Saturday, January 13, 2024, 8 pm
 at Jordan Hall, NEC

Presenting
 
Stella
Chen

violin
Matthew
Lipman

viola
Brannon
Cho

cell
o

 










 



 




~Program~

Leo Weiner
(1885-1960)
String Trio in G minor, Op. 6
I. Allegro con brio
II. Vivace
III. Andantino
IV. Allegro con fuoco

(24’)

E
mmy Frensel Wegener (1901-1973)
Suite for Violin, Viola, and Cello
I. Inleiding: Moderato chiara
II. Fugato: Rigoroso
III. Scherzo: Scherzo Leggiero e presto
IV. Andante: Dolce
V. Finale: Vivace. Rigoroso possibile

(9’)

Gideon Klein
(1919-1945)
String Trio
I. Allegro
II. Variations on a Moravian Folksong: Lento
III. Molto vivace
(14’)

~Intermission~

Wolfgang Amadeus Mozart
(1756-1791)
Divertimento in E-flat major, K. 563
I. Allegro
II. Adagio
III. Menuetto
IV. Andante
V. Menuetto
VI. Allegro
(45’)


 


"Several of the many string connoisseurs in the house expressed agreement with this reviewer that the gorgeous tones with refined, engaged, powerful, and deeply musical interpretations from the young celebrity string trio would long reverberate in our memories."  -Lee Eiseman, The Boston Musical Intelligencer
 









photos: Chung Cheng


photos: Reubin Stern



event photos: Xiaopei Xu and Chi Wei Lo

Stella Chen 陳思蕾, violinist
First Prize, 2019 Queen Elisabeth Competition
https://stellachen.com


2021/2022 authorized by artist management.

"Her performance sounded fresh and spontaneous, yet emotionally profound and intellectually well-structured." -The Jerusalem Post

"Stella Chen looks to tell a story and does it with beautiful nuances and beautiful intentions." -Le Soir(translated from French)

Praised for her "phenomenal maturity" and "fresh and spontaneous, yet emotionally profound and intellectually well-structured performance" (Jerusalem Post), American violinist Stella Chen garnered worldwide attention with her first-prize win at the 2019 Queen Elizabeth International Violin Competition, followed by the 2020 Avery Fisher Career Grant and 2020 Lincoln Center Emerging Artist Award.

Following debuts with the Chicago Symphony and Chamber Orchestra of Europe in summer 2021, her auspicious 2021-22 season sees her recital debut at Carnegie Hall and recital, concerto, and chamber music appearances throughout Europe, Asia, and North America, including debuts with Kremerata Baltica, German State Philharmonic, and New Japan Philharmonic, as well as appearances with Chamber Music Society of Lincoln Center both in New York and on tour. 

Stella’s most recent engagements include appearances with the Belgian National Orchestra, Brussels Philharmonic and the Luxembourg Philharmonic and at the Phillips Collection in Washington, DC, Salzburg Mozarteum, Ravinia, and Kronberg Academy Festivals. Stella has appeared as a chamber musician in festivals including the Perlman Music Program, Music@Menlo, the Sarasota Festival, and YellowBarn.

She is the first recipient of the Robert Levin Award from Harvard University, the top prize winner of the Tibor Varga International Violin Competition and youngest ever prize winner of the Menuhin Competition. Stella plays on the 1700 ex-Petri Stradivarius, on generous loan from Dr. Ryuji Ueno and Rare Violins In Consortium, Artists and Benefactors Collaborative.

Matthew Lipman, viola

American violist Matthew Lipman has been praised by the New York Times for his “rich tone and elegant phrasing,” and by the Chicago Tribune for a “splendid technique and musical sensitivity.” Lipman has come to be relied on as one of the leading players of his generation, frequently appearing as both a soloist and chamber music performer.

Lipman will debut with the Chicago Symphony Orchestra at the Ravinia Festival and with the Chamber Orchestra of Europe at the Rheingau Music Festival in the summer of 2021. Highlights of recent seasons include appearances with the Minnesota Orchestra, BBC Philharmonic, Academy of St Martin in the Fields, and the Juilliard Orchestra. Lipman has worked with conductors including Edward Gardner, the late Sir Neville Marriner, Osmo Vänskä, and Nicholas McGegan. Lipman was a featured performer with fellow violist Tabea Zimmermann at Michael Tilson Thomas’s 2019 Viola Visions Festival of the New World Symphony in Miami. His recent debuts include at the Aspen Music Festival, Seoul’s Kumho Art Hall, Wigmore Hall, Chicago’s Orchestra Hall at Symphony Center, the Walt Disney Concert Hall and in recital at Carnegie Hall.

