SERAFIN SUMMER MUSIC 2022 - JUNE 10-26, 2022 - The Music School of Delaware
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SERAFIN
SUMMER
MUSIC
2022
KATE
right
RANSOM
artistic director
far right
JUNE 10-26, 2022
AUGUSTINE WILMINGTON & LEWES, DELAWARE
MERCANTE
festival manager
ACKNOWLEDGEMENTS
Acknowledging, with gratitude, these supporters of Serafin Summer Music 2022
GOLD SPONSORS
The Music School of Delaware
John du Pont
Jacobs Music Company
William J. Stegeman, Ph.D. (in memoriam)
SILVER SPONSORS
Barbara and Bruce Dittmar Dorcea
Young Conaway Columbus Inn
Stargatt & Taylor, LLP Mikimotos Asian Grill
CSC Irish Eyes Pub & Restaurant (Lewes)
Delaware Today | Today Media Brandywine Valley Inn-Best Western
Harry’s Savoy Grill The Towers Bed & Breakfast
Jamestown Hospitality Group: – Dan & Rhonda Bond, proprietors
Park Café WHYY
Deep Blue at Kitty Knight WRTI
Tonic Seafood & Steak WDDE/Delaware Public Media
Special thanks to The Music School of Delaware Board of Directors and
Administrative Staff, and to Festival Manager, Augustine Mercante
PROGRAM NOTES PERFORMING ARTIST HOUSING HOSTS
Michael Redmond Justin Bartels and Gus Mercante
Betty and Don Duncan
GRAPHIC DESIGN Karen Jessee
Jennifer Marang Nancy and David Saunders
PUBLICITY AND PROMOTION Stephen Siegel
Michelle Kramer-Fitzgerald, Arts in Media Marie and Ed Stewart
STAGE MANAGEMENT/LIVESTREAMING STEWARDSHIP
Yung-Chen Lin, concert manager Troy Nuss, development officer
Jennifer Marang, technology manager Alexis Taylor, development associate
SERAFIN ARTS AFFILIATE PARTNER
Coastal Concerts
THANK YOU!
2
FROM THE ARTISTIC DIRECTOR
Dear Friends, Serafin Summer Music Housing Hosts show the BEST
of Delaware’s friendly warmth to our artists visiting
Serafin Summer Music returns to Delaware stages from around the country. We are indebted to
this June with exciting additions! Thank you for these hosts who share their homes with our visiting
joining us! performers, making their stay as comfortable as
We have expanded the festival’s Delaware possible.
footprint. In partnership with our artist affiliate There is a special sweetness to the roster of
friends at Coastal Concerts, three Saturday artists this summer. Many are now familiar to
performances this season are being held in Lewes, Delaware audiences, who await their return with
Delaware at Bethel United Methodist Church. We happy anticipation. Newcomers to Serafin patrons
are delighted to be presenting Serafins at the this season are Eric Pritchard, Read Gainsford,
Beach with these 5 o’clock programs. Friday and Marci Gurnow, and Hiroko Yamazaki – “reunion”
Sunday performances continue at our Wilmington elements are in the mix, as they join returning
home base concert hall at The Music School of artists who they know from prior collaborations
Delaware. around the world.
In addition, our sponsors list has expanded. As Once again, the programming spans combinations
a special benefit for top sponsors, short, private of strings, piano, voice, and winds (clarinet and
lunchtime performances are taking place at horn) performed by musicians with whom I am
CSC and at Young Conaway office locations. honored to share the stage. Their biographies
They, along with all of our generous sponsors, tell you about where they have performed,
are recognized in your program, and we are trained, and are now based. That is only a
most grateful to all of them. Restaurant sponsors preamble to your opportunity to get acquainted
offer special discounts for festival patrons, with their personalities through their sensitive
and the media sponsors have augmented our and electrifying performances, and conversation
communications to help reach more people. Please afterwards.
patronize and support them!
In true festival style, there is a special vibrancy
What could be more gratifying than a friend and in the air during the three weeks of Serafin
patron of the festival offering to MATCH individual Summer Music. Thank you for experiencing these
contributions to the festival? John du Pont, The breathtaking performances! I hope you enjoy the
Music School of Delaware’s Board Chair, is going musical fanfare and fireworks of Serafin Summer
above and beyond – matching donations to the Music 2022.
Music School (restricted to support the festival)
through June 30, 2022. This visionary generosity Sincerely,
encourages you to join him in creating a foundation
of supporters who wish to help secure the festival,
and contribute to Delaware’s unique arts and
culture footprint.
Kate Ransom
Violinist and Artistic Director
3
S E RA F I N S U M M E R MUS IC 2022 | J UNE 10 | WIL M ING TO N
FRENCH CONNECTION
Eric Pritchard and Kate Ransom violin, Luke Fleming viola
Jacques-Pierre Malan cello, Augustine Mercante countertenor, Read Gainsford piano
FRIDAY, JUNE 10, 2022 AT 7PM
WILMINGTON CONCERT HALL
Piano Trio in G Major CLAUDE DEBUSSY
Andantino con molto allegro (1862-1918)
Scherzo: Moderato con allegro
Andante espressivo
Finale: Appassionato
E. Pritchard, J. Malan, R. Gainsford
Op. 1 Deux Mélodies GABRIEL FAURÉ
No. 1 Le papillon et la fleur (1845-1924)
Op. 83 Deux Mélodies
No. 2 Soir
Trois Chansons de Bilitis, L97 CLAUDE DEBUSSY
No. 1 La flute de Pan (1862-1918)
Fêtes galantes II, L104
No. 2 Le faune
Le Bestiaire, FP 15a FRANCIS POULENC
Le dromadaire (1899-1963)
La chèvre du Thibet
La sauterelle
Le dauphin
L’écrivisse
Le carpe
A. Mercante, R. Gainsford
INTERMISSION
String Quartet in F Major MAURICE RAVEL
Allegro moderato – tres doux (1875-1937)
Assez vif – très rhythmé
Très lent
Vif et agité
E. Pritchard, K. Ransom, L. Fleming, J. Malan
STEINWAY PIANO PROVIDED BY JACOBS MUSIC COMPANY
5
NEW IN 2022 – SERAFINS AT THE BEACH!
SAT., JUNE 11 at 5PM SAT. JUNE 18 at 5PM SAT., JUNE 25 at 5PM
works by Debussy and Ravel works by Dvorak, Still, Higdon works by Mozart and Brahms
(see opposite page) (see page 11) (see page 14)
Performances are held at Bethel United Methodist Church,
129 W. 4th Street, Lewes, DE 19958.
We are grateful to our new Artist Affiliate Partner, Coastal Concerts, and to
our first Lewes business sponsor, Irish Eyes Pub & Restaurant for their support.
Please patronize our partners!
