SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

14 15 16 17 1810:00 am Outreach: Vientos Trio @ Western Home

196:00 pm Cafe Brandenburg @ Landmark Commons RSVP

2010:00 am Outreach @ CF and Waterloo Libraries

7:00pm Caffè Università del Nord Iowa

21 225:00 pm Outreach: Vientos Trio @ Friendship Village

23 245:30 pm Pre-concert dinner RSVP

7:00 pm Cafè Élan @ Waterloo Elks

2510:00 am Outreach: Exorior Duo @ Western Home

265:30 pm Cafe Kids @ NE Iowa Foodbank

27

282:00 pm Cafe Éire @ The Brown Derby !

29 30 31

July 2013

CEDAR VALLEY CHAMBER MUSIC 2013

CONTENTS

Season calendar ....................................................................... 2

Director’s Welcome.................................................................... 5

Festival programs....................................................................... 6 - 11

2013 Outreach ....................................................................... 13

2013 Supporters ....................................................................... 14

2013 Artists ........................................................................ 16- 19

Proud to support the arts

SINCE 1941Our 14 South Dubuque Street location in Iowa City, Iowa

Cedar Fal ls | 6322 University Avenue | 319-277-1000www.westmusic .com | facebook.com/WestMusicCedarFalls

Director’s Welcome

Welcome to our eighth summer festival season! We have both new and familiar faces performing with us this summer. Many travel a great distance but come to play here because our community is so welcoming. I hope you have the chance to not only hear but also spend time talking to each one of our 2013 musicians.

This season will be dedicated to the memory of Howard V. Jones. No one in the Cedar Valley was more synonymous with classical music as a promoter, lover, and ardent advocate. It will be odd to perform this season and not see him sitting in the front row. His presence will be greatly missed. In tribute to Howard’s memory, CVCM will be engaging in several gestures of gratitude, including leaving his usual seat open in the front row and performing a short work in his honor.

Each concert this season is designed to transport you to Europe. As a tourist you will visit the regions of Germany, Italy, France, and the British Isles. The linking feature really isn’t the music this season but the setting in each venue. Each concert setting is meant to invoke a less formal atmosphere, a “quasi-cafe” concept, that allows you to engage with all aspects of the live performance. We hope you enjoy how the slightest change in location can pleasantly affect how your interact with live music.

As you look through our season program you will see that we will be actively engaging the community in a variety of concerts and outreach initiatives. For the first time, we have invited several professional chamber music groups to take part in our festival. Trio 826, the Vientos Trio, and the Exorior Duo will all be performing in different venues around the community over the next week. You will hear all the artists at our subscription concerts, but please look at our complete season calendar to find out about our other outreach offerings. One particular outreach we are excited about this season is to work with the Northeast Iowa Foodbank the evening of July 26th to raise money for their Kids Cafe and backpack programs. We will be performing in the warehouse as a contribution towards their efforts to feed the Cedar Valley. I look forward to seeing you there!

I also want to take a moment to thank the members of the CVCM board. As volunteers, they have helped guide me and shape the high quality of each festival season. They both support and challenge me and have truly helped build CVCM into the unique cultural gem it has become.

Remember, supporting an arts organization comes in many forms. Donations are one, but your presence and interactions with the festival are just as important. You can “like” us on Facebook, email your friends about our concerts, and just help spread the word. We don’t simply want to build an audience, we want to grow a community. Thank you for your support in every form!

-Hunter Capoccioni

Caffè Università del Nord Iowa Sussana Klein, Deborah Klemme* | violin

Julia Bullard | violaNathan Cook, Hannah Holman | cello

Hunter Capoccioni | double bassJacquelyn Venter | harp*

Réne Lecuona | piano Michelle Cheramy | flute

Ryan Zwahlen | oboeJennifer Stevenson | clarinetMichael Kreiner | bassoon

Banjamin Klemme | conductor*

Antonio Vivaldi Concerto in g minor RV 105 for Flute, Oboe, Violin, Bassoon, RV 105I. AllegroII. LargoIII. Allegro

Luigi Tedeschi ! Suite per Arpa, Violino, and Violoncello, Op. 46 (1920)I. Improvisation II. Intermezzo RêverieIII. Waltz - Serenade

