This article by Betsy Schwarm about composer Gerald Cohen’s new opera STEAL A PENCIL FOR ME is reprinted with permission from Opera Colorado’s Ovation newsletter, summer 2017.

Many of the very best operas are love stories. Few, however, are closely based on actual experiences of actual couples. This season, Opera Colorado will present the world premiere of an opera telling the tale of a very true love. The work of composer Gerald Cohen and librettist Deborah Brevoort, Steal a Pencil for Me, was inspired by the romance of Ina and Jaap Polak, survivors of Bergen-Belsen and members of the Shaarei Tikvah synagogue in Scarsdale, New York, where Cohen serves as cantor.

Having known the Polaks for over twenty years, Cohen was well familiar with their experiences. “Here,” he says, “was an amazing story right under my nose.” Imagining what a powerful opera it could make, he broached the idea to Ina and Jaap, who, as he recalls “didn’t take a lot of convincing;” there was already a filmed documentary of their story, though an opera would be something new, and even more dramatic. However, at the time, Ina was 87 and Jaap 97, a fact that led Jaap to advise “write it quickly.”

Having permission from the central subjects to make an opera of their life is one thing, but one also needs a text suitable for singing. Cohen approached librettist Deborah Brevoort. “At first, I said no,” Brevoort admits. “I was just too busy to take on something new at the time. But I agreed to read the letters, and found them too beautiful to resist.”

Jaap and Ina Polak
Jaap & Ina: through the years

Brevoort and Cohen sat down to visit with the actual persons at the center of the story: an immensely rare privilege in the opera world. Admittedly, when composer John Adams wrote his opera Dr. Atomic, he drew upon recently unclassified government documents concerning the Manhattan Project, but Robert Oppenheimer himself was already long gone. Of the conversation with Ina and Jaap, Brevoort says she found it “uplifting to actually spend time with them. I would be writing words to express their personalities.”

In another time and place, it might have been a romantic comedy. Brevoort sums it up: “boy meets girl – boy loses girl – boy gets girl back.” However, Ina, Jaap, and their friends and family are Dutch Jews during World War II; the Nazis are already on the scene and a concentration camp is in the immediate future.

Gerald Cohen
Gerald Cohen, composer

Brevoort cautions, however, that the resulting opera isn’t a typical Holocaust story: “Their situation made them appreciate the joyous wonder of the world, how beautiful and wonderful a glass of water was. They dreamed about sitting in a chair at a table and having an ordinary breakfast. I was struck by the ordinariness of it, and the beauty.” If the classic verismo opera concept, a la Puccini, is using music to tell believable stories about believable people, here it was.

An initial version of Steal a Pencil for Me was workshopped in New York in 2013. In an opera workshop, a work-in-progress is performed before an audience, perhaps semi-staged. Seeing it come to life, its creative team can get a stronger sense of the piece and begin to refine their creation. Opera Colorado’s Music Director Ari Pelto was asked to conduct. He found the piece sufficiently intriguing that he discussed it with Opera Colorado’s General Director Greg Carpenter, and the two decided they might be interested in staging the work.

As Pelto remembers, “it had a lot of potential, though it wasn’t ready to be produced. It needed some dramaturgical attention for better story-telling.” The suggestions that Pelto and Carpenter presented to Cohen and Brevoort were well received, and the new opera began to take more definite form. “It’s a privilege beyond what you can imagine,” says Pelto, “to have this much input this early on, and it’s personally rewarding to see how far it’s come.” Pelto’s suggestions ranged from instrumental choices to re-ordering of events in Act One: factors that affect both how the music sounds and how the story flows.

Deborah Brevoort
Deborah Brevoort, librettist

Comparing the opera’s to what Ina and Jaap actually experienced, Brevoort says “there’s very little that’s invented. We changed some sequencing and altered the opening scene in context, so we could introduce one principal character to the audience before the Nazis take him. It seemed to make Ina’s memories of Rudi – at the time, he’s her fiancé – that much more vivid.” Ina and Jaap had agreed that, when one brings real life to the stage, something need to change for dramatic flow.

