NEW MUSIC SERIES Keith Fitch, director

Wednesday, February 7, 2018

Elliott Carter

(1908-2012)

Tōru Takemitsu

(1930-1996)

Frederick Fox

(1931-2011)

Sonata for Flute, Oboe, Cello and

Harpsichord (1952)

Risoluto

Lento

Allegro

Alexandria Hoffman, flute

Devin Hinzo, oboe

Joseph Teeter, cello

Taylor Flowers, harpsichord

Rain Spell (1982)

Alexandria Hoffman, flute/alto flute

Zachary West, clarinet

Natalie Man, harp

Su Han Ho, piano

Taylor Newman, vibraphone

Upon the Reedy Stream (1987)

Devin Hinzo, oboe

Vltava Quartet

Julian Maddox, violin

Zichuan Kevin Wang, violin

John-Paul Shoemaker, viola

Joseph Teeter, cello

Intermission

8pm | Mixon Hall

New Music Ensemble

Keith Fitch, director

Matthew Brennan, baritone, student artist

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The Range of Light (2016-18)

Prelude — Mountain Music

The Valley is tranquil and sunful

Rise range o’er range in song and rhyme

Interlude: The snow is melting into music

Auroras — Interlude Echo (Coda)

Mountain Music — Postlude

Matthew Brennan, baritone

Moises Lopez Ruiz, flute/alto flute/bass flute

Zachary West, clarinet

Connor Monday, horn

James Thompson, violin

Daniel Blumhard, cello

Taylor Flowers, piano

Dean Buck, conductor

(Vocal texts are printed beginning on page 5.)

Keith Fitch

(b. 1966)

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Sonata for Flute, Oboe, Cello Elliott Carter

and Harpsichord

When American composer Elliott Carter died on November 5,

2012—just one month and six days prior to his 104th birthday and

three months after the completion of his final work—a career that

spanned eight decades came to a quiet close. In many ways Carter had

a charmed life in music. Beginning with his spiritual/aesthetic

apprenticeship with Charles Ives when he was a teenager, to his

rigorous compositional training under the famed French pedagogue

Nadia Boulanger, to his universal stature as one of the most

distinguished composers after World War II until his death in 2012,

Carter was a witness to—and participant in—every major trend of

20th century music with the exception of Minimalism. From the 1950s

to 2012, Carter embodied and reflected nearly every trend of the

international avant-garde.

However, Carter’s road to compositional maturity was long and

arduous. Unlike Aaron Copland, Walter Piston and others who

studied with Boulanger, he did not emerge from her tutelage a fully

formed composer with a recognizable style. Until he found his

“composer’s voice,” Carter oscillated between the two poles of

American ultramodernism (as found in the works of such composers

as Charles Ives, Carl Ruggles, Henry Cowell and Edgard Varèse) and

the European neo-classic modernism of the then-omnipresent Igor

Stravinsky, as championed by Boulanger. What he finally settled on was

not so much a rejection of this dichotomy as a fusion of these two

strains. The Sonata for Flute, Oboe, Cello and Harpsichord is a prime

example of this synthesis.

According to the composer, the sonata was written during a time

(1952) when “I was preoccupied with the tie-memory patterns of

music…” and with a freer, more vital and sensitive musical language.

The harpsichord functions as the center of the music due to its

“wonderful array of tone-colors.” Here is Carter’s description of the

sonata: “The music starts, Risoluto, with a splashing dramatic gesture

whose subsiding ripples for the rest of the movement. The Lento is an

expressive dialogue between the harpsichord and the others with an

undercurrent of fast music that bursts out briefly near the end. The

Allegro, with its gondolier’s dance fading into other dance movements,

ABOUT THE PROGRAM

4

is cross-cut like a movie—at times it superimposes one dance on

another.”