Irish Eyes Pub & Restaurant Coastal Concerts
213 Anglers Road www.coastalconcerts.org
Lewes, DE 19958 (888)212-6458
6
S E RA F I N S U M M ER M US IC 2022 | J UNE 11 | L E WE S
FRENCH CONNECTION (LEWES)
Eric Pritchard and Kate Ransom violin, Luke Fleming viola
Jacques-Pierre Malan cello, Augustine Mercante countertenor, Read Gainsford piano
SATURDAY, JUNE 11, 2022 AT 5PM
BETHEL UMC, LEWES
Piano Trio in G Major CLAUDE DEBUSSY
Andantino con molto allegro (1862-1918)
Finale: Appassionato
E. Pritchard, J. Malan, R. Gainsford
Op. 1 Deux Mélodies GABRIEL FAURÉ
No. 1 Le papillon et la fleur (1845-1924)
Fêtes galantes II, L104 CLAUDE DEBUSSY
No. 2 Le faune (1862-1918)
Le Bestiaire, FP 15a FRANCIS POULENC
Le dromadaire (1899-1963)
La chèvre du Thibet
La sauterelle
Le dauphin
L’écrivisse
Le carpe
A. Mercante, R. Gainsford
String Quartet in F Major MAURICE RAVEL
Allegro moderato – tres doux (1875-1937)
Assez vif – très rhythmé
Très lent
Vif et agité
E. Pritchard, K. Ransom, L. Fleming, J. Malan
STEINWAY PIANO PROVIDED BY JACOBS MUSIC COMPANY
7
S E RA F I N S U M M E R MUS IC 2022 | J UNE 12 | WIL M ING TO N
MARVELOUS MASTERS
Eric Pritchard and Kate Ransom violin, Luke Fleming viola
Jacques-Pierre Malan cello, Read Gainsford piano
SUNDAY, JUNE 12, 2022 AT 5PM
WILMINGTON CONCERT HALL
Piano Trio in Bb Major, Op. 97 (Archduke) LUDWIG VAN BEETHOVEN
Allegro moderato (1770-1826)
Scherzo: Allegro
Andante cantabile (attacca)
Allegro moderato
K. Ransom, J. Malan, R. Gainsford
INTERMISSION
Quintet for Piano and Strings in F Minor, Op. 34 JOHANNES BRAHMS
Allegro non troppo (1833-1897)
Andante, un poco Adagio
Scherzo: Allegro – Trio
Finale: Poco sostenuto – Allegro non troppo
E. Pritchard, K. Ransom, L. Fleming, J. Malan, R. Gainsford
STEINWAY PIANO PROVIDED BY JACOBS MUSIC COMPANY
8
S E RA F I N S U M M E R MUS IC 2022 | J UNE 17 | WIL M ING TO N
AMERICAN TAPESTRY
Hal Grossman and Kate Ransom violin, Amadi Azikiwe viola, Charae Krueger cello
Augustine Mercante countertenor, Victor Asuncion piano
FRIDAY, JUNE 17, 2022 AT 7PM
WILMINGTON CONCERT HALL
Amazing Grace for String Quartet (pub 2003) JENNIFER HIGDON
(b. 1962)
K. Ransom, H. Grossman, A. Azikiwe, C. Krueger
Adoration for Viola and Piano FLORENCE PRICE
(1888-1953)
A. Azikiwe, V. Asuncion
String Quartet in F Major, Op. 96 (American) ANTONÍN DVOŘÁK
Allegro ma non troppo (1841-1904)
Lento
Molto vivace
Vivace ma non troppo
H. Grossman, K. Ransom, A. Azikiwe, C. Krueger
INTERMISSION
from Old American Songs Sets 1 and 2 AARON COPLAND
At the River (1900-1990)
The Dodger
Simple Gifts
Zion’s Walls
The Little Horses
I Bought Me a Cat
A. Mercante, V. Asuncion
Danzas de Panama for String Quartet WILLIAM GRANT STILL
Tamborito (1895-1978)
Mejorana y Socavon
Punto
Cumbia y Congo
H. Grossman, K. Ransom, A. Azikiwe, C. Krueger
STEINWAY PIANO PROVIDED BY JACOBS MUSIC COMPANY
9
10
S E RA F I N S U M M ER M US IC 2022 | J UNE 18 | L E WE S
AMERICAN TAPESTRY (LEWES)
Hal Grossman and Kate Ransom violin
Amadi Azikiwe viola, Charae Krueger cello
SATURDAY, JUNE 18, 2022 AT 5PM
BETHEL UMC, LEWES
Amazing Grace for String Quartet (pub 2003) JENNIFER HIGDON
(b. 1962)
K. Ransom, H. Grossman, A. Azikiwe, C. Krueger
Danzas de Panama for String Quartet WILLIAM GRANT STILL
Punto (1895-1978)
Cumbia y Congo
H. Grossman, K. Ransom, A. Azikiwe, C. Krueger
String Quartet in F Major, Op. 96 (American) ANTONÍN DVOŘÁK
Allegro ma non troppo (1841-1904)
Lento
Molto vivace
Vivace ma non troppo
H. Grossman, K. Ransom, A. Azikiwe, C. Krueger
11S E RA F I N S U M M E R MUS IC 2022 | J UNE 19 | WIL M ING TO N
FRIENDS AND MENTORS
Hal Grossman and Kate Ransom violin, Amadi Azikiwe viola
Charae Krueger cello, Victor Asuncion piano
SUNDAY, JUNE 19, 2022 AT 5PM
WILMINGTON CONCERT HALL
Sonata for Cello and Piano CLAUDE DEBUSSY
Prologue: Lent, sostenuto e molto risoluto (1862-1918)
Serenade: Modérément animé
Final: Animé, léger et nerveux
C. Krueger, V. Asuncion
Piano Trio in G Minor, Op. 3 ERNEST CHAUSSON
Pas trop lent – Animé (1855-1899)
Vite
Assez lent
Animé
K. Ransom, C. Krueger, V. Asuncion
INTERMISSION
Quintet in F Minor for Piano and String Quartet CÉSAR FRANCK
Molto moderato quasi lento – Allegro (1822-1890)
Lento con molto sentimento
Allegro non troppo, ma con fuoco
H. Grossman, K. Ransom, A. Azikiwe, C. Krueger, V. Asuncion
STEINWAY PIANO PROVIDED BY JACOBS MUSIC COMPANY
12S E RA F I N S U M M E R MUS IC 2022 | J UNE 24 | WIL M ING TO N
WINDS OF TIME
Hal Grossman and Kate Ransom violin, Amadi Azikiwe and Mary Harris viola
Charae Krueger cello, Marci Gurnow clarinet, John David Smith horn
Hiroko Yamazaki piano
FRIDAY, JUNE 24, 2022 AT 7PM
WILMINGTON CONCERT HALL
Quintet for Horn, Violin, Two Violas, Cello in Eb Major, K. 407 W. A. MOZART
Allegro (1756-1791)
Andante
Rondo: Allegro
J. Smith, K. Ransom, M. Harris, A. Azikiwe, C. Krueger
Suite for Violin, Clarinet, and Piano, Op. 157b DARIUS MILHAUD
Overture: Vif et gai (1892-1974)
Divertissment: Animé
Jeu: Vif
Introduction et Final: Modéré- Vif
K. Ransom, M. Gurnow, H. Yamazaki
INTERMISSION
Quintet for Clarinet and Strings in B Minor, Op. 115 JOHANNES BRAHMS
Allegro (1833-1897)
Adagio
Andantino
Con moto
M. Gurnow, H. Grossman, K. Ransom, A. Azikiwe, C. Krueger
STEINWAY PIANO PROVIDED BY JACOBS MUSIC COMPANY
13S E RA F I N S U M M ER M US IC 2022 | J UNE 25 | L E WE S
SERAFIN FANFARE (LEWES)
Hal Grossman and Kate Ransom violin, Amadi Azikiwe and Mary Harris viola
Charae Krueger cello, Marci Gurnow clarinet, John David Smith horn
SATURDAY, JUNE 25, 2022 AT 5PM
BETHEL UMC, LEWES
Quintet for Horn, Violin, Two Violas, Cello in Eb Major, K. 407 W. A. MOZART
Allegro (1756-1791)
Andante
Rondo: Allegro
J. Smith, K. Ransom, M. Harris, A. Azikiwe, C. Krueger
Quintet for Clarinet and Strings in B Minor, Op. 115 JOHANNES BRAHMS
Allegro (1833-1897)
Adagio
Andantino
Con moto
M. Gurnow, H. Grossman, K. Ransom, A. Azikiwe, C. Krueger
14S E RA F I N S U M M E R MUS IC 2022 | J UNE 26 | WIL M ING TO N
FINALE FIREWORKS
Hal Grossman and Kate Ransom violin, Amadi Azikiwe and Mary Harris viola
Charae Krueger and Lawrence Stomberg cello
SUNDAY, JUNE 26, 2022 AT 5PM
WILMINGTON CONCERT HALL
String Sextet No. 1 in Bb Major, Op. 18 JOHANNES BRAHMS
Allegro, ma non troppo (1833-1897)
Andante, ma moderato
Scherzo: Allegro molto
Rondo: Poco Allegretto e grazioso
H. Grossman, K. Ransom, A. Azikiwe, M. Harris, L. Stomberg, C. Krueger
INTERMISSION
Souvenir de Florence, Op.70, for String Sextet PIOTR ILYICH TCHAIKOVSKY
Allegro con spirito (1840-1893)
Adagio cantabile e con moto
Allegretto moderato
Allegro vivace
H. Grossman, K. Ransom, M. Harris, A. Azikiwe, C. Krueger, L. Stomberg
15S E RA F IN S UM M E R M US IC 2022
PROGRAM
The string quartets of Debussy and Ravel “have been
closely associated ever since, much as Debussy and Ravel
themselves are associated as the chief exponents of French
NOTES
Impressionism within an intimate context of place and time.