Ina and Jaap are the central love story, but before coming together, both had other loves. Ina was engaged to Rudi; Jaap was married to Manja. Cohen saw this “romantic square” as a perfect opportunity for an operatic quartet late in the work, with poor departed Rudi appearing as a ghost; both Rudi and Manja free their former partners to pursue new happiness. He decided to write Ina, the younger of the two women, as a light lyric soprano, making Manja a mezzo. Rudi, being a ghost, is a high tenor. Jaap is a baritone, in part to contrast Rudi, but also because Cohen himself, as a cantor, is a baritone; the composer admits he may gravitate to his own vocal range when setting important male characters. In fact, when it comes to writing an opera, he sees an advantage in his experience as a singer: “I sense what it feels like in the voice to sing these lines, what feels right and normal.” Many an opera singer wishes more composers would approach their operatic writing in that way.

Bringing out characters and situations through musical means is exactly what the best operas do, and Steal a Pencil for Me proves that this long-standing vision still works. Anyone wanting a preview of the story itself can find it on Netflix in a 2007 documentary by director Michele Ohayan that composer Gerald Cohen found truly inspirational. However, this touching tale of love in the face of deadly peril will become even more powerful with music to carry it into the hearts and minds of the audience.

After a full life together, both Ina and Jaap passed away recently. “Fortunately, they had been ableto attend the performances in Scarsdale and New York City, sitting in the front row for both performances – a deeply emotional experience for both them and the cast. The initial workshop performance was presented in honor of their 90th and 100th birthdays. Members of their extended family are hoping to come to Denver for Opera Colorado’s production early next year.

Don’t miss Opera Colorado’s world premiere of Steal a Pencil for Me January 25, 27, 28 and 30 at the Wolf Theatre at Denver’s Mizel Arts and Culture Center, Denver, Colorado.

Musica Pacifica, one of America’s premier baroque ensembles, seeks a Booking Agent.

This part-time position starts at 15-20 hours per week; Although Musica Pacifica is based in the San Francisco Bay Area, candidates could work remotely from other areas of the country.

Note: if more hours are desired, another organization, also in need of a booking agent, could potentially double these hours.

·      Regularly and consistently contact presenters by phone and email to secure concert engagements.
·      Maintain and grow/develop database of prospective presenters active in booking live performances of classical music.
·      Prepare copy for bi-monthly or monthly newsletter emailed to presenters and mailing list; distribute to list.
·      Potentially negotiate fees and arrangements with presenters when group is engaged.
·      Create simple sales sheets with graphics.
·      Possibly other PR duties to be discussed.

·      Sales ability, including making cold calls, tracking contacts, timely follow-up, and closing deals.
·      A familiarity with classical music is required, and familiarity with early music preferred.
·      Experience in this field is desirable, but resourcefulness, discipline and the ability to work independently are even more important.
·      Competence with email, a direct mail platform (such as MailChimp), word processing, preparing marketing pieces, and database management.
·      Basic to intermediate graphic design skills.

Compensation: an hourly fee plus commission on any engagements booked.

Please submit resume, cover letter and hourly salary requirements to Peter McDowell Arts Consulting, [email protected]

Piano concert focusing on global warming and its effects on the Earth’s oceans.

On Sunday, November 6th, 2016 at 7:00 pm, Shanghai/Paris-based pianist Jenny Q Chai will be performing Acqua Alta (High Water) at New York City’s Le Poisson Rouge, 158 Bleecker Street, New York, NY. Seated tickets are $20 advance, $25 day of show. Standing tickets are $15 advance, $20 day of show, and are available for purchase at or in person at the box office.

Jenny Q Chai‘s Acqua Alta (High Water) is a program which focuses on global warming and its effects on the Earth’s oceans. The music on this program showcases the piano’s full range of expression, from exquisite nuance to bold gesture, as well as a wide range of musical understandings of water dating from both before and after the emergence of global climate change.

