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presents
GEORGE HINCHLIFFE’S
UKULELE ORCHESTRA OF GREAT BRITAIN
FRIDAY, APRIL 8, 2022 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts
Sponsored by
LIMEROCK ROAD NEIGHBORHOOD GRILL
GEORGE HINCHLIFFE’S
UKULELE ORCHESTRA OF GREAT BRITAIN HISTORY The Ukulele Orchestra of Great Britain was formed in 1985 as a bit of fun, but the first gig was an instant sell-out, and they’ve been performing ever since. By 1988, they had released an LP, appeared on BBC TV, played at WOMAD, and recorded a BBC Radio 1 session. The Orchestra has given thousands of sold-out concerts across the world, including at the Sydney Opera House (2012), the Royal Albert Hall (2009, 2012), and New York City’s Carnegie Hall (2010, 2012). The group has also performed in Germany, Sweden, Finland, Poland, France, Canada, New Zealand, and Japan. The current ensemble has been playing together for more than 20 years, and has become something of a national institution. Over the last 29 years, the Ukulele Orchestra of Great Britain has spawned hundreds of imitators. Ukulele groups can be found in nearly every major city, and the Orchestra credited for the ukulele revival sweeping the globe. The Ukulele Orchestra’s music has been used in films, plays, and commercials. Film clips of the Orchestra’s live concerts, TV appearances, and YouTube videos have been watched millions of times. Collaborators have included Madness, David Arnold, The British Film Institute, The Ministry of Sound, Yusuf Islam (aka Cat Stevens), and The Kaiser Chiefs.
BIOGRAPHIES DAVE SUICH is the member of the orchestra with the longest hair. He was born in Erith, Kent, and grew up in London. Dave studied in Leeds and started playing the ukulele in 1980; he joined the Ukes in 1985. Dave has worked with Rik Mayall and Malcolm Hardy. Also known as Joe Bazouki, Dave has served as a compere (master of ceremony) for Glastonbury Festival for more than 20 years. He’s led his own groups including Friends of the Monster and The Missing Puddings, and he has supported Screaming Lord Sutch. Dave has released several solo CDs and resides in Kent.
PETER BROOKE TURNER is the tallest member of the orchestra. He was born in Lisbon, Portugal, and grew up in the Soviet Union, Brazil, America, Finland, and Italy. Peter started playing the ukulele in 1989 and joined the Ukes in 1994. He has worked with Des O-Connor, Jules Holland, Shaking Stevens, and Vic Reeves. He lent his uke to Tiny Tim for a London gig. He usually enters the Eurovision Song Contest and has led his own Ukulele Kings uke rock group. He has released several solo CDs and resides in Kent.
LEISA REA is the member of the orchestra who first trod the boards when she was 5 years old (as an Andy Capp impersonator). Born and raised in Manchester; she was educated in Wales and Yorkshire. Leisa started playing the ukulele last century, and joined the Ukes in 2003. She has straddled the worlds of comedy, theatre, and music. Leisa is the winner of the 2009 Musical Comedy
Awards, and has appeared on stage, TV, and radio. She has written for a smash hit BAFTA-nominated comedy (on the BBC). Leisa resides in London.
WILL GROVE-WHITE is almost the youngest member of the orchestra. He was born in London and grew up in Shepherd’s Bush, London. Will studied in Manchester and started playing the ukulele in 1986. He joined the Ukes in 1991. Will had to receive written permission to take the day off school to appear on TV with the Ukes. He has won several Royal TV Society awards for his documentaries. Will leads his own Will Grove-White and the Others band. Additionally, he has released several solo CDs. Will resides in London.
JONTY BANKES is the member of the Orchestra, who in addition to playing the bass ukulele, whistles virtuosically. He was born in Branston, Lincolnshire, and grew up in Lincolnshire. Jonty started playing the ukulele as a youngster playing George Formby; he joined the Ukes in 1992. Jonty has worked with Ray Davis, John Mayall, Louisiana Red, and Chuck Berry. In his former life, Jonty was a London bus driver. He has appeared on numerous CDs with other artists. Additionally, Jonty plays with his own rock group in Hamburg where he resides.
BEN ROUSE is the member of the orchestra who is most likely to be caught in ukulele rock poses. Born in Truro, Cornwall; he grew up in Gosport, Hampshire. Ben started out playing the guitar when he was 11; then began playing the ukulele in 2011. He joined the Ukes in 2014 and bought his first ukulele after watching the Orchestra on TV. Additionally, he works as a solo performer, teaches the ukulele, runs workshops, and arranges classical pieces for
publication. He released his first ukulele solo album, Solo Ukulele, in June 2021. Ben resides in Hampshire.
EWAN WARDROP was born and raised in Sidmouth, Devon. He started playing the ukulele in 1998, but also plays mandolin, guitar, and the penny whistle. Ewan trained as a ballet dancer and appeared in a record-breaking run of Matthew Bourne’s Swan Lake on Broadway. Additionally, he performs as a self-written one-man show based on the life of George Formby. He has a Morris Dance Group called The Bo Diddlers. Ewan resides in Sussex.
presents
ALBERT CANO SMIT, PIANO
TUESDAY, APRIL 12, 2022 | 7:30 P.M. Squitieri Studio Theatre
Sponsored in part by the State of Florida, Department of State, Division of Arts and Culture, the Florida Council on Arts and Culture, and the National Endowment for the Arts.
