Tuesday Musical – September 24, October 10, 30 Concerts

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Jason Vieaux & Adam Barnett-Hart: Tuesday, September 24

Akron Legends of Jazz & Dance: Thursday, October 10

October Octets: Wednesday, October 30

132nd Season 2019-2020

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Wednesday, October 30

MainStage series

October Octets Dover & Escher string quartets Thursday, November 21

Fei-Fei, piano Tickets in advance & at the door.

Single MainStage concerts start at $25. All Fuze tickets $45. New MainStage subscribers save 50%.

Flex Packages also available.

Free for all students.

Only $15 for their parents/ chaperones. Details at tuesdaymusical.org/education.

Elevate your experience.

Meet the talented musicians during Concert Conversations in EJ’s Flying Balcony Club at 6:30 before most concerts. Enjoy intimate seating and libations as you get to know the evening’s performers.

Tuesday, February 25, 2020

Academy of St. Martin in the Fields with virtuoso violinist Joshua Bell Saturday, March 21

Augustin Hadelich, violin with the Canton Symphony Umstattd Hall, Canton Tuesday, April 14

Junction Trio

Conrad Tao, piano; Stefan Jackiw, violin; Jay Campbell, cello

132nd season — 2019-2020 7:30 p.m. at Akron’s EJ Thomas Hall unless otherwise noted.

330-761-3460 tuesdaymusical.org

Thursday, October 10

Akron Legends of Jazz & Dance Verb Ballets & Chamber Music Society of Ohio celebrate jazz pianist Pat Pace & Ohio Ballet choreographer Heinz Poll.

Experience Poll’s Excursions set to Pace’s score with live music, and more.

Tuesday, January 21, 2020

FUZE series Venezuela’s Gabriela Montero examines the immigrant experience in Westward.

Gabriela Montero’s Westward Gifted pianist/composer improvises the soundtrack while we watch Charlie Chaplin’s short film: The Immigrant. Plus, Rachmaninoff, Prokofiev & Stravinsky.

Wednesday, April 22

Ann Hampton Callaway’s Jazz Goes to the Movies One of the best jazz singers of our time pays tribute to Hollywood love songs.

Fuze concerts in January & April at Stage Door of EJ Thomas Hall.

Club seating on stage. Cash bar.

EJ Thomas Performing Arts Hall—The University of Akron Tuesday, September 24, 2019, 7:30 p.m.

Jason Vieaux, guitar

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Adam Barnett-Hart, violin

Jacques Ibert selections from Histoires (1890-1962) (arr. Gebauer) 1. un peu allant 2. avec une tranquille bonne humeur 5. lent et plaintif 8. un peu vite 9. d’un petit pas egal et monotone 10. dans un mouvement libre et brillant George Frideric Handel Violin Sonata in D Major, HWV 371 (1685-1759) (arr. Poxon) Johann Sebastian Bach Fuga from Violin Sonata No. 1 in G minor, BWV 1001 (1685-1750) (arr. Vieaux) Manuel de Falla selections from Siete Canciones Populares Españolas (1876-1946) El paño moruno Nana Jota Canción Polo INTERMISSION Barbara Kolb (b. 1939)

Umbrian Colors

Eugène Ysaÿe (1858-1931)

Sonata No. 5 in G major, Op. 27 for solo violin

Astor Piazzolla L’histoire du Tango (1921-1992) Bordel 1900 Cafe 1930 Nightclub 1960 Concert d’aujourd hui Brook Speltz, cellist with the Escher String Quartet, led our Concert Conversation with tonight’s musicians. Presented at 6:30 p.m. in EJ’s Flying Balcony Club before most Tuesday Musical concerts, Concert Conversations entertain, educate and engage our audience members. The conversations are supported this season, in part, by the Laura R. and Lucian Q. Moffitt Foundation.

Generous support for this performance and related education/community engagement activities comes from Akron Community Foundation’s C. Comery Gibson Polsky Arts and Culture Fund and John A. McAlonan Fund, as well as from other foundations, corporations and individuals listed elsewhere in this program.

Among Tuesday Musical’s season supporters:

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The Artists Jason Vieaux, guitar

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rammy-winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo.

Jason Vieaux has performed as a soloist with more than 100 orchestras in the United States and abroad. Additional recent and future highlights include performances at Caramoor Festival as Artist-in-Residence, Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, the National Gallery of Art, San Francisco’s Herbst Theatre, Buenos Aires’ Teatro Colon, Amsterdam’s Concertgebouw, New York’s 92Y, Ravinia Festival, Domaine Forget International Festival, Carmel Bach Festival, and many other distinguished series.

A first-rate chamber musician and programmer, he frequently collaborates with artists such as the Escher Quartet, harpist Yolanda Kondonassis, accordion/bandoneon virtuoso Julien Labro, and violinist Anne Akiko Meyers. His passion for new music has fostered premieres by Jonathan Leshnoff, Avner Dorman, Jeff Beal, Dan Visconti, David Ludwig, Vivian Fung, José Luis Merlin, Mark Mancina, and more.

He has received a Naumburg Foundation top prize, a Cleveland Institute of Music Distinguished Alumni Award, GFA International Guitar Competition First Prize, and a Salon di Virtuosi Career Grant. His primary teachers were Jeremy Sparks and John Holmquist. Vieaux was the first classical musician to be featured on NPR’s “Tiny Desk” series.

Vieaux’s latest CD release, Dance (Azica), with the Escher Quartet, includes works by Boccherini, Castelnuovo-Tedesco, and Aaron Jay Kernis. Later this season, he will release a new solo Bach album on Azica. Additional recordings include Jonathan Leshnoff’s Guitar Concerto with the Nashville Symphony Orchestra (Naxos); Jeff Beal’s “Six Sixteen” Guitar Concerto with the Norrköping Symphony Orchestra (BIS); Infusion (Azica) with accordionist/bandoneonist Julien Labro; Ginastera’s Guitar Sonata, which is featured on Ginastera: One Hundred (Oberlin Music) produced by harpist Yolanda Kondonassis; and Together (Azica), a duo album with Kondonassis.

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In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an interface that provides one-on-one online study with Vieaux for guitar students around the world.

In 2011, he co-founded the guitar department at the Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival.

Vieaux has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001.

Jason Vieaux plays a 2013 Gernot Wagner guitar with Augustine strings. For more information, visit www.jasonvieaux.com.

Adam Barnett-Hart, violin

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dam Barnett-Hart is the founding first violinist of the Escher String Quartet. As a BBC New Generation Artist, the quartet recently completed its final recording project in London and returned to Wigmore Hall following its successful debut there in February 2012.

The group’s tours in Europe include a date with the prestigious Agence de concerts et spectacles

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Cecilia in Geneva, its Austrian debut in Eisenstadt, and concerts at several UK festivals including Paxton and Gregynog.

The quartet’s releases include the complete Zemlinsky Quartets on Naxos and the complete Mendelssohn Quartets on BIS. As a soloist, Adam Barnett-Hart made his debut with the Juilliard Symphony at age 19, performing the Brahms concerto in Alice Tully Hall. He has since performed with such orchestras as the Colorado Symphony, the Wichita Falls Symphony, the Riverside Symphony, the Colorado Music Festival Orchestra, the Boulder Philharmonic Orchestra, and the Jefferson Symphony. He is a touring member of the International Sejong Soloists.

He was a top prizewinner in the 2001 and 2002 Irving M. Klein competitions in San Francisco.

He began studying with Pinchas Zukerman after graduating from The Juilliard School, where he completed his bachelor’s degree with Joel Smirnoff. Prior to Juilliard, he studied with James Maurer, Paul Kantor, and Donald Weilerstein.

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com·mu·ni·ty

The performing arts bring vitality and notoriety to Northeast Ohio, especially when the work of world-renowned individuals and groups are on display. Like you, we are invested in the region's arts community and media coverage of events both in print and online are important to our readers. Join us in celebrating the Tuesday Musical Association's 2019-20 season.

Akron Beacon Journal/Ohio.com Join us and subscribe today at ohio.com/subscribenow

A GateHouse Media Publication America’s largest publisher of community newspapers AK-SPAD0903112244

EJ Thomas Performing Arts Hall—The University of Akron Thursday, October 10, 2019, 7:30 p.m.

