Season Four with NYCP

NEW YORK CLASSICAL PLAYERS

Season Four with NYCP

Saturday, October 12, 2013, at 8pmCHODAE COMMUNITY CHURCH

100 Rockland Ave, Norwood, NJ

Sunday, October 13, 2013, at 3pmCHURCH OF THE HEAVENLY REST

2 East 90th St, 5th Ave, New York, NY

concert cycle 1DONGMIN KIM Conductor

SEAN LEE Violin

2013-2014 Season

Excellence in Music for Everyone

W. R. WAGNER

VIVIAN FUNG

W. A. MOZART

W. A. MOZART

Prelude from Tristan and Isoldepremiere performance (NYCP edition, arranged by Yoomi Paick)

String Sinfonietta

1. Animato 2. Interludium3. Pizzicato 4. Moto Perpetuo – Presto Possible

Violin Concerto No 5 in A major, K 219 Turkish

1. Allegro aperto2. Adagio3. Tempo di Minuetto – Allegro – Tempo di Minuetto

Adagio and Fugue, K. 546

i n t e r m i s s i o n

2 0 1 3 – 2 0 1 4 S E A S O N

EXCELLENCE IN MUSIC FOR EVERYONE

C O N C E R T C Y C L E 1

Season Four with NYCPDONGMIN KIM conductor

SEAN LEE violin

Saturday Evening, October 12, 2013, at 8pmChodae Community Church

Norwood, New Jersey

Sunday Afternoon, October 13, 2013, at 3pmChurch of the Heavenly Rest

New York, New York

WIHELM RICHARD WAGNER (1813-1883)Prelude from <Tristan and Isolde> (NYCP edition, arranged by Yoomi Paick)

Wagner finished the first act of Tristan and Isolde on the last day of 1857 and two years later he finished the entire opera. Yet it was not until 1865, after vari-ous disasters had prevented the piece being performed, that it was heard in public and the sensational opening of the Prelude at a stroke created a different harmonic framework for late 19th century music and beyond.

The story harkens back to the 12th Century Gaelic tale of Tristan, the Knight, and Isolde, the fair maiden. Fate brings them together, a love potion seals their hearts to each other, but reality makes them choose death and the beyond over separateness on earth. It’s an old tale that Wagner idealized and took a few steps further, for, though the theme is common enough, Wagner identifies Love with Death, Daylight with Darkness, and Reality with the Unknown.

The Prelude indeed gives us a remarkable hint at how Wagner will proceed. The first three bars of music take us into a place that is dark and im-mensely yearn-ing, full of un-charted pathos, and completely unrequited. This extraordinary Prelude has been considered by some to have changed the course of West-

ern music. This is because of its startling ambiguity of key, a stark departure from the harmonic structures of the Classical era. The prelude takes about 16 bars to even begin giving us a feeling of where we are harmonically. The first three bars are composed of two very short, extremely chromatic themes, in which appears the “Tristan” chord, a chord that has no harmonic resolution in its context.

These motives, (which Wagner called leit motifs - a musical phrase that rep-resents an idea or emotion), and a third in bar 16, virtually make up the entire opera. In the time and tide of Western music, admittedly this work had a resounding impact, and in the words of musicologist Bernard Jacobson, “The profoundly inward-looking style of this music established Tristan as the single most influential work of its time, weakening the grip of the classical key system and presaging the atonal explorations of the 20th century.”

Masterly arranged by Yoomi Paick, NYCP can experience Wagner’s remarkable conception in an intimate string ensemble setting.

Note on the Programs

VIVIAN FUNGString Sinfonietta (2008, rev. 2011)

As with many of my works, influences from Chi-nese and Indonesian folk music can be heard in String Sinfonietta. It is essentially a reworking of my String Quartet No. 1 for string orchestra, with revisions that include the addition of double bass-es. The third movement was composed first, and was originally thought of as stand-alone piece. However, inspired by the success of Pizzicato, I composed the first, second, and fourth move-ments over the next two years, using similar scale patterns found in Pizzicato. The first movement, “Animato,” is lively with frequent use of interlock-ing and syncopated rhythms under long, flowing, melodic lines. Next, “Interludium,” the only slow movement, has hints of a folk melody, superim-posed over alternating chords that appear and disappear to create an atmospheric mood. As the title suggests, “Pizzicato” requires the string play-ers to pluck the strings of their instruments, with few added surprises towards the end. The final movement, “Moto Perpetuo,” includes a virtuosic display of constantly swirling sixteenth notes that drives the work to an explosive conclusion.

String Sinfonietta is the result of my longtime col-laboration with the San Jose Chamber Orchestra (SJCO) and its music director Barbara Day Turner. SJCO premiered the string orchestra version of the third movement, Pizzicato, in 2005 as a result of my Music Alive composer-in-residence. The full version was premiered by SJCO in 2008.

