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1Chamber Music Milwaukee

J a n u a r y 2 5 , 2 0 1 2 8 p mH e l e n B a d e r C o n c e r t H a l l

Chamber Music Milwaukeewith guest soprano SuSanna PhilliPS

PROGR A M

“Parto, Parto, ma tu, ben mio” (1791) ......................................................... Wolfgang Amadeus Mozart from La Clemenza di Tito (1756-1791)

Susanna Phillips, sopranoTodd Levy, clarinetBrian Zeger, piano

“Ah! nos peines” from Médée (1797) ................................................................................. Luigi Cherubini (1760-1842)

Susanna Phillips, sopranoTheodore Soluri, bassoon

Brian Zeger, piano

3 Romanzen, Op. 94 (1849) ..............................................................................................Robert SchumannI. Nicht Schnell (1810-1856)II. Einfach innig - Etwas lebhafterIII. Finale: Nicht Schnell - Coda

Todd Levy, clarinetBrian Zeger, piano

Auf dem Strom, D. 943 (1828) ...............................................................................................Franz Schubert (1797-1828)

Susanna Phillips, sopranoGregory Flint, hornBrian Zeger, piano

- Intermission -

2 UWM Peck School of the Arts

Scherzo Concertante (1983) ............................................................................................... Vaclav Nelhybel (1919-1996)

Gregory Flint, hornBrian Zeger, piano

I Never Saw Another Butterfly (1996) ..................................................................................... Lori LaitmanThe Butterfly (b. 1955)Yes, That’s the Way Things AreBirdsongThe GardenMan Proposes, God DisposesThe Old House

Susanna Phillips, sopranoTodd Levy, clarinet

Muttertädelei, Op. 43, no. 2 ................................................................................................... Richard StraussRote Rosen, WoO 76 (1864-1949)Ich trage meine Minne, Op. 32, no. 1Freundliche Vision, Op. 48, no. 1Cäcilie, Op. 27, no. 2

Susanna Phillips, sopranoBrian Zeger, piano

PROGR A M (c o n t.)

PROGR A M NOTES

Written by Timothy Noonan, Senior Lecturer – Music History and Literature

Mozart, “Parto, parto, ma tu, ben mio” from La Clemenza di Tito, K. 621Leopold II (1747-1792) was Holy Roman Emperor for some seventeen months from September 1790 until his death, having succeeded Joseph II (1741-1790), who was Emperor from 1765 until 1790 (and who was portrayed by Jeffrey Jones in the film Amadeus). Leopold, some months prior to taking the imperial throne, was crowned King of Bohemia in Prague on September 6, 1791. For the occasion of his coronation, Mozart composed La Clemenza di Tito (The Clemency of Titus), a serious opera on a libretto by the venerable early- and mid-eighteenth-century librettist Pietro Metastasio (1698-1782). Unlike its chronological neighbor, Die Zauberflöte (The Magic Flute), K. 620, it is perhaps the least frequently performed of Mozart’s mature operas in today’s opera houses. Titus, in the opera, is presented as analogous to Joseph: while wrongdoings are committed against the leader, he is kind and lenient and grants clemency. Aside from the overture, the soprano aria “Parto, parto” may be the opera’s best known number. Coming late in the first of the two acts, the aria is the first for Sesto (Sextus), a castrato role, who is a friend of Titus who is in love with Vitellia, daughter of the previous emperor. The prominent role given to the solo clarinet enhances the charm of this beautiful aria.

Cherubini, “Ah! nos peines“ from MédéeThough born in Florence, Italy, Luigi Cherubini spent much of his career in France. He first went to Paris in summer 1786, aged 25, and became a French citizen around 1794. A leading composer of opera during the period of the French Revolution, he wrote his first commission for the Paris Opéra in 1788 with Démophon. His first major success came with Lodoïska in 1791, a work representing a new emphasis in French opera upon setting French plays with a preference for spoken dialogue over recitative. Cherubini’s next major opera was the three-act French opera comique Médée, premiered in Paris on March 13, 1797. It was initially a success, but in the end it ran just twenty performances. Revival of interest in the work in recent times was sparked by performances in 1952 in which Maria Callas sang the title role. It is an opera of horror, savagery, murder, and revenge. Johannes Brahms remarked that “Médée is the work we musicians recognize among ourselves as the highest peak of dramatic music.”

Schumann, Drei Romanzen, Op. 94Robert Schumann and his wife Clara moved to Dresden, the city to which Clara’s father, Friedrich Wieck, had recently moved, late in 1844. Robert’s health was poor; he battled


depression, exhaustion, insomnia, and numerous phobias. But by early 1845 he had improved somewhat and undertook a study of counterpoint with Clara, writing new fugal works and studying Cherubini’s treatise on counterpoint. While 1846 was unproductive, he composed actively in the next year, composing the Piano Trio, Op. 63, inspired by Clara’s trio written in the previous year. In April he began work on his opera Genoveva, and 1848 brought his “dramatic poem” Manfred. The Three Romances we hear today date from the highly productive year of 1849, during which he completed more than thirty works. The Romances were composed in December. Originally conceived for oboe and piano, Schumann authorized performance on clarinet or violin as well. The key scheme of the three pieces, A minor - A major - A minor, demonstrates their conception as a unified whole. All are in a moderate tempo, and the second calls for virtually unceasing clarinet playing, with very few rests. A middle section increases the tempo somewhat. The third, opening with a clarinet-piano unison line, ends with a short coda, forming an epilogue to the set.

Schubert, Auf dem Strom, D. 943Franz Schubert was not inclined to perform publically. Rather, he created the Schubertiade, a musical party for his friends at which he would perform; a famous illustration of such an event shows Schubert at the piano while a woman sings, presumably performing one of his many Lieder. Early in 1828, however, Schubert decided to put on a public concert, entirely made up of his own compositions. It was originally scheduled for March 21 (perhaps to mark Bach’s birthday?) but was rescheduled for March 26, the one-year anniversary of the death of Beethoven, whom Schubert revered highly. The concert, well attended and financially successful, included the Piano Trio in E-flat as well as a group of songs, and he composed a new one for this occasion. Auf dem Strom, written earlier in March, is scored unusually in its inclusion of an obbligato horn part (compare the song Der Hirt auf dem Felsen with its clarinet part, composed the following October). The stanzas of the text, written by Ludwig Rellstab, are separated by passages for the horn and piano. Notice the beginning of the voice part in stanzas 2 and 4: Schubert makes a not-so-subtle allusion to the opening melody of the funeral march movement in Beethoven’s “Eroica” Symphony, placing the date of this concert on the anniversary of the master’s death into relief.

Nelhybel, Scherzo ConcertanteA native of Czechoslovakia, Vaclav Nelhybel studied in Prague and Fribourg, Swtizerland. In 1950 he became the first music director for Radio Free Europe. Then in 1957 he moved to the United States, remaining in this country for the remainder of his career. He lived in New York for many years, and late in life became composer-in-residence at the University of Scranton until his death in 1996, aged 76. A composer of over 600 works, he specialized in music for concert band and for wind instruments, with much of his work intended for student performers. He also wrote three operas, a symphony, and numerous other works for orchestra. The Scherzo Concertante for horn and piano was composed in 1983. As the title implies, both the horn and piano parts are given passages of solo emphasis, as though engaging in conversation. The style is playful, in the manner of a scherzo, but driving and serious, with few breaks in the forward motion. Nelhybel’s language here is essentially modal, leaning toward the minor. The work is structured in three sections, the first introductory, the second analogous to an exposition and development, and the third, at a quicker tempo, like a recapitulation and a coda. Scott R. Hawkinson has observed, “economical and simple yet clever and soundly conceived, Nelhybel’s music challenges the listener’s intelligence in an encouraging way and appeals to all levels of listener from the most casual to the expert.”

