2017 BMC Overture Magazine by Brevard Music Center

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INSIDE OVERTURE Letter from the President .......................................................................................... 4 About Keith Lockhart ................................................................................................. 5 Patron Information ...................................................................................................... 6 Dining & Accommodations ....................................................................................... 7 Board of Trustees ....................................................................................................... 8 Brevard Music Center Staff ...................................................................................... 9 Sponsors and Partners ............................................................................................ 10 The Complete Musician ........................................................................................... 13 2017 Prelude ............................................................................................................. 16 Challenge Among Friends ....................................................................................... 17 Keith Lockhart's Summers by the Lake ................................................................ 18 Kurt Weill Festival ..................................................................................................... 22 Artist Faculty ............................................................................................................... 26 Opera Artistic Staff.................................................................................................... 38 2017 Performance Schedule ................................................................................. 42 Ensembles ...................................................................................................................43 Performance Programs ....................................................................................48-122 Soloists and Conductors ...................................................................................... 123 Kurt Weill Festival Artists........................................................................................ 132 Opera Cast ............................................................................................................... 134 Opera Designers ..................................................................................................... 138 Production Staff ...................................................................................................... 139 Student Roster ........................................................................................................ 140 Distinguished Service and Alumni Awards ....................................................... 148 Brevard Music Center Association ..................................................................... 152 Brevard Music Center Association Board ........................................................ 153 Named and Endowed Concerts ............................................................................157 Giving Opportunities ............................................................................................... 162 Annual Fund Contributors ..................................................................................... 165 Lifetime Giving Society .......................................................................................... 168 Encore Planned Giving Society ........................................................................... 169 Gifts in Honor and Memory ...................................................................................171 Brevard Music Center Endowment .................................................................... 174 2017 Overture Advertisers Index ........................................................................ 193

Editor Associate Editor Creative Design Advertising

Photograph Credit

Cally Jamis Vennare Dilshad Posnock Market Connections Virginia Carter Ashley Gilleland Kimberley Austin John Allen Mike Belleme Platt Architecture, P.A. Tracy Turpen

SEASON SPONSORS Jacquelyn and Bruce Rogow

MEDIA SPONSORS

TRAN TI SYLV M ANI A E S

The Biltmore Beacon

2017 Summer Institute & Festival

LETTER FROM THE PRESIDENT

BREVARD MUSIC CENTER

WELCOME BACK TO ANOTHER CAPTIVATING SEASON AT BREVARD MUSIC CENTER–ONE OF THE COUNTRY’S PREMIER SUMMER INSTITUTES AND MUSIC FESTIVALS!

acclaimed for The Threepenny Opera and the famous song “Mack The Knife;” the epic movie E.T. The Extra-Terrestrial on the big screen with live orchestra; another unforgettable season finale in the form of Verdi’s Requiem; and world-acclaimed artists including pianists Garrick Ohlsson and Kirill Gerstein, violinists Anne Akiko Meyers and Sarah Chang, cellist Johannes Moser, and legendary performers Lee Ann Womack, Ricky Skaggs, and Lyle Lovett.

From the very moment our 2016 Season Finale, Beethoven 9, came to its thunderous conclusion, our dedicated BMC staff and volunteers have been working hard to prepare another exciting season for your enjoyment. Whether joining us again, or experiencing the music and magic of Brevard Music Center for the first time, we are delighted to welcome you to BMC, amid the beauty and ambiance of the Blue Ridge Mountains of North Carolina.

A short time ago, BMC launched A Challenge Among Friends campaign. I am so grateful to the 176 individuals who have given or pledged $4.3 million dollars in support of vital upgrades to our campus facilities. This exceptional show of support has made a dramatic difference at BMC, most notably in the completion of a beautiful new student dormitory, 16 new practice rooms, and over 67 campus improvement projects. Next year we hope to add even more housing to accommodate the demand for adequate lodging among our faculty and their families. We still have a ways to go before reaching our campaign goal, so I urge you to consider a gift of any size (it can be spread over five years) to ensure continued growth and success at Brevard Music Center, both now and in the future.

It was only fitting that, in celebration of our spectacular 80th anniversary last season, BMC broke all previous box office records for ticket sales and attendance. With your generous and enthusiastic support, we welcomed back distinguished BMC alumni, presented the operatic world premiere of Falling Angel, and shared our stage with world-class artists like Jean Yves Thibaudet, Conrad Tao, Mason Bates, Amy Grant, Béla Fleck, Gillian Welch, and so many others. We also proudly unveiled our new acoustic shell—a feat of custom design and engineering which enhanced the quality of sound in Whittington-Pfohl Auditorium, not only for the musicians, but for our audience as well. This summer, BMC celebrates the 10th anniversary of Artistic Director Keith Lockhart’s visionary leadership. How fortunate that Keith’s first visit to BMC at the age of nine years old would lead to his return as a student in the summers of ’74 and ’75 and, ultimately, to his appointment as Artistic Director in 2007. Brevard and this Music Center is where Keith’s musical education, and his lifelong love affair with classical music, began. Learn more about Keith’s Homecoming on pages 18-19. In addition to offering a 2017 season rich in musical diversity and genres–symphony, opera, chamber, jazz, country, bluegrass, pops, classical guitar, and more–festival highlights include a season-long salute to Kurt Weill, the German-born composer

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The stage is now set for an unforgettable season of entertainment! So sit back, relax and enjoy performances as captivating as the view as we proudly present the 2017 BMC Summer Music Festival. Warmest regards always,

Mark Weinstein

ABOUT MARK WEINSTEIN Mark Weinstein has devoted his professional career to music having previously served as Executive Director of the New York City Opera at Lincoln Center, General Director of the Pittsburgh Opera, Executive Director of the Washington National Opera at the Kennedy Center, and CEO of the AT&T Performing Arts Center in Dallas, Texas. Mark has an MBA from the Harvard Business School and a BA in Political Science from Carleton College in Northfield, Minnesota. His wife, Susanne Marsee, was the leading Mezzo-Soprano soloist at New York City Opera at Lincoln Center for over 20 years.

Photo Credit: Marco Borggreve

LEADERSHIP

KEITH LOCKHART, ARTISTIC DIRECTOR David Effron Principal Conductor Chair

In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra and Principal Conductor of the BBC Concert Orchestra in London. Keith Lockhart has conducted nearly every major orchestra in North America, as well as the Royal Concertgebouw Orchestra, the Deutsches Symphonie-Orchester Berlin, the NHK Symphony in Tokyo, and the Melbourne Symphony Orchestra. In October 2012, he made his London Philharmonic debut in Royal Albert Hall. In the opera pit, Maestro Lockhart has conducted productions with the Atlanta Opera, Washington Opera, Boston Lyric Opera, and Utah Opera. 2015-2016 highlights included debut appearances with the Czech Philharmonic, the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, the Vienna Radio Symphony, and the Hong Kong Philharmonic. He also completed a recording of the Bernstein Serenade with violinist Anne Akiko Meyers and the London Symphony Orchestra. In February 1995, Lockhart was named the 20th conductor of the Boston Pops Orchestra since its founding in 1885. Now in his 23rd season, he has conducted over 1800 concerts and made 77 television shows, including 38 new programs for PBS’s Evening at Pops, and the annual July Fourth spectacular, broadcast nationally for many years. The Boston Pops’ 2002 July Fourth broadcast was Emmy-nominated, and the Evening at Pops telecast of “Fiddlers Three” won the 2002 ASCAP-Deems

Taylor Award. He has led the orchestra on four overseas tours of Japan and Korea, and 42 national tours in the US, reaching 35 states and 146 cities (including performances at Carnegie Hall, Radio City Music Hall, and sports arenas across the country) and extending to the pre-game show of Super Bowl XXXVI at the Louisiana Superdome in New Orleans. Since November 2004, he and the Boston Pops have released six self-produced recordings: 2017’s Lights, Camera…Music! Six Decades of John Williams, A Boston Pops Christmas—Live from Symphony Hall, Sleigh Ride, America, Oscar & Tony, and The Red Sox Album. Keith Lockhart and the Boston Pops Orchestra have also recorded eight albums with RCA Victor—Runnin’ Wild: Keith Lockhart and The Boston Pops Orchestra Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and My Favorite Things: A Richard Rodgers Celebration. Highlights of his tenure as the seventh Principal Conductor of the BBC Concert Orchestra (2010) include critically acclaimed North American tours (2010/11, 2012/13 and 2014/15), conducting annual performances at The Proms, and celebrating the orchestra’s 60th year in 2012. In June of that same year, Keith Lockhart conducted the orchestra during Queen Elizabeth II’s gala Diamond Jubilee Concert, which was broadcast around the world. In 2009, Keith Lockhart concluded eleven seasons as Music Director of the Utah Symphony. He led that orchestra through the complete symphonic works of Gustav Mahler, brought them to Europe on tour for the first time in two decades, and directed multiple appearances at the 2002 Olympic Winter Games. He stood at the front of that organization’s historic merger with the Utah Opera to create the first-ever joint administrative arts entity of the Utah Symphony and Opera. Under his baton, the Utah Symphony released its first recording in two decades, Symphonic Dances, in April 2006, garnered an Emmy award for a “Salute to Symphony” regional broadcast, and performed in a national PBS broadcast of Vaughn Williams’ oratorio Hodie. Keith Lockhart served as Music Director of the Cincinnati Chamber Orchestra for seven years, completing his tenure in 1999. During his leadership, the orchestra doubled its number of performances, released recordings, and developed a reputation for innovative and accessible programming. Maestro Lockhart also served as Associate Conductor of both the Cincinnati Symphony Orchestra and the Cincinnati Pops Orchestra from 1990 to 1995. Born in Poughkeepsie, NY, Maestro Lockhart began his musical studies on piano at the age of 7. He holds degrees from Furman University and Carnegie Mellon University, and also holds honorary doctorates from the Boston Conservatory, Boston University, Northeastern University, Furman University, and Carnegie Mellon University, among others. He was the 2006 recipient of the Bob Hope Patriot Award from the Congressional Medal of Honor Society, and was a recipient of the 2017 Commonwealth Award, Massachusetts highest cultural honor. More information is available at www.KeithLockhart.com and www.cami.com.

2017 Summer Institute & Festival

PATRON INFORMATION

BREVARD MUSIC CENTER

BOX OFFICE HOURS Whittington-Pfohl Auditorium

(Brevard Music Center Campus)

June 23 – August 18 Monday – Wednesday: 10 am to 5 pm Thursday – Saturday: 10am to Intermission Sunday: Noon to Intermission

Porter Center

(Brevard College Campus)

June 22 - August 11 Open on performance days only, 2 hours prior to the start of a performance through intermission. Phone: (828) 862-2105 Toll free: (888) 384-8682 Email: boxoffice@brevardmusic.org Website: brevardmusic.org Exchanges are available up to 24 hours before the exchanged event. Unused tickets can be turned in for a tax deduction. Subscription tickets may be exchanged for events not currently included within your series. Subscription tickets may not be exchanged for Opening Night, Season Finale or BMC Presents. Refunds are not available. Group Sales By purchasing 10 or more tickets to any single Brevard Music Center performance, enjoy up to 25% off single ticket prices, access to the best seating available at the time of

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your purchase, personalized customer service and assistance with your group event, and ﬂexible payment options. Call 828-862-2131 or email groups@brevardmusic.org today! Late Arrivals & Seating Latecomers will be asked to wait until an appropriate break in the performance before being seated. Photography & Recording Photography and the use of recording devices are strictly prohibited in all concert venues. Restrooms Whittington-Pfohl Auditorium: Restrooms are located in the lobby and the adjacent building behind the concession kiosks. Porter Center: Restrooms are located in the lobby, on either side of Scott Concert Hall. Telephones Please turn off all cell phones, pagers, and alarm watches during performances. Students Students 18 and older receive a 50% discount for tickets inside the auditorium. With a valid student ID, students 18 and older may sit on the lawn free of charge*. Children Children 17 and under may sit on the lawn free of charge* with a paying adult. Auditorium tickets are available for $15 for children 6 and over.

Children under 6 are not permitted inside Whittington-Pfohl Auditorium. Smoking Smoking is strictly prohibited in all BMC buildings; all forms of smoking are also prohibited on the adjacent outdoor lawn seating area during all performances. Lawn Etiquette We welcome our patrons to enjoy a picnic and listen to the concert from the lawn. Please remember that noise and excessive movement during the performance can be distracting to the performers and other listeners. Pets Pets are not allowed in or around the area of the Whittington-Pfohl Auditorium during a performance. Properly identified service animals are permitted in all areas in which BMC patrons are allowed. Harmony Gifts Harmony Gifts is the official gift shop of the Brevard Music Center. Located at the front of Whittington-Pfohl Auditorium, it carries signature apparel, jewelry, music themed novelties, picnic accessories, and more. Harmony Gifts is managed by the Brevard Music Center Association and is staffed by volunteers. All proceeds directly benefit the educational programs of the Brevard Music Center. * Complimentary lawn tickets are not available for Opening Night, Season Finale and BMC Presents concerts.

DINING & ACCOMMODATIONS

BMC CONCESSIONS & PICNICS Bring your own picnic…or enjoy BMC’s delicious selection of casual fare and snacks while experiencing a performance at Whittington-Pfohl Auditorium (WPA). A full assortment of beverages are available for your enjoyment including Rodney Strong red and white wines by the glass, Oskar Blues beer, Bold Rock hard cider, Pepsi products, bottled water, and coffee. Refreshing desserts, including crowd favorites Kiwi Gelato and fresh baked cookies, are offered as a delightful finish to your BMC experience. WPA concessions–located at the main concession building on the lawn and white-tented areas on the WPA plaza–open one hour prior to each performance. Concessions at the Porter Center (Brevard College) A selection of wine, beer, soft drinks, and coffee – as well as cookies and candy – is available in the lobby of the Porter Center prior to and during intermission of concerts and operas.

Important Note: Please allow ample time to enjoy your picnic or concessions items. No food or drink, except bottled water, is permitted in any performance venue on the BMC campus or at the Porter Center. Off Campus The following local restaurants support the Brevard Music Center: Dugan’s Pub .....................................................(828) 862-6527 Food Matters Market and Cafe .....................(828) 885-3663 Kiwi Gelato ........................................................(828) 877-4659 Marco Trattoria ..................................................(828) 883-4841 Mayberry’s - Just Good Food ........................(828) 862-8646 Pad Thai .............................................................(828) 883-9299 Quixote ...............................................................(828) 966-4554 Rocky’s Soda Shop .........................................(828) 877-5375 Sora Japanese Restaurant ..............................(828) 883-9808 The Falls Landing .............................................(828) 884-2835 The Square Root Restaurant ........................(828) 884-6171 Wine Down on Main .........................................(828) 883-9463 Accommodations: Hampton Inn of Brevard ..................................(828) 883-4800 Bed & Breakfast on Tiffany Hill ......................(828) 290-6080 Key Falls Inn .......................................................(828) 884-7559 The Sunset Motel ..............................................(828) 884-9106

Makes a Perfect Pairing

Boutique Wines • Beers • Cigars • Gifts

2017 Summer Institute & Festival

WELCOME FROM THE BOARD

BREVARD MUSIC CENTER On behalf of the BMC Board of Trustees, it is my pleasure to welcome you back to Brevard Music Center! Last summer’s 80th Anniversary Season saw record ticket sales, reunited talented alumni, and hosted perhaps the highest-ever level of talented students performing on our stages. We also debuted a new acoustic shell at Whittington-Pfohl Auditorium, significantly improving the sound enjoyed by our audiences during performances, and greatly enhancing the educational experience of our student musicians. The completed shell was the culmination of a two-year project to renovate and rejuvenate WPA, made possible through the efforts of A Challenge Among Friends, a fundraising initiative to address long-needed improvements to facilities across our 180-acre campus. Since launching A Challenge Among Friends, Music Center friends, patrons, BMCA volunteers, staff, private foundations, and current and former Music Center Trustees, have now committed more than $4 million in support of identified campus-critical projects totaling between $5 million and $6 million. We are grateful to all of these friends for their investment in BMC’s future. More than fifty years ago, a different group of friends and BMC supporters built 1,800-seat Whittington-Pfohl Auditorium, moving the Music Center’s performances from 300-seat Straus Auditorium. This project was in response to the growing excellence of our student musicians, our attempts to provide programs and facilities to match, and our hope to provide the best possible patron experience. In the years that followed, that generation of believers made possible much of the current housing for students and faculty, practice and rehearsal rooms, and other campus facilities in use today. It’s our turn now. We must do our part to, once again, help Brevard Music Center keep pace and remain competitive with our peer summer music institutes and festivals. If we are to pursue excellence in our program, we must offer top-tier facilities that are commensurate with the excellence of our students and our faculty. The successes to date of A Challenge Among Friends have served well our core mission to train the next generation of classical musicians. On the heels of the completed acoustical renovation of Whittington-Pfohl Auditorium in 2016, this season our students will enjoy a new, acoustically perfect, multi-room practice facility, new and rejuvenated housing, and a refurbished Straus Auditorium, among other improvements. But there is still much more to do. I would be grateful, as would the entire Board of Trustees, if you would join us in supporting our students and furthering BMC’s campus rejuvenation through your participation in A Challenge Among Friends. There are many options for involvement, and the staff is prepared to discuss with you the easiest and most convenient way to commit to the campaign, including pledges payable over several years. And, of course, donations at any level are needed and will be greatly appreciated. We are seeking support from our friends, like you, who believe in the educational mission of BMC and have experienced first-hand the incredible performances on our stages. This renewal of the campus is not only physical. It will give BMC the home our students, faculty, guest artists, and patrons deserve. A home worthy of the outstanding reputation Brevard Music Center has earned over its storied history. Without you, our students would not have the transformative experiences they enjoy each summer. The Board of Brevard Music Center remains grateful to our dedicated staff and talented faculty, who are constantly focused on how to best serve the more than 400 students we welcome each summer, and the music they create. Lastly, thank you to our friends, supporters, and patrons who participate in this vibrant community.

2017 BOARD OF TRUSTEES

T. Kenneth Cribb, Jr. Chairman, Board of Trustees

Doug Bailey Belleair, FL

Bill Hackney Marietta, GA

Doug Ombres Tequesta, FL

Bruce Berryhill Cashiers, NC

Falls Harris Greenville, SC

Helen Peery Charlotte, NC

Thomas C. Bolton Asheville, NC

Sue Henderson Winston-Salem, NC

John S. Candler Brevard, NC

Phillip Jerome Pisgah Forest, NC

Michel Robertson Pisgah Forest, NC Ex officio

Martha Coursey Atlanta, GA

Elaine Knight The Villages, FL Ex officio

Trustee Emeriti Doug Booth Charlotte, NC Wilbur Boswell III Hendersonville, NC John S. Candler Brevard, NC

Kurt Zimmerli Spartanburg, SC Life Trustees Karl Straus Asheville, NC Ofﬁcers T. Kenneth Cribb, Jr., Chair

Robby Russell Arden, NC

Dicksie Cribb • Spartanburg, SC

Arthur Schreiber Brevard, NC

Mary Helen Dalton • Atlanta, GA

Katie Loeb-Schwab Marco Island, FL

Linda Thompson Pisgah Forest, NC

Robert Dalton, Jr. Charlotte, NC

Robert H. Dowdeswell Flat Rock, NC

Mary G. MacQueen Owen Asheville, NC

Joella Utley Spartanburg, SC

Frederick Dent Spartanburg, SC

Jerusha Fadial Charlotte, NC

Ruby Morgan Greenville, SC

Mark Weinstein Brevard, NC Ex officio

Mitchell Watson West Palm Beach, FL

Mark Weinstein, President Ex officio

Charles Goldsmith Boca Raton, FL

Russell Newton Asheville, NC

M. Beattie Wood Atlanta, GA

William White, Jr. Charlotte, NC

• Deceased

T. Kenneth Cribb, Jr. Spartanburg, SC Preston Davitt Asheville, NC

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Martha Coursey, Vice Chair Arthur Schreiber, Treasurer Linda Thompson, Secretary

BOARD & STAFF

2017 STAFF

Mark Weinstein – President and CEO Keith Lockhart – Artistic Director

Instruction & Performance Jason Posnock

Dorothy Knowles Andrew Parker Sophia Han Barney Culver Stephen Nutt Elizabeth Dunning Joshua Hall Lauren Hart Maria Santacruz Lucy Smith Jackie Bartling-John Johanna St. John Michael Schweppe Robert Rydel Eric Dluzniewski Juan Carlos Martinez Gabriel Petkaitis Chunxiao Song Harry Weinhofer Graham Anderson Steven Sykes

Student Life Cale Self Leigh Dixon Gerome Stewart Jacob Powers Larissa Powers

Production

Andrea Boccanfuso Rebecca Armstrong Bobby Bradley Geraldo Pedroza Juliet Jewett Emilie Belisle Jack Murphy

Development Dave Perrett Palma Cohen Rachel McNassor Sara Jerome

Anastasia Cetverikova Bonotto Katelyn Guy Charles Stolze Amy Tompkins

Director of Artistic Planning & Educational Programs Director of Admissions Artistic Coordinator Artistic Liaison* Orchestra Manager* Assistant Orchestra Manager* Head Librarian* Associate Head Librarian* Assistant Librarian* Assistant Librarian* Assistant Librarian* Student Services Manager* Student Services Assistant* Supervisor of Recording* Associate Director of Recording* Audio Engineering Intern* Audio Engineering Intern* Audio Engineering Intern* Audio Engineering Intern* Manager, Guest Artist Services* Chief Piano Technician* Piano Technician*

Dean of Students* Assistant Dean* Assistant Dean* Assistant Dean* Assistant Dean*

Director of Production Associate Production Manager* Assistant Production Manager* Assistant Production Manager* House Manager* Company Manager* Technical Director*

Director of Development Manager, Annual Giving Leadership Advancement Officer Manager, Special Events and Partnerships Development Intern, Car Rafﬂe Coordinator* Special Events Intern* Special Events Intern* Special Events Intern*

Marketing and Box Ofﬁce Cally Jamis Vennare

Director of Marketing and Communications Virginia Carter Manager, Box Office & Ticketing Alex Webster Marketing Intern* Anne Katherine Stiekes Box Office Supervisor* Eric Bourg Box Office Supervisor* McKinney Danger-James Box Office Cashier* Hannah Krowka Box Office Cashier* Hanna Ohaus Box Office Cashier*

Information Technology Sean Manning

Director of Technology

Administration and Campus Operations

Keith Arbogast

Director of Finance and Campus Operations Ashley Gilleland Operations Coordinator J Cantrell Accounting Manager Melissa Kamer Office Services Associate Emma Guy Business Administration Intern* Campbell Davitt Business Administration Intern* Nathan Kawa Facilities Manager Steve Dunston Maintenance Greg Galloway Maintenance Bill Wilson Maintenance Taylor Sullivan Head Grounds Crew Josh Ziegler Maintenance/Grounds Adam Trahan Maintenance/Grounds* Mandy Blake Maintenance/Grounds* Kyle Pittman Maintenance/Grounds* Blue Mountain Medicine Health Services EverGreen Housekeeping Professional Services Man Maid Housekeeping Cleaning Service Brevard College Catering Services Shelley Van Buren Food Service General Manager* Monica Small Dining Service Manager* Bryona Borden Concessions Manager* * Seasonal Staff

OUR MISSION: The Brevard Music Center, a summer institute and festival, teaches gifted young musicians to prepare and perform great musical works at a high artistic level.

2017 Summer Institute & Festival

2017 SPONSORS AND PARTNERS

BREVARD MUSIC CENTER BREVARD MUSIC CENTER Gratefully Acknowledges its 2017 Sponsors and Partners*

Jacquelyn and Bruce Rogow Season Sponsors

Bed & Breakfast on Tiffany Hill Official Bed and Breakfast

LEAD SPONSORS Hampton Inn - Brevard BMC Presents Series

Bold Rock Hard Cider Official Hard Cider Broad Street Wines Special Events and Maestro Society Lounge Wine Sponsor

The Jerome Family Tchaikovsky Symphony No. 5 A Loyal Friend of Brevard Music Center The Marriage of Figaro

Kickoff Reception Sponsor

Lyle Lovett and His Large Band Hampton Inn - Brevard Official Hotel of Asheville

Johnson Building Supply Official Building Supply Provider

Scheherazade Official Beer Season Finale: Verdi Requiem Community Outreach Sponsor

SUSTAINING SPONSORS

Official Piano

ADDITIONAL SUPPORT PROVIDED BY

Loyal Friends of Brevard Music Center Tchaikovsky Symphony No. 5

Rachmaninoff Piano Concerto No. 3 The Zimmerli Family Opera Endowment Don Pasquale The Zimmerli Foundation BMC Piano Competition Finals

SEASON PARTNERS 35 Degrees North Official Landscape Services *Sponsors as of April 30, 2017

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Steve Owen & Associates

COMMUNITY PARTNERS Brevard Ballet Free Rein Mountain Sun Community School Pisgah Astronomical Research Institute (PARI) Rise and Shine Transylvania Community Arts Council United Way of Transylvania County Veterans of Foreign Wars Post 4039, Brevard

2017 Summer Institute & Festival

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THE COMPLETE MUSICIAN

THE COMPLETE MUSICIAN by Jason Posnock – Director of Artistic Planning & Educational Programs

Photo: John Allen

This summer, the Brevard Music Center will once again be home to over four hundred of the nation's most talented student musicians, a beloved faculty of teaching and performing artists from schools, universities, and orchestras across the country, and worldrenowned conductors, soloists, and clinicians. All come together to breathe life into our mission—to teach gifted young musicians to prepare and perform great musical works at a high artistic level. The process is exhilarating, and the fruits of these labors are shared with our loyal, appreciative, and loving audiences. But just what is it that we are teaching our students? Why do they come to Brevard to learn it? What is it about the culture of the Brevard Music Center that makes it a summer oasis for wonderful young musicians, a place where faculty members return to for decades, and a stage that delights and invigorates the world's top performers? At the heart of it all, what we are really teaching them is to become a complete musician. As you can see and hear, we start with some rather accomplished students. With that, it is possible for the training that takes place in private lessons, coachings, ensemble rehearsals, masterclasses, and even in the dining hall, to go well beyond technique, reach even deeper than musicality and tone. A complete musician. Yes, nuanced operational skills are passed on from one generation to the next. Musical ideas, sound production, interpretation, the "why" behind our decisions. These are all ingredients in the sophisticated, delicate bouillabaisse that is each student's personal way of making music—handled with extreme care and attention to detail. Today’s complete musician must do more than play really, really well. And let's remember, that is no small feat unto itself. Playing any instrument—violin, French horn, or even the harmonica—at a world-class level takes a lifetime of dedication. Yet we all recognize that there is more. As performers, we must be able to understand the music we play in the context of its cultural, political, aesthetic, and artistic history, not to mention in the context of our own time. We determine to what extent that may (or may not) affect our concept and interpretation, and prepare accordingly. We must then be able to communicate this to our

audiences who may (or may not) choose to allow it to affect their listening experience. It's exhausting just thinking about it, never mind actually doing it! Brevard’s inspiring and dedicated faculty have already drunk the Kool-Aid. They embrace the mission, the vision, and the spirit of the Music Center. They understand that it is up to all artists to engage audiences through creative, curated experiences. They believe that in the arts, we are all evangelists. And above all, they know that excellence matters. We must all strive to be as excellent as possible because that is what best serves the art and our fellow artists. It is what is best for the audience. It is what allows our fellow artists to be the best versions of themselves that they can be. This is how we spend our summers. What we affectionately call "the magic of Brevard" emanates from the thousands of macro and micro interactions that take place each day between our students and faculty. Through these touch points, our students are learning to be full-ﬂedged, productive, contributing members of the global music community. A complete musician. World-class performance, broad-spectrum education, and building community through the arts. These are the values that create the Brevard culture. This is why students return to BMC and never forget that transformative summer spent in the Blue Ridge Mountains…why we have faculty members who have been coming here for well over 30 years…why famous performers insist on appearing here. This is why we continue to honor our mission more than 80 years after we first opened our doors. This dedication to music, the arts, and education fills us with purpose, energy, determination, optimism, and joy. We create cultures and experiences that will have impact now and for generations to come. What are we teaching, and why do they come? At Brevard, we are training our students to be leaders, difference makers, unique voices, innovators. We are training them to become the complete musician.

2017 Summer Institute & Festival

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In this storied realm, boundless adventure awaits. Request your free Adventure Guide and Waterfall Map today. VISITWATERFALLS.COM (800) 648-4523

2017 Summer Institute & Festival

BREVARD MUSIC CENTER

2017 PRELUDE - UNDER THE STARS

SPONSORS

Brevard Music Center’s annual Prelude Gala is an evening of dining, dancing, and auctions that supports our Student Scholarship Fund. 2017 Prelude—Under the Stars—took place on Saturday, June 17, and we gratefully acknowledge the evening’s sponsors, auction item contributors, and volunteer leadership who ensured the event’s success.

Sapphire

Ruby

Conrad & Scherer, LLP T. Kenneth Cribb, Jr. Dennis and Preston Davitt Dr. Falls L. Harris Lorraine Marina Mary and Charles D. Owen, Jr. Sue Rossman and Bob Lawrence Linda and John Sarpy Dr. Joella Utley

Yvonne and Charlie Goldsmith

Emerald

B.P. Solutions Ruth Falck Inez and Bob Parsell Platt Architecture, P.A.

Diamond

Denise Altay and Sean Collinsworth Kristine and John Candler Margo Evans Helen C. Gift William R. Hackney III Billie and Roy Messer Mr. and Mrs. Jonathan Nelson, for Congregation Beth Jacob

Opal

Michael Becker Dr. and Mrs. Bruce Berryhill Christine Tryba-Cofrin and David H. Cofrin Walter and Martha Coursey Eugenia and Robert Dowdeswell Carolyn Gordon-Loebig

Paul Komar and Teri Goodall-Komar Tine Liegerot and Jug Gerard Katie Loeb-Schwab and Mark Schwab Dr. Ruby Morgan Jennifer and James Newman Kathy and Dave Perrett Eleanor and Burt Schweigaard-Olsen Hugh Tucker and Paul Thomas

Topaz

Doug and Sue Henderson Jay H. Kaplan Janie and Robert Sargent Linda and Ron Thompson Jan and Beattie Wood

Auction Item Contributors* 35 Degrees North Sandi Anton ART Works Brevard NC Asheville Symphony Orchestra B&B Plumbing Donna Bailey Elaine Bailey Bed & Breakfast on Tiffany Hill Dr. Ruffin Benton Blue Ridge Bakery Bobbo's Stuff Bracken Mountain Bakery Brevard Music Center Brevard Music Center Costume Department Brevard Philharmonic Broad Street Wines The Brown Bean Coffee Cathey's Creek Electric Center Stage – Greenville, SC Charleston Symphony Orchestra The Cherry Tree Chiesa Restaurant — Asheville Lucy Clark and Lucy Clark Pottery The Cliffs at Walnut Cove Steve Cohen Penny Coleman-Crandal and David Crandal Martha Coursey Crystal Mountain Gem Mine – Brevard, NC D.D. Bullwinkel’s Davidson River Outfitters Decorating by Dee Ann Kim Degerabedian Doggie Vacations Dragonﬂy Drew Deane

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The Duke Mansion Belinda Roberts and Elk Haven Wellness Center Empire Distributing Fairmont Copley Plaza The Falls Landing – Brevard, NC Flat Rock Playhouse Julia Fosson Gary Fowler Francis Marion Hotel The Gibbes Museum of Art Jug Gerard and Tine Liegerot Grapevine Distributors Greenville Symphony Orchestra The Hampton Inn – Brevard Headwaters Outfitters High Museum of Art – Atlanta Holiday Inn Express – Brevard Hominy Grill Pat and John Howard/ Sargent’s Fine Catering Corey Hunt Carpentry and More Whitfield Jack Jennings Building Supply Alex Jerome Phillip Jerome Killer Bees Honey Larrimor's Shellie Lewis Lilly T's Clothing Keith Lockhart and the Boston Pops Orchestra Love's Jewelry Main Street Ltd Marco Trattoria Magpie Meat and Three Marie Miller Bianca Mitchell

Moose Tracks Ruby Morgan Rosalie Morris Kathy Palmer, Rita Hayes, Wendy Jones and Mountain Chamber Players Mountain Song Festival Mud Dabbers New Leaf Garden Market John Nichols and The Nichols Company North Carolina Arboretum O.P. Taylor's Opera Carolina Pad Thai The Pavilion at Key Falls Inn PARI Andrew Parker The Peace Center Helen Peery Donna and Walter Pendergrast The Phoenix and The Fox Glenn Saverio Pirro The Pops Kitchen Dilshad and Jason Posnock The Proper Pot Quality Services Quality Textile Services RBC Wealth Management of Asheville, NC Red House Inn Rockin’ Bowl Brevard Rocky's Grill Roess Mechanical HVAC Karen Rosenbaum Robert and Janie Sargent Sassy Goose Serpentarium Magic

Southern Comfort Records Station 114 The Square Root Sycamore Cycles Spero Theros Woody Platt and Steep Canyon Rangers Theophilus Mike Tiddy Melba and Mike Tracy The Transylvania Times Tree Dog Fly Fishing Douglas Weeks Harry Weinhofer The Westin Poinsett – Greenville, SC Richie Wilkinson *As of April 30, 2017

AUCTION COMMITTEE Tine Liegerot Janie Sargent Linda and John Sarpy Linda Thompson Special thanks to: Bold Rock Hard Cider BP Solutions Brevard Music Center Association Broad Street Wines Geraldine Dinkins Marco Trattoria Mark Marvell Darron Meares/Meares and Associates Oskar Blues Brewery Harry Weinhofer

CHALLENGE AMONG FRIENDS

A CHALLENGE AMONG FRIENDS ENSURING THE FUTURE OF OUR CAMPUS, PROGRAMS, AND MISSION Nearly 200 Music Center friends, patrons, supporters, BMCA volunteers, alumni, faculty, current and former Trustees, staff, private foundations, and government sources have participated to date in this initiative to restore and rejuvenate structures across our 180-acre campus. As Brevard Music Center strives to attract the most talented student musicians from across the country and around the world, and provides a life-transforming experience, it is essential that we offer facilities to match. While A Challenge Among Friends has enjoyed success, there is still much to accomplish … and many ways to help.

Photo: Platt Architecture, P.A.

The Brevard Music Center’s Challenge Among Friends–an effort to secure funding to support critical and necessary campus improvements–has made significant progress in a relatively short time. The results: $4.3 million in commitments that have touched nearly 70 facilities and structures. These buildings include the acclaimed acoustic renovation and treatment at Whittington-Pfohl Auditorium debuted in 2016, as well as a new student practice facility, new student housing, and long-awaited repairs and restoration of Straus Auditorium. All improvements are in place for the start of our 2017 Summer Festival.

Please consider joining the friends below who have already made their commitments to this important effort. Our staff can discuss with you convenient and comfortable options to participate, including pledges payable over several years. For $20,000, you can sponsor a room in new student housing. For $50,000 or more (depending on the project), you can name student or faculty housing in need of repair. Your investment–at any level–in the ambition and drive of our students, will help to ensure that our campus, programs, and mission, as well as the future of classical music, are secure. To learn how you can help, please contact Dave Perrett in the Music Center’s Development Office at (828) 862-2121 or dperrett@brevardmusic.org.

Brevard Music Center is grateful to these friends listed below – and all others who have contributed to date* – whose commitments to “A Challenge Among Friends” will help ensure its success. $250,000+

Patty and Malcolm Brown The Cannon Foundation William R. Hackney III Gail L. and William S. Hagler Foundation Nancy Crow Trentini Bill and Betsy White

$100,000+

Doug and Sally Bailey Emily and Doug Booth T. Kenneth Cribb, Jr. Yvonne and Charlie Goldsmith Dr. Falls L. Harris Dr. Ruby Morgan Laurie and Douglas Ombres Linda and John Sarpy Carole and Arthur Schreiber

$50,000+

Dr. and Mrs. Bruce Berryhill Tom and Betsy Bolton City of Brevard Kristine and John Candler Dan and Jane Carter Claudia and Henry Colvin Eugenia and Robert Dowdeswell A.S. Fendler Family Foundation Helen C. Gift Vivian S. Hoeppner

John and Barbara Lawless Katie Loeb-Schwab and Mark Schwab Bob and Inez Parsell Donna and Frank Patton Brian Robinson Patricia R. Webb

$25,000+

Nancy C. Albyn Anonymous Brevard Music Center Administrative Staff Martha and Walter Coursey Frederick B. Dent George W. Howell, Jr. Martha Rivers Ingram Carlene S. Jerome Patti and Phillip Jerome Johnson Building Supply Emiley and Keith Lockhart Neil and Rosalie Morris Helen and Walt Peery Donna Reyburn and Michael Griffith Dr. James T. and Valeria B. Robertson Transylvania County Joe R. and Joella F. Utley Foundation Harriet Hutchinson and Kenneth Wallace Walls Dr. Charles and Teena Ellen Weiss Miller Williams

$10,000+

Anonymous Arcadia Foundation Bruce D. Chadbourne Chuck and Edie Dunn Mary and Jan Dryselius The Glass Foundation Doug and Sue Henderson Chris and Harriet Lewis Joel Reynolds, In Honor of Minnie Kent Biggs – “We Are Eighty” Michelle and Robby Russell Moore-Blanchard Funerals & Cremations, and Cathleen Blanchard Eleanor and Bert Schweigaard-Olsen Carol and Jim Smeaton Alice Smyth Mark Weinstein and Susanne Marsee Sybil and James O. Wells Neil Williams Family

$5,000+

Lucille and Peter Chaveas Dr. J. Murray and Jerusha Barnum Fadial Nancy Hicks Retha and Ross Lynch Reed and Jack Parker Mary Ellen and Jeff Pendergrast June and Edwin Salvesen Gayle and Dennis Winchester

$1,000+

Susan Barber Susan Harrington Butts and Tim Butts Bena and George Cates Ann and Steve Cohen Kate and Chuck Gass Elaine Knight Debra and Allen Haas Bill and Gerri Hambley Sandy and John Harrington Sandi and Peter Heckman Gerda Moore Kahn Betty and Roger Lamberton Mr. and Mrs. G. William Lohr, Jr. Harry and Sande McCauley Jack Millstein Janice Murray Vivian and Ron Rogers Penny and Jim Roubion Marshall L. Seymour Betty and Maurice Sponcler Martha Washington Straus and Harry H. Straus Foundation Jim and Caroline Sullivan Linda and Ron Thompson Melba and Mike Tracy Beverley and James Whitten Jan and Beattie Wood * Represents commitments received through April 30, 2017

2017 Summer Institute & Festival

BREVARD MUSIC CENTER

HOMECOMING Keith Lockhart's summers by the lake

n June 4, 2012, conductor Keith Lockhart stood in a tuxedo and tails before the royal family and a crowd of hundreds of thousands of excited Brits to lead the BBC Concert Orchestra in a concert celebrating the Queen’s Diamond Jubilee. A few weeks later, the scene was much different as a t-shirt clad Lockhart walked into an open-air auditorium in the mountains of North Carolina to rehearse an orchestra comprised of some of America’s most talented young musicians.

When Lockhart reminisces, he still refers to himself as a camper. “In those days, Brevard Music Center was still very much a music camp.”

Students come from points across the country and around the globe to study music with celebrated faculty artists at the Brevard Music Center. For the past decade, this is where the globe-trotting Lockhart has spent his summers. In the truest sense, it is a homecoming. For it’s on this picturesque 180-acre campus that the conductor’s musical education–and his lifelong love affair with classical music–began.

“I drank deeply from everything they had to offer,” he says.

Lockhart's grandparents, who moved to Brevard in 1968, took the Poughkeepsie, New York native to his first concert at Brevard Music Center when he was nine. These family visits to the mountains with their promise of music became a defining chapter of Lockhart's childhood. It was a particular thrill when he became a student at the Center in the summer of 1974.

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Over two consecutive summers, the young future-conductor studied piano, clarinet, and sang with the chorus. It may have been rustic at Brevard then, but that didn’t matter. The Music Center left an indelible impression.

Higher education and a series of career moves took Lockhart away from the mountains. A music degree from Furman University and graduate work at Carnegie Mellon. A conducting fellowship at the Los Angeles Philharmonic Institute. A faculty position at Carnegie Mellon, and conducting posts in Pittsburgh and Akron, Ohio. Eventually, all this led to an associate conductor post for the Cincinnati Symphony and Cincinnati Pops orchestras, as well as to his first professional leadership role with the Cincinnati Chamber Orchestra. It was then that Lockhart met John Candler, then CEO of Brevard Music Center. Lockhart spoke warmly of his own summers at Brevard. Candler convinced him to come back as a guest conductor. Even as

HOMECOMING

“To hear and perform this music is to touch the sublime,” says Lockhart. “Each successive generation of young people that picks up an instrument and captures the imagination of an audience ensures that it will not just endure, but thrive.” his career skyrocketed, taking the helm at the Boston Pops in 1995, Brevard stayed an integral part of Lockhart’s life. And in 2007, thirty-two years after his last summer as a camper, Lockhart stepped into the role of Artistic Director of Brevard Music Center. There are many notable summer music festivals in the U.S. and abroad where young talent is nurtured, some very well known, many of them brimming with talented young musicians. But few possess such a unique list of attributes. With its inspiring setting, world-class instruction and deep-rooted musical traditions, Brevard Music Center offers a near perfect environment to cultivate musical excellence. “Brevard is wonderfully under the radar,” says Lockhart. “It’s small and tight-knit compared to other programs, which creates a very intimate learning environment. Our students don’t just sit and watch, they perform with their teachers and side-by-side with their mentors.” A stroll around campus confirms this sense of musical community. Internationally celebrated musicians and special guests room in rustic cabins and take their meals in the dining hall alongside college professors, graduate students, and fifteenyear-old violinists in hoodies and cut offs. Recent visiting artists have included Yo-Yo Ma, Renée Fleming, Itzhak Perlman, and Joshua Bell. Beloved guest conductors, including JoAnne Falletta, Grant Llewellyn, and Matthias Bamert are inspired to return again and again. The number of former students who have enthusiastically returned to Brevard to take summer faculty positions speaks volumes about the way people feel about the place. “There is nowhere else quite like it,” says Lockhart. “It’s not stuffy or formal, and we’re not a ‘tech school.’ We strive, very simply, to provide a place for talented young people with a love of music and a passion for performance. The education we offer is geared not just toward the next generation of working musicians but towards the passionate advocacy of their audiences.” The music world of 2017 is a very different place than it was during Mozart’s time. But Brevard’s young cellists rehearsing by the lake seem unperturbed by the relative lack of popularity of the Viennese masters with the new Facebook generation. Lockhart notes that pundits have been predicting classical music’s death in this country for over a century. And to paraphrase Mark Twain, reports of its demise have been greatly exaggerated.

Keith Lockhart as a student at BMC (far left) “To hear and perform this music is to touch the sublime,” says Lockhart. “Each successive generation of young people that picks up an instrument and captures the imagination of an audience ensures that it will not just endure, but thrive.” Brevard Music Center stages more than eighty performances over a seven- to ten-week summer season in a number of venues, including the wonderful open-air Whittington-Pfohl Auditorium on the Brevard campus. The natural scenery provides a spectacular backdrop. Each summer, 40,000 patrons come for the orchestral concerts, operas, and chamber performances. They are long-time classical music connoisseurs with season tickets. They are tourists just in town for the weekend, sometimes sitting on the grass and hearing Mahler’s Third for the very first time. On a cool summer evening in the mountains of western North Carolina, the casually dressed, internationally celebrated conductor listens as a group of high school and college students launch into Mozart as the moon rises. They are among America’s brightest young talents. Many of them will follow the path of other alumni, playing in major symphony orchestras in North America and abroad. He smiles. “It is my belief that their passion will inspire audiences just as they have all inspired and will continue to inspire me.” Seasoned professional that he is, Lockhart looks the picture of ease conducting the Boston Pops and performing in front of the Queen of England. But here, underneath a dome of stars in the mountains of North Carolina, Keith Lockhart looks, more than anything, to be right at home.

2017 Summer Institute & Festival

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CMU & Brevard Music Center Faculty:

Neal Bernsten

Trumpet, Pittsburgh Symphony Orchestra

WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE music.cmu.edu | Application Deadline: December 1 2017 Summer Institute & Festival

BREVARD MUSIC CENTER

KURT WEILL AT THE 2017 BREVARD FESTIVAL By Kim H. Kowalke, President & CEO, Kurt Weill Foundation for Music

On the Sunday following Weill’s untimely death at age fifty in April 1950, composer-critic Virgil Thomson declared in his obituary tribute: “Everything Weill wrote became in one way or another historic. He was probably the most original single workman in the whole musical theater, internationally considered, during the last quarter century. Every work was a new model, a new shape, a new solution of dramatic problems.” Yet, already a decade earlier critics had invented the notion of “two Weills” in an attempt to explain away the pervasive dichotomies of his career: one European, the other American; one German, the other Jewish; one with Brecht, the other without; one a high modernist, the other an unrepentant populist; the one a rival of Paul Hindemith, the other an innovative competitor of Richard Rodgers; the one a composer of absolute music, the other a politically engaged theater musician who believed the concert hall to be a museum. Weill’s diverse output and multi-faceted artistic identity prompted Harold Clurman to suggest that the composer was “all theater, all mask”: “he could write music in any country so that it would seem as if he were a native.” And Clurman did not intend this chameleon-like characterization as a compliment. For the next half century Weill’s bifurcated output seemed to demand that people choose up sides, to advocate for either Berlin or Broadway, Brecht or Whitman, as if you really had to make such a choice, favoring the European or American Weill, whose career was almost precisely bisected into two 15-year segments by relocation across the Atlantic Ocean. Ironically, four months before he died, Weill himself was asked the question, “What makes Weill Weill?” The occasion was “Opera News on the Air,” an intermission feature for a radio broadcast of the Metropolitan Opera’s production of Puccini’s Manon Lescaut. After host Boris Goldovsky and Weill had discussed “what made Puccini Puccini,” Weill responded to the same question about his own work: “I seem to have a very strong reaction in the awareness of the suffering of underprivileged people, of the repressed, the persecuted. So I can see in retrospect that when my music involves human suffering, it is, for better or worse, pure Weill.” Indeed, it may well be that it is compassion for humanity and its inverse, condemnation of the inhumane, which makes Weill’s artistic legacy so compelling in our world today. The old aesthetic debates pitting one Weill against another seem hollow echoes as the ethical/political ones swirling around the globe suggest that his work has never been more relevant and essential. The 2017 Brevard Festival features what might be called a "festival within a festival" exploring throughout the season the diverse legacy of Kurt Weill. Its centerpiece will be a fully staged production of his "Broadway opera" Street Scene (1947), which Weill predicted would be remembered 75 years after his death as his greatest work. A concert performance of The Seven Deadly Sins (1933) and "Kurt Weill on Broadway" will explore "Kurt Weill's America" from two very different perspectives. An original cabaret "Change the World, It Needs It" will demonstrate how timely Weill, Brecht, and Blitzstein's works remain. The mini-festival will also include film showings, a symposium, as well as chamber music and, of course, the classic "Little Threepenny Music." With the support of grants from the NEH and sponsorship of the Kurt Weill Foundation for Music, the Brevard Festival will formulate its own response to "What Makes Weill Weill?"

KURT WEILL BIO

The son of a cantor, Kurt Weill (1900-1950) was born and raised in Dessau, Germany. At 18, he went to Berlin as a student at the Hochschule der Musik. After a few months' study with Engelbert Humperdinck, he enrolled in a three-year course of study in a master class with Ferruccio Busoni at the Akademie der Künste. By the end of 1923, he already had five concert works performed by major institutions, including the Berlin Philharmonic. A difficult but popular violin concerto and his first opera, The Protagonist (1926) cemented his standing as a leading voice of his generation. Through Kaiser, Weill met the actress Lotte Lenya in Berlin in 1924, and they married in January 1926. The desire to create "freer, lighter, and simpler" music grew on him. Early operas show the influence of jazz and popular music. He began working with Bertolt Brecht in the spring of 1927, setting the five "Mahagonny" poems as a Songspiel. The Threepenny Opera and Rise and Fall of the City of Mahagonny earned him recognition as the outstanding theatrical composer of his time. Other works with Brecht include Happy End (1929), The Lindbergh Flight (1929), and The Yes-Sayer (1930). Hitler's accession to power in 1933 forced Weill to leave Germany, never to return. He spent two frustrating years in Paris, finding little sympathy for his new compositions. His work on The Eternal Road (1937) brought him to the U.S. in September 1935. When Max Reinhardt’s huge production was repeatedly postponed, Weill decided to remain in the U.S. On the heels of Knickerbocker Holiday (1938), Weill soon had two major successes on Broadway: Lady in the Dark (1941) and One Touch of Venus (1943). His most influential works for Broadway were probably the “Broadway opera” Street Scene (1947) and Love Life (1948), the precursor of the “concept musical.” These shows influenced the likes of Menotti, Blitzstein, Bernstein, Fosse, Sondheim, Prince, and Kander & Ebb, among others. The daring musical tragedy about apartheid in South Africa and, by extrapolation, segregation in America, Lost in the Stars (1949), was still running when Weill died of cardiac arrest at age 50. In his obituary, Virgil Thomson declared Weill the “single most original workman in the musical theater, internationally considered, of the quarter century from 1925 to 1950."

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KURT WEILL FESTIVAL

AN EXPLORATION OF THE LIFE AND MUSIC OF KURT WEILL

Brevard Music Center, Summer 2017 JUNE

25 JULY

JULY

10 JULY

10-12

MUCH ADO ABOUT LOVE: A SUITE OF DANCES FROM THE FIREBRAND OF FLORENCE

WEILL & SCHOENBERG: FROM BERLIN TO HOLLYWOOD Brevard’s artist faculty and guests explore the personal and professional journeys of two of the 20th Century’s groundbreaking composers.

"CHANGE THE WORLD, IT NEEDS IT", A WEILL/ BRECHT/BLITZSTEIN CABARET (developed by Joe Horowitz and Kim Kowalke) A multi-media event mixing audio/ video with live performance to tell the story of Kurt Weill, Bertolt Brecht, and Marc Blitzstein as it relates to their efforts to create art with a social conscience.

Photo courtesy of the Weill-Lenya Research Center, Kurt Weill Foundation for Music, New York.

JULY

CHAMBER MUSIC OF KURT WEILL

An all-Weill chamber music concert featuring BMC artist faculty in a program of instrumental and vocal music from Weill’s earlier European period.

JULY

KURT WEILL SYMPOSIUM A series of lectures, panel discussions, and book-readings featuring renowned Kurt Weill scholars from across the country. Curated by Kim Kowalke, President & CEO of the Kurt Weill Foundation for Music, the three-day gathering will address the most current topics and issues in today’s Kurt Weill scholarship.

PHOENIX Christian Schulz/Schrammfilm/Christian Schulz

JULY

STREET SCENE

Keith Lockhart leads the Brevard Sinfonia on opening weekend to kick off our season-long exploration of the works of Kurt Weill.

MOVIE SCREENING – PHOENIX

Join us for a free screening of the German drama Phoenix. Set in the aftermath of WWII, this critically acclaimed film centrally features Kurt Weill’s hit song, “Speak Low” from One Touch of Venus.

27-29 AUG

KURT WEILL ON BROADWAY Brevard Festival Orchestra, led by Keith Lockhart, featuring soprano Lisa Vroman and students of the Janiec Opera Company.

STREET SCENE Performances of Kurt Weill’s Tony Award-winning Broadway Hit

KLEINE DREIGROSCHENMUSIK (1929) Brevard Symphonic Winds performs the suite from Weill’s beloved Threepenny Opera arranged for wind orchestra by Weill himself.

The Kurt Weill Foundation, Inc. promotes and perpetuates the legacies of Kurt Weill and Lotte Lenya by encouraging an appreciation of Weill’s music through support of performances, recordings, and scholarship, and by fostering an understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts. It administers the Weill-Lenya Research Center, a Grant and Sponsorship Program, the Lotte Lenya Competition, the Kurt Weill/Julius Rudel Conducting Fellowship, the Kurt Weill Prize for scholarship in music theater, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter. Building upon the legacies of both Weill and Lenya, the Foundation nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Since 2012, the Kurt Weill Foundation has administered the musical and literary estate of composer Marc Blitzstein. www.kwf.org. “Music Unwound” is a national consortium of orchestras, universities, and music festivals engaged in cross-disciplinary programing and pedagogy, and is supported by the National Endowment for the Humanities. Brevard’s previous Music Unwound festival was last summer’s “Dvorak and America.” Future projects include “Copland and Mexico” and a program celebrating the legacy of Leonard Bernstein.

2017 Summer Institute & Festival

ga n Du ’s

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Brevard, NC

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Join us for lunch, an early dinner, a late night snack, and a pint! Close regular Dinner Menu at 10pm. Late night menu until closing!

Proud Supporter of the Arts in Transylvania County & the Brevard Music Center

DINE IN OR TAKE OUT

Stop by our office outside the Main Gate of Connestee Falls

“Let Let the Music PLay On”

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great food ~ warm people ~ good times

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(6 miles S of Brevard)

2017 Summer Institute & Festival

ARTIST FACU LTY

BREVARD MUSIC CENTER ROBERT ALDRIDGE has written more than 80 works for orchestra, opera, musictheater, dance, string quartet, solo, and chamber ensembles. He has received numerous fellowships and awards for his music from institutions including the Guggenheim Foundation and the NEA. Aldridge received the 2012 Grammy for Best Contemporary Classical Composition for his opera, Elmer Gantry. He is currently Director/Chair of the Music Department at Mason Gross School of the Arts, Rutgers University. Violinist MARJORIE BAGLEY made her Lincoln Center concerto debut in 1997 and has since been active throughout the world as a recitalist, chamber musician, and teacher. Ms. Bagley holds degrees from the University of Michigan and the Manhattan School of Music, where she graduated in the first class of Pinchas Zukerman. Currently, Ms. Bagley is Professor of Violin at the University of North Carolina Greensboro and is Principal Second Violin of the ProMusica Chamber Orchestra.

SUE BARBER serves as Professor of Bassoon, Chair of the Woodwind Area, and member of the Montpelier Wind Quintet at James Madison University. Dr. Barber is an active performer and clinician, presenting workshops and recitals throughout the United States. She has previously held positions with the Baton Rouge Symphony, The Hartford Symphony, The Connecticut Opera, Sarasota Opera, Orquesta Sinfonica de Galicia, and the Soni Fidelis Woodwind Quintet.

JONATHAN CARNEY is Concertmaster of the Baltimore Symphony Orchestra, after serving 12 seasons in the same position with London's Royal Philharmonic Orchestra. Born in New Jersey, Mr. Carney hails from a musical family with all six members having graduated from The Juilliard School. After completing his studies with Ivan Galamian and Christine Dethier, he was awarded a Leverhulme Fellowship to continue his studies in London at the Royal College of Music. Mr. Carney is passionate about music education and currently serves as artistic advisor for the Maryland Classic Youth Orchestras and is on the board of the Baltimore School for the Arts. Bassist KEVIN CASSEDAY is a member of the Jacksonville Symphony Orchestra and teaches bass at the University of Florida. Mr. Casseday holds degrees from Indiana University, and has studied with Stuart Sankey, Eugene Levinson, and Edgar Meyer. As a composer, he has written music for solo bass, chamber ensembles with bass, and a book of technical exercises written to help players of all levels maintain a relaxed technique.

section of the Pittsburgh Symphony in 1997, after previously serving as a member of the Chicago Lyric Opera and the Grant Park Symphony. Mr. Berntsen teaches at Carnegie Mellon University and has presented masterclasses and recitals around the world. Mr. Berntsen holds degrees from the University of Puget Sound and Northwestern University, and has studied with Adolph Herseth, Vincent Cichowicz, and Manuel Laureano.

Pianist JIHYE CHANG is the First Prize recipient of the Mikhashoff Pianist-Composer Competition and has appeared as soloist and collaborative artist in venues throughout North and South America, Europe, and Asia. An avid performer of new music, Chang has also recorded for Albany, Sony/ BMG Korea, and Sony Music Korea. She holds degrees from Indiana University and Seoul National University. Dr. Chang currently serves on the faculty of the Nuevo Mundo Festival and Academy and Florida State University.

EMILY BREBACH , a native of Philadelphia, joined the Atlanta Symphony as English horn and oboe in the fall of 2012. Prior to joining the ASO, Ms. Brebach held the position of English horn and oboe with the Sarasota Orchestra. She has also performed with the Boston Symphony, Minnesota Orchestra, Houston Symphony, and Kansas City Symphony. Ms. Brebach holds degrees from Oberlin Conservatory and Rice University, and has studied with Louis Rosenblatt, James Caldwell, Robert Atherholt, and Robert Walters.

Cellist SUSANNAH CHAPMAN is well established as a chamber musician, soloist, and performer in leading chamber orchestras. She performed the entire 2012-13 season with the New York Philharmonic, has played principal cello in the Oregon Bach Festival and the Mostly Mozart Festival Orchestra, is a former member of the Saint Paul Chamber Orchestra, and currently performs regularly with the Orpheus Chamber Orchestra. Ms. Chapman holds a DMA from SUNY Stony Brook, and teaches at Sarah Lawrence College, Kean University, Princeton University, and Rutgers University.

NEAL BERNTSEN joined the trumpet

Bassist CRAIG BROWN is a member of the North Carolina Symphony and serves on the faculty at the University of North Carolina at Greensboro. He has been Principal Bass in the Des Moines Metro Opera Orchestra, and has been a member of the Toledo Symphony. Mr. Brown is an active chamber musician, has taught at Indiana University, and has also been a bass clinician for the American String Teachers Association.

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ARTIST FACU LTY

ARTIST FACULTY Pianist MICHAEL CHERTOCK serves as Chair of the Keyboard Division at the University of Cincinnati, College-Conservatory of Music, and also as Keyboardist of the Cincinnati Symphony. He has appeared as a soloist with orchestras worldwide, and collaborated with conductors such as James Conlon, Jaime Laredo, Keith Lockhart, Erich Kunzel, and Andrew Litton. Mr. Chertock has won awards at major competitions including the Joanna Hodges International Piano Competition, the St. Charles International Piano Competition, and the World Piano Competition of the American Music Scholarship Association.

JAY CHRISTY is Assistant Principal Second Violinist of the Atlanta Symphony Orchestra. He has performed with the Cleveland Orchestra, the National Symphony, the Pittsburgh Symphony, the Minnesota Orchestra, and the Grand Teton Music Festival. An active teacher and coach in the metropolitan Atlanta area, he is an Artist Affiliate at Emory University, and has been on the faculty of Reinhardt College and Covenant College. Mr. Christy holds degrees from The Cleveland Institute of Music and Indiana University.

STEVE COHEN is Professor of Clarinet at Northwestern University. He performs regularly with the Chicago Symphony and the Chicago Lyric Opera. He is the former Principal Clarinet of the New Orleans Symphony, and previously served on the faculties of Cincinnati CollegeConservatory of Music and the Louisiana State University. Mr. Cohen holds degrees from the Oberlin Conservatory and his teachers have included Loren Kitt, Larry McDonald, Karl Leister, and Robert Marcellus.

DAVID COUCHERON joined the Atlanta Symphony Orchestra as concertmaster in September 2010. He has been a soloist with the BBC, Sendai, and Trondheim Symphony Orchestras as well given solo recitals in concert halls around the world. Mr. Coucheron is the featured soloist on the Atlanta Symphony Orchestra’s recording of Vaughan William’s The Lark Ascending. He holds degrees from The Curtis Institute of Music, The Juilliard School, and the Guildhall School. Hornist HAZEL DEAN DAVIS currently resides in Boston, where she frequently performs with the Boston Symphony and Pops and the Grammy-nominated chamber orchestra A Far Cry, as well the San Francisco Symphony and Cincinnati Symphony. She previously played second and fourth horn with the Virginia Symphony Orchestra, and has spent past summers at Aspen, Tanglewood, Pacific Music Festival, and Marlboro. She holds degrees from The Juilliard School and Harvard University where she studied with Julie Landsman and James Sommerville.

