USCB Chamber Music Program


USCB Chamber Music 40th season

40 YEARS OF...


November 3

Andrew Armstrong, piano

Amy Schwartz Moretti, violin

Edward Arron, cello



December 15

Andrew Armstrong, piano

Tessa Lark, violin

Ettore Causa, viola

Michael Thurber, double bass

Edward Arron, cello



years ago when Beaufort Memorial opened its

doors, no one could have envisioned the robust, independent,

multispecialty, community-focused hospital and provider network

we would become.

Today, we’re looking to the future and fulfilling our promise to

improve access and expand health care services for residents north

and south of the Broad River and well beyond.

From a newly renovated birthing center and a groundbreaking in

Okatie for a new medical campus, to the renovation of the hospital’s

surgical pavilion and plans to construct the state’s first micro

hospital in Bluffton, our commitment to our community and its

health has never been stronger.

So watch this space:

At 75, we’re just getting started!

January 26

Jeewon Park, piano

Edward Arron, cello

March 1

Jennifer Frautschi, violin

Hye-Jin Kim, violin

Nicholas Cords, viola

Ara Gregorian, viola

Wilhelmina Smith, cello

Edward Arron, cello

April 19

Andrew Armstrong, piano

Aaron Boyd, violin

Danielle Farina, viola

Edward Arron, cello

For more artist/program information or to purchase tickets

visit us at or call 843.208.8246 dwh

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40 YEARS OF...



Artistic Director, Host and Resident Cellist

Cellist Edward Arron has garnered recognition worldwide

for his elegant musicianship, impassioned performances, and

creative programming. A native of Cincinnati, Ohio, Mr. Arron

made his New York recital debut in 2000 at the Metropolitan

Museum of Art. Since that time, he has appeared in recital, as

a soloist with major orchestras, and as a chamber musician

throughout North America, Europe and Asia.

The 2019-20 season marks Mr. Arron’s eleventh season as

the artistic director and host of the acclaimed USC Beaufort

Chamber Music Series in Beaufort, SC. He is also the artistic

director of the Musical Masterworks concert series in Old Lyme,

Connecticut, and is the co-artistic director with his wife, pianist Jeewon Park, of the Performing

Artists in Residence series at the Clark Art Institute in Williamstown, Massachusetts. With

violinists James Ehnes and Amy Schwartz Moretti, and violist Richard O’Neill, Mr. Arron tours as

a member of the renowned Ehnes Quartet. He appears regularly at the Caramoor International

Music Festival, where he has been a resident performer and curator of chamber music concerts

for over a quarter of a century. In 2013, he completed a ten-year residency as the artistic director

of the Metropolitan Museum Artists in Concert, a chamber music series created in 2003 to

celebrate the 50th anniversary of the Museum’s prestigious Concerts and Lectures series.

Mr. Arron has performed numerous times at Carnegie’s Weill and Zankel Halls, Lincoln

Center’s Alice Tully and Avery Fisher Halls, New York’s Town Hall, and the 92nd Street Y, and

is a frequent performer at Bargemusic. Festival appearances include Ravinia, Salzburg, Mostly

Mozart, Bravo! Vail, Tanglewood, Bridgehampton, Spoleto USA, Bowdoin, Santa Fe Chamber

Music, Seattle Chamber Music, Kuhmo, PyeongChang, Evian, Charlottesville, Telluride

Musicfest, Seoul Spring, Lake Champlain Chamber Music, Chesapeake Chamber Music, La

Jolla Summerfest, and Bard Music Festival. He has participated in Yo-Yo Ma’s Silk Road Project

as well as Isaac Stern’s Jerusalem Chamber Music Encounters. Mr. Arron’s performances are

frequently broadcast on NPR’s Performance Today.

Edward Arron began playing the cello at age seven in Cincinnati and continued his studies

in New York with Peter Wiley. He is a graduate of the Juilliard School, where he was a student

of Harvey Shapiro. In 2016, Mr. Arron joined the faculty at University of Massachusetts Amherst,

after having served on the faculty of New York University from 2009 to 2016.

Dear Friends,

For 40 years, audiences and world-class musicians alike have delighted in passionate

and spirited music-making in this most special corner of the world. As I enter my

eleventh season as the curator of this concert series, I find myself reflecting on what a

truly unique and deeply meaningful experience we all share during these concerts, and

I am gratified that USC Beaufort Chamber Music remains a distinguished sanctuary for

this magnificent art form. Seldom have I felt such a strong rapport between audience and

performer as I have in Beaufort, and I know that all of my colleagues feel the same way.

I sincerely believe that the arts are an indispensable part of a healthy society, and that

they are a necessary escape from the constant distractions of the fast-paced world

in which we live. Each year, I relish the opportunity to mine the depths of the glorious

chamber music repertory in order to create five distinctive and transporting musical


Throughout this anniversary season, we will welcome back a parade of beloved veteran

artists alongside several exciting Beaufort debuts, as we explore chamber music masterpieces

ranging from J.S. Bach to compositions performed by living, breathing composers

themselves. As we celebrate the 40th anniversary of our concert series, the year 2020 also

marks the 250th anniversary of the birth of Ludwig van Beethoven. To recognize these two

momentous milestones, pianist Jeewon Park and I will perform Beethoven’s Complete

Sonatas for Cello and Piano on January 26, 2020. These five masterworks represent the

arc of an extraordinary life and of a groundbreaking compositional career. Each sonata is a

marvel in its own right, as Beethoven leads us on a journey of the sublime, the devastating,

the whimsical, the demonic, the profound, and the otherworldly.

As always, I look forward to greeting you from the stage for what promises to be a

memorable season of chamber music.


Edward Arron

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40 YEARS OF...



by Michael Johns

The term “chamber music” was coined

during the Classical period but the concept

of art music for a small, conductor-less

ensemble, performed in intimate settings

with one player on a part has been an aspect

of western musical communication since

ancient Greece. Enjoyed by all strata of

society and performed by both amateur and

professional groups, it has been described

as “music among friends.” From earliest

beginnings to the present it has reflected

the aspirations, technology, and community

in which it was embedded.

Chamber music performance is a

specialized field utilizing different skills than

those needed for orchestra or solo music. It

requires the production of a coherent whole

even as the players retain their individuality.

Orchestral music requires subsuming the

temperament of the individual while soloists

must project an outsized personality. In

chamber music there is a dynamic tension;

everyone leads, everyone follows. The

chamber music equilibrium between

person/group is what draws both soloists

and orchestra musicians to seek out chamber

music opportunities during their non-work


The early Christian period rejected the

idea of instrumental music as an art form

or leisure pastime because it stimulated

sinful elements such as dance and pagan

ritual. The gradual climb to respectability

for instrumental music began in the tenth

century with roving minstrels. They gradually

became fixtures at court as troubadours. By

the late Medieval period consorts of “soft”

or “indoor” instruments were being grouped

together to play music at court.

The Renaissance was characterized

by a rebirth of the human spirit and revival

of cultural standards. More music was

composed during the Renaissance than all

earlier periods combined. Musicians became

a professional class but were still dependent

on patronage.

During the Baroque period the royal

court became a powerful political entity as

exemplified by Louis XIV of France. Under the

court system arts patronage increased, and

along with the beginnings of an educated

middle class, a demand for private and

public concerts arose. Expanded production

of instruments supported a larger number

of performing musicians, both amateur and

professional, and advances in precision

craftsmanship greatly increased the capacity

for nuanced expression. The newly created

harpsichord/piano and violin became the

primary chamber music influencers.

