2010-2011 SEASON 2010-2011 SEASON Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts

May 8, 2022: Arnaud Sussmann, violin; Anna Polonsky, piano; Paul Neubauer, viola; Fred Sherry, cello; Michael Parloff, lecturer WOLFGANG AMADEUS MOZART (1756-1791) Violin Sonata in A major, K. 526 May 8, 2022: Arnaud Sussmann, violin; Anna Polonsky, piano; Paul Neubauer, viola; Fred Sherry, cello; Michael Parloff, lecturer Little is known about the circumstances surrounding the composition of the A major Violin Sonata, K. 526, other than that it was written in August 1787 in Vienna during the composition of Don Giovanni. Mozart himself was an accomplished violinist, but there is no evidence that he wrote it with himself in mind, nor is there evidence that he wrote it for anyone else. It seems unlikely, however, that Mozart would have interrupted work on the opera unless some occasion demanded it. Mozart’s violin sonatas span an interesting time in the history of the genre. His earliest violin sonatas belong to the tradition of keyboard sonatas for the amateur to which ad libitum violin (or flute, and sometimes cello) accompaniment could be added if available. His later violin sonatas, still called piano sonatas with violin accompaniment, exhibit greater equality and independence of the two instruments. In the present Sonata (his last except for “a small piano sonata for beginners, with a violin,” K. 547), the piano and violin are truly equal partners. The contrapuntal textures throughout may suggest the composer’s study of Bach, but the language remains thoroughly Mozartean. The Molto allegro is set in 6/8, an unusual meter for Mozart to use for a first movement. (It is interesting that he also cast the first movement of his other A major Violin Sonata, K. 305, in 6/8, a meter commonly associated with “the hunt,” and indeed the meter he used for the first movement of his Hunt Quartet in B-flat major, K. 458.) The hemiola effects (switching from rhythmic patterns of two groups of three to three groups of two) and extensions of cadential phrase endings constitute some of the delightful features of this sonata-form movement. The Andante, again in sonata form, is remarkable for its spare texture, often achieved by the kind of octave doublings that Brahms later favored. Mozart never ceases to amaze in his ability to create such expressive music with deceptively simple means—fragmented melodic utterances, flowing regular accompaniment, chromatic touches, major-minor shifts—how can these produce such a compelling effect? The finale, though one of Mozart’s longest in a chamber work, races by at a presto tempo. It combines virtuoso tendencies with an almost demonic high-spirited quality. Mozart scholars Derek Carew and Neal Zaslaw have independently reported that the movement is based on the finale of Carl Friedrich Abel’s A major Violin Sonata, op. 5, no. 5, possibly as a memorial tribute since Abel had died on June (Carew mistakenly says January) 20, 1787. © Jane Vial Jaffe Return to Parlance Program Notes

DR. GARETH ICENOGLE, NARRATOR Dr. Gareth Icenogle became the Senior Pastor of West Side Presbyterian Church in February, 2009. He has degrees in ministry from Fuller Theological Seminary in Pasadena, CA, and music degrees from the University of California, Riverside, and California State University of Los Angeles. His masters degrees are in music (voice and composition) and divinity, and his doctorate is in ministry, with a focus on spiritual formation and discipleship. He has written an internationally used textbook on the theology, purposes, and dynamics of faith formation through small groups. Gareth comes to West Side from the National Presbyterian Church in Washington, DC, where he served as Senior Pastor from 2004 to 2008. Before that he served First Presbyterian Church of Bethlehem, PA, as Senior Pastor and Co-Senior Pastor for 14 years. Previously he was the Director of the Doctor of Ministry program at Fuller Seminary. Both natives of southern California, Gareth and his wife, Vida Smith, have been married for 36 years. They have two daughters, Tamara, 29, and Tonya, 26.

