CARNEGIE HALL PRESENTS
Ensemble ACJW
The Academy — A Program of Carnegie Hall, The Juilliard School, and The Weill Music Institute

Zankel Hall
Saturday, March 1st, 2008 at 7:00 PM

Ensemble ACJW
Christopher Hogwood, Conductor

HAYDN Symphony No. 22 in E-flat Major, "The Philosopher"
MARTINŮ La revue de cuisine
HAYDN (arr. Wranitzky) Divertimento, Op. 71
STRAVINSKY Pulcinella Suite

The Academy—a program of Carnegie Hall, The Juilliard School, and The Weill Music Institute in partnership with the New York City Department of Education — is made possible by a leadership gift from The Andrew W. Mellon Foundation.

Major funding has also been provided by Mercedes and Sid Bass, The Kovner Foundation, Martha and Bob Lipp, The Peter Jay Sharp Foundation, The William and Flora Hewlett Foundation, Judith and Burton Resnick, Susan and Elihu Rose, and Mr. and Mrs. Lester S. Morse Jr., with additional support from the Ella Fitzgerald Charitable Foundation, The Dana Foundation, Suki Sandler, Mr. and Mrs. Nicola Bulgari, Susan and Ed Forst, and The William Petschek Family.

Ensemble ACJW performances are supported, in part, with public funds from the New York State Council on the Arts.

Program Notes:

By Steven Ledbetter

FRANZ JOSEPH HAYDN Symphony No. 22 in E-flat Major, “The Philosopher”
Born March 31, 1732, in Rohrau, Lower Austria; died May 31, 1809, in Vienna.

Composed in 1764, Haydn’s Symphony No. 22 received its first Carnegie Hall performance on March 22, 1962, with the New York Philharmonic conducted by William Steinberg.

Scoring: 2 English horns, 2 horns, and strings.

The early works of Haydn show many examples of older, Baroque forms turned to new purposes. Several of his symphonies, for example, begin with slow movements in something like the character of the sonata da chiesa (“church sonata”). Many years after writing this work, Haydn offered his biographer Griesinger a mental image, explaining that in one of his oldest symphonies—one that he could not at the moment pinpoint—“the idea predominated of God speaking to an unrepentant sinner, asking him to reform, but the sinner in his rashness heeded not these exhortations.” Haydn scholar H.C. Robbins Landon has suggested that this image best fits the present E-flat Symphony. In any case, whether it is the symphony Haydn meant or not, the work has long had attached to it the nickname “The Philosopher”—going back even to the 18th century.

The Symphony begins with the sober sonority and style of a sonata da chiesa, a long-established Baroque form consisting of four movements in a slow-fast-slow-fast arrangement. The opening movement’s somber marching strings support a chorale-like melody in the horns (the voice of God?), answered by two English horns (the unrepentant sinner?). Haydn cleverly fuses the Baroque stylistic elements so evident here with a ground plan that clearly suggests the developed sonata form of the Classical era. The unusual color—hardly another symphony of his century called for English horns—is striking. Yet for all its touches of modernity, the movement suggests homage to Corelli.

The second movement offers the strongest possible contrast—a Presto in sonata form with a real Haydnesque “false reprise” at the beginning of the development section, tricking the listener into thinking the movement is substantially over when it has really only just gotten underway. The third movement is a poised and graceful minuet and Trio, while the finale introduces the spirit of the hunt in its galloping 6/8 time (is this the indication that our sinner remains unrepentant?). In any case, the echoing calls of French horns and English horns against the nonstop racing strings provide an invigorating close.


BOHUSLAV MARTINÙ La revue de cuisine
Born December 8, 1890, in Policka, Bohemia; died August 28, 1959, in Liestal, Switzerland.

Composed in 1927, La revue de cuisine received its first Carnegie Hall performance in Weill Recital Hall on May 12, 1993, with the Manhattan Chamber Orchestra conducted by Richard Auldon Clark.

Scoring: violin, cello, clarinet, bassoon, trumpet, and piano.

The 33-year-old Martinù went to Paris in 1923 to study with Albert Roussel, whose music he admired enormously; but he could hardly expect to avoid other musical trends in the city that was then one of the most vibrant musical centers in the world. Impressed by the unstuffy music of Les Six, Martinù wrote several short ballet scores and other works either for piano or chamber orchestra using elements of jazz, which had invaded Europe from America. His 1927 score of a brief, lighthearted ballet was performed in Prague that November with the title Pokuseni svatouska hrnce (Temptation of the Saintly Pot). The scenario told a slender tale in which the love between Pot and Lid is threatened by the seductive influence of the suave Twirling Stick. Dishcloth flirts with Lid, who is challenged to a duel by Broom. All ends happily as Pot returns to Lid and Twirling Stick goes off with Dishcloth.