The Classical period began midway

through the eighteenth century. Music

attempted to emulate the ideals of classical

antiquity with a slimmed-down style based

on balance, tuneful simplicity, and pleasing

variety. Many composers relied on advanced

amateur aristocrats who delighted in music

making as a means to entertain guests or

family. The development of chamber music

can be traced to this employer-composer

relationship: Franz Joseph Haydn, credited

with creating the modern string quartet,

was a liveried employee of Count Nikolaus

Esterházy; Mozart wrote string quartets for

Fredrick William II, Beethoven wrote them

for Count Andry Razumovsky and Prince

Joseph Lobkowicz. Reflecting both the ethic

of the age and the essence of the art, Johann

Wolfgang von Goethe described a stringquartet

performance as “four rational people

conversing.” When the European aristocratic

system began to weaken, composers and

performers were forced to become more

self-sufficient. A growing middle class

increased demand for repertoire and the first

chamber music only performance space,

Holywell Music Room in Oxford, England,

opened in 1748.

The Romantic period brought profound

changes in socioeconomic, technical, and

cultural conditions. Greater leisure time led

to the growth of amateur music-making

societies. Professional, touring chamber

music groups raised music-performance

standards and public awareness of the

chamber music genre. The twentiethcentury

approach to chamber music

reflected the chaos of world wars, changing

societal values, and the quickening pace of

technology. Artistic creations ranged from

timeless works seeking inner peace to sharpedged

agitation and raw dissonance. New

instrumental combinations experimented

with extended techniques and electronic

sounds. In the twenty-first century

professional and semi-professional chamber

music groups, performance venues in both

traditional and “found” spaces, and local

chamber music advocates have steadily


A musician’s aphorism:

USCB Chamber Music follows the

concert model established during the

1800’s: performances in an intimate setting

with a small number of performers playing

for an attentive audience. The hushed

atmosphere is suggestive of interested

observers eavesdropping on personal

conversations. Guarneri Quartet first violinist

Arnold Steinhardt expressed the powerful

attraction of chamber music for the artists:

“When a performance is in progress, all

four of us together enter a zone of magic

somewhere between our music stands

and become a conduit, messenger, and

missionary... It is an experience too personal

to talk about...” Although audience members

are one step removed from producing the

sound, their presence increases the focus

of the performers, and listeners in turn

become one with the music and enter into

its voiceless dialogue. Experiencing the

chamber-music aesthetic has been a valued

and sought-after human pursuit throughout

recorded history.

“ ”

A great player can make a poor instrument sound good;

a poor player cannot make a great instrument sound good.

(Aren’t we lucky that during the last 40 years, we have had over two

dozen Stradivari and ennumerable great artists making

brilliant music for us.)

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40 YEARS OF...



by Lila Meeks

Chamber Music Notes

From its founding in 1979 by USCB Art

History Professor Mary Whisonant, USCB

Chamber Music has presented internationally

renowned artists to play for lowcountry

audiences. For several of the early years,

performances were held at area banks,

churches, and the MCAS theatre. In 1983 USC

Beaufort renovated the Beaufort Elementary

School, and the venue was moved to what

had been the Beaufort Elementary School

Auditorium. The architects and engineers

working on the project were amazed and

pleased with the space’s exceptional

acoustics. Visiting artists for the last thirtyseven

years have agreed, and chamber

music audiences have been pleased that

there is not a bad seat in the house. After

establishing the series in its new, permanent

home, Professor Whisonant retired in 1989.

At that point, Adjunct Professor of Music Dr.

Ralph Cooper successfully arranged the

Series for four seasons.

Then Beaufortonian Harriet Keyserling

prevailed upon the legendary Charles

Wadsworth to assume the directorship and

bring to Beaufort the chamber music riches

he had unearthed for New York’s Lincoln

Center and Charleston’s Spoleto. A worldclass

raconteur as well as musician, he was

a favorite with audiences across the US and

in Europe. In fact, he has been credited by

some with saving the art form of chamber

music from extinction.

Certainly during his two-decade tenure in

Beaufort, he drew many new fans to USCB

Chamber Music, and when he announced

his retirement just as he was turning eighty

in 2009, the Art Center was standing room

only. It was a memorable and bittersweet

evening with a very large cake, many

candles, enthusiastic audience participation,

the presentation of a personalized parking

meter with lifetime free parking from Mayor

Keyserling, Wadsworth’s usual wit and most

importantly wonderful music played by

exceptional artists. At evening’s end, the

Master expressed his great appreciation

for nineteen grand years and his feelings of

regret on closing the curtain on fifty years of

glorious music, “It’s very tough to say goodbye.

I plan to cry a lot.”

When Mr. Wadsworth passed the baton

to Edward Arron for the 2009-2010 season,

he ensured the future of USCB Chamber

Music. In the Arron era, local audiences have

come to appreciate inventive programming

and to expect the very best young talent the

world has to offer. Considering that the Series

began when USCB was a poorly funded, twoyear

branch of USC and that there was a time

when cutting back on the concerts in favor

of other forms of performances was seriously

threatening the Series as we know it, we

can all be proud that at 40, USCB Chamber

Music is supported by a four-year university,

an endowment, many generous Friends,

an exceptional Artistic Director, and superb

artists who continue to perform exquisite

music that makes us the cultural envy of

much larger, much wealthier, and much less

fortunate towns and cities. It is, indeed, a

time to celebrate.

USCB Chamber Music is greatly indebted

to The Beaufort Inn and the Best Western Sea

Island Inn for providing fine accommodations

for our artists at special rates. We are very

grateful to the Osher Lifelong Learning Institute

(OLLI) at USCB for its partnership with

the Chamber Music series. OLLI supports

free classes offered by Michael Johns at ten

am the Friday before each concert for everyone

who would like some prepping about

the composers and the music that will be

featured the following Sunday. Mr. Johns

also provides the excellent program notes

for each concert.

Hoping to bring these talented artists and

their fine music to ever greater audiences, we

have arranged the following: free tickets for

USCB students, local schools, Beaufort Youth

Orchestra members, and members of the

USMC Band; tickets by donation for those who

otherwise could not attend, and one Monday

morning session with the artists and area

school classes when possible.

As part of the 40th season celebration,

we are working with Public Radio to broadcast

all five concerts this season on Carolina

Live. Assuming that all the technical details

work out and the recordings take place, we

ask that you please be especially aware of

audience noises: making every effort to turn

off phones, avoid conversations and movements

during the performances, and stifle

sneezing and coughing as best you can.

To celebrate our 40th and Beethoven’s

250th birthdays and to honor our founding

director, Mary Whisonant, please join us for

champagne and birthday cake during the intermission

of our January 26th concert.

We are pleased to announce that Saltus

River Grill, Hearth, and Plum’s will provide our

audiences with 15% discounts for postconcert

dining. Just take your ticket stub

along to a restaurant of your choice. (Reservations

are recommended.)

Fripp Island Friends of Music - 2019-2020 Season

Brass Roots Trio​ - Oct 20, 2019 - ​Classical, jazz, Latin fusion

9 String Theory​ - Nov 17, 2019 - ​Eclectic domra and guitar duo

Sarah Best​ - ​Jan 26, 2020​ -​ ​Jazz, opera, broadway, standards

Marco Mantovani​ - ​Feb 23, 2020 - ​Accomplished pianist

Rebecca Folsom​ - Mar 22, 2020 - ​Singer/Songwriter/Poet

All concerts ​Sundays, 5:00 pm on Fripp Island​. Admission at the door $30

(cash or check), students free. Free access to Fripp 1 hour before.

Attendees invited to a complimentary catered “Meet The Artists”

reception afterwards. We are a charitable 501c3 org supported in part by

the SC Arts Commission.



