Sept12-UWM Peck

1Fine Arts Quartet

Fine Arts Quartet

Ralph Evans Efim Boico Robert Cohen Nicolò Eugelmi

50THANNIVERSARY!

September 9, 2012 at 3pmHelen Bader Concert Hall

2012-2013

2 UWM Peck School of the Arts

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Dr. Lucile Cohn

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3Fine Arts Quartet

PROGR A M

String Quartet in F Major, Op.77, No.2 ................................................................Franz Joseph HaydnAllegro moderato (1732-1809)Menuetto: Presto, ma non troppoAndanteFinale: Vivace assai

String Quartet No.1, Op.49 (1938) ...................................................................... Dmitri ShostakovichModerato (1906-1975)ModeratoAllegro moltoAllegro

--- Intermission ---

String Quartet in G Minor, Op.10..................................................................................Claude DebussyAnimé et très décidé (1862-1918)Assez vif et bien rythméAndantino, doucement expressifTrès Modéré - Très Mouvementé et avec passion

PROGR A M NOTES

Written by Timothy Noonan, Senior Lecturer - Music History and Literature

Haydn, String Quartet in F Major, Op. 77 No. 2Haydn composed his 68 string quartets over a period of about 45 years, beginning around 1755-60 and ending in 1803. While he did not originate the genre, he did write some of the first examples, and Haydn is the earliest composer whose string quartets we hear frequently today. His quartets are of remarkable craftsmanship and musical value, and we are mistaken if we suggest that their large number suggests any artistic defi-ciency. As with his symphonies, Haydn’s creativity and originality in the field of the string quartet yielded a remarkable stream of fine works over a long compositional career. In 1799, when he was in his late sixties, Haydn received a commission from Prince Lobkow-itz for a set of quartets, and he composed two of them, known as Op. 77, that same year. Then in 1802-03 he worked on a third quartet for the commission, writing the slow move-ment and the minuet only, a work he called the “third and last quartet.” This fragmentary quartet is known today as Op. 103. And with it, Haydn’s days of quartet writing were over. He was now in his early seventies, and no longer had the strength to continue.

Op. 77 No. 2, then, is Haydn’s last completed string quartet. In a clear sonata form, the first movement is replete with lyrical and lively musical invention. Characteristically, Haydn presents us with several distinctive melodic and motivic ideas, and then composes out the movement using and reusing those ideas in a marvelous variety of ways. For example, the second theme, clearly articulated from what came before, takes the rhythm of the movement’s opening idea and places it in the second violin part, rendering the new theme truly new and yet a cousin to the first theme. The development section, too, is a masterful reworking of selected ideas taken from the exposition, and Haydn leaves a full measure of silence before the recapitulation. The movement ends with a brief coda. The second movement is the minuet, and this quartet is a late example of the phenomenon found in some earlier works of Haydn in which the traditional ordering of fast–slow–minuet–fast is altered, inverting the two interior movements. Though it is


PROGR A M NOTES c o n t.

labeled as a minuet, this is more properly a scherzo, in view of its fast tempo. While it is set in the usual 3/4 meter, Haydn creates a sense of 2/4 at times. The trio is set in the lush and distantly-related key of D-flat major, and as it concludes, a short transition takes us back to the F major of the minuet. The D-major slow movement is set in a rondo-varia-tion form. An initial theme, played by a first violin and cello duet, and then by the whole quartet, is subjected to variations that place a variety of figurations against the theme. The slow movement is not in the main key (the norm in this repertoire), and thus Haydn needs to restate the main key as he opens his finale, and so he does, with an F-major chord marked with a fermata. The sonata-form movement is playful and quick and, as we heard in the first movement, the substantial development section spotlights Haydn’s mastery of manipulating his ideas in ever new and engaging ways.

Shostakovich, String Quartet No. 1 in C Major, Op. 49In Spring 1937 Dmitri Shostakovich was invited to the join the faculty of the Leningrad Conservatory. Coming on the heels of a scathing review in Pravda of his opera Lady Macbeth of the Mtsensk District, and with the responsibilities of a baby daughter, Galina, born a year earlier, he was glad to accept, and began teaching in September. He taught composition as well as instrumentation, and participated in sessions of performance and analysis of important and often non-Russian works. In 1938, before he became a full professor in June 1939, he composed the first of his fifteen string quartets (written over the span 1938-1974), on a commission from the Glazunov Quartet, also affiliated with the Conservatory. He had recently completed his famed Fifth Symphony. Shosta-kovich reported that he wrote the first portion of the quartet “as a kind of exercise in quartet writing,” and said that he initially planned to call the piece the “Spring” Quartet. The piece is mild, not passionate, not often loud, evocative of youth: in the words of Ian MacDonald, it is a work of “studied simplicity.” The work’s initial movement was originally planned to be the finale, and the finale was to be first. The first movement begins with a repeated-note idea that proves to figure prominently in later portions of the work. The movement is essentially in sonata form, albeit with just a brief transition in place of a full development section and an abbreviated recapitulation. Its second theme is accompa-nied by a cello ostinato figure featuring glissandi. The second movement is a theme with three variations, beginning in A minor; the theme is in the manner of a Russian folk tune, presented by the viola. As is often found in Russian variations, the theme is present in each one, while the background changes. The brief scherzo and trio in C-sharp minor is muted throughout and maintains a quiet dynamic level. The contrasting trio section in F-sharp major takes on the style of a waltz. And the structure of the finale resembles sonata form, with a full development section. It ends, uncharacteristically for Shostakov-ich’s quartets, loudly and firmly in C major.