Akron Legends of Jazz & Dance: Pat Pace & Heinz Poll Verb Ballets Daniel Cho, Emily Dietz, Kelly Korfhage, Lieneke Matte, Antonio Morillo, Ben Shepard, Kate Webb, Hunter Hoffman, Noe Iwamatsu, Julie Russel, Ashley Forché, Natalie Hollopeter, Betsie Schaeffer Chamber Music Society of Ohio Eric Charnofsky, piano Matt Dudack, percussion Aidan Plank, double bass George Pope, flute (original member of Excursions ensemble) Amitai Vardi, clarinet Nathan Walhout, cello Susan Wallin, soprano

Stellar Syncopations (2019 Premiere) Choreography: Kate Webb Music: Pat Pace, Excursions Lighting Design: Adam Ditzel Costume Concept: Kate Webb

Excursions (A Ballet)...................................... Pat Pace I. Opening...................................................... (1930-2006) II. Allegretto III. Waltz IV. Scherzo V. Lydian Patterns VI. Rondo VII. Interlude VIII. Variations IX. Closing Daniel Cho, Emily Dietz, Kelly Korfhage, Lieneke Matte, Antonio Morillo, Ben Shepard, Hunter Hoffman, Noe Iwamatsu, Julie Russel, Ashley Forché, Natalie Hollopeter, Betsie Schaeffer George Pope, flute Eric Charnofsky, piano Amitai Vardi, clarinet Aidan Plank, double bass Matt Dudack, percussion PAUSE

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Shéhérazade Retold (Premiere 2019) Choreography: Loretta Simon Helms Music: Maurice Ravel; Shéhérazade Costumes: Janet Bolick Lighting Design: Adam Ditzel Shéhérazade ................................................. Maurice Ravel

....................................................................... (1875-1937) Shéhérazade Kate Webb The Last Woman Lieneke Matte Chorus Kelly Korfhage, Antonio Morillo Julie Russel, Hunter Hoffman Emily Dietz, Ben Shepard Susan Wallin, soprano

George Pope, flute

Eric Charnofsky, piano

20-MINUTE INTERMISSION

Rococo Variations (1993) Choreography: Heinz Poll Staged by: Richard Dickinson, MFA Music: Pyotr Ilyich Tchaikovsky, Variations on a Rococo Theme Original Lighting: Thomas R. Skelton Lighting Adaptation: Adam Ditzel Costume Design: A. Christina Giannini

Variations on a Rococo Theme, Op. 33......... Pyotr Ilyich Tchaikovsky ....................................................................... (1840-1893) Kelly Korfhage and Ben Shepard Emily Dietz and Antonio Morillo Noe Iwamatsu, Lieneke Matte, Julie Russel, Kate Webb Nathan Walhout, cello Eric Charnofsky, piano

Premiered by Ohio Ballet on November 12, 1993, at EJ Thomas Hall in Akron. By permission of Richard Dickinson, MFA. Dr. Margaret Carlson, Producing Artistic Director of Verb Ballets, and George Pope, a member of the original “Excursions” ensemble and co-founder of the Chamber Music Society of Ohio, presented this evening’s Concert Conversation. Offered at 6:30 p.m. in EJ’s Flying Balcony Club before most Tuesday Musical concerts, Concert Conversations entertain, educate and engage our audience members. The conversations are supported this season, in part, by the Laura R. and Lucian Q. Moffitt Foundation.

Tuesday Musical, EJ Thomas Performing Arts Hall, and the Akron Civic Theatre are partnering with the Autism Society of Greater Akron to develop accommodations for individuals with disabilities at this performance. The collaboration was made possible in part by the Akron Community Foundation’s “On The Table” grant toward diversity, inclusion, and equity in our community.

Among Tuesday Musical’s season supporters:

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The Legends Pat Pace, composer/piano 1930-2006

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kron first became smitten by a boy with perfect pitch in 1937, when the Akron Beacon Journal published a photograph of a short, smiling, dark-haired musician proudly straddling his shiny accordion above his little legs.

At seven years old, this young virtuoso played on the national radio broadcast of Major Bowes Amateur Hour in New York City.

Host Edward Bowes would showcase young talent he picked from all over the country, and during the show people would call in to vote for their favorite performer. As he prepared to play, little Patsy Pace spoke into the microphone: “I said my prayers all day so now I guess I’ll play good.”

Play well he did indeed. He won the contest by a landslide, with 9,843 voters calling just from Akron alone.

Pat Pace was born Pasquale Pace in Akron’s North Hill neighborhood on February 19, 1930, to Sicilian immigrants Vincenzo and Josephine Pace. From the age of seven until his death at age 75, he was destined to be in the spotlight, for better and for worse.

In addition to radio, one of his earliest introductions to music was from his Uncle Tony who played the accordion. At age four, he began to play notes on the accordion himself. He became a child prodigy by the age of six, playing better than his uncle and learning hundreds of songs.

As Pace described it: “I just knew when the notes were wrong. I was just born with it. It was this talent, and I feel that it would be a betrayal of this talent not to let it happen.”

After showing so much promise with the accordion, Pace was guided toward taking piano lessons. While attending North High School, he continued to practice piano and organized several bands, even though his family did not encourage his interest in jazz and improvisation. After the family moved to West Akron, he attended Buchtel High School and graduated in 1947.

He auditioned for the Juilliard School of Music in New York City and was awarded a scholarship.

There, he would study composition with Vincent Persichetti, an American composer, pianist, 12

writer, and important musical educator.

Attending school in New York, Pace was able to absorb and experiment with all of the different kinds of music that he loved, including jazz, though he was being trained as a classical performer. While studying piano at school, he would play in jazz clubs on the side. Before his final year at Juilliard, while playing at a summer resort in the Catskills, he was introduced to heroin. For Pace, this was the beginning of a battle with drugs that would last more than 20 years.

He graduated from Juilliard in 1950 and returned to northeast Ohio, but by then his life was driven by supporting his habit.

He rarely missed a show, yet his life spun out of control. His future became one of multiple arrests, probation, and prison terms, all related to drug charges.

Newspapers followed him throughout his life, publishing all the details.

Eventually, Pace began educating himself about treatments during a time when there wasn’t much help available for addicts. He read articles and began talking with physicians. In the mid 1960s, he learned about methadone and became one of its earliest advocates.

Many regarded Pace’s years of narcotic use as “robbing” him of his talent, but the music inside him never stopped. His dedication to his work was intense and he was determined to share this talent with his friends and his community. He continued to compose, writing complex musical pieces performed by the Akron Symphony Orchestra, the Cleveland Philharmonic, and in venues throughout the United States.

Describing his music to an Akron Beacon Journal reporter, he said: “There is American jazz influence in everything I do, and I think my music is full of European styles too. I can almost hear myself when I play as an amalgamation of everything I’ve ever studied or heard. I use it all.”

Returning to Akron permanently in 1970, he was ready to settle into his own quiet environment. Pace treasured this time to himself with his music. He went on to compose, make recordings and play in quiet clubs and hotel lounges. He remained active, teaching piano in tuesdaymusical.org ■ 330.761.3460

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Cleveland and at The University of Akron. In his last years, he also taught piano from his private studio at home.

Like a few other contemporary Akron-raised celebrities, he chose to come back, saving the best part of his talent for us. As he expressed in one interview: “I’ve been asked so many times, ‘Why don’t you go to New York or Las Vegas?’

Why? Why should I go to Las Vegas? That doesn’t represent anything to me. I would think that people would come out and appreciate my talent right here in Akron.”

— Mary Plazo, Special Collections Division Manager, Akron Public Library. Reprinted with permission from the library’s Past Pursuits newsletter in 2015.

Heinz Poll, choreographer 1926-2006

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einz Poll is best known as the founder, choreographer, and artistic director of Ohio Ballet, a dance company that was called a “gem” and “the best news in dance” by critics in Boston and New York.

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Based at The University of Akron, Ohio Ballet toured 44 states and several countries, including Italy and Mexico, often performing some of the 60-plus works that Heinz Poll created for his dancers during his 31-year tenure.

Born in Oberhausen, Germany, in 1926, Poll was a champion ice skater before he became a dancer. His experience on the rinks imbued him with a love of speed that he expressed in his athletic baroque ballet, Cascade (1985). During World War II, he served in the German Navy and nearly lost his toes to frostbite.

After the war, he studied dance at Jooss’s Folkwang School in Essen, began his professional career at the Municipal Theatre in Goettingen and became a principal dancer with the Berlin State Opera Ballet. There, he played the prince in the classics and developed an abiding distaste for 19th-century fairytale ballets.

The only story ballets he choreographed for Ohio Ballet were Saastras (1973), The Match Girl (1983), and Jungle Book (1996).

In 1951, Poll escaped the oppressive communist regime in East Germany and immigrated to South America, where he joined

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The Legends the National Ballet of Chile as a dancer, ballet master and teacher. The company’s tradition of bringing serious programs to indigenous people in remote mountain villages served as the model for Ohio Ballet’s Summer Festival of free outdoor performances.

In 1962, Poll joined Ballet de Jeunesse Musicales de France as ballet master. Two years later, he came to the United States as a guest artist with the Chilean company. He performed in the American Dance Festival the following summer and stayed in New York to teach at the National Academy of Dance.

In Akron, he developed Ohio Ballet into one of America’s most polished, respected, and widely traveled chamber dance troupes.

Poll’s idiom was neoclassical, his style lyrical, his forte the plot-less ballet. A chameleon and a sponge, he absorbed influences from a wide variety of sources, including choreographers Kurt Jooss and George Balanchine, and dancers Dore Hoyer and Fred Astaire.

The element that consistently sparked Poll’s creative juices was music. His taste ranged from baroque concertos to commissioned scores. He set ballets to works by Bach, Handel, Debussy and Ravel. He choreographed pops pieces to recordings by Benny Goodman and David Sanborn.

The music closest to his heart, however, was written by 19th-century European romanticists.

Among his finest works were Summer Night (1974) to Chopin, Schubert Waltzes (1975) and Scenes from Childhood (1977) to Schumann.