Laitman, I Never Saw Another ButterflyLori Laitman is a contemporary American composer who specializes in vocal music, with more than 200 songs, two operas, and an oratorio to her credit. A graduate of the Yale School of Music, she worked initially in film composition and music for the theater, but over the past twenty years, her works have been predominantly for the voice. Her recent opera, The Scarlet Letter, received its premiere at the University of Central Arkansas in 2008 and will have its professional debut at Opera Colorado in 2013. I Never Saw Another Butterfly is a song cycle, composed in 1995-96. It is scored for soprano and alto saxophone; Laitman later arranged it for soprano with clarinet and with bassoon. The texts to the six songs, taken from an eponymous collection of poetry, were written by child Holocaust victims who perished at the Theresienstadt concentration camp.

PROGR A M NOTES (c o n t.)


Strauss, Five SongsThe songs we hear this evening were composed during the period 1883-1900, early in the career of the long-lived Richard Strauss. He was working as a conductor—Strauss was among history’s earliest professional conductors—in Meiningen, Munich, and Weimar. He wrote most of his famed tone poems during these years, and his major opera Salome would follow in 1903-05. As a composer of Lieder, Strauss is a major figure in the rich tradition of German art song in the nineteenth century. He composed more than 200, spanning his entire career, writing both traditional songs and examples of the newer genre of the orchestral song. In his early songs, Strauss was not as highly interested in poetry of the great writers as he was in texts that contain striking images suitable for a successful musical setting. Muttertändele (1899) takes on a rustic, Ländler style, in the manner of some of Mahler’s songs. Rote Rosen (1883) was written for Lotti Speyer, a young lady he met on holiday in Heilbrunn that summer. Ich trage meine Minne (1896) repeats its initial stanza at the end to underline its sentiment. And Freundliche Vision (1900) is bolder tonally, with sections of tonic harmony juxtaposed with distantly related non-tonic passages. As a group, these Lieder serve well to illustrate Richard Strauss’s gifts in the area of art song composition.


B IOGR APHIES

Gregory Flint, hornGregory Flint is associate professor of horn at the University of Wisconsin-Milwaukee and co-director of the Chamber Music Milwaukee concert series. As a performer, he is currently principal horn with the Elgin Symphony, the Chicago Jazz Orches-tra, Present Music of Milwaukee and the Fulcrum Point New Music Project. He often performs with the Milwaukee Symphony, and has also appeared with the Chicago Symphony, Colorado Symphony Orches-tra, Lyric Opera of Chicago, Honolulu Symphony, the Florida Orchestra, and the Ravinia Festival Orchestra. A busy chamber musician, Flint is a founding member of the critically acclaimed Asbury Brass Quintet, hornist with the Tower Brass of Chicago, and has also toured regularly with the Prairie Winds and the Chicago Brass Quintet.

Past summers have included solo ap-pearances in Spain, Costa Rica and South America. Gregory currently spends his sum-mer months in New Mexico as a member of the Santa Fe Opera orchestra.

Todd Levy, clarinetPrincipal Clarinet of the MSO and The Santa Fe Opera orchestras, two-time Grammy Award winner Todd Levy has performed as a soloist at Carnegie Hall, Mostly Mozart, with the Israel Philharmonic, and at the White House; as chamber musician with members of the Guarneri, Juilliard, Orion, Miami quar-tets, James Levine, Christoph Eschenbach, and Mitsuko Uchida; and as guest principal clarinet with the New York Philharmonic, the Metropolitan Opera, and frequently for Seiji Ozawa and Ricardo Muti in Japan. He has performed world premiere concerti or chamber works by composers such as John Harbison, Joan Tower, Peter Schickele, Paquito D’Rivera, Morton Subotnick, and Marc Neikrug and performs on the new release of Marc Neikrug’s Through Roses chamber work with violinist Pinchas Zuckerman, actor John Rubenstein and the composer conducting.

He has recorded the Brahms Clarinet Sonatas for Avie, and three educational book/CD’s of clarinet competition works for G. Schirmer/Hal Leonard, and a new edition/CD of the Bern-stein Clarinet Sonata for Boosey and Hawkes/

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B IOGR APHIES (c o n t.)

Hal Leonard. He performs exclusively on Vandoren reeds, mouthpieces, and ligatures, and Selmer Signature clarinets. He is also on the faculty of UW-Milwaukee and is co-director of Chamber Music Milwaukee. For a more complete biography, visit toddlevy.org.

Susanna Phillips, sopranoAlabama native Susanna Phillips has attracted special recognition for a voice of striking beauty and sophistication. Recipient of the Metropolitan Opera’s 2010 Beverly Sills Artist Award, she recently sang in the opening concert and Live from Lincoln Center broadcast of the Mostly Mozart Fes-tival under the baton of Louis Langree. She will begin the 2011/12 season as the title character in Lucia di Lammermoor in a new production with the Lyric Opera of Chicago, directed by Catherine Malfitano. She will make her European debut as Pamina in Die Zauberflöte at the Gran Teatro del Liceu in Barcelona, followed by Contessa Almaviva in Le nozze di Figaro at the Opera National de Bordeaux. Other operatic highlights include Musetta in Puccini’s La Boheme at the Metro-politan Opera, Lucia in Lucia di Lammermoor with Minnesota Opera. Concert engage-ments of the 2011/12 season include debuts with the Orchestra of St. Luke’s, the St. Louis Symphony, and a concert performance of Mozart’s Idomeneo at the Ravinia Music Festival where she will sing the role of Ilia.

Susanna Phillips began her 2010/11 season as Euridice in Minnesota Opera’s Orfeo ed Euridice with David Daniels, under Harry Bicket. Additionally, performed her first staged Lucia di Lammermoor with Opera Bir-mingham, and sang Helena in A Midsummer Night’s Dream with Boston Lyric Opera. At the Metropolitan Opera, Susanna appeared as Pamina in Julie Taymor’s celebrated pro-duction of The Magic Flute, and as Musetta in La bohème. She also portrayed Musetta on the Met’s Japan tour in June. Susanna was a resident artist at the Marlboro Music Festival for the past two summers. Concert highlights include the Marilyn Horne Foun-dation gala at Carnegie Hall, a solo recital in Chicago, and a recital for the US Supreme Court Justices. She was a featured artist in the Met’s Summer Recital Series in Central Park and Brooklyn Bridge Park.

In the 2009/10 season, Susanna Phillips sang Pamina at the Met with conductor Bernard Labadie, Adina in L’Elisir d’Amore with the Lyric Opera of Chicago, Countess Almaviva in Le Nozze di Figaro with Opera Birmingham, and Donna Anna in Don Giovanni at the Fort Worth Opera Festival. An alumnus of The Juilliard School, she made her New York solo

recital debut at Lincoln Center’s Alice Tully Hall as recipient of the Alice Tully Vocal Arts Debut Recital Award. Following her Baltimore Symphony debut under Marin Alsop, the Baltimore Sun proclaimed, “She’s the real deal.”

In the banner year of 2005, Susanna Phillips was the winner of four of the world’s leading vocal competitions – Operalia (both First Place and the Audience Prize), the Metropol-itan Opera National Council Auditions, the MacAllister Awards and the George London Foundation. She completed the Ryan Opera Center at Lyric Opera of Chicago in 2007.

Since making her Santa Fe Opera debut as Pamina in the summer of 2006, Susanna Phil-lips has returned to Santa Fe in a trio of Mozart operas: as Fiordiligi in Cosi fan tutte, Countess Almaviva in Le nozze di Figaro, and Donna Elvira in Don Giovanni. Recent seasons have brought significant operatic debuts, including Mozart’s Countess with the Dallas Opera, Donna Anna with Boston Lyric Opera and her first Violetta with Opera Birmingham.

In recital, Susanna Phillips has appeared at the Kennedy Center in Washington, DC, and at Carnegie Hall with the Marilyn Horne Founda-tion. She has performed with the Royal Stockholm Philharmonic as part of their an-nual “Composer’s Festival” under Alan Gilbert, Mozart’s Mass in C minor with the Chicago Symphony, Beethoven’s Mass in C and Choral Fantasy for her Mostly Mozart Festival debut at Lincoln Center, and at Carnegie Hall with the Oratorio Society of New York under Kent Tritle. She has also sung Dvorak’s Stabat Mater with the Santa Fe Symphony, Brahms’ Deutsches Requiem with the Santa Barbara Symphony, and appeared opposite baritone Wolfgang Holzmair in Wolf’s Spanisches Liederbuch at New York’s Weill Recital Hall. Other recent concert and oratorio engagements include Carmina Burana, Beethoven’s Ninth Symphony, Mahler’s Fourth Symphony, Mozart’s Corona-tion Mass, the Fauré and Mozart Requiems, and Handel’s Messiah. She made her Carnegie Hall debut with Skitch Henderson and Rob Fisher with the New York Pops.