© Vivian Fung

VIVIAN FUNGVivian Fung has distinguished herself as a composer with a powerful compositional voice, whose music often merges Western forms with non-Western influences such as Indonesian gamelan and songs from minority regions of China. In 2012, Naxos Canadian Classics released the world premiere record-ing of Ms. Fung’s Violin and Piano Concerti and Glimpses for prepared piano. The Violin Concerto earned Ms. Fung a 2013 JUNO Award for “Classical Composition of the Year.” Several of Ms. Fung’s works have also been released commercially on the Telarc, Çedille, and Signpost labels.

New commissions for the 2013-14 season in-clude String Quartet No. 3 for the 2013 Banff International String Quartet Competition; a new work for Wallace Halladay, saxophone, and the Hannaford Street Silver Band in Toronto; a harp concerto for Bridget Kibbey and a consortium of orchestras including Alabama Symphony, Badische Staatskapelle Karlsruhe in Germany, Metropolis Ensemble in NY, the Phillips Collection in DC, and the San Jose Chamber Orchestra; and a new work for Kristin Lee, violin, and Jason Vieaux, guitar.

Born in Edmonton, Canada, Ms. Fung received her doctorate from The Juilliard School, and currently divides her time between New York and the San Francisco Bay Area.

www.vivianfung.net

WOLFGANG AMADEUS MOZART (1756–1791)Violin Concerto No 5 in A major, K 219 ‘Turkish’

Mozart’s father Leopold was the author of one of the most celebrated violin tutors of his day; so it is not surprising that when the son began to show a precocious aptitude for music, he should have taken up the violin – at the age of six, we are told, and without any formal teaching – as well as the piano. The instrument remained important to him in his youth, and indeed he played it regularly in the Salzburg court orches-tra and on tours. It was only when he left the Salzburg court for Vienna in 1781, and so escaped from the direct influence of his father, that he concentrated his efforts as a public performer on the piano, reserving the violin (or more often the viola) for private musical parties.

Not surprisingly, all Mozart’s five concertos for solo violin date from his early years: the first probably from April 1773, the rest from the period between June and December 1775 – the months leading up to his twentieth birthday. It is known that some of the concertos were played by the Italian-born leader of the Salzburg orchestra, Antonio Bru-netti; and there is a reference in one of Leopold Mozart’s letters to a concerto written for another Salzburg violinist, Johann Anton Kolb. But there is also evidence that Mozart himself played at least one of them in public; and it is easy to imagine that they reflect his own technique and personality as a violinist – not least in the many opportunities they present for improvised transitions as well as full-scale cadenzas.

Of the five concertos, the last – dated 20 December 1775 – is the most mature, and the most ambitious, despite having no more than the standard Salzburg orchestration of strings, two oboes and two horns. The first movement has the unusual marking of Allegro aperto, suggesting openness or straightforwardness; its most unusual feature is the soaring six-bar Adagio with which the solo violin makes its initial entry. The same tempo marking and mood, and the same concentra-tion on the lyrical upper register of the solo instrument, mark the E major slow movement. The finale is a rondo in minuet time, which was a familiar enough way of ending a mid-eighteenth-century concerto; less expected is the appearance of a minor-key central episode in 2/4 time and in the currently fashionable “Turkish” style, with the usual noisy percussion impersonated by the cellos and basses. This move-ment also boasts one of Mozart’s wittiest endings.

© Anthony Burton

WOLFGANG AMADEUS MOZART (1756–1791)Adagio and Fugue, K. 546

It’s a given that every composer profits from the study of Bach. This was true even during the late-18th century, when audiences rejected his dense “learned” style in favor of the lighter galant. Mozart’s own exposure to the Baroque master was indebted to Baron Gottfried van Swieten during his early days in Vienna. As he recounted in a 1782 letter to his sister: “Baron van Suiten [sic], whom I visit every Sunday, gave me all the works of Handel and Sebastian Bach to take home with me after I had played them through to him. When Constanze heard the fugues she fell quite in love with them. She will listen to nothing but fugues now…. Having often heard me play fugues off the top of my head, she asked if I had ever written any down, and when I said I had not, she scolded me very thoroughly for not having written anything in this most artistic and beautiful of musical forms….” The 26-year-old’s lighthearted tone masks a more profound emo-tion; as Alfred Einstein pointed out more than 50 years ago, Mozart’s study of Bach’s fugues represented “a revolution and a crisis in his creative activity,” internalized through string arrangements of Bach fugues and reflected in major compo-sitions - directly in the Requiem and the “Jupiter” Symphony, more diffusely in the increasingly polyphonic conception of many works from his last decade.