Much as the Parisians of the time passionately chose sides in
a lively debate about the two composers, listeners ever since
BY MICHAEL REDMOND have continued to delight in the comparison and contrast of
these two exquisite quartets” (Kai Christiansen).
■ FRENCH CONNECTION ■ MARVELOUS MASTERS
FRI. & SAT., JUNE 10 & 11, 2022 SUNDAY, JUNE 12, 2022
CLAUDE DEBUSSY LUDWIG VAN BEETHOVEN
Piano Trio in G Major Piano Trio in Bb Major, Op. 97 (Archduke)
Debussy was only 18 years old when he composed this
Archduke Rudolph of Austria (1788-1831), Cardinal-
charming work, notable for the its “smoochy, romantic
Archbishop of Olomouc, the youngest son of Emperor
leanings, the high beauty of many of its passages, and
Leopold II and the youngest brother of Emperor Franz II,
its light, clear textures” (Charlotte Gardner). In 1880 the
was the recipient of more than a dozen dedications by
composer had been invited to stay at the Italian villa of
Beethoven, his friend, protégé and teacher. These include
Nadezhda von Meck, Tchaikovsky’s patroness, to teach her
such major works as the Hammerklavier Piano Sonata (No.
children piano and perform for family events. The manuscript
29, Op. 106), the Emperor Piano Concerto (No. 5, Op. 73)
was presumed lost until 1982, when it turned up among
and the monumental Missa Solemnis (Op. 123). Theirs was
the effects of Maurice Dumesnil, one of Debussy’s pupils.
long and warm friendship, the future prelate studying both
Nearly complete, the trio was reconstructed by an American
piano and composition with Beethoven over the course of
musicologist and published in 1986.
more than 20 years.
FAURÉ, DEBUSSY, POULENC The Archduke Trio, completed in 1811, not only is dedicated
French Song Set to Rudolph, but seems to take its character from some ideal
portrait of aristocracy. It is majestic and grand, almost
In “The Interpretation of French Song,” the great French
symphonic in conception, and unfailingly warm and gracious,
baritone Pierre Bernac notes, “Debussy goes on to write that
with Beethoven on his best behavior, as it were. “There are
‘clarity of expression, precision and concentration of form
no epic fugues,” Melvin Berger, “no jarring disruptions, no
are qualities peculiar to the French genius.’ These qualities
transcendent tangents and no relentless dismantling of music
are indeed most noticeable when again compared with
to its fundamental core. Instead, there is bountiful beauty,
the German genius, excelling as it does in long, uninhibited
genial vitality and humor.” Even daintiness and jollity,
outpourings, directly opposed to the French taste, which
qualities only occasionally encountered in Beethoven’s music.
abhors overstatement and venerates concision and diversity.”
Also notable is that the Archduke Trio serves as the capstone
MAURICE RAVEL of Beethoven’s “middle” or “heroic” period, which includes
String Quartet in F Major such epochal works as the symphonies Nos. 3, 5 and 6, the
Ravel was 27 when he began work on his only string quartet Emperor piano concerto, the Rasumovsky string quartets, the
in 1902. Although the dedication reads: “To my dear Waldstein and Appassionata piano sonatas, and the opera
teacher, Gabriel Fauré,” it is Debussy’s String Quartet in Fidelio. All of these works break new ground, and although
G minor (1893) that had influenced Ravel most strongly, the Archduke is fairly conservative in expressive character,
“with its fascinating tone colors and cyclical use of opening it is worlds apart from Mozart and Haydn in the complexity
thematic material, recurring in subsequent movements” and variety of its conception and the integration of its
(Kathy Henkel). Debussy admired Ravel’s quartet rather forces. In its day, for instance, this trio made unprecedented
more than Fauré did. In fact, the Paris Conservatoire, then demands of the cello, in particular. The work requires an
dominated by arch-conservatives, rejected Ravel’s score for equal partnership of three virtuoso players. If, as is likely, the
a composition prize, and Parisian critics were sharply divided piano part was written with the Archduke Rudolph in mind
at the work’s 1904 premiere.
16(notice how often the piano sets the stage for the strings or coincidence that the piano quintet provided composers as
controls the ensemble’s conversation), His Imperial Highness diverse as Schumann, Franck, Brahms, Dvořák, Fauré and
must have been a wonderful player. Shostakovich with some of their finest creations.
The first half of today’s program was brought to us by
JOHANNES BRAHMS
Beethoven on a sunny springtime afternoon. Brahms comes to
Quintet for Piano and Strings in F Minor, Op. 34
us in stormy weather, bringing a mighty work of tremendous
Consummate masterpieces don’t come easily, in almost all scope. The American composer Jan Swafford has written of
cases, and here we have a case in point. The F minor piano this work’s consistently dark mood, “at times anguished, at
quintet began its life in 1861 as a string quintet and was times (in the scherzo) demonic, at times tragic.” There’s even
transcribed into a sonata for two pianos before it assumed the occasion for a touch of the eerie, with the rising figure in
form we know today, in 1865, when the composer was 31. semitones that introduces the finale.