Raised in Huntsville, Susanna Phillips is grateful for the ongoing support of her com-munity in her career. She sang Strauss’ Vier Letzte Lieder and her first performances of the title role in Lucia di Lammermoor in a concert version with the Huntsville Symphony, and she returns frequently to her native state for recitals and orchestral appearances.

Theodore Soluri, bassoonTheodore Soluri has been the principal bassoonist of the Milwaukee Symphony



Orchestra since 2004. Prior to this appointment, he held the same position with the Canton Symphony Orchestra (Ohio), the Akron Symphony Orchestra, and the Wheeling Symphony (West Virginia). Mr. Soluri is also the principal bassoonist of the Santa Fe Opera. As a soloist, Mr. Soluri has performed numerous works, including Mozart’s Concerto for Bassoon, Carl Maria von Weber’s Bassoon Concerto, Ferdinand David’s Concertino, Richard Strauss’s Duett-concertino, and Michael Daugherty’s Dead Elvis. Mr. Soluri has performed at many music festivals including the National Repertory Orchestra, the National Orchestral Institute, The Los Angeles Philharmonic Institute, the Solti Orchestral Project at Carnegie Hall, the Grand Teton Music Festival, and the Santa Fe Chamber Music Festival. Mr. Soluri has performed with the Cleveland Orchestra, and the Grant Park Orchestra among others. He was also invited to play with the Chicago Symphony Orchestra on their East Coast tour in 2005 and has played with them several times since. In the summer of 2006, Mr. Soluri was invited to perform two recitals at the International Double Reed Society (IDRS) Conference in Muncie, IN. He also performed at the IDRS conference in the summer of 2010 in Norman, OK and will be performing at the 2011 conference in Tempe, AZ.

Mr. Soluri received his Bachelor of Music degree from The Florida State University and his Master of Music degree from The Cleveland Institute of Music. He plays Fox bassoons and owns a 101 and red maple 601. Mr. Soluri is a Fox Artist.

Brian Zeger, pianoPianist Brian Zeger has built an important career not only as a pianist, appearing in distin-guished concert venues throughout the Unit-ed States and Europe, but also as an ensemble performer par excellence, radio broadcaster, artistic administrator and educator.

In a career spanning more than two decades, Mr. Zeger has enjoyed collaborations with many of the world’s top artists including including Marilyn Horne, Deborah Voigt, Susan Graham, René Pape, Dame Kiri Te Kanawa, Bryn Terfel and Joyce DiDonato. Recent and upcoming engagements include recitals with Deborah Voigt, René Pape, Anna Netrebko, Bryn Terfel, Dame Kiri Te Kanawa, Adrianne Pieczonka and Piotr Beczala.

Mr. Zeger also enjoys an active career as a chamber musician. From 1993-2000 he was artistic director of the Cape and Islands Chamber Music Festival, headquartered on Cape Cod and now in its 33rd season, where his performances included collaborations with the Borromeo and Brentano Quartets as well as with Bernard Greenhouse, Glenn Dicterow, Eugene Drucker and Paula Robison.

He has been a regular guest at many other summer festivals including Aspen, Ravinia, Caramoor, Aldeburgh, and Santa Fe, and collaborates regularly with An die Musik and the New York Philharmonic Chamber Ensembles. He has also made concerto ap-pearances with the Boston Pops.

In addition to his distinguished concert career he also serves as Artistic Director of the Vocal Arts Department at The Juilliard School, the Executive Director of the Met-ropolitan Opera Lindemann Young Artists Development Program, the director of the vocal program, and recently finished a ten year term as the director of the vocal pro-gram at the Steans Institute at the Ravinia Festival. He has been on the faculties of the Music Academy of the West in Santa Barbara, the Chautauqua Institute, the Mannes Col-lege of Music and the Peabody Conservatory and has given master classes for numerous institutions, including The Guildhall School of Music in London, Cincinnati College-Conservatory of Music, Tanglewood Music Center, and the Marilyn Horne Foundation.

Some of his critical essays and other writings have appeared in Opera News, The Yale Review and Chamber Music magazine. He has ap-peared frequently on the Metropolitan Opera radio broadcasts both on the opera quiz and as intermission host and performer. He has the distinction of creating, narrating and perform-ing in five intermission features devoted to art song, a first in the long history of the Met broadcasts. He has adjudicated the Metropoli-tan Opera National Council Auditions, the Con-cert Artists Guild auditions and the Walter W. Naumberg Vocal Competition. His recordings may be heard on the EMI Classics, New World, Naxos and Koch record labels, his most recent recording being his most recent being Portraits and Elegies with violinist Frank Almond.

Born in upstate New York, Mr. Zeger is now a resident of Manhattan. He holds a bach-elor’s degree in English Literature from Har-vard College, a master’s degree from The Juilliard School and a doctorate from the Manhattan School of Music. His important teachers have included Morris Borenstein, Sascha Gorodnitzki and Nina Svetlanova.

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9Fine Arts Quartet

J a n u a r y 2 9 , 2 0 1 2 3 p mH e l e n B a d e r C o n c e r t H a l l

Fine Arts Quartetwith RALPH EVANS EFIM BOICO

NICOLÒ EUGELMI ROBERT COHEN

& JOSEPH KALICHSTEIN, GUEST PIANIST


Presented by The UW-Milwaukee Peck School of the ArtsThe Fine Arts Quartet season is supported in part by:

Co-Presenting Sponsors

Sheldon & Marianne Lubar Fund of the Lubar Family FoundationKatharine & Sandy Mallin

Co-Sponsor

Dr. Lucile Cohn

Media Co-Sponsor

Additional Media Sponsors

Guest Artist Sponsors

Susan DeWitt Davie Dr. Josette B. Grossberg & Dr. Sidney E. Grossberg

Carol & Leonard LewensohnKathleen E. Peebles Jane Abelson Zeft

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Else AnkelGary A. BackAnna Mary Baurenfeind-LookLeon & Carol BurzynskiEric & Miriam CohenJo Ann CorriganMichael & Ellen FigueiraDarrell & Sally FoellDebra Franzke & James

TheseliusBernice FunchesKathleen A. GallickEmmely C. GideonIrv & Reesa GottschalkRobert & Marialyce GoveRuth Ann Guthmann

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Gifts in memory of Wolfgang Laufer

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11Fine Arts Quartet

PROGR A M

The Fine Arts Quartet with guest pianist, Joseph Kalichstein

String Quartet No.2 in G major, Op.153 (1918) ..........................................Camille Saint-Saëns Allegro animato (1835-1921)Molto adagio - Andantino Interludio e finale: Andantino - Allegretto con moto

Variations on a Theme by Schumann, Op.9 (1854) ....................................... Johannes Brahms (1833-1897)

Joseph Kalichstein, piano

-- Intermission --

Piano Quintet in F minor, Op.34 (1864)............................................................. Johannes Brahms Allegro non troppo (1833-1897)Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto - Allegro non troppo

Special thanks to Stephen Basson for providing today’s pre-concert lecture

PROGR A M NOTES

Written by Timothy Noonan, Senior Lecturer – Music History and Literature

Saint-Saëns, String Quartet No. 2 in G Major, Op. 153 Born in 1835, Saint-Saëns lived to the age of 86, and thus, while he composed in a Romantic idiom, his late works were composed in the twentieth century. And in these late years, he remained a highly celebrated and well-traveled figure. In 1900, his cantata celebrating electricity, Le feu céleste, served to inaugurate the Exposition Universelle—an appropriate gesture to welcome the new century. He visited the United States in 1906, and later spent some time in North Africa. In the 1910-11 season, the opera house in Algiers produced five consecutive operas by Saint-Saëns. The Legion of Honor in Cairo decorated him in 1913. In 1916, when the composer was in his early 80s, he visited South America.