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Artist in Residence and Pianist

Praised by critics for his passionate expression and dazzling

technique, pianist Andrew Armstrong has delighted audiences

across Asia, Europe, Latin America, Canada, and the United

States, including performances at Alice Tully Hall, Carnegie Hall,

the Kennedy Center, the Grand Hall of the Moscow Conservatory,

and Warsaw’s National Philharmonic.

Andrew’s orchestral engagements across the globe have seen

him perform a sprawling repertoire of more than 50 concertos

with orchestra. He has performed with such conductors as Peter

Oundjian, Itzhak Perlman, Günther Herbig, Stefan Sanderling,

Jean-Marie Zeitouni, and Stanislaw Skrowaczewski, and has

appeared in chamber music concerts with the Elias, Alexander,

American, and Manhattan String Quartets, and also as a member of the Caramoor Virtuosi,

Boston Chamber Music Society, Seattle Chamber Music Society, and the Jupiter Symphony

Chamber Players.

The 2019-2020 Season takes Andrew across the globe with concerts in London and

Norwich, Amsterdam, Prague, Ostrava, and across the US and Canada. Also this season,

Andrew and violinist James Ehnes team up to release recordings of the complete cycle of

10 Beethoven Violin Sonatas to celebrate the master’s 250th birthday in 2020. The duo will

perform the cycle in cities around the world over the next season.

On top of his performance activities, Andrew embarks on his second season as Artistic

Director of Columbia Museum of Art’s “Chamber Music on Main” series in South Carolina,

and enters his third year as Director of the Chamber Music Camp at Wisconsin’s Green Lake

Festival of Music.

He has released several award-winning recordings with his longtime recital partner James

Ehnes -- most recently Beethoven’s Sonatas Nos. 6 & 9, to stellar reviews, Gramophone’s

Editor’s Choice, and Sunday Times’ Disc of the Week.

Andrew is devoted to outreach programs and playing for children. In addition to his many

concerts, his performances are heard regularly on National Public Radio and WQXR, New York

City’s premier classical music station.

Mr. Armstrong lives happily in Massachusetts, with his wife Esty, their three children

including two-year-old Gabriel and big siblings Jack & Elise, and their two dogs Comet &


Franz Schubert


Piano Trio in One Movement in B-flat Major, D. 28 (1812)

Bohuslav Martinů


Duo No. 1 for Violin and Cello, H. 157 (1927)

Preludium: Andante moderato

Rondo: Allegro con brio

Maurice Ravel


Sonata in G Major for Violin and Piano (1923-27)


Blues: Moderato

Perpetuum mobile: Allegro

Antonin Dvořák


~ Intermission ~

Piano Trio in e minor, Opus 90 “Dumky” (1890-91)

Lento maestoso; Allegro quasi doppio movimento

Poco Adagio; Vivace non troppo

Andante; Vivace non troppo

Andante moderato (quasi tempo di marcia);

Allegretto scherzando


Lento maestoso; Vivace

November 3

Andrew Armstrong


Amy Schwartz Moretti


Edward Arron


Please turn off all cell phones and any other light-illuminating or

sound-emitting devices before the performance.

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Amy Schwartz Moretti


Recognized as a deeply expressive artist with an affinity for

chamber music, American violinist Amy Schwartz Moretti has a

musical career of broad versatility that spans nearly two decades.

She is former Concertmaster of the Oregon Symphony and Florida

Orchestra and recipient of prizes from the D’Angelo International

Young Artist Competition and the Irving M. Klein International

String Competition. She was also an award winner at the

Washington International Competition for Strings and made her

New York concerto debut in Carnegie Hall in 1998. She has served

as guest concertmaster for the symphony orchestras of Atlanta,

Houston and Pittsburgh; the Hawaii Pops and New York Pops;

and the festival orchestras of Brevard, Colorado and Grand Teton,

and has also served as Concertmaster of CityMusic Cleveland, a chamber orchestra bringing

free concerts into the neighborhoods of northeastern Ohio. In addition to her performances

as an orchestral soloist and concertmaster, she is an award-winning chamber music artist,

appearing in concert series and at music festivals across North America and Europe. She is

also a member of the internationally acclaimed Ehnes Quartet. She has recorded for Chandos,

Harmonia Mundi, Onyx Classics, CBC Records, BCMF/Naxos and Sono Luminus.

Recent projects include releasing CD’s of Schubert and Sibelius quartets nominated for a

2017 Gramophone award; performing Beethoven’s complete cycle of string quartets in Seoul,

Korea in 2016; and leading the McDuffie Center String Ensemble’s Carnegie Hall debut in 2017.

Her Prokofiev and Bartók duos recorded with James Ehnes were included in albums that

received Juno Awards for “Classical Album of the Year –Solo or Chamber Ensemble” in 2014

and 2015.

Born in Wisconsin and raised in North Carolina and California, Amy lives in Georgia

with her husband and two sons. Director of the McDuffie Center for Strings at the Mercer

University Townsend School of Music since its inception in 2007, she has also developed the

Fabian Concert Series on campus featuring internationally distinguished artists in chamber

music concerts and masterclasses, and is violinist of Cortona Trio with her McDuffie Center

colleagues. The Cleveland Institute of Music has recognized her with an Alumni Achievement

Award and she is the 2014 San Francisco Conservatory of Music Fanfare Honoree, their first

Pre-college Division graduate to be recognized

J.S. Bach


Trio in g minor for Violin, Cello, and Double Bass (1740)

(arranged from Viola da Gamba Sonata, BWV 1029)




Tessa Lark

Michael Thurber

Original Compositions for Violin and Double Bass

Joaquín Turina


Piano Quartet in a minor, Opus 67 (1931)

Lento; Andante mosso


Andante; Allegretto; Allegro molto

Franz Schubert


~ Intermission ~

Piano Quintet in A Major, D. 667 “Trout” (1819)

Allegro vivace


Scherzo: Presto

Theme and Variations: Andantino

Finale: Allegro giusto

Please turn off all cell phones and any other light-illuminating or

sound-emitting devices before the performance.

December 15

Andrew Armstrong


Tessa Lark


Ettore Causa


Edward Arron


Michael Thurber

Double Base

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40 YEARS OF...


Tessa Lark


American violinist Tessa Lark is the recipient of a 2018

Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career

Grant, Silver Medalist in the 2014 International Violin Competition

of Indianapolis, and winner of the 2012 Naumburg International

Violin Competition. A budding superstar in the classical realm, she

is also an acclaimed fiddler in the tradition of her native Kentucky.

Since making her concerto debut with the Cincinnati

Symphony Orchestra at sixteen, Lark has appeared with dozens of

orchestras and festivals at recital venues including Carnegie Hall,

Ravinia, San Francisco Performances, Marlboro Music Festival,

Lincoln Center’s Great Performers Series, the Concertgebouw

in Amsterdam, and Australia’s Musica Viva Festival. Recent and

upcoming highlights include debuts with the Indianapolis and Seattle symphonies and the

Rochester and Buffalo philharmonics, as well as performances of two works for violin and

orchestra written for her: “Love Letter” by bassist-composer Michael Thurber and “Sky,” a

bluegrass-inspired concerto by Michael Torke that she premiered and recorded with the

Albany Symphony Orchestra in 2019. Other recording projects include Fantasy, Lark’s debut

album including fantasies and rhapsodies from the violin repertory, released by First Hand

Records and Invention, a debut album of the violin-bass duo Tessa Lark & Michael Thurber that

comprises music of J.S. Bach along with non-classical original compositions.

