Bach Cantatas
Tue, Dec 9, 2025, 7:30 pm
Alice Tully Hall
2 hours, including intermission
No composer wrote more voluminously or skillfully for the voice than Johann Sebastian Bach, and this selection of chamber cantatas offers a gorgeous sampling of Bach’s vocal music, including his only cantatas in Italian. Caffeine dependency is not a recent trend, as shown in the satirical “Coffee Cantata,” in effect a short comic opera about a drink that was taking Europe by storm; the cantata, in which a father attempts to bribe his daughter to give up the tantalizing beverage, humorously mocks both the growing popularity of coffee and the feeling that the trendy drink was a bad habit.
“If I couldn’t, three times a day, be allowed to drink my little cup of coffee, in my anguish I will turn into a shriveled-up roast goat!”
Program
Johann Sebastian Bach
(1685–1750)Non sa che sia dolore, BWV 209
(c. 1747)Johann Sebastian Bach
(1685–1750)Durchlauchtster Leopold, BWV 173.1
(1722)Johann Sebastian Bach
(1685–1750)Amore traditore, BWV 203
(1718-19)Johann Sebastian Bach
(1685–1750)Schweigt stille, plaudert nicht, BWV 211, "Coffee Cantata"
(c. 1734)Joélle Harvey
Paul Appleby
John Moore
Kenneth Weiss
Ani Kavafian
Cho-Liang Lin
Lawrence Dutton
Timothy Eddy
Blake Hinson
Demarre McGill
Yoobin Son
Peter Kolkay
A native of Bolivar, New York, soprano Joélle Harvey received her Bachelor’s and Master’s Degrees in vocal performance from the University of Cincinnati College-Conservatory of Music (CCM). She began her career training at Glimmerglass Opera (now The Glimmerglass Festival) and the Merola Opera Program.
The soprano begins the 2023-2024 season with an appearance at London’s Wigmore Hall, singing the role of Tirsi in Handel’s Clori, Tirsi e Fileno, with Harry Bicket leading The English Concert. She will sing Handel’s Messiah with the Chicago Symphony, North Carolina Symphony and Handel & Haydn Society, Fauré’s Requiem with the National Symphony Orchestra, and a program of Haydn and Mozart with H&H. Season debuts include the Houston Symphony, for Orff’s Carmina Burana, and the New World Symphony, for Beethoven’s 9th Symphony. Notably, Harvey joins two long-tenured Music Directors for their farewell seasons: Louis Langrée, leading the Cincinnati Symphony in Brahms’ Ein Deutsches Requiem, and the Kansas City Symphony’s Michael Stern, who conducts performances of Mahler’s Symphony No. 2.
Ms. Harvey’s 2022-2023 season brought appearances with a host of internationally-acclaimed organizations. She joined the New York Philharmonic as the soprano soloist in a gala performance of Beethoven’s Symphony No. 9, celebrating the opening of David Geffen Hall and conducted by Jaap van Zweden. She debuted with the Bamberg Symphoniker at the Lucerne Festival (Mahler’s 4th & Alma Mahler songs, conducted by Jakub Hrůša), Deutsches Symphonie-Orchester Berlin (Handel’s Solomon with Robin Ticciati), and the Minnesota Orchestra (Haydn’s The Creation with Paul McCreesh). The season also held returns to the Cleveland Orchestra (Schubert Mass in E-flat in Cleveland and at Carnegie Hall), Chicago Symphony Orchestra (Carmina Burana), the Cincinnati Symphony Orchestra (Mahler 2) and the Metropolitan Opera (Pamina in The Magic Flute). Notable chamber performances included a recital with baritone John Moore and pianist Allen Perriello for Philadelphia Chamber Music Society and appearances with the Chamber Music Societies of Lincoln Center and Palm Beach. She also made her Jacksonville Symphony debut, for Brahms’ Ein Deutsches Requiem and debut with the Orchestra of St. Luke’s in an all-Handel program conducted by Bernard Labadie at Carnegie Hall. During the summer of 2023, she returned to the Glyndebourne Festival as the title role in a new production of Handel’s Semele, and to the BBC Proms, singing the Israelite Woman in Handel’s Samson with Laurence Cummings and the Academy of Ancient Music.
