational outreach programs and performed for numerous events. Faculty members of the United States Navy War College called them "a class act" and "the best we've heard."
Their 2007 season includes debut performances at the Library of Congress, Whitall Pavilion, Mattawoman Creek "Arts in Park" Festival, and the Lurman Summer Concert Series. They've also appeared at the White House Military Office and the French and Italian embassies. Members have studied chamber music at the University of Maryland, Temple University, and Yale, together with various prestigious ensembles including the Juilliard and Sunrise string quartets. These musicians continue to be acknowledged for their technique and exciting repertoire.
The One Hundred Thirty-First Concert
Tuesday, November 27, 2007, 7:30 p.m.
Featuring:
Renee Roberts, violin
Visnja Kosanovic, flute
Jason Koczur, horn
David Ehrlich, piano
The Program:
Horn Concerto #3 in E flat, K. 488 by Wolfgang Amadeus Mozart (1756-1791)
Pastorale by Eric Ewazen (1954-)
Carmen Fantasy for Flute by Francis Borne
Sonata for Violin and Piano by Felix Mendelssohn (1803-1847)
Allegro vivace - Adagio - Assai vivace
The One Hundred Thirtieth Concert
Tuesday, September 18, 2007, 7:30 p.m.
Featuring:
The Lennox String Quartet
Barbara Wing, piano
The Program:
Quartet in G major, op. 77, #1 by Josef Haydn
"Eyeglasses" Duo by Ludwig Van Beethoven
"Dumky" Trio, op. 90 by Antonin Dvorak
The One Hundred Twenty-Ninth Concert
Tuesday, August 14, 2007, 7:30 p.m.
Featuring:
Joyce Bouvier, Marcia d'Arcangelo, Rosemarie Houghton, and Catherine Justice, sopranos
John Turner, tenor
Jonathan Ward, baritone
Gwyn Jones, flute
Jerry Schwarz, clarinet
Tom Blackburn, cello
David Ehrlich, piano
The Program:
Scenes from the Elysian Fields (Orpheus and Eurydice) (Gluck)
Au fond du temple saint (Pearl Fishers) (Bizet)
Et tu vuoi? Flavio Cunibert (Gabrieli)
The Moon and I (Mikado) (Gilbert & Sullivan)
Du schöne Abendstern (Tannhäuser) (Wagner)
Sous le döme épais (Lakmé) (Delibes)
E lucevan stelle (Tosca) (Puccini)
Meditation (Thais) (Massenet)
A Real Slow Drag (Tremonisha) (Joplin)
Volta la terra (Ballo in maschera) (Verdi)
Prince Yeletzki (Pique Dame) Tchaikowsky)
Ritorno vincitor (Aida) (Verdi)
Fantasy (Carmen) (Bizet/Webster)
Una voce poco fa (Barber of Seville) (Rossini)
Pace, pace (La Forza del destino) (Verdi)
No pueder ser (trad. Zarzuela)
Wheree’er you walk (Semele) (Handel)
Sempre libera (La Traviata) (Verdi)
Soave s’il vento (Cosi fan tutte) (Mozart)
True Love (The Sorcerer) (Gilbert & Sullivan)
Nessum dorma (Turandot) (Puccini)
Credo in uno dio (Othello) (Verdi)
The One Hundred Twenty-Eighth Concert
Thursday, July 26, 2007, 7:30 p.m.
Featuring:
The Columbia String Quartet:
Heather Rieff and Helen French, violin
Phillips Hinch, viola
Hyun Sun Kim, cello
Also:
Peggy Orchowski, violin
Matthew Van Hoose and David Ehrlich, piano
The Program:
"Harp" Quartet, op. 74 by Beethoven
"La Follia" sonata and variations by Corelli
"Gypsy Rondo" trio by Haydn
Marches Militaires for piano four-hands by Schubert
The One Hundred Twenty-Seventh Concert
Tuesday, June 19, 2007, 7:30 p.m.
Featuring:
Jerry Schwarz, clarinet
Graham Down and Elizabeth Dyson, piano
Carol Hall, viola
Elizabeth Lawrence, soprano
The Program:
Works of Mozart, Schubert, Herrmann and Rota
The One Hundred Twenty-Sixth Concert
Thursday, May 3, 2007, 7:30 p.m.
Featuring:
Sharon Pabon, flute
Melissa Tardiff Dvorak, harp
The Program:
Sonata for Flute and Harp by Gaetano Donizetti (1797-1848)
I. Larghetto - II. Allegro
Serenade No. 10 for Flute and Harp, Op. 79 by Vincent Persichetti (1915-87)
I. Larghetto - II. Allegro commodo - III. Andante grazioso - IV. Andante cantabile - V. Allegretto - VI. Scherzando - VII. Adagietto - VIII. Vivo
Deuxieme Suite in G Major by Joseph Bodin de Boismortier (1689 – 1755)
I. Prelude - II. Bourrée - III. Musette en rondeau - IV. Gigue - V. Rigaudons I & II
Chanson dans la Nuit by Carlos Salzedo (1885-1961)
I N T E R M I S S I O N
Café 1930 from Histoire du Tango by Astor Piazzolla (1921-92)
Phantasy on Themes of Japanese Folksongs by Josef Molnar (b.1929)
Greensleeves Variations by Traditional/ (arr. Fleury/Owens)
The Tenth Anniversary Concert
The One Hundred Twenty-Fifth Concert
Monday, April 9, 2007, 7:30 p.m.
OUR ANNUAL SALUTE TO THE CHERRY BLOSSOMS
Featuring:
Visnja Kosanovic and Gwyn Jones, flute
Nancy Sulfridge and Jerry Schwarz, clarinet
Hyun Sun Kim, cello
Marcia d'Arcangelo, Rosemarie Houghton and Joyce Bouvier, soprano
John Turner, tenor
Jonathan Ward, baritone
David Ehrlich, piano
The Program:
Four Fantasy Pieces for clarinet and piano by Niels Gade (1817-1890)
Variations on "Trock'ne Blumen" for flute and piano by Franz Schubert (1798-1828)
"Ashlandia," a piano quartet newly commissioned for the Southwest Chamber Players by Louis Gordon (1926-)
Appalachian and other American folksongs by Aaron Copland and John Jacob Niles
Who We Are
"Ashlandia" was financed by our Southwest neighbor Maurice Boyd, who has been a good friend of the SWCP through the last ten years. Maurice and his wife Anna have lived in Capitol Park, Southwest, for more than three decades after moving to D.C. from Ashland Ohio, and wishes to remember Ashland communities throughout the United States with this music.
Visnja Kosanovic brings us her flute from Serbia, where she earned degrees at the Academy of Art in Novi Sad before being invited to study with Peter-Lukas Graf at the Summer Mozarteum in Salzburg. Since coming here, she's appeared frequently with us and, occasionally, the National Gallery Orchestra. But mostly, Visnja concentrates on her twin interests: teaching flute (which she does at Levine) and yoga.
Jerry Schwarz began his musical studies in Los Angeles at age ten and was UC-Berkeley Symphony's principal clarinet. He served as a Peace Corps volunteer in Senegal and taught English at American University, broken by a year's Fulbright in Florence and Barcelona. An avid chamber musician (and father of two more), Jerry's appeared on nearly half of our SWCP programs since 1997 as well as founding the woodwind trios Con Brio and Focus.
Nancy Sulfridge began her study of clarinet in 6th grade in Michigan and was introduced to chamber music in high school through membership in the Grosse Pointe Chamber Music Society and in college as a foreign student at the Friedrich Alexander Universität in Erlangen, Germany. After a long hiatus, she rediscovered chamber music while in Riyadh, Saudi Arabia. Currently, she is a member of the Pan American Symphony, and she and her husband are part of a chamber music performance class at George Washington. When not making music, she teaches adult education in Charles County, Md.
John Turner has performed with many opera companies in the Washington area and is often cast in character roles, rising briefly from the chorus to take up some time while the stars emote and regain their strength. He’s recently appeared as a soloist in La Bohème for the Puccini Center, The Barber of Seville, Amahl, Eugene Onegin, and Rigoletto with Bel Cantanti Opera, Pagliacci with Eldbrooke Opera, La Somnambula with Opera Bel Canto, and La Traviata with Bethesda Summer Opera. He performs with Summer Opera at Catholic University and with Victorian Lyric Opera.
Jonathan Ward is the baritone soloist at St. Francis Episcopal Church in Potomac, and plays five-string banjo with the local bluegrass group Don't Tell Bob. Daytimewise, Jonathan is an organizational consultant and executive coach with Right Management, Inc.
Trained in opera and art songs, soprano Joyce Bouvier, who’s equally comfortable singing and playing popular music, has been Southwest Chamber Players’ most consistent stalwart, ever since her debut in May 1997!
For her musical pedigree, soprano Marcia d’Arcangelo looks back to two of her peasant forebears, one of whom was an Italian shepherd, while the other, an Austrian, made reeds for Mozart’s wind players, We’re awfully glad that Marcia is here rather than in Chicago - she skipped a meeting there just to sing with us!
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Discovering (at seven) he wasn't destined to be the next Horowitz, he's resigned himself to life as a musical amateur. Starting Southwest Chamber Players ten years ago, he’s gone back to aggressively studying the piano with Matthew van Hoose and playing for friends in places like Milton, Mass.; Eugene, Oregon; Tiburon, Calif.; New York City; and Nagydorog, Hungary.
Soprano Rosemarie Houghton hails originally from Pittsburgh. Since moving here, she's sung numerous times with the National Symphony and appeared with Coral Cantigas, a Latin-American chamber choir, while teaching voice at Catholic University and Northern Virginia Community College.
Twelve-year Southwest resident Gwyn Jones enjoys being part of the Southwest Chamber Players. She takes time from her day job as communications services manager for the U.S. Green Building Council to perform with a range of ensembles: her own Zephyr Quintet, the Capital Wind Symphony, American University Symphony, and Columbia Flute Choir. A performing member of the Friday Morning Music Club, Gwyn holds a Master of Music from Florida State and was a teaching fellow at the University of North Texas, where her teachers included Claire Durand Racato, Charles Delaney, and Mary Karen Clardy. She studies with Keith Bryan of the University of Michigan.
Cellist Hyun Sun Kim began her cello studies at the relatively late age of ten at the Manhattan School of Music and continued in the College Division while attending Barnard College. Summers were spent in various music camps including Meadowmount and Sarah Lawrence College. After attending University of Pittsburgh Law School, Hyun ended up working here, and sought refuge by playing in orchestras and chamber groups. When not running between rehearsals, she works as an attorney at the Consumer Product Safety Commission. Hyun is very proud of her Columbia String Quartet, which will appear here in late May.
The One Hundred Twenty-Fourth Concert
Friday, April 6, 2007, 12:00 p.m.
Featuring:
Carol Hall and Peggy Orchowski, violin
Kathy Ferger, viola
Tom Blackburn, cello
The Program:
Seven Last Words on the Cross by Franz Josef Haydn
The One Hundred Twenty-Third Concert
Tuesday, February 27, 2007, 7:30 p.m.
Featuring:
The Ironwood Recorders
Margaret Harrison, Joyce Bouvier, Terry LaGoe, soprano
Emily Toll, cello
Dan Spadoni, percussion
David Ehrlich, piano
The One Hundred Twenty-Second Concert
Tuesday, December 19, 2006, 7:30 p.m.
MERRY CHRISTMAS!