Intermission

Gioacchino Rossini! Duetto for Violoncello e Contrabasso (1824)I. AllegroII. Andante moltoIII. Allegro

Ermano Wolf-Ferrari Sinfonia da Camera in B-flat major, Op. 8 (1901)I. Allegro moderatoII.AdagioIII. Vivace con spiritoIV. Finale: Adagio- Allegro moderato

* denotes UNI alumni

Saturday, June 20th, 7 pm | Great Hall | University of Northern Iowa |Concert sponsored by: The UNI College for Humanities, Arts, and Sciences

Program NotesConcerto in g minor for Flute, Oboe, Bassoon, Violin, and Bassoon, RV 105

Vivaldi wrote about twenty of what have been described as concertos for soloists without orchestra: all the players function as soloists, with distinctive individual lines, but they can all come together at moments to produce the tutti ritornello effect so characteristic of Vivaldi’s concertos with orchestra. The instrumentation of these concertos varies widely—apparently Vivaldi wrote for the players on hand—and the result is music with a chamber-like intimacy but with the flair of soloistic writing. A varied and lively work, the Concerto in G Minor, RV 105, is a wonderful work which spotlights individual instruments or combines them in pairs and plays those pairs against each other.

Suite per Arpa, Violino e Violoncello, Op. 46 (1920)Luigi Maurizio Tedeschi (1867-1944) was a harpist who studied in Milan and Paris on the way to an extensive international concert career. Largely self-taught as a composer, he wrote numerous harp works, an opera (Jocelyn, 1908), and a selection of chamber music with harp. The trio on tonight’s program shows the heavy influence of Giacomo Puccini in the use of tuneful soaring melodies that are constructed around French colors of the Impressionist school.

Duetto per Violoncello e Contrabasso (1824)

It is not well known that Rossini wrote instrumental music throughout his career. The majority of Rossini’s instrumental pieces were scored for unusual ensembles. In these works, he used song-like melodies sometimes similar to those in his operas, but his main interest seemed to be to express individual instruments’ virtuosity. The story behind this atypical work is that during his 1824 English tour, Rossini met David Salomons, a member of a wealthy London family, at a musical evening held in honor of Rossini at Salomons’ home. Salomons, a cellist, had commissioned the composer to write this duet for the occasion, paying him the then handsome fee of fifty pounds. The eminent Italian double-bass virtuoso Domenico Dragonetti (1763-1846), known as the “Paganini of the double bass,” played the bass part; Salomons played the cello part. In a journal entry, Sir George Smart, a leading English conductor who attended the event, wrote that the performance was “most agreeable,” but Smart did not comment on or describe the Duetto in detail. In fact, there is no extant account of any performance from that time. Salomons’ family retained the score and parts in their private papers until 1968, when it was sold at auction, edited, and published.

Sinfonia da Camera in B-flat major, Op. 8 (1901)Wolf-Ferrari's background and life are illustrative of the cultural complexity of Old Europe. Wolf-Ferrari grew up in Venice. His mother was Italian and his father, a painter by profession, was from Bavaria. This bi-cultural background is reflected in his unusual name and in his musical studies. Born in Venice, Wolf-Ferrari was sent to Munich as a young man to study painting, but soon thereafter changed to intense study of composition. Moving back and forth between these two cities, the rest of his life was spent between German and Italian audiences and critics with mixed success. The chamber-symphony on tonight’s program might not be described as innovative for 1901. It is more an extension of the romantic absolute-music line extending from Mendelssohn and Schumann, Brahms. The internal development of the music generally may be said to be looser and more rhapsodic than that of the composers named. There is, as suggested by the title, a symphonic breadth to the arch of the piece. Considering the relatively small ensemble, the musical gestures are expansive. At the same time, traditional chamber-musical resources (with respect to articulation and soloistic instrumental writing) are fully exploited, and romanticism's considerable harmonic and melodic arsenal effectively harnessed by this often overlooked composer.