RICHARD DEANE is Associate Principal Horn of the New York Philharmonic, and teaches at the Manhattan School of Music and Rutgers University. Previously, he was the Third Horn of the Atlanta Symphony Orchestra, and played Principal Horn with the Colorado Philharmonic and the Concerto Soloists of Philadelphia. Mr. Dean holds degrees from The Juilliard School and the Cincinnati CollegeConservatory of Music, and was first prize winner in the American Horn Competition in 1987. GWENDOLYN DEASE is currently Associate Professor of Percussion at the Michigan State University College of Music. She maintains a career as an active solo, chamber, and orchestral musician, performing throughout the United States, Asia and South America. Dease has studied with worldrenowned professors Robert van Sice, Keiko Abe, and John Beck. She holds degrees from the Interlochen Arts Academy, Eastman School of Music, Peabody Conservatory, and Yale School of Music. DAVID DZUBAY is Chair of the Composition Department and Director of the New Music Ensemble at the Indiana University Jacobs School of Music. His music has been performed by orchestras, ensembles, and soloists throughout North America, Europe, and Asia, and has been recorded on the Sony, Bridge, and Naxos labels. Recent honors include Guggenheim and MacDowell fellowships, a 2011 Arts and Letters Award, and the 2010 Heckscher Prize. ERIKA ECKERT is Associate Professor of Viola at University of Colorado Boulder. As co-founder of the Cavani Quartet, she performed worldwide and garnered an impressive list of awards and prizes. Ms. Eckert performs frequently as guest-violist with the Takács Quartet. She also served as adjudicator for the NFAA Arts Recognition and Talent Search, the exclusive nominating agency for the Presidential Scholars in the Arts, and appeared in their Academy Nominated Documentary, Rehearsing a Dream. JOSEPH EVANS has appeared as leading tenor at opera houses around the world including La Scala, English National Opera, La Fenice, and the New York City Opera. Concert appearances include performances with the New York Philharmonic, the Cleveland Orchestra, the Atlanta Symphony, the Tokyo Philharmonic, the Orchestre L’Ile de France, and the Radio-Symphonie Orchester of Berlin. Mr. Evans is Professor of Voice and Division Chair of Voice Studies at the University of Houston Moores School of Music. 2017 Summer Institute & Festival

Discover Downtown Brevard

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2017 Summer Institute & Festival

ARTIST FACU LTY

BREVARD MUSIC CENTER Violist RALPH FIELDING serves as Distinguished Artist-in-Residence at the Lynn University Conservatory of Music and previously was on the faculty of the University of Southern California. He has presented master classes at renowned institutions across the country, and performed as a member of the Utah Symphony and Los Angeles Philharmonic Orchestra. In addition to his classical work, Mr. Fielding has played for dozens of film and TV scores and sound recordings. Mr. Fielding holds a B.A., M.M. and M.B.A. from Yale University.

AUBREY FOARD is Principal Tubist of the Charlotte Symphony Orchestra and Professor of Tuba at the University of California, Los Angeles (UCLA). He also serves as Principal Tubist of the Britt Festival Orchestra and the Santa Barbara Symphony. He has performed with the Los Angeles Philharmonic, The Cleveland Orchestra, as acting Principal tubist of the San Diego Symphony, and as a soloist with several orchestras and chamber ensembles.

ELIZABETH FREIMUTH is the principal horn of the Cincinnati Symphony and Pops Orchestras. Before joining the CSO, Elizabeth was Principal Horn of the San Francisco Ballet Orchestra and the Kansas City Symphony, and Assistant Principal Horn of the Colorado Symphony. Ms. Freimuth serves as Adjunct Horn faculty at the University of Cincinnati's College Conservatory of Music. She holds degrees from Eastman and Rice University, where her teachers included Verne Reynolds, W. Peter Kurau, and William VerMeulen. ERIC GINSBERG is Professor of Clarinet at Western Illinois University and clarinetist of the Camerata Woodwind Quintet. He has performed with the New York City Ballet, the Brooklyn Philharmonic, the Pittsburgh Opera Orchestra, and the Omaha Symphony Orchestra. Mr. Ginsberg studied with Kalmen Opperman and with Stanley Drucker at Juilliard, where he received both his bachelor’s and master’s degrees.

DAVID GRESHAM currently serves as Director of Choral Activities at Brevard College as well as Artistic Director and Conductor of the Transylvania Choral Society and Minister of Music at the Lutheran Church of the Good Shepherd. He is President of the North Carolina chapter of the National Association of Techers of Singing. In addition to his conducting, Dr. Gresham is a singer and studio teacher and has been most active as an oratorio soloist and recitalist.

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ADAM HOLZMAN is founder of the Guitar Department at the University of Texas at Austin's Butler School of Music. He has appeared at renowned concert halls across the country and worldwide. Mr. Holzman's commitment to new music has led him to commissions and premiers by composers such as Samuel Adler, Robert Helps, Roland Dyens, and Stephen Funk Pearson. Mr. Holzman studied at Florida State University and was chosen twice to perform in the historic master classes of the legendary Andres Segovia. Violinist CAROLYN HUEBL is in demand as a soloist, chamber musician, and orchestral leader, winning critical acclaim throughout the United States, Canada, and South America. Formerly Assistant Principal Second Violin with the Pittsburgh Symphony Orchestra, she often appears as concertmaster with the IRIS Chamber Orchestra. She has previously taught at Carnegie Mellon University, and is currently Associate Professor of Violin at the Blair School of Music at Vanderbilt University.

DAVID JACKSON , Associate Professor of Trombone at the University of Michigan School of Music, enjoys an active career as a performer and teacher. He is a member of the Detroit Chamber Winds and Chicago’s Fulcrum Point New Music Project. He has performed with orchestras throughout the United States including the Detroit Symphony, Dallas Symphony, and Chicago Symphony. Mr. Jackson is a Conn-Selmer artist and clinician. BENJAMIN KARP is Professor of Cello and Director of Chamber Music at the University of Kentucky School of Music, and is the Principal Cello of the Lexington Philharmonic. He has served on the faculty at Indiana University and frequently performs with the Cincinnati Symphony. Mr. Karp received his MM degree from Indiana University, where he was a student of Janos Starker and Gary Hoffman, and a BA in Philosophy from Yale University, where he studied with Aldo Parisot. Violinist MARGARET KARP is Lecturer in Violin and Viola at the University of Kentucky School of Music. She is Assistant Concertmaster of the Lexington Philharmonic Orchestra, and was previously Principal Second Violin of the Florida Orchestra and the Sarasota Opera, and a member of the Philharmonia da Camera in Dortmund, Germany. Ms. Karp has performed in chamber music festivals throughout the U.S., and was a student of James Buswell at Indiana University. Ms. Karp was named Outstanding Educator of 2015 by the Kentucky chapter of ASTA.

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ARTIST FACULTY Violinist DAVID KIM was named Concertmaster of The Philadelphia Orchestra in 1999. He was a student of the famed pedagogue Dorothy DeLay, and has bachelor's and master's degrees from The Juilliard School. Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. Mr. Kim has been awarded honorary doctorates from Eastern University, the University of Rhode Island, and Dickinson College.

ALLEGRA LILLY is Principal Harpist of the St. Louis Symphony and has also appeared with the New York Philharmonic, the Boston, Chicago, Pittsburgh, Toronto, and Charlotte Symphonies, the Boston Pops and Boston Pops Esplanade Orchestras, the All-Star Orchestra, and the St. Paul Chamber Orchestra. Ms. Lilly made her solo debut at the age of 12 with the Detroit Symphony, and has since appeared as soloist with the St. Louis Symphony, Juilliard Orchestra, National Repertory Orchestra, and International Symphony.

Violist JENNIFER SNYDER KOZOROZ regularly performs with the Milwaukee Symphony, and has appeared with the Columbus Symphony, ProMusica Chamber Orchestra, The Ritz Chamber Players, Virginia Chamber Players, The Arcas String Quartet, and Manhattan Virtuosi. Previously, Ms. Kozoroz has been the Assistant Principal Viola of the Virginia Symphony and violist of the Harrington String Quartet. She completed her high school studies at Interlochen Arts Academy and went on to earn degrees from Ohio State University and The Juilliard School.

A sought-after accompanist and chamber musician, pianist DELOISE LIMA has performed extensively throughout Brazil, Europe, and South America with many recognized singers and instrumentalists. She holds degrees from the School of Music and Fine Arts of Parana, the Trinity College of Music, the Royal College of Music, University of Notre Dame, and Florida State University. Ms. Lima is currently Assistant Professor of Collaborative Piano at Florida State University and Principal Keyboard of the Tallahassee Symphony.

Pianist NORMAN KRIEGER is Professor of Piano at the Indiana University Jacobs School of Music. He regularly appears as recital and concerto soloist across the United States, Europe, and Asia. Mr. Krieger has studied with Adele Marcus, Alfred Brendel, Maria Curcio, and Russell Sherman, and holds degrees from The Juilliard School and New England Conservatory. Former Professor of Keyboard Studies at the University of Southern California, Mr. Krieger was named Gold Medal Winner of the first Palm Beach Invitational Piano Competition.

Saxophonist JOSEPH LULLOFF is in demand as a soloist and clinician throughout the United States and abroad, and has worked under many leading conductors as Principal Saxophonist in the St. Louis, Cleveland, and Chicago Symphony Orchestras. A recipient of the Concert Artist Guild and Pro Musicis Awards, and the MSU Distinguished Faculty Award, Mr. Lulloff serves as Professor of Saxophone and Chair of the Woodwinds Area at Michigan State University. Mr. Lulloff is a Yamaha and Vandoren Performing Artist.

Pianist DONNA LEE made her debut in 1990 with the National Symphony Orchestra. She has since appeared as soloist and collaborative artist in Asia, Europe, and throughout the U.S. A student of Julian Martin, Rudolf FirkuĹĄnĂ˝, and Thomas Schumacher, Ms. Lee earned degrees from Peabody Conservatory, The Juilliard School, and University of Maryland. Ms. Lee is a Steinway Artist and is currently Professor of Piano at Kent State University.

WILLIAM LUDWIG is Professor of Bassoon and Chair of the Woodwind Department at Indiana University Jacobs School of Music. Previously he had been Professor of Bassoon at Louisiana State University. Mr. Ludwig has performed as Principal Bassoon with the Baton Rouge Symphony and the Florida Orchestra, and more recently as extra with the Los Angeles Philharmonic. A noted chamber musician, he has performed in a wide variety of settings throughout the United States and Europe. Mr. Ludwig holds degrees from LSU and Yale School of Music.

Eclipse Weekend at BMC: August 18 - 21 Lyle Lovett, movies @ WPA, VIP viewing, accommodations, and more! B R EVAR DM U S I C .O R G / E C LI P S E 36

2017 Summer Institute & Festival

JAC K S O N V I LLE U N I V ER S I T Y

Music Programs PURSUE your passion

LIVE IN THE MUSIC www.kent.edu/music

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The Jacksonville University Music Division provides an array of opportunities and collaborative experiences for students both onstage and off through concerts, recording sessions, chamber music and individual interaction with accomplished, award-winning faculty. Upcoming audition dates are on January 20, February 23, March 23, 2018. Degree programs: • Bachelor of Arts in Music • Bachelor of Music (emphasis in instrumental, vocal, piano, jazz/commercial music, composition) • Bachelor of Music Education • Bachelor of Fine Arts in Musical Theatre • Bachelor of Science in Music Business

Visit www.ju.edu/cfa for more information.

2017 Summer Institute & Festival

ARTIST FACU LTY

BREVARD MUSIC CENTER Cellist ALISTAIR MACRAE has appeared as a soloist, chamber musician, and orchestral principal throughout North America and in Europe, Asia, South America, and the Middle East. He has performed in Carnegie Hall's Zankel and Weill Halls; as a member of Soprello, Puget Sound Piano Trio, Richardson Chamber Players, Fountain Ensemble, and the Berkshire Bach Ensemble; and with the Manhattan Sinfonietta, Suedama Ensemble, and counter)induction. Mr. MacRae is Principal Cello of the Princeton Symphony Orchestra and is the Cordelia Wikarski-Miedel Artist in Residence at the University of Puget Sound.

JANICE MURRAY has performed throughout North America as soloist, accompanist, and chamber player. She currently serves as Rehearsal/ Performance pianist at Miami University (OH), and has been an adjunct faculty member at Brevard College, where she taught piano, music theory, and served as staff accompanist. At the Brevard Music Center, she teaches courses in music theory and keyboard skills, and serves as Music Director of the High School Voice program. CRAIG NIES is Associate Professor of Piano at the Blair School of Music, Vanderbilt University. He has performed and recorded extensively across the U.S. and collaborated with world-renowned ensembles and conductors. His performances have ranged from his work with 10 Pulitzer Prize-winning composers to a recital series of Bach's complete Well-Tempered Clavier. Dr. Nies holds degrees from Curtis, Yale, and SUNY Stony Brook. His teachers have included Mieczyslaw Horszowski, Rudolf Serkin, Claude Frank, Beveridge Webster, and Gilbert Kalish.

ERIC OHLSSON is the Charles O. DeLaney Professor of Music in Oboe at Florida State University, and serves as Principal Oboe of the Tallahassee Symphony and the Palm Beach Opera Orchestra. Mr. Ohlsson was previously Assistant Professor of Oboe and Assistant Director at the University of South Carolina. Mr. Ohlsson holds degrees from The Ohio State University. His teachers have included John Mack, William Baker, and James Caldwell. Flutist DILSHAD POSNOCK, originally from Bombay, India, has appeared in concerts across the U.S., England, and India. She has served as Artist Lecturer in Flute at Carnegie Mellon University, and performed with the Pittsburgh Symphony, and Pittsburgh Opera and Ballet. She holds performance degrees from the Royal College of Music, London, and Carnegie Mellon, where she was a student of Jeanne Baxtresser. Ms. Posnock is currently on the faculty of Brevard College and performs regularly with the Asheville Symphony.

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JASON POSNOCK is Director of Artistic Planning & Educational Programs at the Brevard Music Center, and Concertmaster of the Asheville Symphony Orchestra. He has appeared as soloist, chamber musician, and orchestral principal throughout the United States, U.K., and Asia, and has performed with prominent American ensembles including the Philadelphia Orchestra and Pittsburgh Symphony. He holds the AB degree from Princeton University and graduate degrees from Carnegie Mellon and the Royal College of Music. WILLIAM PREUCIL is Concertmaster of The Cleveland Orchestra and Distinguished Professor of Violin at the Cleveland Institute of Music. Previously, he was first violinist of the Cleveland Quartet. Other concertmaster positions have included the Atlanta, Utah, and Nashville Symphony Orchestras. Mr. Preucil appears frequently as a recitalist, chamber musician, and soloist with orchestras and at major chamber music festivals in the United States and abroad. Internationally known pianist ELISABETH PRIDONOFF taught for over three decades at the University of Cincinnati, College-Conservatory of Music. A graduate of The Juilliard School, she earned MM degrees in piano with Adele Marcus and Sasha Gorodnitzski, and in voice with Hans Heinz and Anna Kaskas. Ms. Pridonoff is a Steinway Artist, and performs internationally with her husband pianist Eugene Pridonoff as the Pridonoff Duo. Violinist TINA RAIMONDI studied music at DePaul University and the University of Minnesota, where she received the Doctor of Musical Arts degree. She currently performs with the Palm Beach Opera Orchestra and The Symphonia Boca Raton. Previously, she was a member of the New World Symphony and the Florida Philharmonic Orchestra. Dr. Raimondi is a registered Suzuki teacher, maintaining a successful private studio and serving as adjunct faculty at Lynn University Conservatory of Music. Violist SCOTT RAWLS has appeared as soloist and chamber musician throughout North America, Japan, and Europe. A champion of new music, Rawls has toured extensively as a member of Steve Reich and Musicians. His recordings can be heard on the Centaur, CRI, Nonesuch, Capstone, and Philips labels. Dr. Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division at the University of North Carolina at Greensboro.

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ARTIST FACULTY Violinist WENDY RAWLS is presently Assistant Concertmaster of the Greensboro Symphony and Concertmaster of the Chamber Orchestra of the Triangle. She has also performed with the North Carolina Symphony and the Charlotte Symphony. Ms. Rawls earned degrees from Ithaca College, New England Conservatory, and Mannes. Her major teachers have included Paul Kantor, Linda Case, and Hiroko Yajima. Ms. Rawls is founder and director of the Gate City Suzuki School in Greensboro, N.C.

SIEGWART REICHWALD is Professor of Music History at Converse College where, in addition to teaching music history, he also conducts the Converse Symphony Orchestra. He holds the BM degree in Organ Performance from the University of South Carolina, as well as a MM degree in Instrumental Conducting and a Ph.D. in Historical Musicology from Florida State University. Dr. Reichwald is the author of The Genesis of Felix Mendelssohnâ&#x20AC;&#x2122;s Paulus, and editor of Mendelssohn in Performance.

CHARLES ROSS is Principal Timpanist of the Rochester Philharmonic and is on the faculty of the Eastman School of Music. A graduate of the Curtis Institute of Music, he has performed as timpanist with many orchestras in the U.S. and abroad, including the Philadelphia Orchestra, La Scala Opera, Baltimore Symphony, Santa Fe Opera, RAI Torino, Chatauqua Festival Orchestra, and the Moscow and Philadelphia Chamber Orchestras. Hornist ROBERT RYDEL is a member of the Charlotte Symphony, performs regularly with the Atlanta and Pittsburgh Symphony Orchestras, and is on the faculty of Winthrop University. He attended the New England Conservatory, where he studied with Richard Mackey of the Boston Symphony. In addition to his playing responsibilities, Mr. Rydel is also a recording engineer, and serves as Brevardâ&#x20AC;&#x2122;s Associate Director of Recording.

2017 Summer Institute & Festival

ARTIST FACU LTY

BREVARD MUSIC CENTER

DAN SATTERWHITE enjoys a versatile career as an orchestral bass trombonist, tubist, and euphonium player. He has performed with ensembles including the Chicago Symphony, Metropolitan Opera Orchestra, and Cincinnati Pops, and has held positions with the Orquesta Sinfonica de Asturias and the Orquesta Filarmonica de Santiago. Mr. Satterwhite is currently Assistant Professor of Trombone at Lynn University and serves as bass trombonist of the Florida Grand Opera Orchestra.

GREG SIMON, Assistant Professor of Composition at University of Nebraska, is a composer and jazz trumpeter whose music draws its inspiration from jazz, funk, Balinese Gamelan, abstract expressionism, Chilean folk song, and a thousand ever-changing fascinations. Greg has studied composition with Evan Chambers, Michael Daugherty, Kristin Kuster, Carter Pann, Daniel Kellogg, and Robert Hutchinson. He holds degrees from the University of Puget Sound, the University of Colorado at Boulder, and the University of Michigan.

Saxophonist HENNING SCHRÖDER has performed at major venues worldwide, both as a soloist and with renowned ensembles including the Berlin Philharmonic, Max Raabe & Palast Orchester, and Opus21. He is a member of the Capitol Quartet and has been featured at international saxophone conferences in Europe and the United States. A dedicated pedagogue, Dr. Schröder serves as Assistant Professor of Music at Ohio Northern University, where he teaches saxophone, chamber music, music theory, and music history.

MAGGIE SNYDER is Associate Professor of Viola at the Hugh Hodgson School of Music at the University of Georgia. She is Principal Viola of the Chamber Orchestra of New York with whom she records for Naxos. Her two solo albums are released on Arabesque Records. Ms. Snyder has performed and given masterclasses throughout the U.S. and in Russia, Korea, and Greece. She attended the Peabody Conservatory and has previously served on the faculties of Ohio University, West Virginia University, and the University of Alabama.

MARK SCHUBERT is on the faculty at Baylor University where he teaches Applied Trumpet, coaches chamber music and sectionals for large ensembles, and teaches brass method courses. Mr. Schubert graduated from the New England Conservatory and was a member of the Honolulu Symphony for thirty-three years. He has also performed with such orchestras as the Boston Symphony, Boston Pops, and the Houston Symphony.

Bassist GEORGE SPEED is Associate Professor of Double Bass at Oklahoma State University and Principal Bass of the Oklahoma City Philharmonic. He has also performed with the Florida Philharmonic, Boston Pops Esplanade Orchestra, and the symphonies of Boston, Dallas, and Fort Worth. In 2005, Mr. Speed co-founded the Oklahoma Bass Bash, a summer clinic for Oklahoma pre-college bassists. A native of Spartanburg, SC, Mr. Speed earned his degrees from Vanderbilt University and Boston University.

BERNHARD SCULLY is currently the horn player of The Canadian Brass and Assistant Professor of Horn at the University of Illinois at Urbana-Champaign. He has been awarded top honors at numerous competitions, and was formerly Principal Horn of the Saint Paul Chamber Orchestra. He collaborates often with Orchestras including the Chicago, San Francisco, and Pittsburgh Symphonies, as well as the Minnesota Orchestra and the Violon du Roy in Quebec City. Bernhard is featured on recordings as soloist, and with The Canadian Brass.

JONATHAN SPITZ is Principal Cellist of the New Jersey Symphony Orchestra and the American Ballet Theater, and a member of the Orpheus Chamber Orchestra. He is an active recitalist and chamber musician and has recorded for the Deutsche Grammophon and Sony labels, among others. Mr. Spitz is a graduate of the Curtis Institute, and currently serves on the faculty and as Strings Area Coordinator of the Mason Gross School of the Arts at Rutgers University.

Pianist SANDRA WRIGHT SHEN has performed as a soloist and chamber musician in the United States and Asia and has won first prizes in several piano competitions, including the 2012 International Piano Competition of France, the 1997 Hilton Head International Piano Competition, and the 1996 Mieczyslaw Munz Piano Competition. She has recorded for Taiwan Rock Music label. Ms. Shen has served as Piano Lecturer at Southern Illinois University, and currently is based in Northern California. Ms. Shen is a Steinway Artist.

Flutist JENNIFER STEELE enjoys a dynamic career as both an orchestral musician for the Pittsburgh Symphony and as a chamber player for several area ensembles. She has also served as Principal Flute of the Charleston Symphony Orchestra. Ms. Steele has appeared as soloist with the Pittsburgh Symphony, and has performed numerous recitals in both the United States and Asia. She has a bachelor’s degree from The Juilliard School, where she studied with world-renowned ﬂutists Jeanne Baxtresser and Julius Baker.

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ARTIST FACU LTY

ARTIST FACULTY CORINNE STILLWELL is Associate Professor of Violin at Florida State University. She has performed across the U.S. and in China, Europe, and Canada. A member of Trio Solis, she was previously Assistant Concertmaster of the Rochester Philharmonic, and toured with the Harrington Quartet. Ms. Stillwell entered The Juilliard School at age 10, where she studied with Dorothy DeLay. She is Concertmaster of the Tallahassee Symphony and has recorded for Naxos, Harmonia Mundi, and MSR Classics. ROBERT SULLIVAN is Professor of Trumpet at Northwestern University's Bienen School of Music. He has served as Principal Trumpet of the Cincinnati Symphony and Cincinnati Pops Orchestras, and held positions with the Cleveland Orchestra, New York Philharmonic, Charleston (SC) Symphony, U.S. Air Force Band and Orchestra, and Chicago Chamber Brass. Mr. Sullivan has appeared as soloist with several orchestras and wind ensembles, and has recorded two solo albums for Summit Records.

BENJAMIN SUNG is Assistant Professor of Violin at Florida State University, Concertmaster of the Fargo-Moorhead Symphony Orchestra, and a roster artist for Florida Arts on Tour. Mr. Sung has performed as soloist with the Camerata Romeu and the Virtuosi of Festival Internacionale de Musica. Mr. Sung holds a bachelor’s degree from the Eastman School of Music, where he studied with Oleh Krysa, and master’s and doctorate degrees from the Indiana University Jacobs School of Music, where he studied with Nelli Shkolnikova.

BYRON TAUCHI is the Principal Second Violin of the Louisiana Philharmonic. He has served as Concertmaster of the Manhattan Chamber Orchestra and Associate Concertmaster of the San Jose Symphony, and has been on the faculty at the University of Nevada Las Vegas. Mr. Tauchi studied at the Manhattan School of Music with Raphael Bronstein and Ariana Bronne, and also holds a degree in computer science from the University of California at Berkeley.

LINDA TOOTE is Principal Flutist of the Boston Lyric Opera and serves on the faculties of Boston University and Boston Conservatory at Berklee. She is a frequent performer with the Boston Symphony and the Boston Pops and Esplanade Orchestras, with whom she has also appeared as a soloist. Ms. Toote has previously held Principal Flute positions with the Tampa, Atlanta, and Milwaukee Symphony Orchestras, and the Santa Fe and Lake George Opera Orchestras.

FELIX WANG is currently Professor of Cello at the Blair School of Music at Vanderbilt University. He is the cellist of the Blair String Quartet and Blakemore Trio, and has often appeared in principal roles with the IRIS Orchestra. Mr. Wang earned degrees from the Peabody Institute, New England Conservatory, and the University of Michigan, and was a recipient of the Frank Huntington Beebe Grant enabling him to study in London with William Pleeth. Steinway Artist DOUGLAS WEEKS is Babcock Professor of Piano at Converse College. A prizewinner in the Robert Casadesus International Piano Competition, he has performed solo and chamber recitals in the U.S., Europe, and Central America, as well as in Africa, South Asia, and the Middle East for the U.S. State Department. He holds degrees from Indiana University, Illinois State, Florida State, and the École Normale de Musique in Paris.

JANICE WILLIAMS has served as Director of Choral Activities at Bolton High School in Arlington, Tennessee, and on the faculty of the University of Memphis Community Music School, as the director of the Memphis Area Children’s Choir. Ms. Williams has made presentations for the Texas Music Educators Association and has been published in “Texas Music Education Research.”

JOIN THE MAESTRO SOCIETY! Help ensure the mission and student education experience of Brevard Music Center and join The Maestro Society today with your annual contribution of $2,500 or more! Enjoy a variety of beneﬁts to enhance your BMC experience including: • • • •

Advance ticket purchase before the public Complimentary, preferred parking Access to The Maestro Society lounge Invitations to special events, and more!

For information, call (828) 862-2114 or email development@brevardmusic.org

2017 Summer Institute & Festival

OPERA ARTISTIC STAFF

BREVARD MUSIC CENTER DEAN ANTHONY Director of Opera Enjoying a 25-plus year career as a stage performer, Dean Anthony – often referred to as “The Tumbling Tenor” – created over 100 roles and was highly praised as a character artist for his vocal, dramatic, physical, and acrobatic abilities. Mr. Anthony has quickly established himself as a dynamic Stage Director and teacher on the operatic scene with his energetic, gritty, and physical style of work. In the summer of 2013 Mr. Anthony began his new appointment as Director of Opera with the Janiec Opera Company of the Brevard Music Center. A member of the faculty at Brevard since 2008, his productions include A Midsummer Night's Dream, The Ballad of Baby Doe, Rigoletto, The Merry Widow, Falstaff, Albert Herring, Sweeney Todd, The Threepenny Opera, Elixir of Love, Suor Angelica, Tintypes, HMS Pinafore, a workshop of Robert Aldridge’s new opera Sister Carrie, the premiere of J. Mark Scearce’s Falling Angel, and the world premiere of the new opera, Speed Dating Tonight! conceived by Mr. Anthony, with words and music by Michael Ching. Mr. Anthony recently directed Dead Man Walking, Glory Denied, Aida, La Bohème, La Traviata, and The Merry Widow at Pensacola Opera. Other recent productions include Falstaff at Opera on the James and Winter Opera of St. Louis, Semeramide and Elixir of Love at Opera Delaware, HMS Pinafore, I Pagliacci and Dead Man Walking for Shreveport Opera, Glory Denied with Ft. Worth Opera Festival, Barber of Seville with Opera Naples, Sweeney Todd with St. Petersburg Opera, The Magic Flute with Opera on the James, Trouble in Tahiti and Arias and Barcarolles at the University of Kansas, Pirates of Penzance with Nashville Opera, The Marriage of Figaro and Speed Dating Tonight! at the University of Memphis, as well as Carmen for Opera on the James, the Pacific Symphony, Tulsa Opera, Florentine Opera, and Pensacola Opera.

EILEEN DOWNEY Music Director, Chorus Master, Vocal Coach Eileen Downey is currently Lecturer of Piano at the University of Tennessee-Knoxville, where she is a vocal coach and collaborative pianist. She is also a rehearsal pianist for Knoxville Opera. Ms. Downey is the Interim Music Director for the Janiec Opera Company at the Brevard Music Center, where she has been engaged as the chorus master and vocal coach for the summer seasons of 2013-14, and 2016. She has been an accompanist for the Middle/East Tennessee Metropolitan Opera National Council Auditions since 2012, was recently a pianist for the International Tuba and Euphonium Conference, and a guest artist of the Tennessee Cello Workshop. Eileen is an alumna of the Merola Opera Program, and was one of the 2011 staff accompanists for AIMS in Graz. Other programs in which she has been involved include SongFest, Project Canción Española, Aspen Opera Theater Center, Opera North, and the Opera Theatre and Music Festival of Lucca, Italy. Ms. Downey received a bachelor’s degree in Piano Performance and a master’s degree in Collaborative Piano from Michigan State University.

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ANDREW WENTZEL Voice Instructor One of the most requested bass-baritones in the U.S. during his most active years, Mr. Wentzel has performed with a number of the country’s top opera companies, including the Metropolitan Opera. A popular concert singer and recitalist, he appeared regularly with major symphony orchestras including the Boston Symphony and the National Symphony. Mr. Wentzel is Professor of Voice at the University of Tennessee, Administrator of the Knoxville Opera Studio, and sits on the Board of Directors of the Knoxville Opera.

SUSANNE MARSEE Guest Lecturer Susanne Marsee (B.A., UCLA; advanced studies, The Juilliard School), was one of New York City Opera’s leading mezzos for over twenty years and had the honor of partnering with Beverly Sills for ten of those years. Ms. Marsee taught voice at Carnegie Mellon University, Catholic University, and as an associate professor at LSU. Nationally, Ms. Marsee has sung extensively throughout the United States at such opera companies as San Francisco Opera, Houston Grand, Washington Opera, Philadelphia Grand, San Diego Opera, New York City Opera, and many others. Her concert repertoire is extensive and she has performed with the Hollywood Bowl, Los Angeles Chamber Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Handel Society at Kennedy Center, Los Angeles Philharmonic, and New York Philharmonic, among many others.

TYSON DEATON Conductor Tyson Deaton is known as both a conductor and pianist, having collaborated worldwide with such artists as Denyce Graves, Sherrill Milnes, Matthew Worth, and has accompanied many noted instrumentalists, including Michael Norsworthy, Linda Wang, and Julie Landsman, to name but a few. He conducted highly acclaimed performances and the premiere recording of Tom Cipullo’s Glory Denied, available on the Albany label, and was recently involved in San Francisco Opera’s production of Sweeney Todd. A champion of the music of our time, his diverse musical roots and widely varied repertoire are planted firmly in the traditional operatic and song literature.

“There was a camaraderie about singing and working there. We may change; it doesn’t. And that in essence is Brevard—a never-ending wonder of music-making.” — BEVERLY SILLS

OPERA ARTISTIC STAFF

OPERA ARTISTIC STAFF CALEB HARRIS Conductor Caleb Harris enjoys an active career as a pianist, chamber musician, conductor, and vocal and opera coach. He is equally at home at the keyboard and on the podium. Recent concerto performances include Beethoven’s First Piano Concerto and Triple Concerto, Brahms’s Second Piano Concerto, and Rachmaninoff’s Rhapsody on a Theme of Paganini. He has served as a guest conductor with many orchestras including the Frankfurt Symphony, Dubrovnik Symphony, and Utah Symphony. Harris has recorded professionally in a wide variety of genres for Summit Records, Navona Records, Potenza Music, and Acis Productions. Currently an Adjunct Artist Teacher at Vanderbilt University, Harris formerly held positions at the University of Northern Colorado, the University of Utah, and Utah Symphony/Utah Opera. A graduate of the Eastman School of Music, he has received many honors, including a Presser Foundation Scholarship.

ROBERT MOODY Conductor Robert Moody is proud to begin his tenure as Music Director of the Memphis Symphony Orchestra in the 2017/2018 season. He is also Music Director of the Winston-Salem Symphony and Portland Symphony Orchestras, as well as Artistic Director of Arizona Musicfest. Recent and upcoming debuts for Maestro Moody include the Vienna Chamber Orchestra, Columbus Symphony, Brevard Music Center Opera, Sewanee Music Festival, and the Salou International Music Festival in Spain. Recent guest conducting appearances include the Los Angeles Philharmonic, the symphonies of Chicago, Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, and, in Europe, the Slovenian Philharmonic. Maestro Moody has conducted at the Santa Fe, Rochester, Hilton Head, and North Carolina Opera companies. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev, and at The English National Opera, where he was Assistant Conductor for Kurt Weill’s Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and in 2018 he debuts with Opera Carolina for performances of Mozart’s Le Nozze di Figaro.

DAVID GATELY Stage Director David Gately is thrilled to be returning to Brevard to direct his 20th production for the Janiec Opera Company! He is known for his vivid storytelling and lively and clever productions. Recent reviews have called his staging “fresh, amusing and energetic,” and praised his direction which used “nuance and creative physical comedy, resulting in a superb production brimming with energy.” During the 2016- 2017 season, he directed The Abduction from the Seraglio with Kentucky Opera, Before Night Falls with Florida Grand Opera, and Voir Dire with Fort Worth Opera. In addition to his continued work on the stage, Mr. Gately is also an Assistant Professor of Music in the College of Fine Arts at Texas Christian University.

KETURAH STICKANN Choreographer Recent credits for Keturah Stickann include Ricky Ian Gordon’s Orpheus and Euridice (Vermont Opera Project), Seven Deadly Sins and I Pagliacci (Virginia Opera), La Traviata (Chautauqua Opera), Elixir of Love (Opera Birmingham), Macbeth (Kentucky Opera), Don Quichotte (San Diego Opera), Flight (Opera Fayetteville), Rigoletto (Opera Memphis), La clemenza di Tito (Opera in the Heights), The Tales of Hoffman (Knoxville Opera), and Madama Butterfly (Opera Colorado). Ms. Stickann collaborates frequently with director Leonard Foglia, most recently as choreographer for the world premiere of Heggie/Scheer’s It’s A Wonderful Life at Houston Grand Opera. She was also his choreographer and movement director for the world premiere of Heggie/Scheer’s Moby-Dick in Dallas in 2010, and traveled with it around the world. Also for Mr. Foglia, she is the choreographer for Cruzar la Cara de la Luna, Ricky Ian Gordon’s A Coffin in Egypt, and his associate director for the world premiere of Jennifer Higdon’s Cold Mountain.

ALEXANDER SHEERIN Assistant Director Alexander Sheerin is thrilled to be returning to Brevard as the Assistant Stage Director for the Janiec Opera Company after two summers as a singer. Credits at Brevard include Francis Flute (Thisby) in A Midsummer Night's Dream, and several roles in The Ballad of Baby Doe. As an assistant director, Alexander has worked on Romeo et Juliette at Moores School of Music, where he also staged scenes for the undergraduate opera program. Other performance credits include Prunier in La Rondine, Guillot in Manon, the title role in Albert Herring, and Basilio in Le Nozze di Figaro. Alexander received a Master of Music degree from the University of Houston, and a Bachelor of Music degree from the New England Conservatory.

NEILL CAMPBELL Staff Pianist Pianist Neill Campbell is a graduate of Michigan State University (MM '14, BM '11), and was most recently a Resident Artist at Shreveport Opera, and the pianist for the Shreveport Opera Xpress program. At Shreveport, Mr. Campbell served as chorus master and rehearsal pianist for Shreveport Opera's productions of Fiddler on the Roof, La Bohème, Dead Man Walking, HMS Pinafore, and Carmen, as well as rehearsal pianist and continuo harpsichordist for Così fan tutte. Mr. Campbell has performed across the United States, and internationally in Italy and in Havana, Cuba, with Michigan State University. His teachers have included Alan Nathan, Deborah Moriarty, and Karen Kushner.

2017 Summer Institute & Festival

BREVARD MUSIC CENTER MICHAEL GAERTNER Staff Pianist Michael Gaertner has worked as a soughtafter collaborator and vocal coach in the New York City area. Past professional affiliations include the Nashville Opera, Knoxville Opera, Aspen Music Festival, Carnegie Hall Neighborhood Concert Series, Titus Art Song Recital Series of the Dallas Opera, Emerging Artist Recital Series of Opera America, Shreveport Opera, the Mannes School of Music, and the Music Academy of the West. Mr. Gaertner was the 2014 Pianist Winner of the Marilyn Horne Song Competition. He holds degrees from the University of the Michigan and Ithaca College.

JONATHAN HEANEY Staff Pianist Jonathan Heaney is a recent graduate of the vocal accompanying masters program at Manhattan School of Music, studying with Warren Jones. He served as a staff pianist for the Janiec Opera Company in 2014-16 for their productions of Rigoletto, CosĂŹ fan tutte, The Ballad of Baby Doe, Albert Herring, Don Giovanni, and Sweeney Todd. Additionally, he was the assistant conductor for The Magic Flute and the world premiere of Falling Angel by J. Mark Scearce. He is currently a vocal coach at the Manhattan School of Music, and co-music director of ARE Opera, a start-up opera company in New York City.

DISTINGUISHED BREVARD MUSIC CENTER GUEST ARTISTS OVER EIGHT DECADES: Issac Stern, Itzhak Perlman, Van Cliburn, Yo-Yo Ma, Joshua Bell, Richard Tucker, Jan Peerce, Beverly Sills, Samuel Ramey, Robert Shaw, Renata Scotto, Marilyn Horne, Frederica von Stade, Renee Fleming, Kathleen Battle, Victor Borge, Benny Goodman, Peter Nero, Andy Williams, Tony Bennett, Doc Severinsen, Burt Bacharach, John Denver, Garrison Keillor, and many more...

Overture

2017 Summer Institute & Festival

2017 MONDAY

TUESDAY

WEDNESDAY

JUNE 26

JUNE 27

JUNE 28

THURSDAY

FRIDAY

SATURDAY

SUNDAY

JUNE 22

JUNE 23

JUNE 24

JUNE 25

Opera’s Greatest Hits

Opening Night: Beethoven 5

Saturday Spectacular w/ Lee Ann Womack

3pm WPA

7:30pm PC

6pm WPA

7:30pm WPA

JUNE 29

JUNE 30

JULY 1

JULY 2

Don Pasquale

Student Piano Recital

2pm PC

BMC Artist Faculty I

Ricky Skaggs with Orchestra

12:30pm SH*

Maud Powell

Don Pasquale

Rachmaninoff Piano Concerto No. 3

7:30pm IA

7:30 WPA

7:30pm IA

7:30pm PC

7:30pm WPA

7pm WPA

JULY 5

JULY 6

JULY 7

JULY 8

JULY 9

Change the World, It Needs It!

Program of Song

Berlin to Hollywood

Beloved Brahms

E.T. the Extra-Terrestrial in Concert

Just Brass

7:30pm PC

7:30pm WPA

8:30pm WPA

7pm SA

JULY 12

JULY 13

JULY 14

JULY 15

JULY 16

New Music

Piccolo Opera

12:30pm SH*

The Marriage of Figaro

4:30pm PC*

2pm PC

Leningrad Symphony

Beethoven Symphony No. 4

JULY 3

BMC Artist Faculty II

JULY 4 Pendergrast Family Patriotic Pops 2pm WPA

7:30pm PC

JULY 10

JULY 11

Student Piano Recital 12:30pm SH*

4:30pm SH*

Student Piano Recital

BMC@TCL

Liszt Piano Concerto No. 1

Concerto Competition Finals

12:30pm TCL*

12:30pm SH*

Music of Kurt Weill

Kurt Weill on Broadway

The Marriage of Figaro

7:30pm IA

7:30pm WPA

7:30pm PC

7:30pm WPA

JULY 18

JULY 19

JULY 20

JULY 21

JULY 22

Symphony Noir

Student Piano Recital

JULY 17 BMC@TCL

Classical Dance 3pm WPA

JULY 23 Soloists of Tomorrow

12:30pm TCL*

7:00pm SA

12:30pm SH*

Amernet String Quartet

April Verch Band

Sidney Outlaw in Recital

Mendelssohn Violin Concerto

Beethoven Piano Concerto No. 4

7:30pm PC

7:30pm WPA

JULY 24

JULY 25

JULY 26

JULY 28

JULY 29

JULY 30

Romeo and Juliet

BMC@TCL 12:30pm TCL*

International Contemporary Ensemble

New Music 12:30pm SH*

7:30pm IA

JULY 31

AUGUST 1

JULY 27

Program of Song

12:30pm SH*

4:30pm SH*

Street Scene

Vivaldi's The Four Seasons

2pm PC

3pm WPA

Street Scene

Dvořák Cello Concerto

Scheherazade

Supersonic

7:30pm WPA

7:30pm PC

7:30pm WPA

7pm SA

AUGUST 2

AUGUST 3

AUGUST 4

AUGUST 5

AUGUST 6

New Music

BMC@TCL 12:30pm TCL*

BMC Artist Faculty III

Piano Competition Finals

12:30pm SH*

BMC Artist Faculty IV

The Best of Gilbert & Sullivan

7:30pm PC

7:00pm PC

7:30pm PC

Phone: 828.862.2105 Web: brevardmusic.org Email: boxoffice@brevardmusic.org

LOCATION GUIDE Brevard Music Center Campus SA Straus Auditorium SH Searcy Hall WPA Whittington-Pfohl Auditorium

Overture

3pm WPA

Student Piano Recital

BOX OFFICE

Petrushka

12:30pm SH*

Piccolo Opera

Brevard College Campus IA Ingram Auditorium PC Porter Center Downtown Brevard TCL Transylvania County Library *Free Event

4:30pm PC*

Dvořák Symphony No. 8 7:30pm WPA

Tchaikovsky Symphony No. 5

Season Finale: Verdi Requiem 3pm WPA

7:30pm WPA

PRE/POST SEASON SPECIAL PERFORMANCES • Brevard Blues & BBQ Festival - June 2 & June 3 • The Shanghai Quartet - June 8 • Adam Holzman & The Texas Guitar Quartet - June 9 • Jazz @ Brevard - June 15 • Asian Youth Orchestra with Sarah Chang - August 11 • Lyle Lovett and His Large Band - August 18

ENSEMBLES Brevard Music Center Orchestra The Brevard Music Center Orchestra is BMC’s flagship ensemble led by Artistic Director Keith Lockhart and renowned guest conductors throughout the season. The majority of the Music Center’s instrumental faculty performs in the ensemble, leading sections of College Division students. Brevard Sinfonia Students in the Music Center’s College Division comprise the Brevard Sinfonia. This ensemble will present one performance each week beginning with a program featuring Keith Lockhart conducting Stravinsky’s Petrushka on Sunday, June 25. Brevard Concert Orchestra The Brevard Concert Orchestra features Brevard Music Center’s talented high school students. The BCO will present four concerts this season, including the Pendergrast Family Patriotic Pops on July 4, and a performance of Scheherazade with Maestro Lockhart on July 29. Brevard Festival Orchestra Comprised of Brevard’s artist faculty and College Division students, the Brevard Festival Orchestra is the central ensemble for opera productions and special concerts. Brevard Symphonic Winds High school woodwind, brass, and percussion students make up the Brevard Symphonic Winds led by Kraig Alan Williams. The BSW performs three concerts over the summer, including the Pendergrast Family Patriotic Pops concert on July 4. itch itch is an ensemble comprised of instrumentalists in the College Division who have demonstrated ability and interest in the performance of new music. The ensemble performs new works by BMC’s composition students in four New Music concerts throughout the summer.

BREVARD MUSIC CENTER ORCHESTRA

The following artist faculty and students comprise the Brevard Music Center Orchestra. Personnel for each concert vary, depending on the requirements of the repertoire. Principal players are listed first, followed (alphabetically) by artist faculty, and students. (The roster of students is accurate as of May 21, 2017). VIOLIN Jonathan Carney*++ David Coucheron*++ David Kim*++ William Preucil*++ Dr. and Mrs. William J. Pendergrast Concertmaster Chair Benjamin Sung*+ Marjorie Bagley* Jay Christy* Margaret Karp* Jason Posnock* Tina Raimondi* Wendy Rawls* Corinne Stillwell* Byron Tauchi* Rebin Ali Elise Ashburn Kirsten Barker Sarah Becker Ellen Bergeron Abigail Bracewell Petra Bubanja Reagan Call Dominic Campos Korah Cuff Joseph Doucette Joanna Dzik Thomas Eustaquio Daniel Geisel William Gibb Moe Gray Michael Hahn Sofia Hashemi-Asasi Brittany Hausman Emily Javarone Dgybert Jean Grace Kenny Larone Koonce Zoe Kushubar Matthew Laird Elizabeth Lim Erin Lollar Emmeline MacMillan Hanlon McGarity Jina Park Mae Leigh Patchin Yonatan Quemado Reonel Rafols Hunter Sanchez

Elizabeth Scarnati Nathan Sonnenfeld Amara Sperber Fangye Sun Robin Tozzie Rebecca Tozzie Angkun Uabamrungjit Alayne Wegner Adrienne Williams Joy Yamaguchi Ise Yoshimoto VIOLA Scott Rawls*+ Erika Eckert* Ralph Fielding* Jennifer Snyder Kozoroz* Margaret Snyder* Sean Askin Kelly Bartek Teresa Bloemer Kathryn Bracewell Mallory Carnes Nickolette Cartales David Doucette Anna Dye Christopher Hacnik Dylan Haines Wesley Hamilton Amanda Hamilton Sarah Hamrin Brittany Hoff Cameron Howe Anna Ivanova Gabriella Mazzone Thomas McGuire Benjamin Povman Angela Rubin Edward Schenkman CELLO Jonathan Spitz*+ Susannah Chapman* Benjamin Karp* Alistair MacRae* Felix Wang* Julia Dixon Clark Evans Monica Grady Gabriel Hightower Olivia Katz

Niki Khabbazvahed Yoonsu Kim Aric Lee Meghan Leong Cheuk Yan Leung Hannah Lohr-Pearson Angela Marvin Nicco Mazziotto Russell Rivas Pono Santos Christine Sears Jonathan Seoh Juliano Stewart Amanda Vosburgh Abigayle Witt DOUBLE BASS Craig Brown*+ Walter Linwood Pendergrast Double Bass Chair Kevin Casseday* George Speed* Dante Ascarrunz Judson Baines Andrew Beach Ben Cordell Layne Hartman Benjamin Hornacek John Krause Joshua Lambert Adam Maloney Hannah Novak Joshua Rhodes Avery Robinson FLUTE Jennifer Steele*+ Linda Toote*+ Martha Pendergrast Coursey Flute Chair Dilshad Posnock* Sabrina Bounds Austin Brown Alison Dettmer Hayley Miller Allison Parramore Bridget Pei

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE BMCO Roster Continued OBOE Eric Ohlsson*+ Emily Brebach* Andrew Glenn William Jones Amy Selkirk Amanda Talley Vivian Tong Lauren White CLARINET Steve Cohen*+ Eric Ginsberg* Yan Yuet Cheung Amy Humberd Sydney Lusby Chris McMillan Jonathan Reese Christopher Rueda BASSOON William Ludwig*+ Susan Barber* Matthew Boice Melanie Ferrabone Mark Lauer Tsz Ho Liu Traian Sturza Marissa Takaki

SAXOPHONE Joseph Lulloff*+ Henning Schrรถder*+ Caleb Carpenter Mary LeCoq Darwin McMurray Cameron Roberts FRENCH HORN Elizabeth Freimuth*+ Richard Dean*+ Bernhard Scully*+ Hazel Dean Davis* Robert Rydel* Elizabeth Antici Nicholas Auer Matthew Baldridge Lizbeth Barrera Griffin Botts Catherine Dowd Jacob Factor Andrew Truskowski Catherine Verbyla Helen Wargelin TRUMPET Neal Berntsen*+ Robert Sullivan*+ Joe R. Utley Trumpet Chair

Mark Schubert* Alessandro Bonotto Christopher Boulais Brian Garcia Shea Kelsay Justin Kohan TROMBONE David Jackson*+ Aneesh Kumar Zongxi Li Liam Russell BASS TROMBONE Dan Satterwhite*+ Christopher Jordan TUBA Aubrey Foard*+ Brianna Compton TIMPANI Charles Ross*+ William Jefferson Pendergrast, Jr. Percussion Chair

Thomas Faulkner Angelina Mangs Yonatan Rozin Zuri Wells Sophia Zorek HARP Allegra Lilly*+ Hannah Cope Yvonne Cox Lethicia Morgado Soares Caravello Sarah Veber KEYBOARD Deloise Lima *+ Chantalle Falconer James Higgs Emilie Hsu Luis Reyes Duarte ++Concertmaster +Principal *Artist Faculty

PERCUSSION Gwendolyn Dease*+ William Brown

BREVARD SINFONIA

The following student ensemble list is alphabetical and accurate as of May 21, 2017. The personnel for each concert vary depending on the requirements of the repertoire. VIOLIN Rebin Ali Elise Ashburn Kirsten Barker Sarah Becker Ellen Bergeron Abigail Bracewell Petra Bubanja Reagan Call Dominic Campos Korah Cuff Joseph Doucette Joanna Dzik Thomas Eustaquio Daniel Geisel William Gibb Moe Gray Michael Hahn Sofia Hashemi-Asasi Brittany Hausman Emily Javarone Dgybert Jean

Overture

Grace Kenny Larone Koonce Zoe Kushubar Matthew Laird Elizabeth Lim Erin Lollar Emmeline MacMillan Hanlon McGarity Jina Park Mae Leigh Patchin Yonatan Quemado Reonel Rafols Hunter Sanchez Elizabeth Scarnati Nathan Sonnenfeld Amara Sperber Fangye Sun Robin Tozzie Rebecca Tozzie Angkun Uabamrungjit Alayne Wegner Adrienne Williams

Joy Yamaguchi Ise Yoshimoto VIOLA Sean Askin Kelly Bartek Teresa Bloemer Kathryn Bracewell Mallory Carnes Nickolette Cartales David Doucette Anna Dye Christopher Hacnik Dylan Haines Wesley Hamilton Amanda Hamilton Sarah Hamrin Brittany Hoff Cameron Howe Anna Ivanova Gabriella Mazzone Thomas McGuire

Benjamin Povman Angela Rubin Edward Schenkman CELLO Julia Dixon Clark Evans Monica Grady Gabriel Hightower Olivia Katz Niki Khabbazvahed Yoonsu Kim Aric Lee Meghan Leong Cheuk Yan Leung Hannah Lohr-Pearson Angela Marvin Nicco Mazziotto Russell Rivas Pono Santos Christine Sears Jonathan Seoh

Brevard Sinfonia Roster Continued Juliano Stewart Amanda Vosburgh Abigayle Witt DOUBLE BASS Dante Ascarrunz Judson Baines Andrew Beach Ben Cordell Layne Hartman Benjamin Hornacek John Krause Joshua Lambert Adam Maloney Hannah Novak Joshua Rhodes Avery Robinson FLUTE Sabrina Bounds Austin Brown Alison Dettmer Hayley Miller Allison Parramore Bridget Pei

OBOE Andrew Glenn William Jones Amy Selkirk Amanda Talley Vivian Tong Lauren White CLARINET Yan Yuet Cheung Amy Humberd Sydney Lusby Chris McMillan Jonathan Reese Christopher Rueda BASSOON Matthew Boice Melanie Ferrabone Mark Lauer Tsz Ho Liu Traian Sturza Marissa Takaki SAXOPHONE Caleb Carpenter Mary LeCoq

Darwin McMurray Cameron Roberts

BASS TROMBONE Christopher Jordan

FRENCH HORN Elizabeth Antici Nicholas Auer Matthew Baldridge Lizbeth Barrera Griffin Botts Catherine Dowd Jacob Factor Andrew Truskowski Catherine Verbyla Helen Wargelin

TUBA Brianna Compton TIMPANI & PERCUSSION William Brown Thomas Faulkner Angelina Mangs Yonatan Rozin Zuri Wells Sophia Zorek HARP Hannah Cope Yvonne Cox Lethicia Morgado Soares Caravello Sarah Veber

TRUMPET Alessandro Bonotto Christopher Boulais Brian Garcia Shea Kelsay Justin Kohan

KEYBOARD Chantalle Falconer James Higgs Emilie Hsu Luis Reyes Duarte

TROMBONE Aneesh Kumar Zongxi Li Liam Russell

BREVARD CONCERT ORCHESTRA

The following student ensemble list is alphabetical and accurate as of May 21, 2017. The personnel for each concert vary depending on the requirements of the repertoire. VIOLIN Kevin Chan Catherine Cook Naomi Fan Anna Horzen Krystal Hsieh Madison Jones Emma Joyce Jesse Kaiser Olena Kaspersky Erin Kim Erin Kong Mary Konieczny Benjamin Kremer Jennifer Lee Josh Liu Sidney Matlock Myles McKnight Elizabeth McNeill Lily Mell Emily Morgan-Tracy Hanna Panamarenka Elizabeth Propst Steven Pruss Zita Puro

Ella Rawls Stephen Sanford Lila Schweinfurth Neha Vangipurapu Rebecca Villalta Nora Wang VIOLA Gia Angelo Ariana Blevins Adam Brotnitsky Jalie-Ann Cummings Zita-Lyn Dixon Lucas Legan Charlotte Lohmann Phoebe Probst Clara Smallwood Annabelle Spoto Chloe Van Steertegem Rachel Wolchok Jacob Worst CELLO Aaron Chen Anne Hoyt

Matthew Lei Sophie Lyman Harrison Marable Ariel Najarian Daniel Oliver Emily Pilgrim Kiri Pitts Lydia Pless Mateo Ronderos Meagan Rwambaisire Piper Suk Michael Tynes DOUBLE BASS Madison Adams Sarah Bryant Spencer Eirich-Robinson Javier Hernandez Jacob Hoch Zoe Hood Macy Willett Dillon Wilson FLUTE Emily Elmore

Jeremy Goldwasser Katherine Grischow Faith Helgeson Dorothy Le Zeke Sarvis OBOE Katelyn Corning Aaron Haettenschwiller Jamison Hillian Alexander Lenser Mary Grace Schayot Megan Wojtyla CLARINET Max Arakaki Joshua Lee Aaron Lipsky Nathan Richey Elijah Schouten Izabela Zawartka BASSOON Emma Brooks Ethan Clark

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE Brevard Concert Orchestra Roster Continued Lauren Hallonquist John Kaiser Tucker Van Gundy Lloyd Waller SAXOPHONE Gao Chen Leighannah Turner FRENCH HORN Kathryn Allen Joshua Almond Tristan Burns Nicolas Haynes Elizabeth Li Kieran Scruggs William Sizemore

Savannah Smith Maya Waller

BASS TROMBONE Garett Byrne

TRUMPET Paul Armitage Audrey Foster Mason Krusch David Peebles Madison Sinan Raymond Thompson Lizbeth Yanez

TUBA Joel Horton Oliver Volz

TROMBONE Derek Hornberger Alison Orthel Philip Williams

KEYBOARD Chantalle Falconer James Higgs Emilie Hsu Luis Reyes Duarte

PERCUSSION Sophie Lauver James Leonard Noah Mallett Julian Springer Clinton Washington, III Sarah Whitaker

BREVARD SYMPHONIC WINDS

The following student ensemble list is alphabetical and accurate as of May 21, 2017. The personnel for each concert vary depending on the requirements of the repertoire. FLUTE Emily Elmore Jeremy Goldwasser Katherine Grischow Faith Helgeson Dorothy Le Zeke Sarvis OBOE Katelyn Corning Aaron Haettenschwiller Jamison Hillian Alexander Lenser Mary Grace Schayot Megan Wojtyla CLARINET Max Arakaki Joshua Lee Aaron Lipsky Nathan Richey

Overture

Elijah Schouten Izabela Zawartka BASSOON Emma Brooks Ethan Clark Lauren Hallonquist John Kaiser Tucker Van Gundy Lloyd Waller SAXOPHONE Gao Chen Leighannah Turner FRENCH HORN Kathryn Allen Joshua Almond Tristan Burns Nicolas Haynes Elizabeth Li

Eliana Lontok Kieran Scruggs William Sizemore Savannah Smith Maya Waller TRUMPET Paul Armitage Audrey Foster Mason Krusch David Peebles Madison Sinan Raymond Thompson Lizbeth Yanez TROMBONE Derek Hornberger Alison Orthel Philip Williams

BASS TROMBONE Garett Byrne TUBA Joel Horton Oliver Volz PERCUSSION Sophie Lauver James Leonard Noah Mallett Julian Springer Clinton Washington, III Sarah Whitaker

PRE-SEASON AT BMC

THE SHANGHAI QUARTET Thursday, June 8 @ 7:30 PM Scott Concert Hall at the Porter Center Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello MENDELSSOHN String Quartet in E flat major, Op. 12 BRIDGE String Quartet No. 1 in E minor, "Bologna" BRAHMS String Quartet in C minor, Op. 51, No. 1

ADAM HOLZMAN AND THE TEXAS GUITAR QUARTET Friday, June 9 @ 7:30 PM Scott Concert Hall at the Porter Center Classical guitarist Adam Holzman’s “virtuosic technique” takes center stage alongside TxGQ’s daring, expressive arrangements. A varied program of works by Mozart, Rossini, and Beethoven, all the way to the music of Spain and Latin America.

Michael Dease Jazz Institute Director

JAZZ@BREVARD Thursday, June 15 @ 7:00 PM Scott Concert Hall at the Porter Center An evening to celebrate the culmination of Brevard’s Jazz Institute, featuring BMC’s all-star faculty, guests, and students.

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

THURSDAY, JUNE 22 7:30 PM PORTER CENTER AT BREVARD COLLEGE OPERA'S GREATEST HITS Brevard Festival Orchestra Tyson Deaton and Caleb Harris, conductors Members of the Janiec Opera Company of the Brevard Music Center DONIZETTI (1797-1848) STRAUSS, JR. (1825-1899)

"Chi mi frena in tal momento" Act II Sextet from Lucia di Lammermoor Lucia: Anna Montgomery Alisa: Erin Moran Arturo: Daniel Weisman Edgardo: Victor Cardamone Raimondo: Steele Fitzwater Enrico: Joel Rogier

PUCCINI (1858-1924)

"Dunque è proprio finita" Act III Quartet from La Bohème Mimi: Amanda Palmeiro Rodolfo: Taylor Rawley Musetta: Adina Triolo Marcello: Franklin Mosley

HUMPERDINCK (1854–1921)

Overture

"What a joy to be here!” from Die Fledermaus Janiec Opera Company

DONIZETTI (1797-1848)

OFFENBACH (1819-1880)

Overture to Don Pasquale

"Hélas! mon coeur s'égare encore!" Act III Septet from Les contes d'Hoffmann Giulietta: Madison Hatten Hoffmann: Piotr Buszewski Dapertutto: Steele Fitzwater Nicklausse: Amy Yarham Pitichinaccio: Darius Thomas Schlemil: Cameron Sledjeski "When at night I go to sleep" Act II Duet from Hansel and Gretel Hansel: Erin Moran Gretel: Jennie Judd

PUCCINI (1858-1924)

"Io so che alle sue pene" Act III Trio from Madama Butterfly Suzuki: Melina Jaharis Pinkerton: Taylor Rawley Sharpless: August Bair

DONIZETTI (1797-1848)

"Eccomi" Act III Quartet from Don Pasquale Norina: Benedetta Cordaro Ernesto: Victor Cardamone Pasquale: Ian Bolden Malatesta: Cameron Sledjeski

ROSSINI (1792-1868)

"Zitti, zitti, piano, piano" Act II Trio from Il Barbiere di Siviglia Rosina: Melanie Burbules Almaviva: Darius Thomas Figaro: Michael Pandolfo

THURSDAY, JUNE 22 INTERMISSION MOZART (1756-1791)

Overture to Le nozze di Figaro

MOZART (1756-1791)

"Esci omai garzon malnato" Act II Finale from Le nozze di Figaro Susanna: Jennie Judd Countess: Amanda Palmeiro Marcellina: Melina Jaharis Figaro: Franklin Mosely Count: Joel Rogier Bartolo: Timothy Madden Basilio: Daniel Weisman

PUCCINI (1858-1924)

"In un coupè?" Act IV Duet from La Bohème Marcello: Michael Pandolfo Rodolfo: Piotr Buszewski

BIZET (1838-1875 )

"Nous avons en tête une affaire..." Act II Quintet from Carmen Frasquita: Sara Law Mercedes: Melina Jaharis Carmen: Esther Atkinson Remendado: Blake Ellege Dancaire: Cameron Sledjeski

MOZART (1756-1791)

"Sola, sola in buio loco..." Act II Sextet from Don Giovanni Donna Anna: Benedetta Cordaro Donna Elvira: Anna Montgomery Zerlina: Charlotte Jackson Don Ottavio: Victor Cardamone Masetto: Ian Bolden Leporello: Timothy Madden

VERDI (1813-1901)

"Un di, se ben rammentomi... Bella figlia dell amore" Act III Quartet from Rigoletto Rigoletto: Brent Hetherington Duke: Piotr Buszewski Gilda: Chelsea Helm Maddalena: Esther Atkinson

DELIBES (1836-1891)

"Flower Duet" Act I from Lakmé Lakmé: Virginia Mims Mallika: Amy Yarham

MOZART (1756-1791)

"Gente, gente, all'armi, all'armi" Act 4 Finale from Le nozze di Figaro Figaro: Brent Hetherington Susanna: Virginia Mims Count Almaviva: Michael Pandolfo Countess Almaviva: Madison Hatten Cherubino: Amy Yarham Marcellina: Melanie Burbules Barbarina: Jennie Judd Don Bartolo: Steele Fitzwater Antonio: Ian Bolden Don Basilio: Darius Thomas Don Curzio: Daniel Weisman

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

FRIDAY, JUNE 23 6:00 PM WHITTINGTON-PFOHL AUDITORIUM OPENING NIGHT: BEETHOVEN 5 Brevard Music Center Orchestra Keith Lockhart, conductor Garrick Ohlsson, piano BEETHOVEN (1770-1827)

Official piano of the Brevard Music Center

Symphony No. 5 in C minor, Op. 67 Allegro con brio Andante con moto Scherzo. Allegro Allegro

INTERMISSION

BRAHMS (1833-1897)

Piano Concerto No. 1 in D minor, Op. 15 Maestoso Adagio Rondo. Allegro non troppo Mr. Ohlsson, piano Mr. Ohlsson has donated his fee for tonight’s performance to Equality NC.

LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 5 in C minor, Op. 67 Premiered on December 22, 1808, in Vienna conducted by Beethoven. Few works have had a more profound impact on music history than this symphony. It changed how we listen to music. Let’s assume you know nothing about this work and try to experience it for the first time. It is 1809 and Beethoven is offering a new symphony. If it is anything like his Third, you can expect a long, exhausting and dramatic work that will be exciting and scary at the same time. You are not prepared for this opening. You are thunder-struck as you hear a simple but powerful fournote motive unfold. You are so overwhelmed by the terror the music expresses that you stop thinking in musical terms and start looking for ideas or stories that might represent what you hear. The story becomes more and more intense until you hear the opening again. Surprisingly, the mad rush comes to a stop and the oboe sings a cadenza-like figure that seems to divulge thoughts of doubt by the protagonist. The frenzy continues

Overture

until the first movement grinds to a halt without any sense of resolution. This story is not over. The second movement begins with a beautiful melody presented by the cellos. The mood is pensive; the second part of the theme sounds regal and festive with a hint of doubt and foreboding. You notice that Beethoven presents several variations on this intense theme, and with each variation the action becomes more intense. Again, the story continues. The third movement should be a scherzo in a quick triple meter, but the mood is not light, and the rhythms are not fleet-footed. Several imitative entrances in the second section make the movement seem mysterious. The horn calls propel the unfolding story forward. The first section of the scherzo returns and things seem to wrap up. Just then the intensity level picks up with only the bassoon and pizzicato strings playing the opening in an eerie manner. Timpani and strings intone C minor triads that slowly transform into major, preparing you for the most exciting musical moment you’ve ever experienced. The opening of the last

FRIDAY, JUNE 23 movement in C major creates an unequalled sense of triumph and exhilaration. You are absolutely at the edge of your seat reveling in the continual excitement of the music. Halfway through the last movement, the dark scherzo returns and you get to relive the joy of triumphant C major again. This is unlike anything you have ever experienced before.

Anton Schindler famously alleged that Beethoven explained the Fifth’s opening as “Fate knocking at the door!”

JOHANNES BRAHMS (1833-1897) Piano Concerto No. 1 in D minor, Op. 15 Premiered on January 22, 1859, in Hanover with Joseph Joachim conducting and Brahms as soloist. [The Brahms’s concerto is] a composition dragged to its grave. This work cannot give pleasure . . . it has nothing to offer but hopeless desolation and aridity . . . for more than three quarters of an hour one must endure this rooting and rummaging, this straining and tugging, this tearing and patching of phrases and flourishes! Herr Brahms has deliberately made the pianoforte part as uninteresting as possible. The influential critic Edward Bernsdorf wrote this scathing review in response to Brahms’s second performance of the concerto in Leipzig. Brahms viewed this performance as a sort of audition, hoping to settle in Leipzig—the city of Mendelssohn and Schumann. Instead, Brahms had to lick his wounds and return to Hamburg. The day after the performance he wrote:

incongruent with concerto convention. While it includes two “cadenzas,” they are short, written out utterances, underscoring Brahms’s symphonic approach. To find real answers, we need to look at the work’s biographical context. The twenty-some year-old Brahms had some difficult stuff to deal with. His mentor Schumann had tried to commit suicide and was admitted to a mental institution where he would die two years later. Joachim asserts that the opening theme reflects Brahms’s state of mind on hearing that Schumann had thrown himself in the Rhine, which surely explains the movement’s unrelenting intensity. In the autograph Brahms annotated the opening theme of the second movement with the text “Benedictus qui venit in nomine Domine” (Blessed is he that comes in the name of the Lord). Some critics have therefore viewed the second movement as a requiem for Schumann. Given the dark emotional content of the first two movements, Brahms had no choice but to write a Rondo with extreme gravitas. Brahms scholar Hugh MacDonald describes the opening of the Rondo as the moment where “the muscular, grimly energetic main theme returns us to D minor and the realities of the physical world.” It is a movement filled with counterpoint, which only in the coda leads us eventually to “a moment of pure country landscape, with bagpiping oboes and drone fifths in the cellos, before Brahms brings this astonishing Concerto to an end in a final blaze of fierce triumph.” - Siegwart Reichwald

Brahms heard his first performance of Beethoven’s Ninth Symphony in 1854 in Cologne. He would choose the same key, D minor, for his First Piano Concerto.

. . . my concerto here was a brilliant and decided–failure . . . The first movement and the second were heard without a sign. At the end three hands attempted to fall slowly one upon the other, at which point a quite audible hissing from all sides forbade such demonstrations. . .In spite of all this, the concerto will please some day, when I have improved its construction. . . But surely the hissing was too much? To understand what just happened, we need to put things in perspective. It would be easy to point to the fact that the Piano Concerto was his first attempt not only at a concerto but at an orchestral work. Yet Brahms had been working on this piece for four years—with much help from his friends Julius Grimm and Joseph Joachim. So that’s not the issue. Let’s start with the obvious fact that to the Leipzig audience this was an “un-concerto.” Its dark and stormy character doesn’t allow for dazzling display of virtuosity. The concerto’s first movement has no cadenza, and it takes four minutes of chilling music before the pianist plays his first note. The second movement offers little relief, and even the Rondo Finale displays a seriousness

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SATURDAY, JUNE 24 7:30 PM

LEAD SPONSOR BMC Presents Series Hampton Inn - Brevard

WHITTINGTON-PFOHL AUDITORIUM BMC PRESENTS: SATURDAY SPECTACULAR WITH LEE ANN WOMACK

Progressive traditionalist Lee Ann Womack has sung for Presidents, the Concert for the Nobel Prize and Maya Angelou’s Celebration of Joy Rising. More importantly, the Grammy-winner built a career seeking songs that slice life wide open to let the pain, the emptiness, the rage and the desire pour out. A Country Music Association Female Vocalist of the Year, she’s also won the prestigious Album of the Year for There’s More Where That Came From, plus a pair of Single of the Years for “I May Hate Myself in the Morning” and “I Hope You Dance.” "I Hope You Dance" sold over 6 million albums; the title track topped multiple charts in multiple formats around the globe. The East Texan is a duet partner of choice for Willie Nelson, Alan Jackson, Dr. John, Ralph Stanley, Buddy Miller, George Strait, Jim Lauderdale and Willie Nelson. A featured vocalist on Miller’s Silver Strings project, Rodney Crowell and Mary Karr’s Kin and music supervisor Randall Poster’s critically acclaimed Divided & United, Womack’s soprano has a purity that rivals Dolly Parton and an ache that suggests Emmylou Harris at her most haunted.

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SUNDAY, JUNE 25 SUNDAY, JUNE 25 3:00 PM WHITTINGTON-PFOHL AUDITORIUM PETRUSHKA Brevard Sinfonia Keith Lockhart, conductor Anne Akiko Meyers, violin

BMC proudly salutes music of the celebrated German-born composer Kurt Weill through a series of concerts, operas, lectures, and book readings, providing rich context around the influential composer’s music.

WEILL (1900-1950)

Much Ado About Love: A Suite of Dances from The Firebrand of Florence (U.S. premiere)

RAVEL (1875-1937)

Tzigane

GADE (1879-1963)

Jalousie (arr. Naughton)

MORRICONE (1928-)

“Love Theme” from Cinema Paradiso (arr. Morley)

GERSHWIN (1898-1937)

Someone to Watch Over Me (arr. Dechter)

PIAZZOLLA (1921-1992)

Oblivion Ms. Meyers, violin

INTERMISSION STRAVINSKY (1882-1971)

Petrushka (1947) Part I: The Shrovetide Fair Part II: Petrushka's Room Part III: The Moor's Room Part IV: The Shrovetide Fair (Toward Evening)

Funded in part by the Kurt Weill Foundation for Music, Inc., New York NY, and the National Endowment for the Humanities.

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KURT WEILL (1900-1950) Much Ado About Love: A Suite of Dances from The Firebrand of Florence The 1945 Broadway operetta The Firebrand of Florence, with lyrics by Ira Gershwin, was Weill’s worst box-office failure in America. It lasted only just 43 performances, a casualty of the wartime generic disfavor of costume operetta on Broadway, a weak book based on Edwin Justus Mayer’s play about Benvenuto Cellini entitled The Firebrand (1924), and miscasting from the top down, including Weill’s insistence that the role of the Duchess be played by his wife Lotte Lenya. Recorded live in London in 2000 utilizing the first critical edition of an American musical theater work, it has thereafter enjoyed a number of well-received concert performances on both sides of the Atlantic, as well as a highly successful German stage adaptation in Dresden. The present suite is indeed a premiere, in that it incorporates passages of the score that have never been gathered in this way previously, with only a few editorial enhancements of orchestration and continuity. Its title, “Much Ado about Love,” adopts that of the operetta when it debuted at the Colonial Theatre in Boston in February, prior to its Broadway premiere a month later as The Firebrand of Florence. The five movements are indeed a suite of dances: a prelude based on the “Come to Florence” section of the opening number (arguably the longest continuous musical sequence in Broadway history up till then); a Gigue from the end of the show; the waltz from the trial scene, itself an expansion of a vocal number with the memorable Gershwin lyric “You Have to Do What You Do Do”; a sarabande again from the Act II finale; and the Tarantella from the Act I finale. The suite of dances gives some sense of the verve of invention implicit in even this least successful of Weill’s Broadway efforts. - Kim H. Kowalke MAURICE RAVEL (1875-1937) Tzigane Premiered on October 19, 1924, in Amsterdam with Pierre Monteux conducting and Samuel Dushkin as soloist. “This Tzigane must be a piece of great virtuosity. Certain passages can produce brilliant effects, provided that it is possible to perform then—which I’m not always sure of.” Ravel’s comment is not reassuring, if you are the violinist Yelly d’Arányi for whom the piece was composed. Ravel was a curious musician, interested in many styles of music. At first, it was jazz and the music of Gershwin that had inspired him. But when Ravel met the British-Hungarian violinist d’Arányi, he fell under the spell of her renditions of gypsy music. In the grand-niece of the famous Joseph Joachim, Ravel had found the perfect partner for exploring yet another style. In doing so, he followed in the footsteps of Liszt, Brahms and, of course, Joachim. Tzigane, which means “gypsy” in French, is just about all one needs to know to enjoy the work. Composed initially for violin and piano—or actually the luthéal (a keyboard instrument that approximates the sound or a dulcimer)—Ravel was intent on creating a rhapsodic work that would explore as much the

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timbres and technical boundaries of the violin as it does the expressive qualities of gypsy music. D’Arányi premiered the work in London on April 26, 1924. Ravel realized quickly that only an orchestration would truly illuminate the rich textures and hues of his only work in a gypsy style. One wonders what popular styles Ravel would explore if he was alive today... Selections from Serenade: The Love Album In 2015, Ms. Meyers joined forces with Keith Lockhart and the London Symphony Orchestra to produce an album of beloved love songs. Designed to coincide with the celebration of her parent's 50th wedding anniversary, Serenade: The Love Album salutes Anne's love of jazz, blues, and classic movies. Today's selections represent a few of Keith and Anne's favorites from this wonderful collaboration. IGOR STRAVINSKY (1882-1971) Petrushka Premiered on June 13, 1911 in Paris. Petrushka is all about make-believe—with a twist. The magician makes his three puppets, Petrushka (a clown-like figure), the Ballerina, and the Moor, appear life-like to the fairground audience. The twist, of course, is that in Scenes II and III we learn that the puppets are alive. Then the magician makes Petrushka (and the other two puppets) believe that his clownish appearance is hideous. The twist here is that this leads to rejection by the Ballerina and eventual “murder” by the Moor. Yet Petrushka’s “death” leads to the biggest twist of all, as the magician learns— to his horror—that Petrushka had not only come to life but that he had a soul, which is taunting him as the curtain falls. Musically, the ballet functions much the same way. Stravinsky makes us believe that Scenes I and IV represent the real world by using Russian folk music and a simple harmonic language. The twist is that mechanical patterns, without any real development, make the real world seem rather lifeless. The weird (octatonic) and complex musical language of Scenes II and III ought to make us believe that we’ve entered the unreal world of the puppets. The twist is that this music is much more expressive, giving voice to the wide range of emotions felt by the puppets. The result is that reality and make-believe are turned upside down, allowing Stravinsky to draw the audience into the emotional world of Petrushka. From a stylistic perspective, the biggest twist is that Stravinsky’s new weird (octatonic) style becomes not just acceptable but expressive to our ears. Petrushka has been heralded as Stravinsky’s first mature work, where his own, unmistakable, modernist style is on full display. Yet it was quickly overshadowed by Stravinsky’s next work, The Rite of Spring. Stravinsky was actually working on both works at the same time, as Petrushka had become a diversion or secondary outlet while working on the more intense and serious Rite of Spring. Given the level of humor, deception, and creativity outlined above, it might be more appropriate to view both ballet scores as two sides of the same coin. - Siegwart Reichwald

MONDAY, JUNE 26 MONDAY, JUNE 26 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE BMC ARTIST FACULTY I BRITTEN (1913-1976)

Six Folksong Arrangements for Voice and Guitar I will give my love an apple Sailor boy Master Kilby The Soldier and the Sailor Bonny at morn The shooting of his dear Joseph Evans, tenor Adam Holzman, guitar

HINDEMITH (1895-1963)

Sonata for English Horn and Piano Langsam (nitcht schnell) Allegro pesante Moderato Scherzo, schnell Moderato Allegro pesante Emily Brebach, english horn Deloise Lima, piano

INTERMISSION

SHOSTAKOVICH (1906-1975)

Piano Trio No. 2 in E minor, Op. 67 Andante Allegro con brio Largo Allegretto Benjamin Sung, violin Benjamin Karp, cello Donna Lee, piano

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BENJAMIN BRITTEN (1913-1976) Six Folksong Arrangements for Voice and Guitar Many British composers have shown a keen interest in folk music—including Vaughan Williams and Britten. Britten would publish many folk song arrangements throughout his life, beginning in 1941. Presumably, the composer’s pacifist stance during World War II had something to do with his growing interest in folk songs. In fact, the first published volume was written during his stay in America. His good friend, the singer Peter Pears, also influenced Britten’s continued interest in folk songs, as Pears would give voice to his many settings. Originally published in 1961 as Six English Folk Songs, these settings for voice and guitar became volume six in the sequence of arrangements. Unlike Vaughan Williams’s more traditional settings, Britten approaches the folk songs from a fresh, twentieth-century perspective. These songs are not so much arrangements as re-compositions. The accompaniment, in this case the guitar, takes on a central role as a sort of musical and stylistic counterpoint to the vocal line. PAUL HINDEMITH (1895-1963) Sonata for English Horn and Piano Premiered on November 23, 1941, in New York with Louis Speyer playing the English horn and Jesús Maria Sanromá at the piano. When the Hindemiths settled in New Haven for his appointment at Yale University, it took some getting used to their American environment. Gertrude wrote, “You have no idea how often we sit here in the evenings in our practical, motorized living-roomkitchen and think dismally of you, or how often I have tried to damp down Paul’s fury when the publishers’ copies and proofs arrive.” But there were also good memories—in particular the summers spent at Tanglewood: “The summer went by in a flash . . . badminton matches and lazy baskings in the Berkshire sun.” Hindemith’s Sonata for English Horn seems to be an expression of his early experiences in America. Unlike most of his sonatas cast in typical three-movement design, the English Horn Sonata is in six movements. A closer look reveals an integrated doublevariation design: the first two movements represent contrasting themes, while the next four movements take turns exploring the themes with two variation movements for each theme. The profound contrasts between the themes seem to reflect Hindemith’s experiences of nostalgia and excitement.

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DMITRI SHOSTAKOVICH (1906-1975) Piano Trio No. 2 in E minor, Op. 67 Premiered on November 14, 1944. “When I work on new compositions, I always think, And what would Ivan Ivanovich have said about this?” Ivan Ivanovich Sollertinsky was one of Shostakovich’s closest friends. Trained as a musicologist, Sollertinsky had become a sounding board for the composer. Sollertinsky’s breadth of knowledge—not only about music history (he is said to have spoken 26 languages and 100 dialects)—provided Shostakovich the kind of intellectual discourse the composer craved. When Sollertinsky died suddenly of a heart attack at age 41, Shostakovich was grief stricken. He decided to complete his recently begun Second Piano Trio in honor of his friend. The choice of a chamber work to honor this intellectual giant was no accident. Shostakovich explained that “Chamber music demands of a composer the most impeccable technique and depth of thought. I don’t think I will be wrong if I say that composers sometimes hide their poverty-stricken ideas behind the brilliance of orchestral sound. The timbral riches which are at the disposal of the contemporary symphony orchestra are inaccessible to the small chamber ensemble. Thus, to write a chamber work is much harder than to write an orchestral one.” The first three movements are what might be expected of a work written by a grieving Shostakovich: dark, expressive, melancholic. But the last movement seems surprising, as Shostakovich incorporated a Jewish tune. Shostakovich’s strong stance against anti-Semitism are well known, and since the work was composed during the end of World War II, it might be easy to view this as a political statement. Yet Shostakovich’s interest in Jewish music was genuine and deeply seated; it wasn’t just something he “used” to give a work political meaning. In fact, Shostakovich might have found self-expression by engaging with Jewish folklore. The composer explained: “It seems I comprehend what distinguishes the Jewish melos. A cheerful melody is built here on sad intonations . . . The ‘people’ are like a single person . . . Why does he sing a cheerful song? Because he is sad at heart.” - Siegwart Reichwald

TUESDAY, JUNE 27 LEAD SPONSOR BMC Presents Series Hampton Inn - Brevard

TUESDAY, JUNE 27 7:30 PM WHITTINGTON-PFOHL AUDITORIUM BMC PRESENTS: RICKY SKAGGS WITH ORCHESTRA Ricky Skaggs and Kentucky Thunder Brevard Festival Orchestra Ken Lam, conductor

A life full of music. That's the story of Ricky Skaggs. By age 21, he was already considered a "recognized master" of one of America's most demanding art forms, but his career took him in other directions, catapulting him to popularity and success in the mainstream of country music. His life's path has taken him to various musical genres, from where it all began in bluegrass music, to striking out on new musical journeys, while still leaving his musical roots intact. Ricky struck his first chords on a mandolin over 50 years ago, and this 14-time Grammy Award winner continues to do his part to lead the recent roots revival in music. With 12 consecutive Grammynominated classics behind him, all from his own Skaggs Family Records label (Bluegrass Rules! in 1998, Ancient Tones in 1999, History of the Future in 2001, Soldier of the Cross, Live at the Charleston Music Hall, and Big Mon: The Songs of Bill Monroe in 2003, Brand New Strings in 2005, Instrumentals in 2007, Salt of the Earth with The Whites in 2008, Honoring the Fathers of Bluegrass: Tribute to 1946 and 1947 in 2009 and Ricky Skaggs Solo: Songs My Dad Loved along with Mosaic in 2010), the diverse and masterful tones made by the gifted Skaggs come from a life dedicated to playing music that is both fed by the soul and felt by the heart. Cross pollination has been a mainstay throughout Ricky's career, from his weekly collaborations with various artists as host of The Nashville Network's Monday Night Concerts in the 1990's to his recent pairings with Bruce Hornsby and The Whites. Ricky Skaggs has often said that he is "just trying to make a living" playing the music he loves. But it's clear that his passion for it puts him in the position to bring his lively, distinctively American form of music out of isolation and into the ears and hearts of audiences across the country and around the world. Ricky Skaggs is always forging ahead with cross-cultural, genre-bending musical ideas and inspirations. Kentucky Thunder "This group of guys meets my approval every night," Ricky says. "Each and every one of the pickers in Kentucky Thunder totally amazes me in every show . . . and that, to me, outweighs any award we could ever win." The all-star lineup of Kentucky Thunder includes Paul Brewster (tenor vocals, rhythm guitar), Scott Mulvahill (bass, bass vocals), Russ Carson (banjo), Jake Workman (lead guitar), Mike Barnett (fiddle) and Dennis Parker (baritone vocals, guitar).

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WEDNESDAY, JUNE 28 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE MAUD POWELL: AN AMERICAN LEGEND

BEACH (1867-1944)

BRAHMS (1833-1897)

BMC celebrates the life and legacy of violinist Maud Powell on the 150th anniversary of her birth. The first American-born virtuoso was recognized as "the most powerful force for musical advancement in America" during her lifetime. Her life was dedicated to her violin, to music, and to humanity. Her artistry set a standard for all the world to follow. BMC wishes to thank the Maud Powell Society for their enthusiastic participation in this concert.

Violin Romance Marjorie Bagley, violin Douglas Weeks, piano Violin Sonata No. 3 in D minor, Op. 108 Allegro Adagio Un poco presto e con sentiment Presto agitato Jay Christy, violin Douglas Weeks, piano

COLERIDGE-TAYLOR (1875-1912)

Deep River (arr. Powell) Jay Christy, violin Douglas Weeks, piano

INTERMISSION

MENDELSSOHN (1809-1847)

String Quintet No. 1 in A major, Op. 18 Allegro con moto Intermezzo. Andante sostenuto Scherzo. Allegro di molto Allegro vivace Byron Tauchi, violin Margaret Karp, violin Maggie Snyder, viola Jennifer Snyder Kozoroz, viola Susannah Chapman, cello

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WEDNESDAY, JUNE 28 MAUD POWELL (1867-1920): AN AMERICAN LEGEND The art of violin playing was about to be revolutionized when Maud Powell stepped into the Victor recording studio for the first time in 1904. The unparalleled standard for violin performance that Powell engraved on the spinning wax ushered in the modern age of violin playing and marked the historic marriage of recording technology to the highest achievement in violin playing. The Victor Company's choice of Maud Powell to be the first solo instrumentalist to record for its newly inaugurated celebrity artist series (Red Seal label) was no surprise. Maud Powell was internationally recognized as America's greatest violinist who easily ranked among the supreme violinists of the time—Joseph Joachim, Eugène Ysaÿe, and later, Fritz Kreisler. A popular favorite as well, she won the affection of the American public with her unabashed enthusiasm for the violin. This opening of Karen Shaffer’s article on Maud Powell’s achievement highlights her pioneering role as a “recording artist.” In 2014, The Recording Academy bestowed posthumously the 2014 Grammy Special Merit Award for Lifetime Achievement on this extraordinary artist. 2017 marks her 150th birthday. AMY BEACH (1867-1944) Violin Romance It is only fitting to open tonight’s program with a work by another American musical pioneer whose 150th birthday is also celebrated this year. The Violin Romance is one of many works written for Maud Powell. They premiered the work together at the 1893 Women’s Musical Congress. It was Beach’s first published chamber work and as such betrays her stylistic roots in the German romanticism of Brahms. Her keen sense for creating sublime melodies, however, is already on display—beginning with a stunning 25-measure opening phrase presented by the violin.

COLERIDGE-TAYLOR (1875-1912) Deep River (arr. Powell) Powell recorded her arrangement of Deep River on June 15, 1911. The composer had dedicated the song to her. She often included the work on her recitals, making it the first time a white, classically trained musician performed an African-American spiritual. Showing her awareness of racial issues, Powell acknowledged that “under her white hand this music is a poor imitation of an actual spiritual.” Deep River would remain one of her favorite recordings, because “it’s a real American tune.” FELIX MENDELSSOHN (1809-1847) String Quintet No. 1 in A major, Op. 18 Writing a polished string quintet at the age of 17 would be a major accomplishment for just about anyone. For Mendelssohn, however, it was just another day at the office. Having already composed a true masterwork with his progressive Octet, Mendelssohn now tried his hand at something more traditional. The outcome is a work that reflects the enthusiasm of a teenager with the polish of a seasoned musician. The most striking element of this work is the extensive use of counterpoint (two more lines moving independently), which pervades the otherwise conventional movement structure. He had initially composed a minuet and trio that not only employed extremely complex counterpoint, but the trio was organized as a double canon, which was then inverted. He eventually realized that his enthusiasm for counterpoint had gotten the better of him and replaced the minuet with an intermezzo. His “teenage enthusiasm” can nevertheless be found in other ways—such as the scherzo-like intrusion (in the wrong key) at the end of the first movement’s exposition. - Siegwart Reichwald

JOHANNES BRAHMS (1833-1897) Violin Sonata No. 3 in D minor, Op. 108 Premiered on December 22, 1888, in Budapest with Jenõ Hubay on violin and the composer at the piano. This Brahms Sonata was often on Powell’s recital program, including on November 27, 1919, when she collapsed at the end of the program—after she had placed her violin on the piano! As Brahms’s last Violin Sonata, it represents his late style, which is characterized by extreme concision and clarity of thought. Despite the “extra” fourth movement, the third sonata is not any longer than the previous two. Brahms’s three Violin Sonatas and his Violin Concerto were written for and strongly influenced by violin virtuoso Joseph Joachim. As it turns out, Powell studied with Joachim in Berlin in 1884, which surely offered her great insights into the music of Brahms.

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THURSDAY, JUNE 29 7:30 PM SATURDAY, JULY 1 2:00 PM

SUSTAINING SPONSOR The Zimmerli Family Opera Endowment

PORTER CENTER AT BREVARD COLLEGE

DON PASQUALE Janiec Opera Company of the Brevard Music Center David Gately, stage director Brevard Festival Orchestra Caleb Harris, conductor MUSIC LIBRETTO

Gaetano Donizetti Gaetano Donizetti & Giovanni Ruffini

ACT I INTERMISSION ACT II INTERMISSION ACT III Peter Harrison, scenic designer Bobby Bradley, lighting designer Aaron Chvatal, costume designer Brittany Rappise, wig and makeup designer

CAST Don Pasquale - Timothy Madden Dr. Malatesta - August Bair Ernesto - Piotr Buszewski Norina - Chelsea Helm Carlino - Ian Bolden Hop Sing - Blake Ellege

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CHORUS Esther Atkinson Melanie Burbules Victor Cardamone Benedetta Cordaro Blake Ellege Steele Fitzwater Charlotte Jackson Melina Jaharis Jennie Judd Sara Law Anna Montgomery

Erin Moran Franklin Mosely Amanda Palmeiro Taylor Rawley Joel Rogier Cameron Sledjeski Darius Thomas Adina Triolo Daniel Weisman

THURSDAY, JUNE 29 SATURDAY, JULY 1 GAETANO DONIZETTI (1797-1848) Don Pasquale Premiered on January 3, 1843, at the Théâtre-Italien in Paris. THE PRODUCTION

ln the Brevard Music Center production of Donizetti's Don Pasquale, stage director David Gately has moved the work out of 19th century Rome and into the American Old West. Set in Don Pasquale's Hotel, the story unfolds amidst a series of characters, including cowboys, a Chinese Houseboy, a Mexican maid, and a Mariachi band. ln this new setting, David Gately makes the most of all the humor within the piece, and manages to find just a little more between the lines. SYNOPSIS

Act One opens with a meeting between Don Pasquale and his longtime friend Dr. Malatesta, who has arrived at the hotel with news of a bride for Pasquale. With the arrival of Ernesto, Pasquale's nephew, Pasquale is forced to give an ultimatum to his relative—marry someone rich, beautiful, and charming and reap the rewards of his inheritance, or be on his way. When Ernesto tells his uncle that it is Norina, a young widow, that he is in love with, Pasquale tells him to go as there are already plans to be made for Pasquale's own wedding. Next we meet Norina who meets with Dr. Malatesta to devise a plan in which Norina disguises herself as Dr. Malatesta's sister, "Sophronia"—the very girl to whom Pasquale is set to be engaged. Now involved in Pasquale's life, "Sophronia" will be able to undermine Pasquale enough to make him see that marriage to her is a nightmare and that Ernesto should be able to marry Norina and thus be his heir. ln Act Two, Pasquale meets "Sophronia" and falls wildly in love, calling for the marriage ceremony to go on immediately. With Dr. Malatesta's cousin posing as the Notary, the ceremony begins, only to be interrupted by Ernesto, who, having heard news of the scheme enters and tries to put a stop to it. When it is discovered that another signature is required on the marriage certificate, Dr. Malatesta convinces Ernesto to sign, explaining that it is merely a scheme to get Pasquale to agree to a future union between Ernesto and Norina. With the ceremony finished, "Sophronia" launches into a tirade and the second act ends in pandemonium.

Act Three opens amidst a flurry of activity with shopkeepers and servants buzzing around with receipts from "Sophronia's" many purchases. When “Sophronia" appears and tells Pasquale that she is going out for the evening and that he should go to bed like an old man ought to, they argue and "Sophronia" ends up smacking Pasquale. When she leaves, feeling guilty for her actions, she drops a letter which she knows Pasquale will find and read. Going through the stack of bills, Pasquale comes across the letter and reads it. It is from "Sophronia's" secret lover who writes that they must meet in the garden between nine and ten that evening. When Dr. Malatesta arrives, the two discuss a plan which involves catching the two lovers in the act. Moving to the garden, Ernesto and Norina (still disguised as Sophronia) meet and sing of their deep love for one another. When Pasquale and Malatesta discover the two in the darkness, Ernesto hides as "Sophronia" tries to convince Pasquale and Malatesta that she is alone. Malatesta finally tells "Sophronia" that she must leave Pasquale's house for good if only to escape dishonor as another bride is to arrive the following day—Ernesto's bride. When "Sophronia" confirms that Ernesto is indeed to marry Norina, a woman she hates, "Sophronia" calls Ernesto into the open to share the news with him. The opera ends with Norina, Ernesto and Malatesta all congratulating Pasquale for being such a good sport in their little practical joke. THE ROLE OF HOP SING

Hop Sing is a character that director David Gately has introduced for his "western" production of Don Pasquale. Based on the character of Hop Sing from the old Bonanza television series, this role showcases a great deal of expressive mime work and comedic timing within the framework of the music. - David Gately

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FRIDAY, JUNE 30 7:30 PM

SUSTAINING SPONSOR

WHITTINGTON-PFOHL AUDITORIUM RACHMANINOFF PIANO CONCERTO NO. 3 Brevard Music Center Orchestra Marcelo Lehninger, conductor Lise de la Salle, piano TCHAIKOVSKY (1840-1893)

Official piano of the Brevard Music Center

Symphony No. 6 in B minor, Op. 74, "Pathétique" Adagio. Allegro non troppo Allegro con grazia Allegro molto vivace Finale. Adagio lamentoso

INTERMISSION

RACHMANINOFF (1873-1943)

Piano Concerto No. 3 in D minor, Op. 30 Allegro ma non tanto Intermezzo. Adagio Finale. Alla breve Ms. de la Salle, piano

PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Symphony No. 6 in B minor, Op. 74, “Pathétique” Premiered on October 28, 1893, in St. Petersburg conducted by the composer. What is the content and meaning of this work? That has been the burning question ever since its premiere. Tchaikovsky’s title, “Pathétique,” offers just enough information to fuel wide-ranging programmatic readings. The composer himself provided more questions than answers by suggesting that there is a program, but that he would not share it. The mystery becomes even more tantalizing with the composer’s death only nine days after the premiere—especially since the circumstances of his death are a mystery. The two main theories for his death offer two very different paths to the symphony’s meaning. One assumption is that Tchaikovsky died of an accidental drink of choleracontaminated water, which, obviously, provides no link to the piece. The second theory, however, that Tchaikovsky might have poisoned himself leads to all kinds of speculations about an

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auto-biographical meaning of the work—especially in light of the symphony’s unusual ending. The first movement is long and intense, opening up a dark and mysterious world with little hope—despite the many moments of hopeful nostalgia. Tchaikovsky uses all the tools of late Romantic expression—from sonata form with contrasting themes to rich orchestral colors with heavy outbursts by the brass. It is the skillful work of a composer whose mastery transcends compositional rules, creating an immediacy of expression that is unequaled. The second movement, Allegro con grazia, poses only more questions. While opening with one of Tchaikovsky’s most beautiful melodies, the irregular meter (5/4) creates tremendous tension, and the movement spirals into darkness with a pounding timpani part in the middle section. Even the return of the opening theme cannot overcome the ominous clouds. Had Tchaikovsky died before the symphony was finished, there would have been a great debate about the order of the last two

FRIDAY, JUNE 30 movements, as the third movement sounds more like a closing movement. Its brilliant character and the unfolding “construction” of a triumphant theme would make for an exciting and glorious ending. In light of the ensuing dark slow movement, however, the triumph seems hollow. The last movement might be one of the most wrenching and emotionally draining pieces ever written. Its level of intensity, captivating sadness, and beauty defy all description and provide an appropriate, albeit chilling ending not only to the career of one of the great symphonists of the 19th century but also to the end of the Romantic era. SERGEI RACHMANINOFF (1873-1943) Piano Concerto No. 3 in D minor, Op. 30 Premiered on November 28, 1909 in New York conducted by Walter Damrosch with Rachmaninoff as soloist. Rachmaninoff’s triple threat career as composer, pianist, and conductor was moving so fast in 1906 that he decided to settle in Dresden to slow his frantic pace and refocus on composing (he chose Dresden, because he and his wife enjoyed their honeymoon there). A couple of years later, Rachmaninoff was ready to perform again. During his first American tour in 1909, the composer introduced his Third Piano Concerto to the world. Having already written two highly successful piano concertos, Rachmaninoff realized the challenge, and his new work offers a more subtle and mature compositional style that is rich in content and musical meaning. The composer nevertheless once said that he wrote the piece “for elephants.” Its massive chords, cascading and leaping octaves, high-speed counterpoint, and wide-spaced, busily embellished textures demand strength, dexterity, control, and stamina like no other concerto. Scholar Geoffrey Norris describes Rachmaninoff’s concert manner as austere, contrasting sharply with the warm and generous personality he revealed in the company of this family and close friends. He possessed a formidable piano technique, and his playing was marked by precision, rhythmic drive, a refined legato and an ability for complete clarity in complex textures— qualities that he applied with sublime effect in his performances of Chopin . . . Whatever music he was playing, his performances were always carefully planned, being based on the theory that each piece has a “culminating point.” “This culmination,” as he told the poet Marietta Shaginian, “may be at the end or in the

middle, it may be loud or soft; but the performer must know how to approach it with absolute calculation, absolute precision, because, if it slips by, then the whole construction crumbles, and the piece becomes disjointed and scrappy and does not convey to the listener what must be conveyed.” All of Rachmaninoff’s traits as one of the greatest pianists of his day (and of all time) are on display in this concerto. The first movement opens with a stunningly beautiful melody presented simply in octaves that highlight Rachmaninoff’s ability to “make the piano sing.” The complex second theme could not be more contrasting to the simple melodiousness of the first, which gives the composer ample material to develop later in the movement. The composer’s integration and interplay between the orchestra and the piano are extraordinary, as is his perfectly calculated climax right before the cadenza; in the end the movement ends as simply as it began. Calling the second movement an intermezzo is about as misleading as calling a tiger a kitty-cat. Not only does it demand tremendous power on the part of the pianist, the music is also rich and intense—far from the light nature indicated by the title. The mood of the movement is that of melancholy and sorrow. Yet, in a way, the title might be appropriate in light of the monumental last movement, which seamlessly grows out of the middle movement. The final movement is full of drive, virtuosity, and invention. Rachmaninoff skillfully creates a sense of inevitability by combining ideas from the first movement (second theme) with new concepts. The awesome (in the real sense of the word) coda creates a true sense of delirious excitement that befits a work of such grandeur, power, and musical innovation. - Siegwart Reichwald

Few works have been used more extensively in movies than Tchaikovsky’s Sixth, including Now, Voyager, Anna Karenina, The Ruling Class, Minority Report, Sweet Bird, Soylent Green, and The Aviator.

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

SATURDAY, JULY 1 7:30 PM WHITTINGTON-PFOHL AUDITORIUM LISZT PIANO CONCERTO NO. 1 Brevard Sinfonia Marcelo Lehninger, conductor Norman Krieger, piano

Official piano of the Brevard Music Center

LEHÁR (1870-1948)

Overture to The Merry Widow

LISZT (1811-1886)

Piano Concerto No. 1 in E flat major Allegro maestoso Quasi adagio Allegretto vivace. Allegro animato Allegro marziale animato Mr. Krieger, piano

INTERMISSION

BARTÓK (1881-1945)

Suite No. 1 for Orchestra, Op. 3

FRANZ LEHÁR (1870-1948) Overture to The Merry Widow The operetta premiered in Vienna on December 30, 1905. The operetta The Merry Widow had unparalleled success all around the world. Yet to “serious” musicians and music critics alike, Lehár’s popular success was just more proof of a lower artistic standard. So when Gustav and Alma Mahler couldn’t recall one of the operetta’s musical numbers at home, they were too embarrassed to buy the score and thereby admit their interest in Lehár’s music. Instead, Mahler occupied the music store clerk with questions about one of his own works, while Alma sneaked

Overture

Allegro vivace Poco adagio Presto Moderato Molto vivace

a look at the Lehár score. Now they could happily dance to Lehár’s music without anybody’s knowledge! The expertly crafted overture bursts with a “the best of” tunes from the opera, enticing the audience to settle in for an evening of fun and excitement. Counting Dvořák, among others, as one of his musical advisors, Lehár was a highly-trained composer who happened to choose operetta as his musical outlet. Lehár knew how to write music that is engaging and entertaining—even if the Mahler household wouldn’t want to be caught dead with a Lehár score on their piano.

SATURDAY, JULY 1 FRANZ LISZT (1811-1886) Piano Concerto No. 1 in E flat major Premiered on February 17, 1855, in Weimar with the composer as the pianist and Hector Berlioz conducting. “When I heard Liszt for the first time in Vienna, I just couldn’t control myself, I sobbed freely with emotion.” In and of itself this statement does not surprise us, given Liszt’s reputation as one of the greatest virtuosos of all time. But the fact Clara Schumann said it changes everything. Among “serious” composers and performers, Liszt and his larger-than-live persona was viewed with suspicion. Yet Clara Schumann (and many other composers who would experience Liszt in person) quickly realized that Liszt was not just another dazzling piano virtuoso. His playing had depth, as he interpreted the carefully chosen masterworks he performed. Liszt’s music amplifies his unparalleled understanding of compositional approaches of his day. Just as his piano technique was revolutionary, so was his progressive approach to composition. Liszt’s First Piano Concerto is case in point. Composed over the course of 26 years, his First Piano Concerto is far from a first attempt at a genre he was all too familiar with as a pianist. This work is not what might be expected of a showman. Composed in four movements, the concerto seems more like a symphony than a concerto with its slow movement and scherzo as the inner movements. Yet the relative brevity and interconnectedness of all four movements (which are played without pause) make the work seem rhapsodic in nature—a trait of Liszt’s music that caused Mendelssohn to pronounce it “unpremeditated.” A closer listening, however, reveals just the opposite. The main theme returns on various occasions throughout the work, encouraging us to read all four movements from a broader perspective as a meta-narrative employing sonata form principles across movements—meaning that the contrast of keys and themes lead to struggles and an eventual climax, before everything gets resolved in the last movement. Maybe the most obvious hint at the work’s progressive nature is Liszt’s choice of Berlioz—the most progressive composer of his day—as the conductor for the premiere. BÉLA BARTÓK (1881-1945) Suite No. 1 for Orchestra, Op. 3 The complete suite was premiered on March 1, 1909, in Budapest conducted by Jenö Hubay. I was roused as by a clap of thunder at the first performance of Also sprach Zarathustra in Budapest in 1902. The work, received with horror by most of the listeners, brought me to a pitch of enthusiasm. I felt a reaching out to something new. I threw myself into the study of Strauss.

parts of the suite brought the sought-after success: “Despite all of the Hungarianisms, my suite caused a sensation in Vienna.” Bartók’s idea of “Hungarianisms” needs to be understood within the proper context, for Bartók had not yet developed his lifelong interest in “peasant music.” This Suite is only Hungarian in the general sense, as the young Hungarian composer writes Straussian music with a thick Hungarian accent. It is not based on Hungarian tunes. In fact, the only tune Bartók used is the Austrian national hymn—somewhat hidden in the first and last movements. An excerpt from a review of the 1905 premiere of four of the five movements provides a good introduction to the work: The most appealing gift was an orchestral suite by Béla Bartók, a still very young composer of Hungarian origin. Here one encounters a fresh and vigorous talent that not only fully uses all modern orchestral means but also puts them into the service of expressing comprehensible and lively musical thoughts. One basic theme governs the four movements of the suite. This theme is transformed rhythmically and harmonically in interesting ways and appears in ever new and surprising ways, enveloped by motifs of national coloring and with supple technique put in forever changing combinations… The charming cadenza on the basic theme in the intermezzo brings forth the most beautiful of effects. The frolicsome scherzo comes through gracefully and easily; in the finale the entire thematic material is summed up. The instrumentation is masterfully executed. Without disavowing the individual instruments’ character, the work shows many bold and original facets. If the talents of the young artist, who is also lauded as a pianist deepen and grow more assured and do not—as the virtuoso orchestral technique makes us fear—get out of hand, then there is much to look forward to in the work of Béla Bartók. The audience confirmed the success of the Suite with vigorous applause. - Siegwart Reichwald

Supposedly, pianist and conductor Hans von Bülow put the words to the opening measures, “Das versteht ihr alle nicht, haha!” (None of you understand this, ha-ha!).

Bartók’s First Suite, composed in 1905, represents his absorption of Strauss’s music. Having settled in Vienna to establish himself as pianist and composer, Bartók was eager to make his mark. Apparently, the November 1905 performance of

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

MONDAY, JULY 3 7:30 PM PORTER CENTER AT BREVARD COLLEGE BMC ARTIST FACULTY II

SCHUBERT (1797-1828)

Rondo in A major for Piano 4-Hands, D. 951 Sandra Shen, piano Norman Krieger, piano

Sonata in A minor, D. 821, "Arpeggione" Allegro moderato Adagio Allegretto Felix Wang, cello Norman Krieger, piano

INTERMISSION

BEETHOVEN (1770-1827)

Septet in E flat major, Op. 20 Adagio. Allegro con brio Adagio cantabile Tempo di minuetto Tema con variazioni. Andante Scherzo. Allegro molto e vivace Andante con moto alla marcia. Presto Steve Cohen, clarinet William Ludwig, bassoon Elizabeth Freimuth, horn Corinne Stillwell, violin Ralph Fielding, viola Benjamin Karp, cello George Speed, double bass

Overture

MONDAY, JULY 3 FRANZ SCHUBERT (1797-1828) Rondo in A major for Piano 4-Hands, D. 951 Probably no other composer wrote more masterworks in his final year than did Franz Schubert. The list includes his Trio in E flat major, the Fantasy for Violin and Piano, his ”Great” C minor Symphony, the String Quintet, his final three piano sonatas, and his Schwanengesang cycle. So it is easy to overlook his music for piano four-hands. Yet in April he wrote his Fantasy in F minor, in May the Allegro in A minor, and in June the Rondo in A major. Piano music for four-hands had a social function, as the music was intended for talented amateurs to play at home—for the enjoyment of both performer and listener. Yet there is nothing “amateurish” about the Rondo. It is sublime music, written for seasoned performers. His expansive sonata rondo design also goes beyond simple music for the home. Rather, Schubert creates a one-movement work of symphonic dimensions. FRANZ SCHUBERT (1797-1828) Sonata in A minor, D. 821, "Arpeggione" This sonata has an odd performance history. It is not clear why Schubert wrote this sonata. Some people think that it was commissioned by his friend Vincenz Schuster, while others suggest that he was simply intrigued by the newly invented bowed six-string guitar like instrument called the "arpeggione." If the arpeggione ever was in vogue, its popularity was very short-lived. In fact, Schubert’s Sonata is the only masterwork written for the instrument. Ironically, Schubert’s Arpeggione Sonata was not published until 1871. Yet its success gave the by then “dead” instrument its name. Not surprisingly, this sonata “sings,” as Schubert’s unmatched sense of melody creates a work of stunning beauty. Composed in 1824, this sonata represents his mature, Romantic style.

LUDWIG VAN BEETHOVEN (1770-1827) Septet in E flat major, Op. 20 Premiered on April 2, 1800 in Vienna. Based on the sheer number of arrangements, the Septet might be considered Beethoven’s most popular work. During the composer’s lifetime, we find arrangements for piano four-hands, piano quartet, piano trio, solo piano, and even for two guitars. The continued popularity of this (at least in Beethoven’s mind) rather conventional work irked the composer greatly—especially since the Septet was premiered together with his First Symphony. What made this work so popular? The Septet is conceived as a divertimento—lighter fare for evening entertainment. Beethoven was still new in Vienna, and he wanted to present himself in the best possible light. As an indication of the young composer's ambitions, he dedicated the work to Empress Maria Theresa. In six movements, Beethoven showcases everything he has learned from studying Mozart’s music, creating a sparkling work Mozart himself would have been proud of. The Septet is one of Beethoven’s finest “classical” works. Beethoven had brilliantly fulfilled his task of drawing attention to himself as composer. Of course, Beethoven was well on his path toward Romanticism—hence his frustrations with a great work that would quickly no longer represent his compositional ideals. - Siegwart Reichwald

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

TUESDAY, JULY 4 2:00 PM WHITTINGTON-PFOHL AUDITORIUM PENDERGRAST FAMILY PATRIOTIC POPS Brevard Symphonic Winds Kraig Alan Williams, conductor Brevard Concert Orchestra Ken Lam, conductor with Anna Montgomery, soprano Melina Jaharis, mezzo-soprano Piotr Buszewski, tenor August Bair, baritone BAGLEY

National Emblem March

KEY

National Anthem

BALMAGES

Proudly We Hail

MURTHA arr. LAVENDAR KING RICHARD

Arlington (Where Giants Lie Sleeping) Festival of Freedom Trombone King Armed Forces Medley

SOUSA

President Garfieldâ&#x20AC;&#x2122;s Inauguration March

BERLIN

Give Me Your Tired, Your Poor

arr. HOSAY

Battle Hymn 2000 Brevard Symphonic Winds

INTERMISSION JENKINS

American Overture

COPLAND

Lincoln Portrait

TCHAIKOVSKY

1812 Overture Brevard Concert Orchestra

Overture

WEDNESDAY, JULY 5 WEDNESDAY, JULY 5 7:30 PM PORTER CENTER AT BREVARD COLLEGE

WEILL & SCHOENBERG: FROM BERLIN TO HOLLYWOOD WEILL (1900-1950)

WEILL (1900-1950)

Berlin im licht William Sharp, baritone Shane Schag, piano Two Movements for String Quartet Allegro deciso Andantino Byron Tauchi and Jay Christy, violins Erika Eckert, viola Susannah Chapman, cello

WEILL (1900-1950)

J’Attends un navire / My Ship Lisa Vroman, soprano Shane Schag, piano Two Walt Whitman Songs Beat! Beat! Drums Dirge for Two Veterans William Sharp, baritone Shane Schag, piano

WEILL (1900-1950)

Funded in part by the Kurt Weill Foundation for Music, Inc., New York NY, and the National Endowment for the Humanities.

Five Songs from Huckleberry Finn River Chanty Come In, Mornin’ Apple Jack This Time Next Year Catfish Song Matthew Queen, Huckleberry Finn Franklin Mosely, Jim Amanda Palmeiro, soprano Shane Schag, piano

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

INTERMISSION SCHOENBERG (1874-1951) SCHOENBERG (1874-1951)

Six Little Piano Pieces, Op. 19 Craig Nies, piano Ode to Napoleon Jason Posnock and Benjamin Sung, violins Scott Rawls, viola Alistair MacRae, cello Jihye Chang, piano William Sharp, reciter

KURT WEILL (1900-1950) When he was just 19 years old and working as a conductor in a provincial theater in Germany, Kurt Weill decided that he would devote his talents to the musical theater, in its many forms. For the next thirty years, he did just that, in three languages, on both sides of the Atlantic. Along the way he managed also to compose two symphonies, two string quartets, a violin concerto, and a cello sonata (see chamber music concert on July 10).He wasn’t much of a songwriter outside the theater either: a couple of cycles on German texts, a few French cabaret songs, and four Whitman songs in America. The first half of today’s concert surveys this output geographically. It begins with the theme song of “festival of light” in Berlin in 1928, shortly after The Threepenny Opera had taken the city by storm. The “Two Movements for String Quartet” date from the first version of what became the op. 8 Quartet, which replaced the “Allegro deciso” and “Andantino” with a single “Introduktion.” Many Weill-experts consider the original movements superior to the later version, published in 1924. The combination of “I Wait for a Ship” (from Marie Galante, 1934) and “My Ship” (from Lady in the Dark,1941) evinces Weill’s flight from Germany to Paris in 1933 and then his arrival in America in 1935. Lady was Weill’s first Broadway hit, and shortly after it opened in January 1941 he wrote to its lyricist, Ira Gershwin that he was thinking of composing “a book of songs (not popular songs but `Lieder’) for concert singers.” Shortly after the bombing of Pearl Harbor in December, Weill turned to his edition of Leaves of Grass and jotted the titles of five poems on a scrap of paper. On Christmas Day he gave his neighbors Maxwell and Mab Anderson a holograph score of “O Captain! My Captain!” Weill next set “Beat! Beat! Drums!” because of “its extraordinary timeliness” as a “passionate call to arms to everybody in the nation.” Late in January he wrote Lotte Lenya, “I’m finishing another Whitman song (“Dirge for Two Veterans”), which I think will be the best. I’ll try to get Paul Robeson to sing them first.” Shortly after returning from his only trip back to Europe, Weill added a fourth song, from Whitman’s “Wound Dresser” collection depicting the tragedy of the individual soldier, “Come Up from the Fields, Father.” All four Whitman songs were then recorded by tenor William Horne for Concert Hall Records, under Weill’s supervision. When Weill died of a heart attack in April 1950 at age fifty, he left behind drafts of five songs for a musical play “Huckleberry Finn” with lyrics by Maxwell Anderson. Orchestrated by Robert Russell

Overture

Bennett, they were premiered in 1952 in New York and published for piano and voice in 1954, “creatively edited” by Weill’s rehearsal pianist, Lys Symonette. - Kim H. Kowalke

ARNOLD SCHOENBERG (1874-1951) Arnold Schoenberg, a truculent, irremediably highbrow artistic personality, remained ever German in Los Angeles (to which he moved in 1934) notwithstanding his substantial effectiveness as a teacher (at UCLA) and influence (on American composers, if not American listeners). Though he expressed “disgust” with American popular culture and was alienated by Hollywood, his private students included Hollywood’s leading film composers. And he was as prone to gusts of patriotism as to fusillades of disparagement. He once described himself as “driven into paradise,” where “my head can be erect.” A rare common thread in the Weill and Schoenberg sagas is their patriotic musical response to Pearl Harbor and America’s declaration of war. In 1942, Weill composed three of his Walt Whitman Songs; Schoenberg composed his Ode to Napoleon the same year. The Schoenberg works we hear tonight comprise snapshots of the composer before and after becoming an American. His Six Little Piano Pieces (Op. 19), published in 1913, exemplify Schoenberg’s atonal period–his departure from tonality. The Ode to Napoleon, closing out the evening, is an unusually accessible (and unusually lenient) implementation of the 12-tone, “serial” compositional methodology he devised in 1921 with the intention, so typically contentious, of “insuring the superiority of German music for the next hundred years.” Raging with anger against the Nazis, soaring with patriotic exaltation, this is music that feeds magnificently on Schoenberg’s intensity of temperament and moral engagement. The Ode abounds in Germanic Expressionistic description; it seizes on dark hypnotic detail. The poem, by Byron, salutes the conquering democrat George Washington (here standing in for FDR) as antipode to Napoleon (here taking the place of Hitler). The scoring is for piano, string quartet, and a reciter whose words are set as “Sprechgesang” —Schoenberg’s unique way of combining speech and song, notating rhythms and relative pitches. The British, American, and Germanic resonances remain unblended and mutually incongruous. That even at his most “American” Schoenberg—so unlike Weill—is proudly and incorrigibly German makes this patriotic gesture the more touching. - Joseph Horowitz

THURSDAY, JULY 6 THURSDAY, JULY 6 7:30 PM

PORTER CENTER AT BREVARD COLLEGE

'CHANGE THE WORLD, IT NEEDS IT!' A WEILL / BRECHT / BLITZSTEIN CABARET Lisa Vroman, soprano William Sharp, baritone Shane Schag, piano Joseph Horowitz and Kim Kowalke, co-creators Dean Anthony, director Peter Bogdanoff, video sequences

MUSIC LYRICS BOOK

Funded in part by the Kurt Weill Foundation for Music, Inc., New York NY, and the National Endowment for the Humanities.

Kurt Weill and Marc Blitzstein (with Hanns Eisler and Aaron Copland) Bertolt Brecht and Marc Blitzstein Kim Kowalke

MUSICAL NUMBERS Into the Streets: May First (1934) Music by Marc Blitzstein and Aaron Copland/ Text by Alfred Hayes The Song of the Big Shot from Happy End (1929) Music by Kurt Weill/Lyrics by Bertolt Brecht/ English translation by Michael Feingold Tango Ballad, Polly’s Song, Ballad of the Easy Life, Second Threepenny Finale from Die Dreigroschenoper (1928) Music by Kurt Weill/Lyrics by Bertolt Brecht/ English translation by Marc Blitzstein Äendere die Welt, sie braucht es (Change the World, It needs it!) from Die Massnahme (1930) Music by Hanns Eisler/Text by Bertolt Brecht Nickel under the Foot and The Cradle Will Rock from The Cradle Will Rock (1937) Music and Lyrics by Marc Blitzstein How Can You Tell an American? from Knickerbocker Holiday (1938) Music by Kurt Weill/Lyrics by Maxwell Anderson

Penny Candy from No For an Answer (1941) Music and Lyrics by Marc Blitzstein Beat! Beat! Drums! (1942) Music by Kurt Weill/Text by Walt Whitman Buddy on the Nightshift (1942) Music by Kurt Weill/Lyrics by Oscar Hammerstein Schickelgruber (1942) Music by Kurt Weill/Lyrics by Howard Dietz Wouldn’t You Like to be on Broadway? and What Good Would the Moon Be? from Street Scene (1946) Music by Kurt Weill/Lyrics by Langston Hughes and Elmer Rice Zipper Fly (1945) Music and Lyrics by Marc Blitzstein Pirate Jenny and Second Finale from Die Dreigroschenoper (1928) Music by Kurt Weill/Lyrics by Bertolt Brecht/ English translation by Marc Blitzstein

This is New and My Shipfrom Lady in the Dark (1941) Music by Kurt Weill/Lyrics by Ira Gershwin

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

FRIDAY, JULY 7 7:30 PM WHITTINGTON-PFOHL AUDITORIUM BELOVED BRAHMS Hinda Honigman Memorial Concert Brevard Music Center Orchestra Matthias Bamert, conductor Liza Ferschtman, violin BRAHMS (1833-1897)

Tragic Overture, Op. 81

BRAHMS (1833-1897)

Symphony No. 3 in F major, Op. 90 Allegro con brio Andante Poco allegretto Allegro

INTERMISSION

BRAHMS (1833-1897)

Concerto for Violin and Orchestra in D major, Op. 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace Ms. Ferschtman, violin

JOHANNES BRAHMS (1833-1897) Tragic Overture, Op. 81 Premiered December 26, 1880, in Vienna conducted by Hans Richter. Brahms often worked on two contrasting pieces at the same time. So when he had been asked to write an overture for the University of Breslau, Brahms decided to compose two works, “one that laughs and one that weeps.” Since the Academic Festival Overture had a title, Brahms presumably felt the need to name the other overture as well. While trying to stay as generic as possible, associations were quickly made. Since Brahms had once contemplated incidental music for Goethe’s Faust, some have looked (unsuccessfully) for substantiating musical clues. While we’ll never know if or what story Brahms might have had in mind, a simple analysis shows how Brahms created

Overture

a “tragic” plot through what we might call sonata form deformation. Conventional sonata form expresses plot through its three essential elements: contrast (two contrasting themes/ keys), struggle (themes/keys are manipulated), and resolution (contrasting theme/keys arrive in the home key). By reversing the order of the main themes during the resolution, Brahms ends the overture with the fateful opening theme, thus creating a tragic ending. Symphony No. 3 in F major, Op. 90 Premiered Decembet 2, 1883, in Vienna conducted by Hans Richter. The Third Symphony was finished in Wiesbaden, Germany in the summer of 1883. It is Brahms’s shortest symphony but arguably his most progressive. The opening brief three-note motto, F-Ab-F, is the motivic and harmonic seed out of which the whole work

FRIDAY, JULY 7 grows. The thematic process as well as the tonal development within each movement actualizes the motto in a very imaginative manner. Brahms seems to have conceived the whole symphony as a unified cycle, as all four movements are close to equal length with motivic ideas of earlier movements recalled in the final movement. The famous pianist and composer Clara Schumann (1819-1896), who was one of Brahms’ closest friends, explained in a letter to the composer her understanding of the work: What a work! What a poem! What a harmonious mood pervades the whole! All the movements seem to be of one piece, one beat of the heart, each one a jewel! From start to finish one is wrapped about the mysterious charm of the woods and forests. I could not tell you which movement I loved most. In the first I was charmed straight away by the gleams of the dawning day, as if the rays of the sun were shining through the trees. Everything springs to life, everything breathes good cheer, it is really exquisite! The second is a pure idyll; I can see the worshippers kneeling about the little forest shrine, I hear the babbling brook and the buzz of the insects. There is such a fluttering and a humming all around that one feels oneself snatched up into the joyous web of Nature. The third movement is a pearl, but it is a grey one dipped in a tear of woe, and at the end the modulation is quite wonderful. How gloriously the last movement follows with its passionate upward surge! But one’s beating heart is soon calmed down again for the final transfiguration which begins with such beauty in the development motif that words fail me. Concerto for Violin and Orchestra in D major, Op. 77 Premiered on January 1, 1879, in Leipzig conducted by Brahms with Joseph Joachim as soloist. One cannot overestimate the impact of Joseph Joachim not only on Brahms’s Violin Concerto but his musical development in general. As a 15-year-old, Brahms heard Joachim perform

Beethoven’s Violin Concerto, which left a lasting impression on the teenager. More importantly, however, Joachim introduced Brahms to Schumann, an encounter that would set Brahms on his compositional path. As their friendship deepened, playing concerts together with Brahms at the piano, they found a musical kinship, both interested in their Austro-German musical heritage, beginning with Bach, continuing with Haydn and Mozart, and ending with Beethoven. So when Brahms sent Joachim a draft of his Violin Concerto, the virtuoso was thrilled and sent back his suggestions—drawing on his experience as the premier violinist of his day. It comes as no surprise, then, that this concerto is not only considered “serious” but also extremely difficult. In fact, conductor Hans von Bülow once called it “a concerto against the violin,” and the long and complex first movement truly does seem to pit the violin against the orchestra. At the same time, Brahms also integrates the solo part perfectly into the classically conceived movement structure (sonata form), exploring also the lyrical qualities of the violin. Joachim’s substantive cadenza draws the movement to a pensive close. The ensuing Adagio opens with one of the most beautiful oboe solos in the symphonic repertoire—causing violinist Sarasate to quip that it required the soloist to awkwardly “listen, violin in hand, how the oboe plays the only melody in the whole piece.” Once the violin enters, however, it quickly becomes the expressive voice of this tender and serene movement. For the last movement, Brahms invokes his “Hungarian style.” As a collector of folk music, Brahms was particularly drawn to what is also referred to as the Gypsy style. Presumably, Brahms must have thought of his many performances with Joachim of works in this vein. In many ways, it is the perfect ending to this collaborative work, offering a surprisingly raucous finale to a work that moves from grandeur through serenity to pure joy. - Siegwart Reichwald

The third movement of the concerto is the inspiration for the Andrew Lloyd Webber and Tim Rice song “Don’t Cry for Me Argentina” from the musical Evita.