ALBERT CANO SMIT, PIANO
Program Pavan and Galliard “Lord Salisbury” Die Kunst der Fugue (The Art of the Fugue) BWV 1080
Orlando Gibbons Johann Sebastian Bach
English Suite No. 1 in A Major BWV 806
J.S. Bach
INTERMISSION
Kreisleriana, Eight Fantasies for Piano, Op. 16
Robert Schumann
I.
Äußerst bewegt (Extremely animated)
II.
Sehr innig und nicht zu rasch (Very inwardly and not too quickly)
III.
Sehr aufgeregt (Very agitated)
IV.
Sehr langsam (Very slowly)
V.
Sehr lebhaft (Very lively)
VI. Sehr langsam (Very slowly) VII. Sehr rasch (Very fast) VIII. Schnell und spielend (Fast and playful)
Partita for Piano
Stephen Hough
———————————
Young Concert Artists, Inc. 1776 Broadway, Suite 1500 New York, NY 10019 212.307.6657 www.yca.org
PROGRAM NOTES Pavan and Galliard “Lord Salisbury” Orlando Gibbons (1583-1625) Born December 1583 in Oxford; died June 5, 1625 in Canterbury The celebrated English composer Orlando Gibbons began his musical career as a chorister at King’s College, Cambridge, even before his matriculation there as a student. He composed music for various occasions while he was there and, in 1605, was appointed organist of the Chapel Royal, a position he held until his death. He received music degrees from Cambridge University. In 1619, he became a chamber musician to the king, and in 1623, the organist at Westminster Abbey. Gibbons’ musical reputation comes mostly from the church music he composed. Most famous for his verse anthems, works for chorus and solo voices where the solo passages have independent musical accompaniment of either organ or strings, he also wrote in the traditional polyphonic style. Additionally, he was one the most renowned English organists of his time. He spent twenty years in royal service and conducted the music for the funeral of his first patron, James I, in 1625. Continuing on at the Chapel Royal after the accession of Charles I, Gibbons and the musical establishment which he managed were obliged to travel to Canterbury to perform for the arrival of the new queen, whom Charles I had gone to welcome at the port of Dover, near Canterbury. A week before Henrietta Maria landed, Gibbons suddenly suffered a stroke and died. Gibbons, whose teacher was William Byrd, did not write for the piano, as he was alive long before its development, but he was one of the first composers who used tonality and modulation in his writing. He was one of the last of the English Virginalists, composers of the late Tudor and early Jacobean periods. During the period when Gibbons was composing, the pavan and galliard, which had become established as dances, were rarely still danced; versions of the pavan and galliard had assumed a new character, becoming objects of nostalgia and sometimes even vehicles for displaying virtuosity as instrumental pieces. The galliard’s tempo, which was never fast, was, over time, reduced to “Slow, and Large Triple-Time, and Grave, and Sober.” Gibbons did not write any pavan and galliard pairings except for the memorial dignified, sonorous pair that was published in Parthenia [Greek for “virginity”] in 1613. Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls was, indeed, as the title makes clear, the first printed collection of music for keyboard in England. Virginalis was a generic that indicated all plucked keyboard instruments and thus was suitable for the clavichord, which likely was the instrument for which Gibbons intended this pavan and galliard. Lord Salisbury was Sir Robert Cecil, the son of Queen Elizabeth’s chief counsellor. He held the state’s highest offices in spite of physical deformities that shortened his life. Even his “Galiardo,” is not expressly connected to work called, “The Lord of Salisbury his Pavin” which, in the Parthenia, it directly
follows. The pavan, always a slow processional dance, here has a mood of melancholy. The galliard’s first strain ends with a powerful anabasis or rising line, often used as a resurrection figure; in its second strain it quotes and extends the sad song, “Will you walk the woods so wild?” This splendid galliard, which survives only in a single German manuscript, is most likely a memorial to William Byrd, who died at his country home in Stondon Massey, Essex, two years before Gibbons’ own death.
The Art of the Fugue, BWV 1080 Johann Sebastian Bach Born March 21, 1685, in Eisenach; died July 28, 1750, in Leipzig In the year after Johann Sebastian Bach died, some of his musician-sons published an anthology of fugues that had occupied him on and off during the last 10 years of his life. There are more than a dozen pieces in this compilation, and each is called, in Latin, a contrapunctus, or “counterpoint,” which was how the old German theoreticians referred to fugues. The collection was titled, in German, Die Kunst der Fugue (or The Art of the Fugue). Bach had completed most of his work on it by about 1748, and during his two remaining years, blinded by cataracts and plagued by other ailments, he worked at revising and polishing its contents in preparation for publication. The sequence in which the pieces finally appeared, and even the title of the publication, may have been the work of the sons, not the father. They appended to his contrapuncti an additional unfinished fugue, huge and combining in one all the complexities of four different fugues, and then, as if to make up for the incomplete piece, added a grand contrapuntal treatment of a hymn-tune. Few copies were sold in 1751. So, in 1752, they reissued it with a new cover and an introduction by a well-known expert (which is exactly what a publisher of our time might do). Unfortunately, within five years they had still sold barely 40 copies of the music. As a result, they then sold the copper printing plates as scrap metal. Posterity regards this originally unwanted and failed publication as a priceless thesaurus of unmatched masterpieces in one of the most complex and most difficult techniques of artistic expression. Bach was unqualifiedly a supreme master of form and counterpoint. He had the ability to turn rigorous mathematical structures into music of remarkable magnificence and artistry