Brahms struggled mightily to get this music right. He was Brahms’ friends and admirers received this piano quintet
assisted by criticisms from one of the great violinists of his jubilantly. Joachim would declare that it was the finest new
day, Joseph Joachim (“what is lacking (in this music) is, in chamber music published since Schubert. That’s a little over
a word, charm”), and his dear friend, the pianist Clara the top – but not by much.
Schumann, widow of Robert Schumann (“the work is splendid,
but it cannot be called a sonata … rather it is a work so full
of ideas that it requires an orchestra for its interpretation”). ■ AMERICAN TAPESTRY
FRI. & SAT., JUNE 17 & 18, 2022
Brahms solved the problem by following the example of
Robert Schumann, whose Piano Quintet in E Flat Major
(1842) had revolutionized the form. In concert, the piano
JENNIFER HIGDON
can stand alone. A string quartet can stand alone. Put them
Amazing Grace for String Quartet
together and you get a singular and powerful ensemble, Born in 1962 in Brooklyn, N.Y., Jennifer Higdon is one of the
capable of suggesting a symphonic heftiness and sweep leading American composers of her generation, the winner
while losing none of the intimacy of chamber music. It’s no of the Pulitzer Prize in Music (2010) and three Grammy
1718
PRO G RAM NOT E S
awards. Her music has been performed by more than While Dvořák denied he had intentionally incorporated any
400 orchestras. Dr. Higdon resides in Philadelphia, having American elements into this quartet, there’s one conspicuous
recently stepped down from teaching composition at the exception – the song of the scarlet tanager, a bird he had
Curtis Institute of Music. heard while hiking. The birdsong can be heard early in the
quartet’s scherzo, given to the first violin, high in the treble
“This arrangement of Amazing Grace began as part of a range.
choral cycle, called Southern Grace, which I composed in
1998. Many years later, the Ying String Quartet asked me “A characteristic, unifying element throughout the quartet is
to arrange it for their group. It has been a pleasure to watch the use of the pentatonic scale. This scale gives the whole
the joy that this piece brings to audiences,” Dr. Higdon writes. quartet its open, simple character, a character that is
frequently identified with American folk music. However, the
The world premier recording of this work is performed by pentatonic scale is common in many ethnic musics worldwide,
Serafin String Quartet on the Naxos label. and Dvořák had composed pentatonic music, being familiar
with such Slavonic folk music examples, before coming to
FLORENCE PRICE America, writes John H. Baron (Intimate Music: A History of
Adoration for Viola and Piano the Idea of Chamber Music, 1998).
In April Yannick Nézet-Séguin and the Philadelphia
Orchestra won the 2022 Grammy Award for Best Orchestral AARON COPLAND
Performance with their recording of Florence Price’s from Old American Songs Sets 1 and 2
Symphonies Nos. 1 and 3. This was a red letter day in an Aaron Copland (1900-1990), often referred to as “the dean
ongoing revival of interest in the music of Florence Price of American composers” by his peers, arranged two sets of
(1887-1953), also a figure of many “firsts” – not only an Old American Songs in the early 1950s, drawing upon the
African American, but a woman, the first of her race and Sheet Music Collection of the Harris Collection of American
gender to be recognized as a symphonic composer and Poetry and Plays at Brown University. Many of the scores
to have a composition played by a major orchestra (the of Copland’s most productive years, the 1940s – Rodeo,
Chicago Symphony, in 1933). Price’s music is notable for her Appalachian Spring, The Red Pony, the Symphony No. 3 –
use of characteristic African American melodies and rhythms reflect his commitment to “the ideals of American democracy”
in many of her works. “Written in 1951, just two years and his openness to folk traditions and popular music,
before the composer’s death, Adoration is a slow, meditative including jazz. “The composer who is frightened of losing his
piece … that reminds the listener of a prelude or offertory artistic integrity through contact with a mass audience is no
piece at church” (J.W. Pepper & Son). longer aware of the meaning of the word art,” he wrote.
ANTONÍN DVOŘÁK WILLIAM GRANT STILL
String Quartet in F Major, Op. 96 (American) Danzas de Panama for String Quartet
One of the most popular string quartets in the repertory, William Grant Still (1895-1978) is the most important
Dvořák’s American quartet has a place on this program African American composer of classical music in the 20th
through a quirk – its nickname. Composed in 1893 in century. The 200 works in his catalogue include five
Spillville, Iowa, where the composer was a guest with an symphonies, four ballets, nine operas, 30 choral works, art
immigrant Czech community, the quartet is vintage Dvořák, songs and chamber music. His career featured many “firsts.”
with nothing especially American about it, although some Still was the first African American composer to have a
commentators claim to hear echoes of the Negro spirituals symphony performed by a major orchestra. He became the
and Native American drumming that fascinated the composer first African American to conduct a major orchestra in the
during his teaching residency in the United States. United States when he led the Los Angeles Philharmonic in
1936. In the world of opera, his Troubled Island was the first
The F Major quartet was composed in two weeks,
immediately after the Symphony No. 9, which Dvořák titled by an African American to be performed by a major opera
company (New York City Opera, in 1949).
From the New World. He did not title the quartet, however.
“When I wrote this quartet … I wanted to write something Still’s Panamanian Dances date from 1948 and are based
for once that was very melodious and straightforward, and on a collection of folk tunes collected by Elizabeth Waldo
dear Papa Haydn kept appearing before my eyes, and that in the 1920s. The composer “departed from traditional
is why it all turned out so simply. And it’s good that it did,” practices by making an attempt to approximate the sounds
he wrote.
19BARBARA & BRUCE
DITTMAR
“We are proud
sponsors of Serafin
Summer Music 2022
and look forward to
the performances.”
20PRO G RAM NOT E S
of native instruments, giving the music an unusually interesting studied with Jules Massenet and César Franck at the Paris
quality. There is a distinct unity and a touch of Caribbean Conservatoire and his trio clearly reveals elements of both
color in the four dances. The first and last are African in composers, especially Franck.”
origin, probably brought by the first slaves imported into
Panama, while the second and third are of Spanish-Indian CÉSAR FRANCK
derivation,” writes Dominique-René de Lerma. Quintet in F Minor for Piano and String Quartet
■ FRIENDS AND MENTORS
Belgian by birth and French by choice, Franck has been
described as German by temperament – and therein may
lie the reason why his music encountered considerable
SUNDAY, JUNE 19, 2022
resistance within the Parisian music scene of his day. Influenced
Ernest Chausson and Claude Debussy studied with César by Wagner and Liszt, Franck swam against the lighter,
Franck at the Paris Conservatoire. Franck and Chausson cooler, more elegant, theater-oriented stream of his Parisian
enjoyed a particularly close friendship. Debussy and contemporaries, such as Camille Saint-Saëns.
Chausson were friends, as well, but the relationship
Composed in 1879 and numbered today among his finest
cooled when Chausson, a devoted family man, expressed
works, Franck’s piano quintet was dedicated, in fact, to Saint-
disapproval of Debussy’s love affairs.
