Concert Program

OneMusic International Ensemble

Shakespeare’s Spirit

A Night of Music & Literature

October 10 & 12, 2024

Carmit Zori- Violin

Yibin Li - Violin

David Cerutti - Viola

Philippe Muller - Cello

Alexandre Moutouskine- Piano

Chung-Hsi Hsieh - Piano

Kaitlyn Schirard - Reading

Piano Trio No.5 in D Major, Op.70, No. 1 " Ghost"

Ludwig van Beethoven

"Lullaby" for cello solo

Kaija Saariaho

Piano Quintet in A MinorOp.84

Edward Elgar

Readings

Hecate from Macbeth Act 3, scene 5

Have I not reason, beldams as you are,
Saucy and overbold? How did you dare
To trade and traffic with Macbeth
In riddles and affairs of death;
And I, the mistress of your charms,
The close contriver of all harms,
Was never call'd to bear my part,
Or show the glory of our art?
And, which is worse, all you have done
Hath been but for a wayward son,
Spiteful and wrathful, who, as others do,
Loves for his own ends, not for you.
But make amends now: get you gone,
And at the pit of Acheron
Meet me i' the morning: thither he
Will come to know his destiny:
Your vessels and your spells provide,
Your charms and every thing beside.
I am for the air; this night I'll spend
Unto a dismal and a fatal end:
Great business must be wrought ere noon:
Upon the corner of the moon
There hangs a vaporous drop profound;
I'll catch it ere it come to ground:
And that distill'd by magic sleights
Shall raise such artificial sprites
As by the strength of their illusion
Shall draw him on to his confusion:
He shall spurn fate, scorn death, and bear
He hopes 'bove wisdom, grace and fear:
And you all know, security
Is mortals' chiefest enemy.
Hark! I am call'd; my little spirit, see,
Sits in a foggy cloud, and stays for me.


Macbeth from Macbeth Act 5, scene 5

Tomorrow, and tomorrow, and tomorrow,

Creeps in this petty pace from day to day,

To the last syllable of recorded time;

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle!

Life's but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.


Caliban from The Tempest Act 3, scene 2

Be not afeard; the isle is full of noises,
Sounds and sweet airs, that give delight, and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometime voices,
That, if I then had waked after long sleep,
Will make me sleep again: and then, in dreaming,
The clouds methought would open, and show riches
Ready to drop upon me; that, when I waked,
I cried to dream again.

The Artists

Yibin Li

Yibin Li was born in Jiuquan, China, a small city near the Gobi Desert. When she was just 4 1/2, she began playing the violin under the guidance of her father. Just 7 years later, she left home to study at Xi’an Conservatory, where she remained until moving on to Shanghai Conservatory. Upon her graduation, she was appointed to the violin faculty, and taught in Shanghai for six years as a young member of the tenured faculty. At 26, she felt the need to continue her studies in the US and moved to New York, where she went on to earn two additional graduate degrees at The Juilliard School and Mannes School of Music. Her teachers have included Lewis Kaplan, Seymour Lipkin, Earl Carlyss, Peiwen Yuan and Xiaolong Liu.

Ms. Li has performed as a soloist with major symphonies in China and the US, including the Beijing National Symphony Orchestra, Shanghai Symphony Orchestra, Taipei Symphony Orchestra, Gaoxiong Symphony Orchestra, San Diego Symphony, Hunter Symphony and Syracuse Symphony Orchestra. She was the first violinist and founder of the Iris String Quartet, and the founder of French-American Ensemble, and has directed and played chamber music concerts in many New York City venues including Carnegie Hall, Alice Tully Hall, Merkin Hall and Scandinavia House. In China, she traveled to over 20 cities performing both solo and chamber concerts in major performing arts centers.

Ms. Li performs and teaches regularly at summer music festivals including the Bowdoin International Music Festival and Bach Virtuoso Festival in Maine., the LaSalle Music Festival in France, Sesto Rocchi Chamber Music Festiva in Italy and the Lake Lugano Chamber Music Festival in Switzerland.

Yibin Li is currently on the faculties of Mannes School of Music and The Juilliard School Pre-College Division, and is a visiting professor in China at the Xi’an Conservatory of Music and Beijing Central University for Normal Studies.

Ms. Li has performed as a soloist with major orchestras in China and the USA including the Beijing National Symphony Orchestra, the Shanghai Symphony Orchestra, Taipei Symphony, the Gaoxiong Symphony Orchestra, and the San Diego and Syracuse Symphonies. Her New York recital debut at Weill Recital Hall took place in 2001, and she performed solo recitals, in various chamber music ensembles, and as first violinist of the Iris Quartet at venues throughout the world including at Alice Tully, Carnegie and Merkin Halls and in more than 20 cities in China, France, Italy and the USA.