The C-minor Fugue was first composed in December of 1783 for two pianos (K. 426) then re-arranged for strings, with an introductory Adagio, in June 1788 - the prolific summer during which he also penned his last three symphonies. The Adagio alternates a dotted-rhythm reminiscent of a French overture with a more lyrical passage. A French overture normally begins a more extended multi-movement work; in this case, its use serves to establisWh a period flavor and a sense of occasion. The theme of the Fugue is strongly rhythmic, with little of Mozart’s melodic charm - and yet it has the uniquely Mozartean quality of suggesting a character through gesture and nuance. The “crisis in creative activity” was not for naught.

© Susan Key

Meet the Artist

Sean Lee violin

With performances described by The New York Times as “breath-takingly beautiful”, violinist Sean Lee is quickly gaining recogni-tion as one of today’s most talented rising artists, one of three artists chosen to launch the Digital Debut series by EMI Clas-sics. Lee’s debut album, “The Juilliard Sessions: Sean Lee”, was released by EMI Classics in February 2012 and reached the iTunes top 20 classical bestsellers list.

Lee was selected as the winner of the 2012 Sanders/Juilliard/Tel Aviv Museum Prize, which took him to Israel for performances of the Tchaikovsky Violin Concerto in Jerusalem and Tel Aviv with Frédéric Chaslin and the Jerusalem Symphony. Other awards include prizes at the “Premio Paganini” International Violin Competition and the Young Concert Artists International Audi-tions. Lee has also appeared as a soloist in recent years with the Utah Symphony, Orchestra Del Teatro Carlo Felice, Westchester Symphony, and Redlands Symphony among others. As a recitalist, Lee has performed at Carnegie Hall’s Weill Hall, South Orange Performing Arts Center, LA County Museum of Art, Festival di Carro Paganiniano of Italy, and Vienna’s Konzerthaus. Lee has also performed live radio broadcasts for KCSN, WGBH, and WQXR.

An equally involved chamber musician, Lee is a Chamber Music Society Two Artist, and is a resident performer with the Chamber Music Society of Lincoln Center from 2012-2015. In the Spring of 2012, Lee toured for a series of chamber music performances with violinist Itzhak Perlman. In recent years, Lee has performed at Ravinia Festival, Music@Menlo, Maui Classical Music Festival, Sarasota Music Festival, and Montecito Summer Music Festival.

After studying with Robert Lipsett and Ruggiero Ricci, Lee studied at the Juilliard School with Itzhak Perlman for a Bachelor and Mas-ter, and graduated as a recipient of the William Schuman Prize. During his studies, Lee led the Juilliard Orchestra for four seasons as concertmaster for performances under the batons of David Atherton, James DePriest, Xian Zhang, Alan Gilbert, and David Robertson at venues including Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, Shanghai Grand Theatre, and Beijing’s National Centre for the Performing Arts.

In addition to his performing life, Lee is a dedicated educator. Lee is a member of the Chamber Music Faculty at The Juilliard School’s Pre-College Division, and served as teaching assistant to Itzhak Perlman for three years at the Juilliard School. In 2010, Lee also joined the faculty of Music@Menlo Chamber Music Institute, and is a member of the violin faculty of the Perlman Music Pro-gram, where he was a student for six years.

Lee performs on a 1799 Nicolas Lupot violin.

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MIKAACCESSORIESNEW YORK

The New York Classical Players is a professional chamber orchestra of highly-gifted young instrumentalists from different cultures committed to bringing FREE classical repertoire concerts to the public.

Envisioned by Dongmin Kim in 2009, the NYCP brings together seven nationalities combining personal and cultural strengths and a high level of chamber musicianship based upon democratic principles in the process of creating music. Trained at distinguished music institutions, members of the NYCP are en route to careers as critically acclaimed soloists, chamber musicians, and orchestral musicians in major Ameri-can orchestras.

Music Director Dongmin Kim has conducted orchestras in Germany, Italy, Mexico, Canada, Korea, and the States such as the National Symphony Orchestra in Washington D.C. and

New York Classical Players

About NYCP

Exuberant Chamber Orchestra!Admirably dedicated to bringing free music! TIMEOUT NEW YORK

the Philadelphia Orchestra. Studying with Kurt Masur, Leonard Slatkin and Christoph Eschenbach, he was awarded the distinguished Karajan Fellowship and served a residency with the Wien Philharmonic at the Salzburg Music Festival, and was a cover conductor as the Schmidt Conducting Fellow at the Indianapolis Symphony Orchestra.

Now in their fourth season in 2013-2014, the NYCP continues to present 12 FREE CONCERTS in different venues around the New York metropolitan area. Repertoire in-cludes pieces spanning from Bach to composers of our time. This season’s guest artists include one of the most loved performing artists soprano Sumi Jo, world renowned violinis Chee-Yun and Stefan Jackiw, and some of NYCP’s musicians. In addition, the NYCP is highly committed to creating new repertoire to convey a different dimension of interest to the public by presenting pieces by young outstanding composers of today, including, Vivian Fung and Alexandra du Bois.

