Summer Festival at The Huntington - Southwest Chamber Music

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Summer Festival at The Huntington - Southwest Chamber Music

PROGRAM

BOOK

Summer Festival at The Huntington

Celebrating the

centennial of

Pasadena-born

Julia Child

July 14-August 26, 2012

Southwest Chamber Music


SOUTHWEST CHAMBER MUSIC celebrated its 25th anniversary in the 2011-2012 season and looks forward to the 20th

anniversary of its Summer Festival at The Huntington in 2013. Highlights of the 25th anniversary season included the world

premiere of Ten Freedom Summers by Wadada Leo Smith, a three-part cycle inspired by the main events and figures of the

Civil Rights Movement. The ensemble continued its nationally recognized Cage 2012 festival in March celebrating the

centennial of Los Angeles-born composer John Cage. The season concluded in May with the inaugural LA International New

Music Festival.

Founded in 1987, Grammy® Award-winning

Southwest Chamber Music provides concert and

educational programming in Los Angeles County

that combines European classics, contemporary

work by American composers, and new music

from Latin America and Asia. Our highly-rated

education programs—Project Muse in-school

concerts and the Mentorship Program for student

musicians—continue to serve more than 1400

students annually at schools throughout Los

Angeles County with in-depth programming

that engages students through multiple visits by

musicians and composers. They have been cited as

model programs in the field by the California Arts

Council and the National Endowment for the Arts.

Southwest experienced a transformative season in 2009-2010 as international cultural ambassadors for the United States. The

U.S. State Department selected our ensemble from a highly competitive field to produce the Ascending Dragon Music Festival

and Cultural Exchange from March to May 2010, the largest cultural exchange between Vietnam and the United States in the

history of the two nations.

In December 2009, Southwest Chamber Music traveled to Mexico, representing the United States at the Guadalajara FIL Arts

Festival, a festival produced alongside the world’s largest Spanish book fair. In December 2006 the ensemble performed at

Cambodia’s Royal University of Fine Arts in Phnom Penh, the 2006 World Culture Expo at the temples of Angkor Wat, and

the Vietnam National Academy of Music in Hanoi. In March 2003 Southwest Chamber Music became the first American

ensemble to perform at the Arnold Schoenberg Center in Vienna. The ensemble has also been presented by the Library of

Congress in Washington D.C., Cooper Union in New York City, Santa Fe Chamber Music Festival, Getty Center, Orange

County Performing Arts Center, Ojai Festival, and Luckman Fine Arts Center. Guest conductors appearing with the ensemble

have included Oliver Knussen, Stephen L. Mosko, and Charles Wuorinen.

As a two-time GRAMMY® Award-winner and seven-time nominee, Southwest Chamber Music has one of the most significant

recorded discographies of any American chamber ensemble. The ensemble’s 25 recordings are available from Cambria Master

Recordings, with worldwide distribution by Naxos (Classics Online). Southwest Chamber Music is represented by Gail Boyd

Management in New York City. For more information on Southwest Chamber Music, visit www.swmusic.org

Cover: Frederick Carl Frieseke, Woman Seated in a Garden, 1914. Oil on canvas. The Huntington Library, Art Collections, and Botanical Gardens.

Gift of the Virginia Steele Scott Foundation.

1.800.726.7147 • WWW.SWMUSIC.ORG


Alison Bjorkedal, harp

Jim Foschia, clarinet

Lorenz Gamma, violin

Suzanna Guzmán, soprano

Peter Jacobson, cello

Elissa Johnston, soprano

Larry Kaplan, flute

Jan Karlin, viola (on sabbatical)

SOUTHWEST CHAMBER MUSIC PLAYERS

Genevieve Lee, piano

Luke Maurer, viola

Tom Peters, double bass

Ming Tsu, piano

Lynn Vartan, percussion

Shalini Vijayan, violin

Vân-Ánh Vanessa Võ, dan bau

Elissa Johnston Suzanna Guzmán

Vân-Ánh Vanessa Võ

Jeff von der Schmidt

Conductor and

artistic director

The Summer Festival at The Huntington is generously sponsored by E. Randol and Pamela Schoenberg, Wells Fargo Capital

Finance, and Carol and Warner Henry.

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SOUTHWEST CHAMBER MUSIC

SUMMER FESTIVAL AT THE HUNTINGTON

July 14 and 15, 2012

PROGRAM

Danse sacrée et danse profane Claude Debussy

(1862-1916)

Alison Bjorkedal, harp

Lorenz Gamma & Shalini Vijayan, violins

Luke Maurer, viola, Peter Jacobson, cello

Chant du Linos André Jolivet

(1905-1974)

Larry Kaplan, flute

Lorenz Gamma, violin, Luke Maurer, viola, Peter Jacobson, cello

Alison Bjorkedal, harp

Introduction & Allegro Maurice Ravel

(1875-1937)

Alison Bjorkedal, harp

Larry Kaplan, flute, Jim Foschia, clarinet

Lorenz Gamma & Shalini Vijayan, violins

Luke Maurer, viola, Peter Jacobson, cello

INTERMISSION

String Quartet in G Minor, Op. 10 Claude Debussy

Animé et très decide

Assez vif et bien rythmé

Andantino, doucement expressif

Très modéré - En animant peu à peu - Très mouvementé et avec passion

Lorenz Gamma & Shalini Vijayan, violins

Luke Maurer, viola, Peter Jacobson, cello

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Danse sacrée et danse profane (1904)

by Claude Debussy

Claude Debussy was born on August

22, 1862, in St. Germain-en-Laye.

His parents came from a middle class

background and he studied piano with

Mme. Maute, the mother-in-law of

Paul Verlaine. Debussy’s ability was

easy to spot. At an early age he traveled

throughout Europe in a piano trio with

two Russian musicians and Mme. Natalie von Meek, the

patron of Tchaikovsky. It is not surprising that one of his

strongest influences would come from his study of Modest

Mussorgsky’s Boris Godunov.

The Danse sacrée et danse profane were composed in 1904 at

the specific request of the famous Paris piano manufacturing

firm of Pleyel. The works were to help popularize the new

chromatic harp—an instrument that abandoned the harp’s

pedal mechanism in favor of a separate string for each

semitone. The chromatic harp proved to be a failure, but

Debussy’s Danse sacrée et danse profane remains among

the most popular pieces in the harp repertoire. These two

dances, composed in the period after the completion of his

opera Pelléas et Mélisande and during the composition of La

Mer, present sacred and secular aspects of Debussy’s creative

personality. The Danse sacrée returns to antiquity for its

atmosphere, much as in his Le Martyre de Saint-Sébastian.

The Danse profane is an Impressionistic vision of a pagan

world of mythical rite and revelry.

Chant du Linos (1944)

by Andre Jolivet

Jolivet was born August 8, 1905, in

Paris. His parents were quite talented,

his father a painter, his mother a

pianist. He developed in multiple

worlds, composing, designing scenery

and costumes for an early ballet,

and allowing himself polar opposite

influences in composition. He rigorously

learned harmony, counterpoint and classical forms, as well

as 15th and 16th century counterpoint. But his main teacher,

Paul Le Flem, was also a good friend of that arch modernist,

Edgar Varèse. Jolivet avoided any of the systems of the 20th

century, but embraced the influence of world music into

his compositions. This was especially evident in the piano

composition Mana, which received a preface from a very

enthusiastic Olivier Messiaen.

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The Chant du Linos is one of the great display pieces for

the flute. In Greek mythology, Linus was the son of Apollo

and Psamathe of Argos. He was deserted by his mother on

a hillside and devoured by dogs. When Psamathe’s father

learned what his daughter had done, he had her killed. For

this double outrage, Apollo cursed Argos with a plague for

which there would be no release until Psamathe and Linus

were propitiated with prayers and songs of lamentation. The

“Linus song,” a lament derived from this legend, was sung at

harvest time as a dirge for the dying vegetation. Jolivet was

often attracted to the flute for its ancient associations with

the origins of music.

Introduction & Allegro (1905)

by Maurice Ravel

“In my own composition I judge a long

period of gestation necessary. During

this interval I come progressively, and

with a growing precision, to see the

form and the evolution that the final

work will take in its totality. Thus I can

be occupied for several years without

writing a single note of the work, after

which the composition goes relatively quickly. But one must

spend time in eliminating all that could be regarded as

superfluous in order to realize as completely as possible the

definitive clarity so much desired.”

Born in the Basque town of Ciboure, France, near Biarritz

in 1875, Ravel began his musical life as a pianist and later

studied composition with Gabriel Fauré, although he was

expelled from the Paris Conservatory for not making a

first prize in either piano or composition! Today, Ravel

is considered a paradigm of celebrated French clarity

(in this regard he far outshines the impressionism of his

compatriot, Claude Debussy). His entire output is gemlike,

from two glowing fairytale operas to Spanish exoticism,

Asian mysticism, American jazz, and African mystery.