A passionate chamber musician, Ms. Lark has toured with musicians from Ravinia’s Steans

Music Institute and Musicians from Marlboro. Her piano trio, the Namirovsky-Lark-Pae Trio

(formerly known as Trio Modêtre), was awarded a top prize in the 2012 Fischoff National

Chamber Music Competition. Lark has collaborated with such renowned artists as Mitsuko

Uchida, Edgar Meyer, Itzhak Perlman, Miriam Fried, Donald Weilerstein, Pamela Frank, Kim

Kashkashian, Peter Wiley, and Ralph Kirshbaum.

Keeping in touch with her Kentucky roots, Lark performs and programs bluegrass and

Appalachian music regularly. She collaborated with fiddler Mark O’Connor on his album MOC4

and premiered her own “Appalachian Fantasy” as part of her Distinctive Debuts recital at

Carnegie Hall.

Lark plays a ca. 1600 G.P. Maggini violin on loan from an anonymous donor through the

Stradivari Society of Chicago.

Ettore Causa


Awarded both the “P. Schidlof Prize” and the “J. Barbirolli

Prize” for “the most beautiful sound” at the prestigious Lionel

Tertis International Viola competition in England in 2000, Italianborn

violist Ettore Causa is praised for his exceptional artistry,

passionate intelligence and complete musicianship.

He has made solo and recital appearances in major venues

around the world, such as Carnegie Hall, Zurich Tonhalle, Madrid

National Auditorium, Salle Cortot, Tokyo Symphony Hall, Teatro

Colon, etc. and has performed at numerous international festivals,

such as the Menuhin, Salzburg, Tivoli, Prussia Cove, Savonlinna,

Launadire and Norfolk Festivals.

Also a devoted chamber musician, Mr. Causa has collaborated

extensively with internationally renowned musicians such as the Tokyo, Artis, Brentano, Cremona

and Elias String Quartets, Pascal Rogé, Boris Berman, Peter Frankl, Thomas Ades, Natalie Clein,

Ana Chumachenco, Ani Kavafian, Alberto and Antonio Lysy, Liviu Prunaru, Thomas Demenga,

Ulf Wallin, William Bennett and others.

Having studied at the International Menuhin Music Academy with Alberto Lysy and Johannes

Eskar, and later at the Manhattan School of Music with Michael Tree, then having taught both

viola and chamber music for many years at the International Menuhin Music Academy, Mr.

Causa joined the faculty of the Yale School of Music in 2009.

His highly praised recordings include several Claves CDs, among those his transcription

of romantic pieces, which was awarded a prestigious “5 Diapasons” by the French magazine.

Recently he was one of the honored guests at the 43rd International Viola Congress where

he performed with enormous success his own arrangement of the Schumann cello concerto.

Mr. Causa performs on a viola made for him by Frederic Chaudiere in 2003.

“ ”

Judith and I are so fortunate to have come to this magical spot

for my work at USCB and then to discover that for five Sundays

each year we are transported beyond the here and the now by the

incredible music of Ed and his friends.

~Al Panu

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Michael Thurber

Double Bass

From composing for The Royal Shakespeare Company

and co-founding the smash YouTube channel CDZA, to

creating his Thurber Theater variety show at Joe’s Pub,

teaching at NYU’s Clive Davis Institute, and performing in

the house band on The Late Show with Stephen Colbert as

well as around the country in duo with violinist Tessa Lark,

Thurber’s musical journey has been remarkably singular.

As a theater composer & lyricist, Thurber made his

international debut with his score of Antony and Cleopatra,

a co-production between The Royal Shakespeare Company

(Stratford, UK) and The Public Theater (NY, NY) directed by

Oscar winner Tarell McCraney. He has since written numerous

scores for The Public Theater, Manhattan Theater Club and

has developed original musicals with The Eugene O’Neill Theater Center (CT), Joe’s Pub

(NYC), The Kimmel Center (PA), Williamstown Theater Festival (MA), SPACE At Ryder Farm

(NY) and Theater Latte Da (MN). His one-man musical The Booty Call ran for five weeks Off-

Broadway at the TBG Theater in 2016.

Thurber’s concert music has been performed by orchestras around the country including

The Louisville Orchestra, The Williamsburg Symphony, The Evansville Philharmonic and The

Interlochen Arts Academy Orchestra. His work has been commissioned by such es

teemed institutions as NPR’s From The Top, The International

Horn Society and Elisa Monte Dance.

Thurber was co-founder and music-director of one of YouTube’s biggest music

collectives, CDZA, which within its first 2 years of formation garnered over 26 Million views

and 300k channel subscribers. CDZA performed at TED@nyc and was featured on NPR as

well as headlining the first ever YouTube Music Awards alongside Lady Gaga, Arcade Fire,

Eminem and MIA.

In 2015, Thurber joined Jon Batiste and Stay Human for The Late Show With Stephen

Colbert as bass player. On the show, Michael performed with Yo Yo Ma, James Taylor, Cee

Lo Green and Jack Black.

Michael proudly serves on the Board Of Directors for NPR’s From The Top. He is also

an Adjunct Faculty member at NYU’s Clive Davis Institute. Michael studied music at The

Interlochen Arts Academy and The Juilliard School.

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40 YEARS OF...





As we open the fortieth season of USCB Chamber Music, Chancellor

Panu is pleased to announce the continued growth of the USCB

Chamber Music Endowment. Initiated in 2017 and made possible

by the consistent generosity of the Series’ Friends, a significant initial

donation from Anita and John Mahoney, and generous donations from

the Founding Members of the Endowment Legacy Society and others,

this Endowment will ensure that the music of the world’s finest classical

composers will continue to be played by some of the world’s finest

musicians to benefit this University and the communities it serves.


Patricia and Colden Battey

Carol and Lee Mather

Nancy and Howell Beach

Suzanne and Pat McGarity

Staci and Michel Breton

Lila Meeks

Dorothy Davis

Peggy and Bo Mohr

Cynthia Warrick and John Folts

Meredith and Joseph Oliver





While the Friends of Chamber Music annual donations are essential

to support the expected yearly operating expenses of the series, the

Endowment is a statement of the community’s and the University’s long

term commitment to the program and an invaluable means of meeting

unforeseen financial challenges should they arise. As a life-sustaining,

life-enhancing instrument, it offers donors the opportunity to provide

support that strengthens not only the program’s present, but also its

future. Going forward, it will grow with additional donations, earnings, and

the routine reinvestment of earnings, thus, establishing further financial

stability and security for the incomparable music of Bach, Beethoven,

Brahms, et al. as well as the brilliant artistry of Arron, Armstrong, Park, et al.

Becky and Charlie Francis

Jill Kammermeyer & Robert Hochstetler

Jan and David House

Marilyn and Paul Jones

Mary Robertson and Charles Keith

Lainey Lortz

Anita and John Mahoney

Beth Brya Oliver and Tom Oliver

Diane and Richard Price

Peggy and Wayne Reynolds

Pam and Drew Scallan

Bailey Symington

Mary Whisonant

Diane and Jim White




The USC Educational Foundation in Columbia provides professional

expertise for investing and administering the USCB Chamber Music

Endowment. It offers a variety of methods for contributing: cash/securities,

retirement plans, matching gifts, multi-year pledges, bequests, charitable

gift annuities, and charitable reminder trusts. For information on the

USC Foundation, go to Please

contact Staci Breton at 843-208-8246 M-F or with

any questions on how to support the USCB Chamber Music Endowment.


Penny and Bill Barrett

Jennifer Lortz

Ann Baruch

Michael and Susan Lortz

Shavon Dempsey

Erica and Tye Martin

Dr. Ron Erdei

Cecil and Lydia Minich

“ ”

As many of us have discovered, the Lowcountry of South Carolina

is a treasure trove, and I submit that one of its finest gems

is USCB Chamber Music. How lucky I feel to have found it, and

how grateful I am that we are keeping it safe.