As one of today’s most exciting young performing arts organizations, the NYCP takes on the responsibility of being an emerging cultural source by connecting people with a broader world of musical art and culture.

Mission

The New York Classical Players reaches out to diverse audiences in order to enrich the human spirit and enhance cultural vitality of life through performances at the highest artistic level by today’s most exciting young instrumentalists making their artistic careers in New York metropolitan area and beyond.

Core Value

Uncompromising artistic excellenceEngagement with communityInnovative visionCollaboration and TeamworkCommitted to fiscal responsibility

Board of Directors

DONGMIN KIM Music Director/Principal Conductor

SALLY S. YANG President, Bookreaders Publishing

YEJI CHA Brooklyn Academy of Music

JULIE C. KIM Pianist

YE JIN KIM Creative Director, Bliss Spa

MEADOU KIMVice President, Goldman Sachs

ROBERT JACKLOSKY Professor, College of Mount Saint Vincent

YOON SONGPresident, Advent International Enterprise

Staff

YEJI CHA General Manager

Brooklyn Academy of Music

YOOMI PAICK Music arranger/Librarian

Tennessee Tech Universtiy

MYUNG KEUN CHA Visual Art Director

Motion Graphics Designer


I had the best time with these wonderful musicians! CHO-LIANG LIN / concert violinist

Websitewww.NewYorkClassicalPlayers.org

[email protected]

Phone617-285-4627

Address101 Lafayette Avenue, #17B

Brooklyn, NY 11217

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Artistic Advisory Board

JANOS STARKER cello

Jacobs School of Music Indiana University

JAIME LAREDO violin/conductor

Music Director, Vermont Symphony

CHEE-YUN violin

Concert Violinist

DAVID KIM violin

Concertmaster, Philadelphia Orchestra

ALEXANDER KERR violin

Concertmaster, Dallas Symphony Orchestra

TSUYOSHI TSUTSUMI cello

President, Toho Gakuen School of Music

SHARON ROBINSON cello

Faculty at Cleveland Institute of Music

DANIEL HEIFETZ violin

Director, the Heifetz Music Institute


An amazing ensemble out of some of the best and brightest young musicians on the music scene today!ALEXANDER KERR / concertmaster at the Dallas Symphony

Musicians

VIOLINRobin ScottElly SuhElizabeth FayetteXiao WangSiwoo KimYejin HanSarah Koenig-Plonskier

VIOLAMegan Griffin Danny KimJennifer Chang

CELLOAlice YooEvan Andrew LeslieJonathan Lo

BASSAndrew Roitstein

OboeArthur SatoMichelle Farah

HornPhilip BrindisePatrick Hodge

ALEXI KENNEY violinWinner of top prizes at the Yehudi Menuhin Competition and the Mondavi Center Young Artist Competition. Collaborated with Atar Arad, Pamela Frank, Miriam Fried, Wu Han, among others. Festivals include Music@Menlo, Ravinia, and Yellow Barn. Currently attending the New England Conservatory of Music under Donald Weilerstein on the Richard Elias Scholarship with a violin made by Eugenio Degani on generous loan from the Ravinia Festival.

ALICE YOO celloCollaborated with Itzhak Perlman, Midori, Miriam Fried, and Kim Kashkashian. Festival appearances include the Ravinia, Music@Menlo, Perlman Program, Banff, and Yellow Barn. Top prize winner of the Cleveland Cello Society Competition, Klein String Competition, among others. Masterclasses with Yo-Yo Ma, Steven Isserlis, and Gary Hoffman. Studied at the NEC, the Royal Northern College, and the USC. Currently on the faculty of The Bard College Preparatory Division.

ANDY LIN violaBorn in Taiwan. BM/MM from the Juillard School and DMA Candidate at the Stony Brook University. Winner of numerous competitions in-cluding the Juilliard viola competition, Stony Brook University concerto competition and Taiwan National viola competition, among others. A member of the Amphion String Quartet, the Concert Artists Guild winner, and Chamber Music Society of Lincoln Center for a three-year residency. Performed chamber music with world renowned artists. Cur-rently the artistic director of the New Asia Chamber Music Society.