Featuring:
Rosemarie Houghton and Joyce Bouvier, soprano
John Turner, tenor
Gwyn Jones , flute
Jerry Schwarz, clarinet
Nancy Sulfridge, clarinet and basset horn
Dilyana Kirova, bassoon
David Ehrlich, piano
The Potomac Mandolin Ensemble:
Lynn Falk, mandolin; Annette Henzke, mandolin; Pat Kibler, mandola; Edith Pötzschke, mandolin
Program:
Wachet auf, ruft uns die Stimme (Cantata 140) by J.S. Bach (1685-1750)
Quia Respexit (Magnificat) by J.S. Bach
Comfort Ye, My People (Messiah) by G.F. Handel (1685-1759)
Every Valley shall be Exalted (Messiah) by Handel
Concerto in D minor by Tomaso Albinoni (1671-1751)
O Come All Ye Faithful (Traditional)
In the Deep Midwinter by Christina Rossetti/Gustav Holst
The Flower of Jesse by J.J. Niles
What songs were sung by Niles
Jesus. Jesus. Rest Your Head by Niles
Carol of the Birds by Niles
Konzertstuck for Two Clarinets by Felix Mendelssohn (1809-47)
Hark the Herald Angels Sing by Mendelssohn
Carol of the Bells by Leontovich
Pavane by Gabriel Fauré (1845-1924)
O Little Town of Bethlehem by Lewis Redner/Phillips Brooks
The Small Christmas Tree by Michael Head
O Holy Night by Adolphe Adam
The Potomac Mandolin Ensemble:
La petite princesse by Hardy
Sonata rimpianto by Toselli
Humoresque by Dvorak
Melodie by Schumann
Sleeping Prince by Henze
The One Hundred Twenty-First Concert
Tuesday, November 14, 2006, 7:30 p.m.
Featuring:
The Lennox Quartet:
Cecilie Jones and Joyce Rizzolo, violin
Robert Huesmann, viola
Jan Timbers, cello
Program:
Quartet in D major, op. 64, #5 by Joseph Haydn
Quartet in G Major, op. 116 by Antonin Dvorak
The One Hundred Twentieth Concert
Thursday, October 19, 2006, 7:30 p.m.
Featuring:
The Saint Petersburg Trio
Svetlana Nikonova, domra; Vladimir Zaxarevich, bayan (accordion); and Andrei Saveliev, kontrabass balalaika
Program:
Three exceptionally skilled balalaika players will present a fascinating mix of surprisingly familiar classical favorites with soulful Russian folksongs.
The One Hundred Nineteenth Concert
Tuesday, September 26, 2006, 7:30 p.m.
Featuring:
John Kaboff, Cello
David Kosutic, Piano
Brian Jones, Clarinet
Diane Pyles, Piano
Program:
Adagio and Allegro, op. 70 by Robert Schumann
Sonata in g minor for Cello and Piano, op. 65 by Frederic Chopin
Three Pieces for Clarinet, Cello and Piano by Max Bruch
Trio for Clarinet, Cello and Piano by Louise Ferenc
Baal Shem Suite by Ernst Bloch
Nigun (Improvisation) (1880-1959)
The One Hundred Eighteenth Concert
Saturday, September 23, 2006, 7:30 p.m.
Featuring:
Eduardo Castro, bass-baritone
David Ehrlich, piano
Program:
To be announced
About the Artist
Peruvian bass-baritone Eduardo Castro came to the United States in 1991 to study at George Mason as well as Catholic University. His SWCP debut was August 24. Prior to that, his local performances included the roles of both Schaunard and Colline in La Boheme, Don Alfonso in Cosi Fan Tutte, Ferrando in Il Trovatore, and Coumt Rodolfo in La Somnambula. He has also been involved with Bel Cantanti Opera and Zarzuela Disi, and is currently working to prepare several roles with the Virginia Opera Company in Virginia Beach.
In addition to a number of opera arias, his program will include several Schubert lieder and some good ol' U.S. pop.
The One Hundred Seventeenth Concert
Thursday, August 24, 2006, 7:30 p.m.
Featuring:
Marcia D’Arcangelo, Rosemarie Houghton and Joyce Bouvier, sopranos
John Turner, tenor
Eduardo Castro and Bruce Crane, bass
Gwyn Jones, flute
Emily Toll, cello
John Findley, horn
David Ehrlich, piano
Program:
Water Music Suites 1 and 3 by G.F. Handel
Wohin? (Where to?) by Franz Schubert
Die Forelle (The Trout) by Schubert
Cruising Down the River by Beadell/Tollerton
Plenty of Fish in the Sea by Stephen Foster/Cooper
The Swan (cello solo) by Camille Saint-Saens
Die Lorelei by Heine/Franz Liszt
Cantar do Alma (Song of Love) by Federico Mompou
Cielo e mar (Sky and Sea -- La Gioconda) by Amilcare Ponchielli
Up a Lazy River by Carmichael/Arodin
Old Man River by Jerome Kern
Flow Gently, Sweet Afton (Traditional)
Sweet and Low by Tennyson/Barnby
Auf dem Strom by Schubert
Between the Devil and the Deep Blue Sea by Arlen/Koehler
Santa Lucia (Traditional)
La mer (Beyond the Sea) by Charles Trenet
Au fond du temple saint (from The Pearl Fishers) by Georges Bizet
L’invitation au Voyage (Invitation to a voyage) by Baudelaire/Henri Duparc
L’altra notte (from Mefistofele) by Arrigo Boito
Bali Hai (from South Pacific) by Rodgers & Hammerstein
Veleiro (Sails) by Hector Villa-Lobos
Down by the Old Mill Stream (Traditional)
Dames at Sea by Wise/Haimson/Miller
Oh Shenandoah (Traditional)
The One Hundred Sixteenth Concert
Thursday, July 13, 2006, 7:30 p.m.
Featuring:
Gwyn Jones, flute
Rosanne Conway, piano
Bob Rosen and David Ehrlich, piano
Program:
Suite Antique by John Rutter (1945-)
I. Prelude - II. Ostinato - III. Aria - IV. Waltz - V. Chanson - VI. Rondeau
Theme and Variations by Aaron Copland (1900-90)
I. Flowing - II. Poetic, somewhat mournful - III. Lively, with bounce
I N T E R M I S S I O N
Waltzes for piano duo, op. 39, Nos. 1, 2, 4, 8, 10, 13, 15 by Johannes Brahms (1833-97)
Sonata for Flute and Piano, op. 94 by Serge Prokofiev (1891-1953)
I. Moderato - II. Scherzo - III. Andante - IV. Allegro con brio
About Our Artists
Gwyn Jones, a resident of Southwest since 1993, has been a frequent performer with SWCP since 2004. While her marketing position with the U.S. Green Building Council keeps her busy, Gwyn manages to find time to perform in various venues, including the American University and Friday Morning Music Club orchestras, and her own Zephyr Quintet. She currently is coached by Keith Bryan, professor emeritus of the University of Michigan. Gwyn achieved her Master of Music degree from Florida State University, where she studied with Charles Delaney. As a doctoral student and teaching fellow at the University of North Texas, Gwyn worked with Mary Karen Clardy and also indulged her taste for jazz. While working toward her Bachelor’s in English, she studied with Claire Durand-Racamato. Musical aficionados may also find Gwyn in pit orchestras for local theater companies like the Foundry Players and Little Theatre of Alexandria.
Hailed by critics for her "musical elegance and brilliant technique," Seattle native Rosanne Conway, performed with the Seattle Symphony at age 16. She holds degrees from the Universities of Washington and Colorado. Winner of the Petri Award for Foreign Study, she attended the Hochschule fur Musik und Theater in Hannover, Germany, and Mozarteum in Salzburg, Austria. In New York, she studied with Earl Wild at Juilliard. Rosanne has appeared on many local concert series as recitalist, chamber music player, and accompanist. She and duo piano partner Santiago Rodriguez performed together for the 1996 International William Kapell Competition for Piano and have recorded Rachmaninoff’s four hand/two piano works.
Currently on the faculty of the National Cathedral School and St. Alban’s, Robert Rosen began piano studies at age 7, not long before realizing that one must eat to live. Retired now from a career as attorney and CPA with Ernst & Young, Bob devotes his life to music. In addition to coordinating the Laropa Ensemble and conducting the Montrose Ensemble, he is director of public relations for the Friday Club and studies with Nancy Hallsted.
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at 7) he wasn't destined to be the next Horowitz, he's resigned himself to life as a musical amateur, studying with Matthew van Hoose and playing for friends in venues like Eugene, Ore.; New York City; and Nagydorog, Hungary.
Notes on the Program
Rutter’s Suite Antique was written in 1979 whenn he was asked to write a piece for the Cookham Festival, performed by Duke Dobing and the London Baroque Soloists in Cookham Parish Church. Since Bach's Brandenburg Concerto No.5 was on the program, he decided to write for the same combination of instruments – flute, harpsi-chord, and strings, in the form and style of Bach's day. He also wrote this evening’s piano reduction. The six movements range from a Bach-like aria to a Richard Rodgers-style waltz. Artfully juxtaposing the "old" with the "new," Rutter's own style comes through most clearly in the final two movements: the simple and plaintive chanson; and the rondeau with its characteristically forward-driving rhythms and beautiful melodic lines.
Copland’s Duo was composed on commission from a group of pupils and friends of the late Kincaid, for many years solo flutist of the Philadelphia Orchestra and considered to be the father of the Ameri-can school of flute playing. Although Copland studied in Paris with Nadia Boulanger, he used American folk music jazz, and serial tech-niques in his music. The duo draws on material from his sketchbooks of the 1940s, returning to the lyricism of Appalachian Spring . As a duo, the flute and piano engage in conversation-like fugues and intertwined passages throughout, from the elegiac opening movement through the playful and energetic third movement. The simple, direct melodies combined with intricate use of rhythm and meter mark this work as distinctly Copland.
We think these charming waltzes make a nice counterpoint to our flute recital. Writing them in 1865 and dedicating them to Viennese critic Eduard Hanslick, Brahms said, "Your name came up in spite of itself...I was thinking of Vienna, of the pretty girls with whom you play duets, of you who like such things, my friend, and what not..."
The Sonata in D was Prokofiev’s only work for flute, but one of the most important works in the flute repertoire. Prokofiev was a virtuoso pianist in addition to his obvious gifts as a composer. He entered the St. Petersburg Conservatory at 13, and at 19 made his first public appearance in St. Petersburg. Although the he traveled widely from 1918 to 1934, he found he missed his homeland terribly and returned to the Soviet Union, where he was considered a leading composer of the Soviet School. Ironically, in later years, his works, along with those of Shostakovich and Khatchaturian, would be removed from the Soviet repertory because of their "bourgeois formalism" -- no doubt due to his years abroad. The Sonata was written in the summer of 1941 after Prokofiev had been evacuated from Moscow to avoid the dangers of the German invasion. In the relative quiet, close to nature, he wrote a work that perhaps reflects the many emotions of those challenging times, from serene simplicity to witty to pensive and brooding to strong and passionate. Premiered in Moscow, 1943 at the height of Prokofiev’s popularity in the Soviet Union, this piece is a traditional work in form and in character reminiscent of the composer’s Classical Symphony and Love for Three Oranges.
The One Hundred Fifteenth Concert
Monday, June 12, 2006, 7:30 p.m.
Featuring:
Jerry Schwarz, clarinet
Stephen Key, oboe
Alan Karnovitz, bassoon
Volker Treichel, horn
Graham Down, piano
Ramona Matthews and Michael Casassa, violin
Nicholas Fobe, viola
Allan Malmberg, cello
Thelma Leenhouts, soprano
Elizabeth Dyson, piano
Program:
Quintet for Piano and Winds, K. 452 by Wolfgang Amadeus Mozart
Clarinet Quintet, op. 115 by Johannes Brahms
Songs of Haydn, Pergolesi, Copland and Britten
The One Hundred Fourteenth Concert
Thursday, May 25, 2006, 7:30 p.m.