The music for this charming trifle was successful enough in Prague as a ballet, but it proved to be a sensation when performed as a concert suite with the title La revue de Cuisine (The Kitchen Revue) in Paris early in 1930. The publisher Alphonse Leduc printed the score immediately, so this cheeky sextet proved to be an important stepping-stone in the forwarding of his career.

In his later years Martinù looked back on the score as one of his most perfect, despite the fact that it is essentially music for entertainment, albeit entertainment of a high order. Three of the instruments in the ensemble—clarinet, trumpet, and piano—were standard elements in the actual jazz or dance bands of the period, and Martinù often gives them gestures similar to those of popular music. The bassoon, violin, and cello were incursions from the Classical tradition, but they enter wholeheartedly into the spirit of things. Martinù twists the clichés of commercial music with unexpected accents, irregular phrase lengths, changing meters, or unusual turns of harmony. But the slow, seductive mystery of the Tango and the dash of the Charleston (with its typical 3+3+2 subdivision of the eighth-notes in a 4/4 measure) capture the spirit of the Roaring Twenties with high humor.


FRANZ JOSEPH HAYDN Divertimento in B-flat Major, Op. 71, No. 1 (arr. Paul Wranitzky)
Haydn composed his String Quartet in B-flat major in 1793, and it received its first Carnegie Hall performance in Carnegie Recital Hall (now Weill Recital Hall) on February 10, 1979, with the Haydn Quartet: Marvin Morgenstern and Alvin Rogers, violins; Karen Tuttle, viola; and Alan Shulman, cello. The arrangement for winds and strings was made by Paul Wranitzky (1756–1808); this version of the work receives its Carnegie Hall premiere tonight.

Scoring of Wranitzky’s arrangement: flute, oboe, 2 horns, 2 violins, viola, cello, and bass.

In an age before mechanical or electronic modes of hearing music without a live performer, many compositions were arranged for different instruments, sometimes—if the piece was popular—in many different guises. Normally the arrangement reduced the number of players for home performance (such as Beethoven’s transmutation of his second symphony into a piano trio). But sometimes it went the other way, as when Haydn’s friend and favorite conductor, Paul Wranitzky, expanded a Haydn string quartet into a large chamber work with an instrumentation like that of many divertimenti of the day.

We have no indication of why he chose to make such an arrangement (though one can assume that he had some practical use for it) or why he chose this particular string quartet to expand. But an examination of Haydn’s original suggests at least one attraction for this purpose: Many phrases in the score (this is particularly evident in the slow movement) repeat immediately in a higher octave—an invitation to the orchestrator to offer a different instrumental color for the repetition.

After Haydn heard his Op. 64 string quartet performed in some of Salomon’s public concerts during his first London visit, he composed a new set specifically for the London concert hall. The aim of public performance changed the nature of the works from intimate communications between the players themselves to a broader kind of piece intended to project the work to hundreds of listeners, some of the at the far corners of a concert hall. And that change in turn made the B-flat quartet suitable for an instrumental magnification such as Wranitzky gave it.

The first movement opens with five strong chords as an introductory call to attention and a somewhat symphonic gesture. Following the five call-to-attention chords, the opening Allegro is one of those Haydn sonata-form movements in which the principal theme also serves for the secondary theme; that is the normally contrasting theme, in a new key, starts out exactly like the first one (though it goes its own way later), providing a strong sense of unity. The first theme, then, is extended and divided into several sections containing motifs that Haydn uses as prominent features later in the movement. Indeed, the first musical sentence ends with a vigorous syncopated melodic figure that will recur in the third and fourth movements.

The gentle lilt of the slow movement, suggesting the mood of a barcarolle, characterizes the opening and closing sections (the latter decorated with appoggiaturas, while the middle section flows with smoothly running sixteenths moving quickly to a far harmonic goal, then returning home for the opening material again.

The Menuetto and Trio is a vigorous movement, seemingly rather far afield from the type likely to be found in aristocratic ballrooms. The Menuetto proper ends with a phrase (in the first violin) drawn from the opening section of the first movement.

Haydn’s Vivace finale races joyously in a jovial sonata form, with another reference to the syncopated figure in the first movement before chortling its merry way to the close.


IGOR STRAVINSKY Pulcinella Suite
Born June 17, 1882, in Oranienbaum, Russia; died April 6, 1971, in New York.