BRENTON CALDWELL violaTop prize winner of National Young Artist in Texas, and the Watson Forbes International Viola Competition in Scotland. Solo performances with the Curtis and Banff chamber ensembles, and the East Texas Symphony. Music Festivals at Music@Menlo, Banff, Ravinia, Tangle-wood, and the PMF, among others. Collaborated with Roberto Díaz, and Eugenia Zukerman. Studied with Kim Kashkashian, Nobuko Imai

and Tabea Zimmermann, and chamber music with Pam Frank, Joseph Silverstein, Beaux Arts Trio and the Cavani, Cleveland, Guarneri and Orion quartets. BM at the Cleveland Institute, and an Artist Diploma from the Curtis Institute with with Jeffrey Irvine, Lynne Ramsey Roberto Díaz and Misha Amory.

DAVID SOUTHORN violinA member of the award winning Amphion String Quartet, the winners of the 2011 Concert Artists Guild auditions in New York and have been se-lected for a three-year residency with the Chamber Music Society of Lincoln Center Two beginning in 2013. Solo performance includes with the Fremont, Nova Vista and Portland Festival Symphonies, to name a few. Served as concertmaster of the Tangle-wood Festival Orchestra, the Yale Philharmonia, the New Haven Symphony, the Miami Symphony, and currently the concertmaster of the Delaware Symphony Orchestra. Studied at the Manahattan School of Music, Yale University and the San Fran-cisco Conservatory.

ELIZABETH LAFAYTTE violinStudies with Shirley Givens at the Juilliard School’s Pre-College, she entered the Curtis Institute and studied the violin and chamber music with Pamela Frank, Arnold Steinhardt and Shmuel Ashkenasi, Steven Tenenbom, Peter Wiley and Ida Kavafian. After graduating from Curtis as a recipient of the school’s Milka Violin Artist Prize, she completed her MM under Sylvia Rosenberg at the Juilliard School, where she currently enrolls Artist Diploma program. Ms. Fayette has appeared at the Music from Angel Fire, Kneisel Hall, Aspen, and Ravinia, and per-

formed throughout the United States and Europe. Most recently, she appeared as a soloist with the Houston Symphony. In summer 2014, she will attend the Marlboro Music Festival.

ELLY SUH violinThe Second Prize winner of the 2012 Naumburg International Violin Competition. Received awards from the Society for Strings and the National Foundation for the Advancement of the Arts. Appeared on Live from Lincoln Center and From the Top. Performed at the Atlantic Festival, the Banff, the Perlman Music Program, the Taos, and the Meadowmount. Performed with the American String Quartet and members of the Cleveland and Takacs String Quartets. Served as concertmaster of the Juilliard Orchestra. Born in Seoul. Began violin lessons at 5 and entered the Juilliard Pre-college at 10. BM/MM from the Juilliard School and the Professional Studies Certificate from the Manhattan School of Music.

EMILY DAGGETT SMITH violinThe winner of the Juilliard concerto competition and made her debut in Alice Tully Hall with the Juilliard Orchestra. Served as concertmaster of the Juilliard Orchestra with DePreist, Slatkin, and Tilson-Thomas. Performed with world renowned artists at various festivals including the Seattle Chamber Music Society, Steans Institute, Banff, and the NY String Orchestra Seminar. Appeared on Live from Lincoln Center, and From the Top. Solo appearance as violist with the New York Classical Players. BM/MM from the Juilliard School under the guidence of Ronald Copes, Nick Eanet, Joel Smirnoff, Laurie

Smukler, Masuko Ushioda, and Donald Weilerstein.

JIYOUNG LEE celloCellist Jiyoung Lee, “plays with passion and sensi-tivity. Her interpretation is impeccable for its depth of feeling and intelligence.” (The Times Herald-Record) She has performed as a soloist with the Hudson Valley Philharmonic, the Seoul Symphony, the Juilliard Orchestra, and the Seoul National Uni-versity Orchestra. She was awarded at the Juilliard, Hudson Valley Concerto Competition, the Hellam Young Artist Competition, and the Kumho Asiana Cultural Foundation. She participated in Master-classes with David Geringas, Franz Helmerson, Arto Noras, Bernard Greenhouse, and Gary Hoffmann. A graduate of Curtis, she has her Masters degree at The Juilliard School with Timothy Eddy and is in the Artist Diploma Program with Joel Krosnick.

KATIE HYUN violinHyun has performed as soloist with the Philadelphia Orchestra, the Houston Symphony, and the Dallas Chamber Orchestra, to name a few. Winner of the Albert M. Greenfield Competition(Philadelphia Or-chestra), the Aspen Academy Orchestra Concerto Competition, and Houston Symphony League Competition among others. Studied at the Curtis Institute of Music, the Yale School of Music, and the Stony Brook Universtiy, under Ani Kavafian, Pamela Frank, Philip Setzer, and Aaron Rosand. Currently a member of the Amphion String Quartet.