Featuring:
Nayiri Poochikian, violin
Hoorig Poochikian, violin
Virginia Lum, piano
Program:
A mother/daughter team of consummate skill presents a program of bravura works of Sarasate and Brahms
The One Hundred Thirteenth Concert
Thursday, April 27, 2006, 7:30 p.m.
Featuring:
Carol Hall, violin
Eliza Platts-Mills, cello
Visnja Kosanovic, flute
Tom Holman, saxophone
Jeanne Christ and David Ehrlich, piano
Program:
Suite in A minor for Flute by Georg Philip Telemann (1681-1767)
1. Ouverture. Lento - 2. Les plaisirs. Presto - 3. Air à l’italien - 4. Menuet 1,2 - 5. Passepied 1,2 - 6. Polonaise - 7. Réjouissance
Croquembouches (1926) by Claude Delvincourt (1888-1954 )
1. Plum Pudding - 2. Puits d’amour (Well of love) - 3. Nègre en chemise (Black in white shirt) - 4. Linzer tart (Linz tart) - 5. Grenadine - 6. Rahat loukhoum (Turkish delight)
I N T E R M I S S I O N
Trio in F major, op. 80 by Robert Schumann (1810-56)
1. Sehr lebhaft - 2. Mit innigem ausdruck - 3. In mässiger Bewegung - 4. Nicht zu rasch
About Our Artists:
Carol Hall was educated at Kansas State and the University of New Hampshire. A former faculty member of Phillips Exeter Academy, the University of New Hampshire, and VanderCook College of Music in Chicago, she conducted youth orchestras at the Music Center of the North Shore in Winnetka, Illinois. During 12 years in Brussels, she was a founding member of the International Chamber Players and plays now in the Dumbarton Chamber Ensemble.
As an eight-year-old growing up in the outskirts of London, Eliza Platts-Mills picked the cello, when a player came to her local school to show off the instrument. Since then, she’s played in Charlottesville, Boston, and here.
Visnja Kosanovic brings us her flute from Serbia, where she earned degrees at the Academy of Art in Novi Sad and was invited to study with Peter-Lukas Graf at the Summer Mozarteum in Salzburg. Since coming to Washington, she has joined the faculty of the Levine School of Music, played with SWCP frequently, and appeared with the National Gallery Orchestra. If that weren’t enough, she teaches yoga.
Tom Holman is a psychologist in Montgomery County who began studying classical and jazz saxophone at Oberlin and continues now joined the faculty of the Levine School of Music with Noah Getz.
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at 7) he wasn't destined to be the next Horowitz, he's resigned himself to life as a musical amateur, studying with Matthew van Hoose and playing for friends in venues like Eugene, Oregon; Tiburon, California; New York City; and Nagydorog, Hungary.
Notes on the Program
Telemann, Bach’s great North German precursor, was also largely a church organist who found many, many more uses for his music. Exceptionally prolific, he was well connected to the world of printing and publishing, so his music spread far and wide. Through this "network" he expanded his style further. Tonight’s suite of dance forms can be considered very civilized (and somewhat Frenchified) table music.
And speaking of Frenchified, the French adored Gershwin and the Jazz Age. But unwilling as they were to give all the glory to one not their own, the virtually unknown Claude Delvincourt had a wonderful time spoofing American pretensions, not to mention fancy desserts. WWI hero and secret member of the WWII Resistance, Delvincourt also distinguished himself as director of the Paris Conservatory during the Nazi occupation. Tom has delved deeply into M. Delvincourt’s life and persona, having even enjoyed dinner with the composer’s descendants, and he’ll lick his lips as he tells you what "croquembouches" are.
Whenever we program Robert Schumann’s music, we must of necessity dwell on the madness that overtook him at the end of his otherwise happy and productive musical life. Although this trio, written as he had begun his unfortunate descent, has little of the joyous optimism of most of the rest of his works, it has a brilliant pulsing energy that suffuses each of the movements. The piano has an unusually difficult part, often doubling the strings without over-powering them.
The One Hundred Twelfth Concert
Thursday, March 30, 2006, 7:30 p.m.
TENTH ANNUAL CHERRY BLOSSOM FESTIVAL CONCERT
Featuring:
Peggy Orchowski, violin
Eliza Platts-Mills, cello
Gwyn Jones and Visnja Kosanovic, flute
Nancy Sulfridge, clarinet
Rosemarie Ruiz Houghton, soprano
David Ehrlich, piano
Program:
Song Without Words, op. 109 by Felix Mendelssohn (1809-47)
Trio in D minor, op. 32 by Anton Arensky (1861-1906)
1. Allegro moderato - 2. Elegie: Adagio - 3. Allegro ma non troppo
I N T E R M I S S I O N
Der Hirt auf dem Felsen (The Shepherd on the Rock) by Franz Schubert (1797-1828)
Concerto for Two Flutes and Orchestra by Domenico Cimarosa (1749-1801)
1. Allegro vivo - 2. Lento - 3. Rondo: Vivace
About Our Artists
Peggy Orchowski is a California girl who's been playing in violin ensembles since she and her identical twin sister made up 2/3 of a trio with one of her mother's students at the age of seven. Since rediscovering the joy of making chamber music some 20 years ago, she's taken it to Prague, Corfu, Switzerland, and now here.
Eliza Platts-Mills picked the cello as an eight-year-old growing up in the outskirts of London, when a cellist came to her local school and showed off the instrument. Since then, she’s played in Charlottesville, Boston, and here, including a serendipitous piano trio with Matthew Van Hoose (David Ehrlich’s coach) many years ago.
Visnja Kosanovic brings us her flute from Serbia, where she earned degrees at the Academy of Art in Novi Sad and was invited to study with Peter-Lukas Graf at the Summer Mozarteum in Salzburg. Since coming to Washington, she has joined SWCP frequently and appeared with the National Gallery Orchestra, joined the faculty of the Levine School of Music, and made great strides in her skills at teaching yoga.
Gwyn Jones, a 12-year Southwest resident, enjoys being part of the Southwest Chamber Players. She takes time from her day job as communications services manager for the U.S. Green Building Council to perform with a range of ensembles: her own Zephyr Quintet, the Capital Wind Symphony, American University Symphony, and Columbia Flute Choir. A performing member of the Friday Morning Music Club, Gwyn holds a Master of Music in Performance from Florida State and was a teaching fellow at the University of North Texas, where her teachers included Claire Durand Racato, Charles Delaney, and Mary Karen Clardy. She studies with Keith Bryan of the University of Michigan.
Rosemarie Ruiz Houghton hails from Pittsburgh, where she sang with its Opera. Locally, she's sung with the National Symphony, does zarzuela with Coral Cantigas, a Latin American chamber choir, and teaches voice at Catholic and NVCC.
Nancy Sulfridge began her study of clarinet in 6th grade in Michigan and was introduced to chamber music in high school through membership in the Grosse Pointe Chamber Music Society and in college as a foreign student at the Friedrich Alexander Universität in Erlangen, Germany. After a long hiatus, she rediscovered chamber music while in Riyadh, Saudi Arabia. Currently, she is a member of the Pan American Symphony, and she and her husband are part of a chamber music performance class at George Washington. When not making music, she teaches adult education in Charles County, Md.
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at 7) he wasn't destined to be the next Horowitz, he's resigned himself to life as a musical amateur, studying with Matthew van Hoose and playing for friends in venues like Eugene, Oregon; Tiburon, California; New York City; and Nagydorog, Hungary.
Notes on the Program
Mendelssohn’s very name means "happy," and it’s no accident that many of his works for piano, accompanied or not, are as felicitous as this one, which is literally a wordless song.
Arensky was a Russian romantic whose short, colorful life included, sadly, much drinking and gambling, but also teaching the great Rachmaninoff at the Moscow Conservatory. Dated 1894, this ravishing trio has no specific program, though it’s easy to close the eyes and let the imagination roam. Maybe you’re in a lovely country dacha amid a stand of birch trees. Perhaps it’s a tribute to an eminent person who has just died. Or maybe it’s simply a stormy yet serious avowal of love. Enjoy ... we will!
Shortly before his death, Schubert traveled to Esterhazy, the burial place of Haydn. Though terminally ill at the time, he could not resist setting this charming song of a lonely shepherd who pines for his faraway love.
Once dubbed "the low-calorie Mozart," Cimarosa wrote an incredible four operas (of which "The Secret Marriage" is the best known) each year for ten years. He had the misfortune to be a Neapolitan, and a revolutionary one at that, which eventually cost him several years in prison. Also known as "Concertante," this very witty dialogue between the two flutes and orchestra includes two dazzling double cadenzas.
The One Hundred Eleventh Concert
Tuesday, January 31, 2006, 7:30 p.m.
Featuring:
Marcia d’Arcangelo, Joyce Bouvier, Rosemarie Houghton, Thelma Leenhouts, soprano
Carolyn Zolbe, alto
John Turner, tenor
Jonathan Ward, baritone
Stephen Key, oboe
Jerry Schwarz clarinet
Jason Koczur, horn
Dilyana Kirova, bassoon
David Ehrlich, piano
Program (All-Mozart):
Variations on Mi caro Adone by Salieri, K. 180
Als Luise die Briefe ihre ungetreues Liebhabers verbrannt, K. 281
Quintet for Winds and Piano, K. 452
1. Largo. Allegro moderato - 2. Larghetto - 3. Allegretto
I N T E R M I S S I O N
Marriage of Figaro, K. 492
1. Voi che sapete - 2. Non più andrai - 3. Porgi amor - 4. Dove sono - 5. Sull’ aria - 6. Deh vieni, non tardar
Requiem, K. 626
1. Tuba mirum - 2. Recordare - 3. Benedictus - 4. Lacrymosa
Ave verum corpus, K. 618
The One Hundred Tenth Concert
Tuesday, January 24, 2006, 7:30 p.m.
Featuring:
Marcia d’Arcangelo, Joyce Bouvier, soprano
Carolyn Zolbe, alto
John Turner, tenor
Jonathan Ward, baritone
Carol Hall, violin
Kathy Ferger, viola
Tom Blackburn and John Kaboff, cello
David Ehrlich, piano
Program (All-Mozart):
Arias from Don Giovanni, K. 527
Dalla sua pace - Vedrai, carino
Quartet for Piano and Strings, K. 478
1. Allegro - 2. Andante - 3. Rondo. Allegro
Requiem in D minor, K. 626 (excerpts)
Tuba mirum - Recordare - Benedictus - Lacrymosa
I N T E R M I S S I O N
Arias from Die Zauberflöte, K. 620
Die Vogelsänger bin ich - Bei männern - Ach, ich fülls - Papageno/Papagena
Sonata in A major for piano, K. 331
1. Tema con variazioni - 2. Menuetto - 3. Rondo alla turca
Ave verum corpus, K. 618
The One Hundred Ninth Concert
Sunday, January 15, 2006, 7:30 p.m.
Featuring:
Cecilie Jones, Joyce Rizzolo, Jean Provine, violin
Robert Huesmann, Donald Maclean, viola
Brigitta Gruenther, Jan Timbers, cello
Wendi Hatton, clarinet
David Ehrlich, piano
Program (All-Mozart):
Sonata in F for violin and piano, K. 377
Tema con variazoni
Quintet for Strings in C, K. 515
1. Allegro - 2. Menuetto - 3. Andante - 4. Allegro
I N T E R M I S S I O N
Quintet for Clarinet and Strings, K. 581
1. Allegro - 2. Larghetto - 3. Tema con variazoni - 4. Allegretto
The One Hundred Eighth Concert
Tuesday, January 10, 2006, 7:30 p.m.