Debussy, String Quartet in G Minor, Op. 10While Claude Debussy called this work his “Premier quatuor,” he was to complete just one string quartet (though he worked on a second one in 1894). Written in 1893, it originated in the same period as the Prelude to the Afternoon of a Faun, the opera Pélleas et Melisande, and the three Images for piano. The quartet was evidently the product of considerable labor; writing to the composer Chausson, he said “I have not been able to get it as I want it to be, and I am therefore starting it again for the third time.” Another prominent figure in French music, César Franck, had a role in its genesis. Debussy heard a performance of Franck’s quartet in D major in April 1890, perhaps providing the inspiration to write his own. In addition, Debussy attended Franck’s organ class at the Paris Conservatory, and the quartet shows some influence of Franck’s style. His influence on the work is particu-larly in its cyclic nature. As Franck incorporated recurrent ideas among the movements of

5Fine Arts Quartet

PROGR A M NOTES c o n t.

some of his works, so Debussy crafted his quartet such that the opening idea is trans-formed into the thematic material of the subsequent movements.

Debussy’s quartet, viewed as his first masterpiece, received its premiere at the Société Na-tionale de Musique in December 1893, performed by the group to whom Debussy dedi-cated it, the Ysäye Quartet. Enigmatically, Debussy assigned the piece the opus number 10, yet no other work by Debussy carries an opus number. The first movement opens with a decisive theme, the rhythm of which receives considerable attention during the course of the movement and, again, proves to be the source of the ideas that dominate the movements that follow. The distinctive opening of the second movement scherzo features pizzicato G-major chords played by the first violin and cello, alternating with an arco solo viola idea that is derived from the first movement’s opening theme. The viola’s line is the dominant idea in the scherzo, and then the trio follows a short transitional passage in the low register of the cello. The slow movement, played muted much of the time, begins with brief solo aborted attempts to present the theme, before the whole ensemble presents it in full in D-flat major. It is set in an A–B–A scheme, and the middle section is a bit faster, begun by the solo viola. The movement rises to a passionate climax, calmed by cello solos that lead to a return of the main theme. The finale’s theme, again based upon the opening of the quartet, is subjected to fugal treatment, and later the original theme returns more literally, stretched into longer notes. In the coda Debussy returns to the idea oft-repeated by the viola from the second movement. Debussy’s quartet is a tour de force in the transformation of musical material, yielding a work of power and beauty as well as formal brilliance.

THE F INE ARTS QUARTET

The Fine Arts Quartet, now celebrating its 66th anniversary, is one of the most distinguished ensembles in chamber music today, with an illustrious history of performing success and an extensive recording legacy. Founded in Chicago in 1946, and based at the University of Wisconsin-Milwaukee since 1963, the Quartet is one of the elite few to have recorded and toured internationally for over half a century. Violinists Ralph Evans and Efim Boico, who have performed together in the Quartet for nearly 30 years, were joined by violist Nicolò Eugelmi in 2009 and cellist Robert Cohen in 2012. Each season, the Fine Arts Quartet tours worldwide, with concerts in such musical centers as New York, London, Paris, Berlin, Rome, Madrid, Moscow, Tokyo, Beijing, Istanbul, Jerusalem, Mexico City, and Toronto.

The Quartet has recorded more than 200 works, over 80 of them with Evans, Boico, and the late Wolfgang Laufer. Their latest releases on Naxos include: the world premiere recording of Efrem Zimbalist’s Quartet in its 1959 revised edition, the world premiere digital recording of Eugène Ysaÿe’s long-lost masterpiece for quartet and string orchestra, “Harmonies du Soir”; Fritz Kreisler’s String Quartet, the two Saint-Saëns String Quartets, three Beethoven String Quintets; the Franck String Quartet and Piano Quintet; Fauré Piano Quintets; complete Bruckner chamber music; complete Mendelssohn String Quin-tets; “Four American Quartets” by Antheil, Herrmann, Glass, Evans; complete Schumann Quartets; and the Glazunov String Quintet and Novelettes. Aulos Musikado released their complete Dohnányi String Quartets and Piano Quintets, and Lyrinx released both their complete early Beethoven Quartets and complete Mozart String Quintets in SACD format. Releases planned for 2012-13 on Naxos include chamber masterpieces by Schumann and Saint-Saëns.


THE F INE ARTS QUARTET c o n t.