Ravel, indeed, traveled an internal globe throughout his

life. The Introduction & Allegro was composed in 1905, after

the scandalous reception of his now famous String Quartet

in 1903. A concert aria for the harp soloist, the work is

luxuriously in D flat major, and features numerous harp

cadenzas.


String Quartet in D minor, Op. 10 (1893)

by Claude Debussy

The String Quartet is a musical sibling to Debussy’s symbolist masterpiece, the opera Pelléas et Mélisande. The quartet was

most surely finished during the early stages of the opera’s composition. The first movement represents a self-confident break

from tradition, for the pure shape of the main theme will assert a greater importance than its initial harmonic structure. This

gives Debussy the means to create a perpetual variation of idea, rather than invoking the intervallic development of music

influenced by the likes of Bach and Beethoven. The second movement, with its moments in 15/8 meter, is another bold stroke

of timbre for timbre’s sake. The ostinato and pizzicato variants present a maze of associations with the theme of the first

movement. The third movement is a retreat into Debussy’s beloved Russian sound world. The melodies, especially for the

solo viola, remind one of the famous Garden Scene in Pelléas et Mélisande, when Mélisande loosens her long hair to erotically

envelope Pelléas. These melodies are in the same key as similar moments found in the opera. The introduction to the final

movement provides a Proustian remembrance of things past before moving forward to a brilliant conclusion in the major key.

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— Program Notes by Jeff von der Schmidt

Southwest Chamber Music would like to thank...


SOUTHWEST CHAMBER MUSIC

SUMMER FESTIVAL AT THE HUNTINGTON

July 28 and 29, 2012

PROGRAM

Suite Bergamasque Claude Debussy

(1862-1918)

Prélude

Menuet

Clair de lune

Passepied

Ming Tsu, piano

Chansons madécasses Maurice Ravel

(1835-1937)

I. Nahandove

II. Aoua

III. Il est doux

Elissa Johnston, soprano

Larry Kaplan, flute, Peter Jacobson, cello, Ming Tsu, piano

La création du monde, Op. 81b Darius Milhaud

(1892-1974)

Lorenz Gamma & Shalini Vijayan, violins

Luke Maurer, viola, Peter Jacobson, cello, Ming Tsu, piano

INTERMISSION

Quintet for Piano & Strings in D Major, Op. 45 César Franck

(1822-1890)

Molto moderato quasi lento

Lento, con molto sentimento

Allegro non troppo, ma con fuoco

Lorenz Gamma & Shalini Vijayan, violins

Luke Maurer, viola, Peter Jacobson, cello

Ming Tsu, piano

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Suite Bergamasque (1890/1905)

by Claude Debussy

This suite for piano in four movements is nearly

overshadowed by the popularity of its third movement, Clair

de lune, surely one of the most played pieces in the piano

literature, so much so that the suite is not often performed

in concert. Suite Bergamasque was begun in 1890 when

Debussy was still a student and shows his earlier influences

of the French clavecin, a harpsichord, and of the Symbolist

poets, particularly Verlaine, in the titles. In 1905 Debussy

was approached by his publisher Durand, who wanted

to publish everything of Debussy’s to capitalize on the

composer’s popularity. Debussy reworked the suite which he

felt was an immature work and did not reflect his developed

mastery of compositional style. However that may be, the

Suite Bergamasque is still much beloved like an old friend

one hasn’t seen in a few years. Bright, cheerful, mysterious,

danceable and romantic, it is as delightful as soft, perfumed

air to the senses.

— Heidi Lesemann

Chanson madécasses (1926)

by Maurice Ravel

“I am quite conscious of the fact that my Chansons

madécasses are in no way Schoenbergian, but I do not

know whether I should have been able to write them had

Schoenberg never written.” Maurice Ravel’s Chansons

madécasses was commissioned by Elizabeth Sprague

Coolidge. The texts are drawn from an eighteenth century

Creole poet, Evariste-Désiré de Parny. The blend of overt

sexual imagery and racial tensions in the poems brought out

a work that its composer considered one of his most crucial.

La Création du monde, Op. 81b (1923)

by Darius Milhaud

Dance was the rage in Paris in the

1920s. The conventions of classical

ballet changed and demanded a new

and almost savage, barbaric music. La

création du monde, Op. 81b by Darius

Milhaud was commissioned by the

Swedish Maecenas Rolf de Maré. Maré

assembled a trio of Milhaud, Ferdinand

Léger and Blaise Cendrars (a one-armed poet-journalist)

to compose and design a story combining jazz and African

folklore. The intent was to be savage in the extreme. Léger

had to give up on the idea of inflatable skins representing

flowers, trees, and animals, which would be blown up and

transformed into balloons at their moment of creation. The

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technology of the time would not control the sound of gas

needed to inflate the balloons – the orchestra would have

been drowned out. Milhaud’s music is a vibrant impression

of le jazz hot he experienced from the Hotel Brunswick

Orchestra and the New Orleans-flavored jazz of Harlem.

Though not a jazz composer, the convergence of serious and

popular music finds one of its most persuasive advocates in

Milhaud’s La création du monde.

Quintet for Piano & Strings (1882)

by César Franck

Franck’s Quintet in F minor for Piano

and Strings was written in 1878-79

during completion of his magnum opus,

Les beatitudes. It was first performed

on January 17, 1880 in a concert of

the Société Nationale in Paris. There is

an almost narcotic need for Franck to

cyclically connect the different sections

of the work. The more one studies it, the more the music

reveals a network of implications, footnotes, and references,

not unlike the layers of The Remembrance of Things Past by

Marcel Proust, or the emerging cubism of Paul Cezanne.

It is this preoccupation with creating an organic structure

that makes Franck an augury of numerous tendencies in

the 20th century music. A comparison of his music with

that of Olivier Messiaen is in fact not an idle pursuit— both

composers were to assign a mystical importance to the key of

F-sharp.

The motto theme for the Quintet is the second subject of

the first movement, first presented by the violin above a

syncopated piano accompaniment. In the second movement,

the motto appears in the center, and in D-flat major. In

the finale Franck gives still more time to this theme, with

a combination of formal elements being extended into, or

perhaps until, the coda.

“Pére” Franck, as he was known to numerous students

such as Gabriel Fauré, Vincent d’Indy, and Paul Dukas, was

beloved by most, but not all, of the musicians of his time. The

first performance of the Quintet was by the Marsick Quartet

and Camille Saint-Saëns. Franck had been so impressed

that he dedicated the work to the composer thirteen years

his junior. D’Indy reported that at the premiere Franck had

hoped to present a manuscript of the work as a gift to the

Saint- Saëns. However Saint-Saëns stormed away after the

performance, at odds with the older man’s music.

— Program Notes by Jeff von der Schmidt except where noted


I. Nahandove, ô belle Nahandove!

L’oiseau nocturne a commencé ses cris,

la pleine lune brille sur ma tête,

et la rosée naissante humecte mes cheveux.

Voici l’heure: qui peut t’arrêter,

Nahahndove, ô belle Nahandove?

Le lit de feuilles est préparé;

je l’ai parsemé de fleurs

et d’herbes odoriférantes;

il est digne de tes charmes,

Nahandove, ô belle Nahandove!

Elle vient.

J’ai reconnu la respiration précipitée

que donne une marche rapide;

j’entends le froissement de la pagne

qui l’envelopp: c’est elle, c’est

Nahandove, la belle Nahandove!

Oh, reprends haleine, ma jeune amie;

repose-toi sur mes genoux.

Que ton regard est enchanteur,

que le mouvement de ton sein est vif et délicieux

sous la main qui le presse! Tu souris,

Nahandove, ô belle Nahandove!

Tes baisers pénètrent jusqu’à l’âme;

tes caresses brûlent tous mes sens;

arrête, ou je vais mourir.

Meurt-on de volupté,

Nahandove, ô belle Nahandove?

Le plaisir passe comme un éclair;

ta douce haleine s’affaiblit,

tes yeux humides se referment,

ta tête se penche mollement,

et tes transports s’éteignent dans la langueur,

jamais tu ne fus si belle,

Nahandove, ô belle Nahandove!

Tu pars, et je vais languir

dans les regrets et les desires;

je languirai jusqu’au soir;

tu reviendras ce soir.

Nahandove, ô belle Nahandove!

Chansons madécasses

Text: Evariste-Désiré de Parny

(English translation by Winifred Radford)

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Nahandove, oh lovely Nahandove!