Featuring:
Grace Boeringer, Steve Pershing, violins
Donald Maclean, viola
Emily Toll, cello
Visnja Kosanovic, flute
Rosemarie Houghton, soprano
David Ehrlich, piano
Program (All-Mozart):
Abendempfindung, K. 523
Duo for violin and viola in G, K. 423
1. Allegro - 2. Adagio - 3. Allegro
Trio for violin, cello, and piano, K. 564
1. Allegro - 2. Tema con variazoni - 3. Allegretto
I N T E R M I S S I O N
Dans un bois solitaire, K. 267
Zeffiretti lusinghieri (from "Idomeneo")
Concerto for flute and orchestra, K. 314
1. Allegro aperto - 2. Andante ma non troppo - 3. Allegro
Notes on the Program
Contrary to what one might think, "Abendempfindung" was not written in anticipation of the composer’s early death, but it is a lovely meditation on man’s worth and dignity.
Violin/viola duos and piano trios were the kind of home cham-ber music that Mozart often wrote for his friends, These two, despite their apparent simplicity, are remarkably sophisticated.
Ever a joker, Mozart enjoyed faintly sexual and/or "lavatorial" prattle in his lieder, and penned this somewhat incongruous one about Cupid while in Paris. Think ... Fragonard paintings!
"Idomeneo" not Mozart’s best known opera, was set in ancient Greece and distantly connected to the Trojan War; however, think of how Fragonard might have painted this scene!
The flute concerto, the most serious work on tonight’s program, was originally written for oboe, and described by Mozart himself as the oboist’s "perfect warhorse." This version, his also, is actu-ally pitched a tone higher to accommodate the flute’s brilliance.
Tuesday, December 20, 2005, 7:30 p.m.
Featuring:
Joyce Bouvier, Rosemarie Houghton, Jonathan Ward, vocalists
Tom Blackburn, cello
Gwyn Jones, Atsuko Nakamura, flute
Jerry Schwarz, clarinet
Jason Koczur, horn
David Ehrlich, piano
Program (All-Mozart, Almost):
La ci darem and Deh vieni alla finestra (from "Don Giovanni," K. 527)
Andante, K. 315, and Rondo, K. 373, for Flute
An Chloe, K. 524, and Ridente la calma, K. 249 (lieder)
Concerto for Horn and Piano in E-flat major, K. 495
Andante from Clarinet Concerto, K. 622
Wachet auf from Cantata 140 and Flute Sonata in E minor, BWV 1034 by J.S. Bach
Serenade for Flute by Haydn
Two carols by John Joseph Niles
Assorted communal Christmas carols
An appearance by the Potomac Mandolin Ensemble
The One Hundred Sixth Concert
Thursday, November 17, 2005, 7:30 p.m.
Featuring:
Matthew Van Hoose, piano
Tiffani Perry, clarinet
Noah Getz, saxophone
Program:
Piano Sonata, op. 109 by Ludwig van Beethoven
Bagatelles by Finzi
Pieces for Piano and Saxophone
The One Hundred Fifth Concert
Sunday, October 16, 2005, 7:30 p.m.
Featuring:
John Kaboff, cello
Program:
First, Fourth and Fifth Unaccompanied Cello Suites by J.S. Bach
The One Hundred Fourth Concert
Thursday, September 15, 2005, 7:30 p.m.
Featuring:
Cecile Jones, violin
Ann Elizabeth Jones, soprano
Joyce Rizzolo, violin
Robert Huesmann, viola
Emily Toll, cello
Program:
Songs for Voice and Violin by Gustav Holst
Melancolie by Paul Hindemith
Songs on texts of A.E. Housman by Ralph Vaughan Williams
Three Poems of Langston Hughes by Smeetz
Suite for Voice and Violin by Hector Villa-Lobos
The One Hundred Third Concert
Thursday, August 18, 2005, 7:30 p.m.
Featuring:
Beth Lawrence, soprano
Rosemarie Houghton, soprano
Joyce Bouvier, soprano
Jonathan Ward, baritone
Bruce Crane, baritone
Program:
Row, Row, Row Your Boat (Ensemble) (Traditional)
Dreamer’s Holiday (Bruce + Joyce) by Gannon/Wayne
I Dreamt I Dwelt in Marble Halls (from "The Bohemian Girl") (Beth) Michael Balfe
Doretta’s Song (from "La Rondiné") (Joyce) by Giacomo Puccini
Ein Traum (Jonathan) by Edvard Grieg
Cançao do amor (Paean of Love from the movie "Green Mansions) (Rosemarie) by Hector Villa-Lobos
Medley #1: It's the Same Old Dream (Cahn/Styne); Daydream (Ellington/Strayhorn); Did You Ever See a Dream Walking? (Gordon/Revel); All I Do is Dream of You (Freed/Brown)
Träumerei (Dreaming) (David) by Robert Schumann
Dichterliebe, #13-14 (Poet’s Songs) (Jonathan) by Schumann
Gretchen am Spinnräde (Gretchen at the Spinning-Wheel) (Beth) by Franz Schubert
Dream Dancing (Joyce) by Cole Porter
Medley #2: Deep in a Dream (DeLange/VanHeusen); Darn That Dream (DeLange/Van Heusen); This Time the Dream’s on Me (Mercer/Arlen)
Liebestraum (Love’s Dream) (David) by Franz Liszt
Oh Quand je dors (Oh! When I Sleep) (Rosemarie) by Liszt
I N T E R M I S S I O N
Final Alice (Beth) by David Del Tredici
Medley #3: You Stepped out of a Dream (Cahn/Brown); Meet me Tonight in Dreamland (Whitson/Friedman); Dream a Little Dream of Me (Kahn/Schwandet/Andree); Give Me a Kiss to Build a Dream On (Kalmer/ Ruby/Hammerstein); All I Have to do is Dream (Bryant)
Dream Lover (Beth) by Victor Scherzinger
Beautiful Dreamer (Beth + Jonathan) by Stephen Foster
I Dream of Jeannie (Jonathan) by Foster
Serenade (Jonathan + humming chorus) by Schubert
Die Traumbild (The Dream Image) (Rosemarie) by W.A. Mozart
Intorno all’ idol mio (All Around My Loce) (Beth) by Cesare Cesti
Medley #4: Laura (Mercer/Raksin); My Dreams are Getting Better All the Time (Curtis/Mizzy); A Dream is a Wish your Heart Makes (David/Hoffman/Livingston); Dream (Mercer)
Après une rêve (After a Dream) (Beth) by Gabriel Fauré
This Nearly was Mine (Bruce) by Rodgers & Hammerstein
Out of My Dreams (from "Oklahoma") (Rosemarie, Beth, Joyce) by Rodgers & Hammerstein
The Impossible Dream (Jonathan)
When I Grow Too Old to Dream (sing-along)
Notes on the Program
"A Field of Dreams" represents the yearning part of all of us. There are many kinds of dreams that do many strange things to dreamers. While most dreams are about...you guessed it -- LOVE -- they are night dreams, daydreams, nightmares, and just pipe dreams. At their best, dreams are the fulfillment of wishes -- aspirations of the best that can befall us; at worst, they can be the kind of destructive fantasies that can lead to disaster.
About Our Artists
We trust that tonight’s performers are familiar faces to our audiences: Beth, who labored for years at Madeira School as head of its dramatic arts program, dealing with girls not different from Gretchen; Rosemarie, opera singer and voice teacher; Jonathan, the head of the Washington Chorus; Joyce and Bruce, the very soul of St. Augustine’s Church; and David, who founded the series.
The One Hundred Second Concert
Thursday, July 21, 2005, 7:30 p.m.
Featuring:
Dilyana Kirova, bassoon
Barbara Fitzgerald, double bass
Cecilie Jones, violin
Billie Anderton, viola
Jan Timbers, cello
Mariana Lima, horn
David Ehrlich, piano
Program:
Telemann: Canonic Sonata for Bass and Bassoon by Telemann
Romance in F by Beethoven
Suite for String Quartet by Hoffmeister
Grand Allegro for Bass and Piano by Dragonetti
Hungarian Rondo by Weber
Romance for Bassoon and Piano by Saint-Saens
Duo for Horn and Bassoon by Hindemith
Brasiliera for Bassoon and Piano by Milhaud
The One Hundred First Concert
Thursday, June 16, 2005, 7:30 p.m.
Featuring:
Jerry Schwarz, clarinet
Carol Hall, violin
Kathy Ferger, viola
Tom Blackburn, cello
Beth Lawrence, soprano
Liz Dyson and Graham Down, piano
Program:
Pastoral by Arthur Bliss (1891-1975)
Four Characteristic Pieces by William Hurlstone (1876-1906)
1. Ballade - 2. Croon Song - 3. Intermezzo - 4. Scherzo
Sechs Deutsche Lieder, op. 103 by Louis Spohr (1784-1859)
Sei still, mein Herz, Zwiegesang, Sehnsucht, Wiegenlied, Das heimliche Lied, Wach auf
I N T E R M I S S I O N
Trio (1933) by Jean Françaix (1912-97)
1. Vivo - 2. Scherzo. Allegretto vivo - 3. Andante - 4. Rondo. Vivo
Three Pieces, op. 83 by Max Bruch (1838-1920)
2. Allegro con moto - 6. Nachtgesang. Andante con moto - 7. Scherzo. Allegro vivace ma non troppo
About Our Artists
Tom Blackburn studied with Carl Werner, Joseph Tonaur, and Pasquale ci Conto, but his principal teachers have been cellos made by unknown masters who posted other people's names in them. A member of the Geological Society of Washington and Hunt String Quartet, he’s been a frequent and welcome member of SWCP.
Graham Down, a graduate of King's College, Cambridge, and Christchurch, Oxford, is an associate of the Royal College of Music in organ performance. A past master of both math (Lawrenceville School), and fund-raising, he's currently master of music at Epiphany Church in Georgetown.
Elizabeth Dyson embarked on a second career as a chamber musician after 30 years of practicing law. She has accompanied classes at the Maryland Youth Ballet, Washington School of Ballet, and Dance Institute of Washington and taught ballet accompaniment at the Levine School.
Kathy Ferger, a long-time D.C. resident and commu-nity activist, grew up in upstate N.Y. She developed a love of chamber music at Kinhaven music camp and studied viola at Oberlin while majoring in political science. She played six years with the Washington Civic Symphony; currently she devotes her musical efforts to the Hunt Quartet and programs organized by Levine.
Carol Hall graduated from Kansas State and the University of New Hampshire. A former faculty member of Phillips Exeter, UNH, and Vanderhoof in Chicago, she conducted youth orchestras in Winnetka. During a 12-year hitch in Brussels, she was a founding member of the International Chamber Players.
Attention to detail and joy in making music are two things Elizabeth Lawrence used to share with students in her capacity as director of Madrigals at Madeira School. Veteran performer Beth holds a DMA from Peabody and masters from Illinois-Champaign. Among her special passions are Mozart symphonies, Jane Austen novels, and her dog Princess Sniffy.
Clarinetist and impresario extraordinary Jerry Schwarz began his musical studies in Los Angeles at age ten and was UC-Berkeley Symphony's principal clarinet. He served as a Peace Corps volunteer in Senegal and taught English at American University, broken by a year's Fulbright in Florence and Barcelona. An avid chamber musician (and father of two more), Jerry's appeared on nearly half of our SWCP programs since 1997 as well as founding the woodwind Trio con Brio and Focus Trio.