— Steve Lacoste

Rain Spell Tōru Takemitsu

Rain Spell (1982) was written for the Japanese contemporary music

ensemble Sound Space Ark and was first performed by them in

Yokohama in January 1983. Takemitsu’s fascination with the subject of

water in all its manifestations was a continuing theme in his works,

dating back to the beginning of his career with his 1963 electronic

work, Water Music. In 1980, he observed, “Thinking of musical form I

think of liquid form. I wish for musical changes to be as gradual as the

tides.”

— Keith Fitch

Upon the Reedy Stream Frederick Fox

Composed in 1987, Upon the Reedy Stream is a single movement,

eleven-minute work for oboe and string quartet. Comprised of five

major sections which are delineated by tempo and mood, the opening

section presents chordal and glissando characteristics which are

developed in the subsequent sections. Another principal aspect in the

design of Upon the Reedy Stream is that the oboe is a foil to the music

of the string quartet.

The title comes from a poem of John Keats.

— Frederick Fox

The Range of Light Keith Fitch

Founded in 1942 by pianist Beth Miller Harrod and located in Rocky

Mountain National Park, Rocky Ridge Music Center is one of the

nation’s oldest summer music programs and is dedicated to

“transforming lives through music, nature and community.” Since 2015,

I have had the privilege of serving as the director of its Young Artist

Program in Composition. During the summer of 2016, I was discussing

composing a new work for the following year’s festival with Executive

Director SoYoung Lee, when she remarked that 2017 would be the

seventy-fifth anniversary of the program. In a bit of compositional

synchronicity, I had brought with me that summer a selection of

writings by John Muir, father of the National Park System, founder of

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the Sierra Club and our country’s first—and most important—

environmentalist. At that moment, we decided that a work using

Muir’s words to celebrate not only Rocky Ridge, but also the National

Park System itself (which celebrated its centennial in 2016), would be

the ideal way to observe both of these important milestones.

John Muir (1838-1914) is justly celebrated as one of our nation’s

seminal naturalists, conservationists and activists. The Range of Light

uses texts selected from several of his writings, including “Our

National Parks,” “My First Summer in the Sierra,” “The Yosemite,” as

well as various unpublished texts (the title of the work itself is Muir’s

own description of the Sierra Nevada mountain range). Some of the

texts are used directly as written by Muir; others were rearranged to

create a more musical flow or narrative structure.

The Range of Light was commissioned by the Rocky Ridge Music Center

in celebration of its seventy-fifth anniversary season and was

premiered there (minus movement III) in July 2017. This evening’s

performance is the first of the complete, revised version. The work is

dedicated to the students, faculty and staff of Rocky Ridge. Special

thanks to the Corporation of Yaddo, where portions of this work

were completed during the winter of 2016-17.

— Keith Fitch

Texts

I. Prelude – Mountain Music

Come to the woods, for here is rest. There is no repose like that of

the green deep woods. Here grow the wallflower and the violet. The

squirrel will come and sit upon your knee, the logcock will wake you in

the morning.

(Exploring the Sequoia Belt, 1875)

Climb the mountains and get their good tidings. Nature’s peace will

flow into you as sunshine flows into trees. The winds will blow their

own freshness into you, and the storms their energy, while cares will

drop off like autumn leaves.

(Our National Parks, 1901)

Sleep in forgetfulness of all ill. Of all the upness accessible to mortals,

there is no upness comparable to the mountains.

(Exploring the Sequoia Belt, 1875)

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II. The Valley is tranquil and sunful

The Valley is tranquil and sunful

And Winter delayeth his coming.

The river sleeps currentless in deep mirror pools,

The falls scarce whisper.

The brown meadows bask,

The domes bathe dreamily in deep azure sky,

And all the day is Light.

(Sierra Fragments, December 20, 1872)

III. Rise range o’er range in song and rhyme

Rise range o’er range in song and rhyme

Triumphant, wild, serene, sublime,

The purple tundras far extending

Seem with the purple heavens blending;

Endless waters, endless woods,

Endless gardens, endless floods,

Silvery fiords, and balmy air

Spread endless beauty ev’rywhere.