The nightbird has begun his call,

the full moon shines over my head,

and my hair is moist with falling dew.

The time is come: who could delay you

Nahandove, Oh lovely Nahandove?

The bed of leaves is ready;

I have strewn it with flowers

and scented herbs;

it is worthy of your charms,

Nahandove, Oh lovely Nahandove!

She is coming!

I have heard her breath

excited by her hurrying step;

I hear the rustling of the garment

that covers her: it is she, it is

Nahandove, Oh lovely Nahandove!

First catch your breath, sweetheart;

rest on my lap!

What enchantment is kindled by your eyes,

how delightful is the quivering of your breast

under the gentle touch of my hand! Now you are smiling,

Nahandove, Oh lovely Nahandove!

Your kisses invade the soul,

your caresses inflame my senses:

Stop, or I shall die!

Can one die of desire.

Nahandove, Oh lovely Nahandove?

The delight passes like a sudden flash;

your sweet breath grows fainter,

your moist eyes close,

your head sinks gently

and rapture is extinquished by langour.

Never have you been so lovely as now,

Nahandove, Oh lovely Nahandove!

You go yet I languish

in regret and longing,

I will languish till evening,

when you will return,

Nahandove, Oh lovely Nahandove!


II. Aoua! Aoua!

Méfiez-vous des blancs, habitants du rivage.

Du temps de nos pères,

des blancs descendirent dans cette île;

on leur dit: Voilà des terres,

que vos femmes les cultivent.

Soyez justes, soyez bons, et devenez nos frères.

Les blancs promirent, et cependant ils faisaient

des retranchements. Un fort menaçant s’éleva;

le tonnerre fut renfermé dans des bouches d’airain;

leurs prêtres voulurent nous

donner un dieu que nous ne connaissons pas;

ils parlèrent enfin d’obéissance et d’esclavage:

Plutôt la mort!

Le carnage fut long et terrible;

mais, malgré la foudre

qu’ils vormissaient,et qui écrasait

des armées entières,ils furent tous exterminés.

Aoua! Aoua! Méfiez-vous des blancs!

Nous avons vu de nouveaux tyrans,

plus forts et plus nombreaux,

planter leur pavillon sur le rivage:

le ciel a combattu pour nous;

il a fait tomber sur eux les pluies,

les tempêtes et les vents empoisonnés.

Ils ne sont plus, et nous vivons libres.

Aoua! Aoua! Méfiez-vous des blancs,

habitants du rivage.

III. Il est doux de se coucher durant la chaleur

sous un arbre touffu,

et d’attendre que le vent du soir amème la fraîcheur.

Femmes, approchez.

Tandis que je me repose ici sous un arbre touffu,

occupez mon oreille par vos accents prolongés;

répétez la chanson de la jeune fille,

lorsque ses doigts tressent la natte,

ou lorsqu’assise auprès du riz,

elle chasse les oiseaux avides.

Le chant plaît à mon âme;

la danse est pour moi

presqu’aussi douce qu’un baiser.

Que vos pas soient lents,

qu’ils imitent les attitudes du plaisir

et l’abandon de la volupté.

Le vent du soir se lève:

la lune commence à briller

au travers des arbres de la montagne.

Allez, et préparez le repas.

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Awa! Awa!

Do not trust the white men, dwellers of the coast.

In our fathers’ lifetime

white men came to this island;

we said to them: here is land;

your womenfolk shall cultivate it.

Be just, be good, and let us be brothers.

The whites promised, and yet they built

fortifications. A menacing fort was erected;

they enclosed thunder in the mouths of brass;

their priests wanted to give us

an unknown god;

finally they spoke of obedience and slavery.

Far better to die!

There followed a long and terrible carnage;

but despite the lightening

that they spat out, annihilating

entire armies, they were all slain.

Awa! Awa! Do not trust the white men!

We have seen new tyrants,

even stronger and more numerous,

hoist their colors at the coast.

The sky fought for us;

it sent down rain, storms

and poisonous winds.

They are no more, and we live, and are free.

Awa! Awa! Do not trust the white men,

dwellers of the coast.

How pleasant to lie under a shady tree

in the heat of the day

and wait for the coolness of the evening wind.

Women, come here.

As I rest here under a shady tree,

fill my ear with your strains;

sing again the song of the young girl as

as she weaves a mat

or chases away the greedy birds

from the rice field.

Song gladdens my soul,

and dance for me is

as sweet as a kiss.

Step slowly, your movements

imitating the postures of delight,

the abandon of love’s ecstasy.

The wind of evening blows;

the moon begins to shine

through the trees on the mountain.

Go, prepare the meal.


SOUTHWEST CHAMBER MUSIC

SUMMER FESTIVAL AT THE HUNTINGTON

August 11 and 12, 2012

PROGRAM

Sonata for Flute, Viola & Harp Claude Debussy

(1862-1918)

Pastorale

Interlude

Finale

Larry Kaplan, flute, Luke Maurer, viola, Alison Bjorkedal, harp

Vietnamese Folksongs Traditional

Vân Ánh Vanessa Võ, dan bau

Ascending Dragon Pham Minh Thành

(b. 1978)

Vân Ánh Vanessa Võ, dan bau

Lorenz Gamma & Shalini Vijayan, violins

Luke Maurer, viola, Peter Jacobson, cello

Tom Peters, double bass, Lynn Vartan, percussion

Jeff von der Schmidt, conductor

INTERMISSION

String Quartet in F major Maurice Ravel

(1875-1937)

Allegro moderato – Très doux

Assez vif –Très rythmé

Très lent

Vif et agité

Lorenz Gamma & Shalini Vijayan, violins

Luke Maurer, viola, Peter Jacobson, cello

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Sonata for Flute, Viola & Harp (1915)

by Claude Debussy

The musical genius of France is something like a dream

in the senses…” The words and music of Claude Debussy

certainly cast a long shadow over the music of the twentieth

century. The originality of Debussy’s sound world was

virtually unprecedented, with only rare glimpses found in

Wagner (Parsifal) and Mussorgsky (Boris Goudonov). The

Sonata for Flute, Viola and Harp was part of a projected

cycle of six sonatas planned at the end of Debussy’s life.

Only three works were completed—the Sonata for Cello and

Piano, the present sonata, and Debussy’s last composition,

the Sonata for Violin and Piano. Sketches exist for a fourth

sonata for oboe, French horn and harpsichord, an amazing

neo-classic combination of instruments. The Sonata for

Flute, Viola and Harp was composed in September and

October 1915 and premiered in April at the Société Musicale

Indépendante. Debussy was gravely ill with cancer during

the composition of this work, the illness that ultimately led to

his death on March 25, 1918. The Impressionistic canvases of

compositions like La Mer and Pelléas et Melisande give way

to a classical abstraction through normal objects, primarily

melodies. The Sonata is the epitome of French clarity and

refinement, emphasized by beguiling instrumental pastels.

One cannot help but conjecture whether the instrumental

grouping for the Sonata for Flute, Viola and Harp was

suggested by Debussy’s exposure to the Japanese koto and

shaguhachi during the famous Paris Exhibitions.

Vietnamese Folksongs (Traditional)

The dan bau, according to the Vietnamese treatise, Dai nam

thuc tien bien, originated in 1770 and is of purely Vietnamese

origin. As with many Asian instruments, the goal of the tone

is to reach a specific human emotion, and for the dan bau it is

a direct pathway into the heart. There is an old saying that the

dan bau is so powerful it is best to keep young people away

from the emotional appeal of its numerous love songs.

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Ascending Dragon (2010)

by Pham Minh Thành

Pham Minh Thành was born in

1978 in Hanoi. He studied piano and

composition at the Vietnam National

Academy of Music under the tutelage

of composer Do Hong Quan until

2000. From 2000-2006, Minh Thành

studied composition at the Tchaikovsky

Conservatory with Professor Konstantin

Batashov. The composer writes:

“Ascending Dragon was commissioned by Southwest

Chamber Music for its Ascending Dragon Music Festival and

Cultural Exchange in celebration of the 1000th Anniversary

of the city of Hanoi. This composition, inspired by Buddhism,

is written for dan bau (monochord), pagoda bells and wood

blocks, two violins, viola, cello, and double bass with a

structure of slow/fast/slow. Though I don’t use any of the

changes or verses from Buddhism, the usage of dan bau as

the soloist will create the voice and the peaceful atmosphere

that one can find in a pagoda in Vietnam.”

— Pham Minh Thánh

String Quartet in F major (1903)

by Maurice Ravel

The String Quartet in F major has an all-too-familiar history

of being snubbed when new, only to become accepted

later as one of the most loved pieces in the string quartet

repertory. Written in 1903 while the composer was 28 years

old, it is dedicated to his teacher, Gabriel Fauré, who could

describe the last movement as “stunted, badly balanced, in

fact a failure.” Needless to say, an extended aerobic workout

in 5/8 meter was not the focus of the Paris Conservatory.