Besides creating the bulk of Ohio Ballet’s repertoire, Poll acquired choreographic

gems from 20th-century neoclassical and modern dance masters. He also gave creative opportunities to company dancers, and he commissioned works from leading contemporary choreographers.

Poll was awarded the Association of Ohio Dance Companies Award in 1983, the Cleveland Arts Prize in 1995, and the Ohio Arts Council’s Governor’s Award in 1999.

After his retirement, he traveled the world and bequeathed his best ballets to 10 former Ohio Ballet dancers. He also completed his memoir, A Time to Dance, edited by his friend and Ohio Ballet colleague Barbara Schubert and published by The University of Akron Press in 2008. In a distinctive voice both pungent and charming, he told the compelling story of how a teenager forced to spend the last two years of World War II in the German Navy eventually wound up directing a dance company in Akron, Ohio.

With determination and uncompromising artistic ambition—and with the indispensable help of his partner, Thomas Skelton, a veteran Broadway lighting designer—Heinz Poll turned an eight-member student ensemble, the Ohio Chamber Ballet, into the fully professional and widely acclaimed Ohio Ballet.

Through all the unexpected twists of his adventurous life, one constant is clear: Heinz Poll’s total dedication to dance.

— written by Wilma Salisbury and reprinted with permission from the Cleveland Arts Prize website archive.

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The Artists Verb Ballets

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erb Ballets, a contemporary ballet company celebrating its 32nd anniversary, performs each summer for the Heinz Poll Dance Festival in Akron.

Under the direction of Dr. Margaret Carlson, Producing Artistic Director, and Richard Dickinson, MFA, Associate Artistic Director, the company ignites passion in the energy, beauty, and athleticism of dance. It presents dynamic programming through bold artistry, unique styles, and technical excellence that captivates a broad audience.

Verb Ballets also cultivates dance appreciation and nurtures wellness through movement in community dance classes, school residencies, senior outreach, library programs, master classes, and college course partnerships.

Dance Magazine has named Verb Ballets one of “Five Great Tiny Troupes in America” and one of the “25 Dance Companies in America to Watch.”

Now based in Shaker Heights and one of the oldest dance organizations in Cleveland, Verb Ballets is proud to produce high caliber work and connect with communities across a four-county reach. More at verbballets.org.

Dr. Margaret Carlson, Producing Artistic Director, has worked nationally and internationally as a performer, teacher, choreographer, and arts administrator. Dr. Carlson was an original member of the Cleveland Ballet, serving as a Principal dancer from 1972-1983.

Also a member of Actors Equity, she performed in numerous musical theatre tours throughout the 1970s, including Sweet Charity, Ballroom, How to Succeed in Business Without Really Trying, Brigadoon, Mame, Hello Dolly! and The Merry Widow. For many years, she choreographed for the Cleveland Opera. Dr. Carlson served as Director of the School of Dance at the University of Akron from 1985-1993. In 1993, she became Dean of the School of Dance at the Hong Kong Academy for Performing Arts, until she returned to Cleveland in 1999. She then served as the Development and Education Director for the Cleveland San Jose Ballet. She consulted both nationally and locally through her company, Carlson Consulting Group, Inc., with expect great music

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The Artists groups that have included The American Dance Guild, Chinese Performing Artists of America, Les Ballets Trockadero de Monte Carlo, Ohio Ballet, Dancing Wheels, Ohio Youth Ballet, Ohio Conservatory of Dance, Tom and Susana Evert Dance Theatre, and White Cloud Studios. Dr. Carlson founded the American Alliance of Dance Artists and served as its first President. She has served as a Board member and officer for DANCECleveland, the Cleveland Ballet Council, the American Dance Guild, the Council of Dance Administrators, the Hong Kong Ballet, the Hong Kong Dance Company and The Hong Kong Jockey Club Music and Dance Fund. She served as the secretary of the International Organization for Transition for Professional Dancers, a subcommittee of UNESCO, based in Switzerland from 1998-2006, and was Treasurer and Board member of the American Dance Guild in NYC and was its vice-president for 10 years. Dr. Carlson currently serves on the board of trustees of Cleveland Dance Movement, Cleveland Chamber Symphony and Fairmount Center for the Arts.

She is known for her work as the regisseur for the works of Ian (Ernie) Horvath and is currently

involved in the film about his life, called No Dominion: The Ian Horvath Story. She received her doctorate from Durham University in the United Kingdom.

Richard Dickinson, MFA, Associate Artistic Director, is a former dancer with Ohio Ballet.

Dickinson’s association with that company began in 1988. He later became ballet master and director of company touring. Dickinson was also a soloist with Boston Ballet for eight years. At age 15, he joined the Pasadena Dance Theatre and was awarded a National Endowment for the Arts Emerging Choreographer Award for a work premiered by the same company. He performed in the PBS television production of Frankie and Johnny with the Chicago Ballet and danced principal roles in Asian, European and American tours with Rudolf Nureyev and the Boston Ballet.

In addition to his professional work, Dickinson had an extensive dance career including principal and soloist roles at Chicago Ballet, Honolulu City Ballet, and various regional companies.

Previously, he served as Artistic Associate for Hubbard Street Dance Chicago and as Artistic Director of Ballet Western Reserve, Great Lakes

EXPLORING Perspectives 2019-2020

THINK OUTSIDE THE (MUSIC) BOX!

THE SPEEDBUMPS with the Canton Symphony 9.28.19

GRIEG’S Piano Concerto 10.12.19

SYMPHONIC Storytelling 11.9.19

www.cantonsymphony.org 330.452.2094 16

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Festival Ballet, and Chamber Dance Theatre.

He has also directed Boston Ballet II and has a master of fine arts degree in contemporary dance from Case Western Reserve University.

Emily Dietz, dancer, grew up in Mountain View, California, receiving most of her training at Western Ballet under Alexi Zubiria. She attended summer programs with ABT, Gelsey Kirkland Academy of Classical Ballet, Colorado Ballet, and American Repertory Ballet. She continued her dance education at Butler University, graduating with a BS in dance arts administration in 2016.

During her time at Butler, she performed in ballets such as Sleeping Beauty and Swan Lake and toured with Butler Ballet to Poland, Slovakia and the Czech Republic. Following graduation, she has danced professionally with City Ballet of San Diego and American Contemporary Ballet, where she danced in repertoire such as Betsey Wistrich’s Raymonda, Balanchine’s La Source, and Geoff Gonzalez’s Four Seasons. She joined Verb Ballets in 2018.

Kelly Korfhage, dancer, a native of Cleveland, began her training at age 10 under Joanne H. Morscher and Ana Lobe. She attended summer intensives at ABT Detroit, Central Pennsylvania Youth Ballet, BalletMet, Cincinnati Ballet, and North Carolina Dance Theatre. She furthered her dance education at the University of CincinnatiCollege Conservatory of Music as a Corbett Award scholarship recipient and graduated cum laude with a BFA in ballet performance. Following graduation, Kelly became a two-season member of Kansas City Ballet’s second company, KCB2, expect great music

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ASH LEY BO U D ER

Daniel Cho, dancer, is a first-generation Korean-American who was born and raised in San Francisco, California. He graduated with a BA special major in dance and education from Swarthmore College. He received his training from Point Park Conservatory, the Laban Conservatoire in London, the Ballet X Summer Intensive, the San Francisco Conservatory of Dance, and the Coastal City Ballet in Vancouver, British Columbia. Cho is a recent graduate of the Alonzo King LINES Ballet Training Program, where he had the pleasure of performing works

by Alonzo King, Angela Dice Nguyen, Sidra Bell, Shannon Gillen, Alex Ketley, Gioconda Barbuto, Maurya Kerr, and Gregory Dawson. He joined Verb Ballets in 2018 and has been featured in such works as Mowgli’s Jungle Adventures.

PROJECT an expose on ballet style

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The Artists where she had the opportunity to perform with the company in repertoire such as Septime Webre’s Alice (In Wonderland) and Adam Hougland’s Rite of Spring. She joined Verb Ballets in 2016 and has been featured in works such as Andante Sostenuto and Schubert Waltzes.

Christina Lindhout, dancer on leave of absence, from Mansfield, Ohio, started training in dance at age 5 at Opus II Dance Studio under the direction of Hellie Schussler. She became a member of Opus II’s pre-professional company, Ashland Regional Ballet, in middle school and remained with them throughout high school.

She spent summers training at the Orlando Ballet School, Magnus Midwest, American Ballet Theatre, and BalletMet Columbus. Upon graduating magna cum laude from high school, Christina accepted a traineeship at BalletMet under the direction of Edward Liang. While at BalletMet, she had the opportunity to perform in many professional works with the company, including The Nutcracker, Swan Lake, Symphony in C, and Carousel. She joined Verb Ballets in 2014 and has been featured in works such as Bolero and Laura’s Women.

Lieneke Matte, dancer, grew up in the Bronx and received her early training at Ballet Tech and the School of American Ballet. She then attended Fiorello H. La Guardia High School for the Performing Arts in New York. Lieneke studied for a semester at the Western Australian Academy of Performing Arts and graduated summa cum laude with a BFA in dance from SUNY Purchase College in May of 2013. There she also received the President’s Award for the dance conservatory.