Begun in fall 1919 and completed on April 20, 1920, the ballet Pulcinella was premiered by the Ballets Russes at the Paris Opéra on May 15, 1920, under the direction of Ernest Ansermet. Stravinsky prepared the suite about 1922, and it received its New York premiere at Carnegie Hall on January 6, 1923, with the Boston Symphony Orchestra conducted by Pierre Monteux.

Scoring: 2 flutes,2 oboes, 2 bassoons, 2 horns, trumpet, trombone, a quintet of solo strings (two violins, viola, cello, and bass), and a medium-sized group of orchestral strings.

After the end of World War I, Serge Diaghilev was eager to bring his prize composer, Igor Stravinsky, back into the fold of his Ballets Russes, where he had achieved such epochal pre-war successes as Firebird, Petrushka, and The Rite of Spring. The Ballets Russes had recently produced a piece based on old works by Scarlatti dressed up in new orchestrations, and Diaghilev thought Stravinsky might enjoy a similar undertaking. When Stravinsky first learned that Diaghilev wanted him to arrange the music of Pergolesi, the composer thought the impresario had taken leave of his senses. He knew little of Pergolesi’s work—only the little intermezzo La serva padrona and one liturgical work, the Stabat mater—and he didn’t think much of it. Diaghilev, who was an experienced musician as well as an impresario, had already gathered pieces that he thought might be suitable in a balletic context, and he finally persuaded Stravinsky at least to look at what he had collected—much of it, he said, completely unknown. The composer fell in love with what he saw and agreed at once to accept the commission.

Stravinsky did not realize at the time, though we now know, that of the selections he finally used in his ballet, fewer than half were actually by Pergolesi, and even less of that is in the suite. The other composers, who have recently been identified, are almost entirely unknown: Domenico Gallo, Alessandro Parisotti, and a Dutch count named Unico Wilhelm von Wassenaer, along with that favorite composer, “anon.” Not to mention Pergolesi himself. Of course, the actual source of the originals need not trouble us in the slightest when listening to Stravinsky’s witty score. In the concert hall we hear at once that they originals have become thoroughly and delightfully Stravinskyized. Pulcinella proved to be the first step in Stravinsky’s turn to Neoclassicism, which dominated his music for the next 30 years.

Copyright © 2008 by Steven Ledbetter

Steven Ledbetter, musicologist and program annotator of the Boston Symphony Orchestra from 1979 to 1998, writes and lectures widely on many aspects of classical music.

Ensemble ACJW
SETH BAER
Bassoonist, orchestral and chamber musician, and teacher, Seth Baer is a graduate of The Juilliard School. He graduated with honors from Princeton University while studying bassoon with Frank Morelli. At age 19, Seth won a substitute position with The Philadelphia Orchestra, which he maintains today. He has performed with top ensembles in the New York and Philadelphia regions, including the Pennsylvania Ballet, Opera Orchestra of New York, and the Brooklyn Philharmonic. As a chamber musician, Seth has performed at Bargemusic and is a member of the Fountain Chamber Music Society, with which he maintains a residency at The Weill Music Institute at Carnegie Hall. He is a member of Solisti New York, the resident orchestra at the OK Mozart festival in Bartlesville, Oklahoma. Seth has taught classes at Juilliard and the Mannes School of Music; he is on the faculty of Montclair State University and the summer Performing Arts Institute of Wyoming Seminary. As part of his fellowship program, Seth teaches in Brooklyn, at PS 116.

ANDREW BEER
A native of Canada, violinist Andrew Beer has performed extensively throughout North America, Europe, and Asia, and his performances have been broadcast on NHK Japan, Vietnamese television, CBC Radio-Canada, Minnesota Public Radio, and WQXR in New York. As a soloist, he has performed with leading orchestras in Vancouver, Montreal, New York, Boston, and Catania (Sicily), and he has appeared in chamber concerts with members of the Emerson String Quartet as well as Midori. Humanitarian and outreach concerts have also played an important role in Andrew’s musical output, and through such endeavors he has been awarded a Congressional commendation and has performed for dignitaries including Queens Rania and Noor of Jordan, Princess Haifa al-Faisal of Saudi Arabia, and First Lady Laura Bush. He holds degrees from the Vancouver Academy of Music, Stony Brook University, and the New England Conservatory of Music, where he spent three years working with Donald Weilerstein. As part of his fellowship program, Andrew teaches in Brooklyn, at PS 282.

MEENA BHASIN
Violist Meena Bhasin has performed in the US, Japan, China, and Israel in such venues as Carnegie Hall, Lincoln Center, the United Nations, Jordan Hall, and Mann Auditorium. She has collaborated with such renowned artists as Itzhak Perlman, Pinchas Zukerman, and Donald Weilerstein. In 2007 Meena graduated from a dual-degree program between Tufts University and The New England Conservatory, where she was the recipient of the 2006 Presser Award. She is looking to forge a career that uses music to facilitate cross-cultural dialogue. As part of her fellowship program, Meena teaches in Queens, at MS 72.