(Cruising with the Harriman-Alaska Expedition, 1899)

V. Auroras

The dark bodeful night

Becomes divine and transfigured in light,

Puts on the garment of Eternity

That comes from no earthly sun.

Radiant glory of that midnight sky,

Resplendent star-atoms shining, stars beyond stars. . . .

The dark bodeful night becomes divine

Heaven and earth are one.

(Alaska Fragments, Late July, 1890)

VI. Mountain Music – Postlude

Never while anything is left of me shall this be forgotten. It has fairly

grown into me, as part and parcel of mind and body alike.

(My First Summer in the Sierra, 1911)

It is in these garden dells and glades, in peaceful spots where the winds

are quiet, holding their breath, and every lily is motionless on its stem,

that one is wholly free to enjoy self-forgetting. Here is no care, no

time, and one seems to float in the deep, balmy summertide. . .

(Tuolumne Days and Nights, about 1872)

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And the dawns and sunrises and sundowns of these mountain days, ‒ the rose light creeping higher among the stars, the level beams

bursting forth, streaming across the ridges, touching pine after pine,

awakening and warming all the mighty host to gladly do their shining

day’s work. The great sun-gold noons, the alabaster cloud-mountains,

the landscape beaming with consciousness like the face of a god. The

sunsets, when the trees stood hushed awaiting their good-night

blessings. Divine, enduring, unwastable wealth.

(My First Summer in the Sierra, 1911)

~ ~ ~

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ABOUT THE COMPOSERS

ELLIOTT CARTER (December 11, 1908 - November 5, 2012) is

internationally recognized as one of the most influential American

voices in classical music and a leading figure of modernism in the 20th

and 21st centuries. He was hailed as “America’s great musical poet” by

Andrew Porter and noted as “one of America’s most distinguished

creative artists in any field” by his friend Aaron Copland. Carter’s

prolific career spanned over 75 years, with more than 150 pieces, ranging from chamber music to orchestral works to opera, often

marked with a sense of wit and humor. He received numerous honors

and accolades, including the Pulitzer Prize on two occasions: in 1960

for his String Quartet No. 2 and in 1973 for his String Quartet No. 3.

Other awards include Germany’s Ernst Von Siemens Music Prize and

the Prince Pierre Foundation Music Award. Carter was the first

composer to receive the United States National Medal of Arts and is

one of a handful of composers inducted into the American Classical

Music Hall of Fame. He was recognized twice by the Government of

France: being named Commander of the “Ordre des Arts et des

Lettres” and receiving the insignia of Commander of the Legion of

Honor in September 2012.

Born in New York City, Elliott Carter was encouraged towards a

career in classical music by his friend and mentor Charles Ives. He

studied under composers Walter Piston and Gustav Holst while

ABOUT THE SOLOIST

MATTHEW BRENNAN (baritone) is in the second year of the

Master of Music degree at CIM, studying with Dr. Dean Southern. CIM

Opera Theater credits include Guglielmo in Così fan tutte and the

Father in the upcoming production of Hänsel und Gretel. Some favorite

credits include Prosper in La Vie parisienne with the Ohio Light Opera,

Count Almaviva in Le nozze di Figaro with Vanderbilt Opera Theater

(professional engagement) and the role of “The Innocent” in the world

premiere of the Art Song Theater piece, Once, Babylon at the

Vancouver International Song Institute. Brennan is currently adjunct

faculty in voice at Notre Dame College and bass section leader at the

Old Stone Church. He completed his Bachelor of Music at Vanderbilt

University.

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attending Harvard University, and later traveled to Paris, studying with

Nadia Boulanger. Following his studies in France, he returned to New

York and devoted his time to composing and teaching, holding posts

over the years at St. John’s College, Peabody Conservatory, Yale

University, Cornell University and The Juilliard School, among others.