Ms. Harvey’s engagements during the 2021-2022 season included debuts at Opernhaus Zürich (Aristea in Pergolesi’s L’Olimpiade), the Chicago Symphony Orchestra (Barber’s Knoxville: Summer of 1915, conducted by Jakub Hrůša), and The University Musical Society at University of Michigan (Handel’s Messiah). She joined Les Violons du Roy for further Messiah performances, returned to the North Carolina Symphony (Mahler’s Symphony No. 4), the Indianapolis Symphony (Beethoven’s Symphony No. 9), and continued her close collaboration with Boston’s Handel & Haydn Society with Haydn’s The Creation, led by Harry Christophers CBE in his final performances as H&H Artistic Director.
During the 2020-2021 season, Ms. Harvey filmed a performance of Villa-Lobos’ Bachianas Brasilieras No. 5 with The Cleveland Orchestra as part of their re-configured season, made her Cincinnati Symphony May Festival debut, performing Britten’s Les Illuminations and joined the Handel & Haydn Society for a filmed production of their annual Messiah concert. Additionally, she collaborated with Los Angeles Opera on Anna Clyne’s The Gorgeous Nothings, a setting of Emily Dickinson texts for their On Now initiative, and later in the summer joined the Elgin Symphony for Barber’s Knoxville: Summer of 1915, and Bard Summerscape for performances of songs by Nadia Boulanger as well as excerpts of Brahms’ Liebeslieder Waltzer.
Other originally scheduled events included her company debut with the Opernhaus Zürich as Aristea in Pergolesi’s L’Olimpiade (postponed), Pat Nixon in Nixon in China with Washington National Opera (cancelled) and Los Angeles Philharmonic (cancelled), Kansas City Symphony for their Messiah (cancelled), L’oca del cairo with Mozartwoche Salzburg (postponed), a Schubert concert with Chamber Music Society of Lincoln Center (postponed), the Brahms Ein Deutsches Requiem with San Diego Symphony and Edo de Waart (cancelled), and Mahler’s 2nd Symphony with the Baltimore Symphony Orchestra (cancelled).
An in-demand vocal soloist, the soprano regularly appears with the United States’ great orchestras, including the New York Philharmonic (Mozart’s Requiem, Handel’s Messiah), the Cleveland Orchestra (Mahler’s 2nd & 4th, Bach’s B Minor Mass), the San Francisco Symphony (Fidelio, Beethoven Mass in C, Handel’s Messiah, Carmina Burana), and the Los Angeles Philharmonic (Nixon in China, Beethoven Missa Solemnis). She has closely collaborated with a celebrated list of conductors, including Leonardo García Alarcón, Harry Bicket, Harry Christophers, Jakub Hrůša, Louis Langrée, Michael Tilson Thomas, Edo de Waart and Franz Welser-Möst.
On the operatic stage, Ms. Harvey appears regularly at the Glyndebourne Festival, having bowed in 7 roles, including Handel’s Cleopatra (Giulio Cesare), Mozart’s Susanna (Le nozze di Figaro) and Donizetti’s Adina (L’elisir d’amore). She made her Metropolitan Opera debut as Pamina in The Magic Flute, her Royal Opera, Covent Garden debut as Susanna, and appeared as Galatea in Acis and Galatea and Zerlina in Don Giovanni with the Festival d’Aix-en-Provence. Other opera performances include Flora in The Turn of the Screw with Houston Grand Opera, Anne Trulove in The Rake’s Progress with Utah Opera, as well as Zerlina in Don Giovanni and Eurydice in Telemann’s Orpheus with New York City Opera.