Ascent, his 2019 release by Cedille Records, was celebrated by The Strad as a “most impressive” debut album while Lipman is praised for his “authoritative phrasing and attractive sound.” The album marks the first ever recording of the recently discovered work by Shostakovich, Impromptu for viola and piano and of Clarice Assad’s Metamorfose for viola and piano, which Lipman commissioned for the recording. He has also been featured on the recording of Mozart’s Sinfonia Concertante with violinist Rachel Barton Pine and the Academy of St Martin in the Fields conducted by the late Sir Neville Marriner. The album topped Billboard’s Classical Chart and has received praise by both the press and public.

Named the 2019 Artist-in-Residence for the American Viola Society, Lipman has additionally been featured on WFMT Chicago’s list “30 Under 30” of the world’s top classical musicians, and is a published contributor to The Strad, Strings and BBC Music magazines. He was featured on the second season of PBS’s ‘Now Hear This’ performing Schubert’s ‘Arpeggione’ Sonata with pianist Mishka Rushdie Momen. He performs regularly on tour and at Lincoln Center’s Alice Tully Hall with the Chamber Music Society of Lincoln Center and at music festivals including the Morizburg Festival, St. Petersburg’s White Nights, Music@Menlo, Marlboro, Ravinia, Bridgehampton, Seattle, Saratoga, and Kissinger Sommer festivals. His regular chamber music partners include Tabea Zimmermann, Mitsuko Uchida, Itzhak Perlman, Sir András Schiff, Jeremy Denk, Stella Chen, and Pinchas Zukerman. Dedicated to expanding the repertoire for the viola, Lipman has also performed the premieres of works for viola by composers Helen Grime, Clarice Assad, David Ludwig and the American premiere of Monochromer GartenVI by Malika Kishino.

Lipman is the recipient of a 2015 Avery Fisher Career Grant, a Kovner Fellowship, and the Jack Kent Cooke Award, and is also a major prize winner in the Primrose, Tertis, Washington, Johansen, and Stulberg International Viola Competitions. He studied at The Juilliard School with Heidi Castleman, and was further mentored by Tabea Zimmermann at the Kronberg Academy. As an alum of the Bowers Program, Lipman occupies the Wallach Chair at the Chamber Music Society of Lincoln Center. He performs on a 1700 Matteo Goffriller viola loaned through the generous efforts of the Pine Foundation.


Brannon Cho
, cellist
https://brannoncho.com

Described by Arto Noras as “a finished artist, ready to play in any hall in the world,” cellist Brannon Cho has emerged as an outstanding musician of his generation. He is the First Prize winner of the prestigious 6th International Paulo Cello Competition, and is also a prize winner of the Queen Elisabeth, Naumburg, and Cassadó International Cello Competitions.

Brannon Cho has appeared as a soloist with many of the top orchestras around the world, including the Helsinki Philharmonic Orchestra, Minnesota Orchestra, Tokyo Philharmonic Orchestra, Brussels Philharmonic, and Orchestre Philharmonique Royale Liège, under world-renowned conductors such as Susanna Mälkki, Stéphane Denève, and Christian Arming.

As a lover of chamber music, Brannon Cho has shared the stage with artists such as Anne-Sophie Mutter, Christian Tetzlaff, Gidon Kremer, and Joshua Bell. His recent festival appearances include Marlboro, Kronberg Academy, Music@Menlo, and Verbier. In addition, Brannon Cho is a scholarship holder in the Anne-Sophie Mutter Foundation, and the recipient of the 2019 Ivan Galamian Award, which was previously held by James Ehnes.

Brannon Cho’s recent and upcoming solo performance highlights include debuts in Wigmore Hall, Weill Recital Hall at Carnegie Hall, the Cello Biënnale Amsterdam, Kumho Art Hall in Seoul, Konzerthaus Berlin, Seoul Arts Center, the Isabella Stewart Gardner Museum, and New England Conservatory’s Jordan Hall.

