40th Season 2021-2022 - Corpus Christi Chamber Music Society
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Corpus Christi Chamber Music Society Welcome to the 40th season of the Corpus Christi Chamber Music Society’s Concert Series. Our mission is to promote appreciation and enjoyment of chamber music by bringing the finest chamber music ensembles to perform in Corpus Christi and provide opportunities for students within the Coastal Bend to participate in outreach programs with our guest artists. Our concert series will include SIX performances by acclaimed chamber ensembles: the Escher Quartet and Jason Vieaux, the Seraph Brass, the Merz Trio, Room Full of Teeth, the Gryphon Trio, and the Ying Quartet with Billy Childs. These concerts are made possible by generous grants from the City of Corpus Christi Arts and Cultural Commission with funding provided by Hotel Occupancy Tax Funds, the Morris L. Lichtenstein, Jr. Medical Research Foundation, the Coastal Bend Community Foundation and individual donors. We also thank KEDT-FM for promoting our concerts over the airwaves and interviewing our guest artists whenever possible. The Chamber Music Society is committed to expanding outreach programs as we collaborate with area colleges and universities, the Corpus Christi Independent School District, private and parochial schools and businesses. Five of the chamber ensembles performing this season will present outreach programs at different locations. Our updated and expanded website, www.corpuschristichambermusic.org, provides in-depth information on our guest artists, concert schedule, outreach programs, ticket information, and ways that you can make a financial contribution to support our efforts to promote chamber music in the Corpus Christi area. Please visit our website, promote our concerts to your friends and fellow music lovers, and like us on Facebook. Enjoy the program! John D. Bell President The Corpus Christi Chamber Music Society is a 501(c)(3) non-profit arts organization PO Box 60124 Corpus Christi, TX 78466-0124 www.corpuschristichambermusic.org
Special thanks to the following businesses and individuals: James Garcia, CCISD Choral Coordinator Elizabeth Ortego-Ruiz, CCISD String Coordinator Grunwald Printing Del Mar College Music Department Gill Landscape Nursery, Sally Gill KEDT-FM 90.3 and KEDT-TV Charles W. Thomasson Weber Bingo THE MORRIS L. LICHTENSTEIN, JR. MEDICAL RESEARCH FOUNSDATION CORPUS CHRISTI MUSIC TEACHERS ASSOCIATION
ESCHER QUARTET Saturday, October 9, 2021 7:30 p.m. Adam Barnett-Hart, violin Brendan Speltz, violin Pierre Lapointe, viola Brook Speltz, cello with guest artist Jason Vieaux, guitar ~PROGRAM~ Quartet in E-flat Major, Op. 44, No. 3 Felix Mendelssohn Allegro vivace (1809-1847) Scherzo: Assai leggiero e vivace Adagio non troppo Molto allegro con fuoco (Escher Quartet) Guitar Quintet in D Major, G. 448 “Fandango” Luigi Boccherini Pastorale (1743-1805) Allegro maestoso Grave assai – Fandango (Escher Quartet and Jason Vieaux) ~INTERMISSION~ “Giga” from Violin Sonata No. 1, BWV 1001 J.S. Bach (arr. Vieaux) (1685-1750) Vals in G Major, Op. 8, No. 3 Agustín Barrios (1885-1955) Four Paths of Light, Movement II (composed for and dedicated to Mr. Vieaux) Pat Metheny (b.1954) Danza Brasilera Jorge Morel (1931-2021) (Jason Vieaux, guitar) 100 Greatest Dance Hits for Guitar and String Quartet Aaron Jay Kernis Introduction to the Dance Party (b.1960) Salsa Pasada Middle of the Road Easy Listening Slow Dance Dance Party on the Disco Motorboat (Escher Quartet and Jason Vieaux)
Management for ESCHER QUARTET: Arts Management Group, Inc., 130 W. 57th St., NY, NY 10019 Management for JASON VIEAUX: Jonathan Wentworth Associates, Ltd., 6118 40th Ave., #208, Hyattsville, MD 20782 Program Sponsor Coastal Bend Community Foundation BIOGRAPHIES Escher String Quartet (escherquartet.com) The Escher String Quartet has received acclaim for its expressive, nuanced performances that combine unusual textural clarity with a rich, blended sound. A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest of Wigmore Hall. In its home town of New York, the ensemble serves as Season Artists of The Chamber Music Society of Lincoln Center, where it has presented the complete Zemlinsky Quartets Cycle as well as being one of the five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets. Last season, the quartet toured with CMS to China. Within months of its inception in 2005, the ensemble came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre and and the Perlman Chamber Music Programme on Shelter Island, NY. The Quartet has since collaborated with artists including David Finkel, Leon Fleischer, Wu Han, Lynn Harrell, Cho Liang Lin, Joshua Bell, Paul Watkins and David Shifrin, as well as saxophonist Joshua Redman, vocalist Kurt Elling, legendary Latin artist Paquito D’Rivera and Grammy award- winning guitarist Jason Vieaux. In 2013, the quartet became one of the very few chamber ensembles to be awarded the prestigious Avery Fisher Career Grant. The Escher Quartet has made a distinct impression throughout Europe, performing at venues such as Amsterdam Concertgebouw, Berlin Konzerthaus, London’s Kings Place, Tel Aviv Museum of Art, Slovenian Philharmonic Hall, Auditorium du Louvre and Les Grand Interprètes series in Geneva. With a strong collaborative approach, the group has appeared at festivals such as Heidelberg Spring Festival, Incontri in Terra de Siena Festival, Dublin’s Great Music in Irish Houses, Risør Chamber Music Festival in Norway, Hong Kong International Chamber Music Festival and Perth International Arts Festival in Australia. Currently String Quartet in Residence at Southern Methodist University in Dallas, Texas and Tuesday Musical in Akron, Ohio, the quartet fervently supports the education of young musicians and has given masterclasses at institutions such as the Royal Academy of Music in London and Campos do Jorda-o Music Festival in Brazil. In Autumn 2016, the quartet released the third and final volume of the complete Mendelssohn Quartets on the BIS label. The set has been received with the highest critical acclaim: Volume Two was listed in the Top 10 CDs of 2016 by the Guardian and hailed for