The quartet became Ravel’s final submission to the Prix

de Rome competition, and was summarily rejected by the

academic panel adjudicating the prize. But the adversity

brought forward lifelong admiration from Claude Debussy,

who implored Ravel not to change a note. For many decades

the work has been appreciated as one of the pillars of French

Impressionist music, with its beautifully unfolding first

movement balanced by a Picasso-like guitar pizzicato second

movement, languid French eroticism in the third, and the

energy of the final movement perplexing the old guard no

end.

— Program Notes by Jeff von der Schmidt except where noted


SOUTHWEST CHAMBER MUSIC

SUMMER FESTIVAL AT THE HUNTINGTON

August 25 and 26, 2012

PROGRAM

Ma Mère L’Oye Maurice Ravel

(1875-1937)

Pavane de la Belle au bois dormant. Lent

Petit Poucet. Très modéré

Laideronnette, Impératrice des pagodas. Mouvement de marche

Les entretiens de la Belle et de la Bête

Le jardin féerique. Lent et grave

Petite Suite Claude Debussy

(1862-1918)

En bateau

Cortège

Minuet

Ballet

Genevieve Lee & Ming Tsu, piano

Siete canciones populares españolas Manuel de Falla

(1876-1946)

El Paño Moruno

Seguidilla Murciana

Asturiana

Jota

Nana

Canción

Polo

Suzanna Guzmán, soprano, Ming Tsu, piano

INTERMISSION

Le boeuf sûr le toit Darius Milhaud

(1892-1974)

Genevieve Lee & Ming Tsu, piano

La vie en rose: Songs of Edith Piaf Arr. various

Suzanna Guzmán, soprano, Ming Tsu, piano

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Ma Mère L’Oye (1908)

by Maurice Ravel

The original version of Ma Mère L’Oye (“Mother Goose”) is

for piano four-hands and was written in 1908. It was inspired

by the fairy tales of Charles Perrauly (1628-1703), Mme

d’Aulnoy (1650-1705) and Mme Leprince de Beaumont

(18th century). The five movements are Pavane de la belle

au bois dormant (“Pavane for a Sleeping Beauty”), a sad and

melancholy dance; Petit Pouce (“Tom Thumb”), the tale of a

boy who lays bread crumbs to find his way home but finds

them eaten by birds; Laideronnette, impératrice des pagodas

(“Laideronnette, Empress of the Pagodas”), the story of a

daughter of a king who is cursed with ugliness, whose beauty

is restored by the love of a prince; Les Entretiens de la belle

et de la bête (“The conversations of Beauty and the Beast”),

a waltz alternating between elegant charm and macabre

shadows; and Le jardin férique (“The Fairy Garden”), where

Ravel says “Good-bye” to the innocence of childhood with

a simple chorale. Later, Ravel remarked “My intention of

awaking the poetry of childhood in these pieces naturally led

me to simplify my style and think out my writing. I made a

ballet of this work, which was performed at the Théâtre des

Arts. I wrote the work for my young friends Mimie and Jean

Godebski.”

Petite Suite (1886-89)

by Claude Debussy

The first movements of Debussy’s Petite Suite of 1889 are

drawn from two poems of Verlaine’s 1869 volume Fêtes

galantes. The poems evoke the era of 18th-century aristocrats

on country outings, the world depicted in the fanciful

paintings of Fragonard and Watteau. Partiers assume the

archetypal Commedia dell’Arte roles—there are countesses

and rogues, priests and knights, all engaged in an atmosphere

of merry-making. In its original form for piano, Petite

Suite was first performed on February 2, 1889 by Debussy in

collaboration with the pianist-publisher Jacques Durand. The

work has a simple lyricism that contrasts with much of the

composer’s music from the late 1880’s, which was marked

by trend-setting harmonies and colors that drew the wrath

of contemporary critics for being “too modernistic.” It may

in fact originally have been written for the skilled amateur

musicians who commanded a great deal of attention at this

period, and who demanded chamber music that they could

master. The Suite is made of four individual movements,

each one constructed in such a way as to give more or less

equal opportunities to both pianists. In the first movement,

“En bateau” (Sailing), a sublime melody is floated above

a broken chordal accompaniment. The next movement,

“Cortège,” is a brilliantly evocative processional, suggesting

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a marching band on a festival day, while the penultimate

movement, “Menuet,” is generally regarded as the high point

of the work. “Ballet,” the final movement, is an energetic,

festive dance.

— Heidi Lesemann

Siete canciones populares españolas (1914)

by Manuel de Falla

Manuel de Falla is representative of a

group of Spanish composers, including

Enrique Granados, Isaac Albéniz and

Joaquín Turina, who won international

recognition. He was born in 1876 in

Cádiz, where he first studied, moving

later to Madrid and then to Paris,

but returning to Madrid when war

broke out in 1914. Strongly influenced by the traditional

Andalusian cante jondo, he settled in Granada for a time,

then exiled himself to Argentina after his friend Frederico

Garcia Lorca was murdered by Franco during the Spanish

Civil War. Falla was no musical revolutionary, though

what he created was entirely new. His powerful originality

depended not on matters of technique - even if in this he

made astonishing innovations - but on substance, this came

first. His work has proved durable, and the attractive surface

of his music has perhaps done much to maintain his popular

esteem. La vida breve, El amor brujo (with the Ritual Fire

Dance), The Three-Cornered Hat, and Master Peter’s Puppet

Show are some of his most beloved works.

The Siete canciones for high soprano and piano were

composed in 1914 and are dedicated to Madame Ida

Godebska. This set of popular Spanish songs is one of the

most loved of Falla’s works, and one of the most important

song cycles in the Spanish repertoire. The vocal line leads the

piano part in an integrated whole, a true partnership.

— Heidi Lesemann

Le boeuf sur le toit (1919)

by Darius Milhaud

Le boeuf sur le toit, Op. 58 (The Cow on the Roof, or The

Nothing Doing Bar) is a surrealist ballet made on a score

composed by Darius Milhaud which was in turn strongly

influenced by Brazilian popular music. The title is that of

an old Brazilian tango, one of close to 30 Brazilian tunes

(choros) quoted in the composition. The piece was originally

to have been the score of a silent Charlie Chaplin film.

Its transformation into a ballet (Pantomime Farce) was

the making of the piece, with a scenario by Jean Cocteau,

stage designs by Raoul Dufy, and costumes by Guy-Pierre


Fauconnet. There is no real story to speak of, but a sequence

of surrealistic bar scenes based on music inspired by Brazil,

a country in which the composer spent two years during

World War I. One by one a bizarre assortment of decadents

enters the stage joining the Barman and the Boxer: a woman

in a Low Cut Dress, a Woman in Red (with paper hair), a

Gentleman, and a Bookmaker (with gold teeth). A policeman

enters the scene with a police whistle, fights ensue and the

curtain falls on what proves to be anything but a dull evening

at the local establishment.

The version for chamber orchestra was followed by another

for piano duet, which we hear this evening, subtitled Cinema

Symphony on South American Airs. The ballet gave its name

to a celebrated Parisian cabaret-bar, Le Boeuf sur le Toit,

which opened in 1921 and became a meeting-place for

Cocteau and his associates.

Siete canciones populares españolas

Manuel de Falla

1. El Paño Moruno

Al paño fino, en la tienda,

una mancha le cayó;

por menos precio se vende,

porque perdió su valor.

¡Ay!

2. Seguidilla Murciana (Folksong)

Cualquiera que el tejado

Tenga de vidrio,

no debe tirar piedras

al del vecino.

Arrieros emos;

puede que en el camino

Nos encontremos!

Por tu mucha inconstancia

yo te comparo

con peseta que corre

de mano en mano;

que al fin se borra,

y créyendola falsa

nadie la toma!

Text: Gregorio Martinez Sierra

(Translation: Andrew Huth)

13

La vie en rose: Songs of Edith Piaf

Called “The Little Sparrow” because she stood just 4’8,” Edith

Piaf (née Édith Giovanna Gassion) became one of the world’s

most beloved entertainers during and after WWII, extending

until her death October 10, 1963 at age 47 in France. Born

in Paris in the Hospital Tenon on December 19, 1915

(though legend has her born on the streets), she struggled

for her existence as the daughter of street performers. She

was discovered in 1935, so the legend goes, in Pigalle by

a nightclub owner who taught her stage deportment and

insisted she wear a black dress which she adopted as her

trademark. But her voice captivated the French capital, and

eventually the world, as she sang of her life on the streets, her

loves, and her pain. She is buried in Père Lachaise Cemetery

in one of the most visited gravesites.