Ms. Li performs and teaches regularly at summer music festivals including the Bowdoin International Music Festival and Bach Virtuoso Festival in Maine., the LaSalle Music Festival in France, Sesto Rocchi Chamber Music Festiva in Italy and the Lake Lugano Chamber Music Festival in Switzerland.

Yibin Li is currently on the faculties of the Mannes School of Music, Juilliard’s Pre-college Division and as visiting professor in China at the Xian Conservatory and Beijing Central University for Normal Studies.

Philippe Muller

Born in Alsace, Philippe Muller was raised in both the French and German musical traditions that characterize that province. His early experiences opened his mind to varying cultures and lead him to a multi-faceted career. He performs and has recorded a wide range of repertoire, from the Bach Suites, through the music of living composers.

In 1970, Mr. Muller founded a Piano Trio with pianist Jacques Rouvier and Jean- Jacques Kantorow, violin, which was widely known to be one of Europe’s most venerated chamber music ensembles. He worked closely with Pierre Boulez’ Ensemble Intercontemporain, for seven years, giving him an understanding of and an affinity for the music of our time. He continues to be active in commissioning new cello works and premiers of new music and performs frequently as soloist and in various chamber music ensembles at festivals in Europe, the United States, Canada, Latin America, Japan, Korea, Australia and New Zealand.

Philippe Muller’s teaching career is legendary. He succeeded his mentor André Navarra as cello teacher at the Conservatoire de Paris in 1979, continues his teaching legacy today here in New York, at the Manhattan School of Music. Many cellists from his studio have gone on to major careers as soloists including Xavier Phillips and Gautier Capuçon. He travels often giving master-classes in the top conservatories across the globe and has spent twenty years teaching at the Academy of French Music in Kyoto, Japan.

Philippe Muller frequently serves on the juries of the major international cello competitions such as the Tchaikovsky in Moscow, Paulo in Helsinki and Rostropovitch in Paris.

Alexandre Moutouzkine

Russian-American pianist Alexandre Moutouzkine has toured as a soloist with over 60 orchestras across Europe, North and South America, and Asia. Highlights of those performances include appearances with Cleveland Orchestra, Berliner Philharmoniker, uIsrael Philharmonic and Israel Camerata, Orchestre Symphonique de Montréal, Philharmonic Orchestras of Moscow and Kiev and Radiotelevision Orchestra of Spain.

As a recitalist and chamber musician, Alexandre has performed at Carnegie Hall’s Stern Auditorium and Zankel Hall, The Lincoln Center, The Kennedy Center, The Kimmel Center, Mann Auditorium in Tel Aviv, Royal Hall in London, The Great Hall of the Berlin Philharmonic, Palau de la Musica in Barcelona, National Centers of Toronto and Montreal, Yokohama Minato Mirai Hall in Japan.

Alexandre’s recital at Wigmore Hall was described by International Piano magazine as “grandly organic, with many personal and pertinent insights, offering a thoughtful balance between rhetoric and fantasy…technically dazzling.” Alexandre’s recital of Frédéric Chopin’s Études at the Great Hall of Moscow Conservatory was recorded live and released on the Classical Music Archives label in Russia.

Alexandre has claimed top prizes at more than 20 international competitions, including Naumburg, Cleveland, Montreal, New Orleans, Shanghai, Iturbi in Valencia, Maria Canals in Barcelona, and Arthur Rubinstein in Tel Aviv. At age 19, he won the Special Award for Artistic Potential for his performance of Brahms’ Op. 117 Intermezzi. A Dallas Morning News critic described it as being played “more beautifully, more movingly, than I’ve ever heard them. At once sad, tender and noble, this was playing of heart-stopping intimacy and elegance.”

Other career highlights include a performance of Rachmaninoff’s complete works in a six-part recital series with the Carnegie Concert Series in Nyack and the reception of the “Artist of the Season” award from Chamber Music International in Dallas.

His record of Cuban piano music released through Steinway & Sons was recognized by WRTI as one of the top 10 classical music recordings picks for 2017. It also won the Cubadisco award for the best classical music recording in Cuba. Alexandre most recently released a Steinway and Sons recording, “Ravel & Stravinsky” with violinist Chloé Kiffer. This album features his solo piano transcription of Stravinsky’s Firebird Suite, which debuted at Philadelphia’s Kimmel Center and New York’s 92Y.