its ”sheer finesse” by Gramophone, whilst Volume Three was nominated for a BBC Music Magazine Award. The quartet has also recorded the complete Zemlinsky String Quartets in two volumes, released on the Naxos label in 2013 and 2014 respectively, to accolades including five stars in the Guardian with “Classical CD of the year,” a recommendation in The Strad, “Recording of the Month” on Music Web International, and a nomination for a BBC Music Magazine Award. The Escher Quartet takes its name from Dutch Graphic artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole. Jason Vieaux, guitar (jasonvieaux.com) Grammy-winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is described by NPR as “perhaps the most precise and soulful classical guitarist of his generation.” Vieaux recently made his debuts for the Domaine-Forget Festival, Carmel Bach Festival, and Wolf Trap, and made returns to San Francisco Performances, Caramoor, Ravinia, and Philadelphia Chamber Music Society. Other recent venues include the National Gallery of Art, Amsterdam’s Concertgebouw, the 92Y, Seoul Arts Center, and Shanghai Concert Hall. Jason Vieaux has performed as soloist with over 100 orchestras, including Cleveland, Toronto, Houston, Nashville, and Orchestra of St. Luke’s. In March 2021, Vieaux performed the premiere recording of a new solo work, “Four Points of Light” composed for Vieaux by jazz legend Pat Metheny for his new album Road to the Sun. Vieaux performed the live recording of Jonathan Leshnoff ’s Guitar Concerto with Nashville Symphony in 2019 (Naxos). Vieaux’s passion for new music has also fostered recent premieres from Jeff Beal (House of Cards Symphony, BIS, 2017), Avner Dorman, Vivian Fung, Mark Mancina, Dan Visconti, and many more. Slated for Summer 2021 release is a new solo Bach recording on Azica. Of his Grammy-winning 2014 solo album Play, The Huffington Post declared that Play is “part of the revitalized interest in the classical guitar.” Vieaux’s multiple appearances over the years with Chamber Music Society of Lincoln Center, Music@Menlo, Strings Music Festival, Eastern Music Festival, etc., have forged his reputation as a top chamber musician. Regular collaborators include the Escher String Quartet, Grammy-winning mezzo-soprano Sasha Cooke, violinist Anne Akiko Meyers, harpist Yolanda Kondonassis, and accordion/bandoneon virtuoso Julien Labro. As a teacher, Vieaux co-founded the guitar department at the Curtis Institute of Music in 2011, and has taught at the Cleveland Institute of Music for 25 years. Vieaux’s online Guitar School has subscribers from over 30 countries. PROGRAM NOTES Felix Mendelssohn String Quartet in E-Flat Major, Op. 44, No. 3 Although listed as Op. 44, No. 3, the E-flat major quartet was completed second of the three Op. 44 quartets, on February 6, 1838. In some ways it is the most interesting of the three and one that best realizes the possibilities of writing for the string quartet medium. The quartet starts with a bold dramatic opening – four fast notes as the upbeat to a long-held note. After an expansive discourse on this theme, there is a loud measure of unison sixteenth notes, which the first violin continues softly as the others play a hiccupy, upbeat-
downbeat subsidiary theme. Further episodes follow before the three lower instruments start a repeated-note accompaniment over which the first plays the opulent concluding theme. With a feeling of spontaneity that hides the craft, Mendelssohn then works through the various motifs in the development. The second violin sneaks in with the recapitulation at the end of a long chain of first violin sixteenth notes, while the first violin continues the running figure. The coda is really another short development section, distinguished by its brilliant exploitation of the quartet’s varied timbres. Widely acclaimed for his scherzo movements, Mendelssohn surely outdoes himself here. This Scherzo starts with rapid, light, fleeting notes that John Horton, in his perceptive book on Mendelssohn’s chamber music, hears as a musical evocation of hunters riding off into a magical forest, a frequent theme of German music and folklore. Rather than continue in this character, though, Mendelssohn has the viola start a little fugato, a learned musical device very far removed from enchanted woodland scenes. The opening section then returns in a modified repeat, to be interrupted once more, this time by a double fugue, with a brisk rhythmic tune and a smooth descending chromatic line as the subject. The movement ends with a final review of the opening, including a literal unison passage in which all four instruments play the exact same notes! Although very much slower, the Adagio non troppo has a four-note upbeat figure that recalls the opening of the first movement. Despite the theme’s solemn, treadlike quality, Mendelssohn brings it up to a high level of fervid expression. Two features stand out as he extends the melody: the first violin’s occasional fast-rising arpeggios and the rocking accompaniment line. The latter continues as the link to the second theme, a sighing melody that gently goes its two-beat way over the underlying three-beat meter. After Mendelssohn brings back elisions of the two themes, he further integrates the quartet movements by concluding with the rising arpeggio from the first subject, which then becomes the opening of the finale. In the bravura last movement, the high-speed sixteenths at the beginning are given extra energy by the slightly awkward three-and-one articulation of the alternate groups of four. Mendelssohn adds a touch of humor through the second motif—three repeated notes and an octave leap. Several times during the movement, one instrument or another plays the same figure, but overshoots the mark in a simulated mistake. A quiet, cantabile subsidiary theme calms the furor somewhat. But the vivacity of the principal theme prevails and easily dominates the rest of this exuberant movement. Program Notes by Melvin Berger Luigi Boccherini Guitar Quintet in D Major, G. 448 “Fandango” In composing his Guitar Quintet in D Major, G. 448, Boccherini borrowed and reworked movements from two of his own earlier chamber works, the String Quintet Op. 10, No. 6, G. 270 and the String Quintet, Op. 40, No. 2, G. 341, both of which were composed for string quartet plus an extra cello. Replacing the extra cello with guitar, the Fandango Guitar Quintet, G. 448, opens with a pleasant Pastoral, an instrumental work intended to evoke the image of shepherds playing their shawms and pipes. Focused on a tender, lilting theme in 6/8 time, it will have listeners swaying gently back and forth in their seats. A spirited Allegro maestoso follows and from the opening fanfare-like call this movement shows off the cello. Boccherini was himself a cellist and often wrote more interesting cello parts in his chamber music than his friend and contemporary Franz Joseph Haydn. In this movement the cello alternates between