 

Café ÉlanSussana Klein, Deborah Klemme* | violin

Julia Bullard | violaNathan Cook, Hannah Holman | cello

Hunter Capoccioni | double bassJacquelyn Venter | harp*Michelle Cheramy | flute

Ryan Zwahlen | oboeJennifer Stevenson | clarinetMichael Kreiner | bassoon

Banjamin Klemme | conductor*

Joesph Cantaloube Rustiques for Oboe, Clarinet, and Bassoon (1947)I. PastoraleII. RêverieIII.Rondeau à la française

Maurice Ravel! Sonata for Violin and Cello (1920-24)I. AllegroII. Très vifIII. LentIV. Vif, avec entrain

Intermission

Claude Debussy ! Sonate en Trio, for Flute, Viola and Viola and Harp (1915)I. Pastorale: lento, dolce rubatoII. Interlude: Tempo di minuettoIII. Finale: Allegro moderato ma risoluto

Louise Farrenc! Nonetto in E-flat major, Op. 38 (1849)I. Adagio - AllegroII.Andante con motoIII. Scherzo vivaceIV. Adagio - Allegro

* denotes UNI alumni

Saturday, July 24th, 7 pm | The Waterloo Elks Club | Concert sponsored by: Regions Bank

Program Notes

Rustiques for Oboe, Clarinet, and Bassoon (1947)

Rustiques was commission by the French state in 1946 as a post-war investment in French nationalism. It is his only chamber work for winds that was designed to speak to fatigued French countrymen by basing the music on folk songs they had known, sung, and loved together as a people. Rustiques’ use of the folk idiom is seen in Cantaloube’s use of simple intervals, drone-like accompaniment evoking a shepherd’s piping in the fields. Folk melodies from around France are also included such as a song from Poitu, (a coastal region in western France) called Mon père a fait batir maison (“My father had a house built”), which goes on to praise “the good winemaker.” Another tune, Qui marierons-nous (“Who will marry us?”), is a doleful melody from Vendeé, Poitu’s neighboring region, and Coclicót Maria sa fille (“His daughter Maria Coclicôt”), comes from the central Bourbonnais region. The closing Rondeau à la française takes as its theme a round from the southwestern region of Quercy titled Le truquet, le luret (archaic terms referring to tapping a barrel of wine), traditionally sung by young girls who form a circle by holding hands and one-by-one at the end of each verse leave the group and the song until just one remains. The sprightly 6/8 episode derives from the Quercy song J’aime ben mon cotillon rouge (“I love my red petticoat”).

Sonata for Violin and Cello (1920 - 1924)The Duo for Violin and Cello was written, in part, as a contribution to a special commemorative supplement for the journal La Revue musicale to honor the passing of Claude Debussy. Appearing in 1920, the first movement was published alongside works from Bartók, Dukas, Falla, Roussel, Satie, and Stravinsky, among others. Ravel would need almost two years to complete all four movements of the Sonata. Of this duo Rvel wrote that, “The music is stripped to the bone...Harmonic charm is renounced, and there is an increasing return of emphasis on melody.” Ravel apparently knew Kodály’s 1914 Duo for violin and cello (performed at our 2011 CVCMF season) as there are clear intimations of Kodály and Bartók and Hungarian folk music in the pungent dissonances and virtuosic verve of Ravel’s music. Its tunes, as in the chorale of the slow movement, are usually modal. The athletic, multifarious finale is shaped by tonal centers on C and F-sharp, and that relationship of an augmented fourth is reflected in some of the themes, particularly those with a Hungarian flavor. At the close of this strenuously polyphonic piece, Ravel combines several of the Sonata’s themes into a zesty contrapuntal climax.

Sonate for Flute, Viola, and Harp (1915)

This sonata is highly evocative in a way only Debussy could imagine. Imbued with both a languid sensuality and a restless passion. Debussy once called it “terribly melancholy – should one laugh or cry? Perhaps both at the same time.” The first movement is marked Pastorale: lento, dolce rubato. A series of six musical cells are freely varied as the music unfolds. The second movement, Tempo di minuetto, implies, rather than follows, the classic dance form. The final movement, Allegro moderato ma risoluto, uses the momentum of the plucked strings of the viola and harp together to propel us headlong towards a breathless finish.