NATHAN BOTTS
An active freelance trumpeter in New York, Nathan Botts regularly performs with a variety of classical, contemporary, and experimental music ensembles, including the Orpheus Chamber Orchestra, Cygnus Ensemble, Second Instrumental Unit, and Wet Ink Ensemble. Nathan has been a featured soloist in Beijing with the China National Symphony, in Zurich with the Verbier Festival Chamber Orchestra, and in the US with the Utah Premiere Brass, with whom he premiered a concerto for multi-disciplinary trumpet by composer Mardin Pond. In 2003, Nathan was the first person ever to win both the jazz and classical solo competitions of the International Trumpet Guild in the same year. As a recording artist, Nathan can be heard on jazz, orchestral, soul, house, and bluegrass albums. He is a graduate of Brigham Young University and The Juilliard School. As part of his fellowship program, Nathan teaches at IS 129 in the Bronx.

CLAIRE BRYANT
Cellist Claire Bryant has appeared as a soloist with the Kuopion Orchestieri of Finland, the National Symphony of Honduras in Tegucigalpa, the San Francisco Conservatory Orchestra, and the South Carolina Philharmonic Orchestra. An active chamber musician, she has collaborated with Donald Weilerstein, the Peabody Trio, Roger Tapping, Maria Lambros, and members of the St. Lawrence, Orion, Mendelssohn, and Pacifica string quartets. She is a founding member of the TETRAS Quartet, a string quartet dedicated to the study, performance, and promotion of repertoire of the 20th and 21st centuries. She is the founder, producer, and artistic director of the acclaimed chamber music series With Strings Attached, which has raised over $10,000 for arts education in her native state of South Carolina. Claire received her Bachelor of Music degree from the San Francisco Conservatory of Music and her Master of Music degree from The Juilliard School. She now serves as the Faculty Assistant for Bonnie Hampton at The Juilliard School in the College and Pre-College Divisions. As part of her fellowship program, Claire teaches in the Bronx at the Grove Hill School, PS 157X.

DAVID BYRD-MARROW
A native of Atlanta, Georgia, David Byrd-Marrow currently lives in New York, where he performs in a wide range of musical genres. He received his Bachelor of Music degree from The Juilliard School, where he studied with Jerome Ashby of the New York Philharmonic and William Purvis of the New York Woodwind Quintet. He continued his studies with Mr. Purvis at SUNY–Stony Brook, where he received his Master of Music degree. David has appeared with the Tokyo and Atlanta symphony orchestras and the Orchestra of St. Luke’s, and has collaborated frequently with the Argento Ensemble and the International Contemporary Ensemble. He has performed as concerto soloist at the Brevard Music Festival, and has also performed at the Music Academy of the West in Santa Barbara, California, and the Festival dei Due Mondi in Spoleto, Italy. As part of his fellowship program, David teaches in Brooklyn at the Vincent D. Grippo School, PS 69 K.

BRENTON CALDWELL
Since beginning viola studies at the age of 12, Brenton Caldwell has performed on three continents. He has appeared as a soloist with the Curtis and Banff chamber ensembles and the East Texas Symphony Orchestra. A dedicated chamber musician, Brenton has performed alongside artists such as Roberto Díaz, Gary Graffman, Ida Kavafian, Menahem Pressler, and Steven Tenenbom. Festival appearances include Banff, Verbier, Angel Fire, Ravinia, Music@Menlo, Tanglewood, and the Amelia Island Chamber Music Festival. With an ardent devotion to education, Mr. Caldwell has participated in numerous outreach projects and served as teaching assistant to his longtime mentor Karen Tuttle. Other major influences include Susan Dubois, Jeffrey Irvine, Lynne Ramsey, Roberto Díaz, Misha Amory, and Pamela Frank. A native of Tyler, Texas, Brenton is a graduate of the Cleveland and Curtis institutes of music. As part of his fellowship program, Brenton teaches in Queens, at PS 62.