the traditional role of being the firm foundation of the music and being more of a soloist playing sparkling harmonics and showy passages in upper registers. Tranquility returns with the simplicity, clarity, and balance of the Grave assai then moves without pause into the lively Fandango, a traditional Spanish dance in which guitar and castanets figure prominently. It is in this movement we hear the most aggressive and flashy guitar playing. The cello again gets a chance to show off with portamenti and ricochet bowings, but all the string players share in the fun as rhythmic and melodic motives are passed around inviting listeners to dance! Program notes by Susan Sturman Johann Sebastian Bach Violin Sonata No. 1 in G Minor, BWV 100 - Giga (arr. Vieaux) Johann Sebastian Bach’s Three Sonatas and Three Partitas, BWV 1001-1006 were composed in 1720, during the period in which Bach held the position of court Kapellmeister under Prince Leopold of Anhalt-Cöthen. The three Sonatas are written in the style of the Italian sonata da chiesa, the origins of which are founded in the earlier Italian liturgical practice of playing instrumental interludes during the Mass. As the sonata da chiesa was practiced and developed by composers outside the church, their later forms typically consisted of four movements arranged slow-fast-slow-fast. The Sonata No. 1 in G Minor, BWV 1001, is perhaps the darkest of Bach’s three Sonatas, but the virtuosic finale (Presto) is a bright, rhythmic version of an Italian Giga. Program notes by Jason Vieaux Agustin Barrios The Paraguayan Agustín Barrios led a varied and colorful life. He was successful as a touring guitar virtuoso in Latin America, performing in virtually every country in the region. His success did not extend to other parts of the globe however: his trip to Europe in the 1930s was met with some acclaim but was cut short by the Spanish Civil War, and his dream of touring the United States never came to fruition. For many years Barrios billed himself as Nitsuga Mangoré, sometimes with the fanciful slogan “The Paganini of the guitar from the jungles of Paraguay.” “Nitsuga” is Agustín spelled backward and “Mangoré” was the name of a legendary chief from the Guaraní tribe indigenous to Barrios’ native Paraguay. Barrios claimed to be descended from this chief, and appeared in concert dressed in native Guaraní garb. Later in life he returned to traditional concert attire and eventually settled on the name Agustín Barrios Mangoré. The music of Barrios can generally be divided into two styles: Latin American folk and popular music, and romantic salon pieces. Vals Op. 8, No. 4 represents the latter style. Although his works never truly ventured much into the compositional style of the twentieth century, they exhibit a mastery of the harmonic language of the nineteenth century, extending from Chopin to Tárrega, and they are quite moving. Vals Op. 8 No. 4 appeared in Barrios’ programs at least by 1923. He recorded it and it was one of the few works that he published. It often appeared in his concert programs as Vals Brillante, referring to the sweeping, virtuosic scale and arpeggio passages. Though Op. 8 reputedly originally consisted of five waltzes, only the third and fourth survive today. Both are charming salon pieces in the style of Chopin. Program notes by Erik Mann
Pat Metheny Four Paths of Light, Movement II (composed for and dedicated to Mr. Vieaux) Guitar legend Pat Metheny is a master technician, an improviser of extraordinary, natural fluidity, and a composer with a gift for exquisite melodies. And his albums—whether performed solo or by the acclaimed Pat Metheny Group—are modern-day masterpieces. But on his March 2021 release Road to the Sun, he takes a step back. Here, he entrusts performances of two classical chamber works to guitarist friends and colleagues Jason Vieaux and the Los Angeles Guitar Quartet. The album’s first work—four-movement solo guitar suite Four Paths of Light—was written by Metheny for fellow American guitarist Vieaux, who Metheny has admired for years. “I’d heard of Jason before I was even aware that he knew of me,” Metheny tells Apple Music. “He kind of burst onto the scene as a significant new voice, and I was immediately impressed not just by his brilliant playing, but how he could play complicated things in a simple way. To me, he has the right mix of skills, but with a soul thing going on too.” Four Paths of Light is a technical tour de force, but a work, too, of thrilling rhythmic drive and intense beauty. “I wanted to offer Jason something that would take advantage of his strengths, and also challenge him,” reveals Metheny. “I think when you write music for somebody, or you bring somebody into your band who is very talented, you have an obligation not just to utilize what they can do, but to take them someplace they had maybe never been before.” II. Pt. 2 “Playing in the adagio style that you hear in this movement is something that Jason is really good at, and it was a pleasure for me to know that he would have an immediate understanding of how to do it. At the same time, it’s one of those pieces where you have a melody on top, and it has to sing above this accompanying, almost left-hand piano writing. It’s hard to get that balance. I worked up a version of this movement in a band setting, with a quartet that I was playing with at the time, and it worked great, which was a little bit of a surprise for me, as I wasn’t really thinking of it like that.” Program notes from Pat Metheny Jorge Morel Danza Brasilera The popular and prolific Argentine-American guitarist-composer Jorge Morel began his guitar studies in Buenos Aires with his father, a famous actor. After further studies with Amparo Alvariza and the virtuoso Pablo Escobar, Morel emigrated to New York in 1961. The urban and jazzy Danza Brasiliera, one of Morel’s best-known pieces, is close in spirit to the modern samba and bossa nova. Program notes by Richard M. Long Aaron Jay Kernis 100 Greatest Dance Hits “100 Greatest Dance Hits” (1993) is an affectionate tribute to various sorts of popular music that I heard when I was growing up or came to know during my life as an adult in New York City. The influences in it range from the African roots of rock and roll in the short introductory
movement, to the salsa accents from the streets of the Upper West Side of Manhattan (where I’ve lived since the early ’90s) to the undeniable remnants of middle-of-the-road, easy-listening music that my parents gravitated toward and I detested as a teenager (only to succumb to the charms of the memories of singing strings, Muzak, and Atlantic city club-dates that still bring the image of my parents back to me with much affection). It wraps up with the final movement steeped in ’70s disco and gentle funk that barrels on through diatonic hints of Soul Train, crunchy and scratchy ultra-dissonant climaxes to a final moment of vocal percussion which recalls early rap. “Dance Hits” channels these influences into a fun, joyous piece for guitar and string quartet, both stretched quite a bit out of their usual “classical” playing traditions. The work was commissioned for the tenth season of Music from Angel Fire, and is dedicated to my dear friend, guitarist David Tanenbaum and to Ida Kavafian. Program notes by Aaron Jay Kernis