The Quartet’s recent recordings have received many distinctions. Their Fauré Quintets CD on Naxos with pianist Cristina Ortiz was singled out by the 2012 Gramophone Classical Music Guide as a “Gramophone award-winner and recording of legendary status”, and was among the recordings for which musical producer Steven Epstein won a 2009 Grammy® Award (“Producer of the Year, Classical”). The Quartet’s Franck CD was named “Editor’s Choice” by Gramophone Magazine in February, 2010, and their Glazunov, Mendelssohn, and Fauré CD’s were each named a “Recording of the Year” by Musicweb International (2007-2009). In addi-tion, their “Four American Quartets” album was designated a “BBC Music Magazine Choice” in 2008, their Schumann CD was named “one of the very finest chamber music recordings of the year” by the American Record Guide in 2007, and their Mozart Quintets SACD box set was named a “Critic’s Choice 2003” by the American Record Guide. Nearly all of the Quartet’s Naxos CDs were selected for Grammy® Awards entry lists in the “Best Classical Album” and/or “Best Chamber Music Performance” categories. Special recognition was given for the Quartet’s commitment to contemporary music: a 2003-2004 national CMA/ASCAP Award for Adventurous Programming, given jointly by Chamber Music America and the American Society of Composers, Authors, and Publishers.

The Quartet members have helped form and nurture many of today’s top international young ensembles. They have been guest professors at the national music conservatories of Paris and Lyon, as well as at the summer music schools of Yale University and Indiana University. They also appear regularly as jury members of major competitions such as Evi-an, Shostakovich, and Bordeaux. Documentaries on the Fine Arts Quartet have appeared on both French and American Public TelevisioN. Please visit: www.fineartsquartet.org

B IOGR APHIES

RALPH EVANS, violinist, prizewinner in the 1982 International Tchaikovsky Competition in Moscow, concertized as soloist throughout Europe and North America before

succeeding Leonard Sorkin as first violinist of the Fine Arts Quartet. Evans has recorded over 85 solo and chamber works to date. These include the two Bartók Sonatas for violin and piano, whose performance the New York Times enthusiastically recom-mended for its “searching insight and idiomatic flair,” and three virtuoso violin pieces by Lukas Foss with the composer at the piano. Evans graduated cum laude from Yale University, where he also received a doctorate. While a Fulbright scholar in London, he studied with Szymon Goldberg and Nathan Milstein, and soon won the top prize in a number of major American competitions, including the Concert Artists

Guild Competition in New York, and the National Federation of Music Clubs National Young Artist Competition. Evans has also received recognition for his work as a composer. His award winning composition “Nocturne” has been performed on American Public Television and his String Quartet No.1, recently released on the Naxos label, has been warmly greeted in the press (“rich and inventive” - Toronto Star; “whimsi-cal and clever, engaging and amusing” - All Music Guide; “vigorous and tuneful” - Mon-treal Gazette; “seductive, modern sonorities” - France Ouest; “a small masterpiece” - Gli Amici della Musica).

EFIM BOICO, violinist, enjoys an international career that has included solo appearances under conductors Zubin Mehta, Carlo Maria Guilini, Claudio Abbado and

7Fine Arts Quartet

B IOGR APHIES c o n t.

Erich Leinsdorf, and performances with Daniel Barenboim, Radu Lupu and Pinchas Zuckerman. After receiving his musical training in his native Russia, he emigrated in 1967 to Israel, where he was appointed Principal Second Violin of the Israel Philharmonic - a position he held for eleven years. In 1971, he joined the Tel Aviv Quartet as second violinist, touring the world with guest artists such as André Previn and Vladimir Ashkenazy. In 1979, Boico was appointed concertmaster and soloist of the Orchestre de Paris under Daniel Barenboim, positions he held until 1983, when he joined the Fine Arts Quartet. Boico has been guest professor at the Paris and Lyons Conservato-ries in France, and the Yehudi Menuhin School in Switzerland. He is also a frequent juror representing the United States in the prestigious London, Evian, and Shostakovich Quartet Competitions. As music professor at the University of Wisconsin, Milwaukee, he has received numerous awards, including the Wisconsin Public Education Professional Service Award for distinguished music teaching, and the Arts Recognition and Talent Search Award from the National Foundation for Advancement in the Arts.

NICOLÒ EUGELMI, violist, joined the Fine Arts Quartet in July, 2009. He is described by The Strad magazine as “a player of rare perception, with a keen ear for

timbres and a vivid imagination.” As soloist, recitalist, and member of chamber ensembles, he has performed around the world, collaborating most notably with conductors Mario Bernardi, Jean-Claude Casadesus, and Charles Dutoit. Eugelmi completed his musical training at the University of British Columbia and the Juilliard School. In 1999, he was appointed Associate Principal Violist of the Orchestre Symphonique de Montréal, and in 2005, he became Principal Violist of the Canadian

Opera Company. Eugelmi’s recording, Brahms: Sonatas and Songs, was named a “Strad Selection” by The Strad, and his recording, Brahms Lieder, a collaboration with Marie-Nicole Lemieux, was named “Editor’s Choice” by Gramophone. He has recorded regularly for the CBC and Radio-Canada. His mentor, Gerald Stanick, was a member of the Fine Arts Quartet from 1963 to 1968.