Born in New Jersey, Brannon Cho received his Bachelor’s degree from Northwestern University’s Bienen School of Music under Hans Jørgen Jensen. He was awarded the prestigious Artist Diploma from the New England Conservatory, where he studied with Laurence Lesser. Today, he is in the Professional Studies program at the Kronberg Academy, under the tutelage of Frans Helmerson. Brannon Cho is sponsored by Thomastik-Infeld, and performs on a rare cello made by Antonio Casini in 1668 in Modena, Italy.


NOTES ON THE PROGRAM
By Dr. Jannie Burdeti

Leo Weiner (1885-1960)
String Trio in G minor, Op. 6

“From the 1920s to the ‘60s, all Hungarian musicians of any future consequence attended his classes; …without fail [they] name him as the most important influence in their lives. I am no exception. I was lucky to drink in the principles he preached.” -János Starker, cellist

Hungarian-Jewish composer and pedagogue, Leó Weiner, wielded a profound influence within Budapest’s musical circles during the first half of the twentieth century. Born in 1885, not much is known about his formative years until his enrollment at the Budapest Academy of Music at the age of sixteen. Under the tutelage of composer Hans von Koessler (cousin of Max Reger and also mentor to Weiner’s slightly older contemporaries, Ernst von Dohnanyi, Béla Bartók, and Zoltán Kodály), Weiner honed his compositional skills, leading him to become one of the greatest musical influences this past century.

Upon graduation from the Academy, Weiner would take on the title of professor at his alma mater, the Budapest Academy of Music, teaching music theory, chamber music, and composition for nearly five decades, from 1908 to 1957. His pupils notably included Sir Georg Solti, ndor Vegh, György Kurtag, Géza Anda, Antal Doráti, Peter Frankl, Cyprien Katsaris, György Sebok, János Starker, Tamás Vásáry and Sándor Vegh, to name just a fraction of the great personalities that frequented his classes. His analytical expertise—particularly with the works of the Viennese classicists: Mozart, Beethoven and Haydn—was unmatched and left a profound mark on many students who recall learning from him what it meant to truly listen.

While renowned primarily as an educator, Weiner was also celebrated as a composer, especially in his younger years. He burst onto the international scene as a final-year student at the academy with his Serenade, Op. 3, winning awards and earning him the nickname ‘Hungarian Mendelssohn.’ Weiner’s output included opera, ballet, symphonic poems, divertimentos, dance suites, a piano concertino, two violin concertos, three string quartets, and numerous piano pieces and orchestrations. Unfortunately, with the increasing shift towards twelve-tone composition within his cultural milieu, he no longer felt he understood the “modern trends” of music, leading to his resignation from the department of composition as he redirected his focus towards chamber music. Eventually, though being apolitical all his life, he could not escape the onset of fascism in Hungary in 1944: he lost his job, lived in hiding due to his Jewish heritage, lost his home and manuscripts to bombings, and was taken to a forced labor camp. Though he wrote more upon his return to Budapest, he nonetheless felt neglected towards the end of his life due to his more traditional compositional idiom. Weiner valued beauty, musical comprehensibility, and was very particular, even with culinary nutrition: he would cancel foreign engagements if it meant he had to eat food cooked in butter.

Among Weiner’s compositions, the String Trio in G minor, Op. 6, written in 1908 (the year he started teaching at the academy) and published in 1909, stands as a testament to his meticulous craftsmanship. The four-movement work begins with a questioning theme in the violin that sets the tone, as surprising harmonic modulations unfold. Characteristic of Weiner’s writing, the whole trio is imbued with elegance and taste. The initial movement vanishes into a delicate G major cadence. A delightful and fleeting scherzo in B-flat major serves as the second movement, with its characteristic jestful syncopations. This lively section contrasts with a melodic and soulful trio. The slow movement that follows is a tender barcarolle, presented in three variations, leading to a rousing finale. The work ends with an impetuous tour de force tempered by its classical construct.