KEN HAMAO violin/violaHamao has appeared as a soloist with the American Youth Symphony and YMF Debut Orchestra, among others. He has been a prizewinner at several competitions, including the Concours International de Violon Sion Valais, the Bronislaw Kaper Awards, and Kingsville International Competition. Served as concertmaster of the Juilliard Orchestra, and American Youth Symphony and Principal Violist of the Crossroads Chamber and Colburn Chamber Or-chestras. Studied Economics and Psychology from the Columbia Universtiy and is currently pursuing a DMA at the Juilliard School with Masao Kawasaki. Previous teachers include Robert Lipsett and Zakhar Bron.

KRIS SAEBO double bassBassist well-versed in a variety of musical forms including classical, contemporary, folk, and funk. Member of The Declassified, Ensemble ACJW, SONYC, The Carnegie Ensemble, and performs regularly with Wordless Music Orchestra, Argento Chamber Ensemble, and Grammy Award-Winner Paul Halley. Currently teaches privately and at Bloomingdale School of Music. Studied at the Jul-liard School (BM/MM) as a student of Orin O’Brien and Homer Mensch.

MICHAEL KATZ celloWinner of the 2011 Aviv Competition, the Juilliard

Concerto Competition, the Turjeman Competition, and most recently the 2012 Concert Artists Guild Competition, the Coleman and the J.C. Arriaga competitions. Performed at Ravinia, Yellow Barn, Sarasota, and Kfar Bloom, and has presented recit-als in the U.S, Canada, Japan, Netherlands, Czech and Israel. Collaborated with Itzhak Perlman, Don Weilerstein, Peter Frankl, among others. Born in Tel-Aviv Israel. BM from New England Conservatory with Laurence Lesser and MM from the Juilliard School with Joel Krosnick. Currently pursuing a DMA at the Stony Brook as a student of Colin Carr.

ROBIN SCOTT violinWinner of the California International and the WAMSO Young Artist Competitions, and 2nd Prizes in the Yehudi Menuhin, and the Irving M Klein. Solo with the Indianapolis Symphony, the Orchestre National de Lille, among others. Numerous recitals and chamber musics throughout the world, in Carn-egie Hall, Kennedy Center, the Library of Congress, Jordan Hall, among others. Music Festivals incldue the Marlboro, Ravinia, Yellow Barn and others. Artist Diploma at Indiana Universtiy and BM at the New England Conservatory with Donald Weilerstein, Kim Kashkashian, Garth Knox, and Miriam Fried. Cur-rently serves as concertmaster of the Montgomery Symphony Orchestra with a Vuillaume violin gener-ously lent to him by the Marlboro Festival.

SIWOO KIM violinMade his New York concerto debut at Carnegie Hall with the Juilliard Orchestra. He has won the Corpus Christi, Hellam, Ima Hogg competitions among oth-ers. Most recently he has given the world premiere performance of Samuel Adler’s violin concerto. As founding member of the Quartet Senza Misura, he performed at Alice Tully Hall and the Kennedy Center and had a residency with El Sistema in Ven-ezuela. He was also invited to the Bergen Festival, Tivoli Festival and Ensemble DITTO’s tour in South Korea, and studies at the Juilliard School under Don Weilerstein and his former teachers include Robert Mann and Almita Vamos. He performs on the 1728 “Artot” Stradivarius violin on generous loan from the Juilliard Collection.

XIAO WANG violinTop prize winner of the 2012 Szigeti International Violin and Viola Competition, and the Cynthia woods Mitchell Young Artists Competition. Solo performances with the Kodaly Philharmonic Orches-tra, the Budapest Spring Festival, the Leipzig Acad-emy Orchestra, the Texas Music Festival Orchestra, among others. Collaborated with the members of the America and the Mendelssohn Quartets, and the NY Philharmonic. Studied at the Central Conservatory of Music in Beijing, the Curtis Institute of Music, and currently at the Manhattan School of Music, under Wei-Dong Tong, Joseph Silverstein, and masterclasses with Claude Frank, Midori, Cho-Liang Lin, Arnold Steinhardt and Pamela Frank.

Dongmin Kim is quickly establishing himself as one of the most exciting and versatile con-ductors of his generation. He gave a critically acclaimed debut with the National Symphony Orchestra at the Kennedy Center. He was also at the podium with the Philadelphia Orches-tra, the Baltimore Symphony, the Minnesota Orchestra, the Indianapolis Symphony, the Jacksonville Symphony, the Florida Orchestra, the San Antonio Symphony, the Winnipeg Symphony, the Orquesta Filarmonica de la UNAM, the Rheinland-Pfalz State Philharmonic and the Ensemble Zandonai, among others. Dongmin has conducted The Magic Flute at the Seoul Arts Center with “9-sold-out” performances. He was the first to conduct a new opera Lorenzo de Medici by P.Q.Phan in 2007. He led Die Flut by Boris Blacher, and Bastien und Bastienne by Mozart. As assistant conductor at the IU Opera Theater, he covered La Traviata, Don Giovanni, Madama Butterfly, The Tale of Hoffman, and West Side Story among others.