Out of this late period comes the second of Saint-Saëns’s two string quartets, Op. 153, composed in 1918 (at age 83) and published the following year. It was dedicated to the French music publisher Jacques Durand. The first movement contains passages that sound surprisingly classical, with clear textures and reuse of motivic material. Its sonata form is quite classical as well, although the composer treats the tonal plan of the move-ment more freely than we would likely find in an eighteenth-century score. In contrast, the slow movement is particularly vague tonally, ostensibly in C minor, thereby creating a wonderfully dreamy atmosphere. The finale begins slowly with a section marked “Interlude” that continues with the tonally unstable character of the slow movement. But this gives way to an Allegro con moto that returns to the more classical character of the first movement, even including a passage in fugal texture. The Second Quartet, written in Saint-Saëns’s old age, might be viewed as a summary of the progression of musical styles the famed composer witnessed over the course of his long lifetime.

Brahms, Variations on a Theme by Robert Schumann in F-sharp Minor, Op. 9Brahms was 20 in 1853 when he embarked on a concert tour with Hungarian violinist Ede Reményi. During their stay in Göttingen, Brahms met the violinist Joseph Joachim, who became a lifelong friend, and in Weimar, he met Liszt. On returning to Göttingen, Joachim introduced Brahms to Robert Schumann, and in September he visited the home of Robert and his wife Clara in Düsseldorf. Early in 1854 he was working on his large First Piano Trio, Op. 8, when in March he received news of Robert’s nervous breakdown and suicide attempt. With Schumann now institutionalized, Brahms went to Düsseldorf to aid Clara and the Schumann children. Out of this scenario came Brahms’s Variations on


a Theme by Schumann, Op. 9, composed in late May to early June of 1854 and dedicated to Clara (who on June 11 gave birth to the couple’s last child, Felix). The 16 variations are on a theme from Schumann’s Bunte Blätter, Op. 99 No. 4, and some of the variations make reference to other Schumann works as well. Clara had written her own variations on this same theme the previous year, her Op. 20, and we may view Brahms’s work as his response to Clara’s. Over the course of the Brahms variations we hear a broad variety of approaches, incorporating changes of key (though the set begins in F-sharp minor and ends in F-sharp major), meter, tempo, and length (the variations on the 24-measure theme range from 12 to 43 measures). In a few variations, including the first, Brahms places the theme in the left hand, allowing it to function as harmony for the right-hand melody above. These variations are a touching tribute to the warm relationship that existed between Brahms and the Schumanns.

Brahms, Piano Quintet in F Minor, Op. 34Brahms’s Piano Quintet, one of his most highly regarded chamber works, was originally conceived as a string quintet with two cellos. Inspired by Schubert’s great Quintet in C, the work was criticized by violinist Joseph Joachim, who deemed the work difficult and ineffective. Brahms responded by creating a version for two pianos (Op. 34b), a work that holds a place in today’s repertoire, which Brahms and Carl Tausig would premiere in 1864; he destroyed the string quintet. Only then, on the urging of Clara Schumann, did Brahms write the version for piano quintet. It was composed later in 1864, during a period in which Brahms also wrote both String Sextets, both Piano Quartets, the Horn Trio, as well as the First Cello Sonata. In the Fall of that same year, he made his first visit to Vienna, and by the following spring he had become director of its Singakademie. He led this choir in recent music by Mendelssohn, Schumann, and himself, as well as music of Bach and of Renaissance composers, reflective of his keen interest in early music.

The music of the quintet is a remarkable coupling of the lyrical melody we often associate with Schubert and the motivic and contrapuntal development we find in Beethoven—a union of impeccable craftsmanship and great beauty. The first movement’s opening melody, stated in unison, is the first instance of a D-flat to C descent, an idea that will return again and again over the course of the work. In fact, the secondary material is placed in the keys of C-sharp minor and D-flat major, placing the importance of these enhar-monic pitches in relief. Set in a large sonata form, the movement retains its stormy, tragic character to the end. By contrast, the singing, Schubert-like slow movement provides an interlude of repose. The scherzo begins distinctively with the cello’s soft pizzicato on the low open C and then hushed suggestions of melody in the other parts—first syncopated, then dotted—before the fortissimo presentation of a memorable theme in C major. The dotted idea is presented in fugal texture before the scherzo section closes; it ends with a prominent D-flat – C, originating in the first movement’s opening theme, and making a clear reference to Schubert’s Quintet in C, which ends with a very similar gesture. In the trio section, the piano presents a calm, less vigorous melody as the cello offers that same low C. True to form, the scherzo is then repeated. The finale begins with a substantial slow introduction, one that makes a motivic reference to Beethoven’s String Quartet Op. 95 (“Se-rioso”), also in F minor. With the coming of the Allegro non troppo, the cello offers the main theme, which Brahms subsequently presents in inversion. A most exciting finale brings this monument of the chamber music repertoire to a brilliant close.


F INE ARTS QUARTET

The Fine Arts Quartet, now celebrating its 66th anniversary, is one of the most distin-guished ensembles in chamber music today, with an illustrious history of performing success and an extensive recording legacy. Founded in Chicago in 1946, and based at the University of Wisconsin-Milwaukee since 1963, the Quartet is one of the elite few to have recorded and toured internationally for over half a century. Violinists Ralph Evans and Efim Boico, who have performed together in the Quartet for nearly 30 years, were joined by violist Nicolò Eugelmi in 2009 and cellist Robert Cohen in 2012. Each season, the Fine Arts Quartet tours worldwide, with concerts in such musical centers as New

13Fine Arts Quartet

York, London, Paris, Berlin, Rome, Madrid, Moscow, Tokyo, Beijing, Istanbul, Jerusalem, Mexico City, and Toronto.

The Quartet has recorded more than 200 works, over 80 of them with Evans, Boico, and the late Wolfgang Laufer. Their latest releases on Naxos include: the world premiere recording of Efrem Zimbalist’s Quartet in its 1959 revised edition, the world premiere digital recording of Eugène Ysaÿe’s long-lost masterpiece for quartet and string orchestra, “Harmonies du Soir”; Fritz Kreisler’s String Quartet, the two Saint-Saëns String Quartets, three Beethoven String Quintets; the Franck String Quartet and Piano Quintet; Fauré Piano Quintets; complete Bruckner chamber music; complete Mendels-sohn String Quintets; “Four American Quartets” by Antheil, Herrmann, Glass, Evans; complete Schumann Quartets; and the Glazunov String Quintet and Novelettes. Aulos Musikado released their complete Dohnányi String Quartets and Piano Quintets, and Lyrinx released both their complete early Beethoven Quartets and complete Mozart String Quintets in SACD format. Releases planned for 2012 on Naxos include three of Robert Schumann’s greatest chamber works: the Piano Quintet, Piano Quartet, and Märchenerzählungen.

The Quartet’s recent recordings have received many distinctions. Their Fauré Quin-tets CD on Naxos with pianist Cristina Ortiz was singled out by the 2011 Gramophone Classical Music Guide as a “Gramophone award-winner and recording of legendary status”, and was among the recordings for which musical producer Steven Epstein won a 2009 Grammy® Award (“Producer of the Year, Classical”). The Quartet’s Franck CD was named “Editor’s Choice” by Gramophone Magazine in February, 2010, and their Glazunov, Mendelssohn, and Fauré CD’s were each named a “Recording of the Year” by Musicweb International (2007-2009). In addition, their “Four American Quartets” album was designated a “BBC Music Magazine Choice” in 2008, their Schumann CD was named “one of the very finest chamber music recordings of the year” by the American Record Guide in 2007, and their Mozart Quintets SACD box set was named a “Critic’s Choice 2003” by the American Record Guide. Nearly all of the Quartet’s Naxos CDs were selected for Grammy® Awards entry lists in the “Best Classical Album” and/or “Best Chamber Music Performance” categories. Special recognition was given for the Quartet’s commitment to contemporary music: a 2003-2004 national CMA/ASCAP Award for Adventurous Programming, given jointly by Chamber Music America and the American Society of Composers, Authors, and Publishers.