Emmy Frensel Wegener (1901-1973)
Suite for Violin, Viola, and Cello

Emmy Frensel-Wegener was born in Amsterdam in 1901 to Bertha Frensel Wegener-Koopman, an accomplished composer and music educator, and John Frensel-Wegener, an American insurance agent. She received her formative musical education in North Holland and England and culminated her studies at the Amsterdam Conservatory, where she graduated in violin performance under the tutelage of Felice Togni. Concurrently, Frensel-Wegener pursued studies in composition with distinguished Jewish composer Samuel “Sem” Dresden, clarinet with Willem Brohm, and acquired proficiency in Gregorian Chant.

By 1935, Frensel-Wegener experienced the onset of multiple sclerosis, ultimately leading to paralysis in 1950. Perhaps drawing inspiration from the poems that her mother previously set to music, she turned to publishing poetry when composing became too difficult. The majority of her musical output was confined to the years between 1925 and 1935, predominantly encompassing chamber music and several orchestral compositions.

Her Suite for Violin, Viola, and Cello was composed in 1925 and bears resemblance to a collection of vignettes. She writes: “This suite consists of five very short parts, largely of a light-hearted nature and the whole has therefore the character of a divertimento. Only the Andante has a slightly more serious tone.” With most of them being only a little over one minute long—the longest of which extends to approximately three-and-a-half minutes—Frensel-Wegener imbues the suite with a fresh and compelling neo-classical style.

The first movement is titled “Introduction: moderate, clear and light.” Its designation is elucidated by the plucked strings and buoyant character. Subsequently, a fugato ensues, composed in clear textures and a compositional choice possibly influenced by her teacher Samuel Dresden’s extensive involvement with Renaissance counterpoint. The next movement is a fleeting scherzo, displaying nimble string writing. The slow movement adopts a plaintive, romantic style, while the work concludes in a sparkling finale marked “as rigorous as possible.”

Gideon Klein (1919-1945)
String Trio

“Gideon Klein is, without doubt, a very remarkable talent. His is the cool, matter-of-fact style of the new youth; one has to marvel at his strangely early stylistic maturity.” -Victor Ullmann 

Born in Přerov, Moravia, on December 6, 1919, Gideon Klein, a Czech-Jewish pianist and composer, was a precocious musical talent. At the age of 11, he travelled once a month to Prague for lessons with esteemed piano pedagogue, Růžena Kurzová. In 1938, he secured admission into Vilém Kurz’s prestigious class at the Master School of the Prague Conservatory, while simultaneously pursuing studies in philosophy and musicology at the Charles University. Although he completed his studies under Professor Kurz within one year, his university studies ended abruptly due to Klein’s Jewish heritage. Nonetheless, he continued private compositional studies with Alois Hába, a proponent of Arnold Schoenberg’s philosophy aimed at liberating music from its tonal constraints. Hába was also notably a leading figure in the realm of microtonal music.

Despite the escalating political tensions, Klein performed as a pianist under the pseudonym Karel Vránek until even this became too dangerous. On December 1, 1941, he, along with thousands of other Prague Jews, was transported to Terezín, a labor camp that was exploited by the Nazis for propaganda to portray a rich cultural life. Terezín’s harsh living conditions claimed thousands of lives. In the face of these trials, the ever-productive Klein immediately became a central figure in the camp, performing chamber music, working with singers, arranging choral works, presenting solo concerts, and providing encouragement to his esteemed colleagues. Kleins compositions in Terezín included chamber music for strings, choral works, a song cycle, a piano sonata, and incidental music for the theater. Klein’s String Trio was his last composition. Only ten days later, he was sent from Terezín to Auschwitz, and from there to rstengrube, a coal-mining labour camp, where he died on January 27, 1945, at the age of twenty five.

The first movement is abundant in energy, rhythmic propulsion, and at times, adopts a motoric momentum, which unexpectedly concludes quietly. The middle movement is a theme and seven variations on a Moravian folksong titled “The Knezdub Tower.” The words poignantly feature a wild goose that flies up into a high tower, potentially symbolizing Klein’s yearning for freedom. The final movement exhibits folkish and vivacious writing. Kleins sister, Lisa Kleinová organized posthumously the first performance of the work in 1946 in Prague.