Carter’s early works, such as his Symphony No. 1 (1942) and Holiday

Overture (1944), are written in a neoclassical style—influenced by his

contemporaries Copland, Hindemith and Stravinsky. After the Second

World War, in works such as his Cello Sonata (1948) and String Quartet

No. 1 (1950-51), he began to develop a signature rhythmic and

harmonic language, which he continued to refine to the very end of his

life. Igor Stravinsky hailed his Double Concerto for harpsichord, piano and

two chamber orchestras (1961) and Piano Concerto (1965) as

“masterpieces.”

A creative burst of imagination began in earnest during the 1980s with

works such as Night Fantasies (1980), Triple Duo (1982-83), Penthode

(1985), and major orchestral essays such as his Oboe Concerto (1986-

87), Three Occasions for Orchestra (1989), Violin Concerto (1990), and

Symphonia: sum fluxae pretium spei (1993-96). Carter’s only opera,

What Next? (1997-98), with a libretto by Paul Griffiths, was introduced

by Daniel Barenboim, a champion of the composer’s music, in Berlin in

1999, and has since been produced at Tanglewood, Munich, New

York, Vienna, Melbourne, Montpellier and Duisburg.

Carter’s remarkable late-career creative burst continued at an

astonishing rate, encouraged by commissions from Pierre Boulez and

the Ensemble Intercontemporain; Oliver Knussen and the BBC

Symphony Orchestra; James Levine and the Boston Symphony; the

Aldeburgh, Lucerne, and Tanglewood Festivals; and ensembles from

Boston to Seattle and London to Ljubljana. Carter composed more

than sixty works after the age of ninety including his Cello Concerto

(2000), Of Rewaking (2002), Dialogues (2003), Three Illusions for

Orchestra (2004), Mosaic (2004) and In the Distances of Sleep (2006).

In his final years, Carter continued to complete works with astounding

frequency, including Interventions for piano and orchestra (2007), Flute

Concerto (2008), What are Years (2009), Concertino for Bass Clarinet and

Chamber Orchestra (2009) and The American Sublime (2011). Carter’s

last completed orchestral work, Instances (2012), was premiered by

the Seattle Symphony in February 2013. His final work, Epigrams

(2012) for piano trio, was premiered at the Aldeburgh Festival in June

2013.

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~ ~ ~

TŌRU TAKEMITSU is without a doubt the most important of those

Japanese composers who have written music in the Western tradition,

while at the same time preserving a fundamental Japanese identity,

bringing his awareness of Japanese music and its traditions into a

remarkable and very original synthesis.

Born in Tokyo on October 8, 1930, Takemitsu was virtually self-taught

as a musician. His very few formal lessons were limited to his contact

with the composer Yasuji Kiyose. As Takemitsu himself related, his

musical epiphany occurred in his early teenage years when, while

serving as a member of a student relief force in the hinterlands of Japan

near the end of World War II, he became transfixed by a friend’s

recording of the famous French chanson, “Parlez-moi d’amour.”

Henceforth, he determined, he would make music his life’s work. At

the end of the war, Takemitsu supported himself by working in the

kitchen of an American military base, which provided him free access

to a piano in the dining-hall where he could hone his talents.

Takemitsu found himself drawn to the music of those composers who

were themselves deeply influenced by the musical and philosophical

traditions of Asian culture, notably Claude Debussy, Olivier Messiaen

and, later, John Cage. Through his mentor Kiyose, he met his

contemporaries Hayasaka and Matsudaira, who informed him about

traditional Japanese and Asian music. Between 1950 and 1952, the

three of them took part in Kiyose’s Shin Sakkyokuha Kyokai (New

School of Composers) group, where Takemitsu had his first

performances. At these concerts, he met the composers Joji Yuasa and

Kuniharu Akiyama, and together with several other painters, poets and

performers, established a new group, the Jikken Kobo (Experimental

Workshop), dedicated to the performance of mixed media works.

