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SEASON OF EVENTS Susan Hoeppner, flute Teng Li, viola Shauna Rolston, cello Lydia Wong, piano Monday, January 19, 2015 7:00 p.m. Walter Hall Edward Johnson Building The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors PROGRAM Vox Balaenae (Voice of the Whale) George Crumb for amplified flute, cello and piano (b.1929) Vocalise (. . . for the beginning of time) Variations on Sea-Time: Sea Theme - Archeozoic - Proterozoic - Paleozoic - Mesozoic - Cenozoic Sea-Nocturne (. . .for the end of time) Susan Hoeppner, flute Shauna Rolston, cello Lydia Wong, piano The Moon Reflected on Second Springs Yan-Jun Hua (1893-1950) Arr. by Yan-Qiao Huang Teng Li, viola Nadir, for flute, viola and pre-recorded sound Christos Hatzis (b.1953) Susan Hoeppner, flute Teng Li, viola Soulmate, for cello solo Ka Nin Chan (b.1949) Shauna Rolston, cello Coeur a Coeur, for flute and piano Alice Ping Yee Ho (b.1960) Susan Hoeppner, flute Lydia Wong, piano Sonata for flute, viola and piano Eduardo Angulo (b.1954) Susan Hoeppner, flute Teng Li, viola Lydia Wong, piano PROGRAM NOTES GEORGE CRUMB (b. 1929) percussive effects and harmonics from the Vox Balaenae (‘Voice of the Whale’), piano, often created inside the harp of the for amplified flute, cello and piano (1971) instrument. Five variations follow, each given a title from succeeding geological The earliest recordings of the songs of eras, with performing directions as follows: whales in the late 1960s caught the 1. Timeless, inchoate. 2. Darkly mysterious. imagination of a generation awakening to an 3. Flowing. 4. Exultantly. 5. Dramatic, with interest in environmental issues. “It was like a sense of imminent destiny. The music of a visitation from another world,” American Olivier Messiaen is frequently alluded to composer George Crumb said recently. “I throughout Vox Balaenae, most notably in was just fascinated by the sound.” In his the ecstatic closing movement – as is the 1971 piece Vox Balaenae (Voice of the French composer’s desire to suspend time Whale), Crumb succeeds in marrying the and create a feeling of endlessness through natural world with that of the concert hall the absence of traditional sequential in a manner that has since been much development. There are also references imitated, but never surpassed. The three- to music from other cultures, from South movement work puts the focus firmly on America, India, Indonesia and to the music the musical sounds inspired by the songs of Cage and Cowell and Strauss’s Also of the humpback whale by having its three Sprach Zarathustra. Through the three musicians – flute, cello and piano – wear movements, though, the clarity and intensity self-effacing black visor masks and, if of Crumb’s original vision remains at the desired, perform under theatrical deep-blue, forefront of the listener’s experience. acquatic stage lighting. The instruments are amplified, with no adjustment in level HUA YAN-JUN (1893–1950), or frequency during the performance. arr. HUANG YANQIAO (Crotales are also included in the final Erquan yingyue (‘The Moon Reflected on movement). The amplification enhances the Second Springs’) a cornucopia of extended, frequently intensely imaginative sounds that each is The son of a Daoist musician, Hua Yanjun required to produce. The wide variety of also began his professional life performing these advanced, non-traditional techniques in Daoist ritual instrumental ensembles reflects the experimental spirit of the late on pipa and erhu. A downturn in his Sixties and early Seventies and Crumb’s fortunes and reputed addictions led him to openness and innovation in what was then street performing under the name A-Bing. a new and evolving sound world. “I’m a His specialty (according to Grove) was completely intuitive composer,” Crumb says extemporizing songs based on local news. of his compositions. “Composing for me is His reputation as a folk musician grew like groping in the dark . . . Debussy’s nature dramatically after he was recorded playing music inspired me, and those ’night pieces’ six of his improvised songs in 1950, the last by Bartók, and certain moments in Mahler.” year of his life. These were subsequently In the opening Vocalise, the flute widely adapted as teaching material for combines both playing and singing in an students of erhu and pipa. Erquan yingyue eerily evocative fantasy marked ‘wildly (The Moon Reflected on the Second Springs) fantastic, grotesque.’ The succeeding has since become so well known that it has Sea Theme is introduced on high cello now gained the status of folk music. harmonics against a background of CHRISTOS HATZIS (b. 1953) orchestra piece, Poetry on Ice, in which the Nadir, for flute, viola and pre-recorded sound strings played the theme in unison. The (1988) piece describes two people who accept each other beyond love and affection. Professor Christos Hatzis writes: “During Their understanding is subtle, mutual, and the early stages of composing this work wordless, like a pair of dancers on ice. The in November and December 1987, I was unending melody depicts their graceful florid shocked by the untimely death of Canadian movement as well as their voices from their poet and dear friend Gwendolyn MacEwen. heart. Transcription to cello was not difficult, A couple of months earlier my teacher, although the end result was very different.” composer Morton Feldman, had also died and even though we were not on talking ALICE PING YEE HO (b. 1960) terms since my student years, his loss was Coeur à Coeur, for flute & piano deeply felt. Gwendolyn had a thorough knowledge of the Arab world. She wrote a “Colours and tonality are two attractive novel set in ancient Egypt and travelled the resources to me: they form certain mental Middle East extensively before writing her images that connect to audiences in a very greatest work, The T. E. Lawrence Poems. basic way,” says Toronto-based composer Morton had a great interest in Oriental rugs and pianist Alice Ping Yee Ho. The diverse and Arabic art in general, in the patterns influences on her music reflect the world of of which he recognized aspects of his the city that the Hong Kong-born composer own work. I remember a number of times now makes her home – Chinese folk and that both of us were seated on one of his operatic idioms, Japanese Taiko and African own rugs studying the patterns whose drumming, and jazz. Ho says that her symmetries are often imperfect because ongoing goal is to explore new musical styles ‘only Allah is perfect’. I was thinking about that are provocative to the ears. all that and also about the war between Iran Alice Ho writes: “As the title Coeur à and Iraq, where people blinded by religious Coeur (Heart to Heart) describes, this piece fanaticism and hatred have plunged into the is conceived as an imaginary conversation wholesale business of destruction seeking between two voices: exchanging inner and causing death in the name of God, not thoughts, confessing their feelings to each realizing perhaps that God is one, but He/ other. There is an emotional aspect of She has many names. All of these thoughts the music that suggests deep affection crystallized finally into Nadir, a death dance. and mutual understanding between two So Gwen and Morton dance on . . . for death individuals, which is equivalent to the kind is only the awakening from the terrible of support and receptiveness between nightmare of life.” players in a duet situation. The music travels from expressive lyricism to high animation, CHAN KA NIN (b. 1949) and concludes in transcending high notes Soulmate for cello solo (1995/2000) uttered by both instruments signifying everlasting tenderness or consolation.” Professor Chan Ka Nin writes: “I am very grateful that cellist Shauna Rolston has EDUARDO ANGULO (b. 1954) performed the solo version of Soulmate Sonata for flute, viola, piano (2007) in many of her recitals since 2000. She was also featured as the soloist in Mexican composer Eduardo Angulo studied Peggy Baker’s dance video Words Fail, a in his home country at the Conservatorio production by Veronica Tennant for Bravo! Nacional de Música in México City and at Arts TV. This piece has gone through an the Royal Conservatory in The Hague. He unusual transformation. Soulmate was performed in Dutch string quartet before originally the second movement of a string returning to Mexico City where he has built a catalogue of symphonic works, chamber generally dynamic thematic ideas in quick and choral music, and concertos for a wide succession which are to generate much variety of instruments including violin, harp, of the development throughout the work. viola, guitar, harpsichord and flute. He also These are contrasted with a broad, soaring continues to appear as violin and viola melody which soon evolves into a central soloist in his own compositions. Angulo’s slow movement which, in turn, returns to a single-movement Sonata for flute, viola, revisiting of the opening material. piano dates from 2007 and is a compressed sonata structure. It opens with three rising — Program notes to Crumb and Angulo © scales on piano and a brief