Joélle Harvey is closely associated with Boston’s Handel & Haydn Society, where her varied appearances have included Michal in Saul, Dalilia in Samson, and Iphis in Jephtha, as well as London’s The English Concert (Almirena in Rinaldo, Tigrane in Radamisto, Handel’s Messiah). She made her solo Carnegie Hall recital debut in 2019 with pianist Allen Perriello, and has appeared at the BBC Proms as the Mater Gloriosa in Mahler’s 8th Symphony, Servilia in La clemenza di Tito and as a soloist in Bach’s B Minor Mass. She performed John Adams’ El Niño at Amsterdam’s Concertgebouw and with the London Symphony Orchestra, in a performance conducted by the composer. Other career highlights include appearances with the Saint Louis Symphony (Mahler 2), Dallas Symphony Orchestra (Mozart Requiem), Toronto Symphony (Mahler 2), and repeat appearances with the orchestras of Cincinnati, Kansas City, Milwaukee, North Carolina, and Indianapolis.
A celebrated chamber musician, Ms. Harvey has appeared with the Chamber Music Society of Lincoln Center, Music @ Menlo, Saint Paul Chamber Orchestra, Tafelmusik, Les Violons du Roy, Cappella Mediterranea, Arcangelo and the Pygmalion Ensemble.
Joélle Harvey received Second Prize in Houston Grand Opera’s Eleanor McCollum Competition for Young Singers. She was the recipient of a First Prize Award from the Gerda Lissner Foundation and a Sara Tucker Grant from the Richard Tucker Foundation. She is a recipient of the Shoshana Foundation’s Richard F. Gold Career Grant, and was also presented with the John Alexander Memorial Award and the coveted Sam Adams Award for Achievement in Acting from the University of Cincinnati College-Conservatory of Music (CCM).
Admired for his interpretive depth, vocal strength, and range of expressivity, tenor Paul Appleby is one of the most sought-after voices of his generation. He graces the stages of the world’s most distinguished concert halls and opera houses and collaborates with leading orchestras, instrumentalists, and conductors. Opera News writes, “[Paul’s] tenor is limpid and focused, but with a range of color unusual in an instrument so essentially lyric… His singing is scrupulous and musical; the voice moves fluidly and accurately.”
Paul Appleby’s calendar of the 2023–24 season includes a debut at La Monnaie in the world premiere of Cassandra, written by Bernard Foccroulle and Matthew Jocelyn under the baton of Kazushi Ono, a debut at the Gran Teatre del Liceu in the principal role of Caesar in the European premiere of John Adams’ Antony and Cleopatra, and a return engagement with Glyndebourne to sing Tamino in Die Zauberflöte. Igor Stravinsky features prominently in the American tenor’s concert diary with a San Francisco Symphony debut with Music Director Esa-Pekka Salonen in performances of Les Noces, Pulcinella with Music Director Gustavo Gimeno and the Toronto Symphony Orchestra, and the title role of Œdipus Rex with Santtu-Matias Rouvali leading the Munich Philharmonic. As well, he assays the Evangelist in Schmidt’s seldom-heard oratorio Das Buch mit sieben Siegeln with Music Director Fabio Luisi leading the Dallas Symphony Orchestra.
Last season Paul Appleby gave the world premiere of Antony and Cleopatra by John Adams at San Francisco Opera conducted by Music Director Eun Sun Kim, reprised his internationally acclaimed title role portrayal of Bernstein’s Candide for the Opéra de Lyon, and returned to the Los Angeles Philharmonic for performances of Girls of the Golden West under the baton of the composer, John Adams. No less impressive was the tenor’s international concert diary, which included Bach’s Matthäus-Passion both with the New York Philharmonic and Hong Kong Philharmonic conducted by Jaap van Zweden, as well as performances in Chicago with Music of the Baroque and Dame Jane Glover; a collaboration with the Met Chamber Orchestra at Carnegie Hall in a presentation of Britten’s Serenade for Tenor, Horn, and Strings; Beethoven’s Ninth Symphony with Marin Alsop leading the Chicago Symphony Orchestra at the Ravinia Festival; performances with the American Modern Opera Company; and a recital at the Santa Fe Chamber Music Festival.