The program also includes sound and video installations based on global warming data curated by NASA Jet Propulsion Laboratories scientist Dr. Ian Fenty. The effect of global warming on water has been Fenty’s field of specialization for years. In addition, some pieces on the program are paired with the digital paintings of artist Relja Penezic, all of which are related to water. A narrative unfolds over the course of the performance, at first showing the tranquility of water and of humanity living harmoniously with it, then gradually showing a breakdown of that harmony in an increasingly industrialized world, and a troubling of the delicate balance that oceanic life requires.

Works to be performed during the “Acqua Alta (High Water)”  program include:

Victoria Jordanova, Loveling

Marco Stroppa, Tangata Manu from Miniature Estrose, Book I

Claude Debussy, La cathédrale engloutie

Theodore Wiprud, Face of the Deep*

Orlando Gibbons, Allemande (Italian Ground)

Franz Liszt, La lugubre gondola

Milica Paranosic, Bubble (in trouble)

György Kurtág, Shadow-play

Marco Stroppa, Ninnananna from Miniature Estrose, Book I

György Ligeti, Musica Ricercata Nos. 1 and 7

Cole Ingraham, Entropy (3 parts)*

*commissioned for this program

“I am lucky to know so many of the best living and 20th century composers in person or in a very personal way” – Jenny Q Chai

About Jenny Q Chai

An artist of singular vision, pianist Jenny Q Chai is widely renowned for her ability to illuminate musical connections throughout the centuries. With razor-sharp intention, Chai integrates her prodigy’s training with personal fascinations in the latest in live electronics, artificial intelligence, and environmental research, creating layered multimedia programs and events which explore and unite elements of science, nature, and art. Also of note, Ms. Chai designs all her performance gowns and some jewelry, in order to present a more united performance aesthetic, akin to the idea of Wagnerian Gesamtkunstwerk. Ms. Chai has performed across the globe, headlining the most impressive venues from Carnegie Hall in New York City to the National Performing Arts Center in Beijing, China.

“Jenny Q Chai, who has studied with Pierre-Laurent Aimard, is following the more eclectic path…” The New York Times.

About Dr. Ian Fenty

Dr. Ian Fenty received his Ph.D. in Climate Physics and Chemistry from MIT where he studied how the year-to-year variability of the oceans affects the formation and extent of Arctic sea ice. He joined NASA’s Jet Propulsion Laboratory as a NASA Postdoctoral Fellow to research the connection between a warming ocean and the melting of the Greenland Ice Sheet and sea level rise. As part of this research, Dr. Fenty collaborates with JPL oceanographers, glaciologists, and other scientists to reconstruct the circulation of Earth’s high-latitude oceans over the past two decades using a combination of numerical climate models and satellite and field observations.

About Relja Penezic

Relja Penezic is a painter, video artist, printmaker, photographer, and a filmmaker. His work is a multimedia blend that combines technology and painting, performance and video, art and craft. Penezic exhibits his work internationally and his short films are regularly shown at film festivals throughout the world. Relja Penezic is a cofounder of ARTaVIVA, company/curatorial project dedicated to promotion of audio/video art as a permanent installation medium. From 2007 his work is regularly shown on Souvenirs from Earth, the first Cable TV station broadcasting a 24/7 program of Film and Video art. In addition to an international career as an artist he served as a Creative Director for ID8, Los Angeles based branding agency, an Art Director and a Designer for Jump Ship Studios, San Francisco, and a Designer/Visual Effects Artist for Fleet Street Pictures of San Francisco. Relja Penezic was also a Master Printmaker for John Nichols Printmakers of New York specializing in silk-screen and lithography limited editions. He was a lecturer at the Maryland Institute College of Art, Princeton University School of Architecture, Haverford College, and Bowling Green State University.


