Unless otherwise noted in concert details, admission is:
Note: All tickets are non-refundable but may be exchanged for other concerts in the series.
Only tickets purchased online for a specific concert can guarantee admission to that concert. All other tickets (including all comps and season tickets) are subject to seating availability on a first-come first-served basis at the door. All seating is general admission.
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Shirley White grew up in Woods Hole, Massachusetts, a small seacoast town with a New England do-for-yourself atmosphere. Here's what her website has to say about her background: My father was a carpenter, furniture builder, and carver. I used to follow my Dad around the shop until he’d set me up with my own project. I put many miles on his tools before finally collecting a real set of my own.
I attended the furniture-making school Leeds Design Workshop in Easthampton, Massachusetts. The program focused on producing one of a kind furniture, primarily with hand tools and traditional joinery. After finishing and working just a few years in art furniture, I was offered a position doing violin repair. This offer allowed me to combine my two loves: music and woodworking.
I began my apprenticeship in 1994 at Stamell Stringed Instruments with two fine French luthiers, Chantal Emannuel Bournoff and Philippe Raynaud. Over a period of five years, I performed all the major repairs with their expert guidance and generous sharing of their knowledge. In 1999 I become the Head of the Workshop, fielding the larger restorations and training workshop staff.
In 2008 I established my own workshop where I repair and restore violin family instruments. I still enjoy learning and continue to seek an exchange of information and techniques by attending professional development events such as those offered by the British Violin Making Association ,the Violin Society of America and the VSA’s Oberlin Restoration Workshops. I also enjoy arranging working visits where I spend a week or so with other Luthiers in their shops. I’ve been fortunate to spend time in the workshops of William Monical, Anna Tummers , Anette Fajardo and Tim Toft.
For more info, please visit https://www.shirleywhiteviolins.com/about
A native of Los Angeles, LAURENCE LESSER was a top prizewinner in the 1966 Tchaikovsky Competition in Moscow and a participant in the historic Heifetz-Piatigorsky concerts and recordings. Mr. Lesser has appeared as a soloist with the Boston Symphony Orchestra, the London Philharmonic, the Los Angeles Philharmonic, the New Japan Philharmonic, the Tokyo Philharmonic and other major orchestras.
As a chamber musician he has participated at the Casals, Marlboro, Spoleto, Ravinia, Music@Menlo and Santa Fe festivals. He has also been a member of juries for numerous international competitions, including chairing the Tchaikovsky Competition in Moscow in 1994, the 2002 and 2006 Grand Prix Emanuel Feuermann, the 2002 and 2018 International Paulo Cello Competition, and the Naumberg International Cello Competition.
A 1961 graduate of Harvard College, where he studied mathematics, LESSER went to Köln, Germany the following year to work with Gaspar Cassadó. Just before, he played at the Zermatt master classes for Pablo Casals, who declared, “Thank God who has given you such a great talent!” He won first prize at the Cassadó Competition in Siena, Italy in 1962. When he returned to Los Angeles, he studied with Gregor Piatigorsky and soon became his teaching assistant and regular faculty member at the University of Southern California.
During the remainder of the 60's he was a frequent contributor to the artistic life of Los Angeles. Notably, his 1965 performance of the Schoenberg Cello Concerto to inaugurate the Bing Auditorium at the Los Angeles County Museum of Art was its first hearing with orchestra after Emanuel Feuermann introduced the work in the late 1930’s. He left Los Angeles in 1970 to become Professor of Cello at Baltimore's Peabody Institute.
Teaching has always been an important part of LESSER’s artistic activity. He taught summer courses regularly at the Banff Centre from 1998 to 2004 and continues at Orford Music in Quebec annually since 2001.
LESSER’s previous recordings include the complete Beethoven with pianist HaeSun Paik on Bridge Records. Other labels include RCA, Columbia, Melodiya and CRI.
For more info, visit http://www.laurencelesser.com/about/biography
John Heiss is an active composer, conductor, flutist, and teacher. His works have been performed worldwide, receiving premieres by Speculum Musicae, Boston Musica Viva, Collage New Music, the Da Capo Chamber Players, Aeolian Chamber Players, Tanglewood Festival Orchestra, and Alea III. He has received commissions from the Fromm Foundation, NEA, Rockefeller Foundation, Massachusetts Council on the Arts and Humanities, among others. His principal publishers are Boosey & Hawkes, E.C. Schirmer, Elkus & Son, and Subito Music (54 works to date).
Heiss has been principal flute of Boston Musica Viva and has performed with many local ensembles, including the Boston Symphony Orchestra.
His articles on contemporary music have appeared in Winds Quarterly, Perspectives of New Music, and The Instrumentalist. Along with Juilliard faculty Joel Sachs, Heiss has designed and written a book/CD-Rom classical music primer for Blue Marble Music entitled Classical Explorer.
B.A. in mathematics, Lehigh University; M.F.A., music, Princeton University. Composition with Milton Babbitt, Edward T. Cone, Earl Kim, Otto Luening, Darius Milhaud; flute with Arthur Lora, James Hosmer, Albert Tipton. Recordings on TelArc, Nonesuch, CRI, Golden Crest, Arista, Turnabout, Video Artists International, Boston Records, AFKA, Albany Records (recent all Heiss recording featuring the late Fenwick Smith, NEC faculty, Boston Symphony Orchestra second flutist). Former faculty of Columbia University, Barnard College, MIT, NEC Institute at Tanglewood, and Boston University School of Music.
In his multidisciplinary role in NEC College studies, John Heiss teaches composition, chamber music, flute, music history, music theory, and directs the NEC Contemporary EnsembleFor more info, please visit https://necmusic.edu/faculty/john-heiss
Alan Kaschub became the Director of the University of Southern Maine School of Music in 2013. Before that time, he coordinated and taught Music Theory, Aural Skills and music technology for the school. He studied trumpet performance at USM, studying with John Schnell and earned his Master’s Degree from New England Conservatory studying with Boston Symphony principal trumpet, Charles Schlueter. Mr. Kaschub has performed with the Portland and Bangor Symphonies, the Maine Music Society, the Norumbega Brass Ensemble and the Portland Trumpet Ensemble.
Mr. Kaschub’s teaching and service have long pushed the use of technology as a facilitator of student creativity. This use of technology has not only been implemented in the USM Theory and Ear Training courses, but also in outreach to Maine’s High Schools and Middle Schools. In particular, Mr. Kaschub has used composition and recording of film scores, rap music and other small forms of music to bridge the gap between student creativity and theoretical knowledge. Mr. Kaschub has also co-taught a Music Technology course during the summer for Graduate Students and Music Teachers.
Curious about our concert history? Browse it here.