Nonetto in E-flat, Op. 38 (1849)Jeanne-Louise Farrenc overcame a good bit of sexism to become the first female professor at the Paris Conservatoire. She even drew high praise from some of her most distinguished male colleagues, though back-handed in some cases. Hector Berlioz, for example, rather cruelly said her work was “very good, for a woman’s”. Her music combines impressive dramatic shape and power with a thorough command of classical structures. The Nonet in E flat begins with a substantial introduction that contains shades of Schubert. There will later be a hint of Mendelssohn in the scherzo, and one feels that Beethoven is never far off, but the important thing to stress here is that this is very striking music, still original in its language and distinctively Farrenc’s own. The first movement ends with a surprising violin cadenza, while the second movement andante is a set of variations with colorful solo passages for all nine players. The scherzo simply rocks with a buoyant good cheer. The finale is a bit more buttoned-down, but there’s still an overall feeling of optimistic enthusiasm that guides the work to its joyful conclusion. This work became truly seminal in Farrenc’s career as this piece became placed on a similar level of appreciation to Beethoven’s Septet and Schubert’s Octet for mixed ensemble. Thanks to this Nonet, she was able to place pressure on the Paris Conservatory administration and forced them to give her an equal salary to her male counterparts, which was immediately granted. Not bad for 1850.

Cafe Éire Michelle Cheramy | flute

Sussana Klein, Deborah Klemme | violinJulia Bullard | viola

Nathan Cook, Hannah Holman | celloRéne Lecuona | piano

Ralph Vaughn Williams The Lark Ascending (1914/1920) (arr. Martin Gerigk)

E. J. Moeran! String Trio in G major (1931)I. Allegretto giovaleII. AdagioIII. VivaceIV. Andante grazioso

Intermission

Joan Trimble! Phantasy Trio (1940)I. AllegroII. Andante moltoIII. Allegro

Frank Martin! Trio on Popular Irish Folk Tunes (1925)I. Allegro moderatoII.AdagioIII. Gigue. Allegro

Sunday, July 28th, 2 pm | The Historic Brown Derby |Concert sponsored by: MidWest One Bank and Dr. Kent and Barb Opheim

Program Notes

The Lark Ascending (1920)Vaughan Williams, among other things, was the voice of English musical pastoralism. The Lark Ascending or “little Romance”, as Vaughan Williams called it, took a poem by George Meredith (1828-1909) as its inspiration. The picee was sketched first as a duet for violin and piano in 1914, the year of the outbreak of the First World War. After serving in an ambulance unit of the Royal Army Medical Corps, the composer rewrote it for violin and small orchestra, in which form it was dedicated to the English violinist Marie Hall and premiered by her in 1921. Today, CVCM is taking the Lark to yet unknown territories by performing a premiere version for flute and string quintet.

String Trio in G major (1931)Contrasting the well known name of Vaughn Williams, comes the lesser known Ernst John Moeran. Born in Middlesex England, the son of an Irish clergyman, Moeran was strongly drawn to his Irish heritage, and its influence features heavily in his music, both in the Irish folk-melodies that can be heard appearing occasionally, and also in the almost pictorial wildness and freedom of his writing. This is brought out strongly in the String Trio in G Major. The first movement opens with a sweetly sung melody that plays out a duality between sections of sweet nostalgia that give way to contrasting sections of insistent forward momentum. The second movement is equally lyrical in nature, but this time the image created is a bleak, grey musical atmosphere. The third movement, a scherzo, is quite muscular, with numerous effects using pizzicato, multiple stops, and tremolo. This segues into the forth movement, which recalls the innocence and lyricism of the trio’s opening. The final coda, marked presto, creates about as much boisterous activity as three string players can muster.

Phantasy Trio (1940) Joan Trimble’s compositional output, though limited in quantity, is remarkably diverse in genre. Among her works are music for two pianos (her sister was also an accomplished pianist), individual songs, a song cycle, a piano trio, a suite for strings, a wind quintet, a rhapsody for brass band, incidental music for film, orchestral arrangements of Ulster Airs, and an opera for television. Her distinctive style is characterized by an Irish idiom, while also indebted to impressionism and neo-classicism on occasion. Similar to E.J. Moeran, Trimble was a British citizen and it was this citizenry that allowed her several opportunities, including entrance to the Royal College of Music in London. At the time she wrote this work she was studying composition with Ralph Vaughn Williams who advised to follow her own inclinations towards composition regardless of the current compositional fashions. He also encouraged her to enter the Phantasy Trio in the famous Cobbett composition competition which she did win, tying for first place. As Trimble describes this youthful work in an interview, “the piano trio was rhapsodic and rhythmic – what came most easily to me... but Hitler invaded the Low Countries at this time. Disaster was looming and perhaps the trio reflected this, in escapism.”