Musica Pacifica’s new recording featuring Soprano Dominique Labelle

Released today on Navona Records

American-based Early Music ensemble Musica Pacifica, in collaboration with French-Canadian soprano Dominique Labelle, is set to release a new CD of music – MI PALPITA IL COR: BAROQUE PASSIONS – on the Navona Label, today, October 14th, 2016.

Produced by GRAMMY-nominated producer David v.R. Bowles, the recording will be released in both physical and digital formats, and will be available for purchase at major online retailers such as Amazon, iTunes, Spotify, and many more.

mipalpitacoverart.jpgMi Palpita Il Cor features an array of instrumental and vocal compositions, exploring the rich repertoire of the mid- and late-Baroque period. Thematically focused on “passion,” the selections range from ‘anguish’ to ‘humor,’ displaying the exquisite musicianship of these early music superstars. Included on the disc are cantatas by Handel, Steffani, and Rameau, as well as a Paris Quartet by Telemann and a trio by Sammartini.


Called “some of the finest Baroque musicians in America” by American Record Guide, Musica Pacifica is host to virtuosic soloists Judith Linsenberg (recorder), Elizabeth Blumenstock (violin), Josh Lee (viola de gamba), John Lenti (theorbo; guitar), and Charles Sherman (harpsichord).



Featured vocalist Dominique Labelle, noted for her “lustrous and urgent voice” (San Francisco Classical Voice), brings vibrancy to this work. Having previously collaborated in live settings, Musica Pacifica is pleased to team up again with Labelle in this studio recording.

Works included are:

✻Agostino Steffani (1654-1728) Guardati O Core (Cantata)
✻Giuseppe Sammartini (1695-1750) Sonata in B minor, Op. 1, No. 6 (London, 1736)
✻George Frideric Handel (1685-1759) Mi Palpita il Cor (Cantata)
✻Georg Philipp Telemann (1681-1767) Quatuor Nr. 3 in G major – “Nouveaux Quatuors” (1738)
✻Jean-Philippe Rameau (1683-1764) Orphée (Cantata)

Total Running Time: 76 minutes

About Dominique Labelle

Dominique Labelle is renowned for her vast repertoire of Baroque to New Music, performing internationally in New York, Budapest, Las Palmas, and her home of Montréal. Her passionate commitment to music-making has led to close and enduring collaborations with a number of the world’s most respected conductors and composers, such as Iván Fischer, Nicholas McGegan, Jos van Veldhoven, Jean-Marie Zeitouni, and the Pulitzer Prize winning composer Yehudi Wyner. She also treasures her long association with the late Robert Shaw.

Among her numerous recordings of opera and concert repertoire is Monsigny’s Le Déserteur with Opera Lafayette and Ryan Brown (Naxos). She can also be heard on recordings on the Virgin Veritas, Deutsche Harmonia Mundi, RCA Victor Red Seal, Koss, Denon, New World, Carus and Muisica Omnia labels. Her recording of Handel’s Arminio (Virgin Classics) won the 2002 Handel Prize.

Trained at McGill and Boston Universities, Dominique is Professor of Voice at the Schulich School of Music at McGill University. She has also taught master classes at Harvard University, Smith College, and the University of Massachusetts.

About Musica Pacifica

Musica Pacifica has, since its founding in 1990, become widely recognized as one of America’s premier baroque ensembles. Lauded for both the dazzling virtuosity and the warm expressiveness of its performances, they have been described by the press as being “among the best in the world” (Alte Musik Aktuell). At home in the San Francisco Bay area, the artists perform with Philharmonia Baroque and American Bach Soloists, and appear with many other prominent early music ensembles nationally and abroad. The Washington Post noted: “the effect was transporting––a small miracle of precision and musical electricity.”

They have performed on some of the most prestigious concert series in the U.S., including the Boston and Berkeley Early Music Festivals, Music Before 1800 and the Frick Collection (NY), the Getty Museum (Los Angeles), the Cleveland Art Museum, Dumbarton Oaks (Washington, DC), Pittsburgh Renaissance and Baroque, Seattle Early Music Guild, Early Music Society of the Islands (Victoria, BC) and Houston Early Music Society, among many others.