A leading artist of the Metropolitan Opera, where his association with the company has yielded critically acclaimed performances, Paul Appleby has bowed in Die Meistersinger von Nürnberg led both by Sir Antonio Pappano and James Levine, Rodelinda conducted by Harry Bicket, the title role of Pelléas et Mélisande conducted by Yannick Nézet-Séguin, The Rake’s Progress under the baton of James Levine, and the North American premiere of Nico
Muhly’s Two Boys with David Robertson. Celebrated as a distinguished Mozartean, he has bowed at the Metropolitan Opera in the leading tenor roles of Die Zauberflöte, Don Giovanni, and Die Entführung aus dem Serail.
Operatic performances span both world premieres and beloved classics and have included Pelléas et Mélisande at Dutch National Opera led by Stéphane Denève; the world premiere of John Adams and Peter Sellars’s Girls of the Golden West at the Dutch National Opera and San Francisco Opera; Stravinsky’s The Rake’s Progress at the Festival d’Aix-en-Provence, Oper Frankfurt, and Dutch National Opera.
Handel’s Saul directed by Barrie Kosky at Glyndebourne and Houston Grand Opera; and Die Zauberflöte at Teatro Real, San Francisco Opera, and Washington National Opera. Closely affiliated with the title role of Béatrice et Bénédict, he has been lauded in performances at Glyndebourne directed by Laurent Pelly and conducted by Antonello Manacorda, at the Opéra de Paris under the direction of Philippe Jordan, and in a new production for his debut with Oper Köln conducted by François-Xavier Roth.
Other highlights of the recent past include concert performances of Die Zauberflöte with Gustavo Dudamel and the Los Angeles Philharmonic; Handel’s Samson with the Dunedin Consort at the Edinburgh International Festival; Elgar’s The Dream of Gerontius with the Bamberger Symphoniker; and a wide range of repertoire and on numerous occasions in North America and Europe with his frequent musical partner Manfred Honeck.
Respected as a consummate recital artist, Paul Appleby has presented solo appearances at the Wigmore Hall with Malcolm Martineau, toured North America extensively with pianists Natalia Katyukova, Ken Noda, and Conor Hanick,and has given his Tanglewood debut in a performance of Janáček’s The Diary of One Who Vanished with Emanuel Ax. With pianist Wu Han, he has sung Schubert’s masterpiece, Winterreise, under the auspices of The Schubert Club.
Paul Appleby’s recording catalogue includes Nico Muhly’s opera Two Boys, recorded live by the Metropolitan Opera and released by Nonesuch; DVDs of Glyndebourne’s acclaimed presentation of Handel’s Saul and Berlioz’s Béatrice et Bénédict released commercially by Opus Arte; Dear Theo, the first album dedicated solely to works by American composer Ben Moore released by Delos; and Songs and Structures, a portrait album of recent vocal and chamber works by composer Harold Meltzer released on Bridge Records; in addition to other recordings by Virgin Classics, and EMI’s Juilliard Sessions.
Mr. Appleby is a founding core member of the American Modern Opera Company (AMOC) and is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program. A recipient of an Artist Diploma in Opera Studies at the Juilliard School, he also earned a Master’s Degree from Juilliard and a Bachelor’s Degree in English Literature and in Music from the University of Notre Dame.
A regular performer in both Europe and the United States, John Moore is garnering praise for his energetic performances and burnished baritone in both operatic and concert repertoire. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Program. During the 2024–25 season, Moore makes his Lyric Opera of Chicago debut as Dillon in Mazzoli and Vavrek’s The Listeners, and returns to Opera Philadelphia for performances of the same role. He also debuts with Washington National Opera as Steve Jobs in The (R)evolution of Steve Jobs, a role he has sung across the United States to great acclaim. With Odyssey Opera and Boston Modern Orchestra Project, he will perform and record the role of Kinesias in Mark Adamo’s Lysistrata. He joins the Saint Paul Chamber Orchestra twice this season, for concerts of Handel’s Messiah followed later by performances of Poulenc’s Le bal masqué. Future seasons include his debut with the Finnish National Opera. On the concert stage, he has appeared at Carnegie Hall with the Oratorio Society of New York under the direction of Kent Tritle, the Philadelphia Chamber Music Society, and CMS. He was the baritone soloist in the American premiere of Juraj Filas’s Oratorio Spei with Sacred Music in a Sacred Space. Mr. Moore has also given recitals at his alma mater, Simpson College, People’s Symphony Concerts in New York, and Brooklyn Friends of Chamber Music, and has toured with Musicians from Marlboro. In addition, Mr. Moore took part in a studio recording of Peter Lieberson’s The Coming of Light with CCM, and premiered Lieberson’s The Coming of Light with Chicago Chamber Musicians.