ROBERT COHEN, cellist, made his concerto debut at the age of twelve at the Royal Festival Hall London and throughout his distin-guished international

career, he has been hailed as one of the foremost cellists of our time. “It is easy to hear what the fuss is about, he plays like a God” (New York Stereo Review). “Cohen can hold an audience in the palm of his hand” (The Guardian). Invited to perform concertos world-wide by conductors Claudio Abbado, Kurt Masur, Riccardo Muti, and Sir Simon Rattle, Cohen has also collaborated in chamber music with many eminent artists such as Yehudi Menuhin and the Amadeus String Quartet, with whom he recorded the Schubert Cello Quintet on Deutsche Grammophon. At age nineteen, Cohen recorded the Elgar Concerto with the London Philharmonic Orchestra for the EMI label, and since then, he has recorded much of the cello repertoire for Sony, Decca, DGG, EMI, and BIS. Cohen, who studied with the legend-ary artists William Pleeth, Jacqueline du Pré, and Mstislav Rostropovich, is an inspirational teacher who has given masterclasses all over the world. He is a Professor at the Royal Academy of Music in London and at the Conservatorio della Svizzera Italiana in Lugano, and is director of the Charleston Manor Festival in the south of England. He joined the Fine Arts Quartet in January 2012.


Coming soon to

50THANNIVERSARY!

Art & DesignContinuum 2012Through Oct 26

FilmCream City Soundcheck Premiere PartySept 13

Milwaukee LGBTFilm/Video FestivalOct 18-21

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InovaMichelle Grabner ExhibitionThrough Sept 23

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2012-2013

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PROGR A M

Two Sacred Songs (1989)Oseh ShalomShiru Ladonai

Valerie Errante, soprano, Jennifer Clippert, fluteStefan Kartman, cello, Rene Izquierdo, guitar

Songs of Transcendence (1999)three songs for solo guitar

Rene Izquierdo, guitar

Why (?) Jacob (2007)Elena Abend, piano

Breath In A Ram’s Horn (2003)What Do We Know?Old Medals Prayer ShawlsJob Longed For The GraveRosh Hashana/ Yom KippurMy Father’s Name

Robert Swensen, tenor, Jennifer Clippert, flute, Trevor O’Riordan, clarinetBernard Zinck, violin,

Stefan Kartman, cello, Jeffry Peterson, piano


B IOGR APHIES

Daniel Asia, ComposerDaniel Asia (b. 1953, Seattle, WA) is one of a small number of composers who have traversed both the realms of professional per-formance and academia with equal skill. As tes-tament to this he is a 2010 recipient of a major American Academy of Arts and Letters award. Elliott Hurwitt writes in a Schwann Opus re-view of the composer’s music, “Daniel Asia is a genuine creative spirit, an excellent composer... He is a welcome addition to the roster of our strongest group of living composers.”

His orchestral works have been commis-sioned or performed by the symphony orchestras of Cincinnati, Seattle, Milwaukee, New Jersey, Phoenix, American Composers Orchestra, Columbus (OH), Grand Rapids, Jacksonville, Chattanooga, Memphis, Tucson, Knoxville, Greensboro, Seattle Youth, and the Brooklyn, Colorado and Pilsen (Czech Republic) philharmonics. Asia’s works have been performed by renowned conductors including Zdenek Macal, Jesus Lopez-Cobos, Eiji Oue, Lawrence Leighton Smith, Hermann Michael, Carl St. Clair, James Sedares, Stuart Malina, Robert Bernhardt, George Hanson, Jonathan Shames, Odaline de la Martinez, and Christopher Kendall.

He has been the recipient of the most impor-tant grants and fellowships in music includ-ing a Meet The Composer/ Reader’s Digest Consortium Commission, United Kingdom Fulbright Arts Award Fellowship, a Guggen-heim Fellowship, four NEA Composers Grants, a M. B. Rockefeller Grant, an Aaron Copland Fund for Music Grant, MacDowell Colony and Tanglewood Fellowships, ASCAP and BMI composition prizes, and a DAAD Fellowship for study in the Federal Republic of Germany. From 1991-1994, Mr. Asia was the Meet the Composer/ Composer In Residence with the Phoenix Symphony.

The composer’s major orchestral works include five symphonies, piano and cello

concerti, two song cycles, and several single movement works. His output for chamber en-sembles and solo performers is also extensive and includes works written for or commis-sioned by Koussevitsky Music Foundation, Fromm Music Foundation, D’Addario Founda-tion for the Performing Arts/Domus, The Czech Nonet/Barlow Endowment/Arizona Friends of Chamber Music, Oberlin Woodwind Quintet, Dorian Wind Quintet, American Brass Quintet, Meadowmount Trio, Andre-Michel Schub (piano), Carter Brey (cello), Alex Klein (oboe), Benjamin Verdery (guitar), John Shirley-Quirk and Sara Watkins (baritone and oboe), Jonathan Shames (piano), violinists Curtis Macomber, Gregory Fulkerson, Mark Rush and Zina Schiff, and Robert Dick (flute).

Other performers of his smaller scale works include Cleveland Chamber Orchestra, Pitts-burgh New Music Ensemble, San Francisco Contemporary Chamber Players, Contempo-rary Chamber Players/Chicago, Scott Chamber Players/Indianapolis, The Bridge Ensemble, Aspen Festival Chamber Orchestra, Northwest Chamber Orchestra, Endymion Ensemble, Lontano and the BBC Singers.

His music has been played throughout the United States, and in the major venues of New York, including Carnegie Hall and Recital Hall, 92nd Street Y, Merkin Hall, the Great Hall at Cooper Union, those of London including Queen Elizabeth Hall (South Bank), St. John’s Smith Square, Wigmore Hall, and throughout Europe and Asia.