The Quartet members have helped form and nurture many of today’s top international young ensembles. They have been guest professors at the national music conserva-tories of Paris and Lyon, as well as at the summer music schools of Yale University and Indiana University. They also appear regularly as jury members of major competitions such as Evian, Shostakovich, and Bordeaux. Documentaries on the Fine Arts Quartet have appeared on both French and American Public Television. For more information on the Quartet, please visit: www.fineartsquartet.org

F INE ARTS QUARTET (c o n t.)

B IOGR APHIES

RALPH EVANS, violinist, prizewinner in the 1982 Interna-tional Tchaikovsky Competition in Moscow, concertized as soloist throughout Europe and North

America before succeeding Leonard Sorkin as first violinist of the Fine Arts

Quartet. Evans has recorded over 85 solo and chamber works to date. These include the two Bartók Sonatas for violin and piano, whose performance the New York Times enthusiastically recommended for its “searching insight and idiomatic flair,” and three virtuoso violin pieces by Lukas Foss with the composer at the piano. Evans graduated cum laude from Yale University, where he also received a



doctorate. While a Fulbright scholar in London, he studied with Szymon Goldberg and Nathan Milstein, and soon won the top prize in a number of major American competitions, including the Concert Artists Guild Competition in New York, and the National Federation of Music Clubs National Young Artist Competition. Evans has also received recognition for his work as a composer. His award winning composition “Noc-turne” has been performed on American Public Television and his String Quartet No. 1, recently released on the Naxos label, has been warmly greeted in the press (“rich and inventive” - Toronto Star; “whimsical and clever, engaging and amusing” - All Music Guide; “vigorous and tuneful” - Montreal Gazette; “seductive, modern sonorities” - France Ouest; “a small masterpiece” - Gli Amici della Musica).

EFIM BOICO, violinist, enjoys an international career that has included solo appearances under conductors Zubin Mehta, Carlo Maria Guilini, Claudio

Abbado and Erich Leinsdorf, and performances with Daniel Barenboim, Radu Lupu and Pinchas Zuckerman. After receiving his musical training in his native Russia, he emigrated in 1967 to Israel, where he was appointed Principal Second Violin of the Israel Philharmonic - a position he held for eleven years. In 1971, he joined the Tel Aviv Quartet as second violinist, touring the world with guest artists such as André Previn and Vladimir Ashkenazy. In 1979, Boico was appointed concertmaster and soloist of the Orchestre de Paris under Daniel Baren-boim, positions he held until 1983, when he joined the Fine Arts Quartet. Boico has been guest professor at the Paris and Lyons Conservatories in France, and the Yehudi Menuhin School in Switzerland. He is also a frequent juror representing the United States in the prestigious London, Evian, and Shostakovich Quartet Competi-tions. As music professor at the University of Wisconsin-Milwaukee, he has received numerous awards, including the Wisconsin Public Education Professional

Service Award for distinguished music teaching, and the Arts Recognition and Talent Search Award from the National Foundation for Advancement in the Arts.

NICOLÒ EUGELMI, violist, joined the Fine Arts Quartet in July, 2009. He is described by The Strad magazine as “a player of rare perception, with a

keen ear for timbres and a vivid imagina-tion.” As soloist, recitalist, and member of chamber ensembles, he has performed around the world, collaborating most notably with conductors Mario Bernardi, Jean-Claude Casadesus, and Charles Dutoit. Eugelmi completed his musical training at the University of British Columbia and the Juilliard School. In 1999, he was appointed Associate Principal Violist of the Orchestre Symphonique de Montréal, and in 2005, he became Principal Violist of the Canadian Opera Company. Eugelmi�s recording, Brahms: Sonatas and Songs, was named a “Strad Selection” by The Strad, and his recording, Brahms Lieder, a collaboration with Marie-Nicole Lemieux, was named “Editor’s Choice” by Gramophone. He has recorded regularly for the CBC and Radio-Canada. His mentor, Gerald Stanick, was a member of the Fine Arts Quartet from 1963 to 1968.

ROBERT COHEN, cellist, made his concerto debut at the age of twelve at the Royal Festival Hall London and throughout his distinguished

international career, he has been hailed as one of the foremost cellists of our time. “It is easy to hear what the fuss is about, he plays like a God” (New York Stereo Review). “Cohen can hold an audience in the palm of his hand” (The Guardian). Invited to perform concertos world-wide by conductors Claudio Abbado, Kurt Masur, Riccardo Muti, and Sir Simon Rattle, Cohen has also collaborated in chamber music with

15Fine Arts Quartet


many eminent artists such as Yehudi Menuhin and the Amadeus String Quartet, with whom he recorded the Schubert Cello Quintet on Deutsche Grammophon. At age nineteen, Cohen recorded the Elgar Concerto with the London Philharmonic Orchestra for the EMI label, and since then, he has recorded much of the cello repertoire for Sony, Decca, DGG, EMI, and BIS. Cohen, who studied with the legendary artists William Pleeth, Jacqueline du Pré, and Mstislav Rostropovich, is an inspirational teacher who has given master classes all over the world. He is a Professor at the Royal Academy of Music in London and at the Conservatorio della Svizzera Italiana in Lugano, and is director of the Charleston Manor Festival in the south of England. He joined the Fine Arts Quartet in January, 2012.

JOSEPH KALICHSTEIN, pianoAcclaimed for the heartfelt intensity and technical mas-tery of his playing, pianist Joseph Ka-lichstein enthralls

audiences throughout the United States and Europe, winning equal praise as orchestral soloist, recitalist and chamber musician.

With his diverse repertoire of works rang-ing from Mozart, Beethoven and Brahms to 20th-century works by Bartok, Proko-fiev and others, Mr. Kalichstein has col-laborated with such celebrated conduc-tors as Daniel Barenboim, Pierre Boulez, James Conlon, Christoph von Dohnányi, James DePreist, Charles Dutoit, Lawrence Foster, Zubin Mehta, Andre Previn, Kurt Sanderling, Leonard Slatkin, Edo de Waart, David Zinman and the late George Szell and Erich Leinsdorf. He has performed with the world’s greatest orchestras: the Cleveland Orchestra; the Symphony Orchestras of London, Boston, Chicago, St. Louis and Detroit where he will return this season; Tokyo’s NHK; and the Berlin, New York, Los Angeles and Israel Philharmonic Orchestras. He has also appeared with the English, Scottish, Franz Liszt, Israel and Saint Paul Chamber Orchestras, some of

which he has led in performances of Mo-zart Piano Concerti. He has been enthusi-astically received at the Edinburgh, Aspen, Prague, Ravinia, Tanglewood, Salzburg, and Verbier festivals.

A favorite of New York concertgoers, Mr. Kalichstein has appeared in several recit-als on Carnegie Hall’s “Keyboard Virtuosi” series. His two latest CD releases include music of Schumann and Brahms (on Koch International) and of Brahms, Mendels-sohn and Schubert (“The Romantic Piano”, on Audiofon Records.) In the summer of 2008, Kalichstein celebrated his 25th con-secutive year at the Aspen Music Festival with a special 4-piano concert, playing 4- and 8-hand music with his friends and colleagues Emanuel Ax, Yefim Bronfman and Misha Dichter.

Joseph Kalichstein is a founding member of the famed Kalichstein-Laredo-Robinson piano trio, celebrating its 35th anniver-sary in 2012. The Trio continues to play in major music capitals as well as on all the great university concert series. Its current recording project is a 4-CD Brahms Cycle. Mr. Kalichstein is also a frequent guest pi-anist with the world’s most beloved string quartets, including the Guarneri and the Emerson, with whom he has participated in their London and Washington Shosta-kovich Cycles. He serves as the Chamber Music Advisor to the Kennedy Center and is the Artistic Director of the Center’s Fortas Chamber Music Concerts. He continues to hold the inaugural Chamber Music Chair at the Juilliard School, where he also has a limited class for advanced piano students.