Kenneth Weiss has worked as a soloist, conductor, chamber musician, and teacher for several decades. Born in New York City, he attended the High School of Performing Arts, later studying with Lisa Goode Crawford at the Oberlin Conservatory and with Gustav Leonhardt at the Sweelinck Conservatorium in Amsterdam.
His recordings for Satirino records have been widely acclaimed. They include Bach’s Goldberg Variations, The Art of Fugue, Books 1 & 2 of The Well-Tempered Clavier, a recording of Rameau operas and ballets transcriptions, two Scarlatti albums, and two CDs devoted to Elizabethan keyboard music—A Cleare Day and Heaven & Earth.
He was professor of harpsichord at the Juilliard School (2007–11) and at the Haute Ècole de Musique de Geneva (2015–21), and is currently Professor of Chamber Music at the Conservatoire National Supérieur de Musique et de Danse de Paris, a position he has held since 1996.
Highlights of the 2024–25 season include performances of Bach’s Brandenburg Concertos with the Chamber Music Society of Lincoln Center, the Berkshire Bach Society, the Bridgehampton Chamber Music Festival, the Orchestre National Avignon-Provence, and the North County Chamber Players. He will make his debut at the prestigious Music@Menlo in Atherton, California, and perform solo recitals of Bach’s Art of Fugue in Paris, San Francisco, Saintes, Santander, Santiago de Compostela and the Palau de la Música in Barcelona. The 2024–25 season also sees the release of a new recording with flutist Sooyun Kim, a tour of Australia with violinist Lina Tur Bonet, and the debut of a new recital program A Handful of Keys, celebrating keyboard ingenuity and innovations with works spanning the Renaissance to stride piano.
Violinist Ani Kavafian enjoys a prolific career as a soloist, chamber musician, and professor. She has performed with many of America’s leading orchestras, including the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Chamber Orchestra, and San Francisco Symphony. In the 2019-20 season, she continued her longtime association as an artist of the Chamber Music Society with appearances in New York and on tour. Last summer she participated in several music festivals, including the Heifetz International Institute and the Sarasota Chamber Music, Bridgehampton, Meadowmount, Norfolk, and Angel Fire festivals. She and her sister, violinist and violist Ida Kavafian, have performed with the symphonies of Detroit, Colorado, Tucson, San Antonio, and Cincinnati, and have recorded the music of Mozart and Sarasate on the Nonesuch label. She is a Full Professor at Yale University and has appeared at Carnegie’s Zankel Hall numerous times with colleagues and students from Yale. She has received an Avery Fisher Career Grant and the Young Concert Artists International Auditions award and has appeared at the White House on three occasions. Her recordings can be heard on the Nonesuch, RCA, Columbia, Arabesque, and Delos labels. Born in Istanbul of Armenian heritage, Kavafian studied violin in the US with Ara Zerounian and Mischa Mischakoff. She received her master’s degree from The Juilliard School under Ivan Galamian. She plays the 1736 Muir McKenzie Stradivarius violin.