Saëns, then the highly influential president of the Société
Nationale de Musique. Saint-Saëns deigned to sight-read
CLAUDE DEBUSSY the piano part at the work’s premiere. He didn’t like what he
Sonata for Cello and Piano found there, left the stage in a huff at the conclusion of the
Composed late in Debussy’s life, this jewel of the cello performance, and bad-mouthed the quintet ever after. So this
repertory may be small in size, but it shines with a special work arrived in the world with a scandal.
brilliance. Running approximately 11 minutes, this three-
movement sonata, initially subtitled “Pierrot is angry at It got worse. The rumor spread that Franck – a married man,
the moon,” evokes something of the improvisatory and the father of four, a respected conservatory professor, the
free-wheeling sensibility of commedia dell’arte, along with organist-music director at one of Paris’s leading churches
star-lit escapades, some jazzy-bluesy moments, and dreamy – had fallen hopelessly in love with a student half his age,
dancing in the moonlight. Add to this heady mix the grace by all accounts a jaw-dropping beauty. It’s fair to describe
and elegance associated with the French Baroque style the F minor quintet as emotionally explosive, even torrid in
of Couperin and Rameau and we have a work generally character. Now we know why, gossips whispered: Cherchez la
recognized as a singular masterpiece. It’s also, perhaps, one femme! There’s no hard evidence to back up this story. Besides,
of the composer’s most emotionally direct works. similar explosions of intense emotion can be found even in the
sublime organ pieces Franck composed for the church.
ERNEST CHAUSSON In three movements, tightly integrated by a cyclic structure,
Piano Trio in G Minor, Op. 3 the F minor quintet exemplifies qualities that challenged the
Chausson is one of the great “what ifs” in French music – Parisian taste of his day – “emotional engagement, technical
“what if” he hadn’t died untimely, age 44, of a bicycling solidity, and seriousness comparable to that of German
accident, just as his music was beginning to be appreciated? composers ... The new seriousness of French music in the last
As it is, Chausson left us with a number of works of the quarter of the 19th century derived entirely from Franck and
highest quality that continue to be performed, among them his pupils. Much has been made of his angelic sweetness and
the Poème for violin and orchestra, the haunting song cycle simplicity of character, his selflessness and innocence in the
Poème de l’amour et de la mer for voice and orchestra, and ways of the world … (his major works stand) as all but perfect
the Concert for violin, piano and string quartet. monuments of a warm and noble musical nature and a strong,
thorough craftsmanship that have survived all changes of taste
Composed at Montbovon in Switzerland in 1881, “this and emotional attitudes” (Encyclopedia Britannica).
‘youthful’ piano trio is a hidden treasure of great beauty
and significant craft,” Kai Christiansen writes. “Representing
a renaissance of distinctively French chamber music launched
by Chausson and his compatriots in the late 19th century, the
trio offers a fresh perspective on music otherwise dominated
by German romanticism and French opera. Chausson
21SERAFIN SUMMER MUSIC 2022
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The Towers Bed and Breakfast,
Dan and Rhonda Bond, proprietors
FOR THEIR SPONSORSHIP
22PRO G RAM NOT E S
■ WINDS OF TIME / JOHANNES BRAHMS
Quintet for Clarinet and Strings in B Minor, Op. 115
SERAFIN FANFARE By 1891 Brahms had retired from composing – or so he
FRI. & SAT., JUNE 24 & 25, 2022 believed. He told a friend that he had “achieved enough; here
I have before me a carefree old age I can enjoy in peace.”
W. A. MOZART This resolution changed when Brahms heard the playing
Quintet for Horn, Violin, Two Violas, Cello of Richard Mühlfeld, first clarinet with the Meiningen Court
in Eb Major, K. 407 Orchestra. It’s noteworthy that Mühlfeld had been a violinist
before he took up the clarinet. One expects that Mühlfeld’s
This attractive quintet, almost a miniature horn concerto, conception of tone production, line and color were formed by
was composed in 1782, soon after Mozart’s marriage and his experience of string playing.
concurrent with The Abduction from the Seraglio, for Joseph
Leutgeb, a horn player in the Salzburg orchestra who Whatever magic may have been at work, Brahms was
afterward inspired Mozart’s four horn concertos. Leutgeb inspired to take up his pen again, and proceeded over several
must have been a formidable player. The “natural” horn of years to write four major clarinet works, including this quintet;
his day lacked the valves of the modern French horn, and this the extraordinary cycles of piano pieces (Op. 116-119), and
would have made the part’s technical demands all the more the Vier ernste Gesänge (Four Serious Songs), among other
difficult. And the gracious character of the music requires the works.
horn to create a smooth, effortless effect.
Brahms venerated Beethoven, yet is reported to have said
The work is scored for French horn, violin, two violas late in life that Mozart is the greatest of all composers. His
and cello, differing from the usual two violins with the clarinet quintet is explicitly modeled after Mozart’s Quintet for
conventional string quartet. This shifting of weight to the Clarinet and String Quartet in A Major (K. 581, 1789). In four
lower voices provides a more supportive ambiance for the movements, scored for a clarinet in A, the quintet received its
horn and elevates the profile of the violin. premiere in December 1891 and was immediately recognized
as one of Brahms’ most profound creations.
DARIUS MILHAUD
Autumnal in mood, “expressing a distinctive kind of wan,
Suite for Violin, Clarinet, and Piano, Op. 157b
golden light amidst a bluster of falling leaves and the sharply
Few modern composers are as prolific as Darius Milhaud etched chill of bare branches, Brahms literally experienced
(1892-1974), a member of France’s celebrated Les Six a late Indian summer as a composer,” Kai Christiansen writes.
composers’ group. Milhaud has nearly 450 works in his One is tempted to hear this music as a valedictory to life, full
catalogue, reflecting a wide range of tastes and styles. He of tender nostalgia, even otherworldly echoes. It’s worthy of
composed 16 operas, 18 string quartets, 12 symphonies, 28 Mozart – but inimitably Brahms.
film scores, 21 concertos, 17 ballets, and dozens of songs.
His music is largely based on polytonality (the simultaneous
occurrence of two or more different keys) and incorporates ■ FINALE FIREWORKS!
jazz, Brazilian folk, “chance” techniques, and a variety of SUNDAY, JUNE 26, 2022
styles appropriate for the theater and film.
The Suite for Violin, Clarinet and Piano was derived from
JOHANNES BRAHMS
the incidental music that Milhaud wrote in 1936 for Jean String Sextet No. 1 in Bb Major, Op. 18
Anouilh’s play Voyageur sans baggage (Traveler without It’s well known that the young Brahms felt intimidated by
Baggage) – one of nearly 30 plays he wrote music for. the legacy of Beethoven, taking 21 years to complete his
first symphony and a decade before he published his first
Milhaud is also remembered as an influential composition two string quartets. According to Brahms’s friend and piano
teacher. His students reflect the catholicity of his artistry: student, Alwin Cranz, the composer destroyed more than 20
William Bolcom, Steve Reich, Dave Brubeck, Philip Glass, string quartets before allowing his first pair to appear in
Gyorgy Kurtag, Joan Tower, Iannis Xenakis, and Karlheinz print. This may be an exaggeration – or maybe not. Brahms
Stockhausen, among them. Also the future hit songwriter Burt was a prodigious worker, and there was no fiercer critic of
Bacharach, whom Milhaud sagely advised: “Don’t be afraid his music than himself.
of writing something people can remember and whistle.
Don’t ever feel discomfited by a melody.”