— Heidi Lesemann

Program Notes by Jeff von der Schmidt except where noted

That fine cloth in the shop

has a stain on it;

it will sell for less,

because it has lost its value —

Ay!

Anyone whose roof

is made of glass

shouldn’t throw stones

at his neighbor’s.

We are muleteers;

perhaps along the road

we shall meet one another!

You are so inconstant

that I would compare you

to a coin that passes

from hand to hand;

in the end it gets rubbed so smooth

that people think it is false

and no one takes it!


3. Asturiana (Folksong)

Por ver si me consolaba,

arriméme a un pino verde

por ver si me consolaba.

Por verme llorar, lloraba.

Y el pino, como era verde,

por verme llorar, lloraba!

4. Jota (Folksong)

Dicen que no nos queremos

porque no nos ven hablar;

a tu corazón y al mio

se lo pueden preguntar.

Dicen que no nos queremos

porque no nos ven hablar.

Ya me despido de tí,

de tu casa y tu ventana,

y aunque no quiera tu madre,

adiós, niña, hasta mañana.

Ya me despido de ti...

aunque no quiera tu madre...

5. Nana (Folksong)

Duérmete, niño, duerme,

duerme, mi alma,

duérmete, lucerito

de la mañana.

Naninta, nana,

Naninta, nana.

duérmete, lucerito

de la mañana.

6. Canción (Folksong)

Por traidores, tus ojos,

voy a enterrarlos;

No sabes lo que cuesta, “Del aire”

niña, el mirarlos.

“Madre a la orilla”

Dicen que no me quieres,

ya me has querido...

Váyase lo ganado, “del aire”

Por lo perdido.

“Madre a la orilla”

por lo perido.

“Madre.”

7. Polo (Folksong)

¡Ay!

Guardo una

¡Ay!

guardo una pena en mi pecho,

guardo una pena en mi pecho,

¡Ay!

que a nadie se la diré.

Malhaya el amor, malhaya,

¡Ay!

y quien me lo dió a entender.

¡Ay!

14

To see if it would console me

I came to a green pine-tree

to see if it would console me.

Seeing me weep, it wept too.

And the pine so green,

seeing me weep, wept too.

They say we don’t love one another

because they don’t see us speaking;

but why don’t they ask

your heart and mine?

They say we don’t love one another

because they don’t see us speaking.

Now I must part from you,

from your house and your window;

and even if your mogher disapproves,

farewell, my love, until tomorrow!

I must part from you…

even if your mother disapproves…

Sleep, my child, sleep,

sleep, my darling,

sleep, my little star,

of the morning.

Lullay, lullay,

lullay, lullay

sleep, my little star

of the morning

They are treacherous, your eyes,

and I shall bury them;

you cannot know what it costs

child, to look into them,

o mother…

They say that you don’t love me,

but you did love me once…

What I had once is worth more

than what I am losing.

o mother…

than what I am losing,

o mother…

Ah!

I have…

Ah!

…I have a sorrow in my breast,

I have a sorrow in my breast…

Ah!

…which I cannot tell to anyone!

A curse on love, and a curse…

Ah!

…on he who made me understand it!

Ah!


Southwest Chamber Music in the Schools

SOUTHWEST CHAMBER MUSIC

2012-2013 26th Season

n PROJECT MUSE IN-SCHOOL CONCERTS

Project Muse in-school concerts are an opportunity for

students 12-18 to gain an appreciation for music. Aligned

with the California State Standards, the programs feature

music from all historical periods and styles. Programs also

draw connections between music and other subjects, such

as history, math, English, poetry, drama and science.

15

2013 LOS ANGELES

INTERNATIONAL NEW MUSIC FESTIVAL

presented by Southwest Chamber Music

Save the Dates!

Saturdays at 8 pm

January 26, February 2,

February 23, and March 2, 2013

The Colburn School

Watch our website for updates!

The musical ensembles range from 1-6 players, drawn from

Grammy-winning Southwest Chamber Music’s roster. Every

program features a lively question and answer period, which

gives students the chance to interact with the players. Each

participating school may engage the ensembles for repeat visits, allowing the students to build their listening and

deportment skills while increasing their musical knowledge.

n MENTORSHIP PROGRAM

The Mentorship Program provides in-school orchestra and chamber music coaching for students 12-18. Students develop

their instrumental skills through work with professional musician mentors from Grammy-winning Southwest Chamber

Music. Mentors work with small groups of students from each orchestra section, focusing on orchestra music while helping

students develop their individual skills.

Additional chamber music sessions for selected students focus on teaching ensemble skills, culminating in special school

and community performances. The Mentors, who may provide advice and recommendations for college music scholarships,

can also offer private lessons when requested.

Southwest Chamber Music has presented programs with the Los Angeles Unified School District, the Alhambra Unified

School District, the Glendale Unified School District, and the Pasadena Unified School District.

If you are interested in having a Project Muse Concert or Mentorship Program at your school, please contact the office at

626.685.4455 or mail@swmusic.org.

www.swmusic.org • 626.685.4455


Friends of Southwest Chamber Music

Thank you to all of our donors who have given so generously in the past twelve months as of June 26, 2012.

Platinum Composers Circle ($25,000+)

Susan Bienkowski and Wang Chung Lee

Dept.of Cultural Affairs, City of Los Angeles

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The MAP Fund

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Foundation

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Homayoun Homampour

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Natalie Poole and Gary Hackney

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Octet Circle ($2,500+)

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Mineko and John Grimmer

Vijaya Kumari

Stephen Lesser

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Alice Coulombe, President

Jay Nouri and Family

Quintet Circle ($1,000+)

Mr. and Mrs. Louis P. Abel

Amoeba Music

Jay Belloli

Ken Blaydow

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D’Addario Music Foundation

Michael Huynh

Sally K. Kaled and Bill Trimble

Keyboard Concepts

Martin Karlin

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Jonathan Rosen

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Quartet Circle ($500+)

Mayor and Mrs. Bill Bogaard

Carol Copp

Mary and Craig Deutsche

Oscar Gerardo

Ronald R. Gustafson

Dr. Ralph Miles, Jr.

Ann C. Patterson

Dr. and Mrs. Carl J. Rice

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Trio Circle ($250+)

Sara Campbell and George Abdo

Kate Akos and Harry L. Jacobs

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Elizabeth Brooks

Thomas Ferrell

Kathy Henkel

Mr. and Mrs. David Hensley

Celia and Samuel Hunt

Joan Kemper

Barbara and John Madden

Ramanan Ramadoss

Darrel Ramsey-Musolf

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John D. Roberts and Olive McCloskey

Dr. Alvin Rosenfeld and

Dr. Dorothy A. Levine

David Spiro and Richard Ramos

Steven Takahashi

Don Louis Wetzel, Ph.D.

Duo Circle ($100+)

Alejandro Alcántara

Robert C. Anderson

Mr. and Mrs. James Atkinson

Elaine and Marvin Bass

Mr. and Mrs. George Bosworth

Mr. and Mrs. Ken Brown

Elliott Carter

Wilkie and Becky Cheong

Cecilia Cloughly and Frank Stott

Mr. and Mrs. Richard Derby

Patricia Dobiesz

Patricia L. Fogarty and David Svoboda

William Kraft and Joan Huang

Mr. and Mrs. Larry Johnson

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Sona Markarian

Steven G. Martin

Isa-Kae Meksin

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Mr. and Mrs. Carl White

Ms. Barbara Widdess


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the opportunity to get to know the directors, musicians and

composers at exclusive events at private homes

17

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SOUTHWEST CHAMBER MUSIC

2012-2013 SEASON

Check our website www.swmusic.org

to join our email list, receive special offers,

and watch for news about our upcoming

season, to be announced in August!


SOUTHWEST CHAMBER MUSIC

Board of Trustees

Jay Belloli, President

Betsey Tyler, Vice President

Natalie Poole, Secretary

Peter Mandell, C.P.A., Treasurer

Kenneth Blaydow, M.D., President 2007-2009

Ellen Knell, Ph.D., President 2004-2007

Louis Abel

Homayoun Homampour

Cary Huang

Michael Huynh

Sally Kaled

E. Randol Schoenberg, Esq.

Carl Selkin, Ph.D.