~Bailey Symington

Scrib and Ann Fauver

Bruce and Peggy Fryer

Weezie and Jim Gibson

Emily Hart

Dean Hewitt

Michelle and Michael Johns

Dr. and Mrs. Richard Lawson

Francis Newton

Judith and Al Panu

Robert Price

Woody Rutter

Susan Siegmund

Pat Ashton and Bob Steinmetz

Bill and Shana Sullivan

Page 16

Page 17

40 YEARS OF...





$10,000 and higher

PATRON cont’d

Eileen and Cary Griffin


Mary Robertson and Charles Keith

MEMBER cont’d

Kathy Lindsay and Ian Hill

Anita and John Mahoney

Nancy and John Hoffmann

Delinda A. Mix

Randy and Barbara James

David and Jan House

Dr. and Mrs. Samuel V. Molinary

Michael and Michelle Johns

PRODUCER $5,000 - $9,999


Vortex Foundation

Jill Kammermeyer and

Robert Hochstetler

Frances and Russell Jeter

Paul and Marilyn Jones

Lucky Moore

Orral Anne Moss

Elizabeth Muench

Jim and Cecily Stone

Mr. and Mrs. Somers Miller

Victor and Gloria Otley

Patricia Powers, PRATT Cavaliers

Carl and Martha Raichle

Lynn Letson and Drayton Hastie

Louise and David Uehling

William and Laura Riski

DIRECTOR $2,500 - $4,999

Beaufort Memorial Hospital

Tom Oliver and Beth Brya

Lora and Dick Childs

Cynthia Warrick and John Folts

Becky and Charlie Francis

Susan and Charles Kalmbach

Peggy and Wayne Reynolds

Shanna and Bill Sullivan

Bailey Symington

Mr. and Mrs. Lee W. Mather, Jr.

Anne and Brem Mayer

Karin McCormick

Mr. and Mrs. W. Wallace McDowell

Pat and Suzanne McGarity

Jack and Sue McNamara

Lila Meeks

Alice Beddingfield Moss

Terry and David Murray

Andrew Geoghegan and Gloria Pinza

Pamela and Drew Scallan

SUPPORTER $250 - $499

Margy and Brock Anderson


Ann Craigmile

Molly and John Gray

Dean Hewitt

Emily Hart

Wendy and Rick Kilcollin

Dennis and Fran Nolan

Woody Rutter

Daryll and Katherine Samples

Anne Saravo

David Simpson

Roger and Headley Smith

David G. Ward

Nancy G. Wingenbach

Ralph and Cynthia Zeiss

Susan Siegmund

Pat Ashton and Bob Steinmetz

PATRON $1,000 - $2,499

Mr. and Mrs. William R. Barrett, Jr

Ann R. Baruch

Nancy and Howell Beach

Dan and Marty Boone

Beverly Cable

Claudia Carucci

Roger and Mary Coe

Dorothy Davis

Ann Fauver

Bruce and Peggy Fryer

Weezie and Jim Gibson

Charles A. and Deborah J. Gomulka

Katherine and Dennis Green

Cathy and Herb Stackhouse

Cheryl A. Steele

Landon and Leslie Thorne

Caroline and John Trask

Naomi Crockett and Paul Trask

BENEFACTOR $500-$999

Isa and Bob Allen


Colden and Patricia Battey

Mr. and Mrs. Gregory Davis

Charles and Carolyn Dunlap

Lillian and Gordon Haist

Lee and Ann Judd

MEMBER $100 - $249


William Bardenwerper

Rod and Jaquie Bartlett

David and Barbara Billet

Gordon Bryant

Elizabeth B. Campen

Mr. and Mrs. William Connolly

Susan Easton

Nancy and D.C. Gilley

Kathlyn Gray

David T. Harris

Phyllis Herring


Bruce Fryer

Weezie Gibson

Michael Johns

Russell Jeter

Jill Kammermeyer

Lainey Lortz

John Mahoney

Lila Meeks

Peggy Reynolds

Drew Scallan

Bailey Symington

Leslie Thorne

Page 18

Page 19



January 26

Ludwig van Beethoven (1770-1827)

The Complete Sonatas for Cello and Piano

Sonata No. 1 in F Major, Opus 5, No. 1 (1796)

Jeewon Park


Edward Arron


Adagio sostenuto; Allegro

Rondo: Allegro vivace

Sonata No. 2 in g minor, Opus 5, No. 2 (1796)

Adagio sostenuto e espressivo;

Allegro molto più tosto presto

Rondo: Allegro

~ Brief Pause ~

Sonata No. 3 in A Major, Opus 69 (1807/1808)

Allegro ma non tanto

Scherzo: Allegro molto

Adagio cantabile; Allegro vivace

~ Intermission ~

Celebrating USCB Chamber Music’s 40th and

Beethoven’s 250th

Sonata No. 4 in C Major, Opus 102, No. 1 (1815)

Andante; Allegro vivace

Adagio; Allegro vivace

Sonata No. 5 in D Major, Opus 102, No. 2 (1815)

Allegro con brio

Adagio con molto sentimento d’affetto

Allegro fugato

Please turn off all cell phones and any other light-illuminating or

sound-emitting devices before the performance.

Page 20

Page 21


Here is what local school children are saying about Chamber Music...

Jeewon Park


Praised for her “deeply reflective playing” (Indianapolis Star)

and “infectious exuber-ance” (New York Times), Korean-born

pianist Jeewon Park has garnered the attention of audiences for

her dazzling technique and poetic lyricism. Since making her

debut at the age of 12 performing Chopin’s First Concerto with

the Korean Symphony Orchestra, Ms. Park has performed in such

prestigious venues as Carnegie Hall, Lincoln Center’s Alice Tully

Hall, Merkin Hall, 92nd Street Y, Metropolitan Museum of Art, and

Seoul Arts Center in Korea.

As a recitalist, soloist with orchestra, and chamber musician,

Ms. Park has appeared at major concert halls across North America,

Europe and Asia. Recently, she performed as a soloist in the

inaugural festival of the IBK Chamber Hall at the Seoul Arts Center, in addition to engagements

at such venues as the Metropolitan Museum of Art, Tilles Center, Vilar Performing Arts Center,

and Kumho Art Hall, among others. Ms. Park regularly returns to the Caramoor International

Music Festival where she first appeared as a Rising Star in 2007, and is a frequent performer at

Bargemusic in New York.

Each year Edward Arron

and his friends meet with local

school children in the

Center for the Arts to play and talk.

A passionate chamber musician, Jeewon Park has performed at prominent festivals

throughout the world, including Spoleto USA, Seattle Chamber Music Society, Bridghampton,

Chautauqua, Lake Champlain, Seoul Spring, Great Mountains, Manchester, Taos, Norfolk, Emilia-

Romagna (Italy), Music Alp in Courchevel (France), Kusatsu (Japan) Music Festivals. Currently,

she is the co-artistic director, along with her husband, Edward Arron, of the Performing Artists

in Residence series at the Clark Art Institute in Williamstown, MA

Ms. Park has been heard in numerous live broadcasts on National Public Radio and New

York’s Classical Radio Station, WQXR. Additionally, her performances have been broadcast

nationally in Korea on KBS television. She came to the U.S. in 2002, after having won all the

major competitions in Korea, most notably Joong-Ang and KBS competitions. Ms. Park is a

graduate of The Juilliard School and Yale University, where she was awarded the Dean Horatio

Parker Prize. She holds the DMA degree from SUNY Stony Brook. Her teachers include Young-

Ho Kim, Herbert Stessin, Claude Frank and Gilbert Kalish.