Notes on the Program
Arthur Bliss wrote this little piece, a genteel battle between the keys of C and D during military service in World War I.
William Hurlstone was a pupil of Charles Villiers Stanford, who wrote a wonderful clarinet sonata we did a few years ago. Alas, the poor fellow was dogged by poor health and died at 30. This short suite for clarinet has been compared to the late work of Brahms.
Louis Spohr appears to have been no one’s favorite. It seems this man who produced a vast and wide-ranging output for various forces was temperamentally unable to work with anyone. Yet the extraordinary beauty of these six songs has lingered far longer.
We have often performed the Bruch pieces for clarinet, viola, and piano, finding them more enjoyable with each reading. Though ethnic and gypsy-like in feeling, they were actually written by a Lutheran university professor who wished to leave behind some music for his young clarinet-playing son.
Françaix’s string trio dates from 1933, the last year until this one in which a Washington baseball team was in first place as late as June. Like the Nats, this composition achieves a great deal with limited material. First, a string trio is one of the lightest scores a composer can choose, and this one rarely uses the full force of massed double-stops, achieving instead the compositional equivalent of a series of one-run victories: neoclassical clarity, control, humor, and originality.
The One Hundredth Concert
Tuesday, May 24, 2005, 7:30 p.m.
Featuring:
Gwyn Jones, flute
Edward Skidmore, double bass
Julian Masters, drums
Nancy Sulfridge, clarinet
Donald Maclean, viola
David Ehrlich, piano
Program:
"Kegelstatt" Trio, K. 492 by Wolfgang Amadeus Mozart
Sonata for Clarinet or Viola by Johannes Brahms
Suite for Flute and Jazz Piano by Claude Bolling
The Ninety-Ninth Concert
Thursday, April 28, 2005, 7:30 p.m.
Featuring:
Jerry Schwarz, clarinet
Joyce Bouvier, soprano
David Ehrlich, piano
Anna Rákoczy, flute
Edita Vinnitskaya, piano
Program:
Hungarian Rhapsody #12 by Franz Liszt (1811-81)
Velia (from The Merry Widow) by Franz Lehár (1870-1948)
Moments Musicaux, op. 94 by Franz Schubert (1797-1828)
1. Moderato - 2. Andante - 3. Allegro moderato - 4. Moderato - 5. Allegro vivace - 6. Allegretto
Mimi’s Entrance (from La Bohème) by Giacomo Puccini (1858-1924)
Ebben? Ne andrò lontana (from La Wally) by Antonio Cataldi (1898-1952)
I N T E R M I S S I O N
Three Romances for Oboe, op. 94 by Robert Schumann (1810-56)
1. Moderate - 2. Simple, affectedly - 3. Not fast
Sonata for Violin and Piano, op. 13 by Gabriel Fauré (1857-1924)
1. Allegro molto - 2. Andante - 3. Scherzo. Allegro vivo - 4. Allegro quasi presto
About Our Artists
Edita Vinnitskaya comes to us with extraordinary credentials. Beginning as a gifted child in her native Armenia, she has won prizes galore, both in Russia and, since 1995, here. Her U.S. studies were under Santiago Rodriguez at the University of Maryland and Leon Fleisher at Peabody, and she’s been heard on stage in eight states.
Joyce Bouvier, who studied classical piano as a child and trained late in life in the classical vocal repertoire, is equally at home with the Great American Songbook. She is director of music at Saint Augustine’s.
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at 7) he wasn't destined to be the next Horowitz, he's resigned himself to life as a musical amateur, studying with Matthew van Hoose and playing for friends in Eugene, Ore.; Tiburon, Cal.; New York City; and Nagydorog, Hungary.
Jerry Schwarz, clarinetist, impresario, and occasional song ‘n’ dance man, began his musical studies in Los Angeles at age ten and hasn’t stopped since. An avid chamber musician (and father of two more), Jerry's founded two woodwind trios and appeared on nearly half of our SWCP programs since 1997.
The bearer of an illustrious Hungarian name, Anna Rákoczy followed the steps of maany famous countrymen to the Franz Liszt Academy in Budapest, receiving the highest musical scholarship in the land. Since moving here in 2002 with a Fulbright at Peabody, she has continued to win honors. In her spare time, Anna is also a gifted painter and tapestrymaker.
Notes on the Program
These charming miniatures are classic Schubert. Wonderfully melodious yet surprisingly tricky technically, they have challenged young pianists for 200 years. We can have little doubt that the composer of "Guys and Dolls" had to play the last of the six as a child!
Actually written for oboe, the Schumann romances work on almost any instrument. Joyous and immensely musical, they come from one of the happiest times in the composer’s difficult life, and speak for a soul that loved and revered beauty though he found precious little in his life.
While the three arias we present this evening are quite familiar to opera lovers everywhere, the last one is of unusual interest because it was the constant leitmotif of the Hollywood movie Diva.
The words "Liszt, Hungarian, and Rhapsody" are nearly synonymous. The great pianist Liszt, though he made his living abroad, reached back to his homeland to pluck these magnificent Gypsy-like melodies.
Gabriel Fauré is a man we play often. The highly sophisticated harmonies and lush melodies for which this elegant Frenchman is justly adored are nowhere more evident than in this magnificent sonata originally written for violin. From the great upward rush of the line at the beginning through the tender Andante, it positively soars. Of particular note is the devilish scherzo, which leaves the flutist very little chance to breathe. And the 6/8 finale is a romp from beginning to end.
The Ninety-Eighth Concert
Thursday, March 31, 2005, 7:30 p.m.
OUR ANNUAL SALUTE TO THE CHERRY BLOSSOMS
Featuring:
Ryan ONeil, cello
Visnja Kosanovic, flute
Beth Lawrence, soprano
Jerry Schwarz, clarinet
Cecilie Jones, violin
David Ehrlich, piano
Program:
Piano Trio, K.502 by Wolfgang Amadeus Mozart
Cello Sonata #1 by Ludwig van Beethoven
The Shepherd on the Rock by Franz Schubert
Ballade by Périlhou
The Ninety-Seventh Concert
Tuesday, February 22, 2005, 7:30 p.m.
Featuring:
Cecilie Jones & Joyce Rizzolo, violins
Robert Huesmann, viola
Jan Timbers, cello
Mary K. Traver, piano
Program:
Theme and Variations (from String Quartet in A minor, op. 35a) by Arensky
Trio for Piano, Violin et Violoncello by Maurice Ravel
Quartet #2 in a A minor, op.51, #2 by Johannes Brahms
The Ninety-Sixth Concert
Thursday, February 3, 2005, 7:30 p.m.
Featuring:
Gwyn Jones, flute
Rosanne Conway, piano
Program:
Sonata by Johann Sebastian Bach
Adagio, Rondo by Wolfgang Amadeus Mozart
Works of Fauré, Godard, Ravel and more
The Ninety-Fifth Concert
Wednesday, December 22, 2004, 7:30 p.m.
MERRY CHRISTMAS!
Featuring:
Edwina Chen, soprano
Catherine Justice, soprano
Beth Lawrence, soprano
Rosemarie Houghton, soprano
Joyce Bouvier, soprano
Ryan O’Neil, cello
Gwyn Jones, Martha Jarvis, flutes
Don McLean, viola
David Ehrlich, piano
The Potomac Mandolin Ensemble:
Lynn Falk, mandolin; Annette Henzke, mandolin; Pat Kibler, mandola; Hoang Le, guitar; Edith Pötzschke, mandolin
Program:
Adeste Fideles (Traditional)
Sonata for Flute and Cembalo in A minor by G.F. Handel (1685-1759)
Larghetto - Allegro - Siciliano - Alla breve
I Know that My Redeemer Liveth (from Messiah) by G. F. Handel
Epiphanias by Hugo Wolf (1860-1904)
Song Without Words, op. 109 by Felix Mendelssohn (1809-47)
The Christmas Rose by P.I. Tchaikowsky (1841-93)
Lo How a Rose by Michael Praetorius (1571-1621)
A Lute Carol by Mary Caldwell
An Old Carol by Roger Quilter
Velvet Shoes by Randall Thompson
Marias Wiegenlied by Max Reger
Hark the Herald Angels Sing by Mendelssohn
Variations on "Ah, vous dirai-je, maman," K. 265 by W.A. Mozart/Franz Schmidt
INTERMISSION
Minuet (from Rodelinda) by G .F. Handel
Song of the Seashore (Andante) by Narita
Variations on Die Forelle (Quintet) by Franz Schubert (1797-1828)
Marieta by Francisco Tarrega
Coverdale’s Carol (Traditional)
Carol of the Bells by Leontovich
THE POTOMAC MANDOLIN ENSEMBLE
O Little Town of Bethlehem (arr. Lewis Redner/Phillips Brooks)
The Small Christmas Tree by Michael Head
Still, Still, Still (Traditional Austrian, arr. P. Ledger)
Le sommeil de l’enfant Jésus by Henri Büsser (1872-1973)
In the Deep Midwinter (arr. Christina Rossetti/Gustav Holst)
O Holy Night (arr. Adolphe Adam)
The Ninety-Fourth Concert
Thursday, November 11, 2004, 7:30 p.m.
Featuring:
Visnja Kosanovic and Mariko Suzuki, flute
Ryan O'Neil, cello
Beth Lawrence, soprano
David Ehrlich, piano
Program:
The Flute of Pan by Mouquet
Cantique by Fauré
Song Cycle "Frauenliebe und Leben" by Schumann
Piano Sonata in C# Minor (Clair de Lune) by Beethoven
The Ninety-Third Concert
Tuesday, September 21, 2004, 7:30 p.m.
Featuring:
Sarah Weiner, oboe
Jason Koczur, horn
Beth Lawrence, soprano
Bernie Arons, clarinet
Earle Silber, flute
Barbara Levin, piano
David Ehrlich, piano
Program:
Trio in A minor for Flute, Clarinet, Keyboard by Carl Philip Emmanuel Bach (1714-87)
1. Andantino - 2. Largo é sostenuto - 3. Allegro assai
Songs for Soprano, Horn, and Piano by Franz Lachner (1803-90)
Nachts in der Kajüte, op. 34 (Nights in the Ship’s Cabin)
Waldvöglein, op 28. #1 (The Little Wood Bird)
Frauenliebe und Leben, op. 39 (The Loves and Lives of Women)
Five Bagatelles for Clarinet and Piano by Gerald Finzi (1901-56 )
1. Prelude - 2. Romance - 3. Carol - 4. Forlane - 5. Fughetta
Trio for Oboe, Horn, and Piano, op. 265 by Carl Reinecke (1824-1910)
1. Allegro moderato - 2. Scherzo - 3. Adagio - 4. Allegro ma non troppo
About Us
Bernie “Berndog” Arons and the clarinet go back to the Cleveland Heights High School orchestra, where he won renown for his marching gait and steady rhythm despite Lake Erie winds. Leaving a musical career in reserve he pursued liberal arts at Oberlin, then medical studies which led him to St. Elizabeth’s Hospital. Inspired by a chance evening offer of fame from David Ehrlich, he picked up his instrument, warmed up the embouchure and fingers, and the rest, as they say, is ..... almost history.
Jason Koczur, a Northern Virginian, studied with the NSO’s Edwin Thayer and at Boston University with Eric Ruske, Sam Pilafian, and Richard Menaul. After graduating with a Bachelors in horn performance, he went to London to work with Michael Thompson and Richard Watkins at the Royal Academy of Music. Currently assistant principal horn in Allentown (Pa.), he’s also with the Fairfax Symphony. Besides freelancing, he teaches privately and at NOVA.