Trio on Popular Irish Folk Tunes (1925)The Trio on Irish Folk Tunes was a commission from a wealthy American patron and amateur musician, whose only stipulation was that Martin make use of popular Irish folk melodies throughout the work. Martin, living in Paris at the time, went to the Bibliotèque National de Paris, where he researched forgotten Irish songs from earlier centuries, which turned out to be unfamiliar to his American patron. This, combined with the trio's great difficulty of execution, led to the patron canceling his commission. The result, however, is magnificent. The ancient melodies are distributed over all three movements, and recombined with each other in ingenious fashions. Melodies are transformed, shortened, and extended throughout continuously changing meters and polyrhythms in which violin, cello and piano apparently proceed on independent courses. The long, arching phrases, the wealth of rhythmic diversity, and Martin's own highly recognizable idiom (in addition to the influences of Bartók, Ravel and jazz) make this trio a fanciful way to end the 2013 season.

Rallenhill Photography © 2012

2013 will continue our partnership with the Boys and Girls Club of the Cedar Valley

2013 Outreach

“Coffee Break”

One of the underpinnings of each summer is our dedication to utilizing the p o r t a b l e n a t u r e o f chamber music to reach or support the underserved through education and simply by performing in public spaces. This season chamber music groups will be filling the air around the Cedar Valley at the following venues:

July 18th, 10:00 am • Vientos Trio @ CF Western Home

July 20th, 10:00 am • Vientos Trio @ CF Public Library• Trio 826 @ Waterloo

Public Library

July 22nd, 5:00 pm • Vientos Trio @ Friendship Village

July 23rd, 2:30 pm • Boys and Girls Club Concert

July 25th, 10:00 am • Exorior Duo @ CF Western Home

July 26th, 5:30 pm • Cedar Valley Chamber Music concert @ NE Iowa Foodbank

July 27th, 10:00 am • Exorior Duo @ Waterloo Public Library• Trio 826 @ CF Public Library

Prestissimo $1,500+Community Foundation of Northeast IowaMax & Helen Guernsey FoundationRegions Bank

Presto $1,000-$1,499Stephen & Nancy GaiesBarb and Kent Opheim Friendship Village LLCThe College of Humanities and Fine Arts

VIVACE $500-$999Greg and Anne HoekstraHoward V. Jones, Jr.Steve & Jan MooreRobert & Anna Mae SchnuckerThe Western HomeBergan Palusen CPAs and Consultants

ALLEGRO $250-$499Jo Ruth CapoccioniAngeleita FloydHenry & Norma Edsill Thomas and Charlotte StrubWest Music

MODERATO $100-$249B Natural Music Club Walter and Terri BrandtCharlene EblenDr. John and Dorothy GlascockJoel and Linda HaackJacqueline Halbloom and Scott MurphyMartha HolvikDick & Lisa Hurban Roger and Lucinda LearStan & Beverly McCadams

Mary McCalleyRobert D. & Alice M. TalbotPatricia Wehr

ANDANTE $50-$99Mary Craig Shirley CropperDr. Susan DoodyElner EdsillDorothy GlascockJean HallJudith HarringtonCarolyn HarumDoug and Connie HerbonLadies Musical ImprovementDenis & Julia KuhlmannKevin & Janet SandersThomas SchilkeMary SchlicherAugusta SchurrerMichael & Laura WalterBill Witt

ADAGIO $20-$49Harold & Barbara CorsonDr. George DayTom Romanian Carol MorganC. Hugh PettersonAnna W. SchusslerWilliam & Laura TeafordDorothy TeagueJan VanMetreJason & Jenette Weinberger

2013 Festival SponsorsAs of July 16th, 2013

Rallenhill Photography © 2012

Julia Bullard | viola is Professor of Viola at the University of Northern Iowa. She holds degrees from Temple University (B.M., M.M.) and the University of Georgia (D.M.A.), and studied with notable violists Joseph dePasquale (former principal violist, Philadelphia Orchestra) and Emanuel Vardi, among others. She is also on the faculty of the Madeline Island Music Festival in Wisconsin. Dr. Bullard has performed across the US and in Europe, Central and South America. She recently performed on the deBlasiis Chamber Music Series in Glens Falls, NY, and gave master classes and performed in chamber recitals at the University of Iowa, Drake University in Des Moines, and the University of Illinois, Champaign-Urbana. In 2011, she was named Studio Teacher of the Year by the Iowa String Teachers Association.