2324
PRO G RAM NOT E S
This reluctance to go up against the shade of Beethoven, Tchaikovsky’s visits to a villa outside Florence owned by his
on one hand, and his deep love for the Viennese classical patroness, Nadezhda von Meck, were times of sun-filled
tradition, on the other, may have motivated a composer still freedom. He worked or he loafed, whichever took his fancy.
in his 20s to try something different, but congruent – a sextet He was free of the scrutiny of St. Petersburg society, and
for strings, a combination with few predecessors. Composed – reading between the lines of his correspondence with
1859-1860, the sextet features three pairs of instruments: his brother, Modest – free to have a private life. Although
two violins, two violas and two cellos. “The additional there’s an Italian-sounding secondary theme in this sextet’s
members in the lower range are free to pursue featured first movement, and Italian songfulness is much in evidence in
melodic roles enriching the deeper voices of the ensemble,” the work’s lovely Adagio, the sextet is otherwise exuberantly
writes Kai Christiansen, “adding new contrapuntal lines and Russian in character.
reinforcing the composite ensemble.”
While in Florence during the summer of 1890, Tchaikovsky
The overall rich, warm and expansive character of the B Flat worked on his opera Pique Dame (The Queen of Spades);
Major sextet, with some melancholy turns, brings Schubert he also sketched one of the sextet’s principal themes.
to mind. Although tightly written, the sextet gives a similar He worked on Souvenir during a visit to Paris – but most
genial impression to that of the serenades for orchestra of the composition and extensive revisions took place in
Brahms had composed not long before. Russia between December 1891 and January 1892. The
“remembrance,” one suspects, is not so much of Florence, but
PIOTR ILYICH TCHAIKOVSKY of happy, care-free times.
Souvenir de Florence, Op. 70, for String Sextet
Souvenir received its public premiere on Dec. 6, 1892, at
Souvenir de Florence – A Remembrance of Florence – might a concert presented by the St. Petersburg Chamber Music
lead one to think that this glorious sextet is Italy-inspired, Society, to which Tchaikovsky dedicated the piece. It has
and to some extent, it is. been a staple of the string ensemble repertory ever since.
SERAFIN SUMMER MUSIC 2022
THANKS
Brandywine Valley Inn
– Best Western
FOR THEIR SPONSORSHIP
25S E RA F IN S UM M E R M US IC 2022
FESTIVAL
AMADI AZIKIWE, violist, violinist,
and conductor, has been heard in
recital in major cities throughout
ARTISTS
the United States, such as New
York, Boston, Cleveland, Chicago,
San Francisco, Pittsburgh, Houston,
Baltimore, and Washington, DC,
including an appearance at the US
Hailed by The Washington Post Supreme Court. Mr. Azikiwe has
for his “poised and imaginative also been a guest of the Chamber Music Society of Lincoln
playing,” Filipino-American pianist Center at the Alice Tully Hall and the Kennedy Center.
VICTOR SANTIAGO ASUNCION Abroad, he has performed throughout Israel, Canada, South
has appeared in concert halls in America, Central America, Nigeria, India, Japan, and Hong
Brazil, Canada, Ecuador, France, Kong.
Italy, Germany, Japan, Mexico, the
Philippines, Spain, Turkey and the As a soloist, Mr. Azikiwe has appeared with the Prince
USA, as a recitalist and concerto George’s Philharmonic, Delaware Symphony, Virginia
soloist. He played his orchestral debut at the age of 18 with Symphony, North Carolina Symphony, Fort Collins Symphony,
the Manila Chamber Orchestra, and his New York recital Virginia Beach Symphony, Roanoke Symphony, Winston-
debut in Carnegie’s Weill Recital Hall in 1999. In addition, Salem Symphony, Western Piedmont Symphony, Salisbury
he has worked with conductors including Sergio Esmilla, Symphony, the Gateways Music Festival Orchestra, the
Enrique Batiz, Mei Ann Chen, Zeev Dorman, Arthur Weisberg, City Island Baroque Ensemble of New York, the National
Corrick Brown, David Loebel, Leon Fleisher, Michael Stern, Symphony of Ecuador, and at the Costa Rica International
Jordan Tang, and Bobby McFerrin. Music Festival.
A chamber music enthusiast, he has performed with artists Currently, Mr. Azikiwe is Music Director of the Harlem
such as Lynn Harrell, Zuill Bailey, Andres Diaz, James Symphony Orchestra. He is also Community Engagement
Dunham, Antonio Meneses, Joshua Roman, Cho-Liang Lin, Director of the Harlem Chamber Players and a member of
Giora Schmidt, the Dover, Emerson, Serafin, Sao Paulo, and the Pressenda Chamber Players.
Vega String Quartets. He was on the chamber music faculty
of the Aspen Music Festival, and the Garth Newel Summer As an orchestral musician, he has appeared with the New
Music Festival. He was also the pianist for the Garth Newel York Philharmonic and Indianapolis Symphony Orchestra,
Piano Quartet for three seasons. Festival appearances and as guest principal violist of Canada’s National Arts
include the Amelia Island, Highland-Cashiers, Music in the Centre Orchestra.
Vineyards, and Santa Fe. A native of New York City, Mr. Azikiwe first studied music
His recordings include the complete Sonatas of L. with his mother, after which he began training at the North
van Beethoven with cellist Tobias Werner, Sonatas by Carolina School of the Arts as a student of Sally Peck. His
Shostakovich and Rachmaninoff with cellist Joseph Johnson, studies continued at the New England Conservatory with
the Rachmaninoff Sonata with the cellist Evan Drachman, Marcus Thompson and at Indiana University as a student of
and the Chopin and Grieg Sonatas, also with cellist Evan Atar Arad.
Drachman. He is featured in the award-winning recording
“Songs My Father Taught Me” with Lynn Harrell, produced
by Louise Frank and WFMT-Chicago. Mr. Asuncion is the Praised by The Philadelphia Inquirer
Founder, and Artistic and Board Director of FilAm Music for his “glowing refinement,” violist
Foundation, a non-profit foundation that is dedicated to LUKE FLEMING’S performances
promoting Filipino classical musicians through scholarship, and have been described by The Strad
performance. as “confident and expressive...
playing with uncanny precision,”
He received his Doctor of Musical Arts Degree in 2007 and lauded by Gramophone
from the University of Maryland at College Park under for their “superlative technical
the tutelage of Rita Sloan. Victor Santiago Asuncion is a and artistic execution.” Festival
Steinway artist.
26F E S T IVAL ART IS T S
appearances include the Marlboro Music School and performances of Messiaen, and reenacted the famous piano
Festival, the Steans Institute at Ravinia, Perlman Music duel between Liszt and Thalberg.