Born in Tel Aviv, he came to the United States in 1962. His principal teach-ers included Joshua Shor in Israel and Edward Steuermann and Ilona Kabos at The Juilliard School. Prior to winning the 1969 Leventritt Award, he had won the Young Concert Artists Auditions, and as a result he gave a heralded New York recital debut, followed by an invitation from Leonard Bernstein to perform Beethoven’s Piano Concerto No. 4 with the New York Philharmonic in a nationally televised concert on CBS.


DEPARTMENT OF MUSIC FACULT Y AND TEACHING STAFF

Ensembles John Climer, Bands Scott Corley, Bands Margery Deutsch, Orchestras Curt Hanrahan, Jazz Band Gloria Hansen, Choirs Sharon Hansen, Choirs David Nunley, Choirs José Rivera, Choirs Guitar Peter Baime Beverly Belfer Pete Billmann Elina Chekan René Izquierdo Don Linke John Stropes Harp Ann Lobotzke+ Jazz Studies Curt Hanrahan, Jazz Ensemble/ Jazz Arranging Steve Nelson-Raney, Jazz Theory and History Music Education Scott Emmons Sheila Feay-Shaw Jeffrey Garthee José Rivera Music History and Literature Mitchell Brauner Judith Kuhn Timothy Noonan Gillian Rodger Martin Jack Rosenblum Music Theory, Composition and

Technology James Burmeister Christopher Burns Lou Cucunato William Heinrichs Jonathan Monhardt Steve Nelson-Raney Kevin Schlei Amanda Schoofs Jon Welstead*

Piano Elena Abend Judit Jaimes Leslie Krueger Peggy Otwell Jeffry Peterson Katja Phillabaum Strings Scott Cook, String Pedagogy^ Darcy Drexler, String Pedagogy^ Stefan Kartman, Cello Lewis Rosove, Viola Laura Snyder, String Bass+ Bernard Zinck, Violin Fine Arts Quartet Ralph Evans, Violin Efim Boico, Violin Nicolò Eugelmi, Viola Voice Valerie Errante Jenny Gettel Constance Haas Jamie Johns Tanya Kruse Ruck Kurt Ollmann Teresa Seidl Winds, Brass and Percussion Dave Bayles, Percussion Dean Borghesani, Percussion+ Margaret Butler, Oboe+ Stephen Colburn, Oboe+ Marty Erickson, Tuba & Euphonium Gregory Flint, Horn Beth Giacobassi, Bassoon+ Curt Hanrahan, Saxophone Kevin Hartman, Trumpet Mark Hoelscher, Trombone Kyle Knox, Clarinet+ Todd Levy, Clarinet+ Ted Soluri, Bassoon+ Carl Storniolo, Percussion Caen Thomason-Redus, Flute Thomas Wetzel, Percussion+ *Department Chair +Milwaukee Symphony Orchestra ^String Academy of Wisconsin

17Winterdances: Fate/Love & Loss

F e b r u a r y 2 - 5 , 2 0 1 2

M a i n s t a g e T h e a t r e

7:30pm Thursday-Saturday

& 2pm Sunday


Please join us for

A Remembrance of Ed Burgess

Sunday, February 5, 201210am–1:30pm. Ceremony from 11–Noon.

Helene Zelazo Center for the Performing Arts2419 E. Kenwood Boulevard

Perpetuate Ed’s PassionJoin us at this celebration of Ed’s life and plan to stay

for the UWM Department of Dance Winterdances: Fate/Love & Loss performance at 2pm in the Mainstage Theatre.

Please consider making a gift in support of The Ed Burgess Legacy Scholarship Fund.

Send to:UWM Foundation/Ed Burgess Legacy Scholarship Fund1440 East North Avenue, Milwaukee, WI 53202

Or Online at uwm.edu/giving:• Click on Give Online, then Make a Gift• Click on Gift Designation and select “Arts”• Click on Additional Instruction and type in

“Ed Burgess Legacy Scholarship Fund”

We are also collecting suggestions for the renaming of Mitchell Studio 254 in Ed’s honor. Please drop any suggestions you may have in the box in the Lobby, or email them to [email protected].


ARTISTIC D IRECTOR STATEMENT—SIMONE FERRO

This show has special meaning for all who knew Ed Burgess, our colleague who died in May. As Department Chair, he was passionate in his pursuit of dance. An email sent to the faculty late in 2009 combined both his optimism and a sense of impermanence; “Hi all - I hope, of late, that all have had or are having some time to reflect, appreciate, and enjoy the fleeting nature of well, everything...let me just say: all of you make me smile so I do look forward to 2010 with all of you...”

As we look forward to a year of fulfilling and transformative new experiences, we also look towards the unknown. We pledge to move on into something bigger, but sometimes the answer transcends the here and now and it might not be determined by the simple process of life. It might be fate as well. Making art, even in the face of loss and imperma-nence, is the theme of this concert.

The works by Ed and Arnie Zane were created in radically different conditions and for different reasons; nonetheless, they seem to have found something in common - the ritual of acceptance through dance. Both use movement to express their yearning for resolution and a means for achieving that reconciliation with fate. Likewise, our other choreographers explore the themes of absence and human kindness to suggest that artistic vision can surpass, or at least make bearable, the ephemerality of life.

Thank you for being here and for supporting the art of dance.

WINTERDANCES : FATE / LOVE & LOSS

Please turn off anything that rings, buzzes, or will light up your face during the performance. The performers and your fellow audience members thank you.

All ThatChoreography: Darci Brown WutzDancers: Megan Burki, Katrina Clark, Rachel Elliott, Christina Gaspar, Dana Handel, Carrie Martin, Allie Rick Costumes: Pamela RehbergMusic: Eartha KittVideo: Iain Court, Amie Segal

WHAT ARE YOU WAITING FOR??? Choreography: Dani KuepperPerformance: Danielle Allen, Ryan Cappleman, Sarah Kind, Laura Kolar, Emily Landry, Beth Mudroch, Samantha Patrick, Ashley Santiago, Libby Schmitz, Laura Seuffert, Emily SunderlandOriginal Music: Seth Warren-Crow

Bring it on Home“Dance’s most neurotic moments, historically and personally, have come when undigested technique dictates content.” –Wendell BeaversChoreography: Luc VanierPerformance: Hilary Anderson, Katrina Rosita Clark, Tasha Holifield, Kendra Kramas, Gina Laurenzi, Madeleine Makaroff, Brenna Marlin, Shelby Reuss, Kimberly Rhyme, Kayla Schroepfer, Bridgett Tegen, Bonnie Miranda WatsonMusic: “Black Dog,” “Immigrant Song,” “Heartbreaker,” “Whole Lotta Love,” “Moby Dick,” and “Bring it on Home,” by Led ZeppelinCostumes: Karmen SeibChoreographer Notes: “Bring it on Home” explores Wendell Beavers’ quote and guides the dancers to integrate difficult technical concepts in performance. The work is my third attempt to explore the concept of ballet’s “épaulement” (shouldering) as an advanced technical element in dancing. Ballet often tricks us to look at the legs while most of the work is actually happening as a coordination of the limbs against the head, neck and back. A difficult technical element to ‘digest,’ most everything else is secondary.


15-Minute Intermission

Gotta Go (2002)Choreography: Ed Burgess, Brian Jeffery (1992)Reconstruction & Direction: Joe FranseeTwo Guys: Ben Follensbee, Steven La FondMusic: Mickey Hart, Fast ForwardSound Design: Dan GnaderOriginal Scenic Design: Sandra StrawnSet Construction: Justin PetersSet Painting: Dan SchuchartOriginal Lighting Design: James Leitner

but then...Choreographer: Darci Brown Wutz and her dancersDancers: Jacob Condon and Sydney Ruf-WongCostumes: Pamela RehbergMusic: Diana Krall

The Gift/No God Logic (1987)Choreography: Arnie ZaneReconstruction: Heidi LatskyRehearsal Director: Gerald CaselCast A: Megan Burki, Ben Follensbee, Steven La Fond, José A. Luis Cast B: Katharina Abderholden, Jacob Condon, Christina Gaspar, Kao Zhong Xiong Cast C: Katharina Abderholden, Jacob Condon, Christina Gaspar, Annette Grefig Understudy: Allie Rick Music: Selections from La Forza del Destino by Giuseppe Verdi, sung by Montserrat CaballeCostumes: Demian AcquavellaLighting: Robert Wierzel

This project has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. Presented under license from New York Live Arts and the Bill T. Jones/Arnie Zane Dance Company

WINTERDANCES : FATE / LOVE & LOSS (c o n t.)