four-note 2015 Keith Horner. Comments welcomed: falling theme on flute, plus several other [email protected] BIOGRAPHIES Appreciated for being a “born soloist” (The Having recently returned from 2 separate Globe & Mail), where “one can almost hear tours to China, Ms. Hoeppner’s upcoming the words in her flute song” (Washington 2015 performances include recital and Post), Canadian flutist SUSAN HOEPPNER concerto appearances in Austria, Italy, is regarded for her deeply lyrical, colourful Toronto, Mexico, Salt Lake City, New York, phrasing, dazzling virtuosity and a “no holds Belgrade and Montenegro. barred” approach in performance. She is Susan Hoeppner has recently been an established international soloist and appointed a Wm.S.Haynes Artist by the chamber musician, and her appearances renowned Boston-based flute company. As include prestigious venues spanning the their Canadian Artist, she will represent continents of North America, South America, them throughout the world in future Europe and Asia. performances and master classes year- Ms. Hoeppner has performed as a guest round. Ms. Hoeppner resides in Toronto. soloist with many orchestras, starting her professional career in Buenos Aires at the Violist TENG LI is establishing herself famed Teatro Colon. Over the years, she as a diverse and dynamic performer has been invited to perform at numerous internationally. Along with her TSO solo Canadian Embassies throughout the world appearances, Ms. Li has performed with the and has inspired renowned Canadian National Chamber Orchestra, the Santa Rosa composers Christos Hatzis to write a Flute Symphony, the Munich Chamber Orchestra, Concerto called “Departures” which she the Haddonfield Symphony, Shanghai premiered with the Kyoto Symphony (2011) Opera Orchestra, the Canadian Sinfonietta and Gary Kulesha to write a Flute Sonata and Esprit Orchestra. Her performances and premiered with the composer in Toronto have been broadcast on CBC Radio 2, (2014). National Public Radio, WQXR (New York), She was nominated for a JUNO Award WHYY (Pennsylvania), WFMT (Chicago), in 2012 for “Best Classical Album of the and Bavarian Radio (Munich). Ms. Li is also Year: Solo or Chamber” for “American Flute an active recitalist and chamber musician Masterpieces” with pianist Lydia Wong participating in the festivals of Marlboro, on the Marquis Classics label, on which Santa Fe, Mostly Mozart, Music from Angel her many recordings are available. Susan Fire, Rome, Moritzburg (Germany) and the Hoeppner graduated from The Juilliard Rising Stars Festival in Caramoor. She has School where she studied with Julius Baker. performed with the Guarneri Quartet in New An esteemed mentor herself, Susan is a York (04/05), at Carnegie Hall (Weill Recital member of faculty at The Glenn Gould Hall) and with the 92nd St. “Y” Chamber School and the University of Toronto. Music Society. Teng was also featured with the Guarneri Quartet in their last season Bachelor of Arts degree in Art History from (2009), and was also a member of the Yale University and a Master of Music degree prestigious Lincoln Center Chamber Music from the Yale School of Music where she Society Two Program. studied with the distinguished cellist and Ms Li has won top Prizes at the Johanson pedagogue, Aldo Parisot. International and the Holland-America Shauna Rolston is managed world-wide Music Society competitions, the Primrose by Michael Dufresne, President, Michael International Viola Competition, the Irving M. Gerard Management Group (www.mgmg.ca). Klein International String Competition and the ARD International Music Competition in One of Canada’s most sought after Munich, Germany. She was also a winner of collaborative pianists, LYDIA WONG appears the Astral Artistic Services 2003 National regularly with the world’s pre-eminent Auditions. performers in venues across the globe from Teng is a graduate of the Curtis Institute Carnegie Recital Hall in New York City to of Music in Philadelphia. London’s Wigmore Hall. Active in New Music, Ms Wong, has Award-winning Canadian cellist SHAUNA enjoyed a special association with composer ROLSTON is considered by peers and fans Krzysztof Penderecki following the North alike to be one of the most compelling American premiere of his Sextet at the and unique musical voices on the stage Banff Summer Music Festival. She was today. Since receiving a mini cello for subsequently invited to perform the Sextet her 2nd birthday, Shauna has appeared around the world. With violinist Erika Raum, around the world, performing in the world’s she also gave the North