Asia’s recorded works may be heard on the Summit, New World, Albany, Babel, Innova, and Mushkatweek labels featuring artists as diverse as New Zealand Symphony, Pilsen Philharmonic (release pending), American Brass Quintet, Dorian Wind Quintet, and Cy-press String Quartet, to name but a few.

After receiving his BA degree from Hampshire College, Mr. Asia received his MM from the

Co-sponsored by Congregation Anshai Lebowitz, Congregation Beth Israel, Congregation Emanu-El B’ne Jeshurun, Congregation Emanu-El of Waukesha, Congregation Shalom, Congregation Sinai, Congregation Shir Hadash, Lake Park Synagogue, BBYO, Milaukee

Jewish Federation, The Coalition for Jewish Learning, Hillel Milwaukee, Jewish Museum Milwaukee, and the Nathan & Esther Pelz Holocaust Education Resource Center.



Yale School of Music. After serving as Assistant Professor of Contemporary Music and Wind Ensemble at the Oberlin Conservatory from 1981-86, Mr. Asia resided in London from 1986-88 working under the auspices of a UK Ful-bright Arts Award and a Guggenheim Fellow-ship. He is presently Professor of Composition, and head of the Composition Department, at The University of Arizona, Tucson. Mr. Asia’s music is published by Theodore Presser Co. He is represented as composer and conductor by Stanton Consulting & Management of Astoria, New York. Married to Carolee Asia, Mr. Asia and his wife are the parents of three children.

Elena Abend, pianoBorn in Caracas, Venezuela, pianist Elena Abend is well known as a soloist and chamber musician. She has performed with all the major orchestras of her country and has recorded with the National Philharmonic Orchestra of Venezuela. As the recipient of a scholarship from the Venezuelan Council for the Arts, Ms Abend studied at the Juilliard School, where she received her Bachelor and Master degrees. She was awarded the William Schuman Prize for outstanding achievement given to a single graduate student of her class. She has performed at the Purcell Room in London’s Royal Festival Hall, Avery Fisher Hall in New York’s Lincoln Center, Weill Recital Hall at Carnegie Hall and the Academy of Music with the Philadelphia Orchestra. Other engagements have included the Wigmore Hall in London, the Toulouse Conservatoire and the Theatre Luxembourg in France, the Corcoran Gallery in Washington D.C., the United Nations, Merkin Concert Hall in New York, Chicago Cultural Center, Pabst Theater in Milwaukee, Atlanta Historical Society, and the Teresa Carreno Cultural Center in Caracas. Other chamber music collabora-tions include, performances at the Ravinia and Marlboro Music Festivals, as well as live broadcasts on Philadelphia’s WFLN, The Dame Myra Hess Concert Series on Chicago’s WFMT and Wisconsin Public Radio at the Elvehjem Museum in Madison. Ms Abend has been on the Faculty of the Wisconsin Conservatory of Music, Indiana University’s String Academy summer program and the Milwaukee Cham-ber Music Festival. An active performer in the

Milwaukee area, Ms Abend has performed on the Milwaukee Chamber Orchestra Series at Schwan Concert Hall, Piano Chamber, New Generations, Music from almost Yesterday, and the Yolanda Marculescu Vocal Art Series at the UWM. She has performed with “Present Music Now” and the “Frankly Music” Series, as well as being an invited guest on several oc-casions to perform with the Fine Arts Quartet. She recorded a CD with clarinetist Todd Levy performing music of Brahms and Schumann for the Avie Label, as well as numerous CD projects for the Hal Leonard Corporation. She is currently on the Faculty at the University of Wisconsin-Milwaukee where she teaches piano and chamber music.

Jennifer Clippert, fluteFlutist Jennifer Clippert’s performance career clearly reflects her passionate knowledge of music from Baroque to present day. Equally comfortable as a soloist, chamber musician and orchestral player, she has performed throughout Chicago with groups such as the Chicago Symphony Orchestra, Grant Park Orchestra, Music of the Baroque, Chicago Opera Theater and the Chicago Symphony’s MUSICNOW series among others. Through these performances she’s had the opportuni-ty to work with today’s prominent conductors including Daniel Barenboim, Pierre Boulez, Cliff Colnot, Sir Andrew Davis, William Eddins, Christoph Eschenbach, Carlos Kalmar, Oliver Knussen, Lorin Maazel, Zubin Mehta, Kent Nagano, David Robertson, Esa-Pekka Salonen, Leonard Slatkin, Georg Solti, Robert Spano, Michael Tilson-Thomas, Christopher Wilkins, John Williams and Pinchas Zukerman.

Jennifer Clippert is a member of Quintet At-tacca, the second woodwind quintet to have won the Grand Prize in the thirty-nine year history of the Fischoff National Chamber Music Competition. Since winning both the Senior Wind Division and the Grand Prize at the 2002 Fischoff National Chamber Music Festival, the group has maintained an active performance schedule including tours of both Italy and the United States. Quintet Attacca is known for its versatile and unique performances, creating diverse programs comprised of music both traditional and cutting-edge.