Nathan Cook | cello holds an undergraduate degree in chemistry from Grinnell College, and he earned master’s and doctoral degrees from the Shepherd School of Music in Houston, Texas studying with Norman Fischer. Critically recognized for his “authoritative yet relaxed” playing and his “sweet and pliant” sound (Houston Chronicle), Nathan’s performances have been heard regionally and nationally in Canada on CBC Radio broadcasts as well as on NPR stations in Buffalo, Houston, and Iowa.  Nathan and flutist Michelle Cheramy founded the Exorior Duo (Latin for “to spring up” or “to appear”) to celebrate and enrich the repertoire for flute and cello.  Nathan is an Associate Professor of Music at Memorial University’s School of Music in St. John’s, Newfoundland where he is the chamber music program coordinator.

Hunter Capoccioni | double bass holds an undergraduate and master’s degree in double bass performance from Rice University where he studied with Prof. Paul Ellison. From 2003 - 2006 Mr. Capoccioni was Associate Principal bassist of the Norrlands Symphony Orchestra in Umea, Sweden and the Norwegian Opera Company in Oslo. Currently Instructor of Double Bass at the University of Northern Iowa, Mr. Capoccioni is active as a performing musician, educator, and arts administrator. He is Principal Double Bass of the Waterloo/Cedar Falls Symphony Orchestra and a frequent substitute player with other symphonies around the state. Mr. Capoccioni is a frequent soloist performing several recitals each year around the state. He is also founder of Cedar Valley Chamber Music which is now in its eighth season.

Michael Kreiner | bassoon is a graduate of the Jacobs School of Music at Indiana University (B.M.) and the Manhattan School of Music (M.M.), with additional studies at McGill University.  He has studied with concert artist Kim Walker, Patricia Rogers (principal bassoon, Metropolitan Opera), and Stéphane Lévesque (principal bassoon, Montreal Symphony Orchestra).  As an active performer in southern California, he has performed with the San Diego Symphony, Chamber Orchestra of the South Bay, Santa Monica Symphony and others.  Mr. Kreiner is a passionate chamber musician; he is a member of Definiens, a founding member of the Vientos Trio, and a Donald E. Hudson Visiting Artist at the California Institute of Technology where he coaches chamber music.

Jacquelyn Venter | harp is an active performer and teacher. Ms. Venter has been featured as a guest-artist with the grammy-winning choir ensemble, Conspirare. The album Samuel Barber: an American Romantic debuted at number ten on the Billboard Charts. Ms. Venter had an active career in Iowa as principal harpist for the Waterloo/Cedar Falls, Cedar Rapids, Dubuque, South East Iowa, and the Central Iowa Symphony Orchestras. Ms. Venter has been faculty at Luther College, the UNI Suzuki School, University of Texas String Project, Longhorn Music Camp, Round Rock Independent School District, and the Director of the Young Texas Harp Ensemble. She has degrees from Oberlin Conservatory of Music, University of Northern Iowa, and University of Texas at Austin. Her teachers include: Yolanda Kondonassis, Alice Chalifoux, Mary Beckman, Gretchen Brumwell, and Delaine Leonard Fedson. She has since relocated to Sacramento, California to continue her career.