Wolfgang Amadeus Mozart (1756-1791)
Divertimento in E-flat major, K. 563

Composed in 1788, the same year as his final three symphonies and the “Coronation” Concerto, K. 537, Wolfgang Amadeus Mozart’s Divertimento for String Trio, K. 563 is dazzling in its compositional prowess and expressive depth, and has since become one of the most celebrated chamber music works, not to mention, of the string trio repertoire. Mozart called this work his “Puchberg” Trio as it was written for his friend and fellow freemason, Michael Puchberg, who frequently and generously loaned money to him in times of need.

The word divertimento comes from the verb divertire in Italian, meaning “to amuse.” As such, a divertimento is usually conceived as music performed for entertainment, often extending beyond the typical four movements of a string quartet and interspersed with minuets and slow movements. In this work, Mozart elevates both the string trio and divertimento genre to the stature of the esteemed string quartet. The work is remarkable in its equal treatment of the instruments, demanding virtuosity from every player. As noted by Charles Rosen, Mozart’s Divertimento “is an interesting precursor of the last quartets of Beethoven, in its transference of divertimento form, with two dance movements and two slow movements (one a set of variations), into the realm of serious chamber music, making purely intimate what had been public.” 

The work begins with a stately descending E-flat major triad, which becomes a thematic thread throughout the work. The exposition is tuneful, with a diversity of quick-changing characters. A contrapuntal development takes a dark turn with its searching harmonies. In the subsequent Adagio, characterized by an overwhelming tenderness, it unfolds from an inversion of the initial motive. It is one of Mozart’s most poignant slow movements and, similar to the first movement, ventures to mysterious regions halfway through. The first of the two minuets open with metrical play and exudes good-natured humor. Mozart juxtaposes the minuet with a delicate trio, putting a different slant on his metrical inventiveness. Following the minuet is another slow movement, an Andante in B-flat major, and one of his most wondrous sets of five variations, based on a charming, folkish theme. In the conclusion of this Andante, one hears an unbounded exuberance in the last variation, with the viola playing a cantus firmus melody, while the violin and cello play carefree and joyful thirty-second and sixteenth-notes around it. The penultimate movement is the second minuet and trio (with two trios!), full of jubilance and whimsy, with horn-like sonorities. This minuet, unlike the first, is dance-like and regular in its meter. The Divertimento’s final Allegro, with its tuneful charm, virtuosity, and contrapuntal mastery, brings the work to a joyful close.

 

  會後新聞稿

Stella Chen, Matthew Lipman and Brannon Cho

中華表演藝術基金會第35屆音樂季第二場音樂會,113日週六晚8,在新英格蘭音樂學院喬頓廳 (Jordan Hall) 盛大而的成功舉行。由2019年伊莉莎白皇后國際小提琴大賽第一名 Stella Chen,(她也是2020年艾弗里·費舍爾職業生涯獎 Avery Fisher Career Grant 得獎者,2023年留聲機年度青年藝術家獎得獎者)、中提琴家 Matthew Lipman(2015 艾弗里·費舍爾 Avery Fisher 職業生涯獎, 林肯中心室內樂團成員)和大提琴家 Brannon Cho(保羅大提琴比賽一等獎, 以及伊麗莎白女王、瑙姆堡和卡薩多國際大提琴比賽的最高獎得主)以三重奏形式亮相。約300多名熱情的觀眾, 為此場令人難忘的音樂會, 高水平成功的演出,報以歡呼及掌聲,欲罷不能。

這三個人從青少年時期起就是最好的朋友。雖然他們每個人都已經獲得國際頂級獎項,並活躍於世界舞台,與頂級樂團和著名指揮家合作演出。獲得好評。但當他們一起表演時,彼此的合作,相互的支持, 是自然而真誠的。他們選擇的曲目包括莫札特的標誌性作品(E大調嬉遊曲,K.563),但也包括鮮為人知的作曲家的作品。Gideon Klein 在納粹集中營被殺的前幾天完成了這部傑出的,天才型的作品,年僅26歲。

觀眾中有許多世界著名的音樂家。大家都對此次演出給予了高度評價和讚譽。這個弦樂三重奏已經進入第二季,但尚未選擇名稱。波士頓音樂情報(The Boston Musical Intelligencer)稱讚上週六在喬丹音樂廳舉行的這場驚人,永恆,和創新表演。樂評稱這個尚未正式命名的合作夥伴青年名人弦樂三重奏”,並說:與在場的許多世界知名弦樂鑑賞家交談後,他們都表示同意我的看法:即是這個年輕的名人弦樂三重奏所呈現的華麗音色,以及精緻、投入、有力而深刻的音樂演繹,將長時間在我們的記憶中迴盪。