Takemitsu’s contributions to their repertoire included some of the

earliest examples of musique concrète, free improvisation, graphic

notation and aleatoric music.

Takemitsu came to international attention following the lavish praise

Stravinsky expressed upon hearing his Requiem for Strings in 1959

during a visit to Japan. This work, dedicated to the memory of Kiyose,

was the first in a series of sensitive, evocative orchestral works that

would establish Takemitsu’s international reputation. Many of these

scores were championed early on by Seiji Ozawa during his tenure as

conductor of the Toronto Symphony in the 1960s. Takemitsu’s

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inimitable integration of east and west, timbre and texture, and sound

and silence made him the first Japanese composer to achieve such an

international presence. His scores for the films of Akira Kurosawa

(including the classic Ran) brought his music to an even larger audience

in the 1970s and 1980s. He was composer-in-residence at the

Canberra Spring Festival, California Institute of Technology, Berliner

Festwochen, Colorado Musical Festival, Tanglewood Festival, Banff

Centre, Aldeburgh Festival and many others. He also lectured at

Harvard, Boston, Yale and other universities. He died in Tokyo on

February 20, 1996.

~ ~ ~

FREDERICK FOX was born in 1931 in Detroit. Fox began playing

saxophone in junior high school. By the age of 15, he was playing sax in

pick-up dance hall jazz bands in Detroit, and at 17, taking private

lessons with Laurence (Larry) Teal. Band road trips then ensued and it

was during these trips that Fox began to tinker with composing.

As his interest in composition and arranging deepened, Fox was

frequently counseled by Ray McConnell, whom he had enjoyed a

musical relationship with since his teen years. He subsequently studied

composition with Ruth Shaw Wiley at Wayne State University and,

following graduation with a Bachelor of Music, he worked for a year

with Ross Lee Finney at the University of Michigan. With an abiding

interest in jazz, Fox soon found himself again touring as a saxophonist.

By 1955, however, he had turned his energies to serious composing

and enrolled at Indiana University to study composition with Bernhard

Heiden.

After acquiring both his Master of Music (1957) and Doctor of Musical

Arts (1959) in composition from Indiana University, Fox began an

odyssey that carried him to various teaching and foundations posts

around the United States. He initially taught at Franklin College in

Franklin, Indiana, where he constituted the entire music faculty. Fox

then went to Sam Houston State University in Texas, after which, in

1962, he was one of a handful of composers selected by the National

Music Council to serve as composers-in-residence to the nation’s

public schools; he accepted a position with the Minneapolis Public

Schools. The Ford Foundation then became involved with the project,

and Fox assumed a post that took him and his family to Washington,

DC.

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In 1964, Fox was appointed chair of music theory and composition in

the music department at California State University at Hayward (now

California State University, East Bay). Later, from 1970-72, he served

as chair of the music department itself. During his time at the

institution, enrollment in the music department blossomed from 60

students to nearly 500.

In 1974, he returned to Indiana University, where he continued to

teach until his retirement in 1997. In 1975, he founded the Indiana

University New Music Ensemble, with himself as its first director.

Under his leadership, the ensemble began to take its place as one of

the foremost university ensembles of its kind in the country. Fox was

appointed chair of the Indiana University School of Music composition

department in 1981 and led that department for thirteen years, a

period during which it gained increasing recognition and became one

of the highest-ranked programs in the US.

Throughout his long career, Fox always considered himself a

“composer who teaches,” rather than a “teacher who composes.” “At

the core, it’s always been the music,” he has said. But Fox took

teaching seriously and is proud to have contributed to the musical

education of hundreds of students. Some of his most notable students

are James Aikman, Margaret Brouwer, David Dzubay, Keith Fitch,

Jeffrey Hass, Jeeyoung Kim, Robert Paterson, Mark Phillips and Stephen

Suber. Several of his former students have gone on to prominent

teaching posts of their own in the United States as well as other

countries.