B IOGR APHIES

Demian Acquavella – Costumes, “The Gift/No God Logic” Demian Acquavella danced in the Bill T. Jones/Arnie Zane Dance Company from 1985 until 1988. In addition to design-ing costumes for two of Arnie Zane’s last dances, “The Gift/No God Logic” and “Like in Egypt,” Acquavella was the inspiration for Bill T. Jones’s D-Man in the Waters (1989), ‘D-Man’ as short for ‘Demian.’ A Brooklyn native, Acquavella began dancing at the age of twenty at Santa Monica Community College in Santa Monica, California. Upon moving to New York, he studied dance at the Alvin Ailey American Dance Center, the Nat Horne Musical Theater, and with Mar-jorie Mussman, Cindi Green, Ernie Pagnano, and Phil Black. Prior to joining the Jones/Zane Company, he danced with Alvin

Ailey American Dance Theater, Elisa Monte Dance Company, Rush Dance Company, and for Mussman and Lillo Way. Acquavella died of AIDS-related causes in 1990.

Bill T. Jones/Arnie Zane Dance Company has shaped the evolution of contemporary dance through the creation and perfor-mance of over 140 works. Founded as a multicultural dance company in 1982, the company was born of an 11-year artistic collaboration between Bill T. Jones and Ar-nie Zane. Today, the company is recognized as one of the most innovative and power-ful forces in the modern dance world. The company has performed its ever-enlarging repertoire worldwide in over 200 cities in 30 countries.



Ed Burgess – “Gotta Go”Ed Burgess, 1952-2011, lived and worked in Milwaukee since 1989, follow-ing several years of touring with Jennifer

Muller and the Works (NYC) and teaching internationally in Ireland, Norway and Tai-wan. Burgess moved to Milwaukee in 1989 to join UWM Dance as a faculty member, ultimately becoming a full professor and became the first chair of the independent Dance Department in 2003. Burgess cho-reographed, directed or performed with Milwaukee Shakespeare, Wild Space Dance Company, Milwaukee Dance Theater, Your Mother Dances, Milwaukee Ballet, Skylight Opera Theatre, Renaissance Theaterworks, Milwaukee Repertory Theater, Danceworks, The Cleveland Playhouse, The Monomoy Theatre on Cape Cod, The Hartt School in Hartford, CT., and the Bay View Music Fes-tival on the Upper Peninsula of Michigan. Most recently, he choreographed “Sin City” for the Dance Department production of Winterdances: Egalite! and a week before he passed away, played an aging Nijinsky in an original performance by Theatre Gigante, called Isadora & Nijinsky. Burgess was on the board of the North Central Region of the American College Dance Festival As-sociation, and a member of the Society of Stage Directors and Choreographers.

Gerald Casel – Rehearsal Director, “The Gift/No God Logic”Gerald Casel received a BFA in Dance from the Juilliard School and an MFA from UW-Milwaukee assisted by a fellowship from the Advanced Opportunity Program. He has danced in the companies of Michael Clark, Lar Lubovitch, Stephen Petronio and more. In 1997 he was honored to receive a New York Dance and Performance Award “Bessie” for sustained achievement. Casel has been on faculty at NYU where he received the David Payne-Carter Award for Teaching Excellence. Last year he was a Professor of Contemporary Dance at Palucca Hochschule für Tanz Dresden. He is artistic director of his company, GERALDCASELDANCE.

Iain Court – Technical Director, Lighting DesignerIain has indulged his passion for knowledge and artistic development with degrees in Literature, Psychology, Performing Arts, Education, Directing and Multimedia. He has blended a career of working in professional theatre with his connection to people devel-oping their performative voice through education. His production work has focused on lighting design and production manage-ment although he has also designed sets and sound and stage managed dance and theatre. He has lit works in a diverse range of locations, including everything from medieval churches in Italy, to the banks of a river, circus tents, haunted ruins and major theatres and in every genre of perfor-mance. Over the past 8 years, he has toured extensively through Europe as production manager and lighting designer for Austra-lian Dance Multimedia puppetry company Igneous. He has a passion for new media and collaboration in performance and for “making it happen”.

Joe Fransee – Reconstruction, “Gotta Go”Joe returns to the UW-Milwaukee Dance Department with the great honor of restaging Gotta Go. A Milwaukee native, he has appeared with a variety of companies throughout the region such as American Folklore Theatre, The Skylight Opera, In Tandem Theatre, Boulevard Theatre, Off The Wall Theatre, Windfall Theatre, and Milwaukee Shakespeare. As both dancer and choreographer, he has worked with Danceworks, Wildspace Dance Company, UW-Milwaukee’s Music Department, and Theatre Gigante. Joe is a graduate of UW-Milwaukee with a Bachelor of Arts in The-atre and a Bachelor of Fine Arts in Dance.

Colin Gawronski – Stage ManagerColin is a recent graduate of UW-Milwau-kee, and is always happy to work with the wonderful dancers and professors at UWM. Colin has worked with other such local companies as Youngblood Theatre, Next Act Theatre, Chamber Theatre, Your Mother Dances, Pink Banana Theatre, and Carter Productions, as well as UWM Dance, Theatre and Opera. Favorite productions include Gypsy; Who Killed Santa?; Mauritius; Freakshow; Thrill Me; Gruesome Playground Injuries, and Dead Man’s Cell Phone. Give Love Always.



Brian Jeffery – “Gotta Go”Brian Jeffery hails from Chicago where he was active in the city’s performing arts communities for over twenty years. He has

previously served on faculty at Northwest-ern University Chicago, Columbia College Chicago and UW-Milwaukee. As artistic director of XSIGHT! Performance Group for fifteen years, his vision of exploring the amalgamation of theater, dance and the visual arts, has been consistently recog-nized by popular and critical acclaim. With his company, he has toured throughout the U.S. Europe as well as Australia, Egypt and Cyprus. Jeffery has premiered work on numerous professional companies, notably Danz Abierta of Havana, Trinity Irish Dance Company, Ghana Dance Ensemble in West Africa, among many others. Jeffery’s work has been supported by the National Endowment for the Arts, Illinois and Arts Councila and Chicago Artists Abroad. He has been twice honored with the Chicago Dance Coalition’s Ruth Page Award for “Outstanding Choreography of the Year.”

Dani Kuepper - WHAT ARE YOU WAITING FOR??? Dani Kuepper re-ceived both her BFA and MFA from UW-Milwaukee, where she has been an adjunct

faculty member of the UWM dance depart-ment since 1999. Dani is the Artistic Direc-tor of Danceworks Performance Company (DPC). She joined DPC in 1998 and has since choreographed more than 25 dances for the company, as well as several evening length works. Dani has choreographed ex-tensively in the Milwaukee community and has enjoyed collaborations with Florentine Opera, Present Music, First Stage Children’s Theater, Milwaukee Art Museum, Milwau-kee Opera Theatre, Milwaukee Chamber Orchestra, Next Actors (Theatre for Youth Training Program) and Milwaukee Youth Symphony Orchestra. Dani was honored in 2009 as a “Forty Under 40” recipient by the Business Journal of Milwaukee and also received the UWM Alumni Association Teaching Excellence Award for non-tenure track in instructors in 2010.

Heidi Latsky – Re-construction, “The Gift/No God Logic”Heidi Latsky founded Heidi Latsky Dance in 2001. Latsky holds a BA with honors in psychology from

Carleton University and created the movement program at the School for Film and Televison (NYC). She received two Innovative Theater nominations for her work with Director Mary Fulham. Latsky’s GIMP Project began in fall 2008 and has toured nationally and internationally at venues like Dublin Dance Festival, Kennedy Center(DC), Alverno Presents (WI), and the Lied Center(NB). John Bathke’s Channel 12 News profile on GIMP was nominated for an Emmy Award. She was the 2010 Artist-in-Residence at the JCC Manhattan. She is thrilled to have worked with the UWM stu-dents recreating her very first role with the Bill T Jones/Arnie Zane Dance Company with whom she danced from 1986-1993.