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LILLIAN COPELAND, OBOE A sought-after chamber music and orchestral musician, oboist Lillian Copeland is an active NYC freelancer who has performed with the Metropolitan Opera Orchestra, American Ballet Theater, and New Jersey Symphony Orchestra, among others. She currently holds the position of Principal Oboe with the Northeastern Pennsylvania Philharmonic, and maintains a private teaching studio in NYC. After receiving degrees from Oberlin Conservatory and Rice University, Lillian spent eight seasons as Principal Oboe with the Santiago Philharmonic Orchestra (Chile). Aside from the diverse opera, ballet, and symphonic repertoire, Lillian performed a variety of chamber music, toured the south of Chile with her woodwind quintet, and collaborated with the Ensamble Filarmónico. An ardent supporter of new music, Lillian premiered new works at the annual Contemporary Music Festival in Santiago. Lillian has performed as a concerto soloist with the New Baroque Soloists, the Northeastern Pennsylvania Philharmonic, and in Chile with both the Philharmonic and the Conservatory of Music’s Chamber Orchestra, where she was also Professor of Oboe. Born in Lexington, VA, Lillian is currently pursuing a doctorate at Rutgers University. Her teachers include James Caldwell, Robert Atherholt, and Nathan Hughes.

DAVID J. GROSSMAN, DOUBLE BASS Double bassist and composer David J. Grossman enjoys a multifaceted musical career on both the East and West Coasts — as a bassist in the New York Philharmonic (having joined in spring 2000 as its youngest member) and as newly appointed principal bass of the Los Angeles Chamber Orchestra. As a soloist and clinician, Mr. Grossman has given recitals and master classes at prestigious venues and music schools across the country, including the Boston Conservatory, Yale School of Music, Manhattan School of Music, The Hartt School, Penn State University, and the New York Summer Music Festival. He has released two albums — one classical and one jazz — titled The Bass of Both Worlds, available at davidjgrossman.com. Mr. Grossman is also an ardent educator. He is as a member of the double bass faculty of the Manhattan School of Music, and he joined the Mannes School of Music faculty in fall 2017. Also a passionate chamber musician, he performs in the New York Philharmonic Ensembles series at Merkin Concert Hall and has appeared at 92nd Street Y and with The Chamber Music Society of Lincoln Center. In the field of jazz, Mr. Grossman was a member of the Marcus Roberts Trio and has performed with Wynton Marsalis, among many others. As a composer, David J. Grossman’s compositions include Mood Swings for trombone and double bass, written for New York Philharmonic Principal Trombone Joseph Alessi; Fantasy on “Shall We Gather at the River?”, available on former New York Philharmonic English Horn Thomas Stacy’s recording Plaintive Melody; and two early compositions, Swing Quartet and String Quintet No. 1, which were premiered by The Chamber Music Society of Lincoln Center.

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AMY BURTON, SOPRANO With a voice the New York Times has called, “luminous” and “lustrous,” versatile soprano Amy Burton has sung with the Metropolitan Opera, New York City Opera, at the White House, and with major opera companies, orchestras, and at concert and cabaret venues throughout the US, Europe, UK, Japan, Mexico, and Israel. Known for her crystalline portrayals of Mozart heroines as well as French repertoire ranging from opera to chansons populaires, Ms. Burton performs throughout the USA and abroad in recital and cabaret concerts with her husband, composer-pianist John Musto . The couple have toured the US and Mexico with "Late Night with Leonard Bernstein" narrated by the composer's daughter Jamie, with acclaimed pianist Michael Boriskin. Ms. Burton has premiered and recorded several of Musto’s song cycles and has been a champion of contemporary composers such as Paul Moravec, John Corigliano, William Bolcom, Richard Danielpour, John Harbison, and others. Notable concert appearances include her New York recital debut at 92Y, Great Performances at Lincoln Center, Mostly Mozart Festival, Chamber Music Society of Lincoln Center, Carnegie Hall, PS21, The Kennedy Center, Atelier Lardeur in Paris, the Liceu Forum in Barcelona, the Neue Galerie’s Café Sabarsky, and the modern-day premiere of Cole Porter's 1929 show, La Revue des Ambassadeurs at Town Hall with Vince Giordano and the Night Hawks and in Paris with L’orchestre de Pasdeloup.