Cory Takahashi

Honorary Trustees

Susan Bienkowski, President 2001-2004

Anna Bresnahan, Secretary 1999-2003

Fritzie Culick, President 1986-1998

Mary Schander, President 1990-2001

Advisory Trustees

Joan Boyett

Elliott Carter

Alice Coulombe

Charles Dillingham

Oliver Knussen

Steven Lavine

Kent Nagano

Martin Perlich

Rick Wartzman

Administration

Jeff von der Schmidt, Artistic Director

Jan Karlin, Executive Director

Heidi Lesemann, General Manager

Linnet Richardson, Ticket Manager

Joan Quinto, Production Manager

David Spiro, Development Manager

Alejandro Rubalcava, Webmaster

Si Tang, Computer Technician

Val Echavarria, Program Design

Danielle Solomon, LA County Arts Commission Intern

18


Alison Bjorkedal, harp, received her

Doctorate of Musical Arts at the USC

Thornton School of Music. She also

earned her Master’s degree from the

Thornton School, where she studied

with JoAnn Turovsky and was a teaching

assistant for the beginning harp class.

Alison received her bachelor’s degree

from the University of Oregon (magna cum laude) where

she studied harp with Sally Maxwell and Laura Zaerr. She

performed the world premiere of William Kraft’s Encounters

XII and has recorded that work for Southwest Chamber

Music. She performed on the ensemble’s Complete Chamber

Music of Carlos Chávez, Volume 4, which was nominated

as Best Classical Album in 2007 by Latin Grammy. Alison

performed two major harp concertos on tour with Southwest

Chamber Music in Hanoi, Vietnam: Les jardins d’autre

monde by Ton That Tiêt and Au dessus du vent by Nguyen

Thien Dao. In addition, she gave the U.S. premieres of both

concertos in Los Angeles for the ensemble’s Ascending Dragon

Music Festival.

Jim Foschia, clarinet, studied with

Charles Russo at the Hartt School of

Music and the Manhattan School of

Music. He performed on world tours

of Evita, 42nd St. and recording artist

Yanni. Currently he performs regularly

with the Santa Barbara Chamber

Orchestra and has also performed with

the Los Angeles Chamber Orchestra, Los Angeles Master

Chorale, Opera Pacific, California Philharmonic, Pasadena

Symphony, Santa Barbara Symphony and the Mozart

Camerata. Jim is on the Faculty of Hamilton High School

Academy of Music and Director of Jazz Studies, teaching

instrumental music, instrumental jazz and musical theater.

He received the National Youth Theater Award for Best

Musical Direction in 2006 for Hamilton’s production of

Chicago and in 2010 for Cabaret. He has received various

awards for music education from the Mayor of Pasadena,

Altadena Links and the U.S. House of Representatives. Mr.

Foschia first performed with Southwest Chamber Music

in 1999, and has recorded works with the group by Elliott

Carter, John Cage, Mel Powell, Richard Felciano, Chinary

Ung and Carlos Chávez on Cambria Master Recordings. Mr.

Foschia performed on Southwest Chamber Music’s Complete

Chamber Works of Carlos Chávez, Volumes 1 and 2, which

received consecutive 2003 and 2004 GRAMMY Awards.

PLAYERS

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Lorenz Gamma, violin, is internationally

active as performer and teacher. He

has given master classes in the United

States, Europe and Asia and has taught

at UCLA and Indiana University in

Bloomington before joining the faculties

at California State University Long Beach

and California Institute of the Arts,

where he currently teaches violin, viola and chamber music.

His students have won numerous prizes and continued their

studies at such institutions as the Manhattan and Eastman

Schools of Music, University of Southern California, Indiana

University in Bloomington and many others. As former

co-leader of Switzerland’s Amar Quartet Mr. Gamma has

performed in many of Europe’s most important chamber

music venues, including the major concert halls in Zurich,

Geneva, Basel, Munich, the Cologne Philharmonic, as well

as in such cities as London, Paris, New York etc. Prior to

his full-time activity with the quartet he served as principal

in the Zurich Opera Orchestra and as concertmaster of the

Northwest Sinfonietta in Seattle. As a soloist Mr. Gamma

has performed over twenty different violin concertos by

Bach, Beethoven, Berg, Bruch, Lutoslawski, Mendelssohn,

Mozart, Piazzolla, Rubinstein, Wieniawski, Schumann,

Spohr, Tartini and Vivaldi, and holds an extensive record

of radio appearances as recitalist and chamber musician,

both in Europe and in the United States. He has recorded

chamber music for Cambria Records, Centaur Records, EAR

Records, ECM Records, Innova Recordings, Suisa Records

and Tilia Records and has performed virtually most of the

standard chamber music repertoire of over eighty composers,

including a string quartet repertoire of over fifty composers.

Mr. Gamma was born in Switzerland, where he received his

initial training as a violinist. His further studies took place in

the United States, with Franco Gulli, Steven Staryk and Mark

Kaplan. Other important teachers include the members of

the Alban Berg Quartet, Walter Levin of the LaSalle Quartet,

Rostislav Dubinsky of the Borodin Quartet, Peter Rybar and

Isaac Stern.

Suzanna Guzmán, mezzo-soprano and

native of East Los Angeles, is one of the

original Associate Artists of Los Angeles

Opera and current host of the weekly

KCET arts showcase OPEN CALL. She

has appeared as a principal soloist with

symphonies and opera houses around

the world including the Metropolitan

Opera, Washington National Opera, Dallas Opera, Opera di


Geneva, San Diego Opera, among others. Career highlights

include the 4000th performance of The King and I with Yul

Brynner, the world premiere and recording of Goya with

Plácido Domingo and the Washington National Opera, the

Mother in Amahl and the Night Visitors directed by Giancarlo

Menotti (Helen Hayes Award Nominee for Outstanding Lead

Actress), Cornelia in Giulio Cesare with Los Angeles Opera;

she created the role of Paula in the world premiere, tour and

recording of Mexican composer Daniel Catan’s Florencia en

el Amazonas. Best known for her portrayal of the title role

in Bizet’s Carmen, TIME Magazine called her a “fire eating

singing actress.” She is the principal soloist on the Southwest

Chamber Music’s Grammy-nominated CD, Carlos Chávez:

Volume III also featuring Mexico’s percussion ensemble,

Tambuco. On the artist roster of the Music Center Education

division, she continues to perform her one-woman show,

Don’t be Afraid: It’s Just Opera, created in 1985 to introduce

inner-city students to the world of opera. Honored by People

Magazine en Español as an outstanding Latino in Music; she

was the first recipient of the Plácido Domingo Award; the

Mexican American Opportunity Foundation 2011 Woman of

the Year; a 2011 Bank of America Local Hero for service to

arts and the community; and the 2012 Hispanic Scholarship

Foundation’s Mentor of the Year. She serves on the USC

Thornton Board of Councilors, UCLA’s Design for Sharing

Board, Los Angeles Children’s Chorus Honorary Board, and

works as the Director of Community Engagement for the Los

Angeles County High School for the Arts.

Peter Jacobson, cello, started on the

cello at age nine and went on to graduate

from the University of Southern

California studying under the late

Eleonore Schoenfeld. He also studied

at CalArts and at the San Francisco

Conservatory of Music. Peter has studied

North Indian classical music with the

late sitar master Rahul Sariputra and

at the Ali Akbar College of Music. He won the Jennings

Butterfield Young Artist competition, the San Diego Musical

Merit competition and numerous local scholarships and

competitions. Peter has performed as a soloist and premiered

concertos by Jeffery Holmes and Roger Prytzytulsky. He has

played locally and internationally with a list of fine classical

ensembles, orchestras, rock bands, fusion projects, hip-hop

producers and jazz artists with the intention of celebrating

the wonderful effects of music. Currently, he plays regularly

with Southwest Chamber Music, Quartetto Fantastico, and

the Arohi Ensemble.

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Elissa Johnston, soprano, has been

hailed by Musical America for “her

voice pure and ethereal, her expression

embracing and heartfelt,” Elissa Johnston

has appeared in a wide range of

repertory. Her orchestral engagements

include appearances with the Atlanta

Symphony, St. Paul Chamber Orchestra,

Los Angeles Philharmonic, Colorado Symphony, Fort

Worth Symphony, Oregon Bach Festival, San Francisco

Contemporary Players and Musica Angelica. Elissa’s

performances in the 2011/12 season included Bach arias

with the Los Angeles Chamber Orchestra, Bach’s St. John

Passion with the Los Angeles Master Chorale, Unsuk Chin’s

Akrostichon Wortspiel with Southwest Chamber Music, and

assorted American songs accompanied by Jeffrey Kahane at

the Broad Stage.

Elissa’s work includes such varied solo performances as

Bach’s Christmas Oratorio and Handel’s Messiah with the

Los Angeles Master Chorale, the American premiere of

Him Sophy’s The Fall of Angkor with Southwest Chamber

Music, Schumann songs with pianist Robert Thies at the

Broad Stage, Messiaen’s Harawi with pianist Vicki Ray at

Jacaranda Music and Pianospheres and the quartet version of

David Lang’s Little Match Girl Passion with Jacaranda Music.