SERAPH BRASS Saturday, November 20, 2021 7:30 p.m. Mary Elizabeth Bowden, trumpet Raquel Samayoa, trumpet Rachel Velvikis, horn Victoria Garcia, trombone Samantha Lake, tuba ~PROGRAM~ “Prelude” from Holberg Suite Edvard Grieg (1843-1907) arr. Jeff Luke “Sempre Libera” from La Traviata Giuseppe Verdi (1813-1901) arr. Jeff Luke “Nessun Dorma” from Turandot Giacomo Puccini (1858-1924) arr. Ivaylo Hristov Two Pieces from Suite Española Isaac Albéniz (1860-1909) Asturias arr. Jeff Luke Sevilla Hora Staccato Grigoras, Dinicu (1889-1949) arr. Tim Olt Go Anthony Dilorenzo (b. 1967) ~INTERMISSION~ Khirkiyaan (Windows): Three Transformations for Brass Reena Esmail (b. 1983) I. Rondo (Jo-g) II. Joota/Shoe III. Tutturana “Polovetsian Dances” from Prince Igor Alexander Borodin (1833-1887) arr. Rolf Smedvig “Virgo” from Asteria Catherine McMichael (b. 1954) Hungarian Rhapsody No. 2 Franz Liszt (1811-1886) arr. Jeff Luke
Seraph Brass is represented by Kevin Peters, Booking Agent Manhattan Music Ensemble G.L. Berg Entertainment and Reggie Bahl, Artist Manager (888) 654-6901 x 12 212-721-1343 www.gkberg.com www.mmensemble.com BIOGRAPHIES (seraphbrass.com) Seraph Brass is a dynamic brass quintet drawing from a roster of America’s top female brass players. Committed to engaging audiences with captivating programming, Seraph Brass presents a diverse body of repertoire that includes original transcriptions, newly commissioned works, and well-known classics. Seraph released their debut studio album, Asteria, on Summit Records in January 2018. Seraph Brass has toured throughout the United States, Mexico, and Europe. They have performed multiple concerts at the Lieksa Brass Week in Finland, and they were the featured ensemble at the International Women’s Brass Conference. Seraph has performed concerts at the Forum Cultural Guanajuato in León, Mexico, Dame Myra Hess Concerts in Chicago, Gettysburg Concert Association, Norton Museum of Art in West Palm Beach, SUNY Cortland, Jamestown Concert Association, and they have toured extensively as Allied Concert Service artists. Seraph is on the roster of the Manhattan Music Ensemble and G.L. Berg Entertainment. As featured soloists with band, Seraph performed Rick DeJonge's Prelude and Fantasy with the Rowan University Wind Ensemble, under the direction of Joseph Higgins, and James Stephenson's Dodecafecta with the Bucknell University Wind Ensemble, under the direction of William Kenny. Many members of Seraph Brass performed with Adele on her North American tour in 2016. Enthusiastic about education, Seraph has developed strong relationships with Venezuelan “El Sistema” programs in Philadelphia and Washington D.C., performing fundraising concerts for Play-On-Philly! and Bridges: Music Through Harmony. Seraph has given residencies at Stephen F. Austin University, University of Virginia, Wittenberg University, Western Illinois Universities, Penn State Erie, and the Dreyfoos School of the Arts Committed to commissioning new works, Seraph commissioned and premiered “Wolf ” for solo soprano and brass quintet from Philadelphia-based composer, Joseph Hallman. Seraph has commissioned new works by Catherine McMichael and Rene Orth, featured on Asteria. Seraph premiered Lucy Pankhurt’s Ouroboros with euphonium soloist Helene Escriva at the International Women’s Brass Conference. Seraph also has many original arrangements by trumpeter Jeff Luke, featured on Asteria and Seraph Brass Live! Members of Seraph Brass have performed with such esteemed ensembles as the Chicago Symphony Orchestra, New York Philharmonic, San Francisco Symphony, Musicians from Marlboro, Luzern Music Festival in Switzerland, National Symphony, Brass Band of Battle Creek, Daejeon Philharmonic in Korea, and Auckland Philharmonia in New Zealand. They hold positions in the Richmond Symphony, Tucson Symphony, Louisville Orchestra, Artosphere Orchestra, Tennessee Tech University, University of North Carolina at Pembroke,
Louisiana State University, University of Richmond, and North Carolina School of the Arts. PROGRAM NOTES The brass quintet is a relative newcomer in the world of chamber music. While standard ensembles such as the string quartet or the piano trio date back to the 18th century, the modern brass quintet did not emerge as a standard ensemble until the formation of the New York Brass Quintet in 1954, when they introduced the now standard instrumentation of two trumpets, horn, trombone, and tuba. New types of chamber ensembles have the difficulty of programming with limited existing repertoire, but, from the beginning, brass quintets have sought to commission new works from modern composers as well as to arrange works from the wider classical and popular music repertoire. Many of these arrangements have been made by members of the groups themselves – by the brass players who know best how to allow their instruments to shine - and serve to introduce audiences to the wide-ranging musical capabilities of brass instruments through the prism of more widely known music. Such is the case with this evening’s program, where all four of the listed arrangers are brass players themselves, with trumpeter Jeff Luke having written his arrangements specifically for Seraph Brass. Conversely, several original compositions on the program are either quickly becoming part of the standard brass quintet repertoire (Anthony DiLorenzo’s Go) or continuing to add to a growing and increasingly diverse repertoire (Reena Esmail’s Khirkiyaan and Catherine McMichael’s Asteria.) The program opens with the “Prelude” from Edvard Grieg’s Holberg Suite. Written in 1884 to commemorate the 200th anniversary of the birth of the humanist playwright Ludvig Holberg, Grieg composed this five-movement suite in a neo-classical style, recalling the music of the early Classical period which Holberg would have heard during his lifetime. This opening prelude is gracefully propelled along by a constant repeating eighth-note and double sixteenth- note rhythm (long-short-short), ideally suited for a professional brass ensemble, for which such agile articulation of notes is perhaps even more natural than for the piano or strings, as in Grieg’s original versions of the work. Opera fans will no doubt recognize Verdi’s “Sempre Libera” from La Traviata or Puccini’s beautiful “Nessun Dorma” from the final act of Turandot. To some, these arias might seem to be curious sources for new brass quintet repertoire; however, opera has long been a source of inspiration for brass players, dating back to the rise of several virtuosos in the touring wind bands of the late 19th century. Soloists such as cornetist Herbert C. Clarke or trombonist Arthur Pryor rose to prominence at a time when music written for brass instruments was not widely available, especially in the United States, and they would often turn to operatic arias and other well-known songs as sources for arrangements or as thematic material for virtuosic showpieces. In these arrangements, Mary Elizabeth Bowden’s trumpet takes on the role of Violetta in Verdi’s coloratura aria, and trombonist Victoria Garcia is featured on Puccini’s beautiful tenor aria. Isaac Albéniz, along with several of his contemporaries, such as Enrique Granados and Manuel de Falla, was part of a movement of Spanish composers known for elevating Spanish music around the turn of the 20th century. The Suite Española originated as a suite for solo piano, with each movement paying respect to various regions of Spain. “Asturias” is given the subtitle of “Leyenda,” or “legend,” and is steeped in the Flamenco tradition; “Sevilla” is based on the style of the sevillanas – a Castilian dance. Interestingly, while the bulk of Albéniz’s compositional output was solo piano repertoire (Albéniz was a piano soloist himself ), his music is most often performed today in the form of transcriptions for other instruments. Devotees of classical guitar will surely recognize these two selections, as they are often performed as