ANGELIA CHO
Violinist Angelia Cho was born in 1981 in Columbia, South Carolina, and began to study violin at age three. She made her debut with The Philadelphia Orchestra at age 11 at the Mann Music Center, and performed with the orchestra again at the Academy of Music three years later. Angelia graduated from The Curtis Institute of Music in 2002 and completed her graduate studies with Donald Weilerstein at the New England Conservatory. She has appeared as soloist with ensembles including the Pittsburgh Youth Symphony, Israel Kibbutz Orchestra, and Allegro Society under such conductors as Mark Laycock, Daniel Meyer, Luis Biava, Shlomo Mintz, and David Lobel. Angelia has attended master classes in Israel and at the International Musicians Seminar in Prussia Cove, England; has performed at the Sarasota, Verbier, and Yellow Barn festivals; and is a first-prize winner at the National Society of Arts and letters Violin Competition. As part of her fellowship program, Angelia teaches in the Bronx, at PS 154.

OWEN DALBY
Violinist Owen Dalby has performed throughout North America and Europe as a solo artist and as an orchestral and chamber musician. With pianist Alexander Rabin, Owen was a top prizewinner at the 2007 Lyon International Chamber Music Competition for violin and piano duo. Owen received bachelor’s and master’s degrees from Yale, where he served as concertmaster of both the Philharmonia Orchestra of Yale and the Yale Symphony Orchestra. He has also served as first violinist in the Norfolk Contemporary Chamber Ensemble, and has appeared with the Oakland East Bay Symphony (California) and in Europe with the Festival Orchestra of Sofia. Festival appearances include Aspen, Adriatic, Accademia Musicale Chigiana (Siena, Italy), Music at Menlo, Norfolk, Salzburg, and the Gros Morne Chamber Music Festival in Newfoundland. Owen is the co-founder and artistic director of The Hindemith Ensemble, a chamber group dedicated to promoting new music, music by Yale composers, and neglected chamber works from earlier times. As part of his fellowship program, Owen teaches in Manhattan, at the Choir Academy of Harlem.

STEPHEN DUNN
A native of Long Island, Stephen Dunn studied at Rutgers University’s Mason Gross School of the Arts, the Yale School of Music, and the Pierre Monteux School. In 2006, Stephen participated in a chamber music workshop with renowned conductor David Robertson, culminating in a performance of works of Varèse and Messiaen at Carnegie Hall. This past summer, the Aspen Music Festival and School awarded him a full fellowship, which included the opportunity to perform as principal trombone of the Aspen Chamber Symphony. Formerly principal trombone of the Monterrey Symphony Orchestra in Mexico, his most recent engagements have been with the Cincinnati, Hartford, and

ANNA ELASHVILI
Violinist Anna Elashvili has performed in the US, Europe, and Israel in such venues as Carnegie’s Zankel Hall and Weill Recital Hall, Stadttheater Lindau, and Mann Auditorium. She recently performed as soloist with Maxim Vengerov, and has also collaborated with such artists as Peter Serkin, Lynn Harrell, Donald Weilerstein, and the Peabody Trio. As a founder of the Fountain Chamber Music Society and former member of the Fountain Ensemble, she is a prizewinner of several international chamber music competitions. Ms. Elashvili has served as concertmaster of the Tanglewood and Verbier Festival Orchestras under James Levine, Claudio Abbado, and André Previn. Currently, she is a member of the String Orchestra of New York City and the Fantasy Duo. Ms. Elashvili is on the faculty at the Third Street Music School Settlement. She received her bachelor’s and master’s degrees from The Juilliard School. As part of her fellowship program, Anna teaches in Corona, Queens, at The Fairview School, PS 14.

JOANNA FRANKEL
A 2007 recipient of a Career Grant from the Rachel Elizabeth Barton Foundation, and of The Juilliard School’s prestigious William Schuman Prize for artistic excellence, violinist Joanna Frankel performs as guest soloist, recitalist, and chamber musician throughout the US and abroad. Highlights of Joanna’s upcoming seasons include solo recitals in Chicago, New York, Philadelphia, and Washington, DC; chamber music appearances at La Jolla’s SummerFest; and her European recital debut tour, which will include solo recital engagements at Amsterdam’s Concertgebouw as well as at various additional distinguished concert halls across Eastern Europe. Joanna made her Carnegie Hall recital debut in January 2007. A recent scholarship graduate of The Juilliard School in New York, Ms. Frankel has collaborated with mentors Jascha Brodsky, CJ Chang, Robert Chen, Masao Kawasaki, Joseph Kalichstein, and Cho- Liang Lin. As part of her fellowship program, Joanna teaches in Brooklyn, at PS 167.