Ms. Clippert is especially interested in ex-ploring and promoting the music of today. Through her performances with the Chicago Symphony’s MUSICNOW series, she has had the privilege of premiering works by some of today’s leading composers including Oliver Knussen, Shulamit Ran and Augusta Read Thomas. She has also been fortunate to work closely with many composers on performanc-es of their works.

She is the winner of several competitions includ-ing the Musicians Club of Women Farwell Award and the Flute Talk Competition. Ms. Clippert has been a finalist and prize winner in several com-petitions including the National Flute Association Young Artist, Piccolo Masterclass and Performers Masterclass Competitions.

An avid pedagogue, Ms. Clippert began her teaching career as an undergraduate student and has always maintained an active studio. She served on the National Flute Association’s Pedagogy committee from 2005-2008, and has presented at several conventions. She is also a frequent guest artist, clinician and adjudicator for various flute festivals. Ms. Clip-pert was on faculty at DePaul University from 2006-2012.

Ms. Clippert began her studies at an early age in Wisconsin, studying first the piccolo and later the flute. She attended the University of Wisconsin-Milwaukee where she received her BFA while studying with Robert Good-berg. While playing two seasons in the Civic Orchestra of Chicago, she had the privilege of studying with Donald Peck. Ms. Clippert is

also a graduate of Northwestern University, where she received both her MM and DM under Walfrid Kujala.

Valerie Errante, sopranoValerie Errante has served on the faculties of the University of Iowa, Eastman School of Music, and Folkwang Hochschule for Music in Essen, Germany. Her singing career has taken her to three continents: after her operatic debut with Michigan Opera Theater, she was selected for the opera studio of the Bavar-ian State Theater of Munich. She sang over 30 roles in six seasons as leading coloratura soprano with the opera of the city of Kiel, and has sung guest appearances in opera and concerts in Italy, Israel and Estonia. She has performed in the United States at the Kennedy Center, with the Rochester Ora-torio Society, the Cedar Rapids Symphony Orchestra, and the Milwaukee Symphony Orchestra. She has recorded with the Bavarian State Radio Orchestra on Ariola/Eurodisc. Her solo recording of the songs of Alec Wilder is available from Albany Records. (TROY 404). Errante frequently presents lecture-recitals on German Art Song of turn-of- the-century Munich composers at national and interna-tional conventions. This is part of an on-going research, performance and recording project.

Rene Izquierdo, guitarIzquierdo is currently a professor of classical guitar at the University of Wisconsin in Milwau-kee. As a concert artist, Rene has performed throughout North America, Cuba, Puerto Rico and Europe as solo recitalist, chamber musi-cian and soloist with orchestra. He has received

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wide critical acclaim for his performances, and is recognized as one of America’s classical guitar virtuosos. A native from Cuba, Rene graduated from the Guillermo Tomas, Amadeo Roldan Conservatory and Superior Institute of Art in Havana. In the United States, he earned a Master of Music and Artist Diploma degrees from the Yale University School of Music.

As one of the world’s leading classical guitar-ists Mr. Izquierdo is a recipient of numerous awards. He is a winner of JoAnn Falletta Interna-tional Guitar Competition in 2004, Extremadura International Guitar Competition, Schadt String competition, Stotsenberg International Guitar Competition among others.

Stefan Kartman, celloKartman is currently Associate Professor of Cello and Chamber Music at the University of Wisconsin - Milwaukee. In addition to solo per-formance, he has performed to critical acclaim as cellist of the Kneisel Trio and the Florestan Duo. He has given performances and master-classes in conservatories and schools of music worldwide including the Cleveland Institute of Music (USA), the Xiamen Conservatory of Music (China), and the D’Albaco Conservatory of Music (Italy), among many others.

An avid chamber music enthusiast, Dr. Kart-man has served on the faculties of the Alfred University Summer Chamber Music Institute, the MidAmerica Chamber Music Festival, the Troy Youth Chamber Music Institute, the Green Mountain Chamber Music Festival, and was ar-tistic director of the Milwaukee Chamber Music Festival. His early training in chamber music was with his father, Myron Kartman, of the Antioch String Quartet and during his formal training as a chamber musician, he studied with members of the Guarneri and Juilliard String Quartets and the Beaux Arts Trio.

Stefan Kartman received degrees from North-western University, The Juilliard School of Music, and his doctorate from Rutgers University. He has been teaching assistant to Harvey Shapiro and Zara Nelsova of the Juilliard School and proudly acknowledges the pedagogical heri-tage of his teachers Shapiro, Nelsova, Bernard Greenhouse, Alan Harris, and Anthony Cooke.

Trevor O’Riordan, clarinetTrevor O’Riordan received Master’s and Bach-elor’s degrees in clarinet performance from the Eastman School of Music, of the University of Rochester. He was also awarded the Performer’s Certificate and was a candidate for the Artist’s Diploma. He studied clarinet with Jon Manasse, Kenneth Grant, Raphael Sanders, and Patti Carlson. He received Eastman’s “John Celentano Award for Excellence in Chamber Music” and in 2003 performed Nielsen’s Clarinet Concerto with the Eastman Orchestra. During his time at Eastman, Mr. O’Riordan performed in Germany, Japan, and Taiwan.