Pamela Rehberg – Costumes, “All That” & “but then...”Pamela Rehberg is a Costume Designer, Draper and Educator. Her professional de-sign career includes work with First Stage Children’s Theatre, The Milwaukee Reper-tory, Milwaukee Ballet, Chamber Theatre, In Tandem Theatre, New American Theatre, Fireside Dinner Theatre and six seasons as the resident designer at Rocky Mountain Repertory. Ms. Rehberg comes from the garment industry where she was as a pat-ternmaker for Perry Ellis Menswear and JH Collectables-Milwaukee. She holds a B.S. degree in clothing, textiles and design from UW-Stout and an MFA in costume design from Northern Illinois University.

Luc Vanier – “Bring it on Home”Luc Vanier is the recipient of the 2009 Wisconsin Arts Board Award. His book “Dance and the Alexander Technique:

Exploring the Missing Link,” was published by the University of Illinois Press June 2011. He danced with Ohio Ballet as a Principal in a variety of roles including Jooss’ Big City, Tudor’s Dark Elegies, and Taylor’s Aure-ole among others. His latest interactive



work “Sur_Rendered” premiered with the Milwaukee Ballet January 2010. In 2001, he received his MFA from University of Illinois (top ten dance programs in US News) and became a certified Alexander Technique teacher. www.lucvanier.com.

Seth Warren-Crow - Music Director, ComposerSeth is a sound artist, sound designer, com-poser, percussionist, and instructor based in Milwaukee, Wisconsin. Seth composes music locally and nationally for dance and theater performances and regularly col-laborates with performance artist Heather Warren-Crow as warren-crow+warren-crow. His music and sound design combines found sound, field recording, voice, and sound synthesis to create intricate and un-canny electro-acoustic pieces. Seth received a BA in English and Religious Studies from Lawrence University in Appleton, WI and a MFA in Electronic Music and Recording Me-dia from Mills College in Oakland, California, where he was given the Frog Peak Award for Experimental Music. He teaches courses in sound art, music, and digital media at UWM. He also teaches drum set and hand percus-sion lessons privately.

Robert Wierzel – Lighting, “The Gift/No God Logic”Robert Wierzel has worked with art-ists in theatre, dance, new music, opera and museums, on stages throughout the country and abroad. He has worked with choreographer Bill T. Jones and his company since 1985. Projects include Blind Date, Another Evening/I Bow Down, Still/Here, You Walk?, Last Supper at Uncle Tom’s Cabin/The Promised Land, How To Walk An Elephant, and We Set Out Early, Visibility Was Poor. Other works with Bill T. Jones include projects at the Guthrie Theatre, Lyon Opera Ballet, Deutsche Opera Ballet (Berlin), Bos-ton Ballet, Boston Lyric Opera, the Welsh dance company Diversions, and London’s Contemporary Dance Trust. Robert has also worked with choreographers Trisha Brown, Doug Varone, Donna Uchizono, Larry Gold-huber, Heidi Latsky, Sean Curran, Molissa Fenley, Susan Marshall, Margo Sappington, Alonzo King and Joann Fregalette-Jansen. Additional credits include national and international opera companies, Broadway and regional theater. Mr. Wierzel is currently on the faculty of New York University’s Tisch School of the Arts.

Darci Brown Wutz – “All That” & “but then...”Darci Brown Wutz has a BFA in Theatre from UMN Duluth and an MFA in Performance and Choreography

from Smith College. Choreographer of over 40 musical theatre and non-musical theatre productions, as well as an equal number of concert works, Darci has worked in regional and national theatre, and locally with the Milwaukee Repertory Theater, First Stage, Skylight Opera Theatre, Chamber Theater, Theatre X, Renaissance Works, Waukesha Civic Theatre and the Sunset Playhouse. She teaches classes in tap, musical theatre, jazz, and the history of the American musical theatre. UWM concert works: “Encounter,” “isolation en masse,” “Cell Block Tango,” “The Memory of All That,” “SIX,” “not again,” and “The Ties That Bind.” UWM musical produc-tions: West Side Story, Oklahoma!, Showtune, No, No Nanette and the upcoming studio production of Into the Woods.

Arnie Zane – “The Gift/No God Logic”Arnie Zane (1948-1988) was a native New Yorker born in the Bronx and educated at the State University of New York (SUNY) at Binghamton. In 1971, Arnie Zane and Bill T. Jones began their long collaboration in cho-reography and in 1973 formed the American Dance Asylum in Binghamton with Lois Welk. Mr. Zane’s first recognition in the arts came as a photographer when he received a Creative Artists Public Service (CAPS) Fellowship in 1973. Mr. Zane was the recipient of a second CAPS Fellowship in 1981 for choreography, as well as two Choreographic Fellowships from the National Endowment for the Arts (1983 and 1984). In 1980, Mr. Zane was co-recipient, with Bill T. Jones, of the German Critics Award for his work, Blauvelt Mountain. Rotary Action, a duet with Mr. Jones, was filmed for television, co-produced by WGBH-TV Boston and Channel 4 in London. The Alvin Ailey American Dance Theater commissioned a new work from Mr. Zane and Bill T. Jones, How to Walk an Elephant, which premiered at Wolftrap in August 1985. Mr. Zane (along with Mr. Jones) received a 1985-86 New York Dance and Performance Award (“Bessie”) for the project. Continuous Replay: The Photo-graphs of Arnie Zane was published by MIT Press in April 1999.


SPEC IAL THANKS

Bob Bursey, Leah Cox, Iain Court, Joe Fransee, Diane Grace, Randy Holper, Heidi Latsky Janet Lilly, Victoria Michelotti, Polly Morris, David Overbeck, Kayla Premeau, Pam Rehberg,

Ella Rosewood, Nicole Schanen and Joyce Torvund.

WINTERDANCES PRODUCTION TEA M

Simone Ferro ..................................................................................................................... Artistic DirectorIain Court ............................................................................. Lighting Designer/Production ManagerSeth Warren-Crow ..............................................................................................................Music DirectorColin Gawronski..................................................................................................................Stage ManagerJustin Peters, Kelly Pursley .....................................................................................Technical DirectorsWill Hagglund, Meredith Roat .................................................................Assistant Stage ManagersTheresa Ennis ...................................................................................................................Audio TechnicianCasey Miller ......................................................................................................................Video TechnicianDustin Donohoe ..................................................................................................................................... CrewKarmen Seib ................................................................................................................................... WardrobeDance Production Practicum Students ................................................................................ Run CrewKorporate-Media .................................................................................................................. Videographer

DANCE FACULT Y AND STAFF

Simone Ferro .................................................................................................... Chair, Associate ProfessorFerne Caulker-Bronson, Marcia Ruth Parsons .......................................................................ProfessorDarci Brown Wutz, Luc Vanier .................................................................................Associate ProfessorChristina Briggs Winslow, Gerald Casel ................................................Visiting Assistant ProfessorGloria Gustafson, Mary D. Hibbard ........................................................Associate Professor EmeritiElizabeth Johnson, Dani Kuepper .................................................................................Senior LecturerKayla Premeau ............................................................................................................... Program ManagerIain Court ................................................................................................................... Production ManagerSeth Warren-Crow ............................................................................................. Music Director, Lecturer

PECK SCHOOL OF THE ARTS ADMINISTR ATION

Wade Hobgood .......................................................................................................................................DeanScott Emmons .....................................................................................................................Associate DeanMary McCoy ..............................................................................................................Assistant to the DeanSue Thomas .............................................................................................................Administrative OfficerEllen Friebert Schupper.................................. Director of Marketing and Community RelationsNicole Schanen..........................................................................................................Marketing SpecialistDiane Grace ............................................................................................................Development DirectorRandall Trumbull-Holper ............................................................................................Facilities ManagerTianna Conway ........................................................................................................... Box Office ManagerChristina Barclay ..................................................................................................Senior House ManagerChen Chen, Thomas Gray, .............................................................................................House ManagersLisel Holper, Maggie Iken, Lauren Messner

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