She has performed in works by George Balanchine, Paul Taylor, Lar Lubovitch, Merce Cunningham, Martha Graham, Nicolo Fonte, Nicholas Villeneuve, and Xiao-Xiong Zhang.

Lieneke was also a dancer in the documentary No Dominion: The Ian Horvath Story, which included re-stagings featuring dancers from Verb Ballets, Pacific Northwest Ballet, The Joffrey Ballet, Boston Ballet, and Ballet Tucson. She joined Verb Ballets in 2013 and has been featured in works such as Duet and Laura’s Women.

Antonio Morillo, dancer, is a first-generation Cuban-American who was born in Orlando, Florida. He received his associate of arts in dance performance degree from Valencia College and

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his BFA in dance performance from the University of South Florida. He has performed with the Patel Conservatory’s Next Generation Ballet as well as Tampa City Ballet. He has performed works

by Jon Lehrer, José Limón, Alonzo King LINES Ballet, Robert Moses’ Kin, and Maurice Causey.

He joined Verb Ballets in 2016 and has been featured in works such as Andante Sostenuto and Aposiopesis.

Ben Shepard, dancer, began dancing in Annapolis, Maryland, and trained with Ballet Theater of Maryland, as well as attended summer programs at The Washington School of Ballet, The Kirov Academy, and Central Pennsylvania Youth Ballet. He then continued his training and education on a full-tuition scholarship at Butler University, where he graduated with a bachelor of science degree in arts administration and dance.

He was as a guest artist during his time at Butler with Ballet Theater of Indiana, performing the role of Gurn in La Sylphide as well as Dr. Seward in Dracula. While performing with Butler Ballet, his favorite roles were Rothbart in Swan Lake, The Flower Cavalier in The Nutcracker, a soloist in Viva Vivaldi by Gerald Arpino, and the Second

Movement Soloist in George Balanchine’s The Four Temperaments. He joined Verb Ballets in 2018 and has been featured in works such as Paganini Rhapsody.

Kate Webb, choreographer and dancer, grew up in Richmond, Virginia, where she danced both as a student and as a trainee with Richmond Ballet. She trained around the country at intensive programs such as Central Pennsylvania Youth Ballet, Boston Ballet, and Complexions Contemporary Ballet. Upon graduating from Appomattox Regional Governor’s School for the Arts, she attended Butler University on both dance and academic scholarships. While dancing with Butler Ballet, she performed in Poland, Slovakia, and the Czech Republic.

After fulfilling her degree in three years, she graduated cum laude in 2015 with a BS in dance-arts administration and high departmental honors. She joined Verb Ballets in 2015 and has been featured in works such as Peter Pan and Aposiopesis.

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The Artists Hunter Hoffman, 2019-2020 apprentice, is a first-generation American raised by his Cuban family. Born in Miami, he trained there at the Mencia Pikeiris School of Dance and the Miami Youth Ballet. While studying on scholarship to receive his BFA in dance performance from Mercyhurst University, he worked with The Mercyhurst Dancers, Lake Erie Ballet, New World Connection, and Ballet Concerto, performing roles such as The Cavalier and Spanish in Tchaikovsky’s The Nutcracker. He also spent a summer in Texas studying under Margo Dean, founding member of Texas Ballet Theatre. He has trained under other prominent dancers and choreographers such as Nilas Martins of New York City Ballet, Maria Caruso of Bodiography, and Tauna Hunter of Ballet West.

Noe Iwamatsu, 2019-2020 apprentice, was born in Japan and began her ballet training at Prendre Ballet Studio in Japan. In 2014, she was chosen to attend the summer intensive of Central School of Ballet in London. She moved to London after acceptance to the Central School of Ballet where she graduated with honors with a BA in professional dance and performance. She performed with Ballet Central, the junior company of Central School of Ballet, and toured the United Kingdom. Most recently, Noe was a trainee with American Repertory Ballet in New Jersey. She performed with the American Repertory Ballet Company directed by Douglas Martin in various roles in The Nutcracker and Coppelia. She is excited to join Verb Ballets as an apprentice for the 2019-2020 season.

Julie Russel, 2019-2020 apprentice, was born in China and raised in Cedar, Michigan, and trained at Dance Arts Academy under the direction of Betsy Carr. She spent summers training at the Washington School of Ballet, BalletMet Columbus, and Cecchetti Council of America.

She graduated from the University of Oklahoma in May 2019 with a BFA in dance performance and BA in environmental sustainability. While at the University of Oklahoma, she performed works

by Merce Cunningham, Ilya Kozadayev, Sonia Dawkins, David Hochoy, Trey McIntyre, Jean Guillaume Weis, Kevin Iega Jeff, Nilas Martins, Amy Hall Garner, and Raimondo Rebeck. She has also performed with Deeply Rooted Dance Theatre.

Ashley Forché, trainee, is from Pickerington, 20

Ohio. She received her dance training from BalletMet in Columbus, Ohio, and spent summers training with Alonzo King LINES Ballet, Complexions Contemporary Ballet, Nashville Ballet, Oklahoma City Ballet, Festival Ballet Providence, Orlando Ballet, Central Pennsylvania Youth Ballet, and BalletMet. She moved to Nashville, Tennessee, for her senior year of high school to be a trainee with Nashville Ballet.

Following graduation, she began pursuing a business degree through Belmont University while simultaneously continuing to dance with Nashville Ballet. Last season, Ashley was a trainee with Oklahoma City Ballet. She will graduate summa cum laude with a business degree in December 2019. She has had the opportunity to perform in many professional works, including The Nutcracker, Sleeping Beauty, and Swan Lake.

Natalie Ilona Hollopeter, trainee, is a native of Akron, Ohio, and has studied ballet for 13 years.

She is a recent graduate of Ohio Conservatory of Ballet and Stabrova Youth Ballet Company under the artistic direction of Inna Stabrova and co-founder Dmitriy Tuboltsev. She won first place at the 2017 NSAL Classical Ballet: En Pointe regional competition and was a national finalist. For the past two years she performed as a featured dancer in ensembles at Youth America Grand Prix that were invited to NY Finals. Her summer intensives include American Ballet Theatre-NYC, where she danced the role of Queen Myrthain in Giselle; Bolshoi Ballet Academy-NYC, Ohio Conservatory of Ballet on full scholarship, and Pittsburgh Ballet Theatre’s “Company Experience” workshop. At age 13, Natalie danced in college-credited performances as a member of The University of Akron Dance Company and opened for the Heinz Poll Summer Dance Festival through The University of Akron Dance Institute. Natalie performed for the first time with Verb Ballets in 2016.

Elizabeth “Betsie” Schaeffer, trainee, was born and raised in Karachi, Pakistan, before returning home to New Hampshire at age 11. She began her dance career with Northeastern Ballet Theatre. Schaeffer attended Belhaven University in Jackson, Mississippi, where she received awards for outstanding artistic and scholastic achievements. Schaeffer has attended the Bates Dance Festival, guested in local theaters as tuesdaymusical.org ■ 330.761.3460

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Sugar Plum and Princess Florine, and performed for adjudicators at the Alabama Dance Festival and the National American College Dance Association Festival at the Kennedy Center. After graduating from Belhaven in 2018 with a BFA in dance, Schaeffer danced professionally with Ballet Hartford in Connecticut.

Loretta Simon, choreographer, is a graduate of Youngstown State University with a minor in dance. She studied at the American University Summer Dance (Wolf Trapp) program with members of both Merse Cunningham and Twyla Tharp companies. She continued her studies at Ballet Western Reserve and later the Houston Ballet. In Texas, she set up the Simon Dance Theater and created the dance video drama Idol Time, inspired by a video dance workshop with Lynne Taylor-Corbett. A passionate teacher as well as performer and choreographer, she taught at the Cleveland School of Arts, chaired the dance department, and also served as the assistant artistic director for the dance company of the Cleveland State University. During this period, she received a choreographic grant from the Ohio Arts Council for personal artistic

development. She worked with Dr. Darwin Prioleau, now professor of Dance at Brockport College SUNY and created two works with Courtney Laves Mearini, founder of City Ballet of Cleveland, and previously lead dancer at Atlanta Ballet, South Carolina Ballet Theater and Cleveland Ballet. One of those works—Through a Veil—was performed at the Cain Park Outdoor Theater. After moving to Europe in 2001, Loretta set up Pilates for Everybody, but continued to work with dancers in the performing field. In 2018 she conceived and realised a piece for Ravel’s Shéhérazade “Shéhérazade Retold” with the vocal accompaniment of operatic singer Persephone Abbott.

Chamber Music Society of Ohio

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he Chamber Music Society of Ohio (CMSO) was founded in 1989 by flutist George Pope, pianist David Fisher, and soprano Valerie Thorson to promote and preserve the tradition of presenting chamber music in an intimate setting; to further the composition and performance of new chamber works by regional composers; and to bring to audiences

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The Artists performances by talented local and regional musicians.