在音樂會後慶祝酒會上,超過35位跨代知名音樂家齊聚一堂,向他們表示祝賀。Stella ChenMatthew Lipman Brannon Cho 他們的高中和大學的親密朋友, 都來參加,聚集在一起慶祝。 燦爛的微笑和團聚的喜悅, 使這個珍貴的時刻,發光發熱。(這張照片裡), 在這聯繫緊密的幾個人中, 有四位Avery Fisher職業獎獲得者,還有伊麗莎白女王、利茲(Leeds)、肖邦、保羅(Paulo)、諾伯格(Naumberg) 國際知名大賽的頂尖獎項得主。 我們為他們感到十分驕傲。

音樂會的錄影近日將放上 youtube供大家免費欣賞。也請關注中華表演基金會的 instagram


中華表演藝術基金會第35屆音樂季第二場音樂會,將於113日週六晚8時,在新英格蘭音樂學院喬頓廳 (Jordan Hall) 舉行。由2019年伊莉莎白皇后國際小提琴大賽第一名 Stella Chen (她也是2020艾弗里·費舍爾職業生涯獎 Avery Fisher Career Grant 得獎者,2023年留聲機年度青年藝術家獎得獎者)中提琴家 Matthew Lipman (2015 艾弗里·費舍爾 Avery Fisher 職業生涯獎)和大提琴家 Brannon Cho(保羅大提琴比賽一等獎, 以及 伊麗莎白女王、瑙姆堡和卡薩多國際大提琴比賽的最高獎得主)以三重奏形式亮相。

節目包括:Weiner, Wegener, Klein, 莫札特的弦樂三重奏作品。票價為 $20 (7-13)$40$60。提供學生免費票(14歲以上),及非學生贈送卷。需事前預訂。6歲以下兒童請勿入場。詳情請在中華表演藝術基金會的官網查詢.

小提琴家 Stella Chen 除了上面列出的獎項之外,她 也是2020年林肯中心傑出新秀獎 (Lincoln Center Emerging Artist Award) 獲獎者。同年被邀請加入林肯中心室內樂團。她經甄試進入最挑戰性的哈佛新英格蘭音樂學院五年聯合項目,由哈佛心理系以榮譽學士學位畢業,同時獲得新英格蘭音樂學院的音樂碩士學位。Stella Chen 已多次在世界各大音樂廳與著名指揮及樂團合作演出。耶路撒冷郵報 (The Jurusalem Post) 稱讚她「成熟清新自然,情感深厚,有智慧且平衡。」Musical America 稱她「音色高雅柔美,觀眾屏息傾聽,不敢錯過她的任何輕微的細節。」留聲機評論家加德納 (Charlotte Gardner) 稱讚 Stella Chen “音色精美, 具內在靈魂, 是一位有思想的小提琴家。 她所用的1708Stradivarius “Huggins” 名琴是由日本Nippon 基金會提供。

中提琴家 Matthew Lipman (2015 艾弗里·費舍爾 Avery Fisher 職業生涯獎得主), 林肯中心室內樂團成員,世界上最受歡迎的中提琴家之一。《紐約時報》稱讚豐富的音色和優雅的音樂措辭,《芝加哥論壇報》稱讚他出色的技巧和音樂敏感性

大提琴家 Brannon Cho (保羅大提琴比賽一等獎, 以及 伊麗莎白女王、瑙姆堡和卡薩多國際大提琴比賽的最高獎得主)活躍於世界舞台,與頂級樂團和著名指揮家合作演出。他所用的 Antonio Casini 1668 年在義大利製作的稀有大提琴, 是由 Thomastik-Infeld 贊助

節目: (節目說明已經在官方網站)
Leo Weiner: String Trio in G minor, Op. 6
Emmy Frensel Wegener: Suite for Violin, Viola, and Cello
Gideon Klein: String Trio
W.A. Mozart: Divertimento in E-flat Major, K. 563

 









   
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中華表演藝術基金會
Foundation for Chinese Performing Arts
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updated 2024