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

SATURDAY, JULY 8 8:30 PM WHITTINGTON-PFOHL AUDITORIUM E.T. THE EXTRA-TERRESTRIAL IN CONCERT Brevard Sinfonia Constantine Kitsopoulos, conductor A STEVEN SPIELBERG Film

DEE WALLACE PETER COYOTE HENRY THOMAS as ELLIOTT Music by JOHN WILLIAMS Written by MELISSA MATHISON Produced by STEVEN SPIELBERG & KATHLEEN KENNEDY Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE

Tonight's program is a presentation of the complete film E.T. The Extra-Terrestrial with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. Available on Blu-ray and DVD from Universal Pictures Home Entertainment. PRODUCTION CREDITS E.T. The Extra-Terrestrial – Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/ Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Matt Yelton

Overture

Music Composed by: John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy, Mark Graham and the musicians and staff of the Brevard Sinfonia.

SUNDAY, JULY 9 SUNDAY, JULY 9 7:00 PM STRAUS AUDITORIUM JUST BRASS Brass Artist Faculty High School and College Brass Ensembles Neal Berntsen, program coordinator Jamie Hafner, David Jackson, Mark Schubert, conductors GERVAISE (1540-1583)

Old French Dances (Arr. Reeve) Allemande Gaillarde Pavanne dâ&#x20AC;&#x2122;Angleterre Basse danse La Volunte Pavane Passemaize Branle De Bourgogne, Branle Simple, Branle Gay

GABRIELI (1557-1612)

Canzona Septimi Toni No. 2

KOETSIER (1911-2006)

Colloquy for a Horn

BACH (1685-1750)

Suite from Art of Fugue Contrapunctus I Contrapunctus V Contrpunctus XII (Rectus, Inversus) Contrapunctus IX

LAURIDSEN (1943-)

O Magnum Mysterium (Arr. Jackson)

LUTOSLAWSKI (1913-1994)

Variations on a Theme of Paganini (Arr. Harvey)

INTERMISSION WAGNER (1813-1883)

Gathering of the Armies from Lohengrin (Arr. Friedman)

ALTENBURG (1734-1801)

Concerto for Seven Trumpets and Timpani Allegro Andante Vivace

RAUTAVAARA (1928-2016)

Requiem in Our Time Hymnus Credo et Dubito Dies Irae Lacrymosa

TAKETRON (1976-) STRAUSS (1864-1949)

Slavic Soul Party (Arr. Berntsen) Vienna Philharmonic Fanfare

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

MONDAY, JULY 10 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE CHAMBER MUSIC OF KURT WEILL

WEILL (1900-1950)

Maikaterlied Abendlied Sara Law and Adina Triolo, sopranos Deloise Lima, piano

WEILL (1900-1950)

Funded in part by the Kurt Weill Foundation for Music, Inc., New York NY, and the National Endowment for the Humanities.

Overture

Ofrahs Lieder Adina Triolo, soprano Deloise Lima, piano

MONDAY, JULY 10

WEILL (1900-1950)

String Quartet No. 1, Op. 8 Introduction (Sostenuto, con molto espressione) Scherzo (Vivace) Choralphantasie (Andante non troppo) Corinne Stillwell and Marjorie Bagley, violins Erika Eckert, viola Alistair MacRae, cello

CHAMBER MUSIC OF KURT WEILL Weill wrote the pieces presented this evening between 1916 and 1923, representing, on one end of the spectrum, the efforts of a Dessau adolescent making his first serious attempt at composition (Ofrahs Lieder, 1916) and, on the other (Frauentanz, 1923), that of an ambitious young composer on the eve of his first major success in the German theater with Der Protagonist. While comprising only a small portion of his complete output, Weill’s chamber music can be seen as a series of stylistic strides anticipating the discovery of his own mature compositional voice. Whether it is due to their predating the composer’s first contract with a music publisher in 1924, their being overshadowed by his subsequent success as a theater composer, or a combination of additional factors, several of these works remained in relative or complete obscurity during Weill’s lifetime. His Sonata for Cello and Piano (1920) did not receive its first performance until 1975, Ofrahs Lieder not until 1987, and Intermezzo (1917) not until 1999. Frauentanz and the String Quartet op. 8 proved the exceptions, no doubt because of their publication by Universal Edition and positive receptions at international music festivals. From 1924 to 1927 the pair would rank as Weill’s most frequently performed concert works. Maikaterlied (1917) and Abendlied (1918), both duets for two sopranos and piano, utilize texts by poet Otto Julius Bierbaum. Weill himself accompanied Clara Ohent and Gertrud Prinzler during the first known performance of these pieces, on 6 February 1918 at the Protestant Community Hall in Dessau.

neo-classical cycle premiered in February 1924 at a concert of the International Society for Contemporary Music in Berlin, conducted by Fritz Stiedry. Intermezzo has the distinction of being both Weill’s earliest surviving instrumental composition, as well as his only work for solo piano. This would be one of the last works he completed before leaving Dessau to continue his studies in Berlin. Weill’s Sonata for Cello and Piano, comprising three movements Allegro ma non troppo, Andante espressivo, and Allegro assai, marks a departure from the late-romantic characteristics found in certain previous works, replacing them with an expanded and unconventional harmonic vocabulary. Written in the aftermath of the First World War, when Weill was contemplating a move to Vienna to study with Schoenberg, the Sonata reflects perhaps both the personal and political upheaval that surrounded Weill at the time. The second of his two string quartets, Op. 8, received its premiere at the Frankfurter Kammermusikwoche on 24 June 1923 by the Amar Quartet. One may recognize throughout its three movements, which are played without breaks, references to several of his earlier works of Weill’s: material from the Divertimento Op. 5 (1922) appears in the Introduktion movement, from Zaubernacht (1922) in the Scherzo, and from Symphony No. 1 (1921) in the closing Choralphantasie. - Kim H. Kowalke

Ofrahs Lieder is a setting for voice and piano of German translations of poems by Hebrew poet, Jehuda Halevi (1080– 1145). Weill, himself the son of a cantor, selected morality texts which drew primarily on nature-imagery and depictions of the animal kingdom as the basis for this cycle. Weill again relied on texts from the medieval era for Frauentanz, a setting of German translations of seven poems dealing with Minne, or courtly love. He scored it for soprano and a woodwind quintet, but with a viola substituting for the oboe. The

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

WEDNESDAY, JULY 12 7:30 PM WHITTINGTON-PFOHL AUDITORIUM KURT WEILL ON BROADWAY Brevard Festival Orchestra Keith Lockhart, conductor Lisa Vroman, soprano Chelsea Helm, soprano Esther Atkinson, mezzo-soprano Victor Cardamone, tenor Taylor Rawley, tenor Franklin Mosely, baritone Timothy Madden, bass-baritone WEILL (1900-1950)

The Seven Deadly Sins Prologue I Sloth II Pride III Anger IV Gluttony V Lust VI Avarice VII Envy Epilogue Ms. Vroman, soprano Mr. Cardamone, Mr. Rawley, Mr. Mosely, Mr. Madden, The Family

INTERMISSION Selections from Kurt Weill’s Broadway works, including Knickerbocker Holiday, Lady in the Dark, One Touch of Venus, The Firebrand of Florence, Street Scene, Love Life, and Lost in the Stars, with Lisa Vroman and students from the Janiec Opera Company of the Brevard Music Center.

Funded in part by the Kurt Weill Foundation for Music, Inc., New York NY, and the National Endowment for the Humanities.

Overture

WEDNESDAY, JULY 12 KURT WEILL (1900-1950) The Seven Deadly Sins Having been warned that Nazis were planning his arrest, Kurt Weill left Berlin on March 21, 1933. Certain that Hitler’s regime had to meet a quick demise and that he could return within a few weeks, Weill packed only a single suitcase and drove to Paris—never to see Germany again. Arriving in Paris two days later, he booked a room at a hotel on the Left Bank. Within two weeks Weill was commissioned to compose The Seven Deadly Sins. The Seven Deadly Sins is a modern morality play, as much a theater piece as a ballet, in which conventional moral concepts are turned inside out. The inhumane demands of the capitalist system have torn Anna into two “sisters”: Anna I, the singer, is the plain, practical manager who curbs every natural, healthy impulse of the beautiful but idealistic Anna II, the dancer. As the capitalistic conscience, Anna I treats Anna II as a commodity on their seven-year quest through seven cities to earn enough money to build a home in Louisiana for the family. In each city, the fate of their bank account is jeopardized as Anna II is tempted by one of the seven deadly sins to succumb to normal human needs and responses. But Anna I conquers each “deadly” sin by enforcing self-repression and self-denial on Anna II, but finds nothing wrong with her committing the real but “harmless” sins necessary to accumulate a fortune–prostitution, robbery, blackmail. Weill’s score is the crowning masterpiece of his European career and represents the synthetic conclusion to the series of works initiated in 1927 by the Mahagonny Songspiel. Form and content merge in this, his most stylistically consistent work, where popular models have been thoroughly “digested” and integrated with classical symphonic procedures. Outwardly the score parallels the scenario: it is divided into seven closed musical movements (each entitled one of the sins), with a prologue and epilogue, as it urges the sisters on with prayers and admonitions. In a stroke of genius, Weill voiced the family as a male quartet–a father, two brothers, and a monstrous, Mustachioed mother sung in a barrel-chested basso profundo. This absurd bit of musical caricature allows Weill to exploit symbolically and ironically the family’s all-male, four-part close harmony. He invoked that sonority alternately as the mock-religious style of the chorale for Brecht’s prayers to the almighty dollar, as the guitar-accompanied Singverein style of German Gemütlichkeit, and as the jaunty “barbershop” quartet of popular American music in the twenties. The family’s interjections function as a refrain, transformed in each appearance but linking the seven numbers into a larger superstructure. Weill has tied the numbers together more subtly with a recurrent motive, heard first in the opening bars and altered in each subsequent appearance. As the sisters return to Louisiana with their fortune made, the cyclic motive reappears in altered and stark form as an ironic and heartbreaking denial of the implied assent in Anna II’s world-weary last words, “Ja, Anna.”

Kurt Weill on Broadway When Kurt Weill arrived in New York in 1935, he had every intention of returning to Paris after supervising his music for Max Reinhardt’s production of the huge biblical spectacle The Eternal Road. But repeated postponements kept delaying his return, and the left-wing Group Theatre persuaded him to write an anti-war musical play with Paul Green entitled Johnny Johnson. When The Eternal Road finally opened in January 1937, Weill had two shows running in New York for a brief time. They were both produced in Broadway theaters, but

neither accessed the tradition of mainstream Broadway musicals. The following year another dramatic collective, the Playwrights’ Company, produced Knickerbocker Holiday, Weill’s first collaboration with the most successful dramatist of the 1930s, Maxwell Anderson. Starring Walter Huston, it lasted 168 performances and showcased Weill’s first American standard, “September Song” (which you won’t hear tonight!). Finally in 1941 Weill moved from side-streets to the Great White Way proper with Lady in the Dark, a musical play by Moss Hart (of Kauffman and Hart fame), with lyrics by Ira Gershwin, his first return to Broadway after his brother George’s death. Starring Gertrude Lawrence and introducing Danny Kaye, it played for 777 performances on Broadway and national tour, and its sale to Hollywood allowed Weill to buy “Brook House” in Rockland County. By then he had already declared in a national radio interview, “I am an American!” Lady’s success gave Weill the clout to pick his collaborators and projects, and for the next one, One Touch of Venus, he recruited Ogden Nash to write the lyrics and S. J. Perelman the book, Agnes de Mille to choreograph, and Elia Kazan to direct. It would be Weill’s biggest hit, and Mary Martin, in her first starring role, launched “Speak Low, “I’m a Stranger Here Myself,” and “That’s Him.” Another collaboration with Ira Gershwin, an operetta about Benvenuto Cellini called The Firebrand of Florence, flopped miserably, a double disappointment because Weill had written a role specifically for his wife Lotte Lenya. It would be her last during Weill’s lifetime. Although Weill had attended the dress rehearsal of Porgy and Bess soon after his arrival in New York, it wasn’t until 1946 that he responded with his own “Broadway opera,” Street Scene. Elmer Rice adapted his own Pulitzer Prize winning play, and the great Harlem Renaissance poet Langston Hughes wrote the lyrics. Critics hailed it as superior to the Gershwins’ predecessor and called it the fountainhead of genuine American opera. But always the innovator, Weill next teamed up with Alan Jay Lerner, fresh off his Brigadoon success, to write what is now considered the first “concept musical,” Love Life. Subtitled “a vaudeville,” it chronicled the marriage of a never-aging couple over a 150-year period of shifting American culture, reflected in commentary numbers kaleidoscopic in their use of popular musical idioms. Harold Prince, Bob Fosse, Kander & Ebb, Stephen Sondheim all have identified Love Life as the model for their work, beginning with Cabaret (ironically starring Lenya) and including Company, Assassins, Chicago, and more recently, Scottsboro Boys. But again Weill shifted gears, with a different sort of hybrid form of musical theater, the heartfelt “musical tragedy” Lost in the Stars, another collaboration with Maxwell Anderson. This daring account of oppression under apartheid in South Africa was but a thinly veiled indictment of segregation in America. While it was still running, Weill died of a heart attack at age fifty. His career on Broadway had lasted not much more than a decade, but his influence can still be felt, not least because he was unique among “Golden Age” composers in orchestrating all of his own shows. Tonight’s program utilizes those original orchestrations, each of which was tailored to the unique “sonic world” of the play that inspired his music. - Kim H. Kowalke

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

THURSDAY, JULY 13 SATURDAY, JULY 15

7:30 PM 2:00 PM

LEAD SPONSOR A Loyal Friend of Brevard Music Center

PORTER CENTER AT BREVARD COLLEGE

THE MARRIAGE OF FIGARO Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Brevard Festival Orchestra Tyson Deaton, conductor MUSIC LIBRETTO

Wolfgang Amadeus Mozart Lorenzo Da Ponte

ACT I ACT II INTERMISSION ACT III ACT IV Tlรกloc Lรณpez-Watermann, scenic and lighting designer Glenn Avery Breed, costume designer Aaron Chvatal, costume coordinator Brittany Rappise, wig and makeup designer

CAST Figaro - Brent Hetherington Susanna - Virginia Mims Count Almaviva - Michael Pandolfo Countess Almaviva - Madison Hatten Cherubino - Amy Yarham Marcellina - Melanie Burbules Don Bartolo - Steele Fitzwater Don Basilio - Darius Thomas Don Curzio - Daniel Weisman Barbarina - Jennie Judd Antonio - Ian Bolden Flower Girl #1 - Sara Law Flower Girl #2 - Esther Atkinson

Overture

CHORUS Esther Atkinson August Bair Piotr Buszewski Victor Cardamone Benedetta Cordaro Blake Ellege Chelsea Helm Charlotte Jackson Melina Jaharis Sara Law Timothy Madden

Anna Montgomery Erin Moran Franklin Mosely Amanda Palmeiro Taylor Rawley Joel Rogier Cameron Sledjeski Adina Triolo

THURSDAY, JULY 13 SATURDAY, JULY 15 WOLFGANG AMADEUS MOZART (1756-1791) The Marriage of Figaro Premiered on May 1, 1786, at the Burgtheater, Vienna, under the direction of the composer. While the 1984 hit movie Amadeus, based on Peter Shaffer’s play, doesn’t strive for historical accuracy, some of the discussions about music are very insightful. During the scene where Mozart pitches his newest project, Figaro, to Joseph II, two issues are explored: the question of censorship, and Mozart’s revolutionary operatic approach. Regarding censorship, questions about redeeming moral values and contentious issues about class relationships are raised. Should an opera delve into the limitations of rank and privilege, where common sense can readily overcome wealth and power and where genuine humility easily upstages unwarranted arrogance? Mozart’s librettist, Lorenzo da Ponte, had rewritten the banned play, taken out anything overtly political, which seemed to appease Joseph II enough to allow the opera plans to proceed. Figaro was the first of three Mozart/da Ponte collaborations, which might be the greatest one-two punch in opera history. The musical issues described in the Amadeus scene are even more interesting. To sway the emperor in favor of Figaro, Mozart points out two operatic innovations. The first is the use of extended music in ensemble scenes, breaking down the typical recitative/aria template. Mozart turns a duet into a trio, quartet, quintet, etc. until eight characters sing at the same time—20 minutes of continuous music. Just as opera influenced Mozart’s symphonies, so did the symphony influence his operas. The ability to create drama on a purely musical level shows Mozart’s use of sonata form principle (contrasting keys/themes interacting to find an eventual resolution) as a central aspect of Mozart’s operatic success. The second innovation can be found right at the start of Figaro, where the title character measures a space to see if the wedding bed might fit. Mozart (with da Ponte’s help) was the master of comedy; he could produce farcical scenes, make them relevant to the plot, and create three-dimensional characters in the process. Not surprisingly, Figaro was a success in Vienna. So much so, that the emperor banned excessive encores after the first couple of performances. SYNOPSIS As a sequel to the play The Barber of Seville, the same characters are at it again: Figaro, who had outwitted Dr. Barbaro to aid Count Almaviva marry the countess, is once again at the center of the action. Three years later, the Count has begun to wander in his marriage. His latest love interest is Susanna, Figaro’s fiancée and the Countess’ servant. The whole opera takes place within one day.

Susanna stays behind when the young page Cherubino enters, telling Susanna of his love for the Countess. Unfortunately for him, the Count appears and banishes him to the army. Figaro returns with a group of peasants praising the Count for his recent announcement to forgo his “feudal rights” to be with any woman in his realm on her wedding night. So far, nobody seems to get what s/he wants. Act II

Countess Almavia, Susanna, and Cherubino hatch a plan to teach the Count a lesson. The Count will be lured to a meeting with Susanna—only to meet Cherubino dressed up as Susanna. Susanna leaves the room, when the Count appears. Cherubino hides in the closet, but the Count hears something and demands to see what’s in the closet. The Countess tries to calm her husband, as he his fetching a crowbar. Susanna and Cherubino trade places, and the couple are surprised to find Susanna in the closet. Figaro enters, demanding for the wedding to proceed. Once again Bartolo and Marcellina appear to force Figaro to marry Marcellina, and the Count gleefully cancels the wedding to Susanna. Act III

Another plan is hatched, which again involves a meeting between the Count and Susanna. Meanwhile, Figaro tries to solve his wedding dilemma by claiming that he’s actually a nobleman, stolen from his parents at birth. As he displays his birthmark, Marcellina realizes that she is his mother—and Bartolo his father. The wedding to Susanna is on again. Before the wedding, Susanna and the Countess finalize their fateful plan to expose the Count. The wedding gets under way. Act IV

The servant girl Barbarina, recruited as the courier, has lost the hairpin that came with the letter to the Count. Just then Figaro appears, realizing with dismay that Susanna is to meet the Count. But Figaro figures out that Susanna and the Countess have switched roles—so the Count will seduce his wife instead of Susanna. He decides to have some fun of his own and puts moves on the Countess (a.k.a. Susanna), who is rightfully enraged until she realizes what Figaro is doing. At the same time, the Count has devoted his attention to Susanna (a.k.a. his wife) when he sees Figaro’s seduction of “the Countess.” The Count is enraged and confronts “his wife.” Once she eventually reveals herself as Susanna, the Count is humbled. He asks for his wife’s forgiveness, and everybody is finally happy. - Siegwart Reichwald

Act I

Figaro and Susanna are preparing their new “home,” the antechamber seemingly conveniently located between the count and countess’s chambers. Susanna sours Figaro’s happy mood, explaining that the location is mostly convenient for the Count’s pursuits of Susanna. To make matters worse for Figaro, Dr. Bartolo appears, reminding Figaro of his obligation to marry his aging maid, Marcellina, for not being able to repay his debts.

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

FRIDAY, JULY 14 7:30 PM WHITTINGTON-PFOHL AUDITORIUM LENINGRAD SYMPHONY Gina Bachauer Memorial Concert Brevard Music Center Orchestra Keith Lockhart, conductor Kirill Gerstein, piano SHOSTAKOVICH (1906-1975)

Official piano of the Brevard Music Center

Piano Concerto No. 2 in F major, Op. 102 Allegro Andante Allegro Mr. Gerstein, piano

INTERMISSION

SHOSTAKOVICH (1906-1975)

Symphony No. 7 in C major, Op. 60 "Leningrad"

DMITRI SHOSTAKOVICH (1906-1975) Piano Concerto No. 2 in F major, Op. 102 Premiered on May 10, 1957, in Moscow conducted by Nicolai Anosov with Shostakovich’s son Maxim as soloist (it was his 19th birthday). It must be nice to have somebody write a piano concerto just for you. It’s even nicer if that composer happens to be your father who knows your abilities and your temperament. And it seems too good to be true if that concerto was written specifically for your audition for the Moscow Conservatory. That was Maxim Shostakovich’s experience as a 19-year-old. Not surprisingly, he was accepted! Shostakovich’s Second Piano Concerto was composed in 1956—at a time when the composer was still adjusting to postStalin Russia and its shifting political landscape. At the time,

Overture

Allegretto Moderato (poco allegretto) Adagio Allegro non troppo

he was working on his Eleventh Symphony, subtitled “The Year 1905” (the year of the Russian Revolution). Not surprisingly, critics have drawn different conclusions about the content of this complex work. So, composing his Second Piano Concerto must have been a great joy, since for once he was just composing music without any political anything. All he had to worry about was that his son Maxim would sound great performing it. The work has a neo-classical character, composed in a classical, Haydnesque three-movement design. Shostakovich includes stylistic references to Bach two-part inventions (in place of a traditional cadenza toward the end of the first movement), to the tender expressiveness of Rachmaninoff (second movement writing for strings and soloist), and to the humor and mischief of Prokofiev (last movement). The pedagogical value of this approach is obvious. Add in a wide variety of technical challenges, and you have the perfect audition piece.

FRIDAY, JULY 14 The critics praised the work for its “charming simplicity, carefree spirit and lyrical warmth,” showing “the composer as though his own youth had returned to him.” Realizing the work’s merits beyond its intended purpose, Shostakovich made it part of his own repertoire as virtuoso pianist. When asked whose idea the Piano Concerto was, Maxim explained, “Very much mine! I kept on and on asking him to compose something for me. He didn’t for quite a while. And then suddenly, he told me he’d written the Concerto.” By the way, Maxim (who has become a conductor) has recorded “his” Piano Concerto with his own son Dmitri as soloist. Symphony No. 7 in C major, Op. 60, "Leningrad" Premiered on March 5, 1942, in Kuybïshev conducted by Samuil Samosud; the concert was broadcast nationwide. July 19, 1942: Day 315 of the Leningrad siege. NBC broadcasts Shostakovich’s “Leningrad” Symphony across the US. Many refugees and immigrants, including Schoenberg, Stravinsky, Hindemith, Bartók, and Rachmaninoff were listening. While they might not have agreed on musical trends, they all realized the importance of this piece. The score, copied on microfilm, had to be sent secretly to New York by plane and car via Tehran, Cairo, and South America. While the world was aware of what was happening, they needed to hear that giving up was not an option. On June 22, the Symphony had already been broadcast from London, three months after the Moscow and Kuybïshev premieres. Shostakovich and his family were living in Leningrad when the siege began. Against the advice of his friends and colleagues, Shostakovich decided to stay—even when members of the Philharmonic were evacuated. On September 4, 1941, the Nazis began shelling Leningrad. Two days later, Shostakovich appeared on the radio: “An hour ago I finished the score of two movements of a large symphonic composition. If I succeed in carrying it off, if I

manage to complete the third and fourth movements, then perhaps I’ll be able to call it my Seventh Symphony. Why am I telling you this? So that the radio listeners who are listening to me now will know that life in our city is proceeding normally.” Of course, life was far from normal in Leningrad. Shostakovich helped dig ditches (he was kept away from the fighting) before being assigned to the firefighting brigade (again, his friends kept him from harm, realizing his symbolic status). Finally, on October 1, Shostakovich and his family were convinced to flee the city, as they were flown out to Moscow. By that point, the composer had finished the first three movements. He explained that, “I wrote my Seventh Symphony, the Leningrad, quickly. I couldn’t not write it. War was all around. I had to be together with the people, I wanted to create the image of our embattled country, to engrave it in music.” August 9, 1942: Day 340; The Leningrad premiere. After the score had been flown in by night, copyists worked day and night to prepare the parts. Only a handful of professional musicians were still in the city, most of them barely healthy enough to play. Once enough other players were found to cover the parts, rehearsals began. Three players died of starvation before the premiere. The night of the premiere, the house was packed. The concert was broadcast over loudspeakers to the German troops camped outside the city. - Siegwart Reichwald

Maxim Shostakovich is still active as conductor today; he recently moved back to St. Petersburg.

2017 Summer Institute & Festival

BREVARD MUSIC CENTER | OVERTURE

SATURDAY, JULY 15 7:30 PM WHITTINGTON-PFOHL AUDITORIUM BEETHOVEN SYMPHONY NO. 4 Brevard Sinfonia Matthias Bamert, conductor Scott Rawls, viola RAVEL (1875-1937)

Valses nobles et sentimentales

BARTÓK (1881-1945)

Viola Concerto, Sz. 120

Modéré Assez lent Modéré Animé Presque lent Assez vif Moins vif Epilogue. Lent

Moderato Adagio religioso. Allegretto Allegro vivace Mr. Rawls, viola

INTERMISSION

BEETHOVEN (1770-1827)

Overture

Symphony No. 4 in B flat major, Op. 60 Adagio. Allegro vivace Adagio Allegro vivace Allegro ma non troppo

SATURDAY, JULY 15 MAURICE RAVEL (1875-1937) Valse nobles et sentimentales Premiered on April 22, 1912 in Paris. Ravel’s set of eight Waltzes has a checkered history. Composed initially for the piano with Franz Schubert’s 1823 Valses nobles and Valses sentimentales in mind, Ravel decided to explore the genre with an odd mixture of impressionistic and modernistic traits. When Louis Aubert premiered the work in 1911, he left off the name of the composer in order give the newly composed work a fair hearing. Unfortunately for Ravel, the performance generated a chorus of boos and cat calls, and the critics were guessing Satie, Koechlin, d’Indy, and even Kodály as composers; only a few picked Ravel. The composer seemed unperturbed, creating not one but two successful orchestral versions. Besides the suite, he also wrote a ballet based on the Waltzes under the name Adélaïde, ou le langage des fleurs (Adelaide: The Language of Flowers). BÉLA BARTÓK (1881-1945) Viola Concerto, Sz. 120 Premiered on December 2, 1949, by the Minneapolis Symphony Orchestra conducted by Antal Doráti with William Primrose as soloist. The evolution of Bartók’s Viola Concerto is a testament to the humanity of the tight-knit musical community in America in the 1940s. Not long after Bartók’s arrival in America in 1940 to escape the horrors of World War II, the composer developed leukemia. By 1943 his condition had become very serious and Bartók was given six weeks to live. According to the pianist Ernó Balogh, the composer’s wife contacted him to let him know about the gravity of the situation. Balogh, who had been Bartók’s student, contacted ASCAP (American Society of Composers, Authors, and Publishers). He writes, The financial aid committee of ASCAP sent Bartók to the best and most expensive rehabilitation center. They made sure that he was seen by the best doctors. They put Bartók back on his feet so that he could write, in the last two years of his life, his Sonata for Unaccompanied Violin, his Concerto for Orchestra, and his Third Piano Concerto, and could sketch the Viola Concerto. Violist and composer Tibor Serly, who had become a close family friend, spent much time with the composer during his last days, working with him on his Third Piano Concerto and the Viola Concerto. In a New York Times article Serly writes, While discussing the concerto with him, my attention was drawn to the night table beside his bed where I noticed, underneath several half-empty medicine bottles, some additional pages of sketches, seemingly not related to the piano concerto. There was a reason for my curiosity, for it was known to several of Bartók’s friends that earlier in the year he had accepted a commission to write a concerto for viola and orchestra for William Primrose.

while in the sketches the work was by and large finished, the details and scoring had not yet been worked out. Serly would finish the Viola Concerto and William Primrose, who had commissioned the work, premiered it. While there have been discussions about Serly’s completion of the work, there has never been any doubt about its essence, meaning, and depth of expression, as this work has quickly become part of the viola’s standard repertoire. LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 4 in B flat major, Op. 60 Premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The fourth symphony is probably the least performed of Beethoven’s nine symphonies. This neglect is presumably because of the revolutionary character of the Third and Fifth Symphonies, which overshadow the more classical Fourth. Schumann described the symphony a “slender Greek maiden between two Norse giants.” There might be a very practical reason for its more conventional nature: money. Beethoven was offered a large sum by Count Franz von Oppersdorff for a new symphony during a time when money was tight. So Beethoven set aside his Fifth Symphony and composed the Fourth in just a month while staying at the Count’s palace in Upper Silesia. Written fast and for money, however, doesn’t mean that the Fourth doesn’t have its own merits. In fact, his Fourth not only uses strategies from his revolutionary Third—such as “sabotaging” the expected return of the home key and main theme solution end of the first movement in order to continue the narrative in the remaining movements (the return of the main them in the home key happens too early and sounds forced). Beethoven also anticipates the cyclic nature of the Fifth Symphony in the inner movements (by leaving the listener hanging), which leads right to the last movement, creating an obvious progression and a true sense of resolution with the exhilarating finale. Of course, we would not do the work justice by only comparing it to the Third and Fifth Symphonies. Berlioz finds in the Fourth a return to a more classical approach, writing: “Here Beethoven entirely abandons ode and elegy, in order to return to the less elevated and less somber, but no less difficult, style of the Second Symphony. The general character of this score is either lively, alert, and gay or of a celestial sweetness.” - Siegwart Reichwald

Hector Berlioz’s fondness of the second movement caused him to claim that it could not been the work of a human, offering the Archangel Michael as the real composer.

Pointing to these manuscript sheets, I inquired about the viola concerto. Bartók nodded wearily toward the night table, saying: “Yes, that is the viola concerto.” To my question as to whether it was completed, his reply was, “Yes and no.” He explained that

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SUNDAY, JULY 16 3:00 PM WHITTINGTON-PFOHL AUDITORIUM CLASSICAL DANCE Brevard Concert Orchestra Ken Lam, conductor Maria Sanderson, violin

BACH (1685-1750) TCHAIKOVSKY (1840-1893) MOZART (1756-1791)

Passacaglia and Fugue in C minor, BWV 582 (arr. Stokowski) Marche Slave, Op. 31

Concerto for Violin and Orchestra No. 4 in D major, K. 218 Allegro Ms. Sanderson, violin

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STRAUSS, JR. (1825-1899) BRAHMS (1833-1897)

Hungarian Dances Nos. 5 and 6

SMETANA (1824-1884)

Three Dances from The Bartered Bride

Mร RQUEZ (1950-)

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An der schรถnen, blauen Donau (The Beautiful Blue Danube), Op. 314

Polka Furiant Dance of the Comedians Danzรณn No. 2

SUNDAY, JULY 16 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor, BWV 582 (arr. Stokowski)

Premiered on February 10, 1922, in Philadelphia with Stokowski conducting. Bach’s Passacaglia and Fugue was one of the first organ works Stokowski arranged for orchestra. Having worked as an organist for ten years, Stokowski was intimately familiar with Bach’s style, and his masterful orchestrations are evidence of the conductor’s many talents. He must have had the rich string sound of the Philadelphia orchestra in mind for this particular transcription, as the lush string writing is central to his romantic reading of one of Bach’s many masterworks. While a Passacaglia is one of the quintessential Baroque genres (continuous variations unfolding over a repeated bass theme), Brahms famously used a Passacaglia to close his Fourth Symphony. Presumably, Stokowski had realized how the rich timbral palette of an orchestra can illuminate the complex counterpoint (two or more independent lines heard simultaneously) of Bach’s Passacaglia and Fugue.

PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Marche Slave, Op. 31

Premiered on November 17, 1876, in Moscow with Nikolai Rubinstein conducting Unlike many of Tchaikovsky’s works, this tone poem has an obvious historical/political context and clear programmatic meaning. When war broke out between Serbia and the Ottoman Empire, Russia came to Serbia’s aid. The Russian Musical Society commissioned this work from Tchaikovsky for a benefit concert of the Red Cross Society. Tchaikovsky used a variety of Serbian and Russian tunes to express Serbia’s need for help, Russia’s willingness to intervene, and a prophetic ending of victory with a blazing rendition of “God Save the Tsar.”

WOLFGANG AMADEUS MOZART (1756-1791) Violin Concerto No. 4 in D major, K. 218 In Florence we met a young Englishman, a pupil of the famous violinist Nardini. The lad, who plays very finely and is of Wolfgang’s age and height, came to the house of the learned poetess Signora Corilla. . . The two boys performed by turns through-out the evening amidst continual embracing. The other day the little Englishman, a most charming lad, had his violin brought to us and played all the afternoon, Wolfgang accompanying him, also on the violin. The following day we dined with M. Gavard…and the two children played by turns the whole afternoon, not like boys but like men! This description from proud father Leopold Mozart tells us a lot about his genius son. First of all, Amadeus had unparalleled exposure to the arts on his many travel throughout Europe. Secondly, Mozart didn’t often find equals amongst his peers, so the young Englishman seems to have been one of the reason for Mozart’s increased output of violin music for the next five years. His five Violin Concertos, all composed within eight months, would become the pinnacle of his violin works. Among these five, the Fourth Violin Concerto is the most “classical,” and the first movement is the perfect example of balancing form and expression within the context of a concerto.

JOHANN STRAUSS JR. (1825-1899) An der schönen, blauen Donau (The Beautiful Blue Danube), Op. 314 Who would have thought that one of the most famous pieces of all time was initially anything but successful. Composed in 1866 on a commission by the Vienna Men’s Choral Society, the choral work received a muted reception (which in Strauss’s case meant only one encore). When it became apparent that its lack of success was its unwieldy text, Strauss reworked it as a purely orchestral work for the 1867 Paris World Exhibition. The work became so popular, that Strauss’s publisher had to make 100 new copper plates to print over a million copies of the piano score!

JOHANNES BRAHMS (1833-1897) Hungarian Dances Nos. 5 and 6 Brahms and “popular” don’t seem to belong in the same sentence. As the musical conservative and the champion of absolute music, we picture the serious Brahms with his long beard, frowning on anything resembling “fun.” Yet his 21 Hungarian Dances show a playful and populist Brahms. Some people even go as far as suggesting that these Dances influenced Scott Joplin’s ragtime style—and of course Stokowski got his career started with the Fifth and Sixth Dances, as these were his very first recordings with the Philadelphia Orchestra in 1917. So there’s no doubt Brahms wrote “popular” music. Surely Brahms would have loved Charlie Chaplin’s hilarious barbershop choreography of his Fifth Hungarian Dance in The Great Dictator.

BEDŘICH SMETANA (1824-1884) Three Dances from The Bartered Bride Smetana single-handedly created a Czech musical style, and The Bartered Bride is considered the truest of all Czech operas. As might be expected, the three dances express the nationalistic sentiments most clearly. The Polka closes Act 1 with an impromptu dance of a group of villagers. The setting of the Furiant is a tavern, and it abounds with folkloric music. The Dance of the Comedians is taken from Act 3, when a traveling circus troupe performs a pantomime.

ARTURO MÁRQUEZ (b. 1950) Danzón No. 2 Danzón No. 2 was commissioned by the National Autonomous University of Mexico and was premiered on March 5, 1994 in Mexico City conducted by Francisco Savin. Danzón No. 2 gained international popularity after Gustavo Dudamel included it in his European and American tour in 2007. Two years later a short film was made, using the piece as its structural center. In it the composer himself is featured as pianist in a dance hall in the 1940s. The film explores the golden age of the danzón, a dance that originated in Cuba but became part of the folklore of Veracruz. Márquez’s inspiration stems from visits with painter Andrés Fonseca and dancer Irene Martinez, who took him to dance halls in Veracruz and Mexico City. The composer’s intention was to capture the essence of the danzón. Its continued popularity states loud and clear, “Mission accomplished!” - Siegwart Reichwald

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MONDAY, JULY 17 7:30 PM PORTER CENTER AT BREVARD COLLEGE AMERNET STRING QUARTET Misha Vitenson, violin Franz Felkl, violin Michael Klotz, violin Jason Calloway, cello HAYDN (1732-1809)

SCHULHOFF (1894-1942)

String Quartet in G minor, Op. 74, No. 3, "Rider" Allegro Largo assai Menuetto. Allegretto Finale. Allegro con brio String Quartet No. 1 Presto con fuoco Allegretto con moto e con malinconia grotesca Allegro giocoso alla Slovacca Andante molto sostenuto

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DVOŘÁK (1841-1904)

Overture

String Quartet No. 13 in G major, Op. 106 Allegro moderato Adagio ma non troppo Molto vivace Finale: Andante sostenuto. Allegro con fuoco

MONDAY, JULY 17 FRANZ JOSEPH HAYDN (1732-1809) String Quartet in G minor, Op. 74, No. 3, "Rider" Haydn's Six String Quartets Op. 71 and 74 were products of his second trip to London. Having experienced an unimaginable success during his first visit with both symphonies and string quartets (first six “London” Symphonies” and his Op. 64 String Quartets), Haydn decided to write six more string quartets for his return visit. While we always think of string quartets as an intimate genre—“a conversation among friends,” the most intellectual genre for the connoisseur—his Op. 71/74 quartets are actually quite the opposite. With his visits to London, the string quartets had moved out of the chamber and into the concert hall. Up to 800 Londoners would hear them performed. The last of these six is the most “public” and the most daring. Haydn pushes the classical envelope with dramatic gestures, extreme contrasts, and remote key relationships. It is mature, public Haydn at his very best—not the “quirky” Haydn from his more private works written for the Esterhazy family. This quartet demands skill, artistry, and imaginative ensemble playing from professional musicians in a public setting. At the same time, Haydn was nevertheless able to keep the more intellectual style intact, setting his late string quartets apart from his “London” Symphonies. In fact, Count Apponyi, the dedicatee, paid Haydn 100 ducats for the privilege of having the quartets to himself for a year, prior to their general availability through publication. ERWIN SCHULHOFF (1860-1942) String Quartet No. 1 When Dvořák heard the seven-year-old Schulhoff playing the piano, he gave him two pieces of chocolate and told him to become a musician. With chocolate and Dvořák as his motivation, Schulhoff began his wide-eyed approach to composition. Always open to new ideas, Schulhoff found the opposite trends of twelve-tone music, jazz, and Dadaism equally irresistible, so he added them to his own stylistic home shaped by Bartók’s folklorism.

The work begins with a brief but absolutely captivating energetic first movement where all the above-mentioned styles (except for Schoenberg) find a fresh expression. The “grotesque melancholy” second movement can’t ever quite find a chair to sit in, which makes it so engaging by keeping the listener on his toes. The third movement brings us back to the energetic dance-style of the first movement with explosions of sonic effects. After giving us the chocolate first, Schulhoff turns surprisingly serious in the last movement where Schoenberg finally makes his appearance, albeit in a more lyrical, dare I say, romantic fashion. ANTONÍN DVOŘÁK (1841-1904) String Quartet No. 13 in G major, Op. 106 The biographical readings of Dvořák’s penultimate string quartet couldn’t differ more widely. Some hear the composer’s anguish over the deaths of both his sister-in-law and his first love, while others hear the composer’s deep contentment of being home after two taxing years in America. Welcome to the world of absolute music! Dvořák gave us absolutely no extra-musical hints, as his focus was on pure musical expression. It is one of his most tightly composed works, where every phrase and motive is part of the larger whole. Dvořák clearly was at the height of his compositional powers, writing music that is intellectually stimulating as well as highly expressive. As to the meaning of the piece—I encourage you to get lost in the sublime and find your own reading of this captivating work. - Siegwart Reichwald

The nickname “Rider” or “The Horseman” is based on the rhythmic figures of the last movement.

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TUESDAY, JULY 18 7:00 PM STRAUS AUDITORIUM SYMPHONY NOIR - MYSTERIOUS IMPRESSIONS IN BLACK AND WHITE Brevard Symphonic Winds Kraig Alan Williams, conductor David Spencer, trumpet BRYANT (1972-) DAUGHERTY (1954-) DAVIS (1926-1991)

Alchemy in Silent Spaces Niagara Falls Ascender Pour Lâ&#x20AC;&#x2122;Echafad Mr. Spencer, trumpet

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HINDEMITH (1895-1963)

Symphony in B flat

PIAZZOLLA (1921-1992)

Libertango (arr. Somadassi)

SCHUMAN (1910-1992)

George Washington Bridge

TUESDAY, JULY 18 TUESDAY, JULY 18 7:30 PM

LEAD SPONSOR BMC Presents Series Hampton Inn - Brevard

PORTER CENTER AT BREVARD COLLEGE BMC PRESENTS: APRIL VERCH BAND

While April Verch is perhaps best known for playing traditional fiddle styles from her native Ottawa Valley, Canada, her performances extend into old-time American and Appalachian styles and beyond, for a well-rounded tour-de-force of North Americana sounds. Verch tours with world-class musicians as a trio, featuring acoustic guitar, mandolin, bass and clawhammer banjo in addition to Verch’s vocals, fiddle and foot percussion. One might suspect a performer with as many talents as Verch would pause to take a breath, or need to somewhat compartmentalize her skills during a live performance. But on stage, Verch is almost superhuman, flawlessly intertwining and overlapping different performative elements. She stepdances while fiddling. She sings while stepdancing. Sometimes she sings, steps and fiddles all at once, with apparent ease and precision. Verch is—as they say—a triple threat in performance, her live show a beautiful companion to her music: versatile, robust, and masterfully executed. Verch began her full time touring career in 2000 and has performed around the world, including festival, theatre and performing arts centre appearances in Canada, USA, China, Australia, United Kingdom, Belgium, Sweden, Denmark, Finland, Norway, Germany, Switzerland, Austria, France, Spain, Czech Republic and the United Arab Emirates. She also presents workshops, master classes, and lectures as part of her tours and at selected music camps.

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WEDNESDAY, JULY 19 7:30 PM

COMMUNITY OUTREACH SPONSOR

PORTER CENTER AT BREVARD COLLEGE SIDNEY OUTLAW IN RECITAL Sidney Outlaw, baritone Deloise Lima, piano FAURÉ (1845-1924)

Poeme d'un jour, Op. 21

BIZET (1838-1875)

Ouvre ton Coeur Canson d’avril

SAINT-SAËNS (1835-1921) WOLF (1860-1903)

Rencontre Toujours Adieu

Aimons-nous Danse macabre Er ist's Der Rattenfänger Die Gärtner Verborgenheit Abschied

INTERMISSION GORDON (1956-)

Genius child - A cycle of Langston Hughes poems Winter Moon Genius Child Kid in the Park To Be Somebody Troubled Woman Strange Hurt Prayer Border Line My People

*Spirituals to be announced from the stage*

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FRIDAY, JULY 21 FRIDAY, JULY 21 7:30 PM WHITTINGTON-PFOHL AUDITORIUM MENDELSSOHN VIOLIN CONCERTO Brevard Music Center Orchestra Neil Thomson, conductor Mayuko Kamio, violin LIADOV (1855-1914)

Eight Russian Folk Songs, Op. 58

MENDELSSOHN (1809-1847)

Violin Concerto in E minor, Op. 64

Religious Chant Carol Melancholy Song Humorous Song: "I Danced with a Mosquito" Legend of the Birds Cradle Song Dance Song Round Dance Song

Allegro molto appassionato Andante Allegretto non troppo. Allegro molto vivace Ms. Kamio, violin

INTERMISSION RACHMANINOFF (1873-1943)

Symphonic Dances, Op. 45

ANATOL LIADOV (1855-1914) Eight Russian Folk Songs, Op. 58 Liadov’s interest in Russian folk music turned into more than a hobby, when he received a grant from the Imperial Geographical Society to study various musical traditions. He took field trips to several districts to collect different styles. The project paid off compositionally in 1906, when Liadov composed his Eight Russian Folk Songs. Each song is treated differently in ornate and subtle orchestral settings, showcasing Liadov’s abilities as master orchestrator, following in the footsteps of Rimsky-Korsakov.

Non allegro Andante con moto (tempo di valse) Lento assai. Allegro vivace FELIX MENDELSSOHN (1809-1847) Violin Concerto in E minor, Op. 64 Premiered on March 13, 1845, in Leipzig conducted by Niels Gade with Ferdinand David as soloist. The legendary 19th-century violinist Joseph Joachim told his guests at his 75th birthday party that, “the Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's.” What makes

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Mendelssohn’s concerto so expressive, beautiful, and intrinsically communicative in a way that it touches one’s soul? It seems that behind every great concerto is a great soloist, and Mendelssohn’s violin concerto is no exception. The piece was written for the composer’s friend, Ferdinand David, with whom he had been friends since their youth in Berlin. When Mendelssohn tried to build the reputation of the Leipzig orchestra, he convinced David to be the new concertmaster, a post that he would hold for 37 years. While the violin concerto is technically an expertly written piece that is perfectly suited to the violin—thanks to David’s input— the true appeal for performers and listeners around the globe is found in the “violin-centric” conception of the whole work, and it seems that their friendship might have more to do with it than David’s expert advice. Instead of the standard orchestral introduction of the main musical material, Mendelssohn turns the traditional structure literally inside out and has the violinist present the main theme first instead of the orchestra. As a result, the theme appears much more intimate and “three-dimensional,” allowing the orchestra then to restate the theme, thus creating a natural, structural crescendo. The soloist once again plays the central role at the most climactic moment of the movement—the return to the main theme in the main key; Mendelssohn decided to move the cadenza up from the end of the movement to fulfill his “violin-centric” vision for this concerto. The second movement continues seamlessly without a break with a Mendelssohnian Song Without Words, allowing the soloist to intimate the rich lyrical content of this ternary movement. Mendelssohn continues the complete integration of all three movements as one organic unit by linking the return of the tonal center from C back to E (now major) in a written-out transition. The last movement glistens as a fleet-footed scherzo in Mendelssohn’s trademark capricious style, releasing all the energy and inner tension created by the first two movements. SERGEI RACHMANINOFF (1873-1943) Symphonic Dances, Op. 45 Premiered on January 3, 1941, in Philadelphia conducted by Eugene Ormandy. The Symphonic Dances mark the end of Rachmaninoff’s successful career as pianist, composer, and conductor, and their delayed success is indicative of his struggle for respect as composer. While Rachmaninoff’s position as one of the greatest pianists of all time was never in doubt, some of his compositions had been viewed as outdated—especially compared to Stravinsky and Schoenberg. After a lukewarm reception of his Third Symphony in 1936, Rachmaninoff stopped composing for three years. But during the summer of 1940, while preparing for an extended concert tour, Rachmaninoff felt the need to compose again. By this time, he had settled in Long Island after the outbreak of World War II. His new neighbors included Vladimir

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and Wanda Horowitz, and choreographer Michel Fokine, who had produced a popular ballet of Rachmaninoff’s Paganini Variations. Presumably encouraged by the ballet’s success, the composer started writing Fantastic Dances, consisting of “Midday,” “Twilight,” and “Midnight.” As the work progressed, Rachmaninoff settled on the more generic Symphonic Dances and dropped the descriptors. Unfortunately, Fokine’s death in 1942 ended a possible ballet collaboration. While the Philadelphia premiere was well received, a second performance in New York was unsuccessful. In the years since, the Symphonic Dances have not only been standard repertoire, they have become a favorite of both performers and audiences. Unfortunately, Rachmaninoff did not live to enjoy their tremendous success. Compositionally, this work is more than a summation of his career, for in it the composer also seeks redemption. The first dance recycles material from his unpublished First Symphony, the greatest failure of his career. Because Rachmaninoff had destroyed all materials of the work, the quotation was intended for his ears only. Since his death, however, materials of the First Symphony resurfaced, giving us the privilege of access to this redemptive moment. At the heart of this exciting opening movement is arguably the greatest saxophone solo in symphonic literature. Rachmaninoff had consulted Broadway orchestrator Robert Russell Bennett about the use of the saxophone. The second dance is an extremely edgy waltz—vacillating between nostalgia and sarcasm. This contrapuntally and rhythmically complex movement showcases his perfect sense of timing—a skill he had honed as performer. The slow introduction of the last dance creates a sense of drama that pervades the whole movement. The toll of the bells hints at the composer’s use of chant material. Rachmaninoff incorporates three sacred sources: a chant from the Russian Orthodox liturgy, the Dies irae from the Mass of the Dead, and a self-quotation, taken from his All-Night Vigil (marked in the autograph score with the word “Alleluia”). Perhaps realizing the importance of this work not only as his last but one of his most successful, he wrote at the end of the autograph, “I thank thee, Lord.” - Siegwart Reichwald

Concurrently with the orchestral version, Rachmaninoff also created an arrangement of the Symphonic Dances for two pianos, which Rachmaninoff premiered with Vladimir Horowitz at a private party in Beverly Hills.

SATURDAY, JULY 22 SATURDAY, JULY 22 7:30 PM WHITTINGTON-PFOHL AUDITORIUM BEETHOVEN PIANO CONCERTO NO. 4 Brevard Sinfonia Neil Thomson, conductor Nikita Mndoyants, piano BACH (1685-1750) BEETHOVEN (1770-1827)

Official piano of the Brevard Music Center

Fantasia and Fugue in C minor, BWV 537 (arr. Elgar)

Concerto for Piano and Orchestra No. 4 in G major, Op. 58 Allegro moderato Andante con moto Rondo. Vivace Mr. Mndoyants, piano

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TIPPETT (1905-1998)

Symphony No. 1

JOHANN SEBASTIAN BACH (1685-1750) Fantasia and Fugue in C minor, BWV 537 (arr. Elgar) The Fugue was premiered on October 27, 1921, in London under the direction of Eugene Goossens; the Fantasia was premiered on September 7, 1922 with Elgar as conductor. One would think that an orchestral transcription represents the work of a young composer honing his skills as orchestrator. Yet Elgar approached J.S. Bach’s virtuosic organ piece at the end of his career at a time when his own compositional output had slowed considerably. There is a simple biographical reason for his transcription. Elgar had been good friends with Richard Strauss, yet they experienced World War I from opposing sides. At a post-war meeting in 1920 Elgar proposed a joint project of transcribing Bach’s Fantasia and Fugue to begin mending

Allegro vigoroso, quasi alla breve Adagio Presto Allegro moderato ma con brio

fences. Strauss was to take on the Fantasia and Elgar the Fugue. Unfortunately, Strauss did not hold up his end of the bargain, so Elgar finished the project by himself. We can learn as much about Elgar as we can about Bach in this transcription. Having the complex counterpoint elucidated by the contrasting timbres of the orchestra clearly raises our understanding and appreciation of the mastery of the baroque composer’s counterpoint. Both the contrast of the sectional Fantasia and the expressive contrapuntal language of the Fugue are clearly delineated in Elgar’s orchestration. At the same time, Elgar’s masterful “translation” of this baroque piece into the realm of late Romanticism showcases his understated yet witty personality. While Elgar stays true to the musical text, he does a masterful job of creating a work that represents his own

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post-Romantic aesthetics. His use of the harp in the Fugue is especially effective in this regard. It would have been truly fascinating to be able to compare Elgar’s approach with that of Strauss, had he continued the musical peace process. LUDWIG VAN BEETHOVEN (1770-1827) Concerto for Piano and Orchestra No. 4 in G major, Op. 58 Premiered on March 1807 at the home of Prince Franz Joseph von Lobkowitz. The public premiere on December 22, 1808 at the Theater an der Wien, Vienna. In May 1809, the Allgemeine musikalische Zeitung called this concerto, “the most admirable, singular, artistic and complex Beethoven concerto ever.” Yet this masterwork was neglected during Beethoven’s lifetime, and it did not enter the repertoire until Felix Mendelssohn and Clara Schumann championed the concerto some 30 years later. The reviewer got it right, though, when he called the work the “most…artistic and complex Beethoven concerto ever.” The Fourth Concerto shows an unparalleled level of sophistication and imagination on many levels, as Beethoven challenges convention at every turn. The pianist (instead of the orchestra) opens the work with an uncharacteristically lyrical theme. Sonata form concepts are stretched with constant modulations and unusual twists and turns. The highly expressive and intimate first movement culminates in an extensive cadenza. Yet at the end of the cadenza, the orchestra enters quietly before the movement closes in dramatic fashion. The stunning second movement is a fascinating study of contrast. Juxtaposing the “angry” orchestra with the lamenting piano part, Beethoven creates a movement full of intense melancholy. As the movement progresses, the orchestra’s angry outbursts turn into utterances of sadness. The last movement breaks onto the scene almost as an interruption. The rondo movement covers a wide range of emotions from elation to wonder, matching the expressive character of the other movements. Beethoven brings the work to a brilliant close with a cadenza that leads seamlessly into a brief but climactic coda. MICHAEL TIPPETT (1905-1998) Symphony No. 1 Premiered in Liverpool on November 10, 1945, by the Liverpool Philharmonic Orchestra conducted by Sir Malcom Sargent. What do Beethoven and Purcell have in common? Well, musically speaking, not very much. Purcell wrote English Baroque music, while Beethoven helped shape Germany Romanticism. Yet both composers towered over the next generations of composers, casting long shadows of influence. Tippett, as a true student of composition, was drawn to the craftsmanship and power of Beethoven and the expressive nature and depth of Purcell’s music. Tippett’s First Symphony synthesizes these ideals in a new way, as this first major orchestra work became the zenith of his early output. Tippett provides only cryptic hints regarding the meaning of the work, calling the first movement an arrow, the second a

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circle, and the third a star. He never offered a hieroglyph for the last movement. Given the nature of these descriptors, Tippett seems less concerned about the meaning of the work and more about the listening process. The composer had spent the last several years crafting a musical language that was precise and unambiguous. At the core of Tippett’s language is the belief in absolute music: music for music’s sake—a closed system. Each movement explores different musical ideas within the confines of the typical four-movement framework. Yet there is one unmistakable commonality: the pervasive use of counterpoint (two more independent lines of music simultaneously) and the use of highly expressive lines: late Beethoven (counterpoint) and Purcell (expressive gestures). In the process, Tippett created a work that engages the listener right from the start. The first movement continually spins out not one, not two, but six themes, which are all motivically related. Moving seamlessly between these themes, Tippett creates a rich tapestry of wonder and excitement. If the first movement seemed Beethovenian, the second is like a Purcell aria on steroids. Based on an expressive and dark ground-bass (constantly repeated theme), ten variations spin out slowly, moving toward a profound climax, before the movement ends in variations nine and ten as pensive and eerily hollow mirror images of the first two variations. Tippett’s goal for the third movement was to create a scherzo with Beethovenian dynamism. While there is no doubt that he succeeded, his method is somewhat surprising: Tippett borrowed the propulsive rhythmic quality of Perotin’s medieval three-part conductus Salvatore Hodie. The various strains of the first three movements seem to have created just the right atmosphere for the exhilarating finale. Taking (more than) a page from Beethoven’s “Hammerklavier” Sonata, Op. 106, the last movement consists of two giant fugues (imitative counterpoint based on a specific theme). But as might be expected, there is a twist: just as everything seems to get worked out at the end of the double-fugue, the music seems to disintegrate, creating an unexpected and fascinating ending to a masterfully conceived work. - Siegwart Reichwald

Tippett pondered the design of this First Symphony during a three-month stay in prison for his pacifist stance during World War II.

SUNDAY, JULY 23 SUNDAY, JULY 23 3:00 PM WHITTINGTON-PFOHL AUDITORIUM SOLOISTS OF TOMORROW Brevard Music Center Orchestra Ken Lam, conductor

Official piano of the Brevard Music Center

Jan and Beattie Wood Concerto Concert Winners of the 2017 Jan and Beattie Wood Concerto Competition take the stage as featured soloists with the Brevard Music Center Orchestra.

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MONDAY, JULY 24 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE INTERNATIONAL CONTEMPORARY ENSEMBLE EARTH EARS: REMEMBERING PAULINE OLIVEROS (1932 - 2016) Campbell MacDonald, clarinet Nuiko Wadden, harp Ross Karre, percussion OLIVEROS

Applebox Double for percussion

ICEcommons selection (announced from stage) FARRIN FURE

Polvere et ombra for harp Shiver Lung 2 for percussion

INTERMISSION ICEcommons selection (announced from stage) THORVALDSDOTTI OLIVEROS

For it will never return for harp and tenor voice Earth Ears

Ross Karre is a percussionist and temporal artist based in New York City. His primary focus is on combining media, including classical percussion performance, electronics, theater, moving image, visual art, and lighting design. He designs integrated, moving images that emerge from an aesthetic foundation in American experimental music as well as that of the European avant garde. He has collaborated as a producer/designer on the world’s largest scale productions at the Park Avenue Armory, Holland Festival, Ojai Festival, and Lincoln Center. Ross is a percussionist and the co-artistic director for the International Contemporary Ensemble (ICE). Nuiko Wadden is the principal harpist of Pittsburgh Opera and Ballet Orchestras, as well as the Des Moines Metro Opera and the Cabrillo Festival. She is a member of janus, a trio based out of Brooklyn, and the International Contemporary Ensemble (ICE). Ms. Wadden has been a prizewinner in numerous competitions, and has appeared on the New Amsterdam, Cedille, Bridge, New Focus, and North/South recording labels. As a soloist she has appeared with the Minnesota Orchestra, the Skokie Valley Symphony, the Chicago Metropolitan Symphony, and the Northwest Symphony. A founding member of International Contemporary Ensemble (ICE), Seattle native Campbell MacDonald recently began his 12th season as Principal Clarinet of the Fort Wayne Philharmonic. Prior to moving to Fort Wayne in 2004, Campbell held positions in the Ann Arbor Symphony Orchestra, the Michigan Opera Theatre Orchestra in Detroit, and spent six summers in Mexico City as Solo Clarinetist of La Orquésta Sinfónica de Minería. In addition to his orchestral schedule, Mr. MacDonald's uncommonly varied musical activities include regular appearances as a solo and chamber music recitalist, concerto soloist, studio recording artist, and educator.

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WEDNESDAY, JULY 26 WEDNESDAY, JULY 26 7:30 PM WHITTINGTON-PFOHL AUDITORIUM VIVALDI'S THE FOUR SEASONS Brevard Festival Chamber Orchestra William Preucil, violin Jeanelle Mossburg, violin BACH (1685-1750)

Concerto in D minor for two violins, strings, and continuo, BWV 1043 Vivace Largo ma non tanto Allegro Ms. Mossburg, violin Mr. Preucil, violin

MOZART (1756-1791)

Divertimento in D major, K.136 Allegro Andante Presto

INTERMISSION VIVALDI (1678-1741)

The Four Seasons Concerto No. 1 in E major, Op. 8, RV 269, “Spring” Allegro Largo e pianissimo sempre Allegro pastorale Concerto No, 2 in G minor, Op. 8, RV 315, “Summer” Allegro non molto Adagio e piano. Presto e forte Presto Concerto No. 3 in F major, Op. 8, RV 293, “Autumn” Allegro Adagio Allegro Concerto No. 4 in F minor, Op. 8, RV 297, “Winter” Allegro non molto Largo Allegro Mr. Preucil, violin 2017 Summer Institute & Festival

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JOHANN SEBASTIAN BACH (1685-1750) Concerto in D minor for two violins, strings, and continuo, BWV 1043 If you enjoy a daily visit to your local Starbucks, just imagine how much fun it must have been to spend Friday nights at the Zimmermann’s coffee house Leipzig, listening to Bach and friends performing the latest instrumental music. Bach’s aim was to offer a wide range of current music. Despite his reputation as a traditionalist, Bach was keenly aware of what was going on in the international music scene, and some of his works incorporate these new trends. One of the pieces you would have heard is the Double Concerto. The work explores the Italian baroque concerto style. Bach had spent considerable time studying Vivaldi’s concertos, which had become hugely popular all throughout Europe. The Double Concerto closely follows Vivaldi’s threemovement model. Bach adds one ingredient that gave it unique its unique flavoring—counterpoint. From the start, it becomes apparent that this concerto is more than just virtuosic entertainment. The interplay between the two soloists makes for a concerto experience unlike any other, for Bach employs counterpoint in a way that makes it not seem academic but highly expressive. In the second movement, the two violins soar and intertwine in a way that they seem to melt together into one expressive voice. Closer inspection of the counterpoint of the outer movements shows a sophistication of polyphony that only Bach could create. Unlike Starbucks, which can be found in most any city, Bach’s original musical brew could only be found at Zimmermann’s Coffee House.