Attention to detail and joy in making music are two things Elizabeth Lawrence uses to share with students in her capacity as director of the Dramatic Arts program at Madeira School. Veteran performer Beth holds a DMA from Peabody and masters from Illinois-Champaign. Among her special passions are Mozart symphonies, Jane Austen novels, and her dog Princess Sniffy.
Barbara Levin began piano as a young girl in Detroit with Mischa Kottler. She entered the University of Michigan as a piano major, but switched to mathematics, but continued her musical studies, discovering a love of chamber music. Graduate school, family obligations, law school, and work distractions delayed her musical ambitions until, having declared herself retired from work, she resumed piano studies again. Tonight she makes her Washington chamber music debut with a couple of psychiatrists who graciously refrain from trying to analyze her off-again-on-again musical career.
Earle Silber's rather erratic musical career began in Baltimore where, even on cold days, he played a hot saxophone. Forced to put music aside for medicine, the sax went back in its case, but in the years following medical school, training and psychoanalysis, he took up the recorder and then the flute. Partially retired now, Earle devotes less time to practicing psychiatry and more to practicing scales and, making up for lost time, he now marches to his own flute as he pursues the art of chamber music.
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at seven) that he wasn’t destined to be the next Horowitz, he’s resigned himself to being a musical amateur, studying in Chapel Hill with Contrasts and here with Matthew van Hoose, and playing in such venues as Eugene, Oregon.; Tiburon, California.; Milton, Mass..New York City, and Nagydorog, Hungary.
Notes on the Program
Most of the 20 children of J.S. Bach were musicians, and C.P.E. is arguably the most successful. An entrepreneur, keeper of his father’s flame, and prolific composer in his own right, C.P.E. programmed very imaginatively, setting the stage for Mozart. Tonight’s trio represents the way he pushed orthodox instrumental combinations to the limit.
Franz Lachner, best-known of a large musical family, lived in Vienna and then Munich. He wrote a lot of music that in the opinion of many, was pleasant enough, but lacked “divine fire.” But he learned from his good friend Franz Schubert that “as long as you choose good poets for your song lyrics, people will listen to your music, too.”
Born in Italy but a leader in the 20th-century return to truly English music, apple grower Gerald Finzi wrote much for the Anglican Church, but is better known for the music he composed for the 1952 coronation of Queen Elizabeth II. These charming bagatelles are imaginative settings of medieval musical forms.
Carl Reinecke had the misfortune of living in the Germany of Liszt and Brahms, and being overshadowed by them. His very large oeuvre spans nearly every musical genre. Tonight’s trio is, in fact, the classic teaching piece for its odd instrumental combination, and one that works surprisingly well. The adagio is unusually gorgeous, and the finale, which we admit that we play too slowly, is a delightful peasant dance.
The Ninety-Second Concert
Thursday, August 26, 2004, 7:30 p.m.
Featuring:
Rosemarie Houghton, Beth Lawrence and Joyce Bouvier, sopranos
Jonathan Ward and Bruce Crane, baritones
David Ehrlich and Bob Rosen, piano
Take Ariga, cello
Jerry Schwarz, clarinet
Program:
Music by Haydn, Beethoven, Schubert, Wagner, Holst, Berlin, Argento and more
The Ninety-First Concert
Tuesday, July 20, 2004, 7:30 p.m.
Featuring:
Gwyn Jones, flute
Rosanne Conway, piano
Program:
Sonatine by Jean Rivier (1896-1987)
Allegro moderato - Lento affetuoso - Presto jocando
Conversation by John La Montaine (1920–)
Encounter - Dispute - Affections - Word Games
Suite Modale by Ernest Bloch (1880-1959)
Moderato - L’istesso tempo - Allegro giocoso - Adagio; Allegro deciso
Sonata by Jindrich Feld (1925 –)
Allegro giocoso - Grave - Allegro vivace
About Our Artists
Gwyn Jones, a 10-years-plus resident of Southwest, is excited to be part of the Southwest Chamber Players, where she can share her music with her own neighborhood. Gwyn takes time from her day job as marketing manager for SmithGroup, the area's largest architecture firm, to perform with a range of ensembles: her own Zephyr Quintet, the Capital Wind Symphony, the American University Symphony, and the Columbia Flute Choir, as well as various other freelance engagements. She was a soloist with the Sandy Springs Chamber Orchestra in Atlanta, where she also served as principal flute, and performed in numerous solo recitals. A new performing member of the Friday Morning Music Club, Gwyn holds a Master of Music in Performance from Florida State and was a teaching fellow at the University of North Texas, where she also conducted the UNT flute choir. Her teachers included Claire Durand Racamato, Charles Delaney, and Mary Karen Clardy. She currently studies with Keith Bryan, professor emeritus at the University of Michigan.
Hailed by critics for her musical elegance and brilliant technique, Rosanne Conway hails from Seattle, where she performed with the Symphony at 16. Holder of degrees from the universities of Washington and Colorado and winner of the Petri Award for Foreign Study, she attended the Hochschule fur Musik und Theater in Hannover, Germany, and the Mozarteum in Salzburg. While perhaps her most influential teacher was her grandmother, who introduced her to the piano at a very young age, she studied at Juilliard with Earl Wild. Rosanne has appeared on many local and regional concert series as recitalist, chamber musician, and accompanist. She joined the great Santiago Rodriguez in dual performance for the 1996 International William Kapell Competition. Their recording of Rachmaninoff's four-hand/two-piano works is scheduled to be released on the ELAN label. Currently on the faculty of National Cathedral School and St. Albans, she also maintains a private studio.
Notes on the Program
Paris Conservatory graduate Rivier's typically tonal musical oeuvre has an unmistakably French quality. It demonstrates his interest in classical ideas of form, structure and proportion. His style is characterized by such impressionist and 20th century techniques as modality, parallelism, extreme dynamics, intricate rhythms, and intensely contrasting moods. After WWII, he taught at his alma mater, composing over 200 works in numerous genres. The sonatine, composed in 1941 and dedicated to his father, an accomplished amateur flutist, was among his first works for flute, but one of the best. Each of the three movements, performed "enchainées," or attached, expresses a different character, but the overall mood is decidedly jovial and upbeat. It was premiered on French Radio by Jean-Pierre Rampal.
Illinois-born John La Montaine showed early promise of genius, studying with Howard Hansen at Eastman and Nadia Boulanger in Paris, who encouraged him to try composition. But recognizing the economic hardship of trying to be a full-time composer, he studied to become a stockbroker. Ironically, the day he passed his licensure exam, a call from the Pulitzer committee informed him that he would receive the Pulitzer Prize for his concerto for piano and orchestra, opus 9. Subsequently, he was a pianist with the NBC Symphony Orchestra under Toscanini and taught at Eastman. where he wrote the first work commissioned to honor John F. Kennedy.
The "Conversations" were written to be performed by a variety of instruments with piano, each taking advantage of each instrument’s particular physical and expressive qualities. These began with a clarinet version, followed by the violin, trombone, marimba, and viola. He is said to have liked tonight’s version best. It uses a consonant twelve-tone technique, creating motives and themes that recur throughout yet take on the character of the individual movements.
Swiss-born Ernest Bloch settled in the U.S. in 1916 and became a fixture in Eugene, Oregon. He is known primarily for his works in the Jewish tradition, and his orientation became primarily neoclassic. "It is the Jewish soul that interests me, the complex, glowing, agitated soul that I feel vibrating throughout the Bible … It is this that I strive to hear in myself and to translate in my music—the sacred emotion of the race that slumbers deep in our soul." His Suite Modale, composed in 1956, was originally for flute and piano but was later transcribed by the composer for flute and string orchestra.
Music couldn’t help but permeate Feld’s childhood as the son of a violinist and a professor of violin at the Prague Conservatory. Although he studied violin and viola performance with his father and enjoyed chamber music, his lifelong interest has been composition. Graduating with twin degrees in composition and musicology from the Prague Conservatory and Charles University in the late 1950s, his compositions began to attract considerable international attention, and he has since received numerous commissions. As his music was gradually performed in many musical centers of the world, his contacts with Czech and foreign musicians often motivated him to write new works for them. Such a piece iis his sonata from 1956, dedicated to the late, great Jean-Pierre Rampal. Brilliant and lyrical, it’s largely undiscovered by American flutists. While he draws from all of European music, his works have unmistakable Czech roots. A Czech critic once wrote of Feld: "He is at his best in compositions which give full scope to his talent for playful, bright and carefully chiseled music."
The Ninetieth Concert
Thursday, June 17, 2004, 7:30 p.m.
Featuring:
Jerry Schwarz, clarinet
Carol Hall, violin
Nicholas Fobe and Kathy Ferger, violas
Tom Blackburn, violoncello
Michael Rohrer, bass
Jason Koczur, horn
Alan Karnowitz, bassoon
Liz Dixon and Bob Rosen, pianos
Program:
Fantasy Pieces for clarinet and piano, op. 73 by Robert Schumann
Trio for clarinet, viola and piano by Hartmann
Septet by Beethoven
The Eighty-Ninth Concert
Thursday, May 20, 2004, 7:30 p.m.
Featuring:
Cecile Jones and Joyce Rizzolo, violin
Robert Huesmann, viola
Jan Timbers, cello
Mary Kay Traver, piano
Program:
Trio in E minor, op.67 by Dmitri Shostakovich (1906-75)
Andante - Allegro non troppo - Largo - Allegretto
Lament for Two Violas by Frank Bridge (1879-1941)
INTERMISSION
Quartet in C minor, op. 51, #1 by Johannes Brahms (1833-97)
Allegro Romanze. Poco adagio. Allegretto molto moderato e commodo. Finale. Allegro
Our Artists
Of her musical performing life, Southwester Cecilie Jones says, "It has happily included all sorts of music, from symphony and opera to bluegrass and Broadway, and as a Foreign Service spouse, even in a few countries in Europe and the Middle East. But since discovering chamber music as a young adult, it has been my favorite. As a student in California, I studied with Elizabeth Kincaid, and as an adult, with Mark Gottlieb, once of the Claremont Quartet and at that time concertmaster of the Kansas City Philharmonic."
New Yorker Joyce Rizzolo studied violin with Imre Pogany of the N.Y. Philharmonic and Emil Hauser, founder of the Budapest Quartet. She has performed with the Phoenix and Charleston (S.C.) Symphonies, and been in the Kennedy Center and Filene Center orchestras. Since moving here in 2000, she has begun to discover the rewards of playing chamber music with friends and colleagues.
Robert Huesmann studied violin as a youth and more recently, viola and chamber music with Miles Hoffman. A retired Foreign Service Officer, he played a good deal during overseas assignments with USAID. Since retiring to Washington, he has joined the Friday Morning Music Club and Rock Creek Chamber Players, and appears occasionally with the Southwest Chamber Players.
Jan Timbers earned her B.A. at Carnegie-Mellon, under Theo Salzman and Michael Grebanier, studying summers in Philadelphia with Samuel Mays. After college, she spent a year at the Swiss Institut de Hautes Etudes Musicales, and went on to earn a diploma from the Salzburg Mozarteum under the tutelage of Heidi Litschauer. Today she performs frequently in Europe, Canada, and the United States.
Notes on the Program
This trio, written in 1944, was dedicated to Ivan Smolettinsky, a close friend of the composer who died young. Another friend described the entire first movement as "a calm, clear picture of everyday Russian life. The Slavic folk tunes, alternatively gay and elegiac, build to a huge climax and then die away." The energetic second movement precedes the last two, both of which are connected with the young man’s death; the largo being a threnody, the finale a series of frenetic dances inspired possibly by current news accounts of Nazi treatment of Jewish prisoners.