CMSO presents three chamber music concerts every season, all in intimate settings. More at CMSOhio.org. This evening’s musicians: Eric Charnofsky, piano, enjoys a multi-faceted career as a collaborative pianist, composer, classroom music teacher, radio programmer, and lecturer. He has performed in recital throughout North America and as an orchestral keyboardist with the Los Angeles Philharmonic and The Cleveland Orchestra. A graduate of The Juilliard School where he majored in piano accompanying, Charnofsky also holds degrees in solo piano performance and composition from California State University, Northridge. He is an instructor at Case Western Reserve University and has taught numerous courses at the Cleveland Institute of Music. His 2016-released CD with flutist George Pope features Charnofsky’s own Four Characters.

He has received composition commissions from Pacific Serenades, The Chamber Music Society of Ohio, the Cleveland Chamber Collective, and others. He was named Composer of the Year for 2012 by the Ohio Music Teachers Association.

His radio program, Not Your Grandmother’s Classical Music, airs Monday afternoons on WRUW-FM in Cleveland.

Matt Dudack, percussion, is adjunct professor of percussion at The University of Akron School of Music and is artistic director of the acclaimed University of Akron Steel Drum Band. He is a member of the Akron Symphony Orchestra and cofounder of Akros Percussion Collective, an ensemble that performs experimental and contemporary music. Akros has performed at the Blurred Edges Festival in Hamburg, Germany, Sō Percussion’s Night of Awesome(ness) in New York City, Transplanted Roots: Percussion Symposium in Montreal, and at many Percussive Arts Society international conventions. Dudack is a graduate of the Hartt School and The University of Akron, with studies in music education and percussion performance. He is also on the faculties of the Miller South School for the Visual and Performing Arts in Akron and Canton Country Day School.

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Aidan Plank, bass, is a graduate of Cleveland State University and performs with the Cleveland Jazz Orchestra, Jazzworks, Nous, and as a duo with guitarist Daniel Lippel. He founded Pulse, a musical group that explores original compositions and diverse jazz music composed by well-known and obscure composers. Plank teaches jazz bass at Kent State University and at Cuyahoga Community College’s “Jazz Prep Program.”

He served as a clinician and adjudicator at the Maplerock Jazz Festival (2016) at Ashland University and at the Lakeland Jazz Festival (2018) at Lakeland Community College. Plank has performed at Carnegie Hall, Severance Hall, The Knitting Factory (NYC), Spectrum NYC, and Elastic Arts (Chicago).

George Pope, flute, is Emeritus Professor of Flute at The University of Akron and Instructor of Flute at The Baldwin Wallace Conservatory.

Principal Flute of the Akron Symphony from 1978-2002, he also has performed with The Cleveland Orchestra, the Blossom Festival Orchestra, the Brevard Music Center Orchestra, and at the Spoleto Festival. He is a founding member of the Solaris Wind Quintet and The Chamber Music Society of Ohio. Pope was named “Arts Educator of 2009” by the Akron Area Arts Alliance. His solo CD “…some measures for living” was released in 2016 by Crystal Records. Laurence Vittes wrote in Gramophone in September 2016: “The wonder of Pope’s playing is how engagingly, articulately, flowingly, and objectively he pours himself into the music…”

In August 2018, the National Flute Association awarded Pope its Distinguished Service Award Amitai Vardi, clarinet, Assistant Professor of Clarinet at Kent State University, is an avid soloist, orchestral, and chamber musician. Vardi received a bachelor of music degree from Indiana University, and his master of music degree at The Cleveland Institute of Music. He pursued his post-graduate studies with Yehuda Gilad in Los Angeles. Vardi has performed with Red {an orchestra}, Opera Cleveland and Lyric Opera Cleveland, American Ballet Theatre, Joffrey Ballet, The Chautauqua Symphony Orchestra, and The Cleveland Orchestra.

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Nathan Walhout, cello, is pursuing a master’s degree at Rice University, studying with Brinton Smith. Walhout received a bachelor’s degree at the University of Michigan, studying with Richard Aaron. A native of Chicago, Walhout has won prizes in numerous local competitions and has performed with the Oistrakh and Ars Viva symphony orchestras. An avid chamber musician, he has been a three-time semifinalist at the Fischoff Chamber Competition, the Grand Prize winner of the A.N. and Pearl G. Barnett Chamber Music Competition, and has performed live multiple times on Chicago’s WFMT 98.7 FM. Recently, he collaborated in performances with Sarah Chang, Robert McDuffie, and members of the Calidore String Quartet. He was assistant principal of the New York String Orchestra Seminar in 2017 and was associate principal at the Spoleto Music Festival 2019 in Charleston, SC. Most recently, Walhout returned to the Aspen Music Festival for his fifth summer as a Center for Orchestral Leadership Fellow.

Susan Wallin, soprano, has performed at New York City Opera, Arizona Opera, Opera Carolina, Oper der Stadt Köln in Germany, Cleveland Opera, and many other regional opera companies. She made her Carnegie Hall debut singing the Messiah. Ms. Wallin has performed with The Cleveland Orchestra as well as the Cincinnati, Canton, Akron, North Carolina symphonies and many more. Wallin holds a BM and MM in vocal performance. She teaches at West Side Vocal Academy in Akron, Baldwin Wallace, and the College of Wooster. Her graduating seniors have been accepted for vocal performance and musical theatre programs at such top-rated schools as Eastman, Cincinnati Conservatory, Oberlin, Michigan, Baldwin Wallace, Berkley, Boston Conservatory, AMDA, and NYU.

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The 2019 Season Continues with more world-class dance coming to N.E. Ohio!

Photo : Parsons Dance Lois Greenfield

Parsons Dance October 12 at 7:30 p.m.

The University of Akron's E.J. Thomas Hall In collaboration with The University of Akron's Dance Program

RUBBERBANDance Group November 9 at 7:30 p.m.

Ohio Theatre, Playhouse Square Co-Presented with Tri-C Performing Arts

Tickets: www.DANCECleveland.org 24

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EJ Thomas Performing Arts Hall—The University of Akron Wednesday, October 30, 2019, 7:30 p.m.

October Octets Escher String Quartet ■ Dover Quartet Adam Barnett-Hart, Brendan Speltz, Joel Link, Bryan Lee — violin Brook Speltz, Camden Shaw — cello Pierre Lapointe, Milena Pajaro-van de Stadt — viola

Gregg Kallor (b. 1978)

String Octet

Dmitri Shostakovich Two Pieces for String Octet

(1906-1975) Prelude – Adagio

Scherzo – Allegro Molto INTERMISSION

George Enescu Octet for Strings, in C major. Op. 7

(1881-1955) Très modéré

Très fougueux Lentement

Mouvement de valse bien rythmée

Jarrod Hartzler, Tuesday Musical’s former Executive and Artistic Director, led our Concert Conversation with tonight’s musicians. Presented at 6:30 p.m. in EJ’s Flying Balcony Club before most Tuesday Musical concerts, Concert Conversations entertain, educate and engage our audience members. The conversations are supported this season, in part, by the Laura R. and Lucian Q. Moffitt Foundation.

Tuesday Musical, E.J. Thomas Performing Arts Hall, and the Akron Civic Theatre have partnered with the Autism Society of Greater Akron to develop accommodations for individuals with disabilities at this performance.

The collaboration was made possible in part by the Akron Community Foundation’s “On The Table” grant toward diversity, inclusion, and equity in our community.

Generous support for this performance and related education/community engagement activities comes from the Lloyd L. & Louise K. Smith Memorial Foundation, Mary Schiller Myers Lecture Series at The University of Akron and the Beatrice K. McDowell Family Fund, as well as from other foundations, corporations and individuals listed elsewhere in this program.

Among Tuesday Musical’s season supporters:

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The Artists Dover Quartet “…the Dover Quartet players have it in them to become the next Guarneri String Quartet— they’re that good.”­­—The Chicago Tribune

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he phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition, at which it won every prize.

Named the Cleveland Quartet Award-winner, and honored with the coveted Avery Fisher Career Grant, the Dover has become one of the most in-demand ensembles in the world.

The quartet’s rise from up-and-coming young ensemble to occupying a spot at the top of their field has been “practically meteoric” (Strings).

With its burnished warmth, incisive rhythms, and natural phrasing, Dover’s distinctive sound has helped confirm its status as “the young American string quartet of the moment” (New Yorker).

The quartet serves as the quartet-in-residence for the Bienen School of Music at Northwestern University, Chamber Music Northwest, Artosphere, the Amelia Island Chamber Music Festival, and Peoples’ Symphony in New York, and was recently named the first-ever quartet-inresidence for the Kennedy Center.

In 2018-19 the Dover Quartet performed more than 100 concerts around North America, including performances at the Kennedy Center,

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San Francisco Performances, the Philadelphia Chamber Music Society, Spivey Hall, Boston’s Celebrity Series, the Chamber Music Society of Detroit, and Carnegie Hall.

In addition, Dover’s season featured tours of Hong Kong, Europe, and Australia, collaborations with Emanuel Ax, Inon Barnatan, Peter Serkin, Anthony McGill, and Roomful of Teeth, and premieres of new works by Caroline Shaw and Matan Porat. The quartet members were thrilled to be invited by the maverick filmmaker and cultural icon David Lynch to be featured at his Los Angeles Festival of Disruption.