Violinist Jeanelle Mossburg, an Arizona native, currently resides in Cleveland, Ohio. Jeanelle received her bachelor's degree in violin performance from the Cleveland Institute of Music in 2016 and is currently pursuing her master's degree at CIM under the instruction of William Preucil. Jeanelle enjoys traveling to play in many diverse orchestral and chamber music settings and is a frequent substitute violinist for the Cleveland Orchestra.

WOLFGANG AMADEUS MOZART (1756-1791) Divertimento in D major, K. 136 The 15-year-old Mozart had just returned from Italy when he decided to write a set of three string pieces. The titles of these three pieces are up for debate, since “Divertimento” in the autograph is not written in Mozart’s hand. In fact, another source calls them “Three Salzburg Symphonies”, which is more in line with the type of string symphonies Mozart would have encountered in Italy. Furthermore, a Divertimento or Serenade might have more movements, and not all movements would be cast in sonata form—as is the case with K. 136. Most likely,

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Mozart decided to try his hand at composing string symphonies in the Italian style. While all three movements are in classical sonata form (two repeated parts with two sections each, demarcated by key changes), Mozart’s imaginative approach is remarkable. Section 3 (later to be called development) in particular is treated with tremendous variety. The first movement is the most adventurous with extended sections in minor. The slow movement’s lyrical nature limits the development section to a mere seven measures. In the finale, section 3 consists simply of a fugato (imitative entrances). It is easy to see why this early work has become part of the standard Mozart repertoire, as it showcases not just great skill but incredible imagination. ANTONIO VIVALDI (1678-1741) The Four Seasons If Bach was able to write in the concerto style with unsurpassed counterpoint, no one can compare to Vivaldi’s sheer variety and volume in writing solo concertos. Of his roughly 350 concertos for one solo instrument and strings over 230 of them are for the violin. None of them is more famous than The Four Seasons. Composed as a set of four solo concertos—one for each season— Vivaldi took the expressive abilities of the concerto to a whole new level. Having written one sonnet for each season, Vivaldi “translated” the words and ambience into the sound world of the baroque violin concerto. Each season is so obviously expressed that the poem is not even necessary. What makes this set of concertos so remarkable is its unmatched popular appeal—with the use of the term popular in its truest sense: music that is easily enjoyed and understood without having to know very much about music. - Siegwart Reichwald

WEDNESDAY, JULY 26 THURSDAY, JULY 27

THURSDAY, JULY 27 7:30 PM SATURDAY, JULY 29 2:00 PM PORTER CENTER AT BREVARD COLLEGE

STREET SCENE Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Brevard Festival Orchestra Robert Moody, conductor MUSIC LIBRETTO

Kurt Weill Langston Hughes & Elmer Rice

ACT I

This project is supported in part by an award from the National Endowment for the Arts

Funded in part by the Kurt Weill Foundation for Music, Inc., New York NY, and the National Endowment for the Humanities.

INTERMISSION ACT II

Bethanie Wampol Watson, scenic designer Tláloc López-Watermann, lighting designer Aaron Chvatal, costume designer Brittany Rappise, wig and makeup designer

CAST Frank Maurrant - Joel Rogier Anna Maurrant - Amanda Palmeiro Rose Maurrant - Anna Montgomer Willie Maurrant - Sean Rydel Emma Jones - Erin Moran George Jones - Ian Bolden Mae Jones - Adina Triolo Vincent Jones - August Bair Olga Olsen - Melina Jaharis Carl Olsen - Steele Fitzwater Abraham Kaplan - Blake Ellege Sam Kaplan - Taylor Rawley Shirley Kaplan - Charlotte Jackson Greta Fiorentino - Benedetta Cordaro Lippo Fiorentino - Victor Cardamone

Laura Hildebrand - Melanie Burbules Jennie Hildebrand - Sara Law Daniel Buchanan - Daniel Weisman Henry Davis - Franklin Mosley Grace Davis - Jennie Judd Dick McGann - Michael Pandolfo Harry Easter - Cameron Sledjeski Steve Sankey - Brent Hetherington Kids - Virginia Mims, Jennie Judd Salvation Army Girl/Nursemaid #1 Amy Yarham Salvation Army Girl/ Nursemaid #2 Esther Atkinson

ENSEMBLE Esther Atkinson August Bair Ian Bolden Melanie Burbules Piotr Buszewski Victor Cardamone Benedetta Cordaro Blake Ellege Steele Fitzwater Madison Hatten Chelsea Helm Brent Hetherington Charlotte Jackson Melina Jaharis Jennie Judd

Sara Law Timothy Madden Virginia Mims Anna Montgomery Erin Moran Franklin Mosely Amanda Palmeiro Michael Pandolfo Taylor Rawley Joel Rogier Cameron Sledjeski Darius Thomas Adina Triolo Daniel Weisman Amy Yarham

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Adapted from Street Scene: An Appreciation by Mark N. Grant Elmer Rice was characteristically ungracious in accepting the 1929 Pulitzer Prize for his play, Street Scene, when he remarked, "I do not enjoy playgoing." Others did; the play ran 601 performances on Broadway, was translated into many languages and widely performed abroad, and was filmed in 1931 by King Vidor. Composer Deems Taylor, who had written incidental music for Rice's 1923 play The Adding Machine and whose opera The King's Henchman was a success in 1927 at the Met, obtained Rice's permission to turn Street Scene into an opera in March 1929, but he abandoned it for Peter Ibbetson. Soon afterwards, Kurt Weill saw Street Scene in Berlin, and later saw the movie as well. In 1936, upon meeting Rice, Weill expressed interest in musicalizing Street Scene, but Rice declined. In 1945, with two Broadway successes under his belt, Weill asked again, and this time Rice assented. At first Weill enlisted Maxwell Anderson to help adapt the play, but Rice preferred to do the work himself. Weill and Rice made an inspired and daring choice of lyricist: the AfricanAmerican poet Langston Hughes. For research, Hughes and Weill went to Harlem nightclubs together and watched children playing street games. After the show opened, Rice insisted on co-credit for several of the lyrics, but it is clear that some of the most eloquent, as well as the street-savviest ("Hey Babarebop!"), are Hughes's alone. Backing for the show was provided by the Playwrights' Company and Dwight Deere Wiman, who had produced many Rodgers and Hart shows. The three-week tryout in Philadelphia in December 1946 bombed disastrously with both press and public. Weill redoubled his efforts to encourage the company and improve the show. It all paid off at the Broadway opening at the Adelphi Theatre on January 9, which drew very enthusiastic reviews; for two months Street Scene was a hit. The show closed in May after 148 performancesâ&#x20AC;&#x201D;still one of the three longest first runs ever of an opera composed for Broadway. Today Street Scene is Kurt Weill's most frequently revived American stage work. Perhaps the least dated of all Weill's American works, it still "lands" on stage because it is so emotionally committed. Undoubtedly Weill felt a special connection to Street Scene because he, like its characters, was a grateful emigrĂŠ to America. His heartfelt letters to Lenya in the spring of 1945 relishing the defeat of the Nazis are immensely moving, and it is hard to imagine that those powerful emotions didn't carry over into his music for Rice's play. The composer's own judgment of the work was correct: Street Scene is Kurt Weill's American masterpiece.

SYNOPSIS Act I Outside a multi-ethnic Manhattan tenement on a sweltering summer evening, some women are passing the time ("Ain't It Awful, the Heat?") while the janitor takes out the garbage ("I Got a Marble and a Star"). The women switch to gossiping about Anna Maurrant's extramarital affair with Sankey the milkman ("Get a Load of That"); they stop when she enters. Mrs. Maurrant and young Sam Kaplan, who is in love with her daughter Rose, converse as Mr. Buchanan frets about his wife's impending childbirth ("When a Woman Has a Baby"). Then Anna's brutish (and suspicious) husband Frank arrives and demands to know why Rose hasn't come home from work. After Frank goes inside, Anna pours out her frustrations and broken dreams, even as she continues to hope for a better life ("Somehow I Never Could Believe"). When Sankey walks by, Anna follows him,

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fueling the neighbors' gossip ("Get a Load of That" reprise). Lippo Fiorentino arrives with ice-cream cones for everyone, providing relief (comic and otherwise) from the heat ("Ice-Cream Sextet"). Frank, not amused, rails against kids today and modern society ("Let Things Be Like They Always Was"). The Hildebrand family enters, about to be evicted from their apartment because they can't pay the rent, even though oldest daughter Jenny has just won a scholarship ("Wrapped in a Ribbon and Tied in a Bow"). The building's denizens retire for the night. Sam stays outside to lament his isolation in the midst of so many neighbors ("Lonely House"). After Sam goes in, Rose Maurrant finally enters, escorted by her lecherous boss Harry Easter. Easter tries to seduce her with promises of a show business career ("Wouldn't You Like to Be on Broadway?"), but Rose rebuffs him ("What Good Would the Moon Be?"). Easter leaves as Frank enters. Mrs. Buchanan goes into labor, and Rose exits to summon the doctor. Mae Jones and her boyfriend Dick, who have been out partying, do a jitterbug on the sidewalk ("Moon-Faced, Starry-Eyed"). When Rose returns, Mae's brother Vincent makes a pass at her. Sam comes out to defend her, and Vincent knocks him down. Rose comforts Sam, and the two share their dream of escaping the tenement's squalor ("Remember That I Care"). Act II Scene 1 Early the next morning; Rose's younger brother Willie and the other children play on the sidewalk ("Catch Me If You Can"). Buchanan's wife has given birth. Rose tells Sam she is on her way to a funeral. Frank says he is going out of town, but he gets truculent when Anna asks when he'll be back. Rose tries to convince Frank to be kinder to Anna, but he rejects her advice ("There'll Be Trouble"). After Frank leaves, Anna sends Willie off to school, telling him that he will make her proud some day ("A Boy Like You"). Rose tells Sam about Harry Easter's offer. Appalled, Sam pleads with Rose to elope with him now; she considers the idea ("We'll Go Away Together") but decides she needs to think it over. Rose leaves for the funeral, and city marshals arrive to evict the Hildebrands, as Sam remains seated on the stoop. Mr. Sankey enters and Mrs. Maurrant invites him up to her apartment. Suddenly Frank reappears. Sam tries to warn Anna, but to no avail. Frank rushes upstairs and shoots Anna and Sankey, who drops dead. Frank escapes in the confusion as an ambulance, policemen, and crowds mob around. Rose returns from the funeral just in time to see her mortally wounded mother carried off on a stretcher ("The Woman Who Lived Up There"). Scene 2 Later that day, two nannies push their baby carriages in front of the tenement and gossip about the murder ("Lullaby"). Rose returns from the hospital where her mother has died. As Sam and his sister Shirley try to comfort Rose, more shots ring out: Frank Maurrant has been captured by the police. Now remorseful, Frank awkwardly tries to explain to Rose why he committed the murders ("I Loved Her Too") as the police lead him away. Sam once more declares his love and implores Rose to go away with him, but she has decided that she must go off on her own ("Don't Forget the Lilac Bush"). Two strangers enter, hoping to rent the Hildebrands' apartment. As evening approaches, the denizens of the building once again sit on the stoop as if nothing happened, gossiping and complaining about the heat ("Ain't It Awful, the Heat?" reprise). - Mark N. Grant

FRIDAY, JULY 28 FRIDAY, JULY 28 7:30 PM WHITTINGTON-PFOHL AUDITORIUM DVOŘÁK CELLO CONCERTO Brevard Music Center Orchestra Keith Lockhart, conductor Johannes Moser, cello JANÁČEK (1854-1928)

The Cunning Little Vixen Suite

MOZART (1756-1791)

Symphony No. 38 in D major, K. 504, “Prague” Adagio. Allegro Andante Finale. Presto

INTERMISSION DVOŘÁK (1841-1904)

Concerto in B minor for Cello and Orchestra, Op. 104 Allegro Adagio ma non troppo Finale. Allegro moderato Mr. Moser, cello

LEOŠ JANAČEK (1854-1928) The Cunning Little Vixen Suite Premiered on November 6, 1924, in Brno conducted by František Neumann. Brno newspaper editor Rudolf Tesnohlídek had a bad day. Having been absent the previous day, he found 200 drawings by artist Stanislav Lolek about forest creatures on his desk. His assignment: Create a story around these drawings. Not being able to pawn it off to somebody else (there’s a reason it landed on his desk during his absence), he begrudgingly went to work. As it turns out, his sequence of 51 comic strips became hugely popular. Janaček was introduced to the comic strip by his housekeeper. The composer collected all of them, which would eventually become the inspiration for his seventh opera.

WOLFGANG AMADEUS MOZART (1756-1791) Symphony No. 38 in D major, K. 504, “Prague” Premiered on January 19, 1787, in Prague. “Sonata Form!” That’s what I tell my students jokingly to guess if they don’t know the answer to a quiz question. Because of its importance in concert music since the mid-eighteenth century, more times than not, it is the right answer. Mozart’s Symphony No. 38 is case in point. Questions about the work abound: Why does this Symphony have only three movements (leaving out the Minuet)? Was it intended for Prague, even though it was finished in Vienna? What’s the Symphony all about? The answer to all three questions is “Sonata Form”! Let’s go over these questions in more detail. Why does this Symphony have only three movements? Other than Haydn, no other composer was more engaged with the development

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of sonata form than Mozart. Between Haydn and Mozart’s combined 145 symphonies and 91 string quartets, they had the corner on sonata form. Yet both composers kept pushing with each new instrumental work, developing the form further. Sonata form is the essence of the classical style. It represents the perfect balance of form and expression, keys and themes, musical syntax and individual thought. All three movements of this symphony are cast in sonata form. Usually only the first movement is in sonata form; the second is usually some kind of song form, and the last is most often in rondo form. Mozart clearly announces sonata form in all three movements by using obvious markers such as repeat signs (for both parts), arrivals in new keys, retransitions, etc. This Symphony is a study in sonata form. The only movement that can never be in sonata form is a Minuet, so Mozart leaves it out. Was the Symphony intended for Prague, even though he finished it in Vienna? Nowhere was Mozart more famous, more celebrated than in Prague. During his stay, he writes: “I looked on, with greatest pleasure while all these people flew about in sheer delight to the music of my Figaro . . . For here they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing but Figaro. Certainly a great honor for me!” Mozart knew he had to capture the excitement of this opera symphonically, and only the expressive nature of sonata form can “translate” operatic plot into music. So Mozart composed a “symphonic opera” in three acts. All three acts had to be in sonata form. What’s this Symphony all about? One of the things that Mozart (and Haydn) figured out about sonata form was that it could express plot on a purely musical level. The basic elements of plot are contrast, struggle, and resolution: two or more characters have contrasting views, which leads to struggle, until a resolution is achieved—which might be tragic, comic, heroic, etc. Sonata form expresses plot through contrasting keys and themes (exposition), which leads to “working things out” (development), and the eventual resolution by returning to the home key (recapitulation). Mozart tells us three different stories in three sonata form movements. While his musical stories are an abstraction of simple story-telling, they nevertheless have content and meaning with a variety of characters—not unlike those in his operas such as Figaro.

ANTONÍN DVOŘÁK (1841-1904) Concerto in B minor for Cello and Orchestra, Op. 104 Premiered on March 19, 1895, in London conducted by the composer with Leo Stern as soloist. “Why in the world didn’t I know one could write a cello concerto like this? If I’d only known I’d have done it long ago!” This was Brahms’ comment about Dvořák’s cello concerto, and it took the Czech composer a lifetime to figure out how to write for the cello, as this was his last major orchestral work. In his youth, Dvořák had tried his hand unsuccessfully at a cello concerto, stating about the cello that “high up it sounds nasal, and low down it growls.” So what made him change his mind about the cello’s capabilities? One of the factors was Victor Herbert’s Second Cello Concerto, premiered by the New York Philharmonic-Society in 1894. Dvořák was enthralled by the performance, and it might have shown him the sound potential of the cello as a solo instrument. Another person who had helped Dvořák in a more tangible way with his concerto was Hanuš Wihan, cellist of the Bohemian Quartet. The composer used his friend’s expertise to make the best use of the cello’s rich timbres and highly expressive quality. Dvořák’s dedication to Wihan speaks to the cellist’s influence. Yet Wihan’s influence was limited to technical issues. When the cellist suggested a cadenza for the end of the work, Dvořák rejected it Unlike his New World Symphony, the cello concerto is not linked to the composer’s experiences in the US. In fact, Dvořák quoted one of his own songs, “Kez duch muj san” (“Leave me alone”), which was one of his sister-in-law’s favorite. When the composer had heard about Josefina’s illness and death, he not only decided to incorporate her favorite song in the second movement, but he also changed the ending of the work. Dvořák explained that, “the Finale closes gradually diminuendo, like a sigh, with reminiscences of the first and second movements—the solo dies down . . . then swells again, and the last bars are taken up by the orchestra and the whole concludes in a stormy mood.” - Siegwart Reichwald

Bohemia was famous for its outstanding wind players, so Mozart wrote some of his most lavish wind parts for his “Prague” Symphony.

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SATURDAY, JULY 29 SATURDAY, JULY 29 7:30 PM

LEAD SPONSOR

of Asheville

WHITTINGTON-PFOHL AUDITORIUM SCHEHERAZADE Brevard Concert Orchestra Keith Lockhart, conductor Johannes Moser, electric cello CHAPELA (1974-)

Magnetar Fast Slow Brutal Mr. Moser, electric cello

INTERMISSION RIMSKY-KORSAKOV Scheherazade, Op. 35 (1844-1908) The Sea and Sinbad's Ship The Kalendar Prince The Young Prince and The Young Princess Festival At Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman

ENRICO CHAPELA (1974-) Magnetar Premiered on October 20, 2011, in Los Angeles under the direction of Gustavo Dudamel with Johannes Moser as soloist. Program notes provided by the composer on the publisher’s website (Boosey & Hawkes): The electric cello is an electromagnetic instrument. The kinetic energy of the strings is transformed into electromagnetic energy that can be manipulated in numerous ways before being reconverted into sound. This is the main feature of this instrument and the very source of its amazing power, so I decided to find the biggest possible magnet to base my work on. Reading some articles online, I learned about the existence of some rare type of pulsars that had the biggest magnetic fields in the universe known as MAGNETARS. After learning about the existence of magnetars, I contacted Dr. Jonathan Arons from the University of Berkeley (astrophysicist who happens to play the cello) who kindly accepted to have lunch with me. It was then that I learned all I needed to know (and more)

about magnetars and its flares. He also contacted me with Dr. Kevin Hurley—one of the authors of the articles I read—who was kind enough to share with me data from three flares produced by three different magnetars collected by Venera, Ulysses and Rhessi spacecrafts. I used this data to construct the base materials for my work. Once I had the materials ready, I ripped off two strings from my electric guitar and tuned it as a cello. Then I jammed over the materials to find out what could be done with them. I composed the solo part first, and showed it to Johannes Moser, who crashed in my studio for a week. During this time we defined how the final version should sound like, leaving the score ready to add the e-cello FXS patcher and the final orchestration. The work has three movements: fast, slow, and brutal. The data from the flares had some seconds of cosmic noise before and after the blast, so the first movement comes from and goes back to cosmic noise, which is represented by the use of hands and feet – ideal instruments for controlled noise chaotic textures. The core of the movement has the time line reversed: the decay of the flare becomes

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a gradual build up towards the big blast that dies out into the solo cadenza. This cadenza represents quiet and peaceful times; when magnetars chill out and return to balance. The second movement explores melodies that build up to a mini flare (magnetars also have small bursts), then falls into a cool jam, and dies out to the same ethereal ambience of the cadenza. The third movement bursts from nowhere into a fully distorted e-cello that leads into a brutal riff, that gradually builds up to the giant final flare. Needless to say, the effects patcher [This FXS patcher was programmed by Esteban Chapela.] is the most exciting part of an e-cello concerto. This software controls all digital as well as analog effects. It’s based on MAX/MSP and does many things: it governs the effects configuration during the entire piece, it analyses the audio signal and provides a real time stream of information that is used to adjust the response of the effects to the playing of the soloist. Finally, it performs all digital FXS (delay, granulation, ring modulation, spectral freeze) while storing the MIDI data that turns on and off the analog FXS (distortion, wa wa, chorus, phaser).

NIKOLAI RIMSKY-KORSAKOV (1844-1908) Scheherazade, Op. 35 Premiered November 3, 1888, in St. Petersburg with the composer conducting. One of the main developments in the 19th century was a growing interest in story telling with purely instrumental music. Going back to Beethoven’s Third and Fifth Symphonies, composers aimed to present a musical narrative, viewing music as a language with its own syntax and expressive means. Mendelssohn went as far as stating that music is more precise in meaning than words ever could be. Rimsky-Korsakov’s Scheherazade might be seen as a summation of program music, as this late-Romantic composer not only wants to tell a story, but a story about story telling. For the premiere in 1888 the composer provided the following notes: The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night.

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But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely. It is important to understand that Romantic composers usually did not simply “translate” a story into music. Rather, the concepts of the story will be expressed in musical terms, which is completely different from verbal communication. In the case of Scheherazade, RimskyKorsakov introduces the two main characters as musical themes; the sultan is heard as a brassy bass theme. Scheherazade can be heard in the solo violin line, spellbinding the audience right from the start. Each movement also represents a story from The Arabian Nights. The complexity of this endeavor is obvious, as we have two narratives interwoven at any given time. Without going into all the details of all four stories, the composer’s own intentions are clear: I meant these hints to direct but slightly the listener's fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of the individual listener… All I had desired was that the listener, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders. The fascinating and challenging part is to keep in mind the larger narrative of Scheherazade’s story telling. Each story seems to get more spellbinding, until the low voice of the sultan in the last movement appears subdued and tamed by Scheherazade. - Siegwart Reichwald

Music from Scheherazade was used by American ice skaters twice at the 2010 and 2014 Winter Olympics—Evan Lyacek and Charlie White/Meryl Davies won gold medals.

SUNDAY, JULY 30 SUNDAY, JULY 30 3:00 PM WHITTINGTON-PFOHL AUDITORIUM ROMEO AND JULIET Brevard Sinfonia Ken Lam, conductor Jihye Chang, piano

Official piano of the Brevard Music Center

MESSIAEN (1908-1992) ALDRIDGE (1954-)

Un Sourire

Concerto No. 2 for Piano and Orchestra, "Harmonices Mundi" (world premiere) I. Adagio - Allegro II. Lento III. Presto Ms. Chang, piano An anonymous commission for BMC, given in honor of Evan Armstrong North (1982-2011)

INTERMISSION

PROKOFIEV (1891-1953)

OLIVIER MESSIAEN (1908-1992) Un Sourire 1991 marked the 200th anniversary of Mozart’s death, sparking conferences and performances around the globe. Conductor Marek Janowski commissioned Messiaen to write an orchestral piece “in the spirit of Mozart” to be premiered on December 5, the day of Mozart’s death. The composer decided to focus on Mozart’s ability to take everything in stride:

Suite from Romeo and Juliet Montagues and Capulets Aubade The Child Juliet Tableau Morning Dance Masks Dance Death of Tybalt Romeo and Juliet Before Parting Romeo at the Grave of Juliet The Death of Juliet I love and admire Mozart. I didn’t try, in my homage to him, to imitate his style, which would have been idiotic. I said to myself: Mozart always had many enemies. He was hungry, cold, almost all his children died, his wife was ill, he knew only tragedy. . . . And he always smiled. In his music and in his life. So I tried to smile, and I composed La Sourire, a little piece lasting nine minutes, without pretentiousness, which I hope . . . smiles!

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The work contrasts two completely different themes, set apart by instrumentation (strings and oboe versus winds and percussion), rhythm (slow moving chords versus irregular groupings of 32nd notes), and mood (ethereal versus energetic). With each alternation, the themes seem to “want” to rub off each other. Yet the piece runs on two parallel tracks—until they finally come to rest on a major chord.

ROBERT ALDRIDGE (1954 -) Concerto No. 2 for Piano and Orchestra, "Harmonices Mundi" This concerto is written in memory of Evan Armstrong North who died suddenly at age 28. The work was commissioned anonymously, and by the Brevard Music Center, and is published by CF Peters Inc. Evan's all too brief life was amazing for its breadth and quality. He graduated from Harvard in 2005, received a Masters from Georgetown in 2009, and was on his way to a doctoral degree there when he died. By all accounts, he was a true renaissance man, with a remarkable array of interests and talents. His was truly a life well lived. I was asked to write a piece in memory of Evan and tonight is the premiere of that piece. The task of writing a piece of music for someone who has left the world all too soon is not an easy one. Does one write celebratory music, in honor of his well-lived life? Or does one musically depict the loss of such a beloved young man? I tried to do something of both. The first movement begins with the musical depiction of the loss, a descending scale of despair. As it is a concerto, much of the piece is a dialogue between the soloist and the orchestra. For the most part, the piano is the voice of love and hope while the orchestra is the voice of despair and loss. How does one move forward to live after such a loss? What ensues in the process of the first movement represents a gradual triumph over despair. Movement two is a traditional slow movement with the main theme initially stated by the solo piano. While the piano and orchestra are in lyrical and hopeful dialogue, there are occasional glimpses of despair, entering at often unexpected moments. One must move forward from great loss, but how can one ever truly do that? Finally, both piano and orchestra join together in a restatement of the theme, moving forward to reconciliation. The last movement moves decidedly to joy and hope. It is based on material in Evan's own website, keplersdiscovery.com. This brilliant resource is a beautiful synthesis of Johannes Kepler's writings and discoveries. Kepler's findings, of course, became the foundation of modern astronomy and physics. There is an amazing array of information that Evan collects on his website. Among it all is Kepler's keen interest in the relationship between the planets and music. His book, Harmonices Mundi (Harmony of the World) contains several chapters devoted to this relationship. "In what things pertaining to the planetary movements the simple harmonies and that all those harmonies which are present in song are found in the heavens . . . that each musical tone or mode is in a certain ways expressed by one of the planets...that the counterpoint or universal harmonies of all to the planets can exist and be different from one another." And then Evan notes, "In fact, he [Kepler] found that planets did seem to approximate harmonies with respect to their own orbits.” This last movement is inspired by the incredible energy and love of discovery that can be found on Evan's website. By reading this remarkable collection, I felt that I had gained a sense of the spirit of this brilliant and much loved young man.

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I'd like to thank all who have been involved in this project; to Mark and Jason at the Brevard Music Center, and to Jihye Chang, a beautiful pianist. - Robert Livingston Aldridge

SERGEI PROKOFIEV (1891-1953) Suite from Romeo and Juliet Prokofiev longed to return to Russia in the mid-1930s, so the ballet Romeo and Juliet was a welcomed commission by the Kirov Theatre in Leningrad. The only problem was that, as Prokofiev put it, “living people can dance, the dying cannot,” which is why he first composed a happy ending. After much wrangling, he ultimately followed the traditional story line; yet neither the living nor the dead seemed to be able to dance to Prokofiev’s score, as his second version was declared “undanceable.” While the ballet was eventually staged, it is the three suites he extracted from the score that have brought this music the most enduring success. Tonight’s performance excerpts movements from all suites, presenting various stages of the unfolding drama. Montagues and Capulets introduces the feuding families. The music is taken from the opening of the ballet and portrays the rift between the warring parties, followed by a rather tentative dance of Juliet with her fiancé Paris. Aubade is the waking dance for Juliet’s intended wedding. The joyful mood in the strings and woodwinds seems slightly undercut by the chromatic interjections by the brass. The Child Juliet explores the complex psyche of a teenager—from exuberant to pensive and confused (some things never change). The Street Awakens seems to picture a piazza before the day gets going. In Morning Dance the street now comes alive in this rousing and vibrant movement. Masks is a witty and charming movement that captures the cat-andmouse character that runs through the whole drama. Dance sounds more like a joyride, as Romeo and Juliet start to get to know each other, wondering who that other person is, yet realizing the excitement of being together. In Death of Tybalt the plot thickens. Tybalt's death at Romeo's hands dashes any hope for reconciliation between the feuding families. The piece moves from exhilarating and suspenseful music to a funeral march. Romeo and Juliet Before Parting is the central movement of this suite, as it unpacks a wide range of emotions—from puppy-love and hope for happily-ever-after to fear and sadness—yet time keeps on ticking (with an unrelenting pulse throughout the music). Romeo at the Grave of Juliet expresses intense grief and despair at the funeral procession. As the music quiets, the drama heightens; Romeo takes the poison, and the fate of the lovers is sealed. Surely Prokofiev could not have matched the intense music of this movement with any kind of happy ending, proving the allure of tragedies once again! The Death of Juliet is the closing Adagio of the ballet. The full measure of the tragedy is further explored in an emotionally intense reference to the Young Juliet. The music ebbs away like Juliet’s life. - Siegwart Reichwald

MONDAY, JULY 31 MONDAY, JULY 31 7:30 PM PORTER CENTER AT BREVARD COLLEGE BMC ARTIST FACULTY III

HUMMEL (1778-1837)

Septet No. 1 in D minor, Op. 74 Allegro con spirito Menuetto. Scherzo Andante con variazioni Finale. Vivace Dilshad Posnock, flute Eric Ohlsson, oboe Hazel Dean Davis, horn Maggie Snyder, viola Susannah Chapman, cello Kevin Casseday, bass Elisabeth Pridonoff, piano

INTERMISSION

SCHUBERT (1797-1828)

Quintet in A major, D. 667, “The Trout” Allegro vivace Andante Scherzo. Presto Tema. Andantino Finale. Allegro giusto Carolyn Huebl, violin Scott Rawls, viola Alistair MacRae, cello Craig Brown, bass Andrew Tyson, piano

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JOHANN NEPOMUK HUMMEL (1778-1837) Septet No. 1 in D minor, Op. 74

FRANZ SCHUBERT (1797-1828) Quintet in A major, D. 667, “The Trout”

If you are an eight-year-old boy and Mozart gives you piano lessons free of charge because of your prodigious talent, you know you are good—scary good. If you get to live in the Mozart household and play billiards with Mozart, you know you are special. Now imagine being able to watch Haydn, Mozart, Vanhal, and von Dittersdorf read through their latest string quartets. Obviously, Hummel was in the right place at the right time. He would become one of the most celebrated pianists of his day, touring all over Europe before settling at the Weimar court. As a composer, his accomplishments have been undervalued—as illustrated by tonight’s Septet.

In July 1819 Schubert joined his friend Michael Vogl on his annual vacation trip to his native Steyr in the mountains of Upper Austria. Their vacation included music parties and impromptu concerts. Presumably at one of their musical parties, they met Sylvester Paumgartner, a rich merchant and amateur cellist who loved Schubert’s song Die Forelle. The story goes that they were playing Hummel’s Piano Quintet in E flat major, when Paumgartner proposed a rather odd commission: write a piano quintet like Hummel’s—with the unusual scoring of a double bass replacing the second violin— and somehow include Die Forelle. Schubert’s innovative thinking turned these restrictions into opportunities. The inclusion of a double bass allowed the cello to play a larger role melodically, and the omission of the second violin freed up the middle of the keyboard for the pianist. Paumgartner surely must have appreciated the more prominent role given to the cello. The inclusion of his song meant the addition of a fifth movement, a set of variations on Die Forelle. Given that Hummel had arranged his Septet for the same odd combination a couple of years earlier, it stands to reason that Schubert might have gotten the idea for his added variation movement from Hummel’s Septet.

While the Septet was written for a seemingly unusual chamber ensemble with winds, string, and piano, Hummel knew exactly what he was doing. He covered the widest range and timbre possible with the fewest instruments possible. This allowed him to write a quasipiano concerto/symphony/divertimento within the context of chamber music. Clearly the piano takes center stage in this work, showcasing Hummel’s exceptional pianistic abilities. But the wind and string instruments are not just accompaniment, as Hummel uses them in a variety of combinations. The most extensive piano writing happens in the third movement, which is a set of variations.

Conceived as a leisurely divertimento, the work seems to breathe the fresh air of the mountains. Schubert’s happy mood permeates the whole work, making it one of the most popular chamber works in the repertoire. Even though Die Forelle is only the basis for the “added” variation movement, one might argue that its joyous character can be felt throughout the whole work. - Siegwart Reichwald

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WEDNESDAY, AUGUST 2 WEDNESDAY, AUGUST 2 7:30 PM PORTER CENTER AT BREVARD COLLEGE BMC ARTIST FACULTY IV

GOTKOVSKY (1933-)

POULENC (1899-1963)

Eolienne Joseph Lulloff, saxophone Allegra Lilly, harp Sextuor Allegro vivace Divertissement. Andantino Finale. Prestissimo Linda Toote, flute Eric Ohlsson, oboe Steve Cohen, clarinet William Ludwig, bassoon Bernhard Scully, horn Michael Chertock, piano

INTERMISSION

RACHMANINOFF (1873-1943)

Trio élégiaque No. 2 in D minor, Op. 9 Moderato Quasi variazione Allegro risoluto David Kim, violin Jonathan Spitz, cello Craig Nies, piano

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IDA GOTKOVSKY (1933-) Eolienne

SERGEI RACHMANINOFF (1874-1943) Trio élégiaque No. 2 in D minor, Op. 9

This five-movement work is musically and technically challenging, exploring the instruments’ whole range of expression—mostly within the context of the Aeolian mode. The term Eolienne, however, contains references beyond mode, including the Aeolian harp—as Patricia Surman has shown in her analysis of this work. The first movement might explore that reference with a sense of tonal ambiguity, a characteristic feature of the Aeolian harp. The ensuing Intermezzo is titled nostalgique and conveys the rhythm and texture of a sentimental waltz. The third movement is in stark contrast to the previous two, containing no time signature or bar lines. In it Gotkovsky explores the Aeolian mode in A. One of Gotkovsky’s typical movement types is the Perpetuum Mobile, the title of the fourth movement. In this highly virtuosic movement, the composer explores some of Messiaen’s (her teacher) favorite techniques (listed here for the music nerd): the use of modes of limited transposition, rhythmic pedal, and additive rhythms. The work ends with a movement in declamatory style with free, open-ended melodic phrases, which are highly expressive.

In 1893, the 20-year-old Rachmaninoff was well on his way toward becoming the next great Russian composer and pianist. His C sharp minor Piano Prelude flew of the shelf and his opera Aleko was well received by the audience, which included an enthusiastic Tchaikovsky. In fact, Tchaikovsky took such an interest in the career of his young countryman that he offered to conduct Rachmaninoff’s newest orchestral fantasy The Rock. Shockingly, Tchaikovsky died soon after the premiere of his Sixth Symphony—a concert Rachmaninoff had to miss. The young composer wanted to give expression to his grief through music. So he chose to compose a Piano Trio—the same thing Tchaikovsky had done after his friend Nikolay Rubinstein’s death.

The original version for flute and harp was premiered on January 7, 1970, in Geneva by flutist Brigitte Buxtorf and harpist Eisenhoffer.

FRANCIS POULENC (1899-1963) Sextuor Francis Poulenc was a composer of contrasts. Called “half monk, half rascal” and “a musical clown of the first order,” Poulenc knew how to deliver music that was witty and irreverent—yet at the same time profound and emotive. His Sextet perfectly contains all these elements. Poulenc began the work in 1932, calling it “an homage to the wind instruments.” It took seven years and serious revisions until the work found its final form in 1939. During this time, Poulenc faced a variety of circumstances that moved the “monk” part somewhat in the foreground and the “clown” became less overbearing. On the surface the Sextet seems to be a typical three-movement neoclassical work. Yet none of the movements is what it seems. The first appears to be a frisky sonata form movement in the style of Les Six—until the beginning of development section, which turns out to be a contrasting slow section full of melancholy. The ensuing Divertissement showcases Poulenc’s ability to craft the most beautiful melodies—until the ensemble breaks out into dance. The last movement does what finales do, brings back some ideas from previous movements to draw things to a close—which in this case is a surprisingly and pensive ending.

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Premiered on January 31, 1894, in Moscow with the composer at the piano.

Trio Élégiaque represents early Rachmaninoff with an emphasis on virtuosic piano writing and a strong emphasis on melody. Just like Tchaikovsky’s Trio, he chose a three-movement design. And as was the case in Tchaikovsky’s work, the second movement is a set of variations, using a theme from The Rock, the work Tchaikovsky had promised to conduct. The last movement continues to follow the Tchaikovskian model by bringing back the material from the first mvoement, creating an overarching musical narrative. - Siegwart Reichwald

Famously, at a rehearsal with the Philadelphia Woodwind Quintet, Poulenc appeared for rehearsal in formal attire before changing into slippers.

THURSDAY, AUGUST 3 THURSDAY, AUGUST 3 7:30 PM PORTER CENTER AT BREVARD COLLEGE THE BEST OF GILBERT & SULLIVAN Janiec Opera Company of the Brevard Music Center

The Best of Gilbert & Sullivan will include a delightful gathering of greatest hits from the team best known for H.M.S. Pinafore, The Pirates of Penzance, The Mikado, and other distinguished works.

Dean Anthony, Director/Choreographer Keturah Stickann, Director/Choreographer Alexander Sheerin, Director Eileen Downey, Chorus Master Neill Campbell, Staff Pianist Michael Gaertner, Staff Pianist Jonathan Heaney, Staff Pianist

LADIES: Esther Atkinson Melanie Burbules Benedetta Cordaro Madison Hatten Chelsea Helm Charlotte Jackson Melina Jaharis Jennie Judd Sara Law Virginia Mims Anna Montgomery Erin Moran Amanda Palmeiro Adina Triolo Amy Yarham

GENTLEMEN: August Bair Ian Bolden Piotr Buszewski Victor Cardamone Blake Ellege Steele Fitzwater Brent Hetherington Timothy Madden Franklin Mosely Michael Pandolfo Taylor Rawley Joel Rogier Cameron Sledjeski Darius Thomas Daniel Weisman

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FRIDAY, AUGUST 4 7:30 PM

SPONSOR A Loyal Friend of Brevard Music Center

WHITTINGTON-PFOHL AUDITORIUM DVOŘÁK SYMPHONY NO. 8 Brevard Symphonic Winds Kraig Alan Williams, conductor Brevard Concert Orchestra Ken Lam, conductor

REED (1921-2005)

Armenian Dances (Part 1)

WEILL (1900-1950)

Kleine Dreigroschenmusik (Little Threepenny Music)

MACKEY (1973-)

Overture The Moritat of Mack the Knife The Instead-of Song The Ballad of the Easy life Polly's Song Tango Cannon Song Threepenny Finale The Frozen Cathedral Brevard Symphonic Winds

INTERMISSION DVOŘÁK (1841-1904)

Symphony No. 8 in G major, Op. 88 Allegro con brio Adagio Allegretto grazioso. Molto vivace Allegro ma non troppo Brevard Concert Orchestra

Funded in part by the Kurt Weill Foundation for Music, Inc., New York NY, and the National Endowment for the Humanities.

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FRIDAY, AUGUST 4 ALFRED REED (1921-2005) Armenian Dances (Part 1)

Premiered on January 10, 1973 at the University of Illinois in Urbana with Harry Begian conducting. Gomidas Vartabed (1869-1935) was an Armenian priest, musicologist, composer, arranger, singer, and choirmaster. He is considered the founder of the Armenian national school of music and is recognized as one of the pioneers of ethnomusicology. Gomidas collected and transcribed over 3,000 Armenian folk songs, five of which are the basis for Reed’s rhapsodic first movement of his Armenian Dances. Here is some background for each tune from the published score: The Apricot Tree consists of three organically connected songs that were transcribed in 1904. Its declamatory beginning, rhythmic vitality, and ornamentation make this song highly expressive. The Partridge Song is a simple, delicate melody that might perhaps be thought of as depicting the tiny steps of a partridge. Hoy, Nazan Eem is a lively, lyric love song. [It] depicts a young man singing the praises of his beloved Nazan (a girl’s name). The song has dance rhythms and ornamentation that make it an impressive, catchy tune. Alagyaz (the name of a mountain in Armenia) is a beloved Armenian folk song, and its long-breathed melody is as majestic as the mountain itself. Go, Go is a humorous, light-textured tune. Its repeated note pattern musically depicts the expression of laughter.

KURT WEILL (1900-1950) Kleine Dreigroschenmusik (Little Threepenny Music) Few suites deriving from stage works are compositions in their own right, but the one that Weill extracted from Die Dreigroschenoper (The Threepenny Opera) is one of them. Weill composed the score for Elisabeth Hauptmann’s and Bertolt Brecht’s German adaptation of John Gays Beggar’s Opera during the summer of 1928. Against all odds, the makeshift commercial production took Berlin by storm in August 1928 , then all of continental Europe the following season, before being translated into fifteen languages for more than 10,000 performances. Weill’s instrumental suite for eighteen instrumentalists was commissioned by Otto Klemperer for performance by his orchestra at the so-called “Krolloper” in February 1929. Its expanded, idiosyncratic instrumentation for winds, brass, and rhythm section initially discouraged widespread performances, but after the worldwide explosion of wind ensembles after World War II, it has become a repertory staple, one of Weill’s most frequently performed compositions. The eight movements actually convey the substance of eleven numbers from the stage work. The most ingenious of them alternates the “Moritat von Mackie Messer” (“Mack the Knife”) with Peachum’s third-act melodic inversion of the tune (“Lied von der Unzulaenglichkeit”). Weill also composed an entirely new transitional section of the “Kanonen-Song” that is so inspired one almost wishes it could be patched backwards into the stage work that inspired it. The suite then both highlights the score of the original stage work and extrapolates beyond it in both content and conception toward the eighteenth-century model of its inspiration, Mozart’s serenade, Eine kleine Nachtmusik.

JOHN MACKEY (1973-) The Frozen Cathedral

- Kim H. Kowalke

Premiered on March 22, 2013 at the University of North Carolina at Greensboro, conducted by John Locke. Excerpts from the composer’s website; the notes were written by Jake Wallace: The Koyokon call it “Denali,” meaning “the great one,” and it is great. It stands at more than twenty thousand feet above sea level, a towering mass over the Alaskan wilderness. Measured from its base to its peak, it is the

tallest mountain on land in the world—a full two thousand feet taller than Mount Everest. It is Mount McKinley, and it is an awesome spectacle. And it is the inspiration behind John Mackey’s The Frozen Cathedral. The piece was born of the collaboration between Mackey and John Locke, Director of Bands at the University of North Carolina at Greensboro. Locke asked Mackey if he would dedicate the piece to the memory of his late son, J.P., who had a particular fascination with Alaska and the scenery of Denali National Park. Mackey agreed—and immediately found himself grappling with two problems. How does one write a concert closer, making it joyous and exciting and celebratory, while also acknowledging, at least to myself, that this piece is rooted in unimaginable loss: The death of a child? The other challenge was connecting the piece to Alaska—a place I'd never seen in person. I kept thinking about all of this in literal terms, and I just wasn’t getting anywhere. My wife, who titles all of my pieces, said I should focus on what it is that draws people to these places. People go to the mountains—these monumental, remote, ethereal and awesome parts of the world—as a kind of pilgrimage. It’s a search for the sublime, for transcendence. A great mountain is like a church. “Call it The Frozen Cathedral,” she said.

ANTONÍN DVOŘÁK (1841-1904) Symphony No. 8 in G major, Op. 88

Premiered on February 2, 1890, in Prague under the direction of the composer on the occasion of his election to the Bohemian Academy of Science, Literature, and Arts. The Symphony No. 8 in G major was written during the summer of 1889. Dvořák had just finished building a house in the Bohemian countryside. With his previously written Symphony No. 7 in D minor, Dvořák had finally worked his way through an artistic identity crisis. Successful as a Bohemian composer, Dvořák had fallen more and more under the influence of the German symphonic tradition and Johannes Brahms. While Dvořák’s Symphony No. 7 shows traces of the composer’s struggle to assert his own symphonic voice, his Symphony No. 8 celebrates his newfound identity as a Bohemian composer. Ironically, his Eighth Symphony was especially well received outside Bohemia. Even Eduard Hanslick, the guardian of Brahmsian ideals, received the work with enthusiasm: As the last work on the program, the symphony may have been placed in the most perilous position, but it triumphed with the purest of resources. While this composition is, from start to finish, undeniably the work of Dvořák, it differs considerably from both his previous symphonies now familiar in Vienna. This entire work, one of Dvořák’s best, is laudable for the fact that it is not pedantic yet, despite its composure, it is also far removed from naturalism. Dvořák is a serious artist who has learned much but, despite his knowledge, he has not sacrificed spontaneity and freshness. His works give voice to a singular individual, who emanates a refreshing breath of innovation and originality. - Siegwart Reichwald

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SATURDAY, AUGUST 5 7:30 PM

LEAD SPONSOR The Jerome Family SUSTAINING SPONSOR Loyal Friends of Brevard Music Center

WHITTINGTON-PFOHL AUDITORIUM TCHAIKOVSKY SYMPHONY NO. 5 Brevard Sinfonia JoAnn Falletta, conductor Andrew Tyson, piano

Official piano of the Brevard Music Center

RAVEL (1875-1937)

La Valse

GERSHWIN (1898-1937)

Rhapsody in Blue Mr. Tyson, piano

INTERMISSION

TCHAIKOVSKY (1840-1893)

Symphony No. 5 in E minor, Op. 64

MAURICE RAVEL (1875-1937) La Valse

Premiered December 12, 1920, by the Lamoureux Orchestra of Paris under the direction of Camille Chevillard. Swirling clouds afford glimpses, through rifts, or waltzing couples. The clouds scatter little by little; one can distinguish an immense hall with a whirling crowd. The scene grows progressively brighter. The light of the chandeliers bursts forth at the fortissimo. An imperial court, about 1855. This is Ravel’s description of La Valse—which, as even the casual listener can attest, seems to not account for the dark undercurrent of this work! So what is going on? Why would Ravel provide a program that seems incongruent with his own work? The answer to this question can be found in the work’s complicated history. Over the years, Ravel had developed a keen interest (some might call it an obsession) in the Viennese Waltz and the music of Johann Strauss Jr. In 1906 Ravel had begun a tone poem called Wien. Interrupted

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Andante. Allegro con anima Andante cantabile, con alcuna licenza Valse. Allegro moderato Finale. Andante maestoso. Allegro vivace

by other projects (and World War I), Ravel returned to the work in 1919 in response to a ballet commission by Sergei Diaghilev. Many critics have placed La Valse within the context of post-war Europe, with Vienna and the Waltz cast in a dark light. Others see La Valse as a parody—Ravel processing the war’s horrors. Ravel wrote his programmatic ideas in response to these political interpretations, purposely placing the events of his work in 1855—long before the Great War. When Ravel played La Valse for Diaghilev, the impresario rejected the work as “undanceable,” stating that La Valse is “a masterpiece . . . but it is not a ballet. It is the portrait of a ballet.” Once again, we are left hanging, unsure what to do with this piece. As is so often the case, the simplest reading might be the best. Ravel provides only two clues: the title, and a description of a Waltz scene in Vienna at the height of the dance’s popularity. Might we hear Ravel’s fascination with the Waltz as a cultural expression that encapsulates the totality of its meaning—not just our glamorized portrayal of the Waltz as a cleaned up, Disneyesque experience?

SATURDAY, AUGUST 5 GEORGE GERSHWIN (1898-1937) Rhapsody in Blue

Premiered on February 12, 1924, in New York with Paul Whiteman conducting and Gershwin at the piano. Gershwin did not know that he was going to write Rhapsody in Blue until his brother Ira read an announcement in the New Tribune about a new type of concert that would include a “jazz concerto” by George Gershwin. As it turns out, Paul Whiteman had made this premature announcement, because he feared that someone else might beat him to punch. Gershwin called Whiteman and agreed to write a work for piano and orchestra that would include jazz elements. Given the short amount of time (four weeks), the composer decided to write a one-movement piece. It all came together for Gershwin during a train ride to Boston. The composer explains: It was on the train, with its steely rhythms, its rattle-ty bang that is often so stimulating to a composer . . . And there I suddenly heard—and even saw on paper—the complete construction of the rhapsody, from beginning to end. . . . I heard it as a sort of musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.

PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Symphony No. 5 in E minor, Op. 64

Premiered on November 17, 1888, in St. Petersburg with Tchaikovsky conducting. This symphony poses a dilemma. Tchaikovsky did not provide a program for this work. In fact, he made sure that there would be no utterances of anything programmatic. After providing a detailed program for the fourth symphony and writing an overtly programmatic work with his Manfred Symphony, Tchaikovsky wanted to offer a work of absolute music. Of course, musicologists can never take no for an answer, and after some digging, they found Tchaikovsky’s enigmatic notes about his fifth symphony:

Since we don’t know what the XXX stands for, we naturally like to speculate—is he referring to homosexuality, gambling addiction, or [insert any biographical clues]? The problem is, we are still left hanging, desperately wanting to solve the puzzle of this symphony. In the process, we overlook the freshness and richness of this absolutely riveting work. Maybe we should take our cue from Brahms who made a special effort to hear the work in Hamburg—shortly after its Russian premiere. Over lunch the next day the two composers discussed the piece—and there is no mention of Brahms wanting to know the secret key to the work. Listening to the symphony without a biographical reading, there is much to enjoy. We are drawn into the musical narrative right from the start with the opening clarinet theme. When the strings enter with the main theme, the movement picks up momentum, and we are treated to one of the most exciting opening movements, partly because of the rich inventiveness found in the perfectly chiseled out themes. The end of the movement is a cliffhanger, pointing at the cyclic nature of the work. It is actually very easy to follow the narrative of the work. Tchaikovsky is known for his great melodies, and so it comes as no surprise that he uses a motto theme (introduced at the beginning by the clarinet in E minor) to not only unify the work but to transform it in each movement according to the changing events—until it finally appears in radiant E major at the end of the last movement, ushering a joyous ending. - Siegwart Reichwald

La Valse caused a permanent rift between Ravel and Diaghilev. After Diaghilev declined to stage the work, Ravel refused to shake his hand, causing Diaghilev to challenge Ravel to a duel; fortunately, cooler heads prevailed.

Introduction. Complete resignation before Fate—or, what is the same thing, the inscrutable designs of Providence. Allegro. 1. Murmurs of doubt, laments, reproaches against . . . XXX. 2. Shall I cast myself in the embraces of faith??? A wonderful program, if only it can be carried out.

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SUNDAY, AUGUST 6 3:00 PM

LEAD SPONSOR

WHITTINGTON-PFOHL AUDITORIUM SEASON FINALE: VERDI REQUIEM Brevard Music Center Orchestra JoAnn Falletta, conductor Jennifer Check, soprano Ann McMahon Quintero, mezzo-soprano Anthony Dean Griffey, tenor Ryan Speedo Green, bass VERDI (1813-1901)

Brevard Music Festival Chorus David Gresham, chorus master

Requiem

GIUSEPPE VERDI (1813-1901) Requiem

Premiered on May 22, 1874, in Milan at San Marco Church conducted by the composer. “Verdi’s latest opera in ecclesiastical robe,” was pianist and conductor Hans von Bülow’s verdict on Verdi’s Requiem, having had a chance to look over the score during rehearsals for the premiere. Von Bülow then decided to skip the premiere, and early reception of Verdi’s only large-scale sacred work was divided over appropriate musical decorum for a Requiem. Interestingly, the first “performance” at San Marco Church was during mass. Verdi had written the work in memory of one of his heroes, the writer Alessandro Manzoni, who had been to literature what Verdi was to Italian opera. So what are we to make of a self-described skeptic, composing a Requiem with all of the tools of Italian opera? Verdi’s idea of a Requiem germinated after the death of Rossini in 1868. The composer took a collaborative approach, asking several others to contribute to a Rossini Requiem. Verdi himself wrote the last movement, “Libera Me.” Unfortunately, the project never made it to performance, so when Manzoni died six years later in 1874, Verdi decided to write a Requiem on his own with the “Libera me” as his starting point. The composer worked feverishly on his first nonoperatic work in decades, harkening back to his youth as organist. The Requiem would hold a special place not only among Verdi’s compositions but in the history of large-scale sacred works.

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Introit and Kyrie Dies irae Offertory Sanctus Angus Dei Lux aeterna Libera me

In that “Requiem aeternam” murmured by an invisible crowd over the slow swaying of a few simple chords you straightaway sense the fear and sadness of a vast multitude before the mystery of death. In the change that follows into the "et lux perpetuam" . . . you hear a sigh for consolation and eternal peace. You see first a shadow, then a general radiance. In the darkness are human beings bowed down by fear and sorrow, and in the light they reach out their arms towards Heaven to invoke mercy and forgiveness. Far from being merely lyrical the music portrays sadness and hope. This 1941 description of the Requiem’s opening by music critic Ildebrando Pizzetti showcases the work’s theatrical quality. Soon after the premiere at San Marco, the Requiem quickly moved out of the church and unto the stage, beginning with three performances at La Scala only days after the premiere. As is the case with operas, Verdi had hand-picked his favorite opera singers, which further underscores the composer’s operatic approach. It would be too simplistic, however, to hear this Requiem merely as a “sacred” opera. Verdi understood the meaning of a Requiem: to honor a person and to help the mourners come to terms with death and hear the Christian message of hope. Using operatic tools to achieve this goal should not come as a surprise. Up until the nineteenth century, there was no audible distinction between sacred and secular music—especially since the most important composers tended to focus primarily on works for the church. But Verdi does not rely exclusively on his operatic language to carry

SUNDAY, AUGUST 6 the work’s meaning. He was far too good of a composer to be just one-dimensional. Take for example the “Dies irae.” It is considered the heart of the Requiem. In it we face the day of wrath, and the movement’s terrifying opening overwhelms the listener with brute power. But the twenty-stanza poem doesn’t stay there—and neither does Verdi’s setting. Musicologist David Greene has shown convincingly how Verdi moves the listener from despair to hope. Verdi clearly understood the Christian message of judgment, redemption, and salvation, and portrayed it on a purely musical level.

the world—from different faith traditions—have come to realize that this Requiem expresses something universally profound about the human condition. Nowhere was this more apparent than in 1943/44, when the Requiem was performed sixteen times in the Theresienstadt concentration camp. Conductor Rafael Schächter had only one vocal score, and all rehearsals took place in a dark, damp basement with only a broken piano after long days of forced labor. The work offered solace to the prisoners, but it was also an act of defiance—especially since the final performance took place in front of the visiting International Red Cross delegation.

Von Bülow finally attended a performance eighteen years after the Requiem’s premiere, and he was moved to tears, causing him to write a letter of apology to Verdi. The Requiem since then has long been recognized as a true masterwork. Audiences around

- Siegwart Reichwald

TEXTS AND TRANSLATIONS I. REQUIEM AND KYRIE

I. REQUIEM AND KYRIE

Chorus: Requiem aeternam dona eis, Domine; et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam: ad te omnis caro veniet. Quartet and Chorus: Kyrie eleison. Christe eleison. Kyrie eleison.

Chorus: Grant them eternal rest, O Lord; and may perpetual light shine upon them. A hymn in Zion befits you, O God, and a debt will be paid to you in Jerusalem. Hear my prayer: all earthly flesh will come to you. Quartet and Chorus: Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

II. SEQUENCE

Chorus: Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus! Tuba mirum spargens sonum, per sepulcra regionem, coget omnes ante thronum. Bass: Mors stupebit et natura, cum resurget creatura, judicanti responsura. Mezzo-soprano and Chorus: Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur. Judex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit. Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla.

Chorus: The day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied. How great will be the terror, when the Judge comes who will smash everything completely! The trumpet, scattering a marvelous sound through the tombs of every land, will gather all before the throne. Bass: Death and Nature shall stand amazed, when all Creation rises again to answer to the Judge. Mezzo-soprano and Chorus: A written book will be brought forth, which contains everything for which the world will be judged. Therefore when the Judge takes His seat, whatever is hidden will be revealed: nothing shall remain unavenged. The day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied.

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Soprano, Mezzo-soprano and Tenor: Quid sum miser tunc dicturus? Quem patronum rogaturus, cum vix justus sit securus? Solo Quartet and Chorus: Rex tremendae majestatis, qui salvandos salvas gratis: salva me, fons pietas. Soprano and Mezzo-soprano: Recordare, Jesu pie, quod sum causa tuae viae: ne me perdas illa die. Quaerens me, sedisti lassus; redemisti crucem pacem: tantus labor non sit causas. Juste judex ultionis: donum fac remissionis ante diem rationis. Tenor: Ingemisco tamquam reus, culpa rubet vultus meus; supplicanti parce, Deus. Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti. Preces meae non sunt digne, sed tu, bonus, fac benigne, ne perenni cremer igne. Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextra. Bass and Chorus: Confutatis maledictis, flammis acribus addictis, voca me cum benedictis. Oro supplex et acclinis, cor contritum quasi cinis: gere curam mei finis. Chorus: Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla. Solo Quartet and Chorus: Lacrymosa dies illa, qua resurget ex favilla, judicandus homo reus. Huic ergo parce, Deus. Pie Jesu Domine: dona eis requiem. Amen.

Soprano, Mezzo-soprano and Tenor: What can a wretch like me say? Whom shall I ask to intercede for me, when even the just ones are unsafe? Solo Quartet and Chorus: King of dreadful majesty. who freely saves the redeemed ones, save me, O font of pity. Soprano and Mezzo-soprano: Recall, merciful Jesus, that I was the reason for your journey: do not destroy me on that day. In seeking me, you sat down wearily; enduring the Cross, you redeemed me: do not let these pains to have been in vain. Just Judge of punishment: give me the gift of redemption before the day of reckoning. Tenor: I groan as a guilty one, and my face blushes with guilt; spare the supplicant, O God. You, who absolved Mary Magdalen, and heard the prayer of the thief, have given me hope, as well. My prayers are not worthy, but show mercy, O benevolent one, lest I burn forever in fire. Give me a place among the sheep, and separate me from the goats, placing me on your right hand. Bass and Chorus: When the damned are silenced, and given to the fierce flames, call me with the blessed ones. I pray, suppliant and kneeling, with a heart contrite as ashes: take my ending into your care. Chorus: The day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied. Solo Quartet and Chorus: That day is one of weeping, on which shall rise from the ashes the guilty man, to be judged. Therefore, spare this one, O God. Merciful Lord Jesus: grant them peace. Amen.

III. OFFERTORIO

Quartet: Domine Jesu Christe, Rex gloriae: libera animas omnium fidelum defunctorum de poenis inferni et profondo lacu; libera eas de ore leonis; ne absorbeat eas tartarus, ne cadant in obscurum.

Quartet: O Lord Jesus Christ, King of Glory: deliver the souls of all the faithful dead from the pains of hell and from the deep pit; deliver them from the mouth of the lion; that hell may not swallow them, and that they may not fall into darkness.

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SUNDAY, AUGUST 6 Sed signifer sanctus Michael repraesentet eas in lucem sanctam. Quam olim Abrahae promisisti et semini ejus. Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus. Libera animas omnium fidelum defunctorum de poenis inferni; fac eas de morte transire ad vitam.

But may the holy standard-bearer Michael show them the holy light; which you once promised to Abraham and his descendents. We offer to you, O Lord, sacrifices and prayers. Receive them on behalf of those souls whom we commemorate today. Grant, O Lord, that they might pass from death into that life which you once promised to Abraham and his descendents. Deliver the souls of all the faithful dead from the pains of hell; Grant that they might pass from death into that life.

IV. SANCTUS

Double Chorus: Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis! Benedictus qui venit in nomini Domini. Hosanna in excelsis!

Double Chorus: Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are filled with your glory. Hosanna in the highest! Blessed is he that comes in the name of the Lord. Hosanna in the highest!

V. AGNUS DEI

Soprano, Mezzo-soprano, and Chorus: Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Soprano, Mezzo-soprano, and Chorus: Lamb of God, who takes away the sins of the world, grant them rest. Lamb of God, who takes away the sins of the world, grant them rest everlasting.

VI. LUX AETERNA

Mezzo-soprano, Tenor and Bass: Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternam; quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, cum sanctis tuis in aeternam; quia pius es.

Mezzo-soprano, Tenor and Bass: Let eternal light shine upon them, O Lord, with your saints forever; for you are merciful. Grant them eternal rest, O Lord, and may perpetual light shine upon them with your saints forever; for you are merciful.