Program, the Norfolk and Great Lakes Chamber Music
Festivals, the Melbourne Festival, Bravo!Vail, and Festival Born in New Zealand, he has performed widely in the USA,
Mozaic. Formerly the violist of the internationally acclaimed Europe, Asia, Australia, New Zealand and South Africa,
Attacca Quartet, he has served as Artist-in-Residence for as solo recitalist, concerto soloist and chamber musician,
the Metropolitan Museum of Art and received the National making successful solo debuts in Carnegie Hall’s Weill Recital
Federation of Music Clubs Centennial Chamber Music Award. Hall and London’s Wigmore Hall, as well as playing in the
He was awarded First Prize at the Osaka International Kennedy Center, St Martin-in-the-Fields, Queen Elizabeth
Chamber Music Competition and top prizes at the Melbourne Hall, and others. Recent highlights include performing
International Chamber Music Competition. concertos with the Moravian Philharmonic Orchestra in
Olomouc, Czech Republic, the Frenz ensemble in Paris, and
In 2015, Mr. Fleming became the Founding Artistic Director Orchestra da Camera in Champaign-Urbana, and tours
of both the Manhattan Chamber Players, a New York-based across the USA including a fourth concert in Carnegie Hall.
chamber music collective, and the Crescent City Chamber
Music Festival. He currently serves as Adjunct Professor Gainsford was a founding member of Trio Solis, who made
of Viola at the University of New Orleans School of the their Carnegie Hall debut in 2009, he has also collaborated
Arts. He is also a founding member of the Delaware-based with the Audubon and Serafin Quartets, Pressenda Chamber
Serafin Ensemble. He has performed as a guest artist with Players, Aaron Berofsky, Kathryn Votapek, Richard
the Escher, Pacifica, Serafin, and Solera String Quartets, the Stoltzman, Jacques Zoon, Ricardo Morales, and many others.
Eroica, Lysander, and Gryphon Piano Trios, the Chamber A keen supporter of living composers, he has premiered
Music Society of Lincoln Center, Decoda, Ensemble Connect, and recorded Ladislav Kubik’s 3rd Piano Concerto and Marc
Sejong Soloists, the Orchestra of St. Luke’s, and the New Satterwhite’s Five Rivers of Hades, and recorded Ellen Taafe
York Classical Players, and has given masterclasses at UCLA, Zwilich’s Images for two pianos and orchestra.
Louisiana State University, Ithaca College, Columbus State Highly in demand as a master-class clinician and teacher, he
University, Syracuse University, Melbourne University, and the is Professor of Piano at Florida State University.
New Orleans Center for Creative Arts, among others. Mr.
Fleming has served on the faculties of the Innsbrook Institute,
Renova Music Festival, Festival del Lago, and Houston
ChamberFest, and Fei Tian College and is Lecturer-in- Violinist HAL GROSSMAN has been
Residence for the concert series Project: Music Heals Us. enthusiastically acclaimed by critics
and audiences alike for his “vibrant
Mr. Fleming holds the degrees of Doctor of Musical Arts, tone” and “superb technique”.
Artist Diploma, and Master of Music from the Juilliard Grand Award Winner of the Lima
School, a Postgraduate Diploma with Distinction from the Young Artist Competition and
Royal Academy of Music in London, and a Bachelor of Music Silver Medalist of the International
summa cum laude from Louisiana State University. He is Stulberg String Competition, Mr.
represented with the Manhattan Chamber Players by Arts Grossman also received First
Management Group. www.lukefleming.com Prize Awards at the prestigious International Cleveland
Quartet Competition and the National Fischoff Chamber
Music Competition. His New York Debut at Carnegie Hall
Pianist READ GAINSFORD has received exceptional reviews from the New York Times. He
been described as possessing was invited to perform for their Royal Highnesses, Prince
“finger-numbing virtuosity and Charles and Princess Diana, in a CBC television and radio
delicately chiseled precision”. broadcast. Recital appearances have taken him throughout
Known for his insightful introductions North America and Europe. In the United States he has also
from the stage, he has collaborated been heard on National Public Radio, WQXR-New York, and
with oceanographers in presenting WFMT-Chicago. Mr. Grossman served as the Concertmaster
Crumb’s “Voice of the Whale”, of the Estranach Festival Orchestra in Luxembourg, a position
consulted with art historians and he has also held with the Illinois Philharmonic, the Boise
living artists to create a series of images to accompany Philharmonic, the Lansing Symphony and the SaginawBay
Symphony Orchestra. He has been featured at the Casals
27S E RA F IN S UM M E R M US IC 2022
(Puerto Rico), Evian (France), Orfeo (Italy), InterHarmony Chicago Symphony, New York Philharmonic, National
(Germany) music festivals and, in the continental U.S., the Symphony, and Dallas Symphony.
Aspen, Lancaster, Breckenridge, Fontana, Great Lakes,
Marrowstone, Manitou, and Garth Newel music festivals. Ms. Gurnow enjoys spending her summers out west
performing in the Grand Teton Music Festival. Other festival
Mr. Grossman is Professor of Violin at The University of appearances have included the Bellingham Music Festival,
Oregon and on the violin faculty at the Aria International Bravo! Vail Festival, Highlands Cashiers Chamber Music
Music Academy, Marrowstone Music Festival and the Festival, Pacific Music Festival in Japan, and the Aspen
Northwest Music Retreat. He is the founder and creator of Music Festival. A lover of chamber music, Ms. Gurnow is a
The Grossman Method, a course of study addressing member of the Merian Ensemble, an ensemble dedicated
musician’s health issues. www.halgrossman.com to performing and commissioning chamber works by
www.TheGrossmanMethod.com women, and the Chicago based International Chamber
Artists. Ms. Gurnow earned her Bachelor of Music from
Southern Methodist University and her Master of Music from
Northwestern University. She is an Artist Affiliate Instructor of
MARCI GURNOW joined the
Clarinet at Emory University and teaches privately through
Atlanta Symphony Orchestra
the Atlanta Symphony Orchestra’s Talent Development
as second clarinet in 2016. Ms.
Program. Ms. Gurnow is a Buffet Crampon USA performing
Gurnow began her orchestral
artist.
career as second and bass clarinet
with the Jacksonville Symphony and Outside of music, Ms. Gurnow also enjoys a balance of other
held the position of acting second activities. An avid runner, she has run twelve marathons and
clarinet with the Detroit Symphony has completed the 140.6 mile Ironman Arizona. She also
prior to returning to her hometown enjoys hiking, knitting, and traveling.
of Atlanta. She has also performed as a guest with the
SERAFIN SUMMER MUSIC 2022
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Columbus Inn
Dorcea
Harry’s Savoy Grill
Irish Eyes Pub & Restaurant
Jamestown Hospitality Group:
Park Café | Deep Blue at Kitty Knight | Tonic Seafood and Steak
Mikimotos Asian Grill
THANK YOU for your sponsorship!
28F E S T IVAL ART IS T S
MARY E.M. HARRIS is Professor Recent concerts include chamber music performances
of Viola at Miami University in at the Grand Teton Music Festival with violinist Julian
Oxford, Ohio, and former member Rachlin, Charleston’s Piccolo Spoleto Festival, concerts with
of the Oxford String Quartet. An Concertmasters William Preucil, Andres Cardenes and David
avid performer, she is also principal Coucheron at Highlands-Cashiers Chamber Music Festival,
violist of ProMusica Chamber chamber music performances with the Atlanta Chamber Players
Orchestra in Columbus, Ohio and and the Emory Chamber Music Society of Atlanta. Ms. Krueger
violist of the Nexus String Quartet. has been featured in solo recitals at the Blue Ridge Chamber
In addition, she is a founding Music Festival and All-Saints Church concert series in Atlanta,
member of Cosmos, a flute, viola and harp ensemble concerto performances with DeKalb Symphony Orchestra and
dedicated to commissioning and performing new works for the Atlanta Community Orchestra. She has twice performed
this combination. Cosmos’ recording, American Premieres on the entire Beethoven cycle of Cello Sonatas with pianist Robert
MSR Classics, features works written for and premiered by Henry and has done a recital tour and accompanying live CD
the trio to critical acclaim. of the Southeastern US with pianist Stanley Yerlow.