Page 22

Page 23

40 YEARS OF...


March 1

Seek . Learn . Discover . Grow

Edward Elgar


Serenade for String Orchestra in e minor, Opus 20 (1888-1892)

(arranged for String Sextet by Ara Gregorian)

Allegro piacevole



Giovanni Sollima

(b. 1962)

Viaggio in Italia for String Quintet (selections) (2000)

Campo dei miracoli



La Camera Bianca

~ Intermission ~

Jennifer Frautschi


Hye-Jin Kim


Nicholas Cords


Ara Gregorian


Wilhelmina Smith


Edward Arron


Peter I. Tchaikovsky


String Sextet in d minor, Opus 70 “Souvenir de Florence”


Over 400 Classes, Trips and Social Events A Year

OLLI at USCB is a membership organization devoted to providing robust, non-credit,

educational opportunities specifically developed for adults, age 50 and older.

Allegro con spirito

Adagio cantabile e con moto

Allegro moderato

Allegro vivace

Serving Beaufort, Bluffton, Hilton Head and Jasper Counties • • (843) 208-8247

Happy 40th Anniversary Chamber Music Concert Series!

Please turn off all cell phones and any other light-illuminating or

sound-emitting devices before the performance.

Page 24

Page 25

40 YEARS OF...


Jennifer Frautschi


Two-time GRAMMY nominee and Avery Fisher career grant

recipient violinist Jennifer Frautschi has appeared as soloist with

innumerable orchestras including the Cincinnati Symphony,

Chicago Symphony, Los Angeles Philharmonic, Milwaukee

Symphony, Minnesota Orchestra, and St Paul Chamber Orchestra.

As chamber musician she has performed with the Boston Chamber

Music Society and Chamber Music Society of Lincoln Center and

appeared at Chamber Music Northwest, La Jolla Summerfest,

Music@Menlo, and the Bridgehampton, Charlottesville, Lake

Champlain, Moab, Ojai, Santa Fe, Seattle, and Spoleto Music


Her extensive discography includes several discs for Naxos: the Stravinsky Violin Concerto

with the Philharmonia Orchestra of London, conducted by the legendary Robert Craft, and

two GRAMMY-nominated recordings with the Fred Sherry Quartet, of Schoenberg’s Concerto

for String Quartet and Orchestra , and the Schoenberg Third String Quartet. Her most

recent releases are with pianist John Blacklow on Albany Records: the first devoted to the

three sonatas of Robert Schumann, including the rarely performed posthumous sonata; the

second, American Duos, an exploration of recent additions to the violin and piano repertoire

by contemporary American composers Barbara White, Steven Mackey, Elena Ruehr, Dan

Coleman, and Stephen Hartke. She also recorded three widely praised CDs for Artek: an

orchestral recording of the Prokofiev concerti with Gerard Schwarz and the Seattle Symphony;

the violin music of Ravel and Stravinsky; and 20th-century works for solo violin. Other recent

recordings include a disc of Romantic Horn Trios, with hornist Eric Ruske and pianist Stephen

Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk.

Born in Pasadena, California, Ms. Frautschi attended the Colburn School, Harvard, the New

England Conservatory, and the Juilliard School. She performs on a 1722 Antonio Stradivarius

violin known as the “ex-Cadiz,” on generous loan from a private American foundation with

support from Rare Violins In Consortium. She currently teaches in the graduate program at

Stony Brook University.

Hye-Jin Kim


Known for her musical sensitivity and deeply engaging

performances that transport audiences beyond mere technical

virtuosity, violinist Hye-Jin Kim leads a versatile career as soloist,

recitalist, and chamber musician since her First Prize win at the

Yehudi Menuhin International Violin Competition at the age

of nineteen and a subsequent win at the Concert Artists Guild

International Competition.

Kim has performed as soloist with major orchestras worldwide

including the Philadelphia, New Jersey Symphony, New Haven

Symphony, BBC Concert (UK), Seoul Philharmonic (Korea), Pan

Asia Symphony (Hong Kong), and Hannover Chamber (Germany)

orchestras. She has appeared in Weill Recital Hall at Carnegie

Hall, the Kennedy Center Terrace Theater, the Kravis Center, Salzburg’s Mirabel Schloss, St.

John’s Smith Square, Philadelphia ChamberMusic Society and Wigmore Hall in London in solo

recital and chamber music performances. At the invitation of Korea’s Ministry of Foreign Affairs

and Trade, she performed at the U.N. Headquarters in both Geneva and New York and served

as a cultural representative for Korea in Switzerland, Australia, New Zealand, Kazakhstan, and

Uzbekistan through concerts and outreach engagements.

A passionate chamber musician, Kim has appeared in Four Seasons, Marlboro, Ravinia,

Music from Angel Fire, Music@Menlo, Seoul Spring, Bridgehampton, Music in the Vineyards

chamber music festivals and Prussia Cove Open Chamber Music. A dedicated teacher for the

next generation of musicians, Kim is frequently presented in master classes throughout the

U.S. and appears as faculty and performing artist in various summer festivals and schools.

Kim’s debut CD, From the Homeland, featuring works by Debussy, Smetana, Sibelius,

and Janacek is available on CAG Records. Currently, Kim is Associate Professor of Violin at

East Carolina University, program director of the Four Seasons ECU Summer Chamber Music

Institute, and a member of the Cooperstown Quartet. Kim is the creator of Lullaby Dreams, a

new initiative that brings beauty and humanity to the hospital experience for infants, children,

parents and medical staff through music. Her lullabies and more information about the initiative

can be found on

“ ”

I never thought Beaufort would be fortunate enough to have the

worldwide talent we have now. After attending Chamber Music at

the Spoleto Festival in Charleston for years, we were accustomed

to amazing concerts...Beaufort is lucky to have an equal level of

Chamber Music.

~Weezie Gibson

Page 26

Page 27

40 YEARS OF...


Nicholas Cords


For more than two decades, omnivorous violist Nicholas

Cords has been on the front line of a growing constellation of

projects as performer, educator, and cultural advocate. Nicholas

currently serves as violist, Programming Chair, and Co-Artistic

Director of the internationally renowned musical collective

Silkroad. Founded by Yo-Yo Ma in 2000 with the belief that

listening across cultures leads to a more hopeful world, Silkroad’s

mission is explored world-wide through countless learning

initiatives and a deep commitment to the exploration of new

music and partnerships. Recent highlights include the Grammy

Award winning album ‘Sing Me Home’ (Best World Music Album

2017), the Oscar-nominated documentary on Silkroad by Morgan

Neville ‘The Music of Strangers,’ and music created for Ken Burns’

recent series ‘The Vietnam War.’

Another key aspect of Nicholas’ busy musical life is as founding member of Brooklyn Rider,

an intrepid group which NPR credits with “recreating the 300-year-old form of the string quartet

as a vital and creative 21st-century ensemble.” Brooklyn Rider’s singular mission and gripping

performance style have resulted in an indelible contribution to the world of the string quartet

that has brought in legions of fans across the spectrum. Recent collaborators include Irish

fiddler Martin Hayes, Swedish mezzo soprano Anne Sofie von Otter, jazz saxophonist Joshua

Redman, Persian kemancheh virtuoso Kayhan Kalhor, banjo legend Béla Fleck, and Mexican

jazz singer Magos Herrera.