Receiving numerous awards, Trevor was third place in the International Clarinet Associations’ High School Performer’s Competition, and the winning artist in the ICA’s 2001 Orchestra Audi-tion Competition, adjudicated by Greg Smith of the Chicago Symphony and Frank Cohen of the Cleveland Orchestra. He also participated in summer music programs at both Brevard and Interlochen academies.

Coming to the Chicago area in 2003, Mr. O’Riordan has been a member of the Chicago Civic Orchestra, performing under the legend-ary conductors, Daniel Barenboim and Pierre Boulez. He was appointed principal clarinet of the South Bend Symphony Orchestra, and in 2006 performed Weber’s Clarinet Concerto No. 1 in F Minor . He will return to solo with the South Bend Symphony in 2013 with Cop-land’s Clarinet Concerto . In addition he has performed with the Milwaukee Symphony, the Illinois Philharmonic, the Green Bay Symphony, and the New Philharmonic.

Trevor has always maintained earnest efforts in area educational programs where he has lived and studied: as teaching assistant at Eastman, in the outreach program Music For All of the Rochester area, the Symphony to Go programs of the South Bend Symphony, and Arts at Large, an organization with perfor-mance opportunity focus for young musi-cians in downtown Chicago.

Trevor is currently a member of the College of DuPage music faculty and maintains a busy teaching schedule in the western suburbs.



Jeffry Peterson, pianoJeffry Peterson is best known for his work in the field of collaborative piano and has performed throughout the United States with such celebrated singers as Yolanda Marculescu, Erie Mills, Evelyn Lear and Kurt Ollmann. Pe-terson performs regularly on UWM’s Cham-ber Music Milwaukee series; other notable performances include a recital with soprano Mary Elizabeth Williams at the Mateus Festival in Portugal and performances with Erie Mills, soprano, and James Tocco, pianist, at the John Downey Festival in London. Recording credits include collaborations with Yolanda Marcu-lescu-Stern, an album of American flute music with Robert Goodberg, and the Something to Sing About choral anthology for G. Schirmer. His CD with the renowned soprano Erie Mills, Always It’s Spring (VAI audio), includes three songs by John Downey. Songs of Love and Longing, with soprano Valerie Errante, was re-leased on Albany Classics in 2008, and Skyborn Music, with the Milwaukee Choral Artists, will be released on the Gothic label in fall 2009. Peterson is professor of piano at UWM and often performs with the UWM voice faculty. He founded UWM’s Vocal Arts Series. He chairs the graduate program in vocal accompanying and recently introduced a new Bachelor’s degree in Collaborative Piano at UWM.

Robert Swenson, tenorThe American tenor, Robert Swensen, received his undergraduate education (B.M.) at the University of Arizona, a Professional Studies Diploma at the Juilliard School and his graduate education at the University of Southern California (M.M.). He was also mentored and closely associated with tenors Nicolai Gedda and Luciano Pavarotti.

A noted Mozart and bel-canto specialist, Robert Swensen has appeared as guest art-ist with major opera companies including those of Stuttgart, Teatro La Fenice in Venice, Bayreuth, the Bavarian State Opera-Munich, the Berlin State Opera, the Opera Comique Paris, the Grande Theatre Geneva and the Vienna State Opera. His recent engagements include appearances as Ferrando in Cosi fan Tutte at Opera Pacific in Southern California, the same role in a critically acclaimed produc-

tion of Cosi fan Tutte at the Santa Fe Opera’s 1997 Summer Season, Nemorino in Madison Opera’s 1997 production of L’Elisir D’amore, Luzio in Wagner’s Das Liebesverbot with the Wexford Opera Festival in Ireland, the title roles in Mozart’s Mitridate at the Teatro Regio in Turin, Mozart’s Il Sogno di Scipione with the Bavarian State Opera and Mozart’s Idomeneo at the Flemish Opera in Antwerp. He has also appeared in concert at Lincoln Center’ s Mostly Mozart Festival, Hermann Prey’s Schubertiade in New York and in Vienna, with the Bavarian State Radio Orchestra, the Concertgebouw in Amsterdam, and made his Carnegie Hall debut in the protagonist role of George Brown in Boildieu’s La Dame Blanche with the Opera Orchestra of New York.

A very successful recording artist, Robert Swensen’s extensive discography includes Samson et Dalilah and Oedipus Rex for Phillips, and Oedipus Rex for Great Performances on PBS, Schumann’s Das Paradies und die Peri for Deutsche Grammophon, the title role in Haydn’s Orfeo for L’orfeo records, St. Phar in Adam’s Le Postillon de Longemeau and Graf Hugo in Spohr’s Faust for Capriccio records, Orff’s Trionfo d’Afrodite and Menelssohn’s Eli-jah for EMI records and the tenor arias for the Bach Christmas Oratorio (BWV 248) for Teldec and the Bach St. John Passion (BWV 245) for RCA. A passionate champion of song litera-ture, Robert Swensen has recorded an album of songs by Sergei Rachmaninov, Sibelius, Grieg and Hugo Alfven and a CD of Lieder by Schumann partnered by pianist Paula Fan.

Robert Swensen is also an active adjudicator both locally and nationally having judged the Metropolitan Opera National Council Audi-tions and the Concert Artists Guild Interna-tional Competition held in New York City.

