PROGRAM: All Brahms
Intermezzo in B Minor, Op. 119 No. 1
Intermezzo in E Minor, Op. 119, No. 2
Intermezzo in C Major, Op. 119, No. 3
– Daniel Scholsberg, piano
Dämm’rung senkte sich von oben, Op. 59, No. 1 (Goethe)
Todessehnen, Op. 86, No. 6 (Schenkendorf)
Lerchengesang, Op. 70. No. 2 (Candidus)
– Ryan de Ryke, baritone and Daniel Scholsberg, piano
Sonata in E-flat Major, Op 120, No. 2
– Dave Moss, viola and Daniel Scholsberg, piano
Es steht ein Lind
Mein Mädel hat einen Rosenmund
In stiller Nacht
– Ryan de Ryke, baritone and Daniel Scholsberg, piano
Two Songs, Op. 91
Gestillte Sehnsucht (Rückert)
Geistliches Wiegenlied (Geibel)
– Ryan de Ryke, baritone; Dave Moss, viola & Daniel Scholsberg, piano
Dave Moss, a violist of remarkable versatility and impeccable technique, enjoys a vibrant career as a solo artist, chamber collaborator, and orchestra musician. His technical and musical insight, ranging from early baroque performance practices to the most progressive contemporary music, are tremendous assets praised by colleagues and critics alike. An accomplished chamber musician, Dave has performed with Joshua Bell, Itzhak Perlman, Jamie Laredo, Miriam Fried, Shmuel Ashkenasi, Yo-Yo Ma, Renée Fleming, and with members of the Juilliard, Guarneri, and Ying Quartets. He has appeared on the world’s finest concert stages including Carnegie Hall, Avery Fisher Hall, the Metropolitan Museum of Art, the Kimmel Center, the Kennedy Center, the Smithsonian Museum and Chicago’s Orchestra Hall.
Moss has recorded for Cedille Records, Naxos and Sony Records and has been heard on the BBC, PBS, and is a frequent guest on Chicago’s WFMT. He’s a passionate champion of contemporary music and has performed with the world’s leading ensembles including Dal Niente, Continuum, the International Contemporary Ensemble, and with Pierre Boulez and Ensemble intercontemporain. As an orchestral musician, he has performed with the Metropolitan Opera Orchestra, Chicago Symphony Orchestra and is highly sought after as a guest principal. He received his Master’s degree from the Juilliard School as an Irene Diamond fellow, where he served as teaching assistant to Heidi Castleman and Misha Amory and earned his Bachelor’s degree from The Oberlin Conservatory of Music as a student of Peter Slowik.
Ryan DeRyke, baritone, is an artist whose versatility and unique musical presence have made him increasingly in demand on both sides of the Atlantic. He has performed at many international music festivals including the Aldeburgh Festival in the UK and the festival at Aix-en-Provence in France. The Baltimore Sun hails him as “a talent that seems to defy labels, for without pretense or vocal tricks he delivers a naturally beautiful sound that penetrates to one’s inner core in every conceivable range … His is a voice I never tire of hearing.”
Apart from his recital career, Ryan appears regularly as a soloist in many oratorios, including Handel’s Messiah, the Passions by Bach and Schütz, Bach’s Weinachts Oratorio, B-minor Mass, Magnificat and solo cantata Ich habe genug. He has worked with many early music ensembles including the Orchestra of the 17th Century, the Baltimore Handel Choir, the Bach Sinfonia, the Ciciliana Quartet, the Haymarket Opera Company of Chicago and the American Opera Theater. Ryan’s operatic roles include the title roles in Monteverdi’s l’Orfeo, Purcell’s Dido and Aeneas, Blow’s Venus and Adonis, and Giove in Cavalli’s La Calisto. He has also performed the role of Nardo in Mozart’s La Finta Giardiniera with the Bay Area Summer Opera in San Francisco, and the role of Oberon in Britten’s Midsummer Night’s Dream.
Ryan is equally at home in Romantic and Contemporary repertoire, regularly performing works like Mussorgsky’s Songs and Dances of Death, Vaughan William’s Five Mystical Songs, Orff’s Carmina Burana, Beethoven’s 9th Symphony, Dvorak’s Stabat Mater, and Richard Einhorn’s Voices of Light. He has also given performances of Dallapicola’sRencesvals with Neil Sissons, director of the Dallapiccola Ensemble in London. Ryan made his Weill Recital Hall debut as a finalist with the New York Oratorio Society, and later returned to the Zankel hall as a finalist in the Marilyn Horne master class competition.