ROMIE de GUISE-LANGLOIS
Born in Montreal, clarinetist Romie de Guise-Langlois received her Bachelor of Music degree from McGill University in Montreal and her Master of Music degree from the Yale School of Music, where she studied under David Shifrin. She recently completed Yale’s Artist Diploma Program, where she won first prize in the Woolsey Hall Competition and received the Nyfenger Memorial Prize for excellence in woodwind playing. In 2003, Romie was the first-prize winner of the McGill University Classical Concerto Competition and received the Canadian Broadcasting Company award. In 2006, she recorded a recital program for Radio-Canada’s Jeunes Artistes d’Espace Musique, and gave recitals and master classes in China. Romie has participated in many summer festivals, studying with André Moisan, Karl Leister, James Campbell, Robert Riseling, Fan Lei, Charles Neidich, and Franklin Cohen. She has appeared at the Banff Festival of Music, the Orford Arts Centre, and Marlboro Music Festival. As part of her fellowship program, Romie teaches in Brooklyn, at Lefferts Park School PS 112.

ELIZABETH JANZEN
A native of Newfoundland, Canada, flutist Elizabeth Janzen is rapidly establishing herself in the New York City area as a prominent teacher and performer. After competing at a national level while still in high school, Elizabeth pursued formal studies at the University of Toronto and at the Manhattan School of Music, where she is presently a doctoral candidate. Elizabeth has participated in internationally renowned programs such as the National Academy Orchestra, the Norfolk Chamber Music Festival, and the Sarasota Music Festival. She has also collaborated with such conductors as Pierre Boulez and David Robertson, and in 2005 she gave her New York debut recital at Carnegie Hall’s Weill Recital Hall. Elizabeth works actively as a freelance musician for orchestras, shows, and special events, and is currently on the faculty at the Manhattan and Diller-Quaile schools of music. As part of her fellowship program, Elizabeth teaches in Brooklyn at PS 135.

JOANNA KACZOROWSKA
In recent seasons, violinist Joanna Kaczorowska has performed at Carnegie Hall with cellist Yo-Yo Ma and the Silk Road Ensemble; with conductor David Robertson at Carnegie Hall; and with conductor Michael Tilson Thomas. Other recent engagements include appearances with Itzhak Perlman at the Music @ Menlo and Aspen Music festivals, a tour to Rome with Mr. Tilson Thomas and the New World Symphony, and chamber music concerts throughout Europe and the US with members of the Emerson String Quartet. Joanna has given the world premiere of Albert Carbonell’s Verbum at the Festival for Contemporary Performance in New York and the New York premiere of Gabriela Lena Frank’s Sueños de Chambi at Steinway Hall. Joanna is currently a visiting assistant professor of violin at SUNY–Stony Brook. She holds a doctorate from SUNY–Stony Brook and master’s degrees from the University of Massachusetts–Amherst and the Poznań Music Academy. Her teachers included Philip Setzer, Pamela Frank, Charles Treger, and Jadwiga Kaliszewska. As part of her fellowship program, Joanna teaches in Queens at PS 63.

WINNIE LAI
Winnie Lai maintains a varied chamber music and orchestra career in New York City, having performed with the IRIS Chamber Orchestra, Metropolitan Opera Orchestra, Seattle Symphony Orchestra, Juilliard Orchestra, National Repertory Orchestra, and Pacific Music Festival Orchestra. She has also collaborated with the Aspen Festival Orchestra and the Music Academy of the West. As a chamber musician, Winnie has played with the Chamber Music Society of Lincoln Center, Argento Chamber Ensemble, Jupiter Symphony Chamber Players, and at the Marlboro Music Festival. Winnie joined the oboe faculty at the Idyllwild Arts Academy Summer Program from 1999 to 2003. She currently teaches oboe and piano privately and is on the woodwind faculty of the Chinese Youth Orchestra of New York. Born in Kaohsiung, Taiwan, Winnie received Bachelor of Music and Master of Music degrees from The Juilliard School, where she studied with Elaine Douvas and John Mack. As part of her fellowship program, she teaches in the Bronx, at Luis Llorens Torres Children’s Academy.

ERIN LESSER
A native of Halifax, Nova Scotia, flutist Erin Lesser has performed as soloist and chamber musician throughout Canada, Europe, China, Brazil, and the US. She is actively involved in the contemporary music world, having worked with such composers as Pierre Boulez, George Crumb, Mario Davidovsky, Tristan Murail, and Philippe Hurel. She is a founding member of Argento Chamber Ensemble, Due East, and Scarborough Trio, and also performs with Wet Ink Ensemble and Trio St. Germain. Festival appearances include the Shanghai Electroacoustic Music Festival, Warsaw Crossdrumming Festival, Holland Festival, Ojai Music Festival (California), International Spectral Music Festival (Istanbul), and Sounds French Festival (New York City). Erin has been a guest artist with So Percussion, Alarm Will Sound, American Modern Ensemble, H. T. Chen Dance Company, and Mabou Mines Theatre, and has been heard on CBC Radio Canada and WQXR’s Young Artists’ Showcase. As part of her fellowship program, Erin teaches in Brooklyn, at Leadership 27.