American premiere major concert halls including Wigmore of Penderecki’s Violin Sonata No.2 in Toronto Hall, Concertgebouw, Lincoln Center, and and performed at Maestro Penderecki’s Carnegie Hall, and was the featured artist at 70th birthday celebration in Warsaw, Poland. the 1988 Olympics. She has served as a member of the Praised for her blazing technique and her jury for the Seventh Annual International ability to touch the heart of each audience Contemporary Chamber Music Competition member, Shauna continues to astonish and in Krakow, Poland, music commissioning delight with concerts, recordings, and world program for the Ontario Arts Council in premieres. Her passion for contemporary Toronto and the JUNO Awards. music has led to the commission and Ms. Wong’s most recent CD, Glistening creation for her of more than 50 works for Pianos with pianist Midori Koga featuring cello, including concerti by Canada’s leading music by Canadian Chinese composer composers. Alice Ping Yee Ho, was released this past The diversity of Shauna’s artistry is February on CentreDiscs. She can also be reflected in her many honours including an heard on Naxos, Marquis Classics, Phoenix invitation to join the Governor-General’s Records and has performed for networks in State Delegation to Finland and Iceland, her North America, Africa and Europe besides appointments as Canadian Music Centre broadcasting regularly for the CBC. Her CD, Ambassador and Honorary Ambassador for American Flute Masterpieces with flutist Sistema-Toronto, and the prestigious Oskar Susan Hoeppner was nominated for a 2012 Morawetz Award for Excellence in Music Juno Award. Performance. Ms. Wong has been on faculty at the Shauna is Professor of Cello and Head University of Toronto since 1998. She is of Strings at the University of Toronto and also artistic co-ordinator of the Collaborative a Visiting Artist for the Music and Sound Piano Internship program at the Banff Centre Programs at The Banff Centre. She holds a where she has been on faculty since 1993. PLEASE SUPPORT CHAMBER MUSIC AT THE FACULTY OF MUSIC This evening’s program would not be possible without the generous support of donors to the Faculty of Music. The Chamber Music Program is thriving with exciting work happening on stage and in the classroom. For the stage, we have appearances on the Monday Evening Concert Series by both Ensembles in Residence and Visiting Artists. In the classroom, in addition to their regularly scheduled lessons and coachings, our students have the opportunity to work with our visitors in master classes and private coaching sessions. We need your help – it is our hope that we can continue to present a variety of chamber ensembles and subsequently provide the opportunity for our students to work with these acclaimed musicians. Opportunities exist for individuals to sponsor a visiting ensemble, an ensemble in residence, a master class, a concert or a series of concerts. Your tax receiptable gift will help to build and enhance the Chamber Music program. To learn more about supporting Chamber Music at U of T please contact Bruce Blandford at 416-946-3145 or [email protected]. Thank you for your support! The Faculty of Music gratefully acknowledges the generosity of the individuals, foundations, associations and corporations who gave annual gifts of $1,000 or more between March 1, 2013 to September 1, 2014, in support of our students and programs. Thank you for the part you are playing in advancing the cause of music education in Canada. Mark Abbott Anne E. Gibson Patricia Kraemer Shauna Rolston# and Lillias Cringan Allward Susan C. Girard Victor Kurdyak Andrew Shaw Raymond C. K. Ang Merle H Gobin-Valadez Daniel Kushner John Rothgeb Hilary J. Apfelstadt*# Al and Malka Green Carolyn Lake Angela Rudden ARIAS: Canadian Opera Morton Greenberg Leslie and Jo Lander The Ryckman Trust Student Development Nancy E. Hardy* Megan Lau F. Raymond Salemme Fund Ethel Harris John B. Lawson Chase Sanborn# Neville H. Austin* J. Russell Hartenberger# Jim Lewis# Elvino Sauro Gregory James Aziz The William and Nona Patrick Li* Longinia Sauro John and Claudine Bailey Heaslip Foundation V. Lobodowsky Ezra and Ann Schabas Lee Bartel# and Linda Jerry Heffernan Grace Locilento June Shaw Cameron Hellenic Heritage Long & McQuade Musical Terry Sheard Florence Barwell Foundation Instruments Stephen and Jane Smith David Beach Paul T. Hellyer Lorna MacDonald# David Smukler John Beckwith* and Dianne W. Henderson Gillian MacKay# The Sound Post Kathleen McMorrow Harcus C. 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