Like many young American composers in the fifties and sixties, Fox had

experience as a jazz performer and arranger before he took up

composing. His music grows principally out of this background,

experience and interest in jazz, in addition to serial techniques, and

some informal systematic formulations which tend to possess qualities

of improvisation. Though he found serialism to be essentially at odds

with his creative outlook, Fox’s jazz background was to find its echo in

several of his most characteristic works. His extensive catalog, which

numbers upwards of 80 compositions, includes several orchestral and

concerted works, a ballet, a substantial amount of chamber music,

several choral pieces, as well as a dozen or so solo instrumental

works.

Frederick Fox passed away at his home in Bloomington on August 24,

2011.

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~ ~ ~

KEITH FITCH currently heads the Composition Department and

holds the Vincent K. and Edith H. Smith Chair in Composition at the

Cleveland Institute of Music, where he also directs the CIM New

Music Ensemble. Called “gloriously luminous” by The Philadelphia

Inquirer, his music has been consistently noted for its eloquence,

expressivity, dramatic sense of musical narrative and unique sense of

color and sonority. Reviewing a performance of his work Totem by

Wolfgang Sawallisch and The Philadelphia Orchestra (chosen by

Maestro Sawallisch to celebrate the orchestra’s centennial), The Wall

Street Journal praised “the sheer concentration of his writing, and its

power to express a complex, unseen presence shaping the course of

musical events.” The American Academy of Arts and Letters has said,

“[his] music reveals an individual landscape that concentrates on

unusual textures and sounds—all within a strong narrative that drives

towards a rich and powerful conclusion.” His works have been

performed throughout the United States, Europe and Asia by such

ensembles and soloists as The Philadelphia Orchestra, American

Composers Orchestra, League of Composers Orchestra, Chamber

Music Society of Lincoln Center, St. Luke’s Chamber Ensemble,

Colorado Quartet, Da Capo Chamber Players, percussionist James

Preiss, harpist Yolanda Kondonassis and guitarist Jason Vieaux, and

many others. His music has been heard at the Norfolk Chamber Music

Festival, June in Buffalo Festival, Atlantic Center for the Arts and New

York’s Carnegie and Merkin Halls, among others, as well as in

university settings nationwide. Recent works include a Piano Quartet,

“Last Words;” The Range of Light, a setting of texts by John Muir,

commissioned by the Rocky Ridge Music Center to celebrate its

seventy-fifth anniversary; and Three English Sonnets, a solo flute work

for Joshua Smith, principal flute of The Cleveland Orchestra.

A native of Indiana, Fitch (b. 1966) began composing at age eight and

began formal musical training on the double bass at age eleven. While

still in high school (age sixteen), he received his first professional

orchestral performance. He attended the Indiana University School of

Music, where he studied composition with Frederick Fox, Eugene

O’Brien and Claude Baker; double bass with Bruce Bransby and

Murray Grodner; and chamber music with Rostislav Dubinsky, founder

of the Borodin Quartet. He also counts Donald Erb and Joan Tower

among his compositional mentors. Among his many awards are three

each from ASCAP and the National Society of Arts and Letters, an

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Individual Artist Grant from the Indiana Arts Commission and the

National Endowment for the Arts, a Fromm Music Foundation

Commission, two Individual Excellence Awards from the Ohio Arts

Council, a Copland House Residency Award and the 2016 Walter

Hinrichsen Award from the American Academy of Arts and Letters.

He has enjoyed multiple residencies at The MacDowell Colony and the

Virginia Center for the Creative Arts, as well as at Yaddo, The Charles

Ives Center for American Music and the Atlantic Center for the Arts,

and he has twice served as Resident Composer and faculty at the

Chamber Music Conference and Composers’ Forum of the East.