Alexandre has served as an adjudicator for the Concours International Genève Musicale, Bartok Competition in Budapest, Maria Canals in Barcelona, Santa Cecilia in Porto, Panama International Piano Competition, New Orleans International Piano Competition, and Vladimir Krainev Competition in Moscow.

Alexandre is co-head of the piano department at Manhattan School of Music. His students have won top prizes in numerous competitions throughout North and South America, Europe, and Asia. He is a sought-after teacher and guest artist at music festivals around the world including Beijing International Piano Festival, Paris International Music Academy and MusicAlp Festival in France, Music Fest Perugia, Forum Musicae in Madrid, and the International Piano Festival Genève Musicale.

Carmit Zori

Violinist Carmit Zori came to the United States to study with Ivan Galamian, Jaime Laredo and Arnold Steinhardt at the Curtis Institute of Music in Philadelphia.

Ms. Zori is the recipient of a Leventritt Foundation Award, a Pro Musicis International

Award, top prize in the Walter W. Naumburg International Violin Competition. She has appeared as a soloist with the New York Philharmonic, Rochester Philharmonic, the Philadelphia Orchestra, among many others. She has given solo recitals at Lincoln Center NY, Los Angeles, Boston, Washington D.C., Tel Aviv, Jerusalem, Latin America and Europe, Japan, Taiwan and Australia.

Ms. Zori is an avid chamber music player. Ms. Zori appeared with the Chamber Music Society of Lincoln Center, Festival Casals in Puerto Rico, the Bard Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, and many more. Carmit has an ongoing relationship with the Marlboro Music Festival in Vermont and has toured with Musicians from Marlboro. She is a member of Israeli chamber music project.

Ms. Zori is artistic director of the Brooklyn Chamber Music Society, which she founded in 2002. BCMS presents concerts, in Brooklyn Heights.

Ms. Zori is professor of violin at Bard college, Rutgers U. and Purchase College.

Chung-Hsi Hsieh

Pianist Chung-Hsi Hsieh is from Taiwan. He won top prizes in the Nena Wideman International Piano Competition, Taipei International Chopin Competition, Taiwan Concerto Competition, Corpus Christi Young Artists Competition, and Fischoff National Chamber Music Competition. He has appeared in renowned recital halls such as Carnegie Weill Recital Hall, Merkin Hall, Klavierhaus, and Steinway Hall, in New York City, as well as the National Recital Hall in Taiwan. As a chamber musician he often collaborates with the principles of Boston Symphony Orchestra, Berlin Deutsches Symphonie Orchester, San Diego Symphony Orchestra, and A Far Cry Chamber Orchestra. Mr. Hsieh has performed recitals in Boston, Los Angeles, Beijing, Shanghai and Shenyang.  He was a young artist at the Irving Gilmore International Keyboard Festival in Kalamazoo, MI, as well as Kneisel Hall Chamber Music Festival.  

After winning the top prize from Taiwan National Music Competition in 1991, he was awarded the opportunity to continue his musical studies in USA where he obtained his high school diploma from Interlochen Arts Academy, BM and MM from The Juilliard School, and DMA from Rutgers, The State University of New Jersey. His principle teachers were Victoria Mushkatkol, Seymour Lipkin, and Susan Starr.  During this time he also worked with Lynn Harrell, Lewis Kaplan, Arnold Steinhardt, Jane Coop, and Douglas Lundeen.  

Mr. Hsieh started his musical training on the piano at age 4. He also learned violin, and Erhu, a traditional Chinese instrument when he entered the music training class at age 9. At a young age he already showed his musical talent, as he frequently won competitions on piano and violin, and he started performing as soloist and conductor, leading the school symphony orchestra, Chinese instrument orchestra and school choir to public performances. 

Currently he is a piano and music faculty at the Diller-Quaile School of Music.  Besides honing his craft and working with aspiring talents, Chung-Hsi also enjoys exploring culinary arts and fine wine around the world.

David Cerutti

David Cerutti is co-principal solo violist of the Orchestra of St. Luke’s and core member of its chamber ensemble, and performs regularly with the Metropolitan Opera Orchestra. He has toured and collaborated extensively with the Orpheus Chamber Orchestra, and has been a guest soloist on the Lincoln Center Chamber Music Society’s Double Exposure series, and is a regular participant in the Helicon Concert Series, founded by the late Albert Fuller

A former member of the Smithson String Quartet, he collaborated with members of ensemble Archibudelli on a recording of the Mendelsohn and Gade string octets, performed on Stradivarius instruments for the Sony Classical Label. He is principal violist of the American Classical Orchestra, and was featured viola d’amore soloist in the Metropolitan Opera’s production of Leoš Janáček’s Makropoulos Case.