Musica Pacifica’s previous eight CD releases on the Virgin Classics, Dorian and Solimar labels have won national and international awards, including the highest ratings in several CD magazines and being chosen as “CD of the Month” by the early music journal Alte Musik Aktuell (Regensburg). Their recordings have been praised by the likes of Audiophile Edition, Chamber Music America, and prestigious British journal Gramophone.

On radio, they have been featured on National Public Radio’s “Performance Today”, WFIU’s nationally syndicated “Harmonia”, New York’s WQXR, and on Minnesota Public Radio. Online, Musica Pacifica can be heard on radio stations,, Celtic Radio, and, as well as on Pandora, iTunes and Magnatune; and seen on

Seymour Lipkin, renowned pianist, teacher and conductor to be honored at Weill Recital Hall: A Memorial Concert
November 9, 2016

With performances by his students and colleagues, pianists Koji Attwood, Steve Beck, Andrius Zlabys, Jenny Q Chai, Rieko Aizawa, Lora Tchekoratova, and Ieva Jokubaviciute; joined by Laurie Smukler, violin and Joel Krosnick, cello.

Proceeds from ticket sales to benefit the Kneisel Hall Chamber Music School and Festival in Blue Hill, Maine, one of the country’s leading chamber music schools that Mr. Lipkin led as director for nearly 30 years.

Click HERE to purchase tickets.

Tickets: From $25 to $150
Box-Office Phone Number: 212-247- 7800

Seymour Lipkin, noted pianist, teacher and conductor, passed away in November  2015 (New York Times Tribute). One year later, his former students and contemporaries will pay tribute to the teacher, musical collaborator, and mentor who impacted them so greatly in a memorial concert to be held at New York’s Weill Recital Hall at Carnegie Hall on November 9, 2016 at 7:30pm. The concert will feature a robust program (see program below) with performances by pianists Koji Attwood, Steve Beck, Andrius Zlabys, Jenny Q Chai, Rieko Aizawa, Lora Tchekoratova, Ieva Jokubaviciute, as well as Laurie Smukler, violin and Joel Krosnick, cello (see bios below).

All proceeds from ticket sales will benefit the Kneisel Hall Chamber Music School and Festival. Located in Blue Hill, Maine, Kneisel Hall, known as “the cradle of chamber music in America,” has provided musicians with the opportunity to immerse themselves in the chamber repertoire since 1902, realizing founder Franz Kneisel’s vision for over 100 years. During his nearly 30 years as director, Lipkin shaped the culture of the school and fortified its mission with a seriousness of purpose as Kneisel Hall evolved into a leading institution in the teaching of chamber music.

Says pianist Lora Tchekoratova of Mr. Lipkin, “He taught us to have the utmost respect for the great classical composers, to devote our lives to in-depth study of their music, to find a way to get as close as possible to their intentions, and to channel their spirit in our interpretations. Many of his students went on to have great careers as soloists. He inspired a diverse group: some dedicated their lives to new music, quite a few became great chamber musicians, others went on to become teachers themselves. Under his leadership Kneisel Hall became one of the leading chamber music schools in the country, where all young artists are selected very carefully and attend on full scholarship.”

Location: Weill Recital Hall at Carnegie Hall – 881 7th Ave, New York, NY

Tickets: From $25 to $150


Box-Office Phone Number: 212-247-7800

Works to be performed include:

J.S. Bach: Prelude and Fugue No. 22 in B-flat Minor, BWV 867

Steve Beck, piano

Sergei Rachmaninoff: Barcarolle, Op. 11#1 in G minor from Six Morceaux, originally for 4 hands, arranged by Attwood