A committed teacher, Nicholas joined the viola and chamber music faculty at New England

Conservatory in the fall of 2018 after teaching at Stony Brook University for the previous seven


“ ”

We can’t wait for the season to begin. We sit in awe at each

performance as the world class performers showcase their

talent. What a special treat for the town of Beaufort.

~Frances and Russell Jeter

Ara Gregorian


Known for his thrilling performances and musical creativity,

violinist/violist Ara Gregorian made his New York recital debut in

1996 in Carnegie Hall’s Weill Recital Hall and his debut as soloist

with the Boston Pops Orchestra in Symphony Hall in 1997. Since

that time he has established himself as one of the most soughtafter

and versatile musicians of his generation with performances

in New York’s Carnegie Hall, Avery Fisher Hall, Alice Tully Hall,

Washington D.C.’s Kennedy Center and in major metropolitan

cities throughout the world including Boston, Los Angeles,

Chicago, Detroit, Houston, Dallas, Atlanta, Cleveland, Vancouver,

Hong Kong, Shanghai, Beijing, Ulaanbaatar, Jerusalem, Tel Aviv

and Helsinki.

Throughout his career, Gregorian has taken an active role as a performer and presenter

of chamber music. He is the founder and artistic director of the Four Seasons Chamber Music

Festival in North Carolina which is celebrating its 20th Anniversary Season, and has appeared

at festivals worldwide including the SpringLight (Finland), Storioni (Holland), Summer Solstice

(Canada), Casals (Puerto Rico), Intimacy of Creativity (Hong Kong), Voice of Music in the Upper

Galilee (Israel), Bard, Bravo! Vail Valley, Beethoven Institute, Santa Fe, Skaneateles, Music in

the Vineyards, Bach Dancing and Dynamite Society, Cactus Pear, Wintergreen, Mt. Desert,

Chesapeake, Madeline Island, Kingston, Manchester and Strings in the Mountains festivals. He

is currently a member of the Cooperstown Quartet, has performed extensively as a member of

Concertante and the Daedalus Quartet, and has recorded for National Public Radio, New York’s

WQXR radio station, and the Bridge and Kleos labels.

An active and committed teacher, Gregorian is the Four Seasons Chamber Music Festival

Distinguished Professor in Music at East Carolina University where he has been on the violin/

viola faculty since 1998. He has taught at numerous summer festivals and seminars and has

taken a leading role in creating opportunities for talented students and young professionals

through the Four Seasons Chamber Music Festival’s Next Gen on the Road, Summer Chamber

Music Institute and Winter Workshop initiatives.

Gregorian received his bachelor and master of music degrees from The Juilliard School

where he studied with Joseph Fuchs, Harvey Shapiro, and Robert Mann. He performs on a

Francesco Ruggeri violin from 1690 and a Grubaugh and Seifert viola from 2006.

Page 28

Page 29

40 YEARS OF...


Wilhelmina Smith


Ms. Smith was awarded a 2015-2016 McKnight Artist

Fellowship for Performing Musicians, one of the largest and most

established fellowships of its kind in the U.S. She made her solo

debut with the Philadelphia Orchestra while a student at the Curtis

Institute of Music and in 1997 was a prizewinner in the Leonard

Rose International Cello Competition. She has been soloist with

orchestras nationally and internationally including the Orquesta

Millenium of Guatemala and the Ural Philharmonic Orchestra of

Russia and has performed recitals across the US and Japan.

She has been a guest artist with the Philadelphia and Boston

Chamber Music Societies, and the Chamber Music Society of

Lincoln Center, and is a founding member of Music from Copland

House. She has performed regularly in festivals such as the Marlboro Music Festival and Santa

Fe Chamber Music Festival. In 2005, she formed the Variation String Trio with violinist Jennifer

Koh and violist Hsin-Yun Huang, a group that has performed across the US and Europe, and in

2012 formed a piano trio with pianist Lydia Artymiw and violinist Erin Keefe. She is founder and

Artistic Director of Salt Bay Chamberfest, on the coast of Maine; a festival that has been home

to performers and composers of international renown for over two decades.

The 2019 release by Ondine of her recording of solo works by Esa-Pekka Salonen and

Kaija Saariah has earned high praise from STRAD (“A consummate communicator of the new

virtuosity”), BBC, and Gramophone. Ms. Smith’s solo CD of sonatas by Britten and Schnittke

with pianist Thomas Sauer was released on the Arabesque label in 2006. Her recordings of

chamber music include the complete chamber works of Aaron Copland (Arabesque), and

works by Sebastian Currier (Koch), Osvaldo Golijov (Kleos), Pierre Jalbert (CHB), Jennifer Higdon

(Naxos), Aaron Jay Kernis (Koch). Tamar Muskal, John Musto (Koch), Kaija Saariaho (Cedille),

and Michael Torke (AMR).

“ ”

We are so fortunate to have Ed and his “dear old friends” perform for

us. Each year and each performance seems to be better and better.

How lucky can we be?

~Lainey Lortz

As Edward Arron begins his eleventh season as Artistic Director with us, I think it is appropriate

to rerun this 2009 interview.

Edward Arron Takes Center Stage

Lila: How does someone 7 years old choose the cello? Do they make baby cellos for short legs?

Ed: I grew up in a musical family. My father, a professional violist, played for 20 years at the Metropolitan

Opera, and my mother was a pianist and cellist, who eventually became an arts administrator.

From my earliest memories, chamber music was played in my home, and I remember

wanting desperately to play that big instrument in the corner, which turned out to be the cello.

At the age of seven, I began.

Lila: Tell us about leaving Ohio and coming to New York at age 10.

Ed: When I was ten, my mother, who was then the manager of the Cincinnati Symphony, was

appointed Executive Director of Carnegie Hall. She and my father packed up the family, and we

moved to New York. It turned out to be incredible timing because I was at an impressionable

age where being exposed to the countless world-class musicians who passed through New

York had a great effect on me. I attended concerts at Carnegie Hall and throughout the city as

often as I possibly could, and I took in absolutely the greatest music making that one could find.

I was constantly inspired by what I heard, and I was also able to get excellent musical training in

New York. I studied with Peter Wiley, who was the cellist of the Beaux Arts Trio and later of the

Guarneri Quartet until I went to Juilliard for my college years.

Lila: Launching your career with Vivaldi and Yo-Yo Ma seems rather fantastical. Did you win a

lottery? Are ya’ll related?

Ed: Funny enough, I got to know Yo-Yo when I was a little kid tagging along with my mother at

Carnegie Hall. He was always so kind to me and seemed to have a genuine interest in my development

as a cellist. He has always remembered (and teases me every time I see him!) that

I was wearing a pair of red suspenders when I first met him at the age of ten. So twelve years

after that first meeting, I was invited by the Caramoor International Music Festival, where I now

curate a chamber music series, to join Yo-Yo on stage for the Vivaldi Concerto for Two Cellos

and Orchestra. Needless to say, it was a great thrill to be on stage with a hero of mine, but what

I remember more than anything is how generous and kind he was to me.

Lila: How does someone 25 years old convince the powers-that-be at the Metropolitan Museum

of Art that you know enough, not only to play, but also to arrange and direct a musical

series? Now at the ripe old age of 32 with 6 years as the Metropolitan’s chamber series artistic

director under your belt, can you tell us a few things you have learned?

Ed: I made my New York recital debut at the Metropolitan Museum in November of 2000. But

long before that, I attended as many of the spectacular chamber music concerts that took place

there as I could. As my career began to take shape, I was invited to make my debut there, and

three years later was asked if I would create a resident ensemble at the museum. I don’t know

where the time has gone, but we are now beginning our seventh season of the Metropolitan

Museum Artists in Concert series, and it has been a very exciting venture.