Collaborating recently with pianist Molly Morkoski, David has created an audiovisual production of Bohuslav Martinu’s Sonata for viola and piano, at the behest of the Czech Center of New York.

David plays on a Brescian instrument from the late 1500s by Pellegrino Micheli da Montichiari.

 

Kaitlyn Schirard

Kaitlyn Schirard is a theater creator and arts administrator based here in NYC. She has graced stages regionally and internationally and has an avid love for the classics. Some of her favorite credits include As You Like It (Ophelia Theater Group), Your Alice (BAM, Edinburgh Fringe, Arcola Theater), and Romeo and Juliet (Sheen Center). When she's not on stage or in the rehearsal room, Kaitlyn works as an educator and arts administrator developing and producing new works with companies like Thistle Dance, the NYPL, the NYBG, Pinkhouse Productions, and Scranton Shakespeare Festival, as well as with many other talented individual creatives.

She is so pleased to be joining the OneMusic Project's artists and audience for an evening of chamber music and Shakespeare.

 

Program Notes

 Beethoven Piano Trio in D Major, Op. 70, No. 1 (Ghost)

I. Allegro vivace e con brio

II. Largo assai ed espressivo

III. Presto

In the fall of 1808 when Beethoven began writing his two Piano Trios, op. 70, he was living in rooms generously furnished to him by Countess Marie Erdödy. (For more background about their relationship see the notes for the Cello Sonata above.) Beethoven participated in the first performance of the Opus 70 Trios at Countess Erdödy’s home around Christmas in 1808, and sent them off to his publisher with a dedication to her. At one point he changed his mind and wished to dedicate them to Archduke Rudolph, but in the end let the dedication to the Countess stand.

It had been ten years since Beethoven had composed his Opus 11 Trio for clarinet (or violin), cello, and piano, and twelve years since he had composed his last major works in the piano trio genre—his three Opus 1 Trios, which had served as his public entrée. By 1808 he was at the pinnacle of his productivity and popularity, and the Opus 70 Trios are surrounded by the masterpieces he presented on that famous marathon concert in December 1808—the Fifth and Sixth Symphonies, the C major Mass, the Choral Fantasy—and equally important works such as his Coriolan Overture and A major Cello Sonata.

The first of the Opus 70 Trios came to be called the “Ghost” because of a comment made after Beethoven’s death about the amazing slow movement. Carl Czerny, Beethoven’s former pupil, wrote in 1842 that the Largo assai ed espressivo “resembles an appearance from the underworld. One could think not inappropriately of the first appearance of the ghost in Hamlet.” The nickname stuck for the entire Trio, and only afterwards it was discovered that Beethoven may have had something supernatural on his mind, because sketches for this movement appear near those for a Witches’ Chorus for a projected Macbeth opera.

The forthright unison opening of the first movement sounds almost as if Beethoven derived it from the first movement of his Piano Sonata, op. 10, no. 3, and injected it with new energy. He contrasts this immediately with a sweeter phrase begun by the cello. Beethoven allows himself an expansive development section with quite a bit of counterpoint after his extremely concise exposition. The tranquil coda relies on his sweet second phrase until a bright recall of the opening idea ends the movement.

The celebrated “Ghost” movement is one of those marvels that fired the Romantic imagination with its alternating-repeating fragments, plaintive melodic lines, sudden contrasts, agitated tremolos, unsettled harmonies (diminished seventh chords), and above all the eerie floating descents of the piano right hand and rumbling bass notes in the left. As with many of Beethoven’s most startlingly original movements, the overall sonorities mask the quite traditional aspects of his structure, in this case a simple three-part form with coda.

Beethoven opted to return to a three-movement format for this Trio, and hence there is no scherzo. The sonata-form finale returns to the light of day, with a cheerful main theme that keeps halting and digressing. This good-natured meandering flows so naturally that occasional harmonic surprises are swept right along without ceremony. Just before the conclusion, a clever diversion with pizzicato effects, seamless splitting of the melody between the two strings, and piano right-hand glitter gives added urgency to the cadential flourish.

© Jane Vial Jaffe  

Kaija Saariaho “Lullaby” for Solo Cello

Lullaby for solo cello was written by Kaija Saariaho in 2018, following the death of British composer Oliver Knussen.

This piece, which incorporates elements of a work written by Knussen in 2002 to celebrate Saariaho's fiftieth birthday, is a meeting of two very different characters, aesthetics and even conceptions. It illustrates the attraction between these personalities who respect and admire each other...

Dedicated to the memory of Knussen, Lullaby was created in November 2019 by Anssi Karttunen.