A former member of the Dakota String Quartet and I Musici Ms. Krueger received her early cello training in Canada at the
de Montreal, Ms Harris has served as principal violist of Regina Conservatory of Music. She went on to study at Brandon
the New American Chamber Orchestra, touring Europe University and received her Bachelor of Music Performance
extensively and performing at the Korsholm, Casals, and degree from New England Conservatory in Boston. She also
other international festivals. She also served as principal of holds an Artist Diploma from the Longy School of Music in
the Echternach Festival Orchestra in Luxembourg and has Cambridge MA. She continued her training during the summers
performed with the Garth Newel Festival in Virginia. For at the Banff Centre in Canada and did quartet training with the
many years, Ms Harris has spent her summers performing at Juilliard Quartet at the summer program at the Juilliard School.
the New Hampshire Music Festival and the Peter Britt Festival Ms. Krueger was also a participant in the New York String
in Jacksonville, Oregon. Orchestra Seminar under the direction of Alexander Schneider
with concerts at Carnegie Hall. After graduating, she was a
Ms Harris is an enthusiastic dog-lover, hiker and backpacker! founding member of the award-winning Arden String Quartet,
with national and international appearances at Merkin Hall in
NYC, Brown and Hofstra Universities as well as radio programs
Cellist CHARAE KRUEGER is throughout the US East Coast.
Principal Cellist for the Atlanta
Opera Orchestra and the Atlanta
Ballet Orchestra. She is Lecturer South African-American, cellist,
and Artist in Residence in Cello JACQUES-PIERRE MALAN is
at Kennesaw State University in taking the classical music world
Georgia, having been a faculty by storm with his unparalleled
member since 2005. Ms. Krueger performances, innovative projects,
is an avid chamber musician and and uncompromising dedication
is a member of the Summit Piano Trio, the Peachtree String to energizing and uplifting both
Quartet, the Leaptrott Piano Trio and the KSU Faculty String audiences and musicians alike.
Trio. She is a regular featured artist at the Highlands- His initiatives have landed him on
Cashiers Chamber Music Festival in North Carolina, the stages across the world from Africa to Europe to the USA.
Grand Teton Music Festival in Wyoming and at the North He is currently based in Baltimore Maryland, allowing him
Georgia Chamber Music Festival. Her solo and chamber access to America’s greatest musicians and performing
music recitals have been featured on NPR’s Performance opportunities. Serving as an ambassador for South African
Today, WABE Radio Atlanta and WGBH Radio Boston. She classical musicians within the USA, Malan works tirelessly
plays frequently with the Atlanta Symphony Orchestra and as a solo, chamber, and orchestral musician, as well as a
the Charleston Symphony. Ms. Krueger also enjoys recording dedicated teacher and program coordinator.
studio work and has played on albums of Bruce Springsteen,
Faith Hill and Natalie Cole. As a performer, Malan’s career was launched through
winning top cello competition prizes and scholarships
2930
F E S T IVAL ART IS T S
including Yale Gordan String Competition, SAMRO Bursary Lincoln Center and made his debut with Opera Philadelphia
Competition, Stellenbosch International Chamber Music last season. He works regularly with instrument maker
Festival Competition, Getting To Carnegie Hall amongst and composer Aaron Grad and premiered Grad’s Old-
several others. His impeccable technique, endless energy, Fashioned Love Songs for countertenor and electric theorbo,
and unifying personality has allowed him to perform a performance praised by the Washington Post for “full-
chamber music with Baltimore Symphony Orchestra bodied sweetness, exemplary pitch, and a reliably musical
concertmaster Jonathan Carney as well as numerous faculty imagination.” As a Vocal Fellow of the Tanglewood Music
from Julliard, Peabody Conservatory, and the Curtis Institute. Center, his performance in the American premiere of George
As a soloist, Jacques-Pierre has performed concertos with Benjamin’s Written on Skin was described by the Wall Street
Kwazulu Natal Philharmonic, Johannesburg Philharmonic, Journal as “riveting” with a voice that “soared above the
Capetown Philharmonic, Peabody Symphony Orchestra. texture, lining the text with the haloed elegance of gold-leaf
inscription”. He is also a fellow of the Delaware Division of
In 2016, after completing his master’s degree at the the Arts, most recently being awarded an Individual Artist
Peabody Conservatory with Israeli cellist Amit Peled, Malan Fellowship.
was invited to continue his contributions to music world in
America on an O1 Visa for Extraordinary Ability in the Augustine Mercante completed his Artist Diploma in
Arts, sponsored by the Mid-Atlantic Symphony Orchestra, Germany as a Fulbright Scholar studying with soprano Edith
Chamber Encounters Inc. and Friends of Chamber Music Wiens and performing at the Prinzregententheater in Munich
Concert Series. In less than two years, he has founded the and for the International Gluck Festival for the Nurnberg
Baltimore String Quartets (now Eventmaestros), a business Opera. He holds degrees from the University of North Texas
that pairs upscale event planners with elite musicians, and and the University of Delaware, where he was honored
Creative Concert Group, which produces visionary concert to be the inaugural recipient of the Robert King Memorial
programs never been done before, including the Dvorak Scholarship.
Cello Concerto performed with String Quartet, which Mr.
Malan premiered in Washington DC. Mr. Malan’s work He can be heard on the Albany label with clarinetist
performing at the South African Embassy has led him to Christopher Nichols and pianist Julie Nishimura in a
working as Artistic Program Coordinator for the Embassy performance of Joseph Eidson’s Birds of Passage for which
Series, which, through putting on performances at embassies Gramophone praised his “lyrical intensity and the way he
from all over the world, aims to unite people through musical polishes each word with lapidarian ecstasy.”
diplomacy. Gus and his husband, Justin, live in Wilmington, Delaware
Find out more about Mr. Malan and his projects and concerts where Gus maintains a private teaching studio and is on the
by visiting www.creativecello.com. voice faculty Delaware State University and The Music School
of Delaware. Learn more at www.augustinemercante.com.
Described by The New York Times
as a “glowing countertenor”, ERIC PRITCHARD has been serving
AUGUSTINE MERCANTE enjoys an as First Violinist of the Ciompi
active career performing repertoire Quartet of Duke University since
from the Baroque to the newly- 1995. His previous appointments
created. This season he will be as First Violinist of the Alexander
heard in Vivaldi’s Stabat Mater and Oxford String Quartets
at St. Patrick’s Rittenhouse Square, included positions at City University
Copland’s Old American Songs of New York, San Francisco State
with Delaware Choral Arts, Thomas Linley’s The Duenna with University, the University of North
Brandywine Baroque, in programs of Schubert and Gershwin Carolina School of the Arts, and Miami University. A native
for the Serafin Summer Music Festival, and in recitals of Durham, New Hampshire, he studied at the New England
throughout Delaware and Pennsylvania. Conservatory, the Indiana University School of Music and
the Juilliard School where he received a Master of Music
Gus is a frequent soloist with the American Spiritual in 1985. His principal teachers were Josef Gingold, Ivan
Ensemble, with which he has toured Ireland, Spain, France Galamian, Eric Rosenblith and Giorgio Ciompi. Pritchard
and the United States, including his debut in New York’s was awarded First Prizes at the London International String
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