Dongmin was awarded the Karajan Conducting Fellowship and served a residency with the Wien Philharmonic at the Salzburg Festival. He has also studied and worked together with Kurt Masur, Lorin Maazel, Leonard Slatkin, Christoph Eschenbach, Mstislav Rostropovich, and Sergiu Comissiona. As one of conducting staffs at the Indianapolis Symphony Orches-tra as the Schmidt Fellow, he worked with such artists as Raynold Leppard, Andrew Litton, Christoph Poppen, Garrick Ohlsson, Andre Watts, Lynn Harrell and Lang Lang.

As a fine violist, Dongmin Kim has held the principal viola positions at the Pacific Music Fes-tival Orchestra under the music directorship of Michael Tilson-Thomas, the Yonsei Sympho-ny Orchestra and the IU Symphony Orchestra. He was the first violist ever to win First Prize in the Yonsei Symphony Competition where he appeared as solo violist with great success. As a recitalist and chamber musician, he has given numerous concerts in Korea, Japan, Hong Kong, Singapore as well as the United States.

A native of Seoul, he studied orchestral conducting at the Jacobs School of Music, Indiana University under David Effron, Thomas Baldner and Imre Pallo. As associate instructor, he taught the graduate conducting courses, and the IU All Campus Orchestra. Prior to his study in the States, he graduated from Yonsei University, where he was awarded the Music Merit Scholarship.

Music Director

Dongmin Kim music director/conductor

Kim’s conducting of Copland’s “El Salon Mexico” focused on details and punctuation, and allowed solo voices the space to speak idiomatically. WASHINGTON POST

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Aligning your brand with the New York Classical Players also gives you a direct connection to the region’s most influential and engaged consumers and decisions-makers, all sharing a commitment to artistic achievement and community enhance-ment. The NYCP creates a customized sponsorship program designed to meet your individual corporate goals and objectives.

Sponsors receive numerous benefits, including prominent print recognition and opportunities to meet musicians and guest artists.

For further information about contributing to the New York Classical Players, please call Yeji Cha, General Manager at (617) 285-4627 or email at [email protected]

PAYABLE TO


ADDRESS

101 Lafayette Ave. Apt 17BBrooklyn, NY 11217

Acknowledgements

$25,000 or moreAnonymous

$10,000 or moreAnonymous

$5,000 or moreMain Violin

$4,000 or moreFa Park Foundation Meadou KimGoldman Sachs Matching Program

$2,500 or moreJCOS, Inc.Harold Lee & Associates, Inc.Kiheon Cho and Eunjae ChoJae Jin Yoon and Seunghwa YangHyeon Shin and Gisun Kim

$1,500 or moreDavid Howe and Charlene HoweSoong Ahn and KyungA MinSisters of Charity CenterJu ShinJulie C. KimDong-In Kang and Jiyoung ChoSon Won ByeonSang Moon and Jaeun ShinJaihyun ParkJina Choi

$1,000 or moreFlorisJae M. Kim and Yoojin ChoBrian Chang and Janet ChangJohn W. Chae and Doreen ChaeDK Dental Group

$500 or moreChris Hale and Ella HaleMicrosoft Matching ProgramEun-Gyu Kim and Sung K. ParkCzech Center New YorkJane G. HongChildren’s Dental Arts, P.A.Bomie Han and Jongsun LimHHC FoundationMicheal Song and Yoon J. OhDongchoon LeeHanjun Kim and Seon Lee

From 2010-11 to 2012-13 season

corporate sponsor

BMW of North America, LLC

Jack AnAnonymousDigital Right Brain, LLCChris Hale and Ella HaleMicrosoft Matching ProgramMyungsook KimWuijin KohWon-Bae ChangTransway Freight Systems, Inc.Sun L. Riehm and Francesca H. ParkLa PrairieHye-Gyung JiMichael Song and Yoon J. SongJBP & AssocatesPaul Song and Kasey ChoiJune RheeMingi Choi and Heather Won

$200 or moreDavid Hale and Shawn Hale Jimmy Park and Michelle HwangSoloist MusicFriends of Grace Seniors, Inc.Jung Han Lee and Youwha LeeRobert Jacklosky Sung Kim and Hee Sun KimPJ KimDaniel LechnerYeji ChaWoosik Ju and Anna JuHerbert Spann and Mun SpannWonshin ParkSteve Kim and Seung J KimLee’s Tailoring, Inc.JunKyu ChoiDaxun ZhangYe Jin KimYong Kwon and Kyungja KimRobin Braun de SierraJasmine ChoiYong Nam Park and Kyunghee ChoJong I. Kim and Young S. ParkAnonymousJaehoon YooJoseph LeeChul S. KangSungjoo Kim and Myonghee KimYoung Seung Park and Hee Jyung Park

~$199Evgenia PevznerKathy Dean

The New York Classical Players would like to acknowledge with gratitude and appreciation the individuals and corporations whose contributions have helped make the past three seasons possible.