Cedille Records released the quartet’s sophomore album — Voices of Defiance: 1943, 1944, 1945 — in October 2017. The recording takes listeners on a powerful journey through works written during World War II by Viktor Ullmann, Dmitri Shostakovich, and Simon Laks.

The 2016-17 season saw the release of its allMozart debut recording on the Cedille label, a nod to the 1965 debut album of the Guarneri Quartet, whose founding violist, the late Michael Tree, joined the Dover Quartet on the recording.

In addition, the group has participated in three complete Beethoven quartet cycles, including the University at Buffalo’s famous “Slee Cycle” — which has presented annual Beethoven quartet cycles since 1955 and has featured the likes of the Budapest, Guarneri, and Cleveland Quartets — and will record the cycle over the next three seasons. The group’s world-class collaborators have included pianists Anne-Marie McDermott, Emanuel Ax, Marc-André Hamelin, Jean-Yves Thibaudet, Peter Serkin, and Jon Kimura Parker; violists Roberto Díaz and Cynthia Phelps; bassist Edgar Meyer; and the Pacifica and Escher quartets.

In spring 2016, the Dover Quartet was recognized with the Hunt Family Award, one of the inaugural Lincoln Center Emerging Artist Awards, and in past years has taken top prizes at the Fischoff Competition and the Wigmore Hall International String Quartet Competition. All four members are consummate solo artists: first violinist Joel Link took first prize at the Menuhin Competition; violinist Bryan Lee and violist Milena tuesdaymusical.org ■ 330.761.3460

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Pajaro-van de Stadt have appeared as soloists with the Philadelphia Orchestra and Tokyo Philharmonic, respectively; and cellist Camden Shaw released a solo album debut on the Unipheye Music label. As Strad observes, “With their exceptional interpretative maturity, tonal refinement, and taut ensemble,” the Dover Quartet is “pulling away from their peers.”

Dover’s members studied at the Curtis Institute of Music and Rice University’s Shepherd School of Music, where they were mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. It was at Curtis that the Quartet first formed, and its name pays tribute to Dover Beach by fellow Curtis alumnus Samuel Barber.

The group has since returned for residencies to Rice in 2011-13, and to Curtis, where it became the conservatory’s first Quartet-inResidence, in 2013-14. In addition, in 2015 Dover was appointed the first Resident Ensemble of Peoples’ Symphony Concerts in the 116-year history of New York City’s oldest concert series.

The Dover Quartet is dedicated to sharing its music with under-served communities and is actively involved with Music for Food, an initiative enabling musicians to raise resources and awareness in the fight against hunger.

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he Escher String Quartet has received acclaim for its expressive, nuanced performances that combine unusual textural clarity with a rich, blended sound.

A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest at Wigmore Hall. In its hometown of New York City, the ensemble serves as season artists of The Chamber Music Society of Lincoln Center, where it has presented the complete Zemlinsky Quartets Cycle as well as being one of five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets.

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The Artists Within months of its inception in 2005, the quartet came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be quartet-in-residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre; and the Perlman Chamber Music Programme on Shelter Island, NY. The quartet has since collaborated with artists including David Finckel, Leon Fleischer, Wu Han, Lynn Harrell, Cho Liang Lin, Joshua Bell, Paul Watkins and David Shifrin, as well as jazz saxophonist Joshua Redman, vocalist Kurt Elling, legendary Latin artist Paquito D’Rivera and Grammy® award-winning guitarist Jason Vieaux. In 2013, the quartet became one of the very few chamber ensembles to be awarded the prestigious Avery Fisher Career Grant.

The Escher Quartet has made a distinctive impression throughout Europe, performing at venues such as Amsterdam Concertgebouw, Berlin Konzerthaus, London’s Kings Place, Tel Aviv Museum of Art, Slovenian Philharmonic Hall, Auditorium du Louvre and Les Grand Interprètes series in Geneva.

With a strong collaborative approach, the group has appeared at festivals such as Heidelberg Spring Festival, Incontri in Terra di Siena Festival, Dublin’s Great Music in Irish Houses, Risør Chamber Music Festival in Norway, Hong Kong International Chamber Music Festival and Perth International Arts Festival in Australia.

The current season sees another extensive European tour, including debuts at Musik und Kunstfreunde Heidelberg, de Singel Antwerp, Budapest’s kamara.hu festival and Bath Mozartfest. Alongside its growing success in Europe, the Escher Quartet continues to flourish in its home country, performing at Alice Tully Hall in New York, Kennedy Center in Washington DC, Chamber Music San Francisco, and the Ravinia, Caramoor and Music@Menlo festivals.

Currently a quartet-in-residence at Southern Methodist University in Dallas, Texas, and Tuesday Musical in Akron, Ohio, the quartet fervently supports the education of young musicians and has given master classes at 28

institutions such as the Royal Academy of Music in London and Campos do Jordão Music Festival in Brazil.

In autumn 2016, the quartet released the third and final volume of the complete Mendelssohn Quartets on the BIS label. The set has been received with the highest critical acclaim: Volume II was listed in the Top 10 CDs of 2016 by The Guardian and hailed for its “sheer finesse” by Gramophone, while Volume III was nominated for a BBC Music Magazine Award.

The quartet has also recorded the complete Zemlinsky String Quartets in two volumes, released on the Naxos label in 2013 and 2014 respectively, to accolades including five stars in The Guardian with “Classical CD of the Year,” a recommendation in The Strad, “Recording of the Month” on MusicWeb International, and a nomination for a BBC Music Magazine Award.

The Escher Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole.

Gregg Kallor, composer

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uesday Musical’s first composer-inresidence, Gregg Kallor is a composer and pianist whose music fuses the classical and jazz traditions he loves into a new, deeply personal language.

Opera News calls Kallor “a rising star in the music world” with “a singular compositional voice.” The New York Times writes: “At home in both jazz and classical forms, [Kallor] writes music of unaffected emotional directness.

Leavened with flashes of oddball humor, his works succeed in drawing in the listener — not as consumer or worshipful celebrant, but in a spirit of easygoing camaraderie.”

In 2018, The Angel’s Share and On Site Opera presented the world premiere of Kallor’s new suite of operatic sketches based on the monster’s harrowing tale from Mary Shelley’s Frankenstein in the Catacombs at the historic Green-Wood Cemetery in Brooklyn, NY, as well as the premiere of a solo piano tribute to Leonard Bernstein (a permanent Green-Wood resident), and a reprise tuesdaymusical.org ■ 330.761.3460

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of Kallor’s acclaimed setting of Edgar Allan Poe’s chilling story, The Tell-Tale Heart, with mezzosoprano Jennifer Johnson Cano, baritone Joshua Jeremiah, tenor Brian Cheney and cellist Joshua Roman, directed by Sarah Meyers. Opera News wrote: “Kallor achieved a perfect balance of text and music... a most interesting synthesis of elements of classical and jazz, galvanized into a singular compositional voice. There is plenty of heartfelt lyricism in his music, yet also enough complexity to keep it intriguing for those of us who seek more... a grand tour de force for both singer and ensemble.” The production was included as one of the Most Memorable Concerts of 2018 by both WQXR and OperaWire.

These performances coincided with the release of Kallor’s new album, The Tell-Tale Heart, the premiere recording of Kallor’s musical ghost story, performed by the composer with soprano Melody Moore and cellist Joshua Roman, recorded by GRAMMY®-winning producer Adam Abeshouse. A celebration of music and literature, the album also features the first recording of Kallor’s 11 new song-settings of poems by Sara Teasdale, Elinor Wylie, Stephen Crane,

Mark Twain, William Butler Yeats, as well as the phenomenal young poet, Clementine Von Radics.

Opera News writes, “Kallor is a true craftsman of American art song... If The Tell-Tale Heart wasn’t proof enough, these songs show that he excels as a miniaturist, creating vivid worlds and characters in mere minutes.”

Recent projects include Mouthful of Forevers, Kallor’s work for string orchestra commissioned by Town Hall Seattle, premiered by the Seattle Youth Symphony Orchestra and conducted by Joshua Roman; and Some Not Too Distant Tomorrow, a tribute to the legacy of Martin Luther King Jr. for piano and string quartet, commissioned by The Classical Recording Foundation and funded by a gift from Stuart and Linda Nelson, which Kallor premiered with the Attacca Quartet.

Kallor (pronounced “KAY-ler”) was born in Cleveland, Ohio, and raised in West Hartford, Connecticut. He began improvising on the piano in his home as soon as he could walk over to it, began taking classical piano lessons when he was six, and added jazz lessons a few years later.

He graduated from Tufts University with a degree in American Studies.

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Music from Merry Old England

Baroque orchestra jeannette sorrell

In this new program from Jeannette Sorrell, ten musicians perform the exquisite music of Dowland and Purcell meets haunting English ballads and merry tunes from Shakespeare’s stage.