JULIA MacLAINE
Cellist Julia MacLaine, from Prince Edward Island, Canada, has performed as a soloist and chamber musician throughout the US, Canada, and Europe, as well as in Iceland and Argentina. Her performances have been broadcast by the Canadian Broadcasting Corporation, and excerpts from her recently released CD of Australian composer Katia Tiutiunnik’s complete solo cello works have been broadcast in Australia. Julia has played with a variety of newmusic ensembles in New York, including the Ikarus Chamber Players, a group she co-founded to present new and classical music in innovative spaces and programs. In addition to having performed at Carnegie Hall, Weill Recital Hall, Merkin Hall, and Alice Tully Hall, Julia has appeared at the Colony Club, the National Arts Club, and the Consulates of Poland, Bulgaria, and Ukraine. Julia studied with Timothy Eddy at The Juilliard School and Mannes College of Music, and with Antonio Lysy at McGill University. As part of her fellowship program, Julia teaches in Staten Island, at IS 61.

MICHAEL MIZRAHI
Michael Mizrahi has appeared as concerto soloist, recitalist, and chamber musician with Leon Fleisher and the Curtis Chamber Orchestra, the Houston Symphony, National Symphony Orchestra, and Sioux City Symphony. He won First Prize and the Audience Choice Award in the 2004 Ima Hogg Competition, as well as first prizes in the Berkeley Piano Club Competition, the International Bartok-Kabalevsky Competition, and the Iowa International Piano Competition. He is a founding member of NOW Ensemble, a group devoted to the commissioning and performance of new music by emerging composers, as well as the Moët Trio, which is quickly establishing itself as one of today’s most exciting young piano trios. Michael joined the Astral Artistic Services artist roster in 2005. He received his B.A. degree in music and religion from the University of Virginia and a master’s degree in piano performance from the Yale School of Music. As part of his fellowship program, Michael teaches in Queens at The Judge Charles J. Vallone School, PS 85Q.

PAUL MURPHY
Born in Kansas City, Missouri, trumpeter Paul Murphy has performed in renowned concert halls throughout Europe, Asia, and the Americas including the Seoul Arts Centre, Teatro Colón, Palacio de Bellas Artes, Alice Tully Hall, and Carnegie Hall. Formerly Principal Trumpet of the Daejeon Philharmonic in South Korea, he has also performed with the Kansas City Symphony, and has worked with leading conductors and composers including Sir Neville Marriner, David Robertson, Peter Oundjian, Michael Stern, Krzysztof Penderecki, and John Williams. In 2006 he appeared as a soloist with the New Haven Chamber Orchestra, and he has also performed as a tour soloist with the St. Olaf Band. Paul has participated in numerous summer festivals, including the Music Academy of the West, where he worked with Paul Merkelo and Joe Burgstaller. Paul holds degrees from the Yale School of Music and St. Olaf College, where he studied with Allan Dean, Martin Hodel, and Charles Lazarus. As part of his fellowship program, Paul teaches in Brooklyn, at PS/IS 180.

KRISTOFFER SAEBO
Bassist Kristoffer Saebo is a soloist, bass guitarist, and chamber and orchestral musician. He performs regularly with The Chris Norman Ensemble, Grammy Award winner Paul Halley, and the Alaskan Native Band Pamyua, with whom he showcased at the 45th Annual Grammy Awards. As a member of I Palpiti, the chamber orchestra of Young Artists International, Kristoffer has toured throughout Europe, North America, and the Middle East. He has also performed contemporary music with such groups as Alarm Will Sound, Argento Chamber Ensemble, and Anechoic Chamber Ensemble. Kristoffer received his Bachelor of Music degree from The Juilliard School in 2004 as a student of Homer Mensch, and his Master of Music degree from Juilliard in 2006 as a student of Orin O’Brien. As part of his fellowship program, Kristoffer teaches in Manhattan at Brandeis High School.

ARTHUR SATO
Oboist Arthur Sato has appeared with Cygnus Ensemble, Second Instrumental Unit, and The Juilliard School’s Axiom Ensemble. In addition, he has performed as Principal Oboe in The Juilliard Centennial Tour Orchestra and Richmond (IN) Symphony and has appeared with the Oregon and Haddonfield symphonies. Arthur held his first professional orchestra position at age 19 as Associate Principal of the Nuevo Leone Symphony Orchestra in Monterrey, Mexico. After pursuing undergraduate studies at Indiana University, he earned his Master of Music degree at The Juilliard School, where he studied with John Mack and Elaine Douvas. He was subsequently invited to participate in the inaugural season of The Academy—A Program of Carnegie Hall, The Juilliard School, and Weill Music Institute. In his spare time, Arthur enjoys running, literature, and event planning. As part of his fellowship program, he teaches in Brooklyn at the School of the Performing Arts, PS 315.