Koji Attwood, piano

Marco Stroppa: Tangata manu from Miniature Estrose Book I

Jenny Q Chai, piano

César Franck: Prelude, Chorale and Fugue

Andrius Zlabys, piano

Franz Schubert: Variations on an Original Theme, D. 813

Rieko Aizawa and Lora Tchekoratova, piano four hands

Dvorak: Piano Trio in F minor, Op. 65

Laurie Smukler, violin; Joel Krosnick, cello; Ieva Jokubaviciute, piano

I first wanted to be musician at age 3. I never made a conscious decision, it was just such a big part of my life-and I never considered anything else. There was never any question about it, or thought that I would be, say, an economist, God forbid.” -Seymour Lipkin

  portrait-seymour_lipkinAbout Seymour Lipkin

Born in Detroit in May 1927, Seymour Lipkin was instantly surrounded by music. His Grandfather was an accomplished violinist, and his parents encouraged his interest in music throughout his childhood. Mr. Lipkin received a Bachelors of Music from Curtis Institute of Music in 1947 and later joined their faculty. In addition, Mr. Lipkin was a faculty member at Juilliard beginning in 1986 and taught at Manhattan School of Music, New England Conservatory, and Marymount College. Highlights of his extensive career include first prize in the Rachmaninoff Fund Piano Contest in 1948, solo performances with the Boston Symphony and New York Philharmonic, and the conducting of various shows including the New York City Opera and the Joffrey Ballet.


About Steven Beck

Steven Beck is an experienced performer of new music, having worked with Elliott Carter, Pierre Boulez, Henri Dutilleux, Charles Wuorinen, George Crumb, George Perle, and Fred Lerdahl, and performed with ensembles such as Speculum Musicae, the New York New Music Ensemble, and the Da Capo Chamber Players. He is a member of the Knights and the Talea Ensemble. He is also a member of Quattro Mani, a piano duo specializing in contemporary music. Mr. Beck’s discography includes Peter Lieberson’s third piano concerto (for Bridge Records) and a recording of Elliott Carter’s “Double Concerto” on Albany Records.


About Koji Attwood                                             

A Kansas native, made his solo debut at the age of ten, and one year later won 2nd prize at the Young Keyboard Artists International Competition. Mr. Attwood has performed numerous solo recitals across the country, including concerts in Steinway Hall, Lincoln Center, and on the Kosciuszko Foundation Concert Series. He received a Bachelor of Music degree from the Curtis Institute of Music. He then went on to earn a Master of Music and a Doctor of Musical Arts degree from the Juilliard School. Mr. Attwood’s recent performances include a highly acclaimed d recital at Merkin Hall in New York City, a European debut at the prestigious Husum festival in Germany, and invitation by the Fondation Cziffra to perform at the Chapelle Royale Saint-Frambourg in France. 

unnamedAbout Jenny Q Chai
An artist of singular vision, pianist Jenny Q Chai is widely renowned for her ability to illuminate musical connections throughout the centuries. With razor-sharp intention, Chai integrates her prodigy’s training with personal fascinations in the latest in live electronics, artificial intelligence, and environmental research, creating layered multimedia programs and events which explore and unite elements of science, nature, and art. Also of note, Ms. Chai designs all her performance gowns and some jewelry, in order to present a more united performance aesthetic, akin to the idea of Wagnerian Gesamtkunstwerk. Ms. Chai has performed across the globe, headlining venues from Carnegie Hall in New York City to the National Performing Arts Center in Beijing, China.


shapeimage_1 About Rieko Aizawa

Praised by the NY Times for her “impressive musicality, a crisp touch and expressive phrasing,” Japanese pianist Rieko Aizawa has performed in solo and orchestral engagements worldwide, including Lincoln Center’s Avery Fisher Hall, Boston’s Symphony Hall and Chicago’s Orchestra Hall. Ms. Aizawa received her Masters Degree from the Juilliard School.  She is also a graduate of the Curtis Institute of
Music in Philadelphia, where she was awarded the prestigious Rachmaninoff Prize. March 2005 marked the release of Ms. Aizawa’s first solo recording on the Japanese label Altus Music. Ms. Aizawa lives in  New York City, and she is on the faculty at Longy School of Music of Bard College.