Highly regarded as a teacher, chamber music coach and conductor of

new music, he has taught at Indiana University, Bard College, and for

eleven years served on the faculty of the Mannes College of Music in

New York. He frequently appears as guest composer at colleges and

universities nationwide and his students regularly win awards from

such prestigious organizations as ASCAP, BMI, the American Academy

of Arts and Letters and the Fulbright Foundation, as well as attending

leading summer festivals around the world. A passionate advocate for

new music, for five years, he curated a concert series at Cleveland’s

Museum of Contemporary Art, and he has mentored such ensembles

as Cleveland’s FiveOne Experimental Orchestra and Ars Futura

ensemble, as well as individual members of leading new music

ensembles throughout the country. In June 2015, he joined the faculty

at the Rocky Ridge Music Center as Composer-in-Residence and

Director of the Young Artist Seminar in Composition. His music is

published by Non Sequitur Music and Edition Peters and appears on

Azica Records and Naxos Digital. He joined the CIM faculty in 2008.

www.keithfitch.com

~ ~ ~

15

ABOUT THE ENSEMBLE

The CIM New Music Ensemble was first formed as the CIM

Contemporary Music Ensemble in 1973 by composer Donald Erb (a

precursor to the ensemble was CIM’s “Portfolio” Series in the early

1970s). Its first concert was given on October 10, 1973, and was

devoted to the music of Bernard Heiden, with whom Erb had studied

at Indiana University. Since then, the ensemble has been led by Larry

Baker and Margaret Brouwer; it is currently led by Keith Fitch, Head of

the CIM Composition Department. Devoted to the music of our

time—as well as classics of the twentieth century—in recent years the

ensemble has hosted many of today’s leading composers, including

Claude Baker, Chen Yi, Donald Crockett, Stephen Hartke, James

Mobberly, Shulamit Ran, David Rakowski, Augusta Read Thomas,

Steven Stucky and Joan Tower, among others. Members of the

ensemble have gone on to found such new music ensembles and series

as Classical Revolution Cleveland, FiveOne Experimental Orchestra

and Ars Futura, as well as being members of such nationally-recognized

groups as wild Up and the Aspen Contemporary Ensemble. Recent

alumni of the ensemble include the 2014 Gold Medal Laureate of the

International Violin Competition of Indianapolis, Jinjoo Cho. For

several years, the ensemble partnered with the Museum of

Contemporary Art Cleveland as part of their concert series; upcoming

concerts include a repeat appearance at the Cleveland Museum of Art

and at the Bob Stop as part of the 2018 NEOSonic Festival.

~ ~ ~

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February 8, Thursday

12:30pm | Mixon Hall

Piano Master Class

Hyoung-Joon Chang, piano, guest artist

Sponsored in part by the Kulas Visiting Artist Program

February 8, Thursday

7:30pm | Kulas Hall

Preparatory Concerto Showcase

Cleveland Institute of Music Orchestra

Hana Chang, violin, student artist

Leo Gevisser, piano, student artist

Gabriel Shapiro, piano, student artist

Dean Buck, student conductor

Sean Radermacher, student conductor

Yun Song Tay, student conductor

Xuecong (Sunny) Xia, student conductor

Music of Mozart, Prokofiev and Grieg

February 14, Wednesday

8pm | Mixon Hall

Shuai Wang, piano

Jinjoo Cho, violin

Yun-Ting Lee, violin, guest artist

Eric Wong, viola

Daniel Pereira, cello

Madeline Lucas Tolliver, flute

Benjamin Chen, clarinet, guest artist

Luke Rinderknecht, percussion

Music of Ives, Copland, Kouyoumdjian, Bermel and Wolfe

Free seating passes required

February 21, Wednesday

8pm | Mixon Hall

Pianofest

The Symphony Hall and Opera House: An Evening of Piano Transcriptions

HaeSun Paik, host

A reception follows

UPCOMING EVENTS