Elgar Quintet in A minor for Piano and String Quartet, Op. 84

I. Moderato - Allegro

II. Adagio

III. Andante - Allegro

In 1918, when Elgar was sixty-one, he was suddenly seized with the desire to compose chamber music, which he had not done since 1892. On September 15, the day he finished the Violin Sonata, he began the Piano Quintet, and before that was completed, he started working on the String Quartet. The Sonata, Quartet, and the first movement of the Quintet were ready for a run-through on January 7, 1919, and on March 7 another trial performance was arranged for all three pieces with the Quintet now complete. William Henry Reed (“Willie”), concertmaster of the London Symphony Orchestra, had become very friendly with Elgar over the composition of the Violin Concerto a decade earlier. He consulted with Elgar frequently over the chamber works and was involved in the trial performances and public premieres of all three.

Reed described a section of the countryside surrounding Brinkwells, where the pieces had been written: “Near the cottage rises a strange plateau, on which there are a number of trees with gnarled and twisted branches, bare of bark and leaves—a ghastly sight in the evening, when the branches seem to be beckoning and holding up gaunt arms in derision.” This partially explains Lady Alice Elgar’s first reference to the Quintet in her diary on September 15: “[Edward] Wrote part of Quintet wonderful weird beginning same atmosphere as ‘Owls’—evidently reminiscent of sinister trees & impression of Flexham Park”; and on September 16: “E. wrote more of the wonderful Quintet—Flexham Park—sad ‘dispossessed’ trees & their dance & unstilled regret for their evil fate—or rather curse—wh. brought it on—Lytton ‘Strange Story’ seemed to sound through it too.”

“Owls” was a part song (choral piece) that Elgar had set to his own terrifying poem of 1907; “Strange Story” was a Bulwer Lytton novel about occult happenings in a village—Elgar, who loved supernatural stories, had woven such an atmosphere into the first movement of his Piano Quintet. He wrote to music critic Ernest Newman, the work’s dedicatee: “the first movement is ready & I want you to hear it—it is strange music I think & I like it—but—it’s ghostly stuff.”

The opening movement is laid out on a grand scale with a Moderato section presenting themes that will be important throughout the work. The first theme’s piano part has often been likened to the beginning of the Latin Christian antiphon Salve Regina, to which chromatic figuration for the strings has been added. George Bernard Shaw, who in addition to his literary accomplishments was a perceptive music critic, attended the complete trial performance and became quite friendly with Elgar thereafter. Shaw wrote the composer a detailed letter, which Elgar greatly appreciated and which is quoted frequently below for its contemporary insight. He praised the opening as “the finest thing of its kind since Coriolan [Beethoven’s Overture].”

The second idea, a kind of chromatic sigh with the cello rising underneath, serves as a motto in the work. The main theme of the Allegro begins in 6/8 in a manner very reminiscent of Brahms. A reference to the motto precedes the quiet second theme, which has sounded vaguely Spanish to several commentators. Shaw objected particularly to the movement’s development section. “You cannot begin a movement in such a magical way as you have begun the Quintet and then suddenly relapse into the expected.” When Elgar forwarded Shaw’s letter to Newman he protested that Shaw had misunderstood the idea: “it was meant to be square at that point & goes wild again—as man does.” The expansive recapitulation brings all the ideas back in modified form. Hints of the “Salva Regina” and motto theme return, closing the movement in reverse order with the last statement of the “chant” in its fullest appearance.

The beautiful Adagio fully met with Shaw’s approval: “A fine slow movement is a matter of course with you: nobody else has really done it since Beethoven: at least the others have never been able to take me in. Intermezzos and romances at best, never a genuine adagio.” Relying again on sonata form, Elgar composed a lovely main theme in which the viola is prominent. The development section rises to a great climax before calming down again for the recapitulation. Harmonic niceties of the movement include the magical slipping into F major for the start of the development from the basic F-sharp minor sonorities and a similar half-step shift from C-sharp minor to C major at the start of the coda.

The motto theme introduces the finale, another sonata form-movement, which like the first, begins with a Moderato section before moving to the main Allegro. Shaw was “exhilarated by the swing of the three-four [meter]” of the main theme. He may have referred to a section of this movement when he wrote: “There are some piano embroideries on a pedal point that didn’t sound like piano or like anything else in the world, but quite beautiful, and I have my doubts whether any regular shop pianist will produce them: they require a touch which is peculiar to yourself, and which struck me the first time I ever heard you larking about with a piano.” The development contains versions of the “Salve Regina” and “Spanish” second theme of the first movement. The recapitulation is artfully varied and the coda presents the two main themes of the movement in a heightened manner that Elgar described as an “apotheosis.”

© Jane Vial Jaffe

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