standalone works for solo guitar. Hora Staccato is the most famous work by the Romanian composer and violinist Grigoras, Dinicu. This violin showpiece is written in the style of the Romanian hora (a traditional Balkan circle dance) and was made most famous in an arrangement by Jascha Heifetz in 1932. Subsequent arrangements have been published for many instruments, with one for trumpet and piano receiving frequent performances. This arrangement by Tim Olt was arranged specifically for Raquel Samayoa to perform with the Seraph Brass. Anthony Dilorenzo’s Go, provides a virtuosic, toccata-like showpiece to conclude the program’s first half. This exciting four-minute work is emblematic of DiLorenzo’s exciting compositions for brass, many of which are enthusiastically received by brass players and audiences alike. Go was premiered by the Center City Brass Quintet, of which the composer is a member, and is dedicated to the late trombonist Steve Witser. DiLorenzo writes that he “dedicates this piece to [Witser’s] memory, in remembrance of his tireless intensity and positive energy.” Reena Esmail is a composer of Indian-American descent who has on her resume degrees from two prominent Western classical conservatories, The Juilliard School and the Yale School of Music, as well as a Fulbright-Nehru grant, on which she traveled to India to study Hindustani music. Both musical sound worlds are heard throughout Khirkiyaan, opening the second half of the program. This work arose as a reimagining of several of Esmail’s existing compositions. “Khirkiyaan” is the Hindi word for “windows;” thus each of these movements serves as a window into Esmail’s own music seen through the new prism of the brass quintet. The opening movement “Rondo (Jog)” originated as a part of the composer’s string quartet Ragamala. Inspired by the improvisatory Indian musical form of the raga, the movement utilizes a mercurial third scale degree, playing with the Western concept of major and minor tonality. “Joota/Shoe” arose as part of a song cycle for mezzo soprano and guitar, Chuti Hui Jagah (The Space Between). It draws inspiration from a verse of the Indian poet Manav Kaul: “When the shoe bites / Then it becomes difficult to navigate through the world / And when the shoe stops biting / Then it becomes difficult to navigate through time.” Finally, “Tuttarana,” originally a work for women’s choir, serves to brilliantly showcase the virtuosity of the brass quintet. The title is a portmanteau of “tutti,” a familiar Italian musical term meaning “all” or “together,” and “tarana,” a Hindustani musical form, which serves to highlight the singer’s dexterity and agility. Reena Esmail writes of Khirkiyaan: “If I had set out to write a brass quintet, I am sure it wouldn’t have been this piece. I would have started with my own limited, preconceived notions of what I thought a brass quintet should be and worked outward from there. But it was through working with brass players, being shown the seeds of what was already there in my existing work, and then transforming it for these instruments that allowed these windows to be opened in my work.” Alexander Borodin’s “Polovetsian Dances” from Prince Igor has proven to be one of his most enduring works, though tragically left unfinished at the time of his death. Thankfully, fellow Russian composers Nicolai Rimsky-Korsakov and Alexander Glazunov created a performing edition of the opera in 1890, which introduced audiences to Borodin’s score. Today, the “Polovetsian Dances” have become quite popular with audiences and are often performed as a standalone work for orchestra. Many of Borodin’s melodies from these dances have found their way into the popular culture of the years, with one memorable example being the 1953 musical Kismet. Much of the musical source material for this musical was derived from Borodin’s music, with several songs, such as “Stranger in Paradise,” borrowing directly from the “Polovetsian Dances.” Seraph Brass commissioned the Michigan-based composer and pianist Catherine
McMichael to write Asteria, recording it on their album of the same name. “Asteria” is an ancient Greek word referring to the stars, and each movement of the piece is in reference to a constellation. “Virgo” is the largest of the twelve Zodiac constellations, and is associated with fertility and agriculture, usually depicted with angelic wings and holding an ear of wheat in her left hand. Musically, she is depicted by McMichael in a peaceful and flowing five-minute work, highlighting the lyrical capabilities of brass instruments. In particular, note the more mellow and dark sound from the flugelhorns, employed instead of trumpets to better suit the tone of this beautiful composition. Finally, Liszt’s Hungarian Rhapsody No.2 has long been a favorite of classical music audiences, whether in its original iteration for solo piano, or as adapted for orchestra by the composer (or several others.) Perhaps, though, it is best remembered for associations with classic cartoon characters such as Tom and Jerry or Bugs Bunny. Here arranger Jeff Luke once again artfully reimagines a classic work for the brass quintet. Program Notes by Donald Pinson
MERZ TRIO Saturday, January 29, 2022 7:30 p.m. Brigid Coleridge, violin Julia Yang, cello Lee Dionne, piano ~PROGRAM~ “The Painted Lens” Merz Trio presents a program about looking back. Featuring Tchaikovsky’s great elegiac Trio, “in the memory of a great artist,” as well as a shorter work by contemporary composer Felipe Nieto-Sáchica composed in direct response, the program gathers around it a community of smaller works ranging from Nicola Matteis to Edith Piaf, Alma Mahler to Irish traditional tunes, all exploring a similar question of what it means to see life through a lens, rose-colored or otherwise. The Trio will introduce the program and guide the audience through the various works. Preludio e fantasia Nicola Matteis (1650-1715) Arr. Merz Trio Piano Trio No. 45 in E-flat Major, Franz Joseph Haydn Hob XV/29 (1797) (1732-1809) Poco allegretto New Work (world premiere) Felipe Nieto-Sáchica (b. 1988) Undiluted days (2000) Jeffrey Mumford (b. 1955) Laue Sommernacht (Mild summer night, 1910) Alma Mahler (1879-1964) Arr. Merz Trio La vie en rose (Life in pink, 1945) Piaf/Louiguy/Mannot Arr. Merz Trio Moro, lasso, al mio duolo (I die. Alas in my suffering, 1611) Carlo Gesualdo (1566-1623) Arr. Merz Trio “Samradh Samradh” (“Summer Summer”) Irish Traditional Arr. Merz Trio