Ryan has studied at the Peabody Conservatory with John Shirley-Quirk, the Royal Academy of Music with Ian Partridge, and the National Conservatory of Luxembourg with Georges Backes. He is also an Alumnus of the Britten-Pears Institute in the UK and the Schubert Institute in Austria, where he worked with great artists of the song world such as Elly Ameling, Wolfgang Holzmair, Julius Drake, Rudolf Jansen and Helmut Deutsch.
Ryan lives in Chicago, where he appeared last season with Haymarket Opera in the title role of Telemann’s Pimpinone, and appears often with Chamber Opera Chicago, where he has premiered leading roles in new operas based on novels by Jane Austen including Pride and Prejudice and Persuasion. Ryan is a passionate advocate for song recitals and concert repertoire as a founding member of the Baltimore Lieder Weekend and a frequent performer on WFMT Chicago. He feels fortunate to collaborate regularly with artists and friends around the world, including Daniel Schlosberg, Eugenia Cheng, Eva Mengelkoch, Michael Shepard, Susan Youens and Roger Vignoles.
Daniel Schlosberg has been described as an “expert pianist” (Boston Globe), and his performances have been praised for their “intellect and passion” (Washington Post). As a collaborative pianist, Tim Smith of the Baltimore Sun wrote: “Daniel Schlosberg was a model accompanist, bringing out the remarkable richness of the piano writing.”
He has been a featured soloist with the Chicago Symphony Orchestra in subscription performances of Messiaen’s “Trois Petites Liturgies”, for which he garnered critical praise. John von Rhein in the Chicago Tribune wrote: “Daniel Schlosberg played the daunting piano part splendidly”; and Lawrence A. Johnson of the Chicago Classical Review wrote of “a prominent, challenging piano part, played here with great fire and conviction by Daniel Schlosberg in a notable CSO debut.”
Schlosberg can be heard on a number of recordings, including Stephen Andrew Taylor’s quartet “Quark Shadows” (Albany Records) with members of the Pacifica Quartet and Chicago Symphony. Last year he was the soloist in composer Dmitri Tymoczko’s piano concerto “Crackpot Hymnal”. He recently released his solo debut, “Child’s Play”(Centaur Records), featuring works by Schumann, Pärt, Lachenmann and Debussy. His most recent recording is of Augusta Read Thomas’s solo 2013 work “Starlight Ribbons” (Nimbus Records, commissioned by Harvard’s Fromm Foundation). In recent seasons, he has given solo and chamber music recitals at a number of important venues and series, including Bargemusic, Austrian Cultural Forum (New York), Sundays Live (Los Angeles), Dame Myra Hess Series (Chicago), Phillips Collection, and at the embassies of Romania, Israel, Austria and Germany in Washington, D.C.
Schlosberg, an avid proponent of new music, has collaborated with eighth blackbird, Third Coast Percussion, the International Contemporary Ensemble, Ensemble Dal Niente, Pittsburgh New Music Ensemble, pianist Amy Briggs, the New Music Ensembles at the University of Chicago and University of Illinois, and was a founding member of Yarn/Wire. In 2009, he gave the US premiere of renowned composer Kaija Saariaho’s “Calices” with violinist Austin Wulliman. Another interest of Schlosberg’s is song accompaniment, and he has a long-standing duo with the baritone Ryan de Ryke. In 2007, he curated and performed in a series of six concerts nationwide,exploring the early chamber music and lieder of Erich Wolfgang Korngold, and he directs and performs in the Baltimore Lieder Weekend each October.
On harpsichord, Schlosberg has participated in the world premiere of Anna Clyne’s “Of Sudden Shut”on MusicNOW, the Chicago Symphony Orchestra’s new music series, played the continuo/recit for Le Nozze di Figaro for Opera Notre Dame, and performed excerpts from Vivaldi’s “The Four Seasons” with Itzhak Perlman at Carnegie Hall (Zankel).
He has served as a staff accompanist for two prominent music festivals: the Perlman Music Program (Shelter Island, NY and Sarasota, Fl.), and for the vocal program of the Steans Music Institute at Ravinia. In the summer of 2000, he held the Leonard Bernstein Fellowship in Piano at Tanglewood and took part in a special collaboration with the Paul Taylor Dance Company at the Jacob’s Pillow Festival in performances of solo Debussy. He has also taken an increasing interest in conducting, attending workshops with Donald Schleicher and Larry Rachleff, and served as Assistant Rehearsal Conductor for Afterword, the critically acclaimed opera by George Lewis.