Rallenhill Photography © 2012

Yu-Ting (Tina) Su | french horn A native of Taiwan, Ms. Su is Associate Professor of Horn at the University of Northern Iowa. From 2000-2006, she was the third horn with the Taipei Symphony Orchestra. She has performed extensively in the United States, Europe, Asia and Russia. She is a co-founder of the Wonder Horns, a horn quartet based in Taiwan. She has performed with the Miró String Quartet, at the Taiwan Connection Music Festival and the Cedar Valley Chamber Music Festival. Su received her Bachelor of Music degree and a Performer’s Certificate from the Eastman School of Music, her Master of Music degree from the Juilliard School, and her Doctoral of Musical Arts degree from the State University of New York at Stony Brook. Her principal teachers include Si-Yuan Zuang, Verne Reynolds, Peter Kurau, and William Purvis, and she has studied chamber music with the New York Woodwind Quintet and the American Brass Quintet. Passionate about expanding the horn repertoire, Su has premiered pieces written for horn and other instruments by Reynolds, Tsai, Lu, Schwabe, and Askim. She also arranged several volumes of art songs for horn and piano; the first volume, Three Bizet Songs for Horn and Piano, was published through Veritas Musica in the fall of 2011.

Hannah Holman | cello is a member the New York City Ballet Orchestra. In 2012 she and pianist Réne Lecuona released the premiere recording of the complete cellos sonatas of Bernhard Romberg. Previously Ms. Homan was the cellist of the Maia Quartet and on the faculty at the University of Iowa since 2002. She began her professional career in England playing in the English String Orchestra under Yehudi Menuhin and the City of Birmingham Symphony Orchestra under Simon Rattle. She has had a varied career, performing chamber concerts throughout England and the US with the Beaumont Piano Trio. Hannah has performed solo recitals and with orchestra throughout the United States and England. She founded the Michigan State University Suzuki cello program. She has played in the cello sections and held the position of assistant principal of such orchestras as the Eastern Music Festival, the Grand Teton Music Festival, the American Sinfonietta, the Richmond Symphony, the Milwaukee Symphony, and the Minnesota Orchestra. Hannah continues her position as principal cello of the Quad Cities Symphony, and divides her time between New York City, and Iowa City, where she lives with her son, Matisse, and their cat, Ripley.

Ryan Zwahlen | oboe is one of Southern California’s most sought-after oboists. He has performed multiple times with both the Los Angeles Philharmonic and the San Diego Symphony. In the fall of 2013 he will join the California Chamber Orchestra and from 2009-2012 he was Principal Oboe the Vancouver Symphony Orchestra (Washington). Ryan’s passion for music is not limited to orchestral performance. He is deeply committed to chamber music as the Executive Director of the Definiens Project, a non-profit, contemporary chamber music organization.  Additionally, he is a founding member of the award-winning Vientos Trio and the award-winning West Coast Wind Quintet. In the fall of 2010, Ryan joined the faculty of the Idyllwild Arts Academy as Chair of the Music Department and teaches oboe at the Idyllwild Arts ChamberFest. Ryan has studied at the University of California Los Angeles, Arizona State University, and the University of Illinois. His principal teachers include Marion Kuszyk, Martin Schuring, and Nancy Ambrose King. He currently resides in Idyllwild and Los Angeles.

Michelle Cheramy | flute is currently Associate Professor of music at Memorial University in St. John’s, Newfoundland, Canada.  A “...fine blend of artistry and bravura” (Edmonton Journal), Michelle has appeared in recital and as soloist with orchestra in Canada, the United States and Russia, and has been featured in numerous radio broadcasts nationally on the Canadian Broadcasting Corporation. Invitations to present masterclasses and clinics have also taken Michelle across Canada and to many corners of the US.  An award-winning performer and scholar, Michelle holds degrees from the University of British Columbia (B.Mus.), Indiana University (M.M.) and Rice University (D.M.A.) where she was a student of Camille Churchfield, Peter Lloyd and Leone Buyse respectively. 

Benjamin Klemme | conductor  Benjamin Klemme is a James Sample Conducting Fellow at the University of Minnesota; he conducts the University's Campus Orchestras and is an Assistant Conductor of the Opera Theatre.  He also serves the Greater Twin Cities Youth Symphonies as Concert Orchestra Conductor.  Mr. Klemme has held conducting positions at the National Repertory Orchestra, Cleveland Pops Orchestra, Santa Fe Youth Symphony Association, and New Mexico School for the Arts.  He received his Master of Music degree in Orchestral Conducting from the Cleveland Institute of Music and his Bachelor of Music Education degree from the University of Northern Iowa.  His principal conducting teachers include Mark Russell Smith, Carl Topilow, Louis Lane, Rebecca Burkhardt and Ronald Johnson.