Each time we do a work of Brahms, we mention his concern and discomfort with having "inherited Beethoven’s mantle." The fact he didn’t bring this quartet out for 20 years exemplifies his reticence. From heroic ascending opening theme to agitato coda, the first movement is the Brahms we know and love. The pensive romance might be considered a song without words. It is the third movement that attracts much of the attention.The charming intermezzo melody is accompanied on the second fiddle which plays the same note on different strings, producing a tonal effect like that of a jazz trumpeter using a wah-wah mute.
The Eighty-Eighth Concert
Thursday, April 22, 2004, 7:30 p.m.
Featuring:
John Kaboff, cello
Steve Pershing and Jeff Parry, violins
Cecilie Jones, viola
Emily Toll, cello
Jean-François Besgond, clarinet
Diane Winter-Pyles, piano
Program:
String Quartet, op. 13 by Felix Mendelssohn
Fifth Cello Suite by J. S. Bach
Clarinet Trio, op. 11 by Ludwig van Beethoven
The Eighty-Seventh Concert
Thursday, April 1, 2004, 7:30 p.m.
April Fools and Cherry Blossoms
Featuring:
Visnja Kosanovic, flute
Beth Lawrence, soprano
Jason Kocsur, horn
Peggy Orchoswski, violin
Jaap van Wesel, viola
Emily Toll, cello
David Ehrlich, piano
Program:
Sonata for Flute and Piano, op. 94 by Serge Prokofiev (1891-1953)
Moderato • Scherzo: Presto • Andante • Allegro con brio
Alphorn (1876) by Richard Strauss (1864-1949)
Waldhornruf by Franz Lachner (1803-90)
Le Jeune Pâtre Breton by Hector Berlioz (1803-69)
INTERMISSION
Quartet for Piano and Strings by Robert Schumann (1810-56)
Allegro ma non troppo • Scherzo: Molto vivace • Andante cantabile • Finale: Vivace
About Our Artists:
Jason Koczur, a Northern Virginian, studied with Edwin Thayer and Jeff Bianchi. He attended Boston University where he studied with Eric Ruske, Sam Pilafian, and Richard Menaul. Afterr graduating with a Bachelors in horn performance, he went to London to work with Michael Thompson and Richard Watkins at the Royal Academy of Music. Currently he is assistant principal horn in Allentown (Pa.), and plays with the Fairfax Symphony. In addition to free-lancing, he teaches privately and at NOVA.
Visnja Kosanovic brings us her flute from Serbia, where she earned degrees at the Academy of Art in Novi Sad before being invited to study with Peter-Lukas Graf at the Summer Mozarteum in Salzburg. Since coming here, she's appeared frequently with the National Gallery Orchestra, and has developed her twin interests in flute teaching and yoga.
Attention to detail and joy in making music are two things Elizabeth Lawrence shares with students in her capacity as director of Madrigals at Madeira School. A veteran performer, Beth holds a DMA from Peabody and masters from Illinois-Champaign. Among her special passions are Mozart symphonies, Jane Austen novels, and her dog Princess Sniffy.
Peggy Orchowski is a California girl who's been playing in violin ensembles since she and her identical twin sister made up 2/3 of a trio with one of her mother's students at the age of seven. Since rediscovering the joy of making chamber music some 20 years ago, she's taken it to Prague, Corfu, Switzerland, and now here.
The versatile Jaap van Wesel started early on the violin, adding the viola while at Amsterdam University due to a severe shortage of good violists, and playing either as required. In real life, he reports for Dutch and Israeli media.
Emily Toll has recently moved here from New York, where she worked for the United Nations when not playing the cello. In the few short months she’s been here, though, she has managed to find her niche in the amateur chamber estabishment very rapidly. She will play for us with a string quartet including her husband Steve later this month.
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at 7) he wasn't destined to be the next Horowitz, he's resigned himself to life as a musical amateur, studying with Matthew van Hoose and playing for friends in venues like Eugene, Ore.; Tiburon, Cal.; New York City; and Nagydorog, Hungary.
Notes on the Program:
The Prokofiev sonata is an extraordinarily beautiful work that can be played on either flute or violin. It’s probably the most difficult work Visnja and David have yet undertaken. Written relatively late in the composer’s life, he was still more or less under the thumb of his nemesis Josef Stalin. The deal he made was that his chamber music would be left essentially as he wrote it, with the proviso that it could only be played privately, and never published. With that thin guarantee of security, the composer set out to satirize the communist bureaucracy, and he really skewered it. It was not the tall, angular harmonies of the opening movement, nor the moonlight mood of the Andante nor the jolly sleigh-ride finale whose messages were transparently clear, where he risked the wrath of his masters. No - it was the slap-dash second-movement scherzo, which depicts the feckless bureaucracy rushing aimlessly to and fro never achieving anything. The fabulous sonorities of this wonderful piece may perhaps take some adjusting to, and it should be heard repeatedly to absorb the magnificent musical ideas - the more it’s heard, the more it grows on one. No kidding!
Ever since we three performed Schubert’s Auf dem Strom some years ago, Jason has been seeking out more songs for soprano with horn and piano. Look what he’s found!!!
And then we come to Schumann. Those of you who were with us a year ago heard his magnificent Quintet for piano and strings. Here is its sister - a quartet written more or less contemporaneously. The same joyful romantic melodies, the same ravishingly euphonious harmonies, especially the romantic third movement, which is simply to die for. Notice that the cellist must surreptitiously retune her lowest string in mid-movement to provide a low B-flat pedal point for the movement’s last six measures.
The Eighty-Sixth Concert
Tuesday, February 24, 2004, 7:30 p.m.
Featuring:
Jean Provine, violin
Donald Maclean, viola
Jerry Schwarz, clarinet
Bob Rosen, Nicole Bordes, Sarah Himmelfarb and David Ehrlich, piano
Program:
Hungarian Dances by Johannes Brahms (1833-97)
#1 (Allegro molto) - #3 (Allegretto) - #2 (Allegro non assai)
Sinfonia Concertante in E-flat, K. 364 by W.A. Mozart (1756-91)
1. Allegro maestoso - 2. Andante - 3. Presto
I N T E R M I S S I O N
Hungarian Dances by Brahms
#11 (Poco andante) - #20 (Poco allegretto) - #17 (Andantino)
Three Pieces from op. 83 by Max Bruch (1858-1920)
2. Allegro con moto - 3. Andante con moto - 5. Romanian Melody
Hungarian Dances by Brahms
#6 (Vivace) - #7 (Allegretto) - #8 (Presto)
About Our Artists
Jean Provine studied violin at Boston University where she received her Masters degree, and spent several further years in the Boston area teaching and playing. She has played with the Seoul Philharmonic in Korea and the Durham Sinfonia in England where she spent 23 years playing, teaching Suzuki violin and raising a family. She is an avid player of chamber music and teaches in her home in College Park.
Don Maclean began his musical studies at age 17, and is a graduate of Oberlin. He believes that chamber music is "an example of how the world might someday operate ..... people of every race, age, gender and ethnicity cooperating to create something beautiful."
Robert Rosen began piano studies at age 7, not long before realizing that one must eat to live. Retired now from a career as attorney and CPA with Ernst & Young, Bob devotes his life to music. In addition to coordinating Laropa and conducting the Montrose Ensemble, he is director of public relations for the Friday Club and studies with Nancy Hallsted.
Clarinetist and impresario Jerry Schwarz began at least some of his musical studies in Los Angeles at age ten and became UC-Berkeley Symphony's principal clarinet. Also a member of the Rock Creek Wind Players and founder of the Trio Con Brio, Jerry is a frequently welcome fixture in many of our concert programs.
Nicole Bordes is French. She started piano at 6 at the Conservatoire of Toulouse, in the southwest of France, completed them in the École Normale Superieure de Musique of Paris. She then returned to Tou-louse to teach piano and theory. During these years, she enjoyed conducting a small orchestra and choirs of children. In 1989, she followed her husband around the world. After India, stints in Japan, Germany and England she has now settled in Washington, where she shares time between her two passions: her family and music.
Sarah Himmelfarb has been playing piano since the age of five. She has fond childhood memories of her mother’s living-room get-together, and in looking back on such later adventures as college and law school, she finds all the high points stem from chamber music. Since moving to Washington with her French horn manqué husband, she works part-time, raises three children, and ... plays chamber music.
David Ehrlich learned the piano from his father, Richard, in Boston, starting at the age of six. Since discovering (at 7) he wasn't destined to be the next Horowitz, he's resigned himself to life as a musical amateur, studying with Matthew van Hoose and playing for friends in venues like Eugene, Ore.; Tiburon, Cal.; New York City; and Nagydorog, Hungary.
Notes on the Program
The symphonie concertante was an early form of concerto. This one, for violin, viola, and orchestra (here reduced to piano) was presumably composed between 1776 and 1780. There is no indication why Mozart wrote a concerto for these instruments other than that he had a particular liking for the viola, which he himself played in chamber music performances. This profound, passionate work ranks with his greatest. Also, the orchestra part is of symphonic character rather than being a mere concerto accompaniment. The first movement is in classic three-part sonata-allegro form, ending in a delightful rondo.
Max Bruch was a professor at the University of Breslau. His eight pieces, which we've performed variously and complete tonight, were conceived originally for piano solo. However, he rescored them for his son when he showed promise on the clarinet. The work of a 70-year-old Lutheran writing on the eve of the Jazz Age, they're a romantic throwback to the 19th century, evoking as they do the vanished world of Eastern European Jewry.
There are twenty-one of Brahms’s wonderful Hungarian dances that he based on folk tunes, setting an inimitable big-city stamp on them. Evidently he didn’t think enough of them to give them opus numbers, but like the Liebeslieder that we’ve done the last few years, they earned him an awful lot of money. Performed either one by one or as a concerted set, they never fail to arouse an audience.
The Eighty-Fifth Concert
Thursday, January 15, 2004, 7:30 p.m.
Featuring:
The Ironwood Recorder Ensemble
Program:
A program of old and new, employing at least 25 instruments
The Eighty-Fourth Concert
Thursday, December 18, 2003, 7:30 p.m.
MERRY CHRISTMAS!
Featuring:
Beth Lawrence, soprano
Joyce Bouvier, soprano
Sarah Wagner, oboe
Bernie Arons, clarinet
Donald Maclean, viola
Jenny Lee, cello
David Ehrlich, piano
and the POTOMAC MANDOLIN ENSEMBLE
Lynn Falk, Annette Henzke, Edith Potzschke, mandolins; Pat Kibler, mandola; Hoang Le, guitar
Program:
Prelude: Wachet auf, ruft uns die Stimme (Cantata 140) by J.S. Bach, arr. Kocsis
Flösst mein Heiland (Christmas Oratorio) by J.S. Bach
He Shall Feed his Flock (Messiah) by G.F. Handel
Adeste Fideles (Traditional)
Ich esse den Brot (Cantata 84) by J.S. Bach
Laudamus Te (Gloria) by Antonio Vivaldi
Geistliche Wiegenlied, op. 91, # 2 by Johannes Brahms
Joseph lieber, Joseph mein (Traditional)
Gretchen am Spinneräde by Franz Schubert
In the bleak midwinter Christina by Rossetti/Gustav Holst
Hark the Herald Angels Sing by Felix Mendelssohn
INTERMISSION
Gavotte by G.F.Handel
Concerto in G major by Johann Hasse
Spanish Dance #5 (Guitar solo) by Enrique Granados
Carol of the Bells by Leontovich
O Tannenbaum (German folksong)
Five Greek Songs by Maurice Ravel
L’aïo de rósó (Songs of the Auvergne) by Joseph Canteloube de Malaret
Pavane pour un enfant by Maurice Ravel
O little town of Bethlehem by Phillips Brooks/Lewis Redner
Lo How a Rose (Traditional)
O Holy Night by Adolphe Adam
The Eighty-Third Concert
Tuesday, November 11, 2003, 7:30 p.m.