~INTERMISSION~ Piano Trio in A Minor, Op. 50 (1882) Pyotr Ilyich Tchaikovsky “À la mémoire d’un grand artiste” (In memory of a great artist) (1840-1893) I. Pezzo elegiaco. Moderato assai – Allegro giusto II. (A) Tema con variazioni: Andante con moto (B) Variazioni finale e coda “Morgen!” ("Tomorrow”), Op. 27 No. 4 (1894) Richard Strauss (1864-1949) Arr. Merz Trio Merz Trio is a winner of the Concert Artists Guild International Competition and is represented by Concert Artists Guild 135 East 57th Street, 7th Floor New York, NY 10022 (www.concertartists.org) BIOGRAPHIES (merztrio.com) Hailing from opposite corners of the globe, Merz Trio’s members can only agree on two things: (1) how to pronounce the word ‘Merz’ in a faux German accent, and (2) that shopping for concert clothes should be classified as a form of torture. The Trio met in the middle of a snow storm in NYC in December 2016; hilariously – and gloriously – we now spend the majority of our lives together, rehearsing, traveling and arguing: usually over music and whether Australian English is better than American English. Together, we’ve walked onto stages around the world and are humbled to have been recognized as Winners of the 2019 Concert Artists Guild and Fischoff Competitions, the 2018 Chesapeake Competition, and 2021 Naumburg Chamber Music Competition. But whether on concert stages or competition venues, large or small, the most thrilling thing about all of these experiences is the energetic communities that have emerged from them. Merz Trio loves to be in community with others. We love talking and getting carried away – in the rehearsal room, on stage, after the concert. We understand what we do as a conversation between ourselves, the composer, our audience, and the changing world we step into each day. Our name, Merz, speaks to this; It’s the term coined by German artist and polymath Kurt Schwitters, who once floor-to-ceiling decorated his parent’s house in Hanover with found objects and insisted that art occurred only in shared spaces. So Merz refers to connection, to sharing, to possibility. And yes, we’re very glad Schwitters didn’t live with us. Our rehearsal room is a noisy fusion of our interests: Music of all varieties, literature, theatre, cooking, dance, running, unnecessarily snobbish ideas about beverages. We love this messiness. We play in living rooms and large halls; galleries and schools; black box theaters and crypts. There are very few places we don’t feel at home. And we love investigating other people’s messiness. Alongside our ‘traditional’ recitals, we create original inter-disciplinary projects, sometimes just with ourselves and our extra-musical
interests, more often with inspiring and generous artists. So far, we’ve brought ourmusic into conversation with dancers, directors, chefs, sommeliers, puppeteers, and graphic designers, and each time we collaborate we understand the music that we play differently. We’ve been encouraged in our explorations by the New England Conservatory in Boston and its visionary faculty. We’re grateful too, for other homes around the world: Yellow Barn, Snape Maltings, Avaloch Farm Institute, the Lake Champlain Olympic, and Chesapeake Music Festivals, and the Fischoff Competition, not to mention hundreds of welcoming venues and hosts around the US, Australia, and the UK. We’re with Schwitters on this one: Art happens where people are. We hope you’ll come along for the ride. Biography Felipe Nieto-Sáchica (felipe@artsmg.com) Considered a “deft orchestrator” (I care if you listen), composer Felipe Nieto-Sáchica writes music rooted in a combination of lyricism and rhythmic complexity touching upon themes that range from simple sound exploration to political commentary. At the same time, he believes strongly in versatility and feels that his musical language is open to the exigencies of every piece he composes. Felipe has received first prize at the annual PubliqQuartet Composition Competition (NY), first prize at the Exit 128 Ensemble Composition Competition (University of Missouri), as well as Honorable Mentions at the Buffalo Chamber Players call for scores (NY) and the Boston Guitar Festival Competition. Felipe is a two time recipient of the Smadbeck prize for Music Competition at Ithaca College and was selected as one of the participant composers of American Composers Orchestra’s EarShot program, to have his orchestral work “Artesania Sonora” workshopped and performed by the Charlotte Symphony in North Carolina. The 20/21 season brought about the premier of his latest work “C U Z A: four nocturnes for wind quartet” written for the San Francisco based “Quinteto Latino” and commissioned by the American Composers Forum. Felipe’s music has been heard at the Metropolitan Museum of Art (NY), DiMenna Center for Music (NY), the Charlotte Symphony Orchestra (North Carolina), National Museum of Bogota (Colombia), Mizzou New Music Festival (University of Missouri), Conservatorio Superior de Musica Joaquin Rodrigo (Valencia, Spain), Boston Guitar Festival, Brooklyn Bazaar (NY) Brooklyn Chamber Music Society (NY) and at the America’s Society Concert Series (NY). Felipe is currently artist-in-residence at the New York City based “Las Americas en Concierto”, a concert series that specializes in presentation of music by composers from Latin America. Felipe is also an avid performing arts professional and when away from his composition studio, he devotes the other half of his tine to the development and growth of the career of some of today’s most exciting performing artists and ensembles. PROGRAM NOTES Dear listeners, If this program seems atypical for a trio recital, we assure you: it’s simpler than it looks. For us, it came down to a simple question: what does it mean to emotionally experience a 45-minute work like the Tchaikovsky Trio -- an elegy of symphonic proportions -- and how can we ensure that that experience is prepared as resonantly as possible for our listeners? To take that question one step further, is there a way to render clear, in our programming choices, those elements that form the building blocks of the Tchaikovsky and that would ultimately deepen and enhance our audience’s encounter with the work? To address this question, we’ve curated a