Deborah Coltvet Klemme | violin is a graduate of the Cleveland Institute of Music, where she studied with Stephen Rose, Principal Second Violinist of the Cleveland Orchestra.  At CIM, she earned a Master of Music in Violin Performance with an emphasis in Suzuki pedagogy under the direction of Teri Einfeldt and Kimberly Meier-Sims.  She received her undergraduate degree on a full Presidential Scholarship in Violin Performance from the University of Northern Iowa, studying with Frederick Halgedahl.  Ms. Klemme has held leadership positions in many orchestras, including as Concertmaster of both the Cleveland Institute of Music Orchestra and the National Repertory Orchestra. She currently plays and travels the world with Irish Christian artists Keith and Kristyn Getty.

Jennifer Stevenson | clarinet, an Iowa native, received her B.M. from DePaul University, M.M. from Rice University, and D.M.A. from the University of Southern California.  Currently a free-lance musician in Los Angeles, Jennifer performs throughout Southern California, and also serves as the Education and Outreach Coordinator for Definiens, a non-profit organization dedicated to making chamber music accessible to broad audiences.  In addition to her activities as a clarinetist, Jennifer is a multiple recipient of Meet the Composer’s Creative Connections grant and received an American Composers Forum SUBITO Grant through the San Francisco and Los Angeles chapters.  A CD of her Musical Adventures, musical stories for children, was released through Tessella Music.

Susanna Klein | violin Originally from Stuttgart, Germany, Ms. Klein has enjoyed a varied career as a violinist, educator and arts innovator. She has performed in orchestra and chamber music settings in Germany, France, Switzerland, Italy and Israel as well as throughout the United States.  She serves as violinist with both Trio 826, based in Iowa, and the trailblazer group Atlantic Chamber Ensemble (ACE) in Richmond.  As an orchestral musician, Ms. Klein has played full time for the Richmond, Memphis and Colorado Symphonies.  Every year, she co-directs and serves on the faculty at the Orchestra Project, a summer camp for 140 young string players in Richmond. Susanna Klein is assistant professor of violin and coordinator of strings at her alma mater, Virginia Commonwealth University.  Klein holds a Bachelor of Music degree from VCU and Master of Music degree from Boston University, where she was an assistant to the legendary violinist Roman Totenberg.  .

Rene Lecuona | Piano is professor of piano at the University of Iowa. She has performed as soloist and chamber musician throughout the United States as well as in Italy, Argentina, Peru, Ecuador, Colombia, and Brazil. She made her Carnegie Hall debut in Weill Recital Hall with mezzo-soprano Katherine Eberle and in the Goodman Hall at Lincoln Center with soprano Rachel Joselson. Her playing has been featured on many compact discs, including a recording of the music of Margaret Brouwer (CRI label), which won the 2000 Contemporary Art Music Burton Award. She may be heard on Centaur Records, Innova Recordings, Capstone Records, Cybele Recording, Albany Records, and Composers Recordings International. Dr. Lecuona earned advanced degrees at Indiana University and Eastman, where she was awarded a Performer’s Certificate. Her major teachers have included Menahem Pressler of the Beaux Arts Trio, the late György Sebök, Edward Auer, Shigeo Neriki, and Rebecca Penneys. She has performed piano concertos ranging from Mozart and Beethoven to Gershwin and Bartók and most recently performed Liszt’s Totentanz.

The College of Humanities, Arts and Sciences (CHAS) at the University of Northern Iowa offers dynamic majors in the arts, humanities, mathematics, sciences and technology. CHAS majors at UNI enjoy the best of two worlds: the advantages of a large university — a variety of programs and the latest technology — with the bene!ts of a private college — small classes and close connections to faculty.

DEPARTMENTSArt | Biology | Chemistry & Biochemistry Communication Sciences & Disorders Communication Studies

Learn more at www.uni.edu/chas

Computer Science | Earth Science Technology | Languages & Literatures Mathematics | School of Music Philosophy & World Religions Physics | Theatre

Graphic DesignBeth La VellePrincipal319-277-6787eclavelledesign@gmail.com

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