Born in Taiwan, Cho-Liang Lin moved to Sydney at age 12 to further his violin studies with Robert Pikler. After playing for Itzhak Perlman in a master class, the 13-year-old decided that he must study with Mr. Perlman’s teacher, Dorothy DeLay. At age 15, he traveled alone to New York, auditioned for the Juilliard School, and spent the next six years working with Ms. DeLay. His concert career launched in 1980 with his debut playing the Mendelssohn Concerto with the New York Philharmonic and Zubin Mehta. He has since performed as soloist with virtually every major orchestra in the world. At the age of 31 he joined the faculty of the Juilliard School, and in 2006 was appointed professor at Rice University. He was music director of La Jolla SummerFest for 18 years, currently serves as artistic director of the Hong Kong International Chamber Music Festival, and recently founded the Taipei Music Academy and Festival. Many of today’s composers have written for him, including John Harbison, Christopher Rouse, Tan Dun, John Williams, Steven Stucky, Esa-Pekka Salonen, Bright Sheng, Paul Schoenfield, Lalo Schifrin, Joan Tower, and others. Recently, he was soloist with the New York Philharmonic, Detroit Symphony, Munich Philharmonic, Toronto Symphony, Cincinnati Symphony, Nashville Symphony, and Royal Philharmonic. Lin performs on the 1715 “Titian” Stradivari and a 2000 Samuel Zygmuntowicz. His many recordings can be heard on the Sony Classical, Decca, BIS, Delos, and Ondine labels. His albums have won Gramophone Record of the Year, Grammy nominations, and Penguin Guide Rosettes.
Lawrence Dutton was the violist of the nine-time Grammy-winning Emerson String Quartet, which in 2023 performed its final concert after a storied 47-year career. He has also performed as guest artist with the Beaux Arts and Kalichstein-Laredo-Robinson Trios and the Juilliard and Guarneri String Quartets. With the late Isaac Stern he collaborated on the International Chamber Music Encounters at Carnegie Hall and in Jerusalem. He began violin studies with Margaret Pardee and viola studies with Francis Tursi at the Eastman School. He holds degrees from the Juilliard School, where he studied with Lillian Fuchs. Currently, Dutton is Distinguished Professor of Viola and Chamber Music at Stony Brook University; Distinguished Artist at the Robert McDuffie Center for Strings at Mercer University in Macon, Georgia; and Artistic Director of the Hoch Chamber Music Series in Bronxville, New York. He exclusively uses Thomastik Spirocore strings, and his viola is a Samuel Zygmuntowicz (Brooklyn, 2003).
Cellist Timothy Eddy has earned distinction as a recitalist, soloist with orchestra, chamber musician, recording artist, and teacher of cello and chamber music. He has performed with numerous symphonies, including Dallas, Colorado, Jacksonville, North Carolina, and Stamford. He has appeared at the Mostly Mozart, Ravinia, Aspen, Santa Fe, Marlboro, Lockenhaus, Spoleto, and Sarasota music festivals. He has won prizes in numerous national and international competitions, including the 1975 Gaspar Cassado International Violoncello Competition in Italy. Eddy is currently Professor of Cello at the Juilliard School and New York’s Mannes College of Music, and he was a frequent faculty member at the Isaac Stern Chamber Music Workshops at Carnegie Hall. A former member of the Galimir Quartet, the New York Philomusica, and the Bach Aria Group, he collaborates regularly in recital with pianist Gilbert Kalish. He has recorded a wide range of repertoire from Baroque to avant-garde for the Angel, Arabesque, Columbia, CRI, Delos, Musical Heritage, New World, Nonesuch, Vanguard, Vox, and Sony Classical labels. He performs on a 1728 Matteo Goffriller cello.
Bassist Blake Hinson joined the New York Philharmonic in September 2012. Previously he served as principal bass of the Grand Rapids Symphony for two seasons, played with the New World Symphony as a fellow, and performed with The Philadelphia Orchestra. A native of West Des Moines, Iowa, Mr. Hinson was accepted at age 16 to The Curtis Institute of Music, where he studied with Philadelphia Orchestra principal bass Harold Robinson and Edgar Meyer. He spent three summers at the Aspen Music Festival and School on fellowship, where he played in the Aspen Chamber Symphony and Aspen Festival Orchestra and won the 2006 low strings competition. Mr. Hinson won third prize in the 2009 International Society of Bassists Double Bass Competition and made his solo debut at Boston’s Symphony Hall.