series of works on our program’s first half, many of them our own arrangements, along with a new commission from composer Felipe Nieto- Sáchica, each of which dives into one or more themes from the Tchaikovsky (love, memory, grief, loss, nostalgia, golden recollection). In addition to being thematically related, the first half ’s pieces explore contrasting ideas of what it means to express oneself on both incredibly personal as well as universal levels; many of these works are miniatures that seem to contain entire worlds within themselves. The Tchaikovsky, for its part, does the opposite, taking the deeply personal -- be it the elegiac opening theme or the initial intimacy of its second movement -- and expands these into a richly varied universe. Below are some further details on each of the works on the program (with the Tchaikovsky as starting point), but we hope you’ll also enjoy the program as a whole, the consonances and dissonances, as we journey from one work to the next, and the way in which the emotional trajectory of the first half ultimately sets us up to sink that much more deeply into the Tchaikovsky in all its richness. *** Tchaikovsky wrote his Piano Trio between 1881 and 1882, in memory of his great friend and mentor, the pianist / composer / conductor Nikolai Rubinstein. It stands in a long tradition of elegiac slavic piano trios (Smetana, Tchaikovsky, Rachmaninov, Shostakovich) but is the largest example of its genre. Notable are its masterful integration of formal materials and its emotional range, expressing not just grief, but also great joy and the full spectrum that lies between. When Tchaikovsky’s famous patron, Nadezhda von Meck, had initially requested a trio from him in 1880, he had refused, writing to her, “I simply cannot endure the combination of piano with violin or cello. To my mind the timbre of these instruments will not blend ... it is torture for me to have to listen to a string trio or a sonata of any kind for piano and strings.” Yet within a few years he had obviously revised his opinion. Perhaps the suggestion had had time to sink in, or perhaps the unique circumstances of the piece inspired Tchaikovsky to explore new territory. In any case, what resulted was one of the most monumental works in the Trio repertoire, and yet it holds together as a single utterance. Much of the Trio’s singular coherence stems from its musical material. Every theme we hear in the first movement, as well as the theme of the variations, derives essentially from the same musical material, often characterized by a lamenting falling step (though this figure becomes more exuberant and amorous in the first movement’s second theme). In the variations the theme is inverted, ascending upwards and taking on a new, hopeful naïveté. The new theme is used not only for all the variations but also for the “final variation,” a proper movement in itself that concludes the work. Yet the underlying motivation for this obsession is emotional: the monothematic quality of the work underscores the complexity of grief in its inescapable fixation of loss that can permeate even our most hopeful moments. Nowhere is this more evident than at the finale’s exuberant peak, which suddenly veers out of control, tumbling into what we realize is a final return of the elegiac version of the theme, experienced as a final, devastating utterance by the strings, played high in octaves, fortississimo and even then threatened to be overwhelmed by the roiling emotion of the piano part. In its sheer scale and immensity, the coda also makes palpable this feeling of the universal, which Tchaikovsky himself expressed in his fear that he had unintentionally written music of a symphonic nature and merely arranged it for these three instruments. Intentional or not, the effect is magnificent, and we delight in the piece’s orchestral qualities, not only in its
proportion, but in the inventiveness of the second movement, where in many places the piano takes on qualities of a harp, woodwinds, or even sleigh bells. It seems in the end Tchaikovsky did find his way of writing for piano and strings, by finding in the piano all the colors and qualities of an orchestra. As a coda to the coda of the Tchaikovsky, we’ll perform our arrangement of Richard Strauss’ Morgen! (Tomorrow!) We hope you’ll experience with us why this feels like the right choice. *** Finally, having introduced the Tchaikovsky, let’s loop back to the first half of the program and why we’ve chosen these works to pair with it. The first two works on the program come to us from a pair of celebrated expatriates, the Neapolitan Nicola Matteis and the Austrian Joseph Haydn, each living in London over a hundred years apart. Both were renowned for their powers of creativity and playful, improvisatory spirits. Both enjoyed their peaks of success overseas at the end of their careers. As introductory works, the Matteis prelude and the Haydn first movement both possess a quality of absolute freedom and invention in their approach. Both works, like the Tchaikovsky, feature the technique of variations, the Matteis spinning out from a single musical idea, the Haydn -- though it is in sonata form, constituting a series of increasingly elaborate variations on its initial theme. In this pairing of Matteis and Haydn, we particularly enjoy the trajectory of darkness opening onto light, also paralleling numerous moments in the Tchaikovsky. Following these works is a new commission, generously funded by the Corpus Christi Chamber Music Society, of a trio by Felipe Nieto building directly on musical material from the Tchaikovsky. The Tchaikovsky was initially performed on Corpus Christi’s series in only its second season, in 1983-1984, and on this 40-year anniversary of the season we felt it was a golden opportunity to celebrate this early performance of a trio masterwork with the response from an exciting contemporary voice. Closing out the first half is a set of four eclectic arrangements of disparate styles, each, again, linked to the Tchaikovsky. The first three range from expressionist Austrian lieder (Alma Mahler) to 20th-century popular song (Louiguy / Mannot), to Renaissance Italian madrigal (Carlo Gesualdo). Like the Tchaikovsky, all three works are deeply infused with a strength of personality and involve looking back on a life, sometimes with rose-tinted glasses (La vie en rose), sometimes with pain and suffering (Moro, lasso, al mio duolo). In many ways, each of these three works is a stand-in for a specific personality: Alma Mahler was lauded by Tom Lehrer in his ballad Alma as “the prettiest girl in Vienna… the smartest as well.” She is known for her close relationships with some of the most brilliant artists and thinkers of the early 20th century, yet her most enduring legacy lies in her magnificent body of art song. Only seventeen of a presumed fifty songs survive, but they display an utter mastery of the genre in both the subtlety of text setting and her aphoristic gestures that -- like Gustav Mahler’s work -- often distills a world of association into a few poignant quotations. La vie en rose, which directly follows, was composed in 1947 by Louiguy and Marguerite Mannot, but was of course popularized through singer Édith Piaf, for whom it was her signature song. Here, it provides a similar affective pairing to the Mahler, as well as a transition to Carlo Gesualdo’s extraordinary and darkly compelling Moro, lasso, al mio duolo. Carlo Gesualdo, Prince of Venosa, was in a league of his own in terms of personality, known infamously, even in his own time, for his violent and gruesome murdering of his wife and her lover whom he caught together in bed in their sleep. His privileged position no doubt contributed to his being acquitted of the crime, but he lived the rest of his life with it hanging