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THURSDAY, NOVEMBER 21, 7:30PM FIRST UNITED METHODIST CHURCH, AKRON

Other performances around Northeast Ohio November 22-24

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8/28/19 4:49 PM

Program Notes Two Pieces for String Octet Prelude and Scherzo for String Octet, Op. 11 Dmitri Shostakovich

E

qually talented as a pianist and as a composer, Shostakovich had to make the difficult career choice between the two ways of expressing his musical genius although he professed he would have liked to continue with them both.

At the age of only 13, he was admitted to the Leningrad Conservatory.

His graduation piece, which was soon after heard everywhere in Europe and America, was Symphony No.1, Op. 10, of 1925.

It is probable that he began the Two Pieces for String Octet, completed in the same year, numbered Op. 11, well in advance of his completion of the symphony. Whether he wrote Op. 11 as a classroom exercise for his teachers — Steinberg and Glazunov — is unknown.

The very unusual Two Pieces for String Octet, composed for four violins, two violas, and two cellos, was premiered in Moscow at the Stanislavsky Art Theatre Mozart Hall on January 9, 1927, by the combined Glière and Stradivarius Quartets. Shostakovich, following the practice of Mendelssohn in his Octet, thought of the eight players as a single, large pseudo-orchestral body for this work and not simply as a pair of joined string quartets. Originally planned to be five movements, he only completed two contrasting yet unrelated movements, both energetic; he >>friend, 44 dedicated them to the memory of a young a promising poet, who had died unexpectedly. <<

Shostakovich remembered that after examining the work, his professor, Steinberg, “made a sour face and expressed the hope that, when I turn thirty, I will no longer write such wild music.”

The solemn, or at least wistful, Prelude (Adagio), completed in December 1924, is a richly contrapuntal piece in the Bachian style that Shostakovich had recently learned to write in Conservatory and to which he was devoted until the end of his life. It has two sections: the first distinctly declamatory, dominated by ominous chords at the very beginning, with a mournful character and hints of the polyphony that he would use in the second movement. At the beginning, the six upper strings are in rhythmic unison; the cellos echo them. The movement features virtuosic writing for the first violin, which Shostakovich consistently showcases with piercing melodies, sixteenth note runs, and several cadenzas.

The second part of the movement is episodic, becoming impassioned and moving more quickly with contrasting muted triplets, pizzicato chords and a virtuosic first violin part; the movement ends quietly in unison. As the critic Arthur Cohn points out, it is “chromatically run on both jumping and scale-wise lines.” The first part of the Prelude is recapitulated after a first violin cadenza-like section at the end of the second part.

Shostakovich dated the agitated, fleet and sometimes acerbic Scherzo (Allegro molto— Moderato–Allegro) July 1925. This Scherzo is episodic, with brief, angular thematic material.

The movement begins with an energetic rhythmic motive in the first two violins, which is then passed down to the rest of the ensemble.

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Then all eight players stop abruptly. After short pizzicatos from the accompanying instruments, a cello glissando leads into the final Allegro, which charges quickly forward with fury to the movement’s end. All eight players join in a thrilling fugue with the individual voices entering very quickly after one another, in counterpoint, briefly showcasing each instrument.

Shostakovich uses a large variety of techniques as the instruments rush forcefully to the sudden, powerful end.

Soviet critics always had such great praise for the Prelude that some of them just did not mention the exuberant, exhilarating and sometimes dissonant Scherzo. One complained that in it, the composer’s “gift of pure inventiveness veers toward formalism,” which is to say toward free modern invention rather than toward some preferred politico-aesthetic doctrine.

Actually, it has an impertinent character and introduces features that will become very much associated with the Shostakovich sound. For example, what became Shostakovich’s distinctive glissandos are heard here for the first time. The type of canon Shostakovich uses in the Scherzo has a distinctive effect on the combinations of tonality that result.

This highly individualistic movement merits Cohn’s words: it is “the wildest movement in all the literature for eight string instruments.”

— Copyright © Susan Halpern, 2019

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Octet for Strings, in C Major, Op. 7 George Enescu

A

mong the great musicians of the first half of the 20th century was the multi-talented Romanian composer, violinist, pianist, conductor, and teacher, George Enescu. When he was four years old, a Gypsy violinist taught him how to play his instrument, and very soon he was inventing little pieces of his own. At the age of seven, he was enrolled in the Conservatory in Vienna, where he studied for five years and came under the influence of Brahms. He then went on to the Paris Conservatory for five years to deepen his knowledge of theory and technique, and to study composition with both Massenet and Fauré and André Gédalge, a Bach specialist.

Gédalge furthered Enescu’s love of polyphony, in which independent melodies can be played simultaneously. Enescu wrote, “Polyphony is the essential principle of my musical language; I’m not a person for pretty successions of chords.

I have a horror of everything that stagnates.”

Enescu went to Vienna between 1888 and 1893, there studying theory under the teacher of Mahler, Robert Fuchs.

For much of the rest of his life, Paris was the base of his busy career as a touring artist, but he remained attached to his homeland and returned there often. When he died, the town of his birth, a street in Bucharest, and the Philharmonic Society of the capital city were all renamed Enescu in his honor. For Enescu, the dominant character of Romanian music was melancholy, “sadness even in the midst of happiness…yearning, indistinct but profoundly moving.” As a composer, Enescu

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Program Notes is best remembered for his highly colored folkloristic pieces, like the two Romanian Rhapsodies for orchestra that date from 1901, but the Viennese and Parisian influences on his creative imagination are undeniable.

The first large-scale work of Enescu’s maturity was this richly textured Octet for Strings in C Major, Op. 7, of 1900. It was a great achievement for the young composer, who many years later described its monumental plan. He set himself a very difficult project to construct: a work in four distinct but connected movements in such a way that the overall shape was that of a single huge sonata-form movement, like a classical first movement, but some 40 minutes long.

Having grown up attending the Romanian Orthodox Church, he internalized a particular style of church music in which melodies are sung over an unchanging bass note, known as a pedal point. A pulsing pedal point appears right in the beginning, with the first theme over it, in unison by the other strings. He realized what an ambitious project his work was, “I was crushing myself with the effort of keeping aloft a piece of music in four sections, of such length that each one of them seemed about

to fall apart at any moment. No engineer putting his first suspension bridge across a river can have agonized more than I did as I gradually filled my manuscript paper with notes. “There were times when I felt like a miner boring into earth that is always on the point of collapsing.”

In the dramatic opening of the Octet, six musical themes are heard that will recur according to the composer’s grand plan. There is no doubt that the expansive main theme, Très modéré, indicates that the work will have a large scale. The second subject is introduced in a canon. A demonic and relatively short scherzo, Très fougueux, explodes into a massive fugue. It features some unison playing and some chromatic, quite dissonant sounding passages. The lyrical slow movement, Lentement, is serene, sounding like a nocturne with a rhapsodic melody.

There are extremely dense contrapuntal textures in the finale, Mouvement de Valse bien rhthmé, an extraordinary waltz. It highlights the rhythmic idea that has appeared throughout the work and recombines and resolves many of the thematic ideas that were introduced in the earlier movements and which reappear here; it brings

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them to a grandly sonorous close. The final movement highlights Enescu’s use of the pedal point technique.

The whole is very elegantly constructed, exemplifying Enescu’s statement, “I am essentially a polyphonist and not a connector of pretty chords. When a melodic line, or, better, a superimposition of melodic lines cannot be discerned, there is no composition.”

At first, the octet was thought to be too challenging, too modernist, and generally too incomprehensible for public performance, which delayed its premiere for ten years, but since, it has been recognized as a gem of 20th-century chamber music.

— Copyright © Susan Halpern, 2019

Composer’s Note String Octet Gregg Kallor

I

’ve been thinking recently about the joining of two entities into a single union. As I write this, I’m excitedly awaiting my wedding. I’m in love

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with my fiancée’s individuality, her deep breadth of experience, her wisdom and thoughtfulness and talent and grace, which she brings to everything she does and everyone around her.

She is one of the great wonders of my world.

Sharing our individual perspectives with each new experience has made my life so much richer.

As in the most rewarding relationships, the individual voices of a chamber music ensemble don’t get lost; rather, they interact with each other; stimulate and enhance each other; they blend, and coalesce into a single expressive force. The gentle and respectful joining of the individual voices has the potential to create something truly magical.

This new composition for string octet isn’t a programmatic piece — meaning that it doesn’t convey a specific narrative. Rather, I wanted to explore, musically, the joining of forces of these two ensembles. And how lucky I am to have the Dover and the Escher string quartets premiere this new work! It’s especially fitting that these extraordinary groups are joining forces for this piece, since violist Milena Pajaro-van de Stadt (Dover) and cellist Brook Speltz (Escher) are married.

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Program Notes As she does with so many things, my fiancée has opened my eyes to the wonders of a fascinating creature: the octopus. After reading (mostly aloud to me) about these graceful, intelligent beings, we visited a Giant Pacific Octopus at the Seattle Aquarium and watched it sprint through the water, extend and furl its eight arms (not tentacles!), and interact with a diver when it was snack time. Its every arm operates independently, lined with hundreds of suckers through which it tastes the food it rolls up to its beak. (Yeah, octopuses have beaks. Crazy.) A fully grown Giant Pacific Octopus can compress its ninety-pound body to squeeze through a hole the size of a lemon. They can change color to express mood, comfort level and intentions; they can also change texture to mimic their surroundings. Graceful and intelligent, playful, sensitive, and adaptable.