Formerly an Assistant Professor at the Univer-sity of Wisconsin - Madison School of Music, Robert Swensen recently accepted the Artist / Associate Professor of Voice position at his undergraduate Alma Mater, the University of Arizona School of Music and Dance.


DEPARTMENT OF MUSIC FACULT Y AND TEACHING STAFF

EnsemblesJohn Climer, BandScott Corley, BandsMargery Deutsch, Community OrchestraCurt Hanrahan, Jazz BandGloria Hansen, ChoirsSharon Hansen, ChoirsJun Kim, OrchestrasDavid Nunley, ChoirsPaul Thompson, Choirs

GuitarPeter BaimeBeverly BelferPete BillmannElina ChekanRené IzquierdoDon LinkeJohn Stropes

HarpAnn Lobotzke+

Jazz StudiesCurt Hanrahan, Jazz Ensemble/Jazz ArrangingSteve Nelson-Raney, Jazz Theory and HistoryRandall Ruback

Music EducationJill Kuespert Anderson Wolfgang Calnin Scott EmmonsSheila Feay-ShawJeffrey GartheeCatherine RobertsonBeth Sacharski Bonnie Scholz

Musicology and EthnomusicologyMitchell BraunerJudith KuhnTimothy NoonanGillian RodgerMartin Jack Rosenblum

Music Theory, Composition andTechnologyJames BurmeisterChristopher BurnsLou CucunatoWilliam Heinrichs Jonathan MonhardtSteve Nelson-RaneyKevin SchleiStephen SchleiAmanda SchoofsJon Welstead*


Bernard Zinck, violinBernard Zinck, concert violinist and record-ing artist, was violin professor at the Univer-sity of New Mexico before coming to UWM. His career has become increasingly inter-national in scope since 1992 when he won the prestigious Yehudi Menuhin Trust Award in Paris. He has performed in Japan, France, Holland and throughout the U.S. with recent recitals at the National Gallery and the Phil-lips Collection in Washinghton D.C., the Chi-cago Cultural Center, the Ethical Society in Philadelphia, the Lizst Academy in Budapest and the Le Châtelet Théâtre, the Athénée Theater in Paris and the Théâtre Imperial in Compiègne. Zinck’s commitment to chamber

music has led to engagements at numerous festivals including: Santa Fe Concert Associa-tion, Taos, sBowdoin, Milwaukee, NYC Music in Chelsea, Zakopane, Poland, Brighton, UK, Schloßkonzerte, Salzburg, Montepulciano and New Opera Di Roma, Italy and Auvers, Reims, Courchevel-Music in the Alps, Grange de Meslay and Paris-Montmartre in France. Also an active pedagoguxe, Zinck serves on the faculty of the Cologne Summer Institute in Montepulciano, Italy, and the Milwau-kee Chamber Music Festival. He regularly conducts master classes in universities and conservatories throughout the United States, Brazil, Mexico and Europe.


PECK SCHOOL OF THE ARTS

Scott Emmons ..........................................................................................................................Interim DeanKim Cosier ............................................................................................................. Interim Associate Dean

ADMINISTRATIVE STAFFMary McCoy .............................................................................................................. Assistant to the DeanSue Thomas .............................................................................................................Administrative OfficerRandall Holper ................................................................................................................Facilities Manager

MARKETING AND DEVELOPMENT STAFFEllen Friebert Schupper....................................... Director, Marketing and Community RelationsDiane Grace ............................................................................................................Development DirectorNicole Schanen.......................................................................................................... Marketing SpecialistChelsey Lewis ................................................................................................ Communications AssistantJustin Kunesh and Andrew McConville ................................................................Graphic Designers

BOX OFFICETianna Conway ........................................................................................................... Box Office ManagerChristine Barclay, Aryel Beck, ......................................................................................... Box Office StaffMaria Corpus, Mike Gold, Tom Gray, Brianna Husman, Garrett Nei, Nick Ouchie, Anna Pfefferkorn, Chelsey Porth, Bob Schaab

DEPARTMENT OF MUSIC FACULT Y AND TEACHING STAFF c o n t.

PianoElena AbendJudit JaimesLeslie KruegerPeggy OtwellJeffry PetersonMaría Valentina Schlei

StringsScott Cook, String Pedagogy^Darcy Drexler, String Pedagogy^Stefan Kartman, Cello Thomas McGirr, Jazz BassLewis Rosove, ViolaLaura Snyder, String Bass+Bernard Zinck, Violin

Fine Arts QuartetRalph Evans, ViolinEfim Boico, ViolinNicolò Eugelmi, ViolaRobert Cohen, Cello

VoiceKerry BienemanValerie ErranteJenny GettelTanya Kruse RuckKurt Ollmann

Winds, Brass and PercussionDave Bayles, PercussionDean Borghesani, Percussion+Margaret Butler, Oboe+Jennifer Clippert, FluteGregory Flint, HornMatthew Gaunt, Tuba/EuphoniumBeth Giacobassi, Bassoon+Curt Hanrahan, SaxophoneKevin Hartman, TrumpetMark Hoelscher, Trombone Todd Levy, Clarinet+Ted Soluri, Bassoon+Carl Storniolo, PercussionThomas Wetzel, Percussion+

*Department Chair+Milwaukee Symphony Orchestra^String Academy of Wisconsin

Sept12-UWM Peck

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