 lora-current_croppedAbout Lora Tchekoratova

Lora Tchekoratova has been praised for her virtuoso performances of piano music from the 19th and 20th centuries. In her vast repertoire, she shows a particular interest towards the music from Eastern Europe. Ms. Tchekoratova was born in Sofia, Bulgaria. She began her piano studies at age four. Although she is a sought-after soloist, she spends significant time performing chamber music. She has made numerous recordings for radio and television stations in the United States, Finland, Sweden, and Bulgaria. In 2005, together with distinguished Bulgarian musicians, and the American Foundation for Bulgaria, she co-founded the concert series Bulgarian Concert Evenings in New York at the   Consulate General of the Republic of Bulgaria in New York.


About Laurie Smukler

Admired for her vivid musical ontensity and the beauty of her sound, Laurie Smukler is an artist who is active as soloist and recitalist, as well as being a much sought after chamber musician. Ms. Smukler received a Bachelor of Music degree from the Juilliard School. As the original and founding first violinist of the Mendelssohn String Quartet, she spent eight years with that group, traveling and performing internationally. She also performed and toured as the first violinist of the Bard Festival String Quartet and the Purchase Faculty String Quartet. She has performed and toured with the Lincoln Center Chamber Music Society, and Music From Marlboro. Laurie Smukler is a dedicated and passionate teacher. She is a respected member of the faculties of the Julliard School,
Manhattan School of Music, and the Conservatory of
Music at Bard College.


About Ieva Jokubaviciute

Lithuanian pianist Ieva Jokubaviciute’s intricately crafted performances and ability to communicate the essential substance of a work has led critics to describe her as possessing ‘razor-sharp intelligence and wit”; (The Washington Post) and as ‘an artist of commanding technique,
refined temperament and persuasive insight’ (The New York Times). In 2006, she was honored as a recipient of a Borletti-Buitoni Trust Fellowship. A much sought after chamber musician, Ieva’s collaborative endeavors have brought her to major stages around the world, such as: Carnegie Hall’s Stern Auditorium, London’s Wigmore Hall, and Washington DC’s Kennedy Center. In the fall of 2015, Ieva began her tenure as Assistant Professor, Piano at Shenandoah Conservatory in Winchester, VA.


About Andrius Žlabys         

Grammy-nominated pianist Andrius Žlabys has received international acclaim for his appearances with many of the world’s leading orchestras, including The New York Philharmonic, Boston Symphony Orchestra, Cleveland Orchestra, Rotterdam Symphony, and Philharmonic Orchestra of Buenos Aires. Born in Lithuania and trained at the Curtis Institute of Music, Mr. Žlabys was 18 years old when the Chicago Tribune wrote: “Pianist-composer Andrius Žlabys is one of the most gifted young keyboard artists to emerge in years.”  Mr. Žlabys’s concerts have included appearances on many of the world’s leading stages, such as Avery Fisher    Hall at Lincoln Center, Concertgebouw, Carnegie Hall, Phillips Collection, Teatro Colón, Wigmore Hall, Vienna’s Musikverein and Suntory Hall.


About Joel Krosnick

Joel Krosnick has performed as soloist, recitalist, and chamber musician around the world. As a member of the Juilliard String Quartet since 1974, he has performed the great quartet literature throughout N
orth America, Europe, Asia, and Australia. With his sonata partner of more than 30 years, pianist Gilbert Kalish, Mr. Krosnick has performed recitals throughout the U. S. and Europe. Since 1976, they have given annual series of recitals in New York City and in 2007 presented the series “American Milestones of the Last 100 Years” at The Juilliard School. A dedicated teacher, Mr. Krosnick is chair of the cello department of The Juilliard School and is a member of the faculty of Kneisel Hall Chamber Music Festival in Maine.