Demarre McGill is a leading soloist, recitalist, and chamber and orchestral musician. Winner of an Avery Fisher Career Grant and Sphinx Medal of Excellence, he has appeared as soloist with the Philadelphia Orchestra and the San Francisco, Seattle, Dallas, San Diego, and Baltimore symphony orchestras, among others. Now principal flute of the Seattle Symphony, he previously served as principal flute of the Dallas Symphony, San Diego Symphony, Florida Orchestra, and Santa Fe Opera Orchestra. He has also served as acting principal flute of the Metropolitan Opera Orchestra and the Pittsburgh Symphony Orchestra. A founding member of The Myriad Trio and former member of Chamber Music Society Two (now The Bowers Program), he has participated in the Moab, Santa Fe, La Jolla, Marlboro, Seattle, and Music@Menlo chamber music festivals, to name a few. He is the co-founder of Art of Élan, a chamber music organization in San Diego and, along with clarinetist Anthony McGill and pianist Michael McHale, founded the McGill/McHale Trio in 2014. A graduate of the Curtis Institute of Music and the Juilliard School, McGill is currently the Associate Professor of Flute at the University of Cincinnati College-Conservatory of Music (CCM) and an artist-faculty member of the Aspen Music Festival and School.
Flutist Yoobin Son became a member of the New York Philharmonic in November 2012. She has also served as principal flute of Lincoln Center’s Mostly Mozart Festival Orchestra and principal flute of the New Haven Symphony Orchestra. As a soloist, she has performed with notable ensembles all over the world, including the Seoul Philharmonic, Prime Philharmonic, New Haven Symphony, New Jersey Symphony Orchestra, and Bay Atlantic Symphony. She has also appeared in recitals throughout the world, including the Dame Myra Hess Memorial Concert Series in Chicago and the Young Artist Series of the Kumho Asiana Cultural Foundation in Seoul, South Korea. A passionate chamber musician, Son has appeared in many notable chamber music festivals, including the Marlboro Music Festival in Vermont and Music from Angel Fire in New Mexico. As a firm believer in the importance of music education, Son served as a member of Ensemble Connect, formerly known as Ensemble ACJW, in which she actively participated in music education across New York City. She continues to pursue her passion as a mentor, holding an adjunct professor position at New York University. She also teaches privately and gives master classes around the world. Her honors and awards include Grand Prize at the Florida Orchestra Young Artist Competition, First Prize at the National Flute Association Soloist Competition, Second Prize at the Koussevitzky International Winds Competition, and the Conductor’s Award at the New Jersey Symphony Orchestra Young Artist Auditions. Son received her bachelor of music degree from the Curtis Institute of Music, master of music degree from Yale University, and professional studies certificate and artist diploma from the Manhattan School of Music. Her principal teachers have included Philharmonic Principal Flute Robert Langevin, Ransom Wilson, Jeffrey Khaner, and Bradley Garner.
Called “superb” by the Washington Post and “stunningly virtuosic” by the New York Times, Peter Kolkay is the only bassoonist to receive an Avery Fisher Career Grant. In addition to performing with the Chamber Music Society of Lincoln Center, he regularly appears at the Music@Menlo and Bridgehampton summer festivals, and has performed on the Emerald City, Tertulia, and String Theory series. He actively engages with composers in the creation of new music for the bassoon and has premiered solo works by Joan Tower, Mark-Anthony Turnage, and Tania León, among others. His 2022–23 season included the premiere of a new work for bassoon and piano by Reinaldo Moya, and the release of two recordings: an album of contemporary works performed with the Calidore Quartet, and the Christopher Rouse Bassoon Concerto with the Albany Symphony. He is a member of the IRIS Collective in Germantown, Tennessee, and has also served as guest principal bassoon of the St. Paul Chamber Orchestra. A dedicated teacher, he is Associate Professor at the Blair School of Music at Vanderbilt University and has given master classes throughout the United States and Mexico. Kolkay is an alumnus of CMS’s Bowers Program, and holds degrees from Lawrence University, the Eastman School of Music, and Yale University. A native of Naperville, Illinois, he currently calls the Melrose neighborhood of Nashville home, and is the recipient of a 2022–23 Individual Artist Fellowship in music performance from the Tennessee Arts Commission.