LEAH SWANN
An avid chamber musician, orchestral performer, writer, and organizer of interdisciplinary collaborations, violist Leah Swann recently completed her Graduate Diploma at the New England Conservatory, where she studied with and was Teaching Assistant for Martha Katz. In recent years, Leah has performed under James Levine, Bernard Haitink, Michael Tilson Thomas, and Rafael Fruhbeck de Burgos, frequently appearing as a substitute with the New World Symphony and as principal with the Tanglewood Music Center Orchestra. As a recipient of an Albert Schweitzer Fellowship in 2006–07, Leah designed and taught music and violin classes in South Boston, completing over 200 hours of community service. Leah has worked with chamber musicians from the Cleveland, Guarneri, Juilliard, Orion, Takács, and Ying quartets, and received a BA degree in English from Yale University, where she was awarded a fellowship to study primate behavior in Bali, Indonesia, and won Honorable Mention in the Atlantic Monthly’s Nonfiction Competition. Leah currently freelances for Strings magazine. As part of her fellowship program, Leah teaches in Queens, at Long Island City High School.

ALANA VEGTER
French hornist Alana Vegter is a recent graduate of The Juilliard School. A student of Julie Landsman, she was a recipient of the full-tuition Bidú Sayão Scholarship. While pursuing her undergraduate degree in Chicago at DePaul University, she was a regular member of the Civic Orchestra of Chicago, the training orchestra of the Chicago Symphony Orchestra. Alana has concertized in music halls around the world, including Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, Suntory Hall in Tokyo, Kitara in Sapporo, the Wiener Konzerthaus in Vienna, L’Auditori in Barcelona, Orchestra Hall in Chicago, and the Kennedy Center in Washington, DC. She has performed in both orchestral and chamber music settings with the Juilliard Orchestra and at the Spoleto Festival USA, Pacific Music Festival, the Verbier Festival, and the Aspen Music Festival with conductors including Daniel Barenboim, Valery Gergiev, James Conlon, Pierre Boulez, Michael Tilson Thomas, and Herbert Blomstedt. As part of her fellowship program, Alana teaches in Brooklyn, at Ditmas 62.

Christopher Hogwood, Conductor
Conductor, keyboardist and musicologist Christopher Hogwood is a distinguished proponent of the early music movement, as well as a renowned conductor of 19th- and 20th-century works. Emeritus Director of the Academy of Ancient Music, the orchestra he founded in 1973 and with whom he has a critically acclaimed catalogue of over 200 recordings, Mr. Hogwood will conduct a series of rarely performed Handel operas in concert with Flavio this spring. In addition, he is Conductor Laureate of Boston’s Handel & Haydn Society and continues to be a regular guest with many of the world’s leading orchestras and opera companies, including Tonhalle Zurich, Orquesta Ciudad de Granada, Frankfurt Radio Symphony Orchestra, and Athens Camerata. This season he also conducts the Schleswig Holstein Festival Orchestra, Residentie Orchestra, Barcelona Symphony Orchestra, Leipzig Opera, and Bremer Philharmoniker.

Mr. Hogwood began his career as a keyboardist. His repertoire ranges from mediaeval to contemporary music, but he has a particularly affinity for Haydn and Handel as well as 20th-century music. His current editorial work varies from the overtures and symphonies by Mendelssohn to the Fitzwilliam Virginal Book and complete keyboard works of Purcell.

Mr. Hogwood’s discography with AAM for Decca includes the complete Mozart and Beethoven symphonies on period instruments. Other current projects include a series of neoclassical works on Sony/BMG’s Arte Nova label with Kammerorchester Basel and Martinů’s complete works for violin and orchestra on Hyperion.

Mr. Hogwood’s many publications include Music at Court, a survey of patronage through the ages, as well as biographical studies of Haydn and Mozart. His book Water Music and Music for the Royal Fireworks was recently published by Cambridge University Press, and his written work has been translated into many languages, including German and French. Mr. Hogwood is a recipient of the Halle Honorary Handel Prize for his unique contribution to Handel studies, including performance, editing, recording. and writing. He is Honorary Professor of Music at the University of Cambridge and Visiting Professor at the Royal Academy of Music. For more information visit hogwood.org.