VII. LIBERA ME

Soprano and Chorus: Libera me, Domine, de morte aeterna in die illa tremenda; quando coeli movendi sunt et terra: dum veneris judicare saeclum per ignem. Tremens factus sum ego et timeo, dum discussio venerit atque ventura irae, quando coeli movendi sunt et terra. Dies irae, dies illa calamitatis et miseriae; dies magna et amara valde. Requiem aeternam, dona eis, Domine, et lux perpetua luceat eis. Libera me, Domine, de morte aeterna in die illa tremenda. Libera me, Domine, quando coeli movendi sunt et terra; dum veneris judicare saeclum per ignem. Libera me, Domine, de morte aeterna in die illa tremenda. Libera me.

Soprano and Chorus: Deliver me, O Lord, from eternal death on that awful day, when the heavens and the earth shall be moved: when you will come to judge the world by fire. I tremble, and I fear the judgment and the wrath to come, when the heavens and the earth shall be moved. The day of wrath, that day of calamity and misery; a great and bitter day, indeed. Grant them eternal rest, O Lord, and may perpetual light shine upon them. Deliver me, Lord, from eternal death on that awful day. Deliver me, O Lord, when the heavens and the earth shall be moved; when you will come to judge the world by fire. Deliver me, Lord, from eternal death on that awful day. Deliver me.

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FRIDAY, AUGUST 11 7:30 PM PORTER CENTER AT BREVARD COLLEGE ASIAN YOUTH ORCHESTRA WITH SARAH CHANG Richard Pontzious, conductor Sarah Chang, violin STRAUSS (1864-1949)

Don Juan, Op. 20

SIBELIUS (1865-1957)

Violin Concerto in D minor, Op. 47 Ms. Chang, violin

INTERMISSION BEETHOVEN (1770-1827)

Symphony No. 7 in A major, Op. 92

Sarah Chang is recognized as one of the world’s great violinists. Since her debut with the New York Philharmonic at the age of 8 she has performed with the greatest orchestras, conductors and accompanists internationally in a career spanning more than two decades. Highlights from Ms. Chang's recent and upcoming seasons, have included performances with such North American orchestras as the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony, National Symphony Orchestra, Boston Symphony, and Cleveland Symphony. She has also performed at the Hollywood Bowl and at the Tanglewood, Ravinia, and Aspen Music Festivals, among others. With a career that has blossomed internationally, her European engagements have included performances with the Berlin Philharmonic, Vienna Philharmonic, and all the principal London Orchestras. She performs regularly in Austria, France, Germany, Italy, Spain, Switzerland, and the United Kingdom, and her engagements in Asia have brought her to audiences in China, Japan, Korea, Malaysia, Singapore, Australia, and New Zealand. As an accomplished recital and chamber musician, Ms. Chang regularly travels the world, performing with such artists as Pinchas Zukerman, Yefim Bronfman, Leif Ove Andsnes, Yo-Yo Ma, Isaac Stern, Wolfgang Sawallisch, and members of the Berlin Philharmonic Orchestra. Richard Pontzious founded the Hong Kong-based Asian Youth Orchestra in 1987 with the distinguished violinist, conductor and humanitarian Yehudi Menuhin. Mr. Pontzious’ work with the Asian Youth Orchestra has led to extraordinary collaborations with Yehudi Menuhin, Sergiu Comissiona, James Judd, Wang Jian, Yo-Yo Ma, Alisa Weilerstein, Elmar Oliveira, Gidon Kremer, Elly Ameling, Cho-Liang Lin, Gil Shaham, Young Uck Kim, Stefan Jackiw, Jean Luis Steuerman and Alicia de Larrocha. He was appointed Artistic Director and Conductor of the Asian Youth Orchestra in 2002, at the urging of Sergiu Comissiona. A student of American composer Lou Harrison and conductors Sergiu Comissiona, Ferdinand Leitner and Josef Krips, Mr. Pontzious was awarded Hong Kong’s Bronze Bauhinia Star in 2000 for his contribution to music and the arts. The 109 members of the Asian Youth Orchestra (AYO) are among the finest young musicians in mainland China, Hong Kong, Taiwan, Indonesia, Japan, Korea, Macau, Malaysia, the Philippines, Singapore, Thailand and Vietnam. Chosen through highly competitive auditions held throughout the region, they are together for six weeks each summer, initially for a three-week Rehearsal Camp in Hong Kong, then for a threeweek international concert tour with celebrated conductors and solo artists. Since its inaugural performances in 1990, the award-winning Orchestra has played some 395 concerts in Asia, Europe, the US and Australia to an audience of more than one million concertgoers. Millions more have seen and heard the orchestra around the world on CNN, CNBC, NHK, and Radio and Television Hong Kong.

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SOLOISTS AND CONDUCTORS

SOLOISTS & CONDUCTORS JOANN FALLETTA, BMC Principal Guest Conductor JoAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. An effervescent and exuberant figure on the podium, she has been praised by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.” Acclaimed by The New York Times as “one of the finest conductors of her generation”, she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center, and music advisor to the Hawaii Symphony. Ms. Falletta is invited to guest conduct many of the world’s finest symphony orchestras. Recent guest conducting highlights include debuts in Belgrade, Gothenburg, Lima, Bogotá, Helsingborg, Orchestra of St. Luke’s, a European tour with the Stuttgart Orchestra, return engagements with the Warsaw, Detroit, Phoenix, and Krakow, Symphony Orchestras and a 13-city US tour with the Irish Chamber Orchestra and James Galway. The Buffalo Philharmonic Orchestra’s 2015-16 Season celebrated the 75th anniversary of Kleinhans Music Hall, with major guest artists such as Lang Lang, Chris Botti and André Watts, and works showcasing the hall’s exquisite acoustics. Ms. Falletta’s growing discography, which currently includes over 90 titles, consists of recordings with the Buffalo Philharmonic, Czech National Symphony, English Chamber Orchestra, Lithuanian National Symphony, London Symphony, Long Beach Symphony, Netherlands Radio Orchestra, New Zealand Symphony, Philadelphia Philharmonia, Prague Philharmonic, Royal Scottish National Orchestra, Ulster Orchestra, Virginia Symphony, and the Women’s Philharmonic. Her recording with the Buffalo Philharmonic and soprano Hila Plitmann of Corigliano’s Mr. Tambourine Man received two GRAMMY Awards in 2009. GRAMMY nominated discs include her recordings with the Buffalo Philharmonic of Tyberg’s Symphony No. 3, Corigliano’s Red Violin, Schubert’s Death and the Maiden, Strauss’s Rosenkavalier, and Dohnanyi’s Variations on a Nursery Song. In her role as Principal conductor of the Ulster Orchestra from 2011-2014, Ms. Falletta recorded 6 CDs for the Naxos label returning the orchestra to its renowned recording history. In addition to her current posts with the Buffalo Philharmonic, the Virginia Symphony, Brevard Music Center, and Hawaii Symphony, Ms. Falletta has held the positions of principal conductor of the Ulster Orchestra, principal guest conductor of the Phoenix Symphony, music director of the Long Beach Symphony Orchestra, associate conductor of the Milwaukee Symphony Orchestra, and music director of the Denver Chamber Orchestra. Ms. Falletta, elected in 2016 to the American Academy of Arts and Sciences, received her undergraduate degree in classical guitar from the Mannes College of Music in New York and her master’s and doctorate degrees in conducting from The Juilliard School.

KEN LAM, BMC Resident Conductor Ken Lam is Music Director of the Charleston Symphony Orchestra, Associate Professor at Montclair State University in New Jersey, and Artistic Director of Hong Kong Voices. In 2011 Mr. Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors selected by Leonard Slatkin. In recent seasons he has led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Memphis, Illinois, and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Guiyang Symphony Orchestra, and the Taipei Symphony Orchestra. In opera, he has led critically acclaimed productions at Spoleto Festival USA, Lincoln Center Festival, and at the Luminato Festival in Canada, and has directed numerous productions of the Janiec Opera Company at Brevard. Ken Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. Previous conducting positions include Associate Conductor for Education of the Baltimore Symphony Orchestra and Assistant Conductor of the Cincinnati Symphony Orchestra. He read economics and law at St. John’s College, Cambridge University, and previously spent ten years as an attorney specializing in international finance. Mr. Lam was the recipient of the 2015 Johns Hopkins University Global Achievement Award.

DR. KRAIG ALAN WILLIAMS, Director, Brevard Symphonic Winds Dr. Kraig Alan Williams is currently the Director of Bands, Associate Professor of Music, and Director of the Wind Studies Program at the Mason Gross School of the Arts, Rutgers University. His duties include the artistic guidance of the GRAMMY-nominated Rutgers Wind Ensemble and administration of all aspects of a large, dynamic, and comprehensive university band program. Other responsibilities include teaching graduate and undergraduate conducting and the mentoring of master’s and doctoral students in Wind Studies. Maintaining an active schedule as a guest conductor, clinician and lecturer, Williams has appeared in those capacities in more than 15 states and with such prominent ensembles as the Dallas Wind Symphony and The United States Air Force Band. Williams has conducted performances in Graz, Budapest, Malta, Marktoberdorf, and Prague. He has performed in Carnegie Hall, conducted live radio broadcasts on NPR, and has recorded for Mark Records, Albany Records, and ADK in Prague, Czech Republic.

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Prior to arriving at Rutgers, Williams served as the Director of Bands at University of Memphis (2003-2011); conductor of the Duke University Wind Symphony and director of the Duke in Vienna program (1997-2000); director of bands and chamber ensembles at California State University, Los Angeles (1993-1996); assistant conductor of Southern California Inland Empire Symphony and Los Angeles Solo Repertoire Orchestra in Burbank, and music director of the Lake Elsinore Civic Light Opera (1990-1993). Williams received his doctorate from The University of Texas at Austin, where he studied with Jerry F. Junkin. He received a Master’s of Music degree in performance from California State University, Northridge. Williams is a member of CBDNA, TMEA, and is a sponsor and honorary member of the Memphis chapters of Kappa Kappa Psi and Tau Beta Sigma. Williams joined the conducting faculty at the Brevard Music Center in 2001 and was named Director of Band Activities in 2008. He has regularly achieved critical acclaim for his work with the Symphonic Band and Chamber Winds.

AMERNET STRING QUARTET Praised for their “intelligence” and “immensely satisfying” playing by The New York Times, the Amernet String Quartet has garnered recognition as one of today’s exceptional string quartets and are Ensemble-in-Residence at Florida International University in Miami. Their sound has been called “complex” but with an “old world flavor.” Strad Magazine described the Amernet as “…a group of exceptional technical ability.” The Amernet’s performance schedule has taken the quartet across the Americas and to Asia, Europe, and the Middle East. They have collaborated with many of today’s most prominent artists and ensembles including the Tokyo and Ying quartets as well as Shmuel Ashkenasi, Robert deMaine, Roberto Diaz, Gary Hoffman, Ida Kavafian, Anthony McGill, Sherrill Milnes, Michael Tree. Internationally, the quartet has appeared at major festivals around the world, including Cervantino, San Miguel de Allende, Aviv (Israel), and Colima (Mexico), while in Germany a critic commented that their playing was “fascinating, with flawless intonation, extraordinary beauty of sound, virtuosic brilliance and homogeneity of ensemble.” (Nürnberger Nachrichten). The Amernet’s U.S. engagements have included the Kennedy Center, the Tilles Center, Caramoor, Sunday Afternoons of Music in Miami, Ensemble Music Society, the Great Lakes Festival, Newport, Friends of Chamber Music in Arizona and Friends of Chamber Music in Syracuse, LPR in New York City, Chamber Music Society of Louisville, Music on the Edge in Pittsburgh, the University of Maine – Collins Center, and Market Square Concerts. The Amernet has also appeared as quartet soloist with the Cincinnati Symphony and Alan Gilbert. Earlier in their career, the Amernet won the gold medal at the Tokyo International Music Competition before being named first prize winners of the prestigious Banff International String Quartet Competition. Prior to their current position at Florida International University, the Amernet held posts as Corbett String Quartet-in-Residence at Northern Kentucky University and at the University of Cincinnati College-Conservatory of Music. Additionally, the ensemble served

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as the Ernst Stiefel Quartet-in-Residence at the Caramoor Center for the Arts. The Amernet has always been committed to the music of our time and has commissioned works from many of today’s leading composers. Their current season includes tours throughout Europe and Latin America as well as the premieres of several new works for quartet and return engagements throughout the US and Israel.

MATTHIAS BAMERT, conductor Matthias Bamert’s distinguished career started at the Cleveland Orchestra where he was Resident Conductor alongside the then Music Director Lorin Maazel. Since then he has held Music Director positions with the Malaysian Philharmonic Orchestra, the Swiss Radio Orchestra, London Mozart Players, Principal Guest Conductor of the Royal Scottish National Orchestra, the New Zealand Symphony Orchestra, and Associate Guest Conductor of the Royal Philharmonic Orchestra in London. Music Director of the London Mozart Players for seven years, he has masterminded a hugely successful series of recordings of works by “Contemporaries of Mozart” which has already exceeded 75 symphonies. In 1999, the orchestra’s 50th anniversary year, he conducted them at the BBC Proms, in Vienna, and at the Lucerne Festival, and returned with them to Japan in January 2000. He has worked frequently in the concert hall and studio with such orchestras as the Philharmonia, the London Philharmonic, and the BBC Symphony Orchestra, has appeared regularly at the London Proms, and often appears with orchestras outside London such as the BBC Philharmonic and the City of Birmingham Symphony Orchestra. Outside of the UK he has regularly appeared with the great orchestras of the world including the Cleveland Orchestra, the Pittsburgh Symphony, the Los Angeles Philharmonic, the Orchestre symphonique de Montreal, the Leningrad Philharmonic, the Sydney Symphony, and the NHK Symphony Orchestra Tokyo among many others. 2015/2016 season highlights included appearances with the Israel Symphony Orchestra, Gunma Philharmonic Orchestra, Sapporo Symphony Orchestra, Ensemble Kanazawa, Osaka Philharmonic Orchestra, Daejeon Philharmonic Orchestra, and the Phoenix Symphony Orchestra. A prolific recording artist, Bamert has made over 80 discs, many of which have won international prizes. His recordings include 24 discs of Mozart’s contemporaries with the London Mozart Players, Sir Hubert Parry (the complete Symphonies) and Frank Martin (5 discs) with the London Philharmonic, the symphonies of Roberto Gerhard with the BBC Symphony, Dutch composers with the Residentie Orchestra, and the Stokowski transcriptions, Korngold and Dohnanyi with the BBC Philharmonic.

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SOLOISTS & CONDUCTORS JIHYE CHANG, piano Pianist Jihye Chang has appeared as soloist and collaborative artist in venues throughout the United States, Canada, Korea, France, Brazil, Costa Rica, and Honduras. Her performances and recordings have been broadcast on KBS TV and KBS FM Radio Korea, PBC TV Korea, Yedang TV Korea, and Costa Rica Classical Radio. She has appeared as a soloist with the Wonjoo Philharmonic Orchestra, the Virtuosi of Festival Internacionale de Musica in Recife, the Indiana University New Music Ensemble, Fargo Moorhead Symphony Orchestra, Montgomery Symphony Orchestra, the Sun-Hwa Philharmonic Orchestra, and the Hot Springs Festival Ensemble. Ms. Chang has showcased her versatility and excellence on many prestigious stages with renowned musicians, including William Preucil (violin), Alexandra Preucil (violin), Frank Cohen (clarinet), Richard Young (viola/violin), and Bion Tsang (cello). She was also a guest artist at the Virtuosi Festival in Recife and Festival Inverno de Garanhuns in Brazil and Arts Festival Olivet in France. Her recent engagements include an appearance at the Fort Worth Chamber Music Society, a lecture and solo performance for the Guest Artist Series at Converse College, performance for Minnesota State University Moorhead’s Dante-The Divine Comedy Project, and numerous appearances at the Cummer Museum and Museum Of Contemporary Arts in Jacksonville. In the 2016-2017 season, she launched a multi-year solo recital project, “Continuum 88,” commissioning and premiering works related to the most prominent genres of piano literature. Together with violinist Benjamin Sung, Ms. Chang was one of the recipients of the 2009 Aaron Copland Fund Recording Grant. An avid performer of new music, Ms. Chang has been a frequent guest artist of the Studio 2021 Series at Seoul National University, and new music festivals. Ms. Chang holds the degrees of Doctor of Music and Master of Music in Piano Performance from the Jacobs School of Music at Indiana University. She resides in sunny Tallahassee with her husband, violinist Benjamin Sung, and their amazing baby boy, Aiden. In her leisure time Jihye enjoys drinking good espresso, cooking, and eating.

JENNIFER CHECK, soprano Soprano Jennifer Check is celebrated by The New York Times for her “rare talent that can send chills down a listener’s spine even in familiar music”. In the 2016-17 season she returned to the Metropolitan Opera roster as the High Priestess in Aida and for its production of Saariaho’s L’amour de loin, and joined the Lyric Opera of Chicago roster for Norma. A frequent presence at the Metropolitan Opera, she has previously joined the company as Donna Elvira in Don Giovanni, Liu in Turandot in the company’s famed Parks performances, Falke in Die Frau ohne Schatten, Voce dal Ciel in Don Carlo, Nella in Gianni Schicchi, and Marianna in Der Rosenkavalier, amongst others. A former member of the prestigious Lindemann Young Artists Development Program, she made her company debut as Clotilde in Norma.

On the concert stage, Ms. Check has excelled in performances of Verdi’s Requiem with the Milwaukee, Utah, and Detroit Symphony Orchestras, the Chicago Philharmonic, Washington Chorus, Reno Philharmonic, Spoleto Festival USA, Greensboro Symphony Orchestra, and Cathedral Choral Society. She has also appeared as soloist in Mahler Symphonies, Strauss’s Vier Letzte Lieder, and Orff’s Carmina Burana, amongst many other major works. She made her Carnegie Hall debut singing Messiah with the Oratorio Society of New York. Jennifer Check is an alumnus of The Academy of Vocal Arts in Philadelphia and received a Bachelor of Music degree in Voice Performance from Westminster Choir College. The soprano’s accolades include first place awards from the Loren L. Zachary Competition, Licia Albanese-Puccini Foundation, Oratorio Society of New York Solo Competition, Liederkranz Foundation, and the Mario Lanza Scholarship Auditions. She was awarded a Sara Tucker Study Grant from the Richard Tucker Foundation, the Zarzuela Prize in Placido Domingo’s Operalia Competition, and the Leonie Rysanek memorial prize from the George London Foundation.

LIZA FERSCHTMAN, violin Dutch violinist Liza Ferschtman is known for her passionate performances, interesting programs, and communicative qualities on stage. The daughter of Russian musicians, Liza Ferschtman grew up constantly surrounded by music. One of her earliest major influences was the violinist Philipp Hirschhorn, a close family friend. She received her formal training from Herman Krebbers at the Amsterdam Conservatory, Ida Kavafian at the Curtis Institute in Philadelphia and David Takeno in London. In 2006 she received the highest accolade awarded to a musician in the Netherlands, the Dutch Music Award. Liza Ferschtman’s worldwide appearances include: BBC National Orchestra of Wales and London Philharmonic, Dallas and San Francisco Symphony Orchestras, Essen Philharmonic, Staatskapelle Weimar and Schleswig-Holstein Festival Orchestra, Orchestre National de Belgique and Flanders Symphony Orchestra, Radio Symphony Orchestra of Prague, Malmö Symphony and Bergen Philharmonic, Yomiuri Nippon Orchestra, Malaysian Philharmonic, Hong Kong Philharmonic as well as virtually every Dutch orchestra, including the Royal Concertgebouw Orchestra and the Rotterdam Philhamonic. Amongst the Conductors with whom she has worked are: Stefan Blunier, Frans Brüggen, Christoph von Dohnányi, Claus Peter Flor, Neeme Järvi, Yakov Kreizberg, Zden��ek Macál, Jun Märkl, GianandreaNoseda,MarcSoustrot,LeonardSlatkin,Thomas Søndergård, Karl-Heinz Steffens, Mario Venzago, Jan Willem de Vriend, and Jaap van Zweden. An avid chamber musician, Liza Ferschtman has collaborated regularly with artists such as Jonathan Biss, Nobuko Imai, Elisabeth Leonskaja, Christian Poltera, Lars Anders Tomter and Alisa Weilerstein, counting as her duo partners Enrico Pace and Inon Barnatan. Appearing at venues such as Alice Tully Hall (New York), Wigmore Hall (London), Musikverein (Vienna), Concertgebouw (Amsterdam), Liederhalle (Stuttgart), and Beethoven Haus (Bonn), she is also present at major international Chamber Music festivals. Moreover, Ms. Ferschtman has been the artistic director of the Delft Chamber Music Festival since 2007, one of the most admired festivals in the Netherlands.

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KIRILL GERSTEIN, piano The multifaceted pianist Kirill Gerstein has rapidly ascended into classical music’s highest ranks. With a masterful technique, discerning intelligence, and a musical curiosity that has led him to explore repertoire spanning centuries and styles, he has proven to be one of today’s most intriguing and versatile musicians. His early training and experience in jazz has contributed an important element to his interpretive style, inspiring an energetic and expressive musical personality that distinguishes his playing. Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, as well as First Prize winner at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv. He received a 2002 Gilmore Young Artist Award, and a 2010 Avery Fisher Grant. Recent engagements have included performances with the Los Angeles and New York Philharmonic Orchestras, the Philadelphia and Minnesota Orchestras, and the Atlanta, Baltimore, Boston, Chicago, Cincinnati, Dallas, Detroit, Houston Indianapolis, Montreal, St. Louis, San Francisco and Toronto Symphonies, among others. Internationally, he has played with such prominent European orchestras as the Berlin, Czech, Munich, Rotterdam and London Philharmonics, the City of Birmingham Symphony Orchestra, Dresden Staatskappelle, Finnish Radio Orchestra, Royal Concertgebouw, Tonkünstler Orchestra Vienna, WDR Symphony Orchestra Cologne and the Zurich Tonhalle, as well as with the NHK Symphony Orchestra in Tokyo. He has performed recitals in Paris, Prague, Hamburg, London’s Wigmore Hall and Queen Elizabeth Hall, and at the Liszt Academy in Budapest. He made his Salzburg Festival debut playing solo and two piano works with Andras Schiff and has also appeared at the Lucerne and Jerusalem Chamber Music Festivals, as well as at the Proms in London. Born in Russia, Mr. Gerstein came to the United States at 14 to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. He also earned both Bachelors and Masters of Music degrees from the Manhattan School of Music. An American citizen since 2003, Mr. Gerstein now divides his time between the United States and Germany. Kirill Gerstein appears by arrangement with C/M Artists. Recordings available on the Myrios Classics label.

RYAN SPEEDO GREEN, bass Praised by Anthony Tommasini of The New York Times for his “robust voice” and Anne Midgette of the Washington Post as an artist “fully ready for a big career,” Bass-Baritone Ryan Speedo Green is quickly establishing himself as an artist of international demand at the world’s leading opera houses. The 2016 – 2017 season saw Mr. Green’s return to the Metropolitan Opera as Colline in the iconic Zeffirelli production of La Bohème, as well as his house and role debut as Osmin in the James Robinson production of Die Entführung aus dem Serail at Houston Grand Opera. Mr. Green also returned to the Wiener Staatsoper as an ensemble member with roles including

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Basilio in Il Barbiere di Siviglia and Timur in Turandot, among others. Additional engagements included his role and house debut as Escamillo in Carmen with Opera San Antonio. Concert work in the 2016 – 2017 season included Mr. Green’s debut with the LA Philharmonic singing Beethoven’s Ninth Symphony conducted by Gustavo Dudamel at the Hollywood Bowl and a return to Tanglewood for Walton’s Belshazzar’s Feast with Bramwell Tovey conducting the Boston Symphony Orchestra. In the fall of 2016, Little, Brown published Sing for Your Life, by New York Times journalist Daniel Bergner, which was recognized as a New York Times bestseller and editor’s choice. The book tells the story of Mr. Green’s personal and artistic journey: from a trailer park in southeastern Virginia and from time spent in Virginia’s juvenile facility of last resort to the Met stage. Honors and awards include National Grand Finals winner of the 2011 Metropolitan Opera National Council Auditions, a 2014 George London Foundation Award, a 2014 Annenberg grant recipient, a 2014 Gerda Lissner Foundation First Prize winner, both the Richard and Sara Tucker Grants from the Richard Tucker Foundation, and a finalist in the Palm Beach Opera Competition. A native of Suffolk, Virginia, Mr. Green received a Master of Music degree from Florida State University, a Bachelor of Music degree from the Hartt School of Music, and was a member of the Metropolitan Opera Lindemann Young Artist Development Program.

ANTHONY DEAN GRIFFEY, tenor American tenor Anthony Dean Griffey has captured critical and popular acclaim on opera, concert, and recital stages around the world. He has appeared in the world’s most prestigious opera houses including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Houston Grand Opera, Paris Opera, Teatro Comunale di Firenze, Teatro dell’Opera in Rome, and the Saito Kinen Festival in Japan. His many roles include the title roles in Peter Grimes, Idomeneo, Oedipus Rex, and Kurka’s The Good Soldier Schweik; as well as Florestan in Fidelio, Erik in Die Fliegende Holländer, Male Chorus in The Rape of Lucretia, Alfred in Die Fledermaus, and Jim Mahoney in The Rise and Fall of the City of Mahagonny. A celebrated concert performer, Mr. Griffey appears regularly with many distinguished international orchestras including the Chicago, Boston, Pittsburgh, and Atlanta Symphony Orchestras, the New York and Los Angeles Philharmonics, Philadelphia Orchestra, Minnesota Orchestra, and Chamber Music Society of Lincoln Center. Internationally he has appeared with the Montreal, Toronto, and London Symphony Orchestras, the Philharmonia Orchestra in London, Halle Orchestra, Orchestre de Paris, Tonhalle Orchester Zürich, Munich Philharmonic Orchestra, Berlin Philharmonic, Orquesta Nacional de España in Madrid, Orquestra Sinfônica do Estado de São Paulo, Radio Filharmonisch Orkest Holland at the Concertgebouw, and the NHK Symphony Orchestra and Saito Kinen Orchestra in Japan. A four time GRAMMY-winning recording artist, Mr. Griffey’s has been featured extensively in DVD and compact disc recordings. Mr. Griffey holds degrees from Wingate University, the Eastman School of Music, The Juilliard School, and was a member of the

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SOLOISTS & CONDUCTORS Metropolitan Opera’s Lindemann Young Artists Program. He was awarded the Doctorate of Humane Letters from Wingate University in May 2012 and was also inducted into the North Carolina Music Hall of Fame in 2011. He currently holds the position of Professor of Voice at the Eastman School of Music in Rochester, NY.

INTERNATIONAL CONTEMPORARY ENSEMBLE (ICE) The International Contemporary Ensemble (ICE), described by The New York Times as “one of the most accomplished and adventurous groups in new music,” is dedicated to reshaping the way music is created and experienced. With a modular makeup of 35 leading instrumentalists, performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and new strategies for audience engagement. ICE redefines concert music as it brings together new work and new listeners in the 21st century. Since its founding in 2001, ICE has premiered over 500 compositions—the majority of these new works by emerging composers—in venues spanning from alternative spaces to concert halls around the world. The ensemble has received the American Music Center’s Trailblazer Award for its contributions to the field, the ASCAP/Chamber Music America Award for Adventurous Programming, and named Musical America Worldwide’s Ensemble of the Year in 2013. From 2008 to 2013 ICE was Ensemble-in-Residence at the Museum of Contemporary Art Chicago. ICE musicians serve as Artistsin-Residence at the Mostly Mozart Festival of Lincoln Center, curating and performing chamber music programs that juxtapose new and old music. In 2014 ICE began a partnership with the Illinois Humanities Council, the Hideout in Chicago, and the Abrons Art Center in New York to support the OpenICE initiative. In 2011, with leading support from The Andrew W. Mellon Foundation, ICE created the ICElab program to place teams of ICE musicians in close collaboration with emerging composers to develop works that push the boundaries of musical exploration. ICElab projects have been featured in more than one hundred performances from 2011 to 2014, and are documented online through ICE’s blog, and DigitICE, its online library of performance videos. In 2015, ICE launched its EntICE education initiative. EntICE brings together leading composers with youth ensembles in new works to be performed side-by-side with ICE.

MAYUKO KAMIO, violin Japanese violinist Mayuko Kamio, gold medalist of the 2007 International Tchaikovsky Competition, is widely praised for her luxurious silken tone, long expressive phrasing and virtuoso techniques. The New York Times has called Ms. Kamio an “exciting young musician” and “a radiant talent.” Ms. Kamio made her concerto debut in Tokyo at the age of ten under the baton of Charles Dutoit, in a concert broadcast on NHK television. Since then, she has appeared as soloist with the Boston Pops conducted by Keith Lockhart, the Tonhalle Orchestra in Zurich with Mstislav Rostropovich, and the Israel Philharmonic under Zubin Mehta. Engagements in the 2016-17 Season included

orchestra appearances with the Vancouver Symphony Orchestra, Nihon Philharmonic, Symphony Silicon Valley. Columbus Symphony (GA), Guiyang Symphony Orchestra, and Saginaw Bay Symphony, as well as recitals with Chamber Music San Francisco, Chamber on the Mountain, and Merkin Hall in New York City. She has toured with the National Philharmonic of Russia conducted by Vladimir Spivakov, the Budapest Festival Orchestra under Ivan Fischer, the Munich Philharmonic under Zubin Mehta, the Prague Philharmonic, the BBC Philharmonic, Israel Philharmonic, the Oviedo Symphony Orchestra of Spain; and appeared in Japan as soloist with the Tokyo, Hiroshima, Kyoto, NHK, Osaka, Sapporo, and Yomiuri Nippon Symphony Orchestras; and the Japan, Tokyo, and Tokyo City Philharmonics. Ms. Kamio was winner of the 1998 Menuhin International Violin Competition, first prize winner in the 2000 Young Concert Artists International Auditions, and the 2004 Monte Carlo Violin Masters Competition. Ms. Kamio was born in Osaka, Japan in 1986, and began to play the violin at the age of four. She studied in the U.S. with Dorothy DeLay and Masao Kawasaki, and later completed Artist’s Diploma studies at the Hochschule für Musik und Theater in Zurich, where she worked with Zakhar Bron. Ms. Kamio received a grant from the Bagby Foundation for the Musical Arts, and is a recipient of the prestigious Idemitsu Music Award. Mayuko Kamio plays on the 1735 “Sennhauser” made by Joseph Guarneri del Gesu, kindly offered by the Strad Society in Chicago.

CONSTANTINE KITSOPOULOS, conductor Constantine Kitsopoulos has made a name for himself as a conductor whose musical experiences comfortably span the worlds of opera and symphony, where he conducts in such venues as Carnegie Hall, Avery Fisher Hall, and Royal Albert Hall, and musical theater, where he can be found leading orchestras on Broadway. The 2016-17 season marked his 7th as Music Director of the Festival of the Arts BOCA, an extraordinary multi-day cultural arts event for South Florida. He was Artistic Director of the OK Mozart Festival, Oklahoma’s premier music festival, from 2013-15. He also recently completed an eight-year tenure as Music Director of the Queens Symphony Orchestra. Highlights of recent seasons include appearances with the New York Philharmonic; the Baltimore, Colorado, Detroit, Milwaukee, Pittsburgh, Toledo, San Antonio, and San Francisco symphony orchestras; and the Calgary Philharmonic, National Arts Centre Orchestra, and the New York Pops Orchestra at Carnegie Hall. Summer concerts have included Saratoga Performing Arts Center with the Philadelphia Orchestra, Ravinia Festival, Blossom Festival with the Blossom Festival Orchestra, Sun Valley Festival, Atlanta Symphony, and Dallas Symphony. International appearances have seen him conduct China’s Macao Orchestra with Cuban band Tiempo Libre, Tokyo Philharmonic, and the Russian National Orchestra. Above and beyond his symphonic work, Constantine Kitsopoulos maintains a busy opera schedule. In recent seasons, he has led annual productions at the Indiana University Opera Theater of Menotti’s Last Savage (2014/2015), Rodgers and Hammerstein’s South Pacific (2014/2015), Gilbert & Sullivan’s HMS Pinafore (2013/14), Verdi’s Falstaff (2012/13),

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Bolcom’s A View from the Bridge (2011/2012), Strauss’s Die Fledermaus (2010/11), and Loesser’s The Most Happy Fella. Much in demand as a theater conductor, both on Broadway and nationwide, Kitsopoulos has been Music Director and Conductor of Rodgers and Hammerstein’s Cinderella on Broadway and of Gershwin’s’ Porgy and Bess, the Tony-Award winning Broadway musical revival featuring Audra McDonald and Norm Lewis which ran until September 2012. Other musical theater highlights include serving as Music Director and Principal Conductor of Baz Luhrmann’s highly acclaimed production of Puccini’s La Bohème. Mr. Kitsopoulos studied conducting with Gustav Meier, Sergiu Comissiona, Semyon Bychkov, and his principal teacher Vincent La Selva.

NORMAN KRIEGER, piano Norman Krieger is Professor of Piano at the Indiana University Jacobs School of Music. A native of Los Angeles, he is one of the most acclaimed pianists of his generation and is highly regarded as an artist of depth, sensitivity, and virtuosic flair. He previously served as Professor of Keyboard Studies at the University of Southern California’s Thornton School of Music since 1997. Zubin Mehta, Marin Alsop, Myung-Whun Chung, Miguel HarthBedoya, JoAnn Falletta, Jeffrey Kahane, Donald Runnicles, Leonard Slatkin, Michael Tilson Thomas, Keith Lockhart, Jaap van Zweden, and Carl St. Clair are just a few of the conductors with whom Mr. Krieger has collaborated. Norman Krieger regularly appears with the major orchestras of North America, among them the New York, Los Angeles, Buffalo, Dayton, and Rochester philharmonics, the Minnesota Orchestra, Boston Pops Orchestra, National Symphony, Pacific Symphony, and the symphony orchestras of Austin, Baltimore, California, Chicago, Cincinnati, Columbus, El Paso, Florida, Grand Rapids, Hartford, Honolulu, Indianapolis, Jacksonville, Kansas City, Long Beach, Milwaukee, New Haven, New Mexico, North Carolina, Oregon, Phoenix, Pittsburgh, Richmond, Saint Louis, San Antonio, San Diego, San Luis Obispo, Santa Fe, Santa Rosa, Spokane, Stockton, Syracuse, and Virginia, among others, as well as Mexico’s Orquesta Filarmónica de la Ciudad de México and Orquesta Sinfónica de Xalapa. Abroad, he has been guest soloist with Germany’s Philharmonisches Orchester Augsburg, Holland’s Orkest van het Oosten, Prague’s Czech National Symphony Orchestra, Turkey’s Presidential Symphony Orchestra, New Zealand’s Auckland Philharmonia, Taiwan’s National Symphony Orchestra, the Shanghai Symphony, and the Hong Kong Philharmonic. In September 2014, he recorded the Brahms Piano Concerto No. 2 with the London Symphony Orchestra under the baton of Philip Ryan Mann. In recital, Mr. Krieger has appeared throughout the United States, Europe, Mexico, and Asia, while chamber music collaborations have included appearances with sopranos Beverly Hoch and Sheri Greenawald, cellists Jian Wang and Zuill Bailey, and the Tokyo and Manhattan string quartets. He is also the founding artistic director of The Prince Albert Music Festival in Hawaii.

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MARCELO LEHNINGER, conductor Brazilian-born Marcelo Lehninger is the newly-appointed Music Director of the Grand Rapids Symphony. He previously served as Music Director of the New West Symphony in Los Angeles, for which the League of American Orchestras awarded him the Helen H. Thompson Award for Emerging Music Conductors. Marcelo was appointed Assistant Conductor of the Boston Symphony Orchestra by James Levine, and, after a very successful two-year tenure that included stepping in for Maestro Levine on short notice in Boston and on tour at Carnegie Hall, was later promoted to Associate Conductor. As a guest conductor in the United States, Mr. Lehninger has led the Chicago, Houston, Detroit, Baltimore, Seattle, Milwaukee, National, Jacksonville, New Jersey, Indianapolis, Omaha, Chautauqua, Hartford, and Fairfax Symphonies; the Florida and Louisville Orchestras; and the Rochester and Orlando Philharmonics. In Canada, he has appeared with the Toronto, Winnipeg, and Kitchener-Waterloo Symphonies, and the Calgary and Hamilton Philharmonics. European highlights include engagements with the Lucerne Symphony, Lausanne Chamber Orchestra, Orchestre National de France, and a tour with the Concertgebouw Orchestra assisting Mariss Jansons. Before dedicating his career to conducting, Mr. Lehninger studied violin and piano. He holds a master’s degree from the Conductors Institute at New York’s Bard College, where he studied conducting under Harold Farberman and composition with Laurence Wallach. His mentors also include Kurt Masur, Leonard Slatkin, and Roberto Tibiriçá. A dual citizen of Brazil and Germany, Marcelo Goulart Lehninger is the son of pianist Sônia Goulart and violinist Erich Lehninger.

NIKITA MNDOYANTS, piano Coming from a family of professional musicians, Nikita Mndoyants began to play the piano and compose music at a very young age. He gave his first public recital at age eight, and recorded his first CD (of a live performance in Helsinki) at age ten. Nikita Mndoyants received undergraduate and graduate degrees from the Moscow Tchaikovsky State Conservatory, where he studied composition with Professor Alexander Tchaikovsky and piano with Professor Nikolay Petrov and Professor Alexander Mndoyants. Since 2013 he has taught orchestration at the Moscow Tchaikovsky State Conservatory. Mr. Mndoyants won first prize at the 2016 Cleveland International Piano Competition, first prize at the 2007 Paderewsky International Piano Competition, and was a finalist at the 2013 Van Cliburn International Piano Competition. As a composer, Mr. Mndoyants received first prize at the 2014 Myaskovsky International Competition of Composers (Moscow, Russia) and 2016 Prokofiev International Competition of Composers (Sochi, Russia). Mr. Mndoyants has toured throughout China, Estonia, France, Germany, Israel, Italy, Latvia, Portugal, Russia, Spain, Switzerland, and the U.S., and has appeared in major concert halls in Moscow,

SOLOISTS AND CONDUCTORS

SOLOISTS & CONDUCTORS St. Petersburg, and Paris. He has worked with renowned conductors including Bramwell Tovey, Leonard Slatkin, Eri Klas, Ignat Solzhenitsyn, Charles Ansbacher, and Alexander Sladkovsky. He has performed in several festivals, including the Chopin Festival in Duszniki-Zdroj (Poland), the International Keyboard Institute and Festival in New York, and the Mariinsky International Piano Festival in St. Petersburg. Giving his first chamber performance with the Borodin Quartet in 2004, he has continued to cultivate his passion for chamber music, working with such ensembles as the Brentano, Eben, Zemlinsky, and Szymanowsky Quartets. Among his chamber music partners are pianists Alexander Ghindin and Vyacheslav Gryaznov, violinists Andrej Bielow and Valeriy Sokolov, cellists Lev Sivkov, Evgeny Rumyantsev, and clarinetist Patrick Messina. Mr. Mndoyants has released solo and chamber recordings on the Classical Records and Praga Digitals labels.

JOHANNES MOSER, cello Hailed by Gramophone Magazine as “one of the finest among the astonishing gallery of young virtuoso cellists,” German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, Hong Kong Philharmonic, Munich Philharmonic, and Israel Philharmonic Orchestras, as well as the Chicago Symphony, London Symphony, Bavarian Radio Symphony, Frankfurt Radio Symphony, Royal Concertgebouw, Tokyo Symphony, Philadelphia and Cleveland Orchestras. He works regularly with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Manfred Honeck, Christian Thielemann, Pierre Boulez, Paavo Jarvi, Semyon Bychkov, Yannick Nézet-Séguin, and Gustavo Dudamel. Moser is gaining increasing renown for his efforts to expand the reach of the classical genre, as well as his passionate focus on new music. A dedicated chamber musician, Moser has performed with Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori, and Jonathan Biss. He is also a regular at festivals including the Verbier, Schleswig-Holstein, Gstaad, and Kissinger festivals, the Mehta Chamber Music Festival, and the Colorado, Seattle, and Brevard music festivals. Johannes Moser was a recipient of the prestigious 2014 Brahms prize. His recordings have earned him two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik. Moser recently signed an exclusive contract with Pentatone, and in fall 2015 released his first recording for the label, a disc of Dvořák and Lalo cello concertos. Born into a musical family in 1979 as a dual citizen of Germany and Canada, Moser began studying the cello at the age of eight and became a student of Professor David Geringas in 1997. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations. A voracious reader of everything from Kafka to Collins, and an avid outdoorsman, Johannes Moser is a keen hiker and mountain biker in what little spare time he has. Opus 3 Artists is the exclusive representative for Johannes Moser.

ANNE AKIKO MEYERS, violin Violin superstar Anne Akiko Meyers has actively maintained an extensive touring schedule for three decades and was the topselling traditional classical instrumental soloist on the Billboard charts in 2014. Regularly performing as guest soloist with many of the world’s top orchestras, she presents groundbreaking recitals and is a best-selling recording artist who has released 34 albums. Anne appeared in a nationwide PBS broadcast special and on a Naxos DVD featuring the world premiere of the Samuel Jones Violin Concerto with the All-Star Orchestra led by Gerard Schwarz and the French premiere of the Mason Bates Violin Concerto with Leonard Slatkin and the Orchestre de Lyon. Two new recordings and a box set were released–“Passacaglia: Arvo Pärt”, works for violin and orchestra in which she collaborated closely with the composer, and “Serenade: The Love Album”, an album featuring Leonard Bernstein’s Serenade and ten newly arranged pieces from the American Songbook and classic movies, with the London Symphony Orchestra, Keith Lockhart conducting. Anne’s complete RCA Red Seal recordings are now available on Sony Music. A champion of living composers, Meyers has actively added new works to the violin repertoire by commissioning and premiering works by composers such as Mason Bates, Jakub Ciupinski, John Corigliano, Jennifer Higdon, Samuel Jones, Wynton Marsalis, Akira Miyoshi, Arvo Pärt, Gene Pritsker, Einojuhani Rautavaara, Huang Ruo, Somei Satoh, Adam Schoenberg, and Joseph Schwantner. Anne has collaborated with a diverse array of artists outside of traditional classical, including jazz icons Chris Botti and Wynton Marsalis, avant-garde musician Ryuichi Sakamoto, electronic music pioneer Isao Tomita, pop-era act Il Divo and singer Michael Bolton. She studied with Alice and Eleonore Schoenfeld at the Colburn School of Performing Arts, Josef Gingold at Indiana University, and Felix Galimir, Masao Kawasaki and Dorothy DeLay at The Juilliard School. She received the Avery Fisher Career Grant, “The Luminary Award” for her support of the Pasadena Symphony, and the Distinguished Alumna Award from the Colburn School of Music. Anne Akiko Meyers is represented by Colbert Artists Management, Inc. Anne Akiko Meyers records extensively for the eOne label. She may also be heard on Avie, Camerata, Hyperion, Naxos, RCA Victor Red Seal, RPO, Sony and Warner Classics family of labels.

GARRICK OHLSSON, piano Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr. Ohlsson commands an enormous repertoire, which ranges over the entire piano literature. A student of the late Claudio Arrau, Mr. Ohlsson has come to be noted for

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his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him. This season that vast repertoire ranged from Rachmaninoff’s popular Third and rarely performed Fourth, to Brahms Nos. 1 and 2, Beethoven, Mozart, Grieg, and Copland in cities including Philadelphia, Atlanta, Detroit, Dallas, Miami, Toronto, Vancouver, San Francisco, Liverpool, and Madrid, ending with a spring US West Coast tour with the St. Petersburg Philharmonic conducted by Yuri Temirkanov. A frequent guest with the orchestras in Australia, Mr. Ohlsson has recently visited Perth, Brisbane, Melbourne, Sydney, Adelaide and Hobart as well as the New Zealand Symphony in Wellington and Auckland. An avid chamber musician, Mr. Ohlsson has collaborated with the Takacs, Cleveland, Emerson, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Passionate about singing and singers, Mr. Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podles. Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion, and Virgin Classics labels. His ten-disc set of the complete Beethoven Sonatas, for Bridge Records, has garnered critical acclaim, including a GRAMMY for Vol. 3. Opus 3 Artists is the exclusive representative for Garrick Ohlsson.

SIDNEY OUTLAW, baritone Lauded by The New York Times as a “terrific singer” with a “deep, rich timbre” and the San Francisco Chronicle as an “opera powerhouse” with a “weighty and forthright” sound, Sidney Outlaw was the Grand Prize winner of the Concurso Internacional de Canto Montserrat Caballe in 2010 and continues to delight audiences in the U.S. and abroad with his rich and versatile baritone and engaging stage presence. A graduate of the Merola Opera Program and the Gerdine Young Artist Program at Opera Theatre of Saint Louis, this rising American baritone from Brevard, North Carolina recently added a GRAMMY nomination to his list of accomplishments for the Naxos Records recording of Darius Milhaud’s 1922 opera trilogy, L’Orestie d’Eschyle in which he sang the role of Apollo. Mr. Outlaw has appeared with the New York Philharmonic, the Memphis and Charlotte Symphony Orchestras, the Bridgehampton, Spoleto, and Colour of Music Festivals, and as a featured recitalist with Warren Jones at Carnegie Hall. Mr. Outlaw made his English National Opera debut in the 201112 season as Rambo in The Death of Klinghoffer and joined the Metropolitan Opera roster in 2014-2015 also for The Death of Klinghoffer. Recent engagements include Dallapiccola’s Il Prigioniero with the New York Philharmonic, Schaunard in La Bohème with the Ash Lawn Festival, and Guglielmo in Mozart’s Così fan tutte with North Carolina Opera. Other mainstage roles include Figaro in Il barbiere di Siviglia with Atlanta Opera,

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the title role in Moses with the American Symphony Orchestra, Malcolm in Malcolm X at New York City Opera, Prince Yamadori in Madame Butterfly at Opera on the James, the cover of Dandini in La Cenerentola with Florida Grand Opera, Ariodante in Handel’s Xerxes and Demetrius in Britten’s A Midsummer Night’s Dream for the International Vocal Arts Institute, as well as Papageno in Die Zauberflöte and a sensational international debut as Guglielmo in Così fan tutte, in both Germany and Israel. Mr. Outlaw holds a Bachelor in Music Performance from the University of North Carolina at Greensboro and a Masters in Vocal Performance from The Juilliard School.

WILLIAM PREUCIL, violin William Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared regularly as a soloist with the Orchestra in concerto performances at both Severance Hall and the annual Blossom Music Festival. Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the GRAMMY-winning Cleveland Quartet, performing more than 100 concerts each year in the world’s major music capitals, and recording the complete cycle of Beethoven’s 17 string quartets, as well as chamber works by Haydn, Mozart, Schubert, and Brahms, for the Telarc International label. William Preucil has also served as concertmaster of the Atlanta, Utah, and Nashville Symphony Orchestras. He has made solo appearances with the symphony orchestras of Detroit, Hong Kong, Minnesota, Rochester, and Taipei. Mr. Preucil regularly performs chamber music, as a guest soloist with other orchestras, and at summer music festivals. His North American festival performances have included Santa Fe, Sarasota, Seattle, and Sitka, with international appearances in France, Germany, and Switzerland. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Festival Orchestra in San Diego. Active as an educator, Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University. He previously taught at the Eastman School of Music and at the University of Georgia. William Preucil began studying violin at the age of five with his mother, Doris Preucil, a pioneer in Suzuki violin instruction in the United States. At 16, he graduated with honors from the Interlochen Arts Academy and entered Indiana University to study with Josef Gingold (former concertmaster of The Cleveland Orchestra). He was awarded a performer’s certificate at Indiana University and also studied with Zino Francescatti and György Sebök.

ANNE MCMAHON QUINTERO, mezzo-soprano Hailed by the Baltimore Sun in Verdian roles as “fully nuanced…warm honeyed tones and soaring regally”, Ann McMahon Quintero brings to the operatic and concert stage outstanding know-how and confidence.

SOLOISTS AND CONDUCTORS

SOLOISTS & CONDUCTORS This season Ms Quintero was soloist with Berkshire Choral International in Dvořák’s Requiem and returned to Boston Baroque in their annual Messiah. She was also soloist in Chicago and Detroit in Verdi’s Requiem with the Defiant Requiem Foundation and returns to Boston Baroque in Handel’s Giulio Cesare as Cornelia. In the 2017-18 season she will join the National Symphony Orchestra at the Kennedy Center in their presentation of Messiah. Ms. Quintero made her international operatic debut with New Israeli Opera as La Haine in Gluck’s Armide and returned to the company as Marquise Melibea (Il viaggio a Reims). She has sung Baba the Turk (The Rake’s Progress) with Angers Nantes Opera, joined Teatro alla Scala for its production of Lorin Maazel’s 1984; sang Olga Olsen (Street Scene) with Opera Theatre of Saint Louis; Isabella (L’italiana in Algeri) with Palm Beach Opera, Gertrude (Roméo et Juliette) with Toledo Opera; and Glaša (Kátya Kabanová) and Teresa (La sonnambula) with The Santa Fe Opera. Other roles include Auntie in Peter Grimes, Tisbe in La cenerentola, and Dritte Dame in Die Zauberflöte with Washington National Opera. Honored for her artistry, Ms. Quintero is a 2006 winner of the Sara Tucker Study Grant from the Richard Tucker Music Foundation; second place winner of the Licia Albanese-Puccini Foundation International Vocal Competition; the George London Foundation; Sullivan Foundation and was a semi-finalist in Plácido Domingo’s Operalia. She was a 2002 Grand National Finalist in the Metropolitan Opera National Council Auditions and made her first appearance on the company’s stage in the Grand Finals Concert under the direction of the late Julius Rudel.

SCOTT RAWLS, viola Violist Scott Rawls has appeared as soloist and chamber musician in the United States, Canada, Mexico, Japan, and Europe. Recent chamber music endeavors include performances with Dmitry Sitkovetsky, Ray Chen, Gary Hoffman, Lynn Harrell, Bella Davidovich, Vladmir Feltsman, Garrick Ohlsson, and the Diaz Trio. His solo and chamber music recordings can be heard on the Centaur, CRI, Nonesuch, Capstone, and Philips labels. A strong proponent of new music, Rawls has premiered dozens of new works by prominent composers. Most notably, he has toured extensively as a member of Steve Reich and Musicians since 1991. As the violist in this ensemble, he has performed the numerous premieres of Daniel Variations, The Cave, and Three Tales by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen, Festival d’Automne a Paris, Holland Festival, Berlin Festival, Spoleto Festival USA, and the Lincoln Center Festival, he has performed in major music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague, Amsterdam, Brussels, Los Angeles, Chicago, and New York. Under the baton of Maestro Dmitry Sitkovetsky, he plays principal viola in the Greensboro Symphony Orchestra. During the summers, Rawls plays principal viola in the festival orchestra at the Brevard Music Center where he also coordinates the viola program. Dr. Rawls currently serves as Associate Professor of Viola at The University of North Carolina at Greensboro. He is active as guest

clinician, adjudicator, and masterclass teacher at universities and festivals in America and Europe. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick, Georges Janzer, and John Graham.

LISE DE LA SALLE, piano In just a few years, through her international concert appearances and her award-winning Naïve recordings, 28 year-old Lise de la Salle has established a reputation as one of today’s most exciting young artists, and as a musician of uncommon sensibility and maturity. Her playing inspired a Washington Post critic to write, “For much of the concert, the audience had to remember to breathe...the exhilaration didn’t let up for a second until her hands came off the keyboard.” A native of France, Ms. de la Salle first came to international attention in 2005, at the age of 16, with a Bach/Liszt recording that was selected as “Recording of the Month” by Gramophone Magazine. Ms. de la Salle, who records for the Naïve label, was then similarly recognized in 2008 for her recording of Liszt’s, Prokofiev’s, and Shostakovich’s first concertos–a remarkable feat for someone only 20 years old. Lise de la Salle has played with many of the world’s leading orchestras and conductors. She made her London Symphony Orchestra debut with Fabio Luisi and in 2016 returned to the Orchestra with Antonio Pappano. In the U.S., Ms. de la Salle has played with the Boston Symphony, Chicago Symphony at the Ravinia Festival, San Francisco Symphony, and three times with the Los Angeles Philharmonic, among others. A sought-after recitalist, she has been captivating enthusiastic audiences and critics in major series in New York, Boston, Washington DC, San Francisco, Montreal, Toronto, and at the Philharmonie in Berlin, Wigmore Hall in London, and the Louvre in Paris. In 2003, Ms. de la Salle won the European Young Concert Artists Auditions in Paris, and in 2004 she won the Young Concert Artists International Auditions in New York. She is also a First Prize winner at the Ettlingen International Competition in Germany, and in many French piano competitions, including the Steinway, Sucy, Vulaines, and Radio-France Competitions.

MARIA SANDERSON, violin Maria Sanderson has attended Indiana University’s String Academy for nine years and is presently a member of the String Academy Violin Virtuosi. She studies with Mimi Zweig, and has frequently performed in solo and ensemble recitals at IU. Maria was Concertmaster for the last two years of SA Chamber Orchestra and Assistant Concertmaster for Indianapolis Symphony’s Side by Side Program. She has performed in masterclasses with Midori, Vadim Repin, Josh Bell, and many others. Her solo work includes performances with the Moscow Ballet, the IU String Academy Chamber Orchestra, the SE Missouri State University Orchestra, the Bloomington Symphony Orchestra, and twice with the Sphinx

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Symphony Orchestra. This spring Maria toured Argentina for three weeks with the IU Violin Virtuosi; she performed as soloist at each concert and also led many pieces. She toured the US this fall for six weeks with the Sphinx Virtuosi, and was scheduled to perform with the Fresno Youth Orchestra, the South Bend Symphony Orchestra, and the New World Symphony Orchestra in Miami. Maria was recently First Place winner of the Rising Star Competition, the Bloomington Symphony Competition, and the Sphinx Competition.

NEIL THOMSON, conductor In his second season as Principal Conductor and Musical Director of the recently founded Orquestra Filarmonica de Goias in Brazil, Neil Thomson is one of the most widely respected and versatile British conductors of his generation. Born in 1966 he studied with Norman Del Mar at the Royal College of Music, and later at Tanglewood with Leonard Bernstein and Kurt Sanderling. He has conducted and recorded with both the London Symphony Orchestra and the Philharmonia and in recent years has worked with the London Philharmonic, BBC Symphony, Halle, Royal Scottish National, and Royal Philharmonic Concert orchestras in the UK, Tokyo Philharmonic in Japan, Aarhus Symphony in Denmark, the RTE Concert Orchestra in Dublin, the WDR Orchestra in Cologne and orchestras in Israel, Portugal, Italy, Romania, Mexico, Oman, and Lithuania. From 1992 until 2006 Mr. Thomson was Head of Conducting at the Royal College of Music. The youngest ever incumbent of this post, he has established an enviable reputation as an orchestral trainer. His skills as a natural communicator have enhanced an already growing reputation as a teacher throughout Europe. He has twice given EU-sponsored master classes in Lithuania and has been a Guest Professor at the Mozarteum in Salzburg, the Krakow Academy of Music, and the Conservatoire ‘Arrigo Boito’ in Parma. He has been on the jury of the Lorin Maazel Conducting Competition, the Eduardo Mata Conducting Competition in Mexico City, and the Prokofiev Conducting Competition in St Petersburg. Mr. Thomson has performed with many distinguished soloists including Sir James Galway, Dame Moura Lympany, Sir Thomas Allen, Dame Felicity Lott, Philip Langridge, Stephen Hough, Dame Evelyn Glennie, Steven Isserlis, Julian Lloyd Webber, and Natalie Clein. Recordings include a CD of contemporary American violin concertos with the Royal Liverpool Philharmonic. He has made a specialty of conducting films live to screen including performances with the Orchestra of Welsh National Opera at the Barbican and the Royal Philharmonic Concert Orchestra at the Royal Albert Hall.

ANDREW TYSON, piano Hailed by BBC Radio 3 as “a real poet of the piano,” Andrew Tyson is emerging as a distinctive and important new musical voice and has made recital and concerto performances around the globe. Highlights of his solo recitals abroad include Wigmore Hall, Lucerne Piano

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Festival, Beethovenfest in Bonn, International Music Festival of Colmar, and the Dubrovnik Festival. He also appears as soloist with the Bern Symphony Orchestra, and the Royal Philharmonic Orchestra of Liège. Mr. Tyson appears in the U.S. at Carnegie’s Weill Recital Hall and NDR Hanover Concert Hall, as winner of Juilliard’s prestigious Leo B. Ruiz Memorial Recital, as well as at Lincoln Center’s Mostly Mozart Festival, Merkin Concert Hall, the Artist Series Concerts of Sarasota, SILL Music Mondays, FPC Concerts, and as soloist with the Louisville Orchestra and the Owensboro Symphony. Recipient of a 2013 Avery Fisher Career Grant, Mr. Tyson is Laureate at the 2012 Leeds International Piano Competition and the 2013 Queen Elisabeth Competition, and captured First Prize at the 2015 Géza Anda Competition in Zürich, where he was also awarded the Mozart and Audience Prizes. He subsequently appeared throughout Russia with the Moscow Virtuosi Chamber Orchestra with Vladamir Spivakov. Mr. Tyson has also appeared with the National Orchestra of Belgium under Marin Alsop, the Orchestre Royal de Chambre de Wallonie, the Orchestra of St. Luke’s at Alice Tully Hall, the Las Vegas Philharmonic, the North Carolina Symphony, the Colorado Symphony, the Omaha Symphony, the Hilton Head Symphony Orchestra, and the Edmonton Symphony Orchestra. Mr. Tyson made his orchestral debut at the age of 15 with the Guilford Symphony as winner of the Eastern Music Festival Competition. After early studies with Dr. Thomas Otten of the University of North Carolina, he attended the Curtis Institute of Music, where he worked with Claude Frank. He later earned his master’s degree and Artist Diploma at The Juilliard School with Robert McDonald, where he won the Gina Bachauer Piano Competition and received the Arthur Rubinstein Prize in Piano.

KURT WEILL FESTIVAL ARTISTS KIM KOWALKE, producer Kurt Weill Foundation trustee Kim H. Kowalke is Professor of Musicology at the Eastman School of Music and Professor of Music and Chair of the College Music Department of the University of Rochester, where he also holds the Richard L. Turner endowed professorship in the humanities. He is the author or editor of dozens of articles and four books, including Speak Low: The Letters of Kurt Weill and Lotte Lenya, listed as a New York Times notable book of 1996 and one of the London Financial Times "best books of the year." He is a five-time winner of ASCAP's Deems Taylor Award for excellence in writing about music and the recipient of two Irving Lowens Awards for the best articles on American music published in 1995 and 1997. Kowalke received his Ph.D. from Yale University in 1977 and since Lotte Lenya's death in 1981 has served as President of the Kurt Weill Foundation for Music in New York. He is the founding member of the Editorial Board of the Kurt Weill Edition. He is the recipient of the University of Rochester's Goergen Award for distinguished achievement and artistry in undergraduate teaching. He has music directed more than fifty musical theater productions, including Street Scene and There Once Was a Girl Named Jenny for Eastman Opera Theater.

SOLOISTS & CONDUCTORS JOSEPH HOROWITZ, producer Joseph Horowitz has long been a pioneer in the thematic, interdisciplinary classical music programming, beginning with his tenure as artistic advisor for the annual Schubertiade at New York’s 92nd Street Y. As executive director of the Brooklyn Philharmonic Orchestra, he received national attention for “the Russian Stravinsky,” “Dvořák and America,” “American Transcendentalists,” “Flamenco,” and other festivals that explored the folk roots of concert works and the quest for national identity through the arts. Now an artistic adviser to various American orchestras, he has created more than three dozen interdisciplinary music festivals since 1985. He is also the founding artistic director of Washington, D.C.’s pathbreaking chamber orchestra, PostClasscial Ensemble, in which capacity he has produced two DVDs for Naxos that feature classical documentary films with newly recorded soundtracks. He is also the award-winning author of eight books that address the institutional history of classical music in the United States. Both Classical Music in America: A History (2005) and Artists in Exile (2008) were named best books of the year by The Economist.