over his head. Moreover, even from a young age, he devoted his life almost exclusively to music, which has made his output a fascinating grounds for psychological readings of his works; as Lively and Bleile have recently argued, Moro, lasso, al mio duolo... (I die, alas, in my suffering…) with its repetitive verse and structure, has the quality of a kind of Freudian repetition compulsion of this traumatic moment, the inverse, if you will, of La vie en rose. Finally, we end the first half with our own arrangement of an Irish traditional tune, Samradh, Samradh (Summer, Summer), opening from the darkness of Gesualdo onto the golden days and easy radiance of a Mayday celebration, the traditional ushering in of summer. -- Lee Dionne September, 2021
TEXTS AND TRANSLATIONS Laue Sommernacht Mild summer night Otto Julius Bierbaum English Translation by Richard Stokes Laue Sommernacht: am Himmel Mild summer night: in the sky Stand kein Stern, im weiten Walde Not a star, in the deep forest Suchten wir uns tief im Dunkel, We sought each other in the dark Und wir fanden uns. And found one another. Fanden uns im weiten Walde Found one another in the deep wood In der Nacht, der sternenlosen, In the night, the starless night, Hielten staunend uns im Arme And amazed, we embraced In der dunklen Nacht. In the dark night. War nicht unser ganzes Leben Our entire life – was it not So ein Tappen, so ein Suchen? Such a tentative quest? Da: In seine Finsternisse There: into its darkness, Liebe, fiel Dein Licht. O Love, fell your light. Translation © Richard Stokes, author of The Book of Lieder (Faber, 2005) La vie en rose Édith Piaf Life in rosy hues Des yeux qui font baisser les miens Eyes that gaze into mine, Un rire qui se perd sur sa bouche A smile that is lost on his lips— Voilà le portrait sans retouches That is the unretouched portrait De l’homme auquel j’appartiens Of the man to whom I belong. Quand il me prend dans ses bras When he takes me in his arms Il me parle tout bas And speaks softly to me, Je vois la vie en rose I see life in rosy hues. Il me dit des mots d’amour He tells me words of love, Des mots de tous les jours Words of every day, Et ça me fait quelque chose And in them I become something. Il est entré dans mon cœur He has entered my heart, Une part de bonheur A part of happiness Dont je connais la cause Whereof I understand the reason. C’est lui pour moi, moi pour lui dans la vie It’s he for me and I for him, throughout life, Il me l’a dit, l’a juré pour la vie He has told me, sworn to me for life. Et dès que je l’aperçois And from the things that I sense, Alors je sens en moi Now I can feel within me Mon cœur qui bat My heart that beats. Moro, lasso, al mio duolo, I die, alas, in my suffering, e chi può darmi vita, And she who could give me life, ahi, che m’ancide e non vuol darmi aita! Alas, kills me and will not help me. O dolorosa sorte, O sorrowful fate, chi dar vita mi può, She who could give me life, ahi, mi dà morte! Alas, gives me death.
Samhradh, samhradh, bainne na ngamhna, Summer, Summer, milk of the calves, Thugamar féin an samhradh linn. We have brought the Summer in. Samhradh buí na nóinín glégeal, Yellow summer of clear bright daisies, Thugamar féin an samhradh linn. We have brought the Summer in. Thugamar linn é ón gcoill chraobhaigh, We brought it in from the leafy woods, Thugamar féin an samhradh linn. We have brought the Summer in. Samhradh buí ó luí na gréine, Yellow Summer from the time of the sunset, Thugamar féin an samhradh linn. We have brought the Summer in. Bábóg na Bealtaine, maighdean an tSamhraidh, Mayday doll, maiden of Summer Suas gach cnoc is síos gach gleann, Cailíní maiseacha bán-gheala glégeal, Up every hill and down every glen, Thugamar féin an samhradh linn. Beautiful girls, radiant and shining, We have brought the Summer in. Cuileann is coll is trom is caorthann Holly and hazel and elder and rowan, Thugamar féin an samhradh linn. We have brought the Summer in. An fuinseog ghléigeal bhéil an Átha And bright ash-tree at the mouth of the Ford, Thugamar féin an samhradh linn. We have brought the Summer in. Samhradh, samhradh Summer, summer Samhradh, samhradh Summer, summer Is cé bhainfeadh dínn é? And who’d take it from us? Samhradh, samhradh Summer, summer Is cé bhainfeadh dínn é? And who’d take it from us? Is cé bhainfeadh dínn é? And who’d take it from us? Ó lui na gréine From the setting of the sun. Tomorrow! Morgen! And tomorrow the sun will shine again John Henry Mackay And on the path that I shall take, Und morgen wird die Sonne wieder scheinen It will unite us, happy ones, again, Und auf dem Wege, den ich gehen werde, Amid this same sun-breathing earth ... Wird uns, die Glücklichen, sie wieder einen And to the shore, broad, blue-waved, Inmitten dieser sonnenatmenden Erde ... Und zu dem Strand, dem weiten, wogenblauen, We shall quietly and slowly descend, Werden wir still und langsam niedersteigen, Stumm werden wir uns in die Augen schauen, Speechless we shall gaze into each other’s Und auf uns sinkt des Glückes stummes Schweigen ... eyes, And the speechless silence of bliss shall fall on us ... Translation © Richard Stokes, author of The Book of Lieder (Faber, 2005)
ROOMFUL OF TEETH Saturday, February 26, 2022, 7:30 p.m. ~PROGRAM~ Partita for 8 Voices Caroline Shaw 1. Allemande (b. 1982) Run Away Judd Greenstein (b. 1979) bits torn from words Peter Shin III.GaNaDaRaMaBaSa AJaChaKaTaPaHa (b. 1991) Vesper Sparrow Missy Mazzoli (b. 1980) bits torn from words Peter Shin VI. If __________ did happen, how bad would it be (b. 1991) ~INTERMISSION~ The Isle Caroline Shaw (b. 1982) Psychedelics William Brittelle I. Deep Blue (You Beat Me) (b. 1976) II. I am the Watchtower III. My Apothecary Light Roomful of Teeth are represented by MKI Artists; One Lawson Lane, Suite 320, Burlington, VT 05401 https://www.roomfulofteeth.org/
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