Previously, Elissa appeared in the acclaimed world premiere

of SPIRAL XII by Chinary Ung with the Los Angeles Master

Chorale at Walt Disney Concert Hall, and sang the world

premiere of Aura by Mr. Ung with Grammy® Award-winning

Southwest Chamber Music. She subsequently recorded Aura

with SWCM and toured with the ensemble in Vietnam and

Cambodia. She has worked with conductors Tan Dun, David

Zinman, Thomas Adès, Daniel Harding and Steven Stucky;

performed numerous times with the L.A. Philharmonic’s

New Music Group, both in Los Angeles and at the Ojai

Festival. Her recital appearances include programs at the

Aldeburgh Festival in England and at the Aspen Festival’s

Winter Music Series. Elissa can also be heard on dozens of

film soundtracks. She is the featured vocal soloist in Serenata

Schizophrana by Danny Elfman which was released on the

Sony Classical label and featured on the IMAX release Deep

Sea 3D.

Larry Kaplan, flute, is one of Southern

California’s most sought after and

versatile flutists, and he has appeared

at virtually every major venue in the

area. For five seasons he played piccolo

with the Los Angeles Philharmonic,

and has played Principal Flute for the

Hollywood Bowl Orchestra, American

Ballet Theater, Long Beach Symphony, and many other local


ensembles. Mr. Kaplan has recorded for dozens of feature film

soundtracks and is an avid jazz enthusiast and past recipient

of the Outstanding Jazz Soloist at the Chaffee Jazz Festival.

He attended California State University at Northridge and

continued his studies in France with Jean-Pierre Rampal. He

first performed with Southwest Chamber Music in January

2003, and performed on Southwest Chamber Music’s Complete

Chamber Music of Carlos Chávez, Volume 2, which received a

2004 Grammy Award.

Jan Karlin, viola (on sabbatical this

summer) and Founding Executive

Director of Southwest Chamber Music, is

a recipient of a James Irvine Foundation

“Fund for Leadership Advancement”

Award to outstanding Executive

Directors in California. Ms. Karlin won

a 2004 Grammy Award as producer

for Southwest Chamber Music’s recording of the Complete

Chamber Music of Carlos Chavez, Volume II. She also serves

on the Grammy Museum Education Advisory Committee.

Ms. Karlin has performed throughout the U. S. and Europe,

including the Arnold Schoenberg Center in Vienna, Cooper

Union in New York City, Santa Fe Chamber Music Festival,

Tanglewood, Schleswig-Holstein, Flanders, Brighton and the

Vienna Festivals. Ms. Karlin received her Bachelor’s Degree

from Tufts University in Drama and Music, and her Master’s

Degree from Boston University as a student of Walter

Trampler. She studied chamber music under such notable

musicians as Eugene Lehner, Joseph Silverstein and Louis

Krasner. A credentialed secondary education teacher, she was

Instructor of Viola at the Claremont Colleges for 12 years.

Ms. Karlin also performed with the Boston Pops, Opera

Company of Boston, Pro Arte Chamber Orchestra in Boston,

the Pacific and Long Beach Symphonies in California and the

Wiener Akademie in Vienna. Her recordings are available on

Cambria Master Recordings, ORFEO, (Munich) and Novalis,

and she performed on Southwest Chamber Music’s Complete

Chamber Works of Carlos Chávez, Volumes 1 and 2, which

received consecutive 2003 and 2004 Grammy Awards.

Genevieve Lee, piano, is a versatile

performer of music spanning five

centuries. She has given solo piano

recitals at Merkin Concert Hall in New

York and the Salle Gaveau in Paris. Her

performances in Changsha, China, were

broadcast by Hunan State Television.

She has performed in Amsterdam

on a live radio broadcast (AVRO) from the Spiegelzaal at

the Concertgebouw. She has been a soloist with the São

Paulo State Symphony Orchestra in Brazil, the Vrazta State

Philharmonic in Bulgaria, and The Orchestra of Northern

21

New York. Her first solo performance with orchestra was

at the age of twelve. A champion of new music, Ms. Lee has

premiered and commissioned numerous works. She recently

recorded a work by Kurt Rohde for speaking pianist, to be

released on Innova Records in Fall 2012. Her solo piano

CD Elements, on Albany Records, features the premiere

recording of works by Tom Flaherty and Philippe Bodin,

and she is heard with mezzo-soprano D’Anna Fortunato

on another Albany Records CD, An American Collage. She

has been a guest performer with XTET, one of Los Angeles’s

leading new music groups. She is a founding member of the

Mojave Trio, which plays regularly on the “Sundays Live”

concerts from the Los Angeles County Museum of Art. She

has also been a member of the Garth Newel Piano Quartet

and has appeared regularly in chamber music festivals at

the Garth Newel Music Center, Virginia and Incontri di

Canna, Italy. Ms. Lee received her degrees from the Peabody

Conservatory of Music, École Normale de Musique de Paris,

and the Yale School of Music, where she studied with Boris

Berman. Ms. Lee has taught at Yale, Bucknell University, and

The Crane School of Music at SUNY-Potsdam. She joined the

Pomona College faculty in 1994 and is the first recipient of

the Everett S. Olive Professorship, endowed by Yuk Mei Shim.

Luke Maurer, viola, is a native of

Santa Barbara, California and began

his musical studies on the violin with

his father. He received his B.M. and

M.M. degrees in viola performance

from the University of Southern

California, studying with Donald

McInnes and Ralph Fielding. Mr. Maurer

participated in master classes with the

Juilliard, Ysaÿe and Takacs Quartets, and attended summer

festivals at the Music Academy of the West and the Banff

Centre for the Arts. Mr. Maurer is a member of the Pacific

Symphony and performs regularly with the Los Angeles

Philharmonic. He has also served as guest principal violist

with Orchestra Ensemble Kanazawa in Japan. As a member

of the Lyris Quartet, Mr. Maurer performs extensively

throughout Southern California, appearing in performances

for Jacaranda, the South Bay Chamber Music Society, and

LACMA’s Sundays Live, among others.

Tom Peters, double bass, is known for

his interpretations of contemporary

music, with a special interest in music

for double bass and electronics. He has

commissioned solo works for the bass by

composers such as Mary Lou Newmark,

Dennis Bathory-Kitsz, Eric Schwartz,

Alex Shapiro, Richard Derby, and

Robin Cox. In 2008 Tom released a recording of John Cage’s


seminal work 26’1.1499” for a String Player, with KPFK’s

John Schneider performing Cage’s 45’ for a Speaker on the

Tiger Barb Records label. Tom has performed with Southwest

Chamber Music since 1998, and is also a member of the

Long Beach Symphony Orchestra, and Ensemble Green. He

is featured in a series of solo concerts at Pasadena’s Boston

Court Performing Arts Complex, and was featured in a live

broadcast over Nordwest Radio in Germany in 2004. Tom

teaches double bass at the Bob Cole Conservatory of Music at

California State University, Long Beach, and is a graduate of

the Eastman School of Music.

Ming Tsu, piano, has concertized in

Europe, Asia, Mexico, Canada and the

United States, and her performances have

been broadcast on German National

Radio as well as on stations throughout

the United States. In 2003, she joined

Southwest Chamber Music and since

then has recorded with the ensemble

the complete chamber works for piano and strings by Carlos

Chávez as well as chamber music works by Chinary Ung

and William Kraft. She has collaborated closely with other

composers such as György Kurtág, Morton Subotnick, Henri

Lazarof, Joan Huang, Eric Flesher, Lei Liang, Patricio Da

Silva and Rob Paterson. Ms. Tsu has served on the piano

faculty at Pacific Lutheran University in Seattle and the

Pomona College in Claremont and currently teaches at the

Herb Alpert School of Music at the California Institute of

the Arts. She has given master classes in the U.S. and abroad

and also performs and teaches regularly at various festivals,

most recently adding the Montecito Summer Music Festival

to her schedule, where she is joining the piano faculty this

year. Ms. Tsu also serves as the Los Angeles Director of

Junior Chamber Music, one the largest pre-college chamber

music programs in the United States. Ms. Tsu has received

her degrees in piano performance from the New England

Conservatory of Music, Indiana University and University of

Washington (Doctor of Musical Arts).