WILLIAM SHARP, baritone Baritone William Sharp has a reputation as a singer of artistry and versatility, garnering acclaim for his work in concert, recital, opera and recording. He performs actively, as he has for four decades. He has appeared with most major American symphony orchestras including those of New York, Chicago, Washington, Boston, Baltimore, San Francisco, and Los Angeles. He has created world premiere performances and recordings of works by composers such as Leonard Bernstein, John Harbison, John Musto, Jon Deak, Libby Larson, David Del Tredici, Lori Laitman, Steven Paulus, Scott Wheeler, and David Liptak. His performances and recordings of baroque and earlier music are equally acclaimed. Mr. Sharp’s discography of several dozen discs encompasses music spanning 900 years, from the 12th century to today. His 1990 world premiere recording of Leonard Bernstein's last major work, Arias and Barcarolles won a GRAMMY Award, and he was nominated for a 1989 GRAMMY for Best Classical Vocal Performance for his recording featuring the works of American composers such as Virgil Thomson, John Musto, and Lee Hoiby. He made his New York recital debut in 1983, Kennedy Center debut in 1984, and Carnegie Hall recital debut in 1989. He is winner of the Carnegie Hall International American Music Competition, the Young Concert Artists International Auditions, the Kathleen Ferrier Memorial Prize, and the Geneva International Competition.

LISA VROMAN, soprano From Broadway to classics, on stage and in concert, Lisa Vroman has established herself as one of America's most versatile voices. She starred on Broadway, Los Angeles and San Francisco as Christine Daaé in The Phantom of the Opera. As “One of Amercian Musical Theater’s most beautiful voices” (Cameron MacIntosh), she has garnered theatre critics’ awards

for her portrayal. Lisa starred as Marian Paroo in The Music Man (Bushnell Theater with Shirley Jones, Patrick Cassidy and the Hartford Symphony), Lili Vanessi in Kiss Me Kate (Glimmerglass Opera/MUNY Theatre of St. Louis), Birdie in Regina, Josephine in HMS Pinafore, Anna 1 in The Seven Deadly Sins (Utah Symphony/Opera), Rosalinde in Die Fledermaus (New Jersey Opera), and Rosabella in The Most Happy Fella (New York City Opera). For PBS: Johanna in Sweeney Todd (2001 Emmy Award), and Hey! Mr. Producer (London Royal Gala). She played Laurey in Oklahoma (BBC PROMS festival), Anna Leonowens in The King and I (Lyric Opera of Virginia), Mary Turner in Of Thee I Sing (San Francisco Symphony w/Michael Tilson Thomas), and sang and danced opposite Dick Van Dyke as Mary Poppins at the Hollywood Bowl (Disney 75th). Lisa is a frequent guest with symphonies including San Francisco, Nashville, Philadelphia, Dallas, Utah, St. Louis, Houston, Pacific, Atlanta, Hong Kong, Cleveland, National, Florida, Cleveland, BBC Concert Orchestra, Boston Pops (Keith Lockhart), Philly Pops (Peter Nero), New York Pops (Carnegie Hall) as well as with the New York Festival of Song and Organist David Higgs (Disney Hall, Los Angeles). Her Broadway debut was in Aspects of Love and she was the first to play both Fantine and Cosette in Les Misérables.

SHANE SCHAG, piano Ohio native Shane Schag received his Bachelor of Arts Degree from the Ashland University of Ohio, his master’s degree in Collaborative Piano from the Cleveland Institute of Music, and his Professional Studies Certificate from the Manhattan School of Music. Mr. Schag has worked in the capacity of vocal coach for Centro Studi Italiani Opera Festival, and as an assistant conductor for the Gotham Chamber Opera. In 2007, Mr. Schag made his debut at Weill Recital Hall (Carnegie Hall), and now he serves as staff pianist for Carnegie Hall’s Musical Explorers concert series, which reaches out to public schools across the tri-state area, and the Lotte Lenya Competition in Rochester, New York. Mr. Schag is also Music Director for the American Musical Theater Ensemble at the Manhattan School of Music, and is on the faculty of Operaworks in Los Angeles.

PETER BOGDANOFF, media artist Media Artist Peter Bogdanoff explores the arts using traditional and emerging digital technology. He works in the field of video, audio, and computer-based media to bring the arts to new audiences. In collaboration with Joseph Horowitz, he has previously created visual presentations for live performances of Antonín Dvořák's New World Symphony and Igor Stravinsky's Symphony in Three Movements. Also with Mr. Horowitz, he created the visuals for “Inside the Music: Tchaikovsky Symphony No. 6” (presented by the New York Philharmonic) and for a film, “Remembering JFK” (for the National Symphony Orchestra). He has worked extensively over the last 25 years in the field of computer-based arts explorations. Mr. Bogdanoff studied musical composition at Indiana University and California State University, Los Angeles, and is a Digital Media Specialist in the UCLA Herb Alpert School of Music.

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ESTHER ATKINSON, mezzo-soprano This Season at BMC: The Marriage of Figaro (Flower Girl) Street Scene (Salvation Army Girl, Nursemaid) Mezzo-soprano Esther Atkinson is a native of Bangor, Northern Ireland. She is currently finishing her Bachelor of Music degree in Musical Theater at Ouachita Baptist University. Her other roles include Virginia Clinton in Billy Blythe: An American Folk Opera, Spiker in James and the Giant Peach, and Tzeitel in Fiddler on the Roof. After graduating she hopes to attend graduate school to pursue opera performance.

AUGUST BAIR, baritone This Season at BMC: Don Pasquale (Dr. Malatesta) Street Scene (Vincent Jones) A native of Atlanta, Georgia, baritone August Bair received his BA in voice from Bard College, and is working on his master's degree at Manhattan School of Music. Role credits include Count Carnero in MSM's production of Der Ziguenerbaron, Detective Deimos in Falling Angel with the JOC, and a lead role in Jonathan Sheffer’s Blood on the Dining Room Floor at the Napa Valley Music Festival. August is thrilled to be returning to Brevard for his second summer.

IAN BOLDEN, bass-baritone This Season at BMC: Don Pasquale (Carlino) The Marriage of Figaro (Antonio) Street Scene (George Jones) Ian Bolden is working on his master's degree at the University of Tennessee, where he recently sang John Proctor in The Crucible. A native of Akron, Ohio, Ian earned his bachelor’s degree from The Ohio State University. Ian has been an ensemble member of Knoxville Opera for two years, and last season he made his debut as Samuel in The Pirates of Penzance.

PIOTR BUSZEWSKI, tenor This Season at BMC: Don Pasquale (Ernesto) Originally from Warsaw, Poland, Piotr is a second-year resident artist at the Academy of Vocal Arts in Philadelphia. Previously, Piotr studied at The Juilliard School and the Accademia Nazionale di Santa Cecilia Opera Studio in Rome, under the direction of Renata Scotto. He is a winner of many international competitions. Role credits include Edgardo (Lucia di Lammermoor), Nemorino (L’elisir d’amore), Rinuccio (Gianni Schicchi), and the title role in operetta Paganini.

VICTOR CARDAMONE, tenor This Season at BMC: Street Scene (Lippo Fiorentino) A 2016 Master of Music graduate of the Victor earned his Bachelor of Music Education degree from Youngstown State University as a double major in voice and French horn. He plans to pursue graduate studies in vocal performance. Apprenticeships include Opera Western Reserve, New Castle Lyric Opera, and Asheville Lyric Opera. He was a featured singer in “TidyCats Presents: The Tragedy of Stank Face” Purina® commercial campaign, and a recipient of an Encouragement Award at the Metropolitan Opera National Council Auditions–Pittsburgh District.

BENEDETTA CORDARO, soprano This Season at BMC: Street Scene (Mrs. Fiorentino) Soprano Benedetta Cordaro recently graduated with a Master of Music in Vocal Performance from New England Conservatory, where she performed as Lauretta in Gianni Schicchi and Chocholka/Panì Paskova in The Cunning Little Vixen. During her undergraduate studies at Western Connecticut State University, she sang the roles of Rosalinda (Die Fledermaus), Micaëla (Carmen), Monica (The Medium), and Mrs. Fiorentino (Street Scene).

BLAKE ELLEGE, tenor MELANIE BURBULES, mezzo-soprano This Season at BMC: The Marriage of Figaro (Marcellina) Street Scene (Laura Hildebrand) Melanie Burbules, from Naperville, IL, sang Margaret Krusemark in Falling Angel last season at BMC. Other roles include The Secretary (The Consul), Dritte Dame (Die Zauberflöte) with UT Opera Theatre, and Annina (Der Rosenkavalier) with Harrower Summer Opera. She received her MM from the University of Tennessee and her BM from Boston University. She lives in Atlanta, where she sings in the Atlanta Opera Chorus, is an administrator for small opera company, and co-director for Opera on Tap, Atlanta.

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This Season at BMC: Street Scene (Abraham Kaplan) Blake Ellege, from Brevard, NC, has had the pleasure of performing in over 9 different countries as a soloist and with countless ensembles for radio, television, and live operatic and theatrical performances. Among his many achievements, in 2014, Blake ranked as one of the Top 4 Lyrical Tenors and Top 14 Musical Theater Tenors in the U.S., respectively, at NATS Competition. Blake currently travels full time performing all over the U.S.

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OPERA CAST STEELE FITZWATER, bass-baritone This Season at BMC: The Marriage of Figaro (Don Bartolo) Street Scene (Carl Olsen) Steele is a rising senior at Miami (OH) University, pursing a double degree in vocal performance and German. In his second year with the Janiec Opera Company, Steele appeared last season performing in the world premiere of Falling Angel as Louis Cyphre, A Midsummer Night’s Dream, and The Magic Flute. With Miami University Opera, Steele has previously performed in Sondheim’s A Little Night Music, Weill’s Street Scene, and Mozart’s Così fan tutte.

MADISON HATTEN, soprano This Season at BMC: The Marriage of Figaro (Countess Almaviva) Soprano Madison Hatten is a California native and a graduate opera performance student at Boston Conservatory at Berklee. 2017 roles include Frau Fluth (Die Lustigen Weiber von Windsor) and Almera (cover) in Dark Sisters, both with Boston Conservatory Opera. Other roles include Michaela (Carmen) with Center Stage Opera, and the title role in Tchaikovsky’s Iolanta (cover) with Russian Opera Workshop in Philadelphia.

CHELSEA HELM, soprano This Season at BMC: Don Pasquale (Norina) A Michigan native, Chelsea recently completed her master’s degree in voice at Rice University. Recent roles include Nireno (Giulio Cesare), Nella (Gianni Schicchi), Cobweb (A Midsummer Night’s Dream), Rose (Street Scene), Lucia (Lucia di Lammermoor), Nannetta (Falstaff), and Maria (West Side Story). From 2013-2015, she performed with the Grand Rapids Symphony and the Kalamazoo Symphony Orchestra in performances of Carl Orff’s Carmina Burana, Vaughan Williams’s Serenade to Music, and Schubert’s Salve Regina.

BRENT HETHERINGTON, bass-baritone This Season at BMC: The Marriage of Figaro (Figaro) Street Scene (Steve Sankey) Brent Hetherington is a native of Gladewater, TX. He completed his undergraduate studies at East Texas Baptist University, and his graduate studies at the University of Tennessee. Mr. Hetherington has previously performed with Knoxville Opera and Central City Opera. He was most recently seen as a resident artist with Pensacola Opera where he appeared as a concert soloist, and performed Older Thompson (Glory Denied), The King (Aïda), and Motorcycle Cop/1st Guard (Dead Man Walking).

CHARLOTTE JACKSON, soprano This Season at BMC: Street Scene (Shirley Kaplan) Charlotte Jackson is currently receiving her Professional Studies Certificate at The Boston Conservatory after finishing her Master of Music this past spring. In 2017, Charlotte has performed the role of Anna Reich in Nicolai’s Die Lustigen Weiber von Windsor, sung John Cage’s songbooks for Boston Sculptors Gallery, and performed solo recitals in Washington, DC and Boston. When she isn’t performing, Charlotte is apprenticing to become a midwife and practicing yoga.

MELINA JAHARIS, mezzo-soprano This Season at BMC: Street Scene (Olga Olsen) A Greek-American from Chicago, Melina is pursuing her M.M. from Northwestern University, studying with W. Stephen Smith, graduating in 2018. Recently she has been seen as Ma Moss (The Tender Land), Soeur Mathilde (Dialogues of the Carmelites), Thelma (Later the Same Evening), and Hexe (Hänsel und Gretel). She has performed scenes as Rosina (Il Barbiere di Sivligia), Octavian (Der Rosenkavalier), and Carmen. She received her B.M. from Lawrence University in 2015.

JENNIE JUDD, soprano This Season at BMC: The Marriage of Figaro (Barbarina) A native of Williamsport, PA, Jennie is grateful for the opportunity to return to Brevard for her second season with the Janiec Opera Company. Jennie is a 2017 graduate from the Wheaton College Conservatory of Music and will begin her graduate studies in the fall. Previous roles include Papagena in Mozart’s Die Zauberflote, Madame Herz in Mozart’s The Impresario, and Lucy in Menotti’s The Telephone.

SARA LAW, soprano This Season at BMC: The Marriage of Figaro (Flower Girl) Street Scene (Jennie Hildebrand) Sara Law, soprano, is overjoyed to return for her second season at Brevard. A graduate of New England Conservatory, Sara was seen last season in the Janiec Opera Company as 1st Spirit (The Magic Flute) and Cobweb (A Midsummer Night’s Dream). Other roles include Miss Wordsworth in Albert Herring and Barbarina in Le nozze di Figaro. In the fall, Sara will be pursuing her master’s at Mannes School of Music.

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TIMOTHY MADDEN, baritone This Season at BMC: Don Pasquale (Don Pasquale) Bass-baritone Timothy Madden, hailed by the Chicago Stage Standard as “endlessly fun, full-voiced, totally physicalized,” is quickly becoming noted for his work in comedic roles. In 2016 and 2017, Timothy made role and company debuts as Samuel in Fargo-Moorhead Opera’s production of The Pirates of Penzance, Urizen in the world premiere of Nevada Jones’ Stranger from Paradise with Opera Omaha, and the Marchese d’Obigny in La traviata with Cedar Rapids Opera Theatre.

VIRGINIA MIMS, soprano This Season at BMC: The Marriage of Figaro (Susanna) Virginia Mims is a 20-year-old sophomore at the Jacobs School of Music at Indiana University, pursuing her Bachelor of Music in voice performance. A student of Alice Hopper, Virginia has performed with IU Opera Theater in productions of Madama Butterfly, Oklahoma!, and as Marian the Librarian in The Music Man. She has also performed with Palm Beach Opera in productions of La traviata, Les contes d’Hoffman, Macbeth, and La fille du régiment.

ANNA MONTGOMERY, soprano This Season at BMC: Street Scene (Rose Maurrant) Anna Montgomery recently graduated summa cum laude from the University of Houston where she performed the roles of Abigail (The Crucible), Despina (Così fan tutte), Lauretta (Gianni Schicchi), and Papagena (The Magic Flute). Last summer she participated in Houston Grand Opera’s Young Artist Vocal Academy, and also performed Belinda in Dido and Aeneas with Emerald City Artist Institute in her home state of Colorado. She will begin her master’s degree this fall.

ERIN MORAN, mezzo-soprano This Season at BMC: Street Scene (Emma Jones) Mezzo-soprano Erin Moran is a native of Aurora, Colorado. Recent credits include Ruth in Dark Sisters, Ruggiero (cover) in Alcina, Frau Reich (cover) in Die Lustigen Weiber von Windsor, Miss Todd in The Old Maid and the Thief, Orlofsky in Die Fledermaus, Suzy in La Rondine, and Countess Ceprano in Rigoletto. Erin holds a Bachelor of Music degree from the University of Northern Colorado and a Master of Music degree from the Boston Conservatory.

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FRANKLIN MOSELY, baritone This Season at BMC: Street Scene (Henry Davis) Franklin holds a bachelor’s degree in performance from the Indiana University of Pennsylvania and a master’s degree in performance from Boston University where he studied with the late Dr. Jerrold Pope. Past roles include: Joe Pitt in Angels in America, Ronaldo Cabral in Later the Same Evening, Sam in Trouble in Tahiti, and Major General Stanley in The Pirates of Penzance. Franklin has also been featured with the Masterworks Chorale and Salem Philharmonic of Massachusetts.

AMANDA PALMEIRO, soprano This Season at BMC: Street Scene (Anna Maurrant) Memphis native Amanda Palmeiro is an emerging performer in the Washington, D.C. metropolitan area. Amanda was a winner of the 2017 and 2015 District Metropolitan Opera National Council Auditions. Amanda received her Master of Music in Opera Performance at the University of Maryland, and her Bachelor of Music in Vocal Performance from the University of Tennessee. Previous roles include Dorabella in Così fan tutte, Alte Frau in Guntram, and Nicklausse in Les contes d’Hoffmann.

MICHAEL PANDOLFO, baritone This Season at BMC: The Marriage of Figaro (Count Almaviva) Street Scene (Dick McGann) Michael Pandolfo has been singing since the age of 8, and has performed in musical theatre and opera in both community and professional houses. Michael has claimed several awards for young singers including the Schmidt Youth Vocal Competition 1st Place National Winner, YoungArts Alumnus, and the National Society of Arts and Letters 1st Place National Voice Scholarship. Michael is currently working on his bachelor’s degree in vocal performance at the University of Kentucky.

TAYLOR RAWLEY, tenor This Season at BMC: Street Scene (Sam Kaplan) Praised as “an absolute standout among the cast” by Theater by the Bay after a recent performance, tenor Taylor Rawley is excited to be joining the JOC this summer. A graduate of Carnegie Mellon University (’15) and The San Francisco Conservatory of Music (’17), Taylor has been seen in various roles around the Bay area, including Ferrando (Così fan tutte), Gonzalve (L’Heure Espangol), Lieut. the Duke of Dunstable (Patience), and Mr. Rushworth (Mansfield Park).

OPERA CAST

OPERA CAST JOEL ROGIER, bass-baritone This Season at BMC: Street Scene (Frank Maurrant) Joel Rogier, from Glen Carbon, IL, has performed with regional opera companies in St. Louis and Wichita. Recent roles include Ben (The Telephone), Mr. Gobineau (The Medium), Viscomte Cascada (The Merry Widow, directed by Dean Anthony), and chorus appearances with Union Avenue Opera and Winter Opera St. Louis. In 2016, Joel received his MM in Opera from Wichita State University, where he studied with Alan Held. He holds a BM in voice from Ouachita Baptist University.

DANIEL WEISMAN, tenor This Season at BMC: The Marriage of Figaro (Don Curzio) Street Scene (Daniel Buchanan) Daniel Weisman is an Ohio-raised, Atlantabased tenor who has performed with numerous companies, Young Artist Programs, and ensembles around the country. A specialist in comic tenor repertoire, Daniel’s notable roles include Sancho (Man of La Mancha) with Capitol City Opera, Little Bat (Susannah) with Red River Lyric Opera, The Witch (Hansel and Gretel) with the Georgia State University, Valzacchi (Der Rosenkavalier) and Dr. Caius (Falstaff) with Harrower Opera, and Giuseppe (La traviata) with Solon Opera.

CAMERON SLEDJESKI, baritone This Season at BMC: Street Scene (Harry Easter) Bass-baritone Cameron Sledjeski is a student of Robynne Redmon at the University of Miami’s Frost School of Music. Recent roles include Marco in Gianni Schicchi and Nick Shadow in The Rake’s Progress. His performance as Shadow this past spring drew strong praise from South Florida Classical Review, “Sledjeski’s … cunning theatrical instincts, vocal depth, and dramatic projection paid dividends in the role’s lower reaches, while blending beautifully with his colleagues.”

DARIUS THOMAS, tenor

AMY YARHAM, mezzo-soprano This Season at BMC: The Marriage of Figaro (Cherubino) Street Scene (Salvation Army Girl, Nursemaid) Australian Amy Yarham is a recent graduate of the master’s program at Manhatten School of Music under the tutelage of Marlena Malas. Opera News described “a charming, sensitive Amy Yarham” and The New York Times pronounced “her mezzo bright and agile” in her appearance in the title role of L’Enfant et les Sortilèges. Previous roles include Annio (La clemenza di Tito), Nancy (Albert Herring), Victoire (The Dangerous Liaisons), Sesto (Giulio Cesare), and Meg (Little Women).

This Season at BMC: The Marriage of Figaro (Don Basilio) Texas-native Darius Thomas has been seen in a number of shows including Die Zauberflöte, Die Fledermaus, Street Scene, Les Miserables, and his one-man show for the Oklahoma Shakespearean Festival, Light Up the Night: An Evening with Darius Thomas. Recently, he sang the roles of Ulysses (Il Ritorno d’Ulisse) and Judge Danforth (The Crucible). He is currently pursuing a graduate degree from the University of Tennessee.

ADINA TRIOLO, soprano This Season at BMC: Street Scene (Mae Jones) Adina Triolo is a sophomore voice major at the University of Michigan and is excited to be performing in her first season with the Janiec Opera Company. Past roles include Josephine (H.M.S. Pinafore), Aline (The Sorcerer), Tytania (A Midsummer Night’s Dream), and Adina (L’elisir d’amore) in The Juilliard School Pre-College Division’s Opera Scenes Concert. Musical Theatre roles include Princess Winifred (Once Upon a Mattress) and Hope Cladwell (Urinetown).

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OPERA DESIGNERS

BREVARD MUSIC CENTER | OVERTURE PETER HARRISON (SCENIC DESIGNER) This Season at BMC: Don Pasquale

This Season at BMC: Street Scene

Peter has designed for opera companies in New York (including New York City Opera, Juilliard Opera, and Manhattan School of Music); US Regional (including Glimmerglass Opera, Opera Theatre of St. Louis, Chicago Opera Theater, Virginia Opera, Long Beach Opera, Kentucky Opera, Central City Opera, Cincinnati Opera, Nashville Opera, and Chautauqua Opera); and International (South Africa, Norway, and Puerto Rico). His production of Little Women for NY City Opera toured Japan as US Cultural Representative to the Japan World Expo. He has also frequently designed for Philadelphia’s Academy of Vocal Arts and for the Thornton Opera at USC. He has been nominated for the American Theatre Wing Design Award, and featured in Opera News as one of a dozen “Designers to Watch.”

Recent design credits include Red Velvet (Shakespeare Theatre New Jersey, upcoming), Macbeth, Twelfth Night, and A Midsummer Night’s Dream (Philadelphia Shakespeare Theatre), The Way We Get By, Tick, Tick Boom!, and Marry Harry (American Theatre Group), Grease!, Damn Yankees, and The Sound of Music (Phoenix Productions), Hounds of War (Wee Man Productions), and A Year with Frog and Toad (Mile Square Theatre). She has also designed for Williamstown Theatre Festival (Massachusetts), Brevard Music Center (North Carolina), and Stagedoor Manor (New York). Bethanie teaches art and theatre in West Orange, NJ, and has a master’s degree from Rutgers University and a BA from Troy University.

BOBBY BRADLEY (LIGHTING DESIGNER AND ASSISTANT PRODUCTION MANAGER)

AARON CHVATAL (COSTUME DESIGNER)

Bobby is a Brevard resident and thrilled to be working with BMC and the Janiec Opera Company for a fourth year, having designed the world premiere of Falling Angel last season. He is co-owner of Brevard based Iris Design LLC, providing live event production services in Western North Carolina. He has designed and managed events for theatre, opera, TV, film, and live music for various clients around the country over the last decade. He holds a BFA in Theatrical Design from Baylor University and is a member of United Scenic Artists Local 829.

Aaron is delighted to be returning to Brevard for a second season. Previous designs for Brevard are: Magic Flute and A Midsummer Night’s Dream (Co-design) and Falling Angel (Costume Design). Based in Minneapolis, MN, he designs for opera, theatre, and dance. Regional opera design credits include: Don Pasquale, Gianni Schicchi, Suor Angelica, Hansel and Gretel, La Voix Humaine, and Bon Appétit for Opera on the James, where he has also been Costume Coordinator for Falstaff, Rigoletto, Carmen, The Marriage of Figaro, La Bohème, and Little Women. Other opera design credits include Peter Brook’s La tragédie de Carmen (UMKC Opera Conservatory), Gianni Schicchi and The Telephone (Washburn Opera Studio), and The Nightingale (MN Opera Project Opera). Theatre design credits include Our Town (Castleton Festival), Murder for Two, 4000 Miles (Park Square Theatre), Detroit ‘67 (Penumbra Theatre Company), Singing for Freedom (The Rose Ensemble), The Mystery of Edwin Drood (Lakeshore Players), A Little Night Music (Spinning Tree Theatre), Bloody Bloody Andrew Jackson (The Unicorn Theatre), 2012’s A Christmas Carol (Kansas City Repertory Theatre), and many others. He holds an MFA in Costume Design and Technology from the University of Missouri - Kansas City.

This Season at BMC: Don Pasquale

TLÁLOC LÓPEZ-WATERMANN (SCENIC AND LIGHTING DESIGNER)

This Season at BMC: The Marriage of Figaro, & Street Scene Tláloc is very happy to be returning to Brevard this summer. He very much enjoyed designing the lighting for Magic Flute, and A Midsummer Night’s Dream last year. Other BMC designs include Sweeney Todd, Falstaff, and The Ballad of Baby Doe. He is the founder of a lighting and projections design company called Light Conversations LLC. He designs lighting, projections, and scenery for theatre and opera companies around the country. His lighting designs have been seen at Columbus Opera, Pittsburgh Opera, Opera Grand Rapids, FreeFall Theatre, Theatrezone, North Carolina Opera, Toledo Opera, Utah Festival Opera, Opera Roanoke, Shreveport Opera, Guerilla Opera (Boston, MA), Crested Butte Music Festival, and DiCapo Opera (NYC). He has designed many productions some of which include: Hydrogen Jukebox, Ulisse, Amadeus, Dead Man Walking, Orpheus and Eurydice, Little Women, The Flying Dutchman, Sondheim on Sondheim, Man of La Mancha, Salome, La Bohème, The Marriage of Figaro, Madama Butterfly, The Crucible, Eugene Onegin, The Daughter of the Regiment, Il Trovatore, La Traviata, The Magic Flute, Tosca, Don Giovanni, Footloose, and Hairspray, among others. Tláloc has a BFA in Performance Production from Cornish College of the Arts, and an MFA in Design from NYU/Tisch. Tláloc was the 2002 Allen Lee Hughes Lighting Fellow at Arena Stage in Washington, DC.

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BETHANIE WAMPOL WATSON (SCENIC DESIGNER)

Overture

This Season at BMC: Don Pasquale, The Marriage of Figaro, & Street Scene

BRITTANY RAPPISE (WIG & MAKEUP DESIGNER)

This Season at BMC: Don Pasquale, The Marriage of Figaro, & Street Scene Brittany is returning to Brevard for her 5th season with the company. Her previous Brevard Music Center designs include Rigoletto, Così fan tutte, Don Giovanni, Sweeney Todd, and Die Fledermaus. She received her MFA in wig and makeup design from The University of North Carolina School of the Arts, and her B.A. in Theater from the University of West Florida in 2010. She recently finished work as the Wig and Makeup Specialist at Busch Gardens in Williamsburg, VA, and is now working as a freelance Wig and Makeup designer based out of Pensacola, FL, offering wig rentals and custom wig builds. Her recent work includes Evita with Amarillo Opera and La Cenerentola and Semiramide with Opera Delaware.

OPERA ARTISTIC STAFF

Dean Anthony, Director of Opera Caitlin Bolden, Janiec Opera Company Administrator Eileen Downey, Music Director, Chorus Master & Vocal Coach Andrew Wentzel, Voice Instructor Susanne Marsee, Guest Lecturer Tyson Deaton, Conductor Caleb Harris, Conductor Robert Moody, Conductor David Gately, Stage Director Keturah Stickann, Choreographer Neill Campbell, Staff Pianist Michael Gaertner, Staff Pianist Jonathan Heaney, Staff Pianist

PRODUCTION STAFF

Alexander Sheerin, Assistant Director Andrea Boccanfuso, Director of Production

Jackie Mercer, Assistant Stage Management Apprentice

Rebecca Armstrong, Associate Production Manager

Elizabeth Hicks, Assistant Stage Management Apprentice

Jerry Pedroza, Assistant Production Manager of Orchestra

Elana Deutch, Production Assistant/ Third Assistant Stage Manager Apprentice

Bobby Bradley, Assistant Production Manager of Opera/ Lighting Designer: Don Pasquale

Christian Atkinson, Costume First Hand

Peter Harrison, Scenic Designer: Don Pasquale

Jessica Cundiff, Costume Cutter/ Draper

Bethanie Wampol Watson, Scenic Designer: Street Scene

Corey Strickland, Wardrobe Supervisor/Stitcher

Aaron Chvatal, Costume Designer

Dianela Gil, Costume Apprentice

Brittany Rappise, Wig & Makeup Designer

Samantha Hannigan, Costume Apprentice

Tlรกloc Lรณpez-Watermann, Lighting and Scenic Designer: The Marriage of Figaro/ Lighting Designer: Street Scene

Elyse Horner Messick, Wig and Makeup Supervisor

Jack Murphy, Technical Director

Taylor Speagle, Wig and Makeup Apprentice

Garrett Rhodes, Assistant Technical Director/ TD: Street Scene

Brett Pavlovich, Master Carpenter

Emilie Belisle, Company Manager

Jeremy McCord, Carpentry Apprentice

Shawn Carver, Staff Production Assistant/ IT Support

Kelly Sandoval, Carpentry Apprentice

Katherine Stinnett, Assistant Company Manager/ Staff Production Assistant

Isaiah Pretty, Carpentry Apprentice

Logan Taylor, Staff Production Assistant

Teila Vochatzer, Props Master

Juliet Jewett, House Manager Aryelle Tuttle, House Management Apprentice Cat Hickerson, Stage Manager of Orchestra Michael Werder, Stage Manager of Orchestra Jonathan Campbell, Assistant Stage Manager of Orchestra Walt Hennerfeind, Assistant Stage Manager of Orchestra Kathryn Whilden, Stage Crew Apprentice Briana Garcia, Stage Crew Apprentice Stephen Healy, Stage Crew Apprentice Amber Helou, Stage Crew Apprentice Brianna Bursey, Stage Crew Apprentice Danielle Ranno, Production Stage Manager: Don Pasquale and Street Scene Gina Hays, Production Stage Manager: The Marriage of Figaro

Jonathan Amaro, Wig and Makeup Apprentice

Rhett Sells, Carpentry Apprentice Kelsey Kasianowicz, Props Apprentice Cara Spencer, Scenic Charge Rachel Kuhn, Scenic Artist Josh Oberlander, Scenic Apprentice Brandon Capps, Master Electrician Olivia Handcock, Staff Electrician/ Assistant Festival Lighting Designer Tyler Parks, Assistant Master Electrician/ Staff Electrician Anna Haynes, Electrics Apprentice Taylor Lilly, Electrics Apprentice Rob Bee, Sound Engineer A-1 & Department Head Lance Perl, Sound Engineer A-1 Tinesha Tutt, Sound/ Electrics Apprentice

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STUDENT ROSTER

BREVARD MUSIC CENTER | OVERTURE

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VIOLIN

Rebin Ali – Urbana, IL Elise Ashburn – Tallahassee, FL Kirsten Barker – Centerville, UT Sarah Becker – Grafton, OH Ellen Bergeron – Dover, NH Abigail Bracewell – Oak Ridge, NC Petra Bubanja – Tallahassee, FL Reagan Call – Newberg, OR Dominic Campos – Phoenix, AZ Kevin Chan – Houston, TX Catherine Cook – Kennesaw, GA Korah Cuff – Jacksonville, FL Joseph Doucette – Nazareth, PA Joanna Dzik – West Sacramento, CA Thomas Eustaquio – Farmingdale, NY Naomi Fan – Marietta, GA Daniel Geisel – Springboro, OH William Gibb – Oak Park Heights, MN Moe Gray – Tokorozawa, Japan Michael Hahn – Cicero, NY Sofia Hashemi–Asasi – La Jolla, CA Brittany Hausman – Cincinnati, OH Anna Horzen – Orlando, FL Krystal Hsieh – Parsippany, NJ Emily Javarone – Mayfield, NY Dgybert Jean – Medford, MA Madison Jones – Lexington, KY Emma Joyce – Charleston, SC Jesse Kaiser – Chapin, SC Olena Kaspersky – Los Angeles, CA Grace Kenny – Lewisburg, PA Erin Kim – Tallahassee, FL Erin Kong – Suwanee, GA Mary Konieczny – Atlanta, GA Larone Koonce – Atlanta, GA Benjamin Kremer – Charleston, SC Zoe Kushubar – Campobello, SC Matthew Laird – Durham, NC Jennifer Lee – Mt Pleasant, SC Elizabeth Lim – Murfreesboro, TN Josh Liu – Greenville, SC Erin Lollar – Marietta, GA Emmeline MacMillan – Seminole, FL Sidney Matlock – Knoxville, TN Hanlon McGarity – Bellingham, WA Myles McKnight – Fletcher, NC Elizabeth McNeill – Greensboro, NC Lily Mell – Philadelphia, PA Amanda Milne – Williston, VT Emily Morgan–Tracy – Albuquerque, NM Hanna Panamarenka – Zachary, LA Jina Park – Sacramento, CA Mae Leigh Patchin – Verona, WI Elizabeth Propst – Asheville, NC Steven Pruss – Omaha, NE Zita Puro – Lake Worth, FL Yonatan Quemado – Glenshaw, PA Reonel Rafols – Bradenton, FL Ella Rawls – Greensboro, NC Hunter Sanchez – Wichita Falls, TX Stephen Sanford – Simpsonville, SC Elizabeth Scarnati – Flagstaff, AZ Lila Schweinfurth – Portland, OR Nathan Sonnenfeld – Scarsdale, NY Amara Sperber – Clarkston, WA Fangye Sun – Boston, MA

Overture

Robin Tozzie – Palm Beach Gardens, FL Rebecca Tozzie – West Palm Beach, FL Angkun Uabamrungjit – Samut Sakhon, Thailand Neha Vangipurapu – Cary, NC Rebecca Villalta – Santa Ana, Costa Rica Nora Wang – Nashville, TN Alayne Wegner – Grand Rapids, MI Adrienne Williams – Orem, UT Joy Yamaguchi – Tallahassee, FL Ise Yoshimoto – Sunnyvale, CA

VIOLA

Gia Angelo – Philadelphia, PA Sean Askin – Marietta, GA Kelly Bartek – Austin, TX Ariana Blevins – Charleston, SC Teresa Bloemer – Sterling, MA Kathryn Bracewell – Oak Ridge, NC Adam Brotnitsky – Philadelphia, PA Mallory Carnes – Fletcher, NC Nickolette Cartales – Malden, MA Jalie-Ann Cummings – Universal City, TX Zita–Lyn Dixon – Milwaukee, WI David Doucette – Port Chester, NY Anna Dye – Stephens City, VA Christopher Hacnik – Chandler, AZ Dylan Haines – Cypress, TX Wesley Hamilton – Augusta, GA Amanda Hamilton – Johns Creek, GA Sarah Hamrin – Bemidji, MN Brittany Hoff – Lubbock, TX Cameron Howe – South Pasadena, CA Anna Ivanova – Yoshkar-Ola, Russian Federation Lucas Legan – Dobbs Ferry, NY Charlotte Lohmann – Eau Claire, WI Gabriella Mazzone – Morganton, NC Thomas McGuire – Weston, FL Benjamin Povman – Sleepy Hollow, NY Phoebe Probst - Asheville, NC Angela Rubin – Pittsford, NY Edward Schenkman – Houston, TX Clara Smallwood – Alpharetta, GA Annabelle Spoto – Dacula, GA Chloe Van Steertegem – Hewlett, NY Rachel Wolchok – New York, NY Jacob Worst – Burgettstown, PA

CELLO

Aaron Chen – Arden, NC Julia Dixon – Louisville, KY Clark Evans – Tucson, AZ Monica Grady – Asheville, NC Gabriel Hightower – Columbia, MD Anne Hoyt – Irmo, SC Olivia Katz – Minneapolis, MN Niki Khabbazvahed – Tehran, Islamic Republic of Iran Yoonsu Kim – Lewis Center, OH Aric Lee – Sammamish, WA Matthew Lei – Thornton, CO Meghan Leong – Fremont, CA Cheuk Yan Leung – Hong Kong, Hong Kong

Hannah Lohr–Pearson – Plainsboro, NJ Sophie Lyman – Rexburg, ID Harrison Marable – Marietta, GA Angela Marvin – Moorpark, CA Nicco Mazziotto – Melville, NY Ariel Najarian – Milton, GA Daniel Oliver – Parker, CO Emily Pilgrim – Simpsonville, SC Kiri Pitts – Houston, TX Lydia Pless – Charleston, SC Russell Rivas – Trussville, AL Mateo Ronderos – Fairfax, VA Meagan Rwambaisire – Marietta, GA Pono Santos – Sammamish, WA Christine Sears – Olympia, WA Jonathan Seoh – Houston, TX Juliano Stewart – Ann Arbor, MI Piper Suk – Bethesda, MD Michael Tynes – Rogers, AR Amanda Vosburgh – Pittsburgh, PA Abigayle Witt – Louisville, KY

Mary Grace Schayot – Richardson, TX Amanda Talley – Spokane, WA Vivian Tong – Cincinnati, OH Lauren White – Dallas, TX Megan Wojtyla – Jacksonville, FL

DOUBLE BASS

Matthew Boice – Ancram, NY Emma Brooks – Northbrook, IL Ethan Clark – Lilburn, GA Melanie Ferrabone – Hattiesburg, MS Lauren Hallonquist – Austin, TX John Kaiser – Frisco, TX Mark Lauer – Jefferson City, MO Tsz Ho Liu – Hong Kong, Hong Kong Traian Sturza – Columbus, GA Marissa Takaki – Glenview, IL Tucker Van Gundy – Carlisle, IA Lloyd Waller – Columbia, TN

Madison Adams – Charleston, SC Dante Ascarrunz – Lafayette, CO Judson Baines – Wake Forest, NC Andrew Beach – Raleigh, NC Sarah Bryant – Lexington, NC Ben Cordell – Bloomington, IN Spencer Eirich–Robinson – Atlanta, GA Layne Hartman – Lanesville, IN Javier Hernandez – San Antonio, TX Jacob Hoch – North Charleston, SC Zoe Hood – Marietta, GA Benjamin Hornacek – Longmont, CO John Krause – Chittenango, NY Joshua Lambert – Denton, TX Adam Maloney – Chapel Hill, NC Hannah Novak – Wheaton, IL Joshua Rhodes – Akron, OH Avery Robinson – Longmeadow, MA Macy Willett – Ponca City, OK Dillon Wilson – Daytona Beach, FL

FLUTE

Sabrina Bounds – Edmonds, WA Austin Brown – Chattanooga, TN Alison Dettmer – Centreville, VA Emily Elmore – Bradenton, FL Jeremy Goldwasser – Belvedere Tiburon, CA Katherine Grischow – Nashville, NC Faith Helgeson – Bloomington, MN Dorothy Le – Sugar Land, TX Hayley Miller – Canandaigua, NY Allison Parramore – Brighton, MA Bridget Pei – Diamond Bar, CA Zeke Sarvis – Overland Park, KS

OBOE

Katelyn Corning – Gilbert, AZ Andrew Glenn – Austin, TX Aaron Haettenschwiller – Baltimore, MD Jamison Hillian – Cheraw, SC William Jones – Davenport, IA Alexander Lenser – Modesto, CA Amy Selkirk – Tallahassee, FL

CLARINET

Max Arakaki – Kailua, HI Yan Yuet Cheung – Kowloon, Hong Kong Amy Humberd – Bloomington, IN Joshua Lee – Naperville, IL Aaron Lipsky – Arden, NC Sydney Lusby – Grapevine, TX Chris McMillan – Mason, OH Jonathan Reese – Collegeville, PA Nathan Richey – Berea, KY Christopher Rueda – Framingham, MA Elijah Schouten – Rochester, MN Izabela Zawartka – Mahwah, NJ

BASSOON

SAXOPHONE

Caleb Carpenter – Harrisburg, NC Gao Chen – Bristol, VA Mary LeCoq – Greenville, AL Darwin McMurray – Muskegon, MI Cameron Roberts – Lynchburg, VA Leighannah Turner – Travelers Rest, SC

FRENCH HORN

Kathryn Allen – Dunwoody, GA Joshua Almond – Leesburg, VA Elizabeth Antici – Corona Del Mar, CA Nicholas Auer – Brighton, MA Matthew Baldridge – Schertz, TX Lizbeth Barrera – Rio Grande City, TX Griffin Botts – Glasgow, KY Tristan Burns – Charlotte, NC Catherine Dowd – New Braunfels, TX Jacob Factor – Newburgh, NY Nicolas Haynes – Mansfield, OH Elizabeth Li – Rowland Heights, CA Kieran Scruggs – Talbott, TN William Sizemore – Greensboro, NC Savannah Smith – Woodstock, GA Andrew Truskowski – Ridgefield, CT Catherine Verbyla – Mead, CO Maya Waller – Wexford, PA Helen Wargelin – Concord, MA

TRUMPET

Paul Armitage – Sharpsburg, GA Alessandro Bonotto – East Lansing, MI Christopher Boulais – League City, TX Audrey Foster – Houston, TX Brian Garcia – Moravia, Costa Rica Shea Kelsay – Seattle, WA Justin Kohan – Orchard Park, NY Mason Krusch – Summerfield, NC David Peebles – Barnardsville, NC Madison Sinan – Cranberry Township, PA Raymond Thompson – Richmond, TX Lizbeth Yanez – Buford, GA

TROMBONE

Derek Hornberger – Fayetteville, GA Aneesh Kumar – Manvel, TX Zongxi Li – Qingdao, China Alison Orthel – Aurora, CO Liam Russell – Phoenix, AZ Philip Williams – Fairburn, GA

BASS TROMBONE

Garett Byrne – Walker, LA Christopher Jordan – Wilmington, DE

TUBA

Brianna Compton – Katy, TX Joel Horton – Lorena, TX Oliver Volz – San Francisco, CA

PERCUSSION

William Brown – Lake Butler, FL Thomas Faulkner – Signal Mountain, TN Sophie Lauver – Pittsburgh, PA James Leonard – West Chester, OH Noah Mallett – Big Rapids, MI Angelina Mangs – Gothenburg, Sweden Yonatan Rozin – New York, NY Julian Springer – Carbondale, IL Clinton Washington, III – Lugoff, SC Sarah Whitaker - East Lansing, MI Zuri Wells – Forest Park, IL Sophia Zorek – Houston, TX

HARP

Hannah Cope – Salt Lake City, UT Yvonne Cox – Gloucester, Ontario, Canada Lethicia Morgado Soares Caravello – Provo, UT Sarah Veber – St. Philip's, NL, Canada

PIANO

William Aarons – Raleigh, NC Emiko Abe – Durham, NC Alexander Aylward – Buffalo, NY Pablo Barreto – Lima, Peru Skylar Bartman – Black Mountain, NC Maeve Berry – Renfrew, PA

Elizabeth Boulet – Owens Cross Roads, AL Bethany Brinson – Holly Springs, NC Helen Bryant – Waleska, GA Ritchie Bui – Yorktown, VA Matthew Buie – Charlotte, NC Vikki Chen – Subang Jaya, Malaysia Lauren Claerbout – Roswell, GA David Cleavinger – West Chester, OH Olivia Connors – Canton, OH Jordyn Cooper – Englewood, OH Robert Errico – Weddington, NC Robert Esrock – Wildwood, MO Carl Feaster – Waco, TX Charles Fernandes – Cleveland, OH Caroline Freeman – Nellysford, VA Cameron Gamble – Mableton, GA David Geng – Princeton, NJ Sophia Gierszal – Mount Pleasant, SC Lillian Glushka – Athens, GA Ke Gong – Zhuzhou, China Joana Gonzalez – Southwest Ranches, FL Shiqi Gu – Taiyuan, China Sophia Guan – Chattanooga, TN Jason Guo – Hanahan, SC Sarah Hay – Charlotte, NC Xuan He – Tallahassee, FL Xuan He – Shenzhen, China Daniel Herbener – Grove City, PA Mary Howard – Eufaula, AL Hannah Huang – Palo Alto, CA Nolan Ison – Burlington, NC Dana Jeon – Anaheim, CA Xinshuang Jin – Fort Worth, TX Fiona Kent – Charleston, SC Erica Kremer – Charleston, SC Evan Krieger – Bowie, MD Jingbei Li – Guilin, China Benjamin Luo – Lake Worth, FL Margaret Lynch – Charlotte, NC Kevin Madison – Sicklerville, NJ Brian McCann – Freehold, NJ Colin McDearman – Greensboro, NC Daniel Milan – Norman, OK Alexandra Neverov – Galena, OH Sydney Nguyen – Cary, NC Xiaomin Ou – Shenzhen, China Matthew Pankratz – St. Louis, MO Darren Patterson – Upper Marlboro, MD Benjamin Pawlak – Horseheads, NY Joseph Petchauer – Jacksonville, FL Ashley Powell – Lanham, MD Audrey Puschinsky – High Point, NC Julian Quall – Chicago, IL Deanna Ren – Redmond, WA Jeremy Rosenstock – Mill Valley, CA Molly Sanford – South Lyon, MI Sergio Sanz – Houston, TX Leo Sholl – Marietta, GA Wai Sze Shum – Hong Kong, Hong Kong William Smith – Augusta, GA Joseph Snipes – Carrollton, GA John Solari – Midlothian, VA Zane Souvanlasy – Raleigh, NC

Elizabeth Strickland – McMinnville, OR Anthony Sun – Cupertino, CA Christopher Tavernier – Hendersonville, NC Alexandre Tchaykov – Peachtree City, GA Landin Thorsted – King George, VA Yoshino Toi – Tama City, Tokyo, Japan Ekin Ustunel – Greensboro, NC Olga Vilkova – Mississauga, ON, Canada Natalie Vlach – Buford, GA Kerfoot Walker – Tyler, TX Claire Wan – Novi, MI Menghuan Wu – Shanghai, China Nuo Xu – Beijing, China Hanqiu Xu – AnQing, China Qian Yang – Princeton, NJ Christina Yang – Diamond Bar, CA Daniel Yoshinaka – Irvine, CA Muli Yu – Ashburn, VA Sophia Zervas – Englewood, CO Zhengyi Zhang – Shanghai, China Jing Shi Zhao – Foshan, China Yuna Zhao – Mount Pleasant, SC Zizun Zhou – Dar Es Salaam, United Republic of Tanzania Felix Zhu – San Jose, CA

Victor Cardamone – Apollo, PA Benedetta Cordaro – Trumbull, CT Blake Ellege – Brevard, NC Steele Fitzwater – Dawson, WV Madison Hatten – Boston, MA Chelsea Helm – Walled Lake, MI Brent Hetherington – Mount Enterprise, TX Charlotte Jackson – Kensington, MD Melina Jaharis – Evanston, IL Jennifer Judd – Williamsport, PA Sara Law – Pittsburgh, PA Timothy Madden – Excelsior Springs, MO Virginia Mims – West Palm Beach, FL Anna Montgomery – Boulder, CO Erin Moran – Aurora, CO Franklin Mosley – Carlisle, PA Amanda Palmeiro – Rockville, MD Michael Pandolfo – Fort Worth, TX Taylor Rawley – Houston, TX Joel Rogier – Glen Carbon, IL Cameron Sledjeski – Boyds, MD Darius Thomas – Sherman, TX Adina Triolo – Skillman, NJ Daniel Weisman – Atlanta, GA Amy Welten – Perth, Australia

COLLABORATIVE PIANO

Leila Abou–Jaoude – Lexington, KY Alexandra Backfisch – Lilburn, GA Addison Ballew – Easley, SC Rachael Bell – Encinitas, CA Diana Bodie – Hendersonville, NC Mary Botter – Gadsden, TN Rayna Campbell – Belleville, IL Lauren Case – Brentwood, TN Sara Cox – Atlanta, GA Hope Cruse – Jacksonville, FL Abigail Cunningham – Lexington, KY Lily Davy – Brooklyn, NY Emma Flores – Kennebunk, ME William Foster – Houston, TX Abigail Gould – Chappaqua, NY Claire Griffin – Brevard, NC Douglas Grimm – Brevard, NC Miriam Howell – Picayune, MS Michal Ice – Clearwater, FL Scott Johnson – Decatur, GA Sophia La Blanc – Bedford, NY Taylor Lomax – Greenville, SC Frances Mehlenbacher – Cary, NC Christopher Michalak – Simpsonville, SC Sophia Pelekasis – Alexandria, VA Sydney Penny – Needham, MA Grace Riley – Harrisonville, MO Scott Rogers – Converse, TX Juliet Schlefer – Brooklyn, NY Shayna Singer – Boca Raton, FL Elena Stalnaker – Bloomington, IN Sarah Stenberg – Boca Raton,FL

Chantalle Falconer – Mauldin, SC James Higgs – Los Angeles, CA Emilie Hsu – Grosse Ile, MI Luis Reyes Duarte – Los Angeles, CA

CLASSICAL GUITAR

Shelby Castleberry – Austin, TX Veronica Eres – Knoxville, TN Sarah Francis – South Riding, VA Matthew Gillen – Austin, TX Sean McCrary – Fort Worth, TX Andrew Mills – Troy, AL Riley Smith – Mount Pleasant, MI Hunter Somogie – Malta, NY Joseph Tollefsen – Columbia, SC

COMPOSITION

Charles Berofsky – Ann Arbor, MI Andrew Courtney – Corona Del Mar, CA Luke Haaksma – Asheville, NC Dallas Howard – La Verne, CA Patrick Lenz – Eastman, WI Michelle Li – Edison, NJ Terrence Martin – Avon, CT Benjamin Martin – Bexley, OH Aaron Mencher – Johns Creek, GA William Rand – Toledo, OH Robert Rankin – Apex, NC Haochen Tan – Beijing, China Kari Watson – Lexington, MA Jacob Wilkinson – New York, NY Yiguo Yan – Chongqing, China

HIGH SCHOOL VOICE

OPERA

Esther Atkinson – Rogers, AR August Bair – Atlanta, GA Ian Bolden – Knoxville, TN Melanie Burbules – Naperville, GA Piotr Buszewski – Solec, Poland

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Custom Containers at Whittington-Pfohl Auditorium by:

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828-966-5323

www.newleafgardenmarket.com

Exceptional artwork just blocks from Brevard Music Center in the BREVARD LUMBERYARD ARTS DISTRICT

The Haen Gallery

200 King Street BREVARD 828.883.3268 52 Biltmore Avenue ASHEVILLE 828.254.8577 thehaengallery.com

40+ ARTISTS, 2 LOCATIONS, EXCEPTIONAL ARTWORK

resourceful teams helping you get further, faster

Resourceful thinking is at the heart of what we do. For us this means an agile approach from professionals who think innovatively about how to solve problems and overcome challenges. Proud Sponsor of the Brevard Music Center. Asheville | 828.254.2254 Assurance | Tax | Advisory | dhgllp.com

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Study with Longy's

new faculty

Strings Ole Akahoshi, cello Principal, Sejong Soloists Nicholas Tzavaras, cello Shanghai String Quartet Mikhail Veselov, cello Longy Alumnus, Neave Trio Anna Marie Williams, violin Longy Alumna, Neave Trio Jessica Bodner, viola Visiting Faculty Artist, Parker Quartet

Winds Carlos Cordeiro, clarinet loadbang Cobus Du Toit, flute Antero Winds Clint Foreman, flute Boston Symphony Orchestra Sergio Pallottelli Director of Flauti Al Castello Michael Norsworthy, clarinet Principal, Boston Modern Orchestra Project William Lang, trombone loadbang

Voice Jeffrey Gavett, voice loadbang Sandra Piques Eddy Metropolitan Opera

Longy.edu/apply

New Ensembles-inResidence Horszowski Trio Neave Trio Juventas New Music Ensemble

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new location

60 E MAIN

828.862.4700 DOWNTOWN BREVARD ddbullwinkels.com

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Marco

Trattoria Italian Mediterranean-style Restaurant

WOOD OVEN PIZZA PASTA NIGHTLY SPECIALS HEALTHY SALADS PANINI ESPRESSO EXTENSIVE WINE LIST SPIRITS & BEER OUTDOOR DINING COMMUNAL TABLE LOCAL ART Downtown Brevard â&#x20AC;¢ 204 West Main

828.883.4841

www.marcotrattoria.com Join us on Facebook.

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BREVARD MUSIC CENTER

DISTINGUISHED SERVICE AWARD The Community of Champion Hills

Maurine Bagwell

John and Barbara Lawless

Harold Watsky

The community of Champion Hills in Hendersonville, North Carolina has been giving back to Brevard Music Center for more than 20 years, hosting an annual Gala to benefit BMC’s Student Scholarship Fund. Typically held in June each year, the Gala evening includes performances by selected Music Center students in front of an audience of more than one hundred enthusiastic friends. The Champion Hills Gala is that community’s longest running fundraising event, and has contributed more than $500,000 to the Music Center to support hundreds of our students since the inaugural Gala took place in the home of Maurine and Ken Bagwell in the summer of 1994. The Champion Hills Gala was born from a desire to raise awareness for Brevard Music Center’s Summer Festival, and to raise funds to support student scholarships. Ken Bagwell was not wealthy growing up, but he did have the opportunity to connect with music as a drummer in a band. He often noted that music inspired him. When he recognized the talents of the students of BMC, he wanted to help provide them the same opportunity to grow. The Bagwell’s were the driving force behind the event for twelve years until Ken’s passing. Barbara and John Lawless, long time Brevard Music Center patrons and supporters, took the reins, immediately became immersed in the “BMC experience” (John served on the BMC Board of Trustees), and continued to lead a committee of Champion Hills community volunteers for the next ten years. Under the Lawless’ leadership, the 2013 20th Anniversary Gala was–and remains–the most financially successful of these events. Before the start of the Music Center’s 80th Anniversary Season in 2016, Barbara and John left Champion Hills to move closer to their children and grandchildren, and passed the Gala mantle to Harold Watsky. Under Harold’s watch, and with a number of new and enthusiastic committee members joining him, the 2016 Gala was the best attended in the event’s history. Over more than twenty years, through changes in the community make up and transitioning volunteer leadership, the goodwill, generous spirit, and commitment to BMC’s mission and students demonstrated by Champion Hills residents remains constant!

DISTINGUISHED ALUMNI AWARD

Timothy Pitts, BMC Alumnus, 1974, 1975, 1976 Brevard Music Center honors an exceptional musician as the recipient of this year’s Distinguished Alumni Award. Timothy Pitts has distinguished himself as one of the most versatile double bassists of his generation. As a soloist, chamber and orchestral musician, he has been heard at many of the world’s greatest concert halls and festivals. A dedicated educator, his students can be found among the ranks of the finest ensembles around the globe. Mr. Pitts's orchestral career began as a member of the Cleveland Orchestra after which he was appointed Principal Bass of the Houston Symphony, a position he held for seventeen years. Mr. Pitts also served as Principal Double Bass of Boston’s Handel and Haydn Society, and the Boston Pops Esplanade Orchestra under the direction of John Williams. Mr. Pitts is currently Professor of Double Bass at Rice University’s Shepherd School of Music. Formerly on the faculty of the Oberlin Conservatory, he also teaches and performs at the Montecito Music Festival, is on the artist faculty of the Beijing International Music Festival and Academy, and regularly appears in concert series and festivals throughout the world.

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260 Joree Lane / Brevard, NC 28712 828 862 4550 office / 828 553 7298 mobile arnaudin@comporium.net arnaudinarchitect.com

"Boat Barn" for Green River Adventures; Saluda, NC

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THE PETRIE SCHOOL OF MUSIC

Creativity That Works More than 100 years of making great careers in music! Bachelor of Music Degrees • Music Education • Music Performance • Music Therapy • Composition Bachelor of Musical Arts • Contemporary Music (Media Applications) Bachelor of Arts in Music • Accomodates double majors Certificate Programs • Performance • Music Business • Arts Cognition CO-ED Master of Music Degrees: • Music Education

Learn more! converse.edu/PetrieSchool 150

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Dare to be Significanttm

The School of Music is located in central Florida on the historic DeLand campus of Stetson University. Visit stetson.edu/music, where you can learn more about our outstanding programs and the audition process, listen to our brilliant musical performances and schedule a campus visit.

800.688.0101 â&#x20AC;˘ stetson.edu/brevard 2017 Summer Institute & Festival

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BREVARD MUSIC CENTER ASSOCIATION

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The Brevard Music Center Association (BMCA) is a volunteer organization devoted to supporting the Music Center through fundraising and supplemental staff services. Since 1979, BMCA volunteers have donated their time, talent and resources in support of the talented young musicians who attend the Music Center each summer. Working behind the scenes in a wide variety of responsibilities, as well as during concerts and at special events, BMCA’s 200+ volunteers support BMC wherever they’re needed, applying themselves with energy and commitment to the Brevard Music Center. Volunteer activities are not limited to the summer music festival season. In fact, some of our committees are active year-round. To learn more about BMCA, or to volunteer, call 828-862-2124. A friendly volunteer will be happy to help you! These generous volunteers provide countless hours to assist BMC with a multitude of important tasks. Janis Allen Jill Anderson Ann Arnold Bill Arnold John Baldrige Marilyn Baldrige Cade Baldwin Jennifer Baldwin Dennis Bartt Paul Bennett Dick Benson Tina Benson Larry Berridge Beth Best Chuck Blunt Gail Blunt Beryl Bradley Elda Brown Barbara Burkhart Carl Burkhart Jeanne Byrne Tom Byrne Carol Carrano Dan Carter Jane Carter Toni Casciato Marsha Casey Jane Chandler Lucille Chaveas Peter Chaveas Ken Chepenik Leslie Chepenik Jack Christfield Mary Scott Christfield JoAnn Clemmer Ronald Clemmer Bob Cole Karen Cole Penny Colman-Crandal David Crandal Jane Credle Carole Deddy Jane DeMartini Tom DeMartini Elaine Deppe Dorne Dietsch Maggie DiRocco Kathy Dobrowski

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Dick Dobrowski Christine Eastus Nancy Elliott Anthony Fast Lorraine Fink Kris Fulmer Barbara B. Gannon Kathy Garofalo Mike Geremia Shirley Geremia Bunny Goar Anita Goldschmidt Lois Grabowski Ann Grant Joyce Greame Wanda Gregory Allen Haas John Hadacek Kris Hadacek Roberta Hallinen Geri Hambley Joe Hamrick Alan Harms Janet Harms John Harrington Sandy Harrington Anne Harris John Harris Karen Hayward Bob Hayward Karen Henegar Peggy Hill Richard Hill Gillian Hillman Sherry Hine Cary Hitchcock Tonja Hitchcock Judith Hodges Karen Hollinger Greg Hunter Jeanne Hunter Paula Hunter Evey Huntington Lynda Hysong Donna Ingram Molly Jenkins Morris Jenkins Bill Johnson

Kevin Jones Julia Kennerly Patrick Kennerly Bob Keyes Trisha Keyes Mary Douglass Kimble Doug Knapp Wendy Kotowski Michelle Lamb Treese Lawlis Laura Ledford Jim LeGere Martha LeGere Marilyn Lockhart Bill Lovejoy Joan Manfre Penny Mann Ruth Marcus Sandy Marcus Buddy Marines Carol Marines Shirley Martin Mark Marvell DeLane McAlister Mike McCarthy Laurie McDowell Jane McKeown Robert McKeown Harriette McLain Mike McLain Lee McMinn Carol Miller Marie Miller Kathleen Milligan Robert Milligan Mary Kay Mills Bill Moore Marion Moore Gordon Neale Mundy Neale Fran Newby James Newman Jennifer Newman Mary Northover Jim Null Sue Null Marilyn Oberembt Jim O'Neal

Sue O'Neal Fran Opresko Greg Opresko Janet Paduhovich Joni Pavlik Ray Pavlik John Peil Ronnie Peterman Linda Randall Bill Raspa Donna Raspa Kate Reinke Tom Reinke Katinka Remus Rod Remus Joe Resor Kay Reynolds Bill Robertson Jane Robertson Michel Robertson Jim Robinson Patrice Robinson Rachel Rogers Michael Rosenthal Nancy Rosenthal Jim Roubion Penny Roubion Joy Ryder Bennie Santistevan Sayre Santonelli Betty Schenfield Christine Schmidt Bob Schmidt Dorothy Semans Marshall Seymour Lou Shelley Mike Shelley Donna Shreve Stan Shreve Linda Sierra Murphy Smith Martha Snow George Stanton Pat Stanton Barb Steadman Carolyn Steele Ginny Steiger Ann Strother

Lynne Sullivan Susan Sunﬂower Carole Taylor Frank Taylor Chet Terry Bob Tharpe Linda Thompson Ron Thompson Linda Threatte Deborah Tibbetts George Tibbetts Aleta Tisdale Keitha Todd Joan Toepfer Sandy Tooman Susan Toscani Georgiana Ungaro Carolyn Van Ness Twighla Voglesong Harriet Walls David Warinner Sandra Whitmore Chris Williamson Margo Williamson Joyse Witheridge Jude Wolf Jean Woods Barbara Wright Martha Wright Penny Yount Paul Yount Debra Yunker Don Ziegler

BMCA BOARD

BMCA Executive Committee President 1st Vice President 2nd Vice President Secretary Board Advisor Past President BMC Liaison Committee Chairs Beautification Communications/ Newsletter Concessions Facilities Harmony Gifts Hospitality Mailings & Deliveries Membership BMCA Office Ushers Welcome Center / RafďŹ&#x201A;e

Michel Robertson Ginny Steiger Susan Toscani Elaine Deppe Linda Thompson Penny Roubion Sara Jerome Linda Thompson & Barbara Burkhart Mark Marvell & Michel Robertson Susan Toscani & Kris Fulmer Bob Schmitt Ginny Steiger & Penny Mann Janis Allen & Mike McCarthy Wanda Gregory & Linda Thompson Elaine Deppe & Karen Cole Linda Thompson Sandy Tooman & Jeanne Byrne Mark Marvell & Linda Randall

BMCA Board of Directors

To learn more about BMCA, or to volunteer, call 828-862-2124.