Featuring:
The Montrose Ensemble
(eleven-member wind and string ensemble)
Bob Rosen, piano
Program:
Gran Partita, K. 361 by Wolfgang Amadeus Mozart
Serenade, op. 44 by Antonin Dvorak
Rhapsody in Blue for solo piano by George Gershwin
The Eighty-First and Eighty-Second Concerts
Friday, October 31, 2003, 7:30 p.m.
Sunday, November 2, 2003, 7:30 p.m.
Featuring:
A Weekend of CONTRASTS
(the renowned European ensemble that launched our series seven years ago)
Kati Sebestyen, violin
Erwin Schiffer, viola
Freddy Arteel, clarinet
Dana Protopopescu, piano
with:
Visnja Kosanovic, flute
Jerry Schwarz and Bernie Arons, clarinet
Taka Ariga, 'cello
Matthew van Hoose and David Ehrlich, piano
Program:
FRIDAY
Quintet for piano and winds by Nikolai Rimsky-Korsakov ( 1844-1908)
Allegro con brio - Andante - Rondo. Allegro
Divertimento by Bernard Baert (1963-)
Allegro molto - Romance - Presto tempestoso
INTERMISSION
Adagio and Rondo, K. 617 by W.A. Mozart (1756-91)
Piano Quartet, op. 23 by Antonin Dvorak (1841-1904)
Allegro moderato - Andantino - Allegro scherzando
Il maestro e lo scolare by F.J. Haydn (1732-1809)
Theme and Variations. Minuet
Konzertstuck #2 by Felix Mendelssohn (1809-47)
Allegro. Andante. Allegretto grazioso
Concertino for Flute by Cecile Chaminade (1858-1944)
Trio, op. 11 by Ludwig van Beethoven (1770-1827)
Allegro con brio. Adagio. Theme and Variations
INTERMISSION
Vocalise by Sergei Rachmaninoff (1878-1948)
Aprhs une rhve by Gabriel Fauri (1858-1924)
Trio. Op. 63 by Carl Maria von Weber (1786-1826)
Allegro moderato. Scherzo. Vivace. Andante espressivo. Allegro giojoso
About the Artists
The ensemble CONTRASTS consists of four members of the faculty of the Royal Conservatories of Belgium. They have performed together throughout Europe for more than 20 years, participating in major festivals in Paris, Flanders, and Romania. The group's unusual instrumental combination affords an opportunity to explore and adapt a range of trios and quartets from the standard repertoire, which has led a number of contemporary composers to write for them.
Their initial American connection, which dates back almost 15 years, was with the University of North Carolina, at whose summer workshops in both Chapel Hill and Morges, Switzerland, they have comprised the core of the teaching faculty. More recently, they have made three concert tours of the United States, appearing from Boston to Spartanburg, South Carolina.
Kati Sebestyin studied in Budapest at the Franz Liszt Academy and later at the Royal Conservatory of Brussels before completing her studies at the prestigious Capel Musicale Reins Elizabeth. Today, she is head of the string section in Brussels, where she teaches privately as well as sitting regularly on juries and master classes. She is also a member of the Haydn String Quartet, concert mistress of the European Philharmonic, with whom she recently toured Spain and Germany as soloist, and founder and leader of the Sebastian Strings Chamber Orchestra in Antwerp, with all of whom she has recorded extensively.
Among Europe's leading violists, pedagogues, and chamber coaches, Erwin Schiffer is a native of Hungary, where one of his teachers at the Franz Liszt Academy was Zoltan Kodaly. In addition to joining Ms. Sebestyin in the Haydn Quartet and Contrasts, he is a member of the Trio Viotti. As such, he performs regularly throughout Europe - from Stockholm to Cadiz -and also in Turkey, Israel, Japan, and South Africa. He has led master classes in France, Germany, Spain, Switzerland, and the United States, and recorded on major labels, including DGG, Turnabout, and Vox.
Belgian-born Freddy Arteel's clarinet has been heard widely throughout Europe and North America, in both solo and chamber work. Mr. Arteel studied in Brussels, Paris, and Geneva; today, his teaching positions include Ghent, Aberystwyth (Wales), and the University of North Carolina. For 20 years he was the principal clarinet of the Philharmonic Orchestra of Antwerp. He has performed their own works for such luminaries as Khatchaturian, Copland, and Kabalevsky.
Dana Protopopescu's musical career began at a tender age in Bucharest, Romania, where she made her debut as soloist at 14. Moving to Brussels and Hannover, she worked under Eduardo del Pueyo and Karl Engel. She has traveled Russia extensively and performed as soloist with several major European orchestras. In Brussels, where she is professor of music at the Royal Conservatory, she has recorded frequently for radio and television and made several CDs including Mendelssohn's complete piano works and concerti of Weber, Schumann, and Hummel.
Notes on the Program
We're indebted to our good friend Phil Uhlmann who discovered that this familiar piece was the one of two pieces that Rimsky-Korsakov wrote for a competition and the one that won nothing. The second one, which won a prize, is never heard today. The original instrumentation is for flute, clarinet, horn, and bassoon with piano, which our friends have transcribed for their own use. The sprightly first movement is the only part ever heard. The contemplative second and peasant-dance third, with its brutally difficult piano part, are delightful additions to tonight's program.
The contemporary Flemish composer Bernard Baert has contributed a delightful divertimento (meant to divert!), an eighteenth-century Italian form. As we haven't heard it yet, we can only note that M. Baert finished his professional studies at the conser-vatory of Ghent with diplomas for piano and composition and studied composition with professor Roland Coryn. He obtained several prizes with compositions for chamber music (a piano trio and woodwind quintet). His output includes some forty more. In the beginning, composition was for Baert a "written-improvisation." During his studies his musical language crossed tonal and metric borders (but not too far!). After he finished te composition of his clarinet quartet (1996) he decided to simplify his way of composition. Crucial is the instant joy of making music. From 2000 on, with the composition of his "Piu meno" (More or Less) symphony he has added a spiritiual layer to his music.
As much as we know of Mozart's last works, little is known of the circumstances of the composition of this little-known gem. The two-movement structure, a form often used in Mozart's time, is simple and straightforward, and the melodies are the unmistakable combination of joy and sadness that permeate all his work.
Dvorak wrote two piano quartets of which this is by far the least often played. Contrasts' brilliance in recognizing the possibilities of adding the clarinet, an instrument Dvorak very rarely used, is an excellent way to bring it out of the obscurity in which it has languished ever since he wrote it.
The Haydn piano duet is our affectionate homage to our Chapel Hill teachers. Billed also as a sonata, it's a piece to be cheerfully botched in grand fashion. Notice that when the maestro is satisfied that his pupils are ready, he allows them to join him in the minuet.
Mendelssohn and the dumplings, or: The way to a composer's heart is through his stomach Mendelssohn was 20 when he paid his first visit to the father and son clarinetists Heinrich and Carl Bdrmann, "the most delightful day I ever spent... If all goes well, next time we shall] eat dumplings and play the A-flat major sonata." He may have grown fond of the Bdrmann's playing, but it seems he developed a weakness: for sweet dumplings and cheese strudel. So when the pair were next in Berlin, he asked them to prepare his favorite dishes, for which the quick-witted Bdrmanns requested as payment a duet for clarinet and basset horn with piano.
According to Carl, "When I showed up at the appointed time, Mendelssohn put a chef's hat on my head, drew an apron around my waist, and stuck a cooking spoon into the waistband. He did the same himself, except that instead of a spoon, he stuck a pen behind his ear and led me into the kitchen... He returned to his room where, as he said, he would "stir and knead the tones, add salt and pepper, sweeten, them and make a spicy sauce before cooking everything over a good hot fire...
"My heart skipped a beat, and I hoped the dumplings had risen properly. To my great relief, they had, and the cheese strudel was bubbling away melodiously in the pan. I then brought my offerings in covered dishes to the table. Mendelssohn had two duets in a covered dish. We rehearsed them after the dumplings, and Father and I were still more delighted with the charming piece than he was with the dumplings and strudel - though he kept saying my composition was more brilliant than his. One bears the title: 'The Battle near Prague, Grand Duet for Sweet Dumplings and Cheese Strudel or Clarinet and Basset Horn, composed and humbly dedicated to Bdrmann Senior and Junior by their very devoted Felix Mendelssohn Bartholdy."
Cecile Chaminade was a French woman composer at a time when the idea of French women writing music was considered "barely acceptable," and her work was sniffed at by the French musical establishment of her day. Though it's true that many of her 400 pieces. mostly for piano solo, might be put down as purely salon (e.g., "lite"), more of it should be heard. And a lot more frequently. Embracing music as her lifelong obsession at the early age of eight, she wrote and taught in relative obscurity, served as the head of the French Office of Public Instruction, only occasionally emerging to give recitals of her own work, and travel to England to perform. What makes this charming little piece, which belongs in every self-respecting flutist's repertoire, is her thorough understanding of how to make the piano an intelligible accompanist to the showiness of the flute.
Beethoven penned this trio in Vienna in 1798. It begins with a bright allegro con brio, which is followed by one of the most majestic slow movements in the literature. A tale hangs on the last movement, a set of variations on a song from a long-forgotten comic opera, Amor Marinaro, by Joseph Weigl. Beethoven was then, if not yet a renowned composer in town, certainly the reigning pianist. A far lesser light named Daniel Steibelt sought to challenge him at a musical social by daring to embellish these variations with some of his own. Beethoven characteristically retaliated by playing the score of Steibelt's latest composition upside down, annihilating his would-be rival.
Both the Rachmaninoff and Fauri are transcriptions of music for the voice, one no more than "oh" and "ah"; the other a real song. Don't they sound marvelous on the mellow cello!
Weber is known primarily for his operas, and this charming trio is redolent of Der Freisch|tz. The sylvan first movement echoes the mysteries of the Wolf's Glen; the other three - the robust scherzo, shepherd's lament (presumably for an absent or lost love) inspired by a poem of Goethe, and gay, somewhat naive peasant procession of the finale evoke the joy of the dwellers of the Black Forest as they greet the return of spring.
The Eightieth Concert
Tuesday, September 16, 2003, 7:30 p.m.
Featuring:
Visnja Kosanovic, flute
Laura Bachmann, soprano
Carolynj Zolbe, alto
Charles Bachmann, tenor
Jonathan Ward, bass
Carl Tretter, violin
Carol Warden, cello
David Ehrlich and Robert Rosen, piano
Program:
Neue Liebeslieder, op. 65 Johannes Brahms (1833-97)
1. Verzieht, o Herz
2. Finstere Schatten der Nacht
3. An jeder Hand
4 Ihs schwarzen Augen
5. Wahre, wahre, deinen Sohn
6. Rosen steckt mir an, Mutter
7. Von Gebirge Well'
8. Welche Graser in Reiver
9. Nagen und Herzen
10. Ich kose suss mit der
11. Alles, alles in den Wind
12. Schwarzen Wald, dein Schatten
13. Nein, Geliebter
14. Flammen Augen, dunkles Haar
15. Zum Schluss
Concertino for Flute, op. 108 by Cecile Chaminade (1857-1944)
INTERMISSION
Scottish Songs, op. 237 by Ludwig van Beethoven (1770-1827)