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JESSICA PHILLIPS, CLARINET Jessica Phillips won her position of Second Clarinet and E-flat Clarinet in the Metropolitan Opera Orchestra in 2001. She graduated cum laude from Barnard College, Columbia University, with a Bachelor of Arts degree in Political Science and Music. While at Barnard, she was accepted into the joint lesson program at the Manhattan School of Music, where she studied under Ricardo Morales. Throughout her career she has appeared as Guest Principal Clarinet with the Chicago Symphony, as well as performances with the Philadelphia Orchestra, All Star Orchestra, Bavarian State Opera Orchestra, Mainly Mozart Festival, Orchestra of St. Luke’s, American Ballet Theater, Santa Fe Opera, St. Bart’s Music Festival, and the American Symphony Orchestra. An active chamber musician, Jessica has performed at Carnegie Hall numerous times with the MET Chamber Ensemble, Mainly Mozart, Orchestra of St. Luke’s chamber music series, at the Kingston Chamber Music Festival. She has performed in recital at the Oklahoma Clarinet Symposium, Lisbon International Clarinet Meeting, International Woodwind Festival, Peabody Conservatory, International Clarinet Association’s ClarFest in Japan and Canada, and appeared as a featured soloist with the Lincoln Symphony at the Nebraska. She can be heard on numerous “Live From Lincoln Center” performances with the Grammy award-winning Metropolitan Opera Orchestra and the Emmy award-winning PBS broadcasts with The All Star Orchestra .

ANNE-MARIE McDERMOTT, PIANO In a career that has spanned over 25 years, American pianist Anne-Marie McDermott has played concertos, recitals and chamber music in hundreds of cities throughout the United States, Europe and Asia. The breadth of her repertoire matches that of her instrument, spanning from Bach, Haydn and Beethoven to Rachmaninoff, Prokoviev and Scriabin to works by today’s most influential composers — Aaron Jay Kernis, Steven Hartke, Joan Tower and Charles Wuorinen, among them. As an Artistic Director, Ms. McDermott leads the Ocean Reef Chamber Music Festival in Florida and the Avila Chamber Music Celebration in Curacao. 

Beginning with the 2011 season, she is also the Artistic Director of the Vail Valley Music Festival in Colorado. Anne-Marie has been an Artist Member of The Chamber Music Society of Lincoln Center since 1995. Ms. McDermott’s passions have recently coalesced in several important projects that are indicative both of her popularity and the range of her musical interests: the presentation of The Complete Prokoviev Piano Sonatas and Chamber Music as part of the Lincoln Center Festival; The Chamber Music of Shostakovich at the Chamber Music Society of Lincoln Center ; the premiere of Charles Wuorinen’s Piano Sonata No. 6; and the performance and recording of Gershwin’s Complete Works for Piano and Orchestra with the Dallas Symphony (2008, Bridge Records). The latter was named Editor’s Choice by Gramophone. 

About her critically acclaimed recording of the Complete Prokoviev Piano Sonatas (2009, Bridge Records), Gramophone wrote “we have waited a long time for an American pianist of this stature.”

FRIEDRICH HEINRICH KERN, GLASS HARMONICA Friedrich Heinrich Kern is a German composer, pianist, and glass harmonica player based in New York City. He has made widely-praised appearances as a performer and composer in the United States, Europe, the Middle East and Asia. FHKern’s work is dedicated to exploring wistful, unfolding soundscapes and discovering the realms between dreams and consciousness. He moves freely between the worlds of electronic and acoustic music, unwilling to be limited by boundaries, languages, and any barriers between them. One of the few professional glass harmonica soloists worldwide, he plays the only existing modern version of the glass harmonica in North America, the Verrophone. FHKern began his studies in his home country of Germany where he earned degrees in both piano and composition. He then traveled to Korea studying traditional Korean music. He combines his contemporary classical background with a refined pop sensibility to create ethereal compositions with modern electronic vibes. In addition to his solo and ensemble performances, he has composed works for acoustic and electronic instrumentations, ranging from solo piano to full orchestra. Musical connections shape his ideas and genius. His latest collaboration is ‘The New Paganini Project’ with Niklas Liepe (Sony Classical, 2018), and his solo recordings are released on M=Maximal. FHKern currently performs live in Europe and North America on his spellbinding ‘The Evolution of Silence’ tour. He is a member of German glass music ensemble sinfonia di vetro.