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Supporting The Arts For 40 Years

For Proven Professional Service, Call the Fisher Realty Team Brevard Office: 10 Park Place West | Straus Park Brevard, NC 28712 (828) 883-9895 | 800-634-5196 FisherRealtyNC.com Info@FisherRealtyNC.com

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Sapphire-Lake Toxaway Office: 17527 Rosman Highway Sapphire, NC 28774 (828) 966-9290 SapphireToxawayFisherNC.com SapphireToxaway@FisherRealtyNC.com

Shape your artistry. B O S T O N C O N S E R V AT O R Y. B E R K L E E . E D U

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NAMED AND ENDOWED CONCERTS

NAMED & ENDOWED CONCERTS The following are ongoing named and endowed performances that are supported by continuing donations, a dedicated endowment, or in recognition of a momentous contribution. JAN AND BEATTIE WOOD CONCERTO COMPETITION - JULY 2 & JULY 23 In 2001, second generation BMC trustee Beattie Wood and his wife, Jan, were recognized for their continued support of the Music Center with the naming of the annual concerto competition and concert. The competition is open to all fullsession instrumental students and is a highlight of the student experience. The Jan and Beattie Wood Concerto Competition finals will be held on Sunday, July 2. Winners will receive scholarships to the 2018 Institute and Festival, as well as the opportunity to perform with the Brevard Music Center Orchestra on Sunday, July 23, as part of the annual Soloists of Tomorrow concert.

PENDERGRAST FAMILY PATRIOTIC POPS - JULY 4 The Pendergrast Family Patriotic Pops concert was named in honor of a magnanimous gift to BMC’s endowment fund by Dr. William Pendergrast and his late wife Martha. The couple’s contribution to the Music Center also included the establishment of four family-named faculty chairs, as well as a chair honoring Henry Janiec, Artistic Director Emeritus. The Pendergrast children and grandchildren have been students at BMC. The annual Patriotic Pops concert celebrates America’s Independence Day with a musical extravaganza featuring patriotic favorites, including the rousing 1812 Overture with live cannon in the grand finale. Brevard Symphonic Winds is showcased in this explosive afternoon of family fun.

HINDA HONIGMAN MEMORIAL CONCERT BELOVED BRAHMS - JULY 7 Each summer, the Music Center presents a concert in memory of Hinda Honigman who served as president of The National Federation of Music Clubs (NFMC) from 1967 to 1971 and as a BMC trustee from 1966 to 1985. The National Federation of Music Clubs (NFMC) is an organization dedicated to music education and the promotion of creative and performing arts in the United States. The Brevard Music Center has a long relationship with the National Federation of Music Clubs, and has established an ex-officio position to the BMC board for the Vice President in charge of the Southeast Region of NFMC. Elaine Knight fills that position today. This year’s Hinda Honigman Memorial Concert on Friday, July 7, features conductor Matthias Bamert and violinist Liza Ferschtman with the Brevard Music Center Orchestra in an allBrahms program including Tragic Overture, Symphony No. 3, and Violin Concerto.

DON PASQUALE - JUNE 29 & JULY 1 Presented with support from

THE ZIMMERLI FAMILY OPERA ENDOWMENT The Zimmerli Family Opera Endowment was established in 2008 through a generous donation by Kurt and Nelly Zimmerli of Spartanburg, SC. This season, the performance of Donizetti's Don Pasquale is made possible in part by the Zimmerli Family Opera Endowment. The Brevard Music Center would like to express its sincere appreciation to the Zimmerli family for creating this lasting endowment, one that will provide educational opportunities and resources for exceptional young musicians for many years to come.

GINA BACHAUER ARTIST: KIRILL GERSTEIN LENINGRAD SYMPHONY - JULY 14 For over 30 years, the Brevard Music Center has annually featured one guest artist in a concert given in memory of Gina Bachauer, a celebrated pianist who appeared frequently at the Music Center. Bachauer understood the importance of nurturing young talent and often gave generously of her time to students. In 1980, a memorial fund was established through the generosity of Mr. and Mrs. Carlo Renzulli, longtime friends of Bachauer. The fund enables the Music Center to invite an internationally renowned pianist, such as Kirill Gerstein, to Brevard each year as the Gina Bachauer Artist. Multi-faceted pianist Kirill Gerstein has proven to be one of today’s most intriguing and versatile musicians. He will perform Shostakovich’s Piano Concerto No. 2, led by BMC Artistic Director Keith Lockhart.

BMC PIANO COMPETITION - AUGUST 1 Sponsored by THE ZIMMERLI FOUNDATION BMC’s annual piano competition is sponsored by The Zimmerli Foundation. BMC trustee emeritus Kurt Zimmerli and his wife, Nelly, have been supportive of the organization over many years—building facilities, establishing endowments, and making generous contributions. The piano competition is open to all full-session pianists. Students compete with a solo program of their choice, lasting 30 to 40 minutes in length, containing repertoire chosen from at least three style periods. Finalists compete publicly, and the winners are announced at the end of the public concert.

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The University of Tennessee School of Musicâ&#x20AC;&#x2122;s tight-knit community fosters a nurturing and transformative environment for you to explore the depths of your potential. Pursue your aspirations with confidence by joining the Volunteer family.

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Rediscover Tucked into the edge of the Blue Ridge Mountains, there’s a vibrant life care community where you’ll discover the freedom to follow your own path. Reimagine your future in the foothills. Call today to learn about our current offers and savings.

(888) 361-7706 | VisitActs.com/Overture COLUMBUS, NC

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Celebrating Our 65th Season!

2017 ~ 2018 Friday, September 22, 2017 ~ 8 PM

DOVER QUARTET Friday, October 27, 2017 ~ 8 PM

AMERICAN CHAMBER PLAYERS Friday, January 26, 2018 ~ 8 PM

CAMERATA RCO of AMSTERDAM Friday, February 23, 2018 ~ 8 PM

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER Friday, March 30, 2018 ~ 8 PM

SAINT LAWRENCE STRING QUARTET 828.575.7427

AshevilleChamberMusic.org

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GIVING OPPORTUNITIES

BREVARD MUSIC CENTER The Brevard Music Center is grateful for the continued financial support of individuals, foundations, and organizations that believe in inspiring and encouraging young people through music. About half the revenue needed to operate a successful institute comes from charitable donations from patrons, alumni, and friends.

ANNUAL FUND

The Brevard Music Center Annual Fund is the financial heartbeat of the organization. This Annual Fund provides vital support to every aspect of the Music Center. These gifts address important daily expenses such as faculty salaries, music and instrument rental, facility enhancements, and other expenses associated with keeping BMC healthy both now and in the future.

SCHOLARSHIP PROGRAM

Scholarship support is BMC’s single-greatest need. Currently, approximately $1.3 million is awarded each year to students based on merit and/or demonstrated financial need. Gifts to BMC’s scholarship program help ensure that these young musicians have the opportunity for study at the highest levels of professional development.

THE MAESTRO SOCIETY

Members of the Music Center’s Maestro Society give a contribution of $2,500 or more annually to support our daily life, and make a significant investment in our student education programs. During the summer festival, benefits include invitations to special events, complimentary preferred auditorium level parking, season-long access to The Maestro Society Lounge for entertaining on performance days, and more.

PLANNED GIVING

When you include the Music Center in your estate plans you are investing in future generations of serious musicians. A planned gift can take many forms, including a bequest in a will, charitable gift annuity, charitable remainder trust, charitable lead trust, life insurance, and retirement/IRA gift. Each form of planned giving has unique benefits. As you explore your long-term charitable and financial goals, our Development staff is available to discuss a variety of planned giving options that might be beneficial for both you and the Music Center.

ENDOWMENT

Endowment funds are invested and only the earnings from these investments are expended towards scholarships and other important initiatives. Each year a portion of these earnings are reinvested, ensuring that the fund retains its buying power over time. Endowment gifts strengthen the long-term financial security that is required to ensure high quality educational programs and artistic performances year after year.

SPONSORSHIPS

Becoming a sponsor is one of many ways individuals and businesses can support the Brevard Music Center. The Brevard Music Center offers a wide variety of partnership opportunities. Sponsorships are available for performances, special events, products and services, new artistic initiatives, and more. Sponsors are included in BMC marketing collateral and other media, gain access to a highly desirable demographic group, gain opportunities to entertain clients in BMC’s casually elegant environment, and much more.

OPERATIONAL NEEDS Student Scholarships Room and Board Faculty Salaries Guest Artists and Master Teachers Artistic Leadership Opera Productions Deans and Resident Advisors Facilities and Maintenance

Student Recruitment Staff Salaries Health Services Piano and Large Instrument Rental Music Rental and Purchase Marketing and Advertising Publications and Program Book

(828) 862-2121 • DEVELOPMENT@BREVARDMUSIC.ORG • BREVARDMUSIC.ORG 162

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Worship the Lord in the Beauty of His Holiness

I Chronicles 16:29b

St. Patrickâ&#x20AC;&#x2122;s Anglican Church The Rev. Nicholas Henderson, Vicar

Sundays

Bible Study 9:30 Holy Communion 10:30 With Hymns BCP 1928

Wednesdays Said Eucharist 12:15-12:45

828-687-0115 Hollingsworth Bldg. Suite 102 www.stpatricksbrevard.org 147 E. Main Street

@UGAMusic

COMMIT TO THE

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ANNUAL FUND CONTRIBUTORS

ANNUAL FUND CONTRIBUTORS Brevard Music Center is grateful to our generous supporters. The friends listed below have given contributions to our Annual Fund that provide a full third of the financial support needed to educate our students this season. We thank all of the individuals, foundations, businesses, and other organizations who help make the Brevard Music Center available to so many gifted and dedicated students. A list of commitments of $1,000 or more to our current Challenge Among Friends initiative can be found on page 17. The following represents gifts received from May 1, 2016 through April 30, 2017. FOUNDER'S CIRCLE ($100,000+) Jacquelyn and Bruce Rogow

CHAIRMAN'S CIRCLE ($25,000+) Betsy and Thomas Bolton The Chattooga Club Yvonne and Charles Goldsmith Dr. Falls L. Harris Mariam and Robert Hayes Charitable Trust National Endowment for the Humanities North Carolina Arts Council Dr. William J. Pendergrast Platt Architecture, PA The Estate of Elwood P. Safron Emily and Bill Searcy Charitable Trust The Estate of Margaret Goldsmith Rice Kurt Weill Foundation for Music Elisha and Jeffrey Zander

ARTISTIC DIRECTOR'S CIRCLE ($15,000+) T. Kenneth Cribb, Jr. Dennis and Preston Davitt Sandy and Bernard Fox Helen C. Gift Nancy Hicks Laurie and Douglas Ombres Inez and Bob Parsell Perkins Charitable Foundation Carole and Arthur Schreiber The Payne Fund

PRESIDENT'S CIRCLE ($10,000+) Anonymous (1) Sally and Doug Bailey Joan and Bruce Berryhill Kristine and John Candler Ruth Falck Martha R. Ingram Carlene S. Jerome Patti and Phillip Jerome The Jerome Family Linda and Warren Johnson Ruby Morgan and Douglas MacDonald Moore-Blanchard Funerals & Cremations, and Cathleen Blanchard RBC Wealth Management National Endowment for the Arts Lynn and Andy Reeves Valeria and James Robertson Skyland Automotive Nancy Crow Trentini Joella Utley Harriet and Ken Walls Patricia R. Webb Wells Fargo Foundation Dr. Charles and Teena Ellen Weiss

COMPOSER'S CIRCLE ($5,000+) Elizabeth and Bruce Baker Jane and Ed Bavaria Audrey and Robert Bayer The Beattie Foundation Bold Rock Hard Cider Emily and Doug Booth BP Solutions Broad Street Wines Jacob F. Bryan Susan Harrington Butts and Tim Butts City of Brevard Charlie Coker Claudia and Henry Colvin Conrad & Scherer, LLP Laura and George D'Angelo Eugenia and Robert Dowdeswell Mimi and Peter Elder A.S. Fendler Family Foundation Dr. and Mrs. William J. Fogle III Food Matters Market Carl and Sally Gable The GE Foundation The Ann and Gordon Getty Foundation Brenda Templeton and Dwight L. Guy William R. Hackney III Gail and William Hagler Sandy and John Harrington Stephen Hennessy Cheryl and Philip Leone Katie Loeb-Schwab and Mark Schwab Martha Washington Straus and Harry H. Straus Foundation Mary Ann and Robert McGarry Pam McIlhenny E. T. McLean Sally and James Morgens Morgens West Foundation Mr. and Mrs. Jonathan Nelson, for Congregation Beth Jacob Lynne and Will Nelson Ann Wallace and Bill Nichols Helen and Walt Peery Stephen Sosin and James Pegolotti SharonAnn and Robert Philip Kenneth O. Privat John and Linda Sarpy Fund Eleanor and Bert Schweigaard-Olsen Paulette Stewart-Johnson Transylvania County Government Transylvania County Tourism Development Authority Sybil and James Wells Bill and Betsy White Bruce F. White Jan and Beattie Wood Ruth Zehfuss and family

VIRTUOSO ($2,500+) Katherine and Blan Aldridge

Ione M. Allen Music Scholarship Kristin and William T. Alpert Denise Altay and Sean Collinsworth Donna and Dave Bailey Betsy O. Barefoot and John Gardner Sandra and John W. Barnett, Jr. Joe Blake Paula and David Bonner Ramona and James Bryan The Dan Cameron Family Foundation Dan and Jane Carter Gerri and Marshall Casse George Cecil Jane and William Chandler Beth Ann and Chris Chiles Pat and Charlie Clogston Wesley and Gayle Colby D2B1, LLC Mr. and Mrs. Jesse Colin Young Else Drusts Duke Energy Foundation Chuck and Edie Dunn Wes and Sandra Eastman Angie Edgell Nate and Sugie Einstein Jane and Ed Eudy Margo Evans Dr. J. Murray and Jerusha Barnum Fadial Libby and Guy Freeman Kate and Charles Gass Paul Komar and Teri Goodall-Komar Dr. and Mrs. Ken Graff Irene and James Granger Janet Gray Denise and Rick Guthy Elaine Harbilas Penelope and John Harbilas Clark and Joe Harrison Mark Harrison Doug and Sue Henderson Jean and Bill Holmes Lynn and Donald Hupe Ingles Ann Ives Whitfield Jack Rosemary and Rick Johnston Alice Keith Pfohl Knowles Patrick Lane Leslie C. Lathrop John and Barbara Lawless Robert S. Lawrence and Sue Rossman Samuel and Rhonnie Leder Lynda and Ronald Lipham Emiley and Keith Lockhart Mr. and Mrs. G. William Lohr, Jr. Susan Martin and Chris Floyd Dr. and Mrs. John Matheson Gerry and Beth Mayo Mary Lou and Mac McJunkin

Billie and Roy Messer Joseph Mihelick and Jerilyn Schaller Jack Millstein Margaret and Augustus Napier Ladene and Russell Newton Diane M.T. North, Ph.D. Oskar Blues Brewery Mary and Charles D. Owen, Jr. Reed and Jack Parker Perry N. Rudnick Endowment of The Community Foundation of Henderson County Martha and Robert Pierce Al Platt Mr. and Mrs. Erwin Prietz Teri and James Rahn Rose Wimsatt and Peter Reilly Joel Reynolds, in honor of Ken Lam Cherie Roberts Lindsay Robertson Michel and Bill Robertson Janie and Robert Sargent Beverly and Walter Seinsheimer Marjorie D. Severance Marshall L. Seymour Boone Smith Anne J. Stoutamire Linda and Ron Thompson Deborah and George Tibbetts Melba and Michael S. Tracy Anne and John Vance William H. Walker Walnut Cove Members Association Harold and Anita Watsky Carol and Harry Weinhofer Mark Weinstein and Susanne Marsee Cecily and Robert Wells Jaynie and Stanley Whitcomb Bob and Elaine Wilkerson Williams Diversity & Community Relations Joan Yarbrough Jill Zimerman

PRINCIPAL ($1,000+) Luanne Allgood John and Linda Austin Elizabeth Bates and Roy Penchansky Beverly-Hanks & Associates Anne M. and Stephen F. Black BP Foundation, Inc. Becky and Jim Bruening Candy and Malcolm Burgess Mary and James Burt Dr. and Mrs. John Caldemeyer Bena and George Cates Dr. James F. Chambliss and Dr. Elizabeth J. La Voo Lucille and Peter Chaveas Daniel E. Clouse Columbia Artists Managments, LLC

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ANNUAL FUND CONTRIBUTORS

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Martha and Walter Coursey Gwin and Robert Dalton Joan Davis Danita and Glenn Dickman Jan and Mary Dryselius Carver Farrar Robert Fearheiley First Citizens Bank - Brevard Floride Smith Dean Charitable Trust Vivian R. Frederick Kristine Fulmer Patty and Paul Gaeto Margaret Foreman and Lisa Gardner George and Elaine Goosmann Mr. and Mrs. B. Kelly Graves Bernard Groseclose Bill and Geri Hambley Harris Ace Hardware HI Foundation Hillary and William Hickman Gloria and Norman Hink Judith M. Hodge Gerhard E. Hoffmann Nancy and Joe Hunter Kathy and Jesse Jones Shirley and Richard Knight Claire and Richard N. Knowles Marietta and Walter Lacyk Betty and Felix Laughlin Florentine Liegerot and Charles Gerard Judy and Jim Lipham Rebecca and Lawrence Lohr Suzanne and Norman Macoy Anne Maliff Marco Trattoria Lorraine Marina The McAliley Endowment Trust John and Jane Maxwell Robert and Jane McKeown Amy and Nicky Monteith C. William Moody Rosalie and Neil Morris Jean and Charles Murphy Jennifer and James Newman Jewel and Shane Nichols Steve Owen & Associates Patricia and James Pernicano Pfizer Foundation Pisgah Forest Rotary Club Anton W. Plonner Linda Randall and Lee McMinn Raymond and Leilani Rasmussen Joseph T. Resor Donna Reyburn and Michael Griffith Manuel Reyes-Otalora and Elisabeth Illg-Reyes VJ and Jim Richey Susan and John Ruhl Nancy and Richard Senneff Phil and Lynne Seymour Sigma Alpha Iota Philanthropies, Inc. Holly and John Stagg Steelcase Foundation Dolores Treece Hugh Tucker and Paul Thomas Nenon M. Ujiki Patience D. Walker Diana and Andrew Watson Bethel and William Watt Ruth Waugaman Mary Ellen Long Way Beverley and James Whitten Dr. and Mrs. Stephen Wiener Sue Williams Stephanie A. Yoshida

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ENSEMBLE MEMBER ($750+) Laura Ball Ruth and Ron Billings Dr. B. Barbara Boerner Margaret W. Boggs Richie Wilkinson and John Bologni Janice and Joseph Boyd Bob and Karen Cole Roger and Marianna Habisreutinger Nancy and William Harger Dr. Evelyn Spache Huntington IBM Corporation Caroline E. Kicklighter Monica S. Kim Hanna Judge and Mrs. Robert L. Lobrano Retha and Ross Lynch Margaret T. MacCary Mary Jane Newland Manning and Preston Manning George McCleary Roberta and Jeff McKeever Dee Dee Perkins Kathy and Dave Perrett Veronica and Eugene Peterman Rod and Katinka Remus Debbie Rosenberg Marjorie Silber Chuck Smith Mr. Waddy Thompson and Mr. Charles Cosler Barbara W. Turner United Way Of Transylvania County Inc Beverly and Keith Wells Richie Wilkinson and John Bologni Timothy Williams

SOLOIST ($500+) Carol Attridge Charlotte Barry Michael Becker Elizabeth Best Penny and Paul Betters Annette Blum and James May Elizabeth Boyer Doris Anne Bradley Donna and Larry Bradner Carolyn and Edward Brann Sandy and Donald Brokmeyer Leslie and Chip Brown Becky and Jim Bruening Andrew and Emily Brunner Barbara and Carl Burkhart Susan and Jorge Cano Paulette and Joseph Cantey Carolyn Foundation Edith Cecil Russell N. Chappell Margaret Cherny Mrs Gilbert H. (Anne) Collings • Crushed Leaf Studio Marilyn and Leland Dill Carol and Sid Elliott Lorraine J. Fink Lawrence Fridkis Rhonda and Joseph Gaudino Carol and Allan Gerson Toby and Warren Gewant Nancy and Gary Gilchrist Carolyn Gordon-Loebig Dr. Gary and Mrs. Betty Greer Wyona and Thomas Hamby Eileen and Philip Hess Gayle and Ronald Hoverson Lynda and John Hysong Marge and Herbert Jarvis

Joia Johnson William and Sally Johnson Stewart H. Johnson Kay and Geoff Jollay Dr. David Kalwinsky Jay H. Kaplan Nancy and Alexander Kasten Kay and Alvin Keith Susan and Douglas Kish Lynn and Larry Klein Margareta and Albert Koch Julia Krebs and Roger Hux Rebecca and Arthur Lebowitz Mark and Sharon Lemelman Elaine and Jon Levine Diana and Tom Lewis June Litchfield Marilyn Lockhart Main Street Ltd. Linda and William Mashburn Annette Blum and James May Mary Alice and Jack McBrayer Pat and Martin McConnell Margaret and John Mellott Virginia and Henning Meyn Marie and Raymond Miller Roberta and Robert Miller Edmond Murphy National Federation of Music Clubs Southeastern Region Peggy and Robert Neal Helen and John Pape Roman L. Patrick, MD Kirsten and John Peterson Patricia and James Petillo Christina and Dung Phan Kathleen Piper Teed and Sadler Poe Dilshad and Jason Posnock Brenda and Richard Raab Karen Ramsaur Virginia Ramsey Lori E. Roberts William and Carolyn Robichaux Elizabeth Rodney Michelle and Robby Russell Mrs. Shirley H. Sarlin • Joseph Schrader Travis Smith Aleen Steinberg Jay Strunk The Beach Company Susan Toscani Dorothy and William Trotter Georgiana and James Ungaro Sarah Van Gunten Eloise J. Vibert Joseph Walc Carol Walker Jim Walker Elizabeth and David Weatherby Ms. Ruth Anne Weisenauer Jack White Diane and Howard Williams Ed and Mary Lou Wilson Leonard E. Wood Mary and Roy York Anne and Chad Zimmerman

ORCHESTRA MEMBER ($300+) Rachel and Elijah Alper Lirio Angelosante Anonymous Sue and Harold Aronberg Harriet and William Ball

Mrs. Mary Lou Barnes Deborah M. Barry • Linda and William Bath Ms. Nancy Beale Mr. and Mrs. Boyd C. Black Elaine and William Boyer Judy and Gary Breissinger David Brooks Dr. and Mrs. Stephen Brown Annette and Harold Bryan Nancy and Donald Buebendorf Linda and Charles Butz Susan Byron Pati and Nolan Carter Mrs. Dorothy Chapman Mary Scott and Jack Christfield Pat and Charlie Clogston Ann and Steven Cohen Frederick Cohn Susan M. Colvin Joanne and Michael Corbett Alida and Bob Cowan Linda and Joseph Cowart Elizabeth and Frank Creech David Crews Elisabeth and James Curwen Thomas S. Darnall Magruder Dent Elaine Turner Deppe Mitzi and Raymond Doumar Elizabeth Eagle Betty and Robert Edge Bettie and Van Edwards Valerie and Brian Fitzgerald Elaine T. Freeman Mr. James E. Gallagher, Jr. Kathleen and Lawrence Garofalo Laurence Glazener Norman Glick Ms. Laura Gossage and Mr. Keith Dragt Fred and Nancy Granros Debra and Allen Haas Richard A. Hartnig Bob Heilman Judy and Paul Hummer Yane and Duncan Hunter Jean Hurlburt Molly and Morris Jenkins Jackie and Bill Kalbas Mrs. Willa Kalman Pamela W. Kaplan Kay and Les Knight Dorothy L. Knowles Ken and Lin Kolb Dottie and Leo Kosiba Mariano F. LaVia Ms. Laura A. Ledford Martha and James LeGere Page and Mark Lemel Jackie and Don Linn Joseph P. Logan Rita and Alan Lollar Bill Lovejoy Rita and John Lowndes Barbara and Lee Mandell Ms. Pennny L. Mann Nancy and George Martin Mary Casey and Robert Matthai Patricia and Noel McDevitt Pat and Fred McGarrahan Tim and Sharon Mendelsohn Gary Morgan Mu Phi Epsilon Foundation Joseph M. Narsavage Tom Penn David N. Pfohl

ANNUAL FUND CONTRIBUTORS

ANNUAL FUND CONTRIBUTORS Phillip W. Py Isabel Richardson Deborah Richter and Carol Wilson David Roberts Lucy and Bob Rodes Vivian and Ron Rogers Spring and Jerrold Rosenbaum Penny and Jim Roubion Carol and James Smeaton Virginia Steiger Louise M. Stelling Juanita Swann-Gilbert Lois and Jerry Tannenbaum Nathalie and Donald Therien Susan Thomas Mary Ann and John Tiano Bonnie and Michael Vandegrift Harriett and John Vanderschaaf Mr. and Mrs. R.A. Vanmeter Cally J. Vennare Rosemary and Ian Wedderspoon Jean and George West Monica and Bruce Williams Ms. Barbara Worrell Tom Young

CURTAIN RAISER ($125+) Linda Albright Carole and Keith Albyn Nancy C. Albyn Aliant Energy Ruth A. Allen Ken Anderson Mr. Daniel Angerstein Angerstein Organ Works Ltd Anonymous Sheila and Beryl Anthony AON Foundation Matching Gifts Program Dan and Eleanor Armstrong Ann Baker Marilyn and Jack Baldrige Gerry and Jan Barbour Corinne and Manuel Barboza Margaret Bashkin Lois E. Baumann Kathleen Bellizio Dr. Judi Berson-Levinson and Steven Z. Levinson Martha and Clarke Blackman Don Bliss Joan and David Bloom Ms. Barbara Bolt and Ms. Karen Clarke Mary Bostick and Loren Huber Jay Bouton Phillip Bray Martha and Edwin Bridges Margaret E. Bridges Martha Bridges Donna and Richard Brown Nancy Bryant Mary Kay and Patrick Buhrke Elizabeth Buie Frank Byrd Peggy C. Cabe Ellen and Dan Campbell Nolly Cantey Elizabeth and Walter Cantrell Cantey and Bill Carpenter Carol and John Carrano Nancy Moore Carson Alexander Cash Margaret C. Caughman Julie Chavez Karen Clarke

JoAnn and Ronald Clemmer Daniel E. Clouse Chloe and William Coger Susan Collins Mr. and Mrs. Bernard Y. Conyers, Sr. John Cooledge Ms. Elinor Cotts Elizabeth and Frank Creech Richard and Pat Crull Henrietta and Alvin Cuttler Fern Dahlke and Joe Tessmer Terry and Max Dajnowicz Matthew Dalton Margaret and Russ Dancy Robert O. Davidson Henry M. Davis Judy and John Davis Ronald L. Davis Mary Decker Cynthia and John Deliman Frank Dennis Frederick Dent Judith Dewar Dorne J. Dietsch Magdalena and Michael DiRocco Carol and Jim Dolan Frank D. Eckelmann Elizabeth and Robert Edgerton Betty and Calvin Edwards Peggy and David Ellis Jeanette and George Erdman ExxonMobil Foundation Ray Fahrmeier Ms. Mary Fair Jean and Richard Fallis Barbara Lubin Felt and Henry Felt Jon Ferguson Mr. John H. Field Fisher & Philips, LLP Arthur G. Fisher Howard and Carol Fisher Robin and Jerry Fishman Linda Fitzhugh Robert Folger Judith and George Frey Elizabeth and John Gardner Harold P. Gauthier Christine Glaser

Florence W. Godfrey Anita Goldschmidt Nancy Goyette Lois Grabowski Caroline and Angus Graham Selby Gration John Green Wanda and Jack Gregory Barbara and Rudy Griffin Harriet Hamilton Lynn S. Harding William T. Harper Billy Lee Harris Jan and Doug Hart Linda Wofford Hawkins Patricia Hawkins and Fred Petersen Karen and Robert Hayward Michael Heaney Mr. John K. Helbling Montine and Dan Hensley Thomas B. Higerd Mr. Steven Hindin Cary Hitchcock Tonja L. Hitchcock Katherine and Carey Horne John Y. Howard Mary Bostick and Loren Huber Stanley Ingber Thorunn and David Ivey Elizabeth Lynn and George Ivey John R. Jackson Paula and Warren Jackson Lucia and Edgar Jaycocks Becky Johnson Ruth S. Johnson Sandy and Dorcas Jones Libby and Roger Jones Michelle Y. Jones Lynn and David Joyce Gerda Moore Kahn Connie Keeney Leslie and Jerome Keir Peter King Sandra and Bruce Kirkman Richard Kleinmann and Nancy Foltz Susan G. Klopp Sara and William Knochel Mr. and Mrs. E. William Kobernusz

Peter Krieger Charles F. Kropp Michael D. Kuhne Dr. Albert Kunze Debra and David Lachter Allison Landes Rita E. Landrum Sam Landrum John R. Lauritsen Law Office of Marlene Gonzalez, PLLC Howard Levine Elizabeth Rivers Lewine Russell Lewis Irene and Richard Lindgren Ronald Lindsay Debbie and Albert Loeb Cathie and Walter Long Ruthanne M. Lucius Tatiana M. Luck Mr. John C. Luzena Joan and Malcolm MacDonald Mr. Ross Magoulas Joan and Allen Manfre Mary L. Manley Nell Manning Marlene and Edward Martin Hal and Nancy Martin Jim Martin Dr. Shirley Davis Martin Jane and Bill Mason Tony Mazurkiewicz Susan and Roger McCann Calahan McCarthy Harry and Sande McCauley Carol and Hugh McCollum J. Samuel McKnight Lesley and Ian McLachlan Harriette and Michael McLain James H. McMillan and Carol H. Kaufman Carol and Ronald Medinger Linda Melrose Mr. Alan Mercaldo Eleanor and Alan Mercer Merck Gives Back Marcia Millar Edna Ruth and Vernon Miller Kathleen and Robert Milligan

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LIFETIME GIVING SOCIETY

ANNUAL FUND CONTRIBUTORS

BREVARD MUSIC CENTER Vernetta and Michael Milts William S. Mitchell Charles Moore Frank W. Morrison Richard D. Murphy Marilyn Mustapick Don and Sarah Lee Myracle Neil Nelson Phyllis Nesbitt Dorothy and Bernard Newton Don C. Niehus Sonja Nielsen Michele Noel William F. Noll Suzanne and James Null Marilyn and Bernard Oberembt James O'Neal Susan O'Neal Linda Osborne Lee Sarah Otis Robert Overstreet Robert Pace Marie G. Park Howard N. Parks Mr. Ira Pearce and Dr. Mary B. Pearce Lisa and Roy Pease Mary Ellen and Jeff Pendergrast Lynne and Tom Penn Patricia Hawkins and Fred Petersen Joanna and Michael Petrie Gratia and David Pratt Matthew Price

Brida M. Smith Caroline Smith Mary and Stanley Smits Jeanne and Robert Speight Judy and Paul Spencer Patricia and George Stanton Jerry and Bronwen Starnes Esther and Gordon Start Ms. Carolyn Steele James Stewart Marcia and Robert Stoner Zee and Marshall Stuart Mary Jane Swanson Jim E. Symington Phil and Joan Szczepanski Carole and Frank Taylor Karen and Chuck Tessier Nancy and Jim Thompson Kevin Thurston Roger Hill Timpson Jim Titus Joan H. Toepfer Peter Trapp Susan Trapp Alden G. Valentine Cally and Raymond Vennare Pat Van Voorhis Helen and Harold Voris Erika and Andrew Wagner George Wagner and George Hellyer Barbara and John Walker James McKendree Wall

Mary Claire and Dan Wall Marion and Richard Washer John Watson Adair Watters David Watters Don Weidemann Lloyd Weinerman Terrell Weitman Karen Whitley Douglas Whitney Ron and Kathie Whittemore Mr. Robert J. Wilder Julie Wilder-Sherman Ellen W. Wilkins Roy Williams Leslie and Ronald Wingard Diane and Aubrey Woodard Sherry and Brian Woods Richard M. Woodward Martha J. Wright Josie Wyatt and Bert Simon Barbara and Thomas Young Dr. Noel and Roxanne Zusmer • Deceased

The Lifetime Giving Society honors the following individuals and organizations making cumulative contributions of $100,000 * or more to further the educational and cultural programs of the Brevard Music Center. Their gifts have had a lasting impact on all facets of the Music Center’s mission: underwriting major guest artists, renovating and building facilities, and supporting scores of projects and programs, all while making BMC accessible to countless numbers of students and patrons. The Brevard Music Center expresses its heartfelt gratitude to the enormous generosity of these supporters.

$1,000,000 +

Brevard Music Center Association J. Mason Wallace, Jr. Irrevocable Trust North Carolina Arts Council Dr. William J. Pendergrast, Sr. The Estate of Elwood P. Safron Betty A. Scott • Mrs. J. Douglas Sykes, Jr. •

$750,000 +

John S. Candler Josie Renzulli • Jacquelyn and Bruce Rogow Joella Utley Jan and Beattie Wood

$500,000 +

The Estate of William G. Boggs Emily and Doug Booth The Estate of William and Nannelle Burt Mrs. William I. Burt Nannelle P. Burt Charitable Remainder Trust The Cannon Foundation The Champion Hills Community Frederick B. Dent Ruby Morgan and Douglas MacDonald Barbara • and Elwood • Safron Mrs. Emily Searcy •

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Mary Ramey Mrs. Ronda Respess Judith Roberts Susanne Rolland Richard Dale Murphy and Jean W. Ross Ellen W. Rothman Michael D. Rothman John L. Rourke Lorraine Rourke Dawn Rouse Michael Sartisky Ruth and Jacques Sartisky Foundation Bennie M. Santistevan Linda and Robert Schaet Ronald Schleich Patricia Schonauer Mary D. Scott Carol Sedgwick Joyce and Steve Seelinger Dorothy Semans Joyce W. Sharp Lou and Michael Shelley Dr. Arthur F. and Madlynn S. Shinn Mary Lou Shoemaker Lori C. Shook Linda and Ken Sierra Mr. and Mrs. Ronald Silverman Josie Wyatt and Bert Simon Jonathan Simon Wilson Sims Doris and Fred Singer Mr. John Skerrett

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Emily and Bill Searcy Charitable Trust Surdna Foundation Nelly and Kurt Zimmerli

$250,000 +

Citizens Telephone Company T. Kenneth Cribb, Jr. Estate of Richard H. Cushman Mary Helen • and James Dalton • Gwin and Robert Dalton Esther H. Dobbins • Dr. J. Murray and Jerusha Barnum Fadial The Estate of Mrs. Billie W. Gontrum Gail and William Hagler Falls L. Harris Mariam and Robert Hayes Charitable Trust Robert N. Hill III • Vivian S. Hoeppner The Janirve Foundation Barbara and John Lawless Frances J. Munk SharonAnn and Robert Philip The Rauch Foundation Charles E. Schooley • Nancy Crow Trentini Betsy and Bill White Lynn P. Williams

$100,000 +

Ione M. Allen Music Scholarship Martha Andrews • Mr. and Mrs. W.D. Bain, Jr. The Barnet Foundation Trust Margery + and Charles + Barnum Nancy Glass and John Belmont Joan and Bruce Berryhill George S. Betsill Joseph Blake • The Chattooga Club The Estate of Mrs. Gilbert H. Collings, Jr. • Mary C. Conner Revocable Trust Eugenia and Robert Dowdeswell Duke Energy Foundation Mimi and Peter Elder The Estate of Patricia K. Gibson First Citizens Bank - Brevard AJ Fletcher Foundation Marilyn and Larry Fogdall Betsy O. Barefoot and John N. Gardner The Ann and Gordon Getty Foundation William R. Hackney III The Estate of Helen C. Hanes Tracy and Tom Hannah Mary Adelaide Hester Nancy Hicks Intercollegiate Studies Institute Anne Irwin Don M. Jenkins •

Carlene Jerome Ewing M. Kauffman Foundation Mr. and Mrs. William G. Lohr, Jr. Audrey Love Charitable Foundation The Estate of Ruth H. Meinecke Laureen and Douglas Ombres The Payne Fund Valeria and James Robertson John and Linda Sarpy Fund Carole and Arthur Schreiber The Estate of Mary K. Scott The Estate of Marjorie Smiley Mrs. A. Robert Soehner • South Carolina Federation of Music Clubs Spartanburg County Foundation Dorothy Richard Starling Foundation Martha Washington Straus and Harry H. Straus Foundation Lynda and Carl Sykes Loretha and Paul • Thiele Kate and Mitchell Watson Patricia R. Webb Sue Williams Elisha and Jeffrey Zander The Zimmerli Foundation, Inc *as of April 30, 2017 • Deceased

ENCORE SOCIETY

YOUR LEGACY...OUR FUTURE: JOIN ENCORE SOCIETY TODAY! Now more than 80 years since our founding, Brevard Music Center is stronger because of the thousands of patrons, parents, faculty, contributors, volunteers, alumni, and others – just like you – who support our students each year with charitable gifts to our Annual Fund. Annual Fund giving allows us to preserve the excellence of the Music Center's programs; help maintain, restore, and construct facilities; provide necessary scholarship to students; and establish a financial safety net for our long term security. In addition to that ongoing partnership is the forethought of those who also choose to ensure BMC's future by remembering us in their estate plans. By establishing a planned gift today, the students who benefit from your generosity can personally give you thanks every day. There are many ways to give a planned gift. They come in all sizes and many different forms. We are happy to work with you and your financial advisors to explore the possibilities that exist to suit your specific interests and charitable objectives. The result can have tremendous tax benefits to you and your family, while helping the students at the Music Center in a very meaningful way. Just call us at (828) 862-2121 and speak with Dave Perrett, Director of Development.

ENCORE SOCIETY

If you have already included the Music Center in your plans, please let us know so that we may thank you and invite you to join our friends below in our Encore Society.

The Encore Society proudly recognizes and thanks these individuals who have expressed their commitment to helping ensure our future by remembering the Brevard Music Center in their estate plans. Ann Anderson Consuelo and Joseph • Arbena Harriet and William Ball Kathleen Bellizio Judy and Dennis Berman George S. Betsill Mildred Blaha • Dr. B. Barbara Boerner William G. Boggs, Jr. • Emily and Doug Booth John S. Candler Mrs. Gilbert H. Collings, Jr. Mrs. Edwin P. Collins Elizabeth Conger Mary C. Conner • Mrs. Dicksie Cribb • T. Kenneth Cribb, Jr. Richard Cushman • Gwin and Robert Dalton Marjorie Darken • Sara Rebecca Davenport Frederick B. Dent Robert Didiego Eugenia and Robert Dowdeswell

Selena Einwechter Jerusha and Murray Fadial Marilyn and Larry Fogdall John N. Gardner Laurence Glazener Hildegard H. Greitzke Gail and William Hagler Viva and George Handler Copey Hanes • Mary Adelaide Hester • Vivian S. Hoeppner Jean and William+ Hough Edith Howson • Ann Ives Debbie Klingender and John Allen Dorothy King • Alice Keith Pfohl Knowles Marietta and Walter Lacyk Mrs. John G. Landrum, Jr. Rita E. Landrum Bette and Clifford • Lathrop Barbara and John Lawless Ann and Morton Lazarus Marilyn and Newton • Lockhart

Donna Lohr Carolin and Gabriel • Lowy Robin and Robert Margeson Marcia Millar The Rev. Dr. Joe D. Mills • Sara Helen Moore Ruby Morgan and Douglas MacDonald Frances J. Munk Phyllis and Douglas + Nesbitt Ladene and Russell Newton Dr. William J. Pendergrast SharonAnn and Robert Philip Anca Pop, M.D. Donna Reyburn and Michael Griffith Lindsay Robertson Valeria and James Robertson Janie and Robert Sargent Mary Sauerteig • Jeannette and Robert Schmitt Carole and Arthur Schreiber Eleanor and Bert Schweigaard-Olsen

Doris and James Scoville Nancy and Richard Senneff Marshall L. Seymour Kirk J. Smith Isabel L. Studley Mr. and Mrs. Carl Sykes Mr. and Mrs. Robert Tharpe Nancy Trentini Joella Utley Irene and Tonny Van Der Leeden Stephanie Eller Vaughn J. Mason Wallace, Jr. • Kate and Mitchell Watson Patricia R. Webb Mark Weinstein and Susanne Marsee Betsy and Bill White Delmar Williams Lynn P. Williams Jan and Beattie Wood Joan Yarbrough Nelly and Kurt Zimmerli • Deceased

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“White Squirrel Radio” Listen Live anytime to the greatest hits of the ‘60s, ‘70s and ‘80s. Q102 is your source for all things happening in Transylvania County! 102.1FM 1240AM or online at www.wsqlradio.com

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GIFTS IN HONOR AND MEMORY

GIFTS IN HONOR & MEMORY Gifts were made in honor or memory of the following individuals from May 1, 2016 through April 30, 2017.

GIFTS IN HONOR In Honor of Dean Anthony Frank Morrison In Honor of Bruce and Joan Berryhill Bena and George Cates Calahan McCarthy

In Honor of Kraig and Janice Williams Jerome Norton In Honor of Jill Zimmerman Dr. Judi Berson-Levinson and Steven Z. Levinson

GIFTS IN MEMORY

In Honor of J. Joseph Brann Carolyn and Edward Brann

In Memory of J. Patricia Batcher Peggy McCord

In Honor of Martha Pendergrast Coursey Mary Ellen and Jeff Pendergrast

In Memory of William G. Boggs, Jr. Laurie and Kevin Casseday

In Honor of Dicksie Brown Cribb T. Kenneth Cribb, Jr.

In Memory of Nanelle P. Burt David Schelat and Grant Youngblood

In Honor of William T. Cribb T. Kenneth Cribb, Jr. In Honor of Frederick Dent M.D. Stuart In Honor of Bobby Dowdeswell Elizabeth Lynn and George Ivey In Honor of Falls Harris Nate and Sugie Einstein In Honor of Michael F. McAllister Elizabeth P. Cain In Honor of Bella Pascarella Giovanna Pascarella In Honor of Jacquelyn and Bruce Rogow Lucia and Edgar Jaycocks In Honor of Carole and Arthur Schreiber Shirley and Richard Knight In Honor of Nancy Trentini Dorothy and Bernard Newton In Honor of Gayle W. Wade Michelle Jones In Honor of Mary Eleanor Wall Mary Eleanor and James McKendree

In Memory of Dicksie Brown Cribb Cecil Amick J. Patrick Armstrong Lee Arnet H. Walter Barre Stephen W. Baker William Bean Martha and Clarke Blackman Holly Bomar W. Reed Brown Budweiser of Spartanburg John M. Bullard William H. Burton William Campbell Donna Cart Jean and George Case MacFarlane Cates Hazel and Charles Cauthen Elizabeth Chapman Robert H. Chapman Haidee Courson Ann and Dick Crenshaw John Cribb John Dargen Eugenia and Robert Dowdeswell John Dunbar George Dunn Dr. J. Murray and Jerusha Barnum Fadial Nora H. Featherston Charles Foster Elaine T. Freeman Fruit and Flower Gardeners Charlotte Gee Florence Godfrey

Ann Haar Roger and Marianna Habisreutinger Jean Hayes Gwendolyn T. Howell Karen Jackson Sarah Jackson Gerald Johnson Stewart Johnson Kirkland Johnston Jacob Krauss Carolyn Lutz Suzan Mabry James Meriwether Lee Sarah Otis Anne P. Perrin Angela Pickens Sara Lynn Postma L. Perrin Powell Nancy Rainey Carole and Arthur Schreiber Larry Shields George C. Todd Anne Wallace David Watters Adair Watters W. Lewis White Tommy Young Nelly and Kurt Zimmerli In Memory of Frank Davis Mariam and Robert Hayes Charitable Trust In Memory of May Ann Dilworth Fisher & Philips, LLP C. William Moody In Memory of Dr. W. Edmond Farrar Betsy and Herbert Edwards Carver Farrar Nancy Hicks In Memory of Jane and Katherine Gage Linda and John Sarpy In Memory of Dr. Herb Karp Margaret Bashkin

Arthur Goldberg Barbara and Peter Good Nancy Hicks Susan Kendall Dorothy L. Knowles Thomas Kwei Jim Orent Kathy and Dave Perrett Pamela Picard Sally Plair Janet Roe Grace Roy Amanda Severin and Randall Colaizzi Lissa Stolz Monica and Bruce Williams Winiker Music In Memory of James Gordon Bennett Medlock Nancy Hicks In Memory of Doug Nesbitt Phyllis Nesbitt In Memory of Evan Armstrong North Diane M.T. North, Ph.D. In Memory of Karen Northey Janna Steed In Memory of Dan Rodriguez Jon Ferguson In Memory of Mary Sihler Sauerteig Nancy and Harry Nicoll In Memory of Allan Stephens Jimmy Jones Alice Stephens In Memory of Patricia Tooley Chole and William Coger In Memory of Detlew Zander Annette Blum and James May

In Memory of Newton Lockhart Kristine and John Candler Columbia Artist Management, LLC Dr. J. Murray and Jerusha Barnum Fadial Ralph and Kathy Filson

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BREVARD MUSIC CENTER ENDOWMENT

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The Brevard Music Center gratefully acknowledges these friends who have established endowment funds that help ensure the long term financial security of our mission, and student education and scholarship programs. A named endowment fund can be established with a commitment of $25,000, and additional contributions can be made at any time and in any amount. The Music Center can assist you to find the area of need that best fits your philanthropic interests. To learn more about how you can establish a legacy of support to benefit future generations of students, please contact Dave Perrett, Director of Development at (828) 862-2121 or development@brevardmusic.org. William H. Alexander Scholarship Fund Mary Stewart Allan Memorial Scholarship Fund Hoyt and Susan Andres Scholarship Fund Martha West Andrews Memorial Scholarship Fund Arbena Family Scholarship Fund Gina Bachauer Artist Fund Valerie Barnet Scholarship Fund Capt. Charles N. and Mrs. Marguerite G. Barnum Scholarship Fund Robert Barr Memorial Scholarship Fund Martha G. Wooten and Phoebe N. Barstow Memorial Scholarship Fund George W. Blaha Memorial Scholarship Fund Ted Blanchard Memorial Scholarship Fund William G. Boggs, Jr. Landscape Fund Mr. and Mrs. Thomas C. Bolton Scholarship Fund Emily D. Booth Scholarship Fund Bill and Rebecca Boswell Scholarship Fund Dr. and Mrs. J. Kirven Brantley Scholarship Fund Brevard Music Center Alumni Association Scholarship Fund Brevard Music Center General Operations Endowment Fund Brevard Music Center Memorial Scholarship Fund Brevard Music Center Staff Scholarship Fund Brevard Music Center Association Scholarship Fund Brown-Dilworth Scholarship Fund Johnsie Burnham Memorial Scholarship Fund Burt Alumni House Maintenance Fund William I. Burt Memorial Scholarship Fund Candler Era Recognition Fund John and Linda Candler Scholarship Fund James and Stuart Cannon Scholarship Fund Carrier Memorial Scholarship Fund Regina Compton Fund Marie B. Connell Memorial Scholarship Fund Mary Conner Memorial Scholarship Fund Martha Pendergrast Coursey Flute Chair Janet E. Cushman Memorial Scholarship Fund

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Richard and Hope Cushman Scholarship Fund Mary Helen and James Dalton Fund Gwin and Robert Dalton Fund Jane Darnall Memorial Scholarship Fund Sarah Darnall Memorial Scholarship Fund Lee G. Davy Living Trust Floride Smith Dean Scholarship Fund Dent Operating Fund Mildred H. Dent Memorial Scholarship Fund Glenn Dicterow Visting Concertmaster Chair Michael DiGirolamo Scholarship Fund Robert W. and Esther H. Dobbins Scholarship Fund Temple Wood Dowdeswell Memorial Scholarship Fund Frances M. Drummond Memorial Scholarship Fund David Effron Principal Conductor Chair Frances Falvey Music Fund Marcus Francke Memorial Scholarship Fund General Operations Endowment Fund Winifred Bush Gibson Memorial Scholarship Fund The Thomas and Billie W. Gontrum Scholarship Fund Henry F. and Bailey R. Gould Memorial Scholarship Fund Helen C. Hanes Scholarship Fund Tom and Tracy Hannah Operating Fund Tom and Tracy Hannah Scholarship Fund James M. Harris Memorial Scholarship Fund Adelaide Canfield Hester Memorial Scholarship Fund Margy Hicks Opera Scholarship Fund Adelaide Van Wey Hill Memorial Scholarship Fund Cecil and Elizabeth Hill Scholarship Fund Dorothy Everett Hill Memorial Scholarship Fund Robert N. Hill Scholarship Fund Walter and Vivian Hoeppner Scholarship Fund Hoeppner-Scott Studio Maintenance Fund Hinda and Maurice Honigman Memorial Scholarship Fund Hinda Honigman NFMC Young Artists Fund Howse-Diemer Choreographer's Fund

Gilbert and Frances Hunter Scholarship Fund Mark R. Hunting Memorial Scholarship Fund Roger Hyde Memorial Scholarship Fund Janiec Family Fund Henry Janiec Chair Frithjoff Jensen Memorial Scholarship Fund Jerry Hart Jerome Memorial Scholarship Fund Louise Hughes Alexander Kane Memorial Scholarship Fund Keil/Willis Scholarship Fund The John Allen and Deb Klingender Professional Development Endowment Fund for Students Willis and Jacquelyn Kuhn Memorial Scholarship Fund Walter and Marietta Lacyk Scholarship Fund John G. Landrum, Jr. Memorial Scholarship Fund Jennie Aiken Laurens Memorial Scholarship Fund Elizabeth Crudup Lee Memorial Scholarship Fund Keith and Emiley Lockhart Scholarship Fund Lowy High School Flute Scholarship Fund John Richards McCrae Opera Fund John Richards McCrae Memorial Scholarship Fund Sadie R. McCrae Memorial Scholarship Fund Duane and Peggy McKibbin Scholarship Fund Ruth H. Meinecke Operating Fund Eleanora W. Meloun Operating Fund David Meyers Brass Studio Fund David W. Meyers Memorial Scholarship Fund Vera S. Milner Memorial Scholarship Fund Anne Griffin Moore Memorial Scholarship Fund Mu Phi Epsilon Composer-in-Residence Fund Frances and Alfred Munk Building Maitenance Fund North Carolina Scholarship Fund Dr. Charles and Nell Aiken Newland Fund Ladene Herring and Russell Emrich Newton, Jr. Scholarship Fund Betty Ann Page Memorial Scholarship Fund

ENDOWMENT

Harry Palmer Scholarship Fund Pendergrast Concertmaster's Chair Pendergrast Family Fund Pendergrast Horn Chair Martha Aiken Pendergrast Scholarship Endowment W. Jefferson Pendergrast, Jr. Percussion Chair Walter Linwood Pendergrast Double Bass Chair James Christian Pfohl Memorial Scholarship Fund Mary Ada Poole Student Activities Fund Lewis and Marion Powell Memorial Scholarship Fund Rabinoff Memorial Scholarship Fund Elizabeth M. Randolph Scholarship Fund Ruggiero Ricci Artist Chair Sylvia Richter Scholarship Fund Dr. Julius and Barbara M. Sader Scholarship Fund Elwood and Barbara Safron Scholarship Fund John and Mary Sauerteig Scholarship Fund Mary Nell Saunders Memorial Scholarship Fund

Frederic A. and Stine J. Schaffmeyer Scholarship Fund Scott Musical Theatre Fund Mary K. Scott Memorial Fund Richard and Betty Scott Scholarship Fund Searcy Pavilion Maintenance Fund Emily B. Searcy Operations Support Fund Emily B. Searcy Scholarship Fund Francis and Marjorie Smiley Scholarship Fund Rose Thomas Smith Scholarship Fund Robert and Louise Soehner Scholarship Fund James Pegolotti and Stephen Sosin Scholarship Fund Marta Spoel Memorial Scholarship Fund Sykes Faculty Residence Fund Sykes Family Preservation Fund J.D. and Naomi Sykes Memorial Scholarship Fund Paul C. Thomas Memorial Scholarship Fund Elaine C. and Robert T. Thompson Scholarship Fund Eva McDonald Timmons Memorial Scholarship Fund Elizabeth Clarke Tindal Scholarship Fund Nancy Crow Trentini Scholarship Fund

Joe R. Utley Trumpet Chair Joe and Joella Utley Scholarship Fund Therese van der Heyden Memorial Scholarship Fund Ruth Treiber Rauch Voice Study Program Fiori Vollrath-Smith Fund J. Mason Wallace General Operations Fund Harriet Hutchinson and Kenneth Wallace Walls Fund Lucille Parish Ward Opera Chair Caroline M. Warnell Memorial Scholarship Fund Nat F. White Music Scholarship Fund Wilkinson Family Faculty Fund L. Neil and Sue S. Williams Scholarship Fund Wood Family Concerto Competition Fund Wood Memorial Fund M. Beattie and Jan Wood Fund Eileen Wylie Memorial Scholarship Fund Yarbrough Master Teacher Fund Catherine Abbott Yon Memorial Scholarship Fund Zimmerli Family Opera Presentation Fund Zimmerli Piano Competition Fund Zimmerli Scholarship Endowment

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2017-2018 Season

Thomas Joiner, Music Director & Conductor

*Awarded by Trip Advisor 2017

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September

9, 7:3 0

October 21, 7:30 p.m.

March

p.m.

Dec 3:00 ember 9 & 7:30 p.m .

, 7:30 p.m. 24, 2018

8, 2018, 7:30 April 2 p.m .

hendersonvillesymphony.org (828) 697-5884

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2017 SEASON

Classic Nashville Roadshow Smokey Joe’s Café A Tuna Christmas Annie The Dixie Swim Club Joseph & the Amazing Technicolor Dreamcoat Music of the Night: The Songs of Andrew Lloyd Webber Amadeus Little Shop of Horrors Dial M for Murder Flat Rock Playhouse Christmas Spectacular

828.693.0731

FLATROCKPLAYHOUSE.ORG

music @RUTGERS UNDERGRADUATE AND GRADUATE DEGREES INCLUDE: BM, BA, MM, MA, AD, PHD, DMA

BE INSPIRED: Study with faculty from the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera Orchestra, and New Jersey Symphony.

AREAS OF STUDY: Classical performance, composition, conducting, jazz studies, musicology, music education

BE CHALLENGED: Music conservatory training within a large public, Big Ten research university.

PLUS: Summer Camps | Extension Division Nondegree Courses | Online Courses WWW.MASONGROSS.RUTGERS.EDU

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BE ENGAGED: Over 15 performance ensembles with opportunities to perform in New York City and abroad.

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A Perfect Orchestration OF LOCALLY OWNED BUSINESSES

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The Grove Arcade offers over thirty locally owned shops, restaurants and essentials. Open Daily ~ One Page Avenue ~ Downtown Asheville 828.252.7799 ~ www.grovearcade.com

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2017 End of the Season

STEINWAY & SONS BOSTON and ESSEX UPRIGHT & GRAND PIANO SALE

BREVARD MUSIC CENTER - August 11, 12 & 13 Selection is limited. - Call for information.

1-888-845-3896 www.pianosalebrevard.com

“Great selection & prices! Well worth our drive.” S.E., Greenwood “Love our new piano! Wish we had understood how practicing on a quality piano could make such a difference.” C.T., Ellenboro 190

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“Our church purchased a beautiful Steinway grand. Glad we discovered the sale!” Washington Baptist, Greer “Thank you! Thank you! A wonderful buying experience!” T.H., Hendersonville

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ADVERTISERS INDEX

ADVERTISERS INDEX 35 Degrees North Landscape Services ............ 193 Altavista Wealth Management ................................32 Asheville Chamber Music Series ....................... 161 Asheville Citizen-Times .......................................... 173 Asheville School ........................................................... 2 Bed & Breakfast on Tiffany Hill ............................189 Billy Harris.................................................................188 Biltmore .....................................................................160 Biltmore Beacon......................................................150 Bold Life .................................................................... 176 Bold Rock Hard Cider .............................................24 Brevard College .........................................................20 Broad Street Wines..................................................... 7 Brumit Restaurant Group/Arby's .........................180 Capital at Play ..........................................................186 Carnegie Mellon University ......................................21 Case Brothers of Spartanburg. ...........................190 Cleveland Institute of Music ................................. 178 College Walk Retirement Community ................ BC Connestee Falls Realty .............................................24 DePaul University .................................................... 163 Dixon Hughes Goodman LLP ............................. 143 Domokur Architects ...................................................29 Dugan's Pub................................................................24 Eastman School of Music .................................... 182 Edward Jones ...........................................................20 Fisher Realty.............................................................154 Flat Rock Playhouse ..............................................180 Florida State University-School of Music .............20 Food Matters Market .............................................. 192 Furman University....................................................144 Givens Highland Farms ......................................... 176 Greenville News ..................................................... 170 Grove Arcade...........................................................184

Hampton Inn ............................................................. 177 Heart of Brevard .........................................................28 Hendersonville Symphony .................................... 176 Hendersonville Times-News .................................150 Highlands-Cashiers Chamber Music ....................40 Indiana University Jacobs School of Music ..........33 Jacksonville University ...............................................32 Jerome and Summey Insurance Agency ........... 187 Kent State University ................................................32 Key Falls Inn ............................................................. 147 Kiwi Gelato ............................................................... 181 Longy School of Music of Bard College ...........144 Lynn University Conservatory of Music .................41 Main Street Ltd ........................................................144 Marco Trattoria ......................................................... 147 Mason Gross School of the Arts, Rutgers University ...................................................180 Mayberry's - Just Good Food ..................................14 Moore-Blanchard Funerals & Cremations ......... 161 Mountain Xpress ..................................................... 181 New Leaf Garden Market ...................................... 142 Oskar Blues Brewery ................................................35 Our State Magazine ............................................... 172 Pad Thai .................................................................... 147 Pavillon Treatment Center .....................................164 Peabody Conservatory of The Johns Hopkins University .................................................. 170 Petrie School of Music, Converse College ......150 Platt Architecture, PA .............................................146 Professional Videography by Henry Felt ............149 Quixote ..................................................................... 167 RBC Wealth Management ................................... 195 Rocky's Soda Shop/ DD Bullwinkel's ................ 145 Skyland Automotive ................................................194

Sora Japanese Restaurant & Sushi Bar ............ 143 St. Patrick's Anglican Church .............................. 163 Steinway & Sons ..................................................... 191 Stetson University School of Music .................... 151 Steve Arnaudin Architect ......................................149 The Boston Conservatory ..................................... 155 The Falls Landing .......................................................14 The Haen Gallery .................................................... 143 The Laurel Magazine of Highlands ...................... 175 The Laurel of Asheville ..............................................14 The Matt & Molly Team ..........................................164 The Square Root Restaurant................................149 The Sunset Motel ....................................................164 The University of Georgia, Hodgson School of Music....................................................... 163 theophilus ....................................................................25 Transylvania County TDA .........................................15 Transylvania County TDA ......................................156 Transylvania Times ................................................. 185 Tryon Estates ..........................................................159 University of Tennessee School of Music ..........158 WCQS ...................................................................... 179 WDAV ........................................................................ 183 Wells Fargo .............................................................. 153 WHKP ....................................................................... 176 Wine Down on Main .............................................. 161 WNC Magazine .........................................................11 WSQL ....................................................................... 170 WTZQ ....................................................................... 181

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