Lynn Vartan, percussion, is an

international performer and educator

who is an advocate for diversity in

music. In addition to her position at

SUU, Dr Vartan is the percussionist for

Southwest Chamber Music, the violin/

percussion duo 61/4 which she founded

with Shalini Vijayan, and the Exacta

duo she formed with Tambuco’s Miguel Gonzalez. As a new

music percussionist Lynn has worked with Michael Colgrass,

Vinny Golia, Arthur Jarvinen, Ursula Oppens, Joan Tower,

Glen Velez, Xtet, James Newton, Chinary Ung, the Hilliard

Ensemble and the Tambuco Percussion Ensemble, and is

22

known for her dynamic athleticism and exciting energy on

stage. As a soloist, Lynn has been featured on the Los Angeles

Philharmonic Green Umbrella Series, the Different Trains

Series, at Montana State University, the Hanoi Conservatory,

Cornell University, with the Sierra Wind Symphony, the

Helena Symphony and at the World Trade Expo in Seim

Reap, Cambodia. She is regularly presented on the Music at

the Court series in Pasadena, California, where she produces

her own solo percussion concerts. As a recording artist, Lynn

has appeared on the ECM New Series, New World Records,

Bridge Records, Albany Records, and was twice Grammy®

nominated on the Cambria label with Southwest Chamber

Music. Lynn is endorsed by the Paiste Corporation, Remo

Inc., and Marimba One, whom she travels for as artist and

performer.

Shalini Vijayan, violin, deemed “a

vibrant violinist” by Mark Swed of the

Los Angeles Times, is an established

performer and collaborator on both

coasts. A native of California, Shalini

studied in New York as a scholarship

student at the Manhattan School of

Music where she received her B.M. and

M.M. degrees under the tutelage of Ariana Bronne and Lucie

Robert. Always an advocate for modern music, Shalini was a

founding member and is Principal Second Violin of Kristjan

Jarvi’s Absolute Ensemble, having recorded several albums

with them including 2001 Grammy nominee, Absolution.

As a part of Absolute, she has performed throughout the

United States and Europe. A member of the New World

Symphony in Miami Beach, Florida from 1998-2001, Shalini

served as concertmaster for Michael Tilson Thomas, John

Adams, Reinbert de Leeuw and Oliver Knussen. She was

also concertmaster for the world premiere performances and

recording of Steven Mackey’s Tuck and Roll for RCA records

in 2000. In Los Angeles, Shalini is featured regularly with

Grammy Award winning Southwest Chamber Music and

can be heard on their Complete Chamber Works of Carlos

Chávez, Vol. 3 and the Encounters of William Kraft. She is

one half of the duo 61/4, with percussionist Lynn Vartan,

with performances throughout California and in Mexico.

She has appeared on over a hundred film scores including

The Incredibles, Ratatouille, Star Trek, Up and Avatar as well

as on every season of the television show Lost. Shalini has

been on the faculty of the Sequoia Chamber Music Workshop

in Arcata, California since 2003.


Vân Ánh Vanessa Võ, dan bau, dan

tranh, devotes her life-long passion

and mastery of the dan tranh zither to

the creation of distinctive music for

this unique Vietnamese instrument.

Among her accomplishments are the

2009 Emmy® Award-winning soundtrack

for the documentary “Bolinao 52”,

which she co-composed and recorded, and the soundtrack

for the Sundance best documentary and 2003 Academy

Awards® nominee “Daughter from Danang”. Vân Ánh also

co-composed and recorded for the recent documentary

“A Village Called Versailles”, winner of the New Orleans

Film Festival Audience Award. Vân Ánh graduated with

distinction from and taught at the Vietnam Academy of

Music. In 1995, she won the Vietnam National Dan Tranh

Competition. She has since performed in 14 countries

and recorded in many broadcast programs inside and

outside of Vietnam. Vân Ánh also performs as soloist on

the monochord (bau), the 36-string hammered dulcimer

(dan tam thap luc), the bamboo xylophone (dan t’rung), the

k’longput, traditional drums (trong), and Chinese guzheng.

She lives and teaches Vietnamese traditional instruments in

Fremont, California.

Jeff von der Schmidt, conductor, is

Founding Artistic Director of Southwest

Chamber Music. A two-time Grammy

Award-winning conductor, he has led

numerous performances of standard

20th century composers as well as world

and local premieres of new work. Mr.

von der Schmidt has received seven

Grammy nominations, including consecutive 2003 and 2004

Grammy Awards as conductor for the Complete Chamber

Music of Carlos Chávez Volumes 1 and 2. His performance

was nominated for Best Classical Album in 2005 for the

Complete Chamber Music of Carlos Chávez, Volume 3 by

both Grammy and Latin Grammy. Recent projects include

leading the six-week 2010 Ascending Dragon Music Festival in

Hanoi, Saigon, Pasadena and Los Angeles for the U.S. State

Department. Ascending Dragon was the largest cultural

exchange in the history of Vietnam and the United States. In

2009 he led Southwest Chamber Music at the Guadalajara FIL

Festival alongside the largest Spanish language book festival

in the world. Past international exchanges include a complete

cycle of the chamber music of Carlos Chávez with Southwest

Chamber Music and the Tambuco Percussion Ensemble

at the UNAM Center in Mexico City in May 2007. In

2006, Mr. von der Schmidt conducted at the Hanoi Opera

House, 2006 World Culture Expo at Angkor Wat, and the

Royal University of Fine Arts in Phnom Penh, Cambodia,

with Aura, a major new composition by Grawemeyer

23

Award-winning composer Chinary Ung. His successful 2003

performance at the Library of Congress, with soprano Phyllis

Bryn-Julson in Richard Felciano’s An American Decameron,

was greeted with a standing ovation. He has led cycles of

the Los Angeles works of Arnold Schoenberg at Cooper

Union in New York City and at the Arnold Schoenberg

Center in Vienna, where Southwest Chamber Music was the

first American ensemble to perform at the Center since its

relocation from the University of Southern California. Mr.

von der Schmidt received the Henri M. Kohn Award as the

outstanding student at the Tanglewood Music Festival in

1980 from Gunther Schuller and Seiji Ozawa, and studied

French horn with Roland Berger of the Vienna Philharmonic,

holding a certificate in German from the University of

Vienna. He has lectured on music at the Getty Center, Los

Angeles Philharmonic Green Umbrella Series, Arizona State

University, University of Colorado, Ohio State University,

Royal University of Fine Arts in Phnom Penh, Cambodia, the

Vietnam National Academy of Music, and the Hochschule

für Musik in Lübeck, Germany.


Recordings on Cambria Master Recordings

Purchase your copy today!

1.800.726.7147

www.swmusic.org

Compact Disc Recordings by Southern California’s only

two-time GRAMMY ® -winning Classical Ensemble

24

Complete Chamber Music of Carlos Chávez

winner of 2003 and 2004 GRAMMY Awards

Also available on single discs: Music of

Prokofiev, Poulenc, Huang, Kraft, Krenek,

Cage, Carter, Derby, Harrison, Powell, Smith,

Subotnick, Wuorinen, and many others.

PLUS: Composer Portrait Series, 12 CD Box Set winner

of 2002 CMA/ASCAP Award

“No one with the slightest interest in the music of our

time can afford to be without this cornerstone of

American chamber music.”

— Jim Svejda, KUSC, review of “Kraft Encounters”

_____________

“... everything on these CDs is played magnificently.”

Chamber Music Magazine


The Huntington Rose Garden Tea Room

At The Huntington Library, Art Collections and Botanical Gardens

Is proud to present

Southwest Chamber Music

Summer Festival Pre-Concert Dinners

Selections vary by date

Please contact Southwest Chamber Music

for information and reservations (800) 726-7147

When visiting The Huntington

The Huntington Tea Room is the perfect setting for a memorable repast. Choose from an array of

savory finger sandwiches, imported and domestic cheeses, fresh fruit and petite desserts

all served buffet-style

1151 Oxford Road, San Marino, CA 91108

Convenient online reservations now available via the Tea Room Link on The Huntington website.

www.huntington.org

Sorry, The Huntington cannot make Summer Festival dinner reservations.

Please contact Southwest Chamber Music for this special event.

25


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the pleasure of musical company

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October 7, 2012

Emerson String Quartet

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Escher String Quartet

February 17, 2013

Schubert Ensemble

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950 E. Colorado Blvd. • Pasadena, CA 91106 • (626) 577-1828

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Music is the universal language

Sometimes the most meaningful communication happens without dialogue. Whether it’s

a soloist or an ensemble, music is a powerful form of expression. It’s an experience we can

all share.

Wells Fargo Capital Finance is proud to support Southwest Chamber Music and we look

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Wells Fargo Capital Finance

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© 2012 Wells Fargo Capital Finance. All rights reserved. Wells Fargo Capital Finance is the trade name for certain asset-based lending, accounts receivable,

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SOUTHWEST CHAMBER MUSIC

638 E. Colorado Blvd., Suite 201

Pasadena, CA 91101-2006

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