Frances NeedlesJoseph LeeSung Jae Kim and Tae In LeeMinKyung SuhSungil Lee and Soyon KimJoyce KimEllen Ensig BrodskyShirley LansDavid Segal Violins Ltd. David ChoYonseok Suh and Won Y. ChangWooin JeonConJae Baek and Mira HahnTae Wook KangJuny Jung LLCMyeong Kyu Ahn and Bok Jun AhnHelen JewWheebong Lee and Haekyung LeeHeungchul MoonBrooklyn Academy of MusicJames Jordan and Margaret JordanSucha JungMargaret Auliffe-EdelmanJungwoo Lee and Meeyoung ParkKi-Young Kim and Eun-Ju RyuJung Y. JunRaymond J. BurghardtKwangbin Lim, Songhee Han-LimJongKug Yoon and Jeeyeon KimJaeho Kim and Kyunghee NaRuth Lepp and Stephan M. LeppSang Hak Shin and Hye Sook Kim

VENUE SPONSORSBohemian National HallChurch of the Heavenly RestChodae Community ChurchCollege of Mount Saint VincentGood Neighbor Community ChurchArumdaun Presbyterian Church Cheim & ReadAaron Copland School of Music

Magnificent Bachconcert cycle 2

DONGMIN KIM Conductor

TONIMARIE MARCHIONI Oboe KEN HAMAO Violin

XIAO WANG Violin ELIZABETH FAYETTE Violin DAVID SOUTHORN Violin SIWOO KIM Violin

The NYCP takes to the stage with some of their best young instrumental-ists to perform all four violin concertos by J. S. Bach. Also included in the program is Alexandra du Bois’ Noctilucent Song for String Orchestra commissioned by NYCP. The concerts end with one of Bach’s best known tunes, Air on G string.

BACH / Double Concerto for Two Violins in D minor, BWV 1043BACH / Violin Concerto No. 1 in A minor, BWV 1041ALEXANDRA DU BOIS / Noctilucent Song for Strings (premiere)BACH / Double Concerto for Oboe and Violin in C minor, BWV 1060BACH / Violin Concerto No. 2 in E major, BWV 1042BACH / Air on G string from Orchestral Suite No. 3, BWV 1068

Saturday, November 16, 2013, at 8pmCOLLEGE OF MOUNT SAINT VINCENT (Chapel)

6301 Riverdale Avenue, Bronx, NY 10471

Sunday, November 17, 2013, at 4pmBROADWAY PRESBYTERIAN CHURCH

601 West 114th Street, New York, NY 10125

Chee-Yun with NYCPconcert cycle 3

Sumi Jo sings for Hopeconcert cycle 4

Bohemian Brillianceconcert cycle 5


CHEE-YUN Violin

ALEXI KENNEY Violin


SUMI JO Soprano


KATIE HYUN Violin

MICHAEL KATZ Cello

Sat, Feb 22, 2014, at 8pmCHODAE COMMUNITY CHURCH

100 Rockland Ave, Norwood, NJ 07648

Sun, Feb 23, 2014, at 3pmCHURCH OF THE HEAVENLY REST

2 East 90th St, 5th Ave, New York, NY 10128

Fri, March 28, 2014, at 8pmTBA (New Jersey)

Sun, March 30, 2014, at 8pmTBA (New York)

Tue, April 1, 2014, at 8pmTBA (Washington DC)

Sat, May 17, 2014, at 8pmCHODAE COMMUNITY CHURCH

100 Rockland Ave, Norwood, NJ 07648

Sun, May 18, 2014, at 3pmTBA (New York)

Classical Players is an unforgettable journey, every journey in a BMW Group vehicle is an unforgettable experience.

We at the BMW Group proudly sponsor and salute the New York Classical Players for bringing, through their free concerts, the pleasures and insights of classical music to the public.

Exciting. Innovative. Uncompromising. The New York Classical Players share many traits with the companies of the BMW Group. Both the NYCP and the BMW Group have achieved excellence in their fields through tight teamwork, demanding the highest levels of professionalism, and realizing how diversity can broaden perspectives to create a singular experience. And just as every performance of the New York

EvEry pErformancE an unforgEttablE journEy.

©2012 BMW of North America, LLC. The BMW, MINI, Rolls-Royce Motor Cars, and Husqvarna names, logos and model names are registered trademarks. Other trademarks are the property of their respective owners. Printed in USA
















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Season Four with NYCP