A string octet is the octopus of chamber music: eight musicians breathing and playing together as a single entity, sublimating individual experience into combined expressive purpose. That’s what I wanted to explore in this composition for octet. I hope it resonates.

—

CHOOSE YOUR

❏ ACURA ❏ HONDA ❏ MAZDA ❏ SUBARU ❏ CHEVROLET

SERRA AUTO PARK

I dedicate this string octet to the two people whose union has been the foundation and source of all of my happiness: my parents. Loving, thoughtful, respectful, warm, and wise, my parents are the best of people. No music can encapsulate or convey the joy and beauty that they bring to me and to this world; but music seems a fitting way to, in some small way, express my love and respect and admiration for them as individuals and as a couple; as parents and as citizens. I’m grateful to them for so much — for everything, really. My parents approach their fiftieth wedding anniversary as I begin my own marriage. Two individuals, one union. Two ensembles, one composition. Together.

Complete.

— I’d like to express my deepest gratitude to Jarrod Hartzler, the extraordinary outgoing Executive and Artistic Director of Tuesday Musical, for making the premiere of my first string octet by the fabulous Dover and Escher quartets a reality. Jarrod is one of the most hardworking people I know, and one of the kindest. Through Jarrod’s warmth and graciousness, Tuesday Musical has become a home away from home, and I’m grateful to the entire Tuesday Musical family for making me feel so welcome. I wish Jarrod success and happiness in his new position as Executive Director of the Ohio Alliance for Arts Education — that organization and the thousands of students it serves are incredibly lucky to have such a passionate, dedicated, and competent leader advocating for arts education in Ohio. And I look forward to continued warm and exciting collaborations with Tuesday Musical for years to come. © Gregg Kallor, August 2019

3363 S. Arlington Rd. Akron, Ohio 44312 www.serraautopark.com

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Support: Individuals

W

e gratefully acknowledge all donors this season. Every gift helps to support the success of Tuesday Musical’s MainStage and Fuze concert series and Education and Community Engagement Programs. (as of September 10, 2019) Patricia and James Hartzler Joseph S. Kanfer James and Maureen Kovach Lawrence B. Levey Mike Magee JoAnn Marcinkoski Lola Rothmann Dr. Pamela Rupert Frederick and Elizabeth Specht Elizabeth and Michael Taipale John Vander Kooi

Director $5,000+ Anonymous Anne Alexander Ann Allan David and Margaret Hunter Cynthia Knight Kenneth Shafer Tim and Jennifer Smucker Darwin Steele James and Linda Venner Lucinda Weiss “Three Graces Piano”

Patron $400 to $699

Benefactor $1,500 to $4,999 Linda Hohenfeld Peter and Dorothy Lepp Linda and Paul Liesem Marianne and Russ Miller Michael and Lori Mucha Charles and Elizabeth Nelson George Pope Patrick Reilly Donald and Corrine Rohrbacher Pat Sargent Larry and Cyndee Snider Thomas and Meg Stanton Sustainer $700 to $1,499 Eleanor and Richard Aron Lee and Floy Barthel Earl and Judy Baxtresser John Bertsch Kittle B. Clarke Thomas and Mary Lynn Crowley Harloe and Harriet Cutler Barbara and Denis Feld Paul Filon Bob and Beverley Fischer Sue Jeppesen Gillman Joy and Bruce Hagelin Jarrod Hartzler

Anonymous William P. Blair III Rob and Alyssa Briggs Sally Childs John Dalton Lois and Harvey Flanders Ted and Teresa Good DuWayne and Dorothy Hansen Loren Hoch Dr. Tom and Mary Ann Jackson Susan and Allen Kallor Mary Jo Lockshin Mark and Barbara MacGregor Stan and Roberta Marks Anita Meeker Dianne and Herb Newman Roger Read Peter and Nanette Ryerson Jean Schooley Sandra and Richey Smith Annaliese Soros Carol Vandenberg Donor $200 to $399 Anonymous John Arther Mark and Sandy Auburn Carmen Beasley

Cheryl Boigegrain Jack and Bonnie Barber Sara J. Buck Sara and Alan Burky Robert A. and Susan H. Conrad Herbert and Jill Croft Gary Devault Barbara Eaton Jon Fiume Robert and Sharon Gandee Elaine Guregian Michael Hayes Patti Hester John and Suzanne Hetrick Moneeb Iqbal and Jessica Haley Mark and Karla Jenkins Cally Gottlieb King Tom and Cheryl Lyon Marjorie Magee Natalie Miahky Jim and Patty Milan Paul and Alicia Mucha Alan and Marjorie Poorman Paula Rabinowitz Sandra and Ben Rexroad Anne Marie Schellin Rachel Schneider Betty and Joel Siegfried Margo Snider Peter and Linda Tilgner Brooks and Dina Toliver Susan and Reid Wagstaff Kathleen Walker Jorene Whitney Jamie Wilding and Caroline Oltmanns Christopher Wilkins Shirley Workman Douglas D. Zook Jr.

World Tourof

Music

Presents The Music of Central Asia

Shashmaqam

Saturday, Oct. 26 @ 8pm

Highland High School Auditorium, 4150 Ridge Road, Medina TICKETS:

$

12/advance • $15/door

Purchase online at www.ormaco.org, or call 330-722-2541 36

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Support: Memorials & Tributes

tuesday musical 2019 | 2020

These gifts to Tuesday Musical are meaningful ways to honor special people.

In Memory of Nancy Anderson

In Memory of Elizabeth Kime

In Memory of Donna Wingard

Joy and Bruce Hagelin

Joy and Bruce Hagelin

Joy and Bruce Hagelin

In Memory of Margaret Baxtresser

In Memory of Eugene Mancini

In Honor of Barbara and Denis Feld

Linda Hohenfeld

Toshie Haga

Judi and Jerry Brenner

In Memory of Elizabeth Dalton

In Memory of Paul Marcinkoski

In Honor of Bob Fischer

Bob and Beverley Fischer Joy and Bruce Hagelin Jarrod Hartzler Margaret and David Hunter JoAnn Marcinkoski

Barbara Eaton Bob and Beverley Fischer Joy and Bruce Hagelin

Dan Ginis

In Memory of Alice Phillips

Betty Sandwick

In Memory of William Eaton

Joan Beach

Doris St. Clair

In Memory of Donald Reid

Kittie B. Clarke

Bobbie Eaton Dorothy Hansen Natalie Miahky

In Memory of Diana Gayer

In Memory of Bud Rodgers

Bob and Beverley Fischer

Margaret and David Hunter

In Memory of Wanda Fair

In Honor of George Pope In Honor of Billie Whittum Harriet Richman

Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+ GAR Foundation John S. and James L. Knight Foundation Louis S. and Mary Schiller Myers Foundation Ohio Arts Council Peg’s Foundation $10,000 to $24,999 Community Fund—Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation Kulas Foundation John A. McAlonan Fund of Akron Community Foundation Gertrude F. Orr Trust Advised Fund of Akron Community Foundation $5,000 to $9,999 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust

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Charles E. and Mabel M. Ritchie Memorial Foundation Lloyd L. and Louise K. Smith Foundation Welty Family Foundation

W. Paul Mills and Thora J. Mills Memorial Foundation Maynard Family Foundation Laura R. and Lucian Q. Moffitt Foundation

$1,000 to $4,999

Corporate Partners

Akron/Summit Convention & Visitors Bureau Arts Midwest Touring Fund The Lisle M. Buckingham Endowment Fund of Akron Community Foundation Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee KeyBank Foundation Lehner Family Foundation Lubrizol Beatrice K. McDowell Family Fund R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation Sisler McFawn Foundation

Akron Tool & Die Co. Nelson Development Skoda Minotti Wealth Impact Advisors, LLC Wegman Hessler & Vanderburg

$200 to $999 KeyBank Foundation Community Leadership Fund

In-kind Services Akron Beacon Journal Cally Graphics ClevelandClassical.com Cogneato ideastream® Labels and Letters Sheraton Suites Akron/ Cuyahoga Falls Steinway Piano Gallery— Cleveland The University of Akron School of Music WKSU-FM Wooster Color Point 37

tuesday musical 2019-2020 Board of Directors

Executive Committee President Paul Filon Vice President/President Elect Linda Liesem

Treasurer Paul Mucha

Secretary Marianne Miller

Governance Committee Chair Magdalena McClure

Committee Chairs Artistic Planning George Pope Brahms Allegro Jennifer Stenroos

Development Charles Nelson Finance Paul Mucha

Hospitality Joy Hagelin

Membership Fred Specht

Members Programs Teresa Good

Scholarship George Pope, James Wilding

At-large Members Stanislav Golovin, Mary Jo Lockshin, Cheryl Lyon Staff

Interim Executive Director/ Director of Development & Communications Cyndee Snider

Director of Operations Karla Jenkins

Programs Director Moneeb Iqbal

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Program art direction by Live Publishing Co.

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