Page 30

Page 31



Lila: Can you tell us a little about your approach to artistic directing?

Ed: Chamber music has been an absolute passion of mine since I was a very young child. There

are countless masterpieces and rarely performed treasures in the literature, and I get the greatest

pleasure out of creating programs and bringing those treasures to the audience. Not unlike

putting together certain ingredients in cuisine or colors and textures in a painting, assembling

programs is an art. I enjoy creating a context and bringing the audience on a journey for the

time that we are together. I try very hard to bring variety and also to create combinations that

are illuminating. And like the legendary Charles Wadsworth, I like to talk to the audience and

share a little bit of what I know about the music, the composers and my fellow artists.

Lila: About selecting and combining the artists?

Ed: The thing that I enjoy most about chamber music is that I am able have my own solo voice,

but that I am constantly sharing in a dialogue with others. Chamber music is a collaboration,

and it has led me to many close friendships over the years and continues to introduce me to

new friends all the time. I have had the good fortune of meeting and working with some of the

greatest players of my generation, and many of them have been nice enough to accept my

invitations to perform with the various series that I curate. Good chamber musicians know how

to get along with one another, and they know when to lead and when to defer. I think a good

artistic director can help to bring exactly the right personalities together to create exciting performances

and pleasurable experiences for the artists and the audience.

Lila: I knew you had an eye for talent the first time I heard pianist Jeewon Park perform. Can

you tell us how you met, how you caught her eye, how it is to be married to someone with so

much talent?

Ed: Thank you for your kind words. In the summer of 2000, I played at a music festival in Spain,

where I met and performed with Jeewon’s piano professor. He asked me if I would like to play

a recital in Korea with his favorite student, and not having any idea what I was getting myself

into, I agreed. It turned out to be a good decision! Jeewon and I met in 2001, I immediately fell

in love with her music making and was completely smitten by her beauty and sense of humor.

Six years later, we married, and we still play concerts together every chance we get. Perhaps

I am biased, but she is truly one of the finest musicians I know.

Lila: I don’t think we can conclude this interview without mentioning the living legend, the icon,

whose shoes you will be stepping into. Does following Mr. Wadsworth fill you with pride and

hope or something more like fear and trepidation?

Ed: No doubt, his are big shoes to fill. Charles has done more than just about anyone to put

chamber music on the map and to build an audience of chamber music lovers worldwide. He

has been nothing but generous and gracious every step of the way in passing the torch to me,

and I hope to do him proud. No one could ever replace the legendary Charles Wadsworth,

but thankfully chamber music is never just about one person. My role will be to bring together

great musicians and great pieces of music and let everyone else steal the show. Of course,

Charles will continue to coach me on my southern drawl, but I’m not certain I’ll ever get that

just right….

W.A. Mozart


Duo in B-flat Major for Violin and Viola, K. 424 (1783)

Adagio; Allegro

Andante cantabile

Tema con Variazioni: Andante Grazioso

Charles Ives


Piano Trio (1904/1911)



TSIAJ: Presto

Moderato con moto

Johannes Brahms


~ Intermission ~

Piano Quartet in g minor, Opus 25 (1861)


Intermezzo: Allegro ma non troppo

Andante con moto

Rondo alla Zingarese: Presto

Please turn off all cell phones and any other light-illuminating or

sound-emitting devices before the performance.

April 19

Andrew Armstrong


Aaron Boyd


Danielle Farina


Edward Arron


Page 32

Page 33

40 YEARS OF...


Aaron Boyd


Violinist Aaron Boyd has established an international career

as soloist, chamber musician, orchestral leader, recording artist,

lecturer and pedagogue. Since making his New York recital

debut in 1998, Boyd has appeared at the most prestigious venues

throughout the United States, Europe, Russia and Asia and has

appeared at the Marlboro, Tippet Rise, La Jolla, Rockport, Aspen

and Hong Kong and Music@Menlo festivals and is a season artist

of The Chamber Music Society of Lincoln Center. As a member of

the Escher String Quartet for five seasons, Boyd was a recipient of

the Avery Fisher Career Grant and the Martin E. Segal prize from

Lincoln Center. A prizewinner in the Ecoles D’art Americaines de

Fontainebleau, the Tuesday Musical Society and the Pittsburgh

Concert Society competitions, Boyd was awarded a proclamation

by the City of Pittsburgh for his musical accomplishments. As a passionate advocate for new

music, Boyd has been involved in numerous commissions and premieres in concert and on

record, and has worked directly with such legendary composers as Milton Babbitt, Elliott Carter

and Charles Wuorinen.. As a recording artist, Boyd can be heard on the BIS, Music@Menlo

Live, Naxos, Tzadik, North/South and Innova labels. Boyd has been broadcast in concert by

PBS, NPR, WQXR and WQED, and was profiled by Arizona Public Television.

Formerly on the violin faculties of Columbia University and the University of Arizona, Boyd

now serves as director of chamber music at the Meadows School of the Arts at Southern

Methodist University and makes his home in Plano, Texas, with his wife Yuko, daughter Ayu

and son Yuki.

Boyd plays on violins crafted by Matteo Goffriller in Venice, 1700, and Samuel Zygmuntowicz,

Brooklyn, 2018.

Danielle Farina


Violist Danielle Farina enjoys a varied career as a soloist,

chamber musician, orchestral musician, teacher and recording


A current member of the Manhattan String Quartet and former

member of the Lark Quartet, Ms. Farina toured extensively in North

America and Europe, performing at some of the most prestigious

venues and festivals including Lincoln Center, Carnegie Hall,

Library of Congress, Smithsonian Institution, Schleswig Holstein

Festival and the International Istanbul Music Festival. While with

the Lark, Ms. Farina recorded Aaron Kernis’ string quartets, music

of Amy Beach, and music of Giovanni Sollima. A former member of

the Elements Quartet as well, she participated in the Tibor Varga

Festival in Budapest, the Great Lakes Chamber Music Festival, been in residence at Utah Valley

State College, and premiered “Snaphots”, a project commissioning dozens of composers from

Regina Carter to Angelo Badalamenti, John Corigliano and many more.

A proponent of new music, Ms. Farina premiered Peter Schickele’s Viola Concerto with

the Pasadena Symphony and recorded Viola concertos by Jon Bauman and Andy Teirstein

in addition to Anthony Newman’s Sonata on the Planets for Viola and Piano. Music of Robert

Paterson, John Musto, and Eric Ewazen are also part of the discography, in addition to Morton

Feldman’s “Piano, Violin, Viola, Cello” and Pierre Jalbert’s “Secret Alchemy” and “String Trio”.

She performs regularly with a number of ensembles in the NY area and around the country,

among them the Bedford Chamber Ensemble, Music from Copland House, and the Palladium

Chamber Players.

Ms. Farina is a member of the Mostly Mozart Festival Orchestra and the American Ballet

Theater Orchestra and has served as principal violist of the Brooklyn Philharmonic.

An active teacher, Ms. Farina is on the faculty of the Manhattan School of Music’s

Contemporary Performance Program and Vassar College and a former faculty member of The

Juilliard Schools’s Pre College Division.

“ ”

At the end of WWII, I entered junior high school in Philadelphia.

During those years, I was able to attend a free youth concert by the

Philadelphia Orchestra conducted by Maestro Eugene Ormandy.

The concert was a magical moment and led me to falling in love

with classical music! How lucky I am to continue my love affair

here in Beaufort.

~John Mahoney

A graduate of the Curtis Institute of Music, Ms. Farina has studied with Karen Tuttle, Joseph

dePasquale, Stephen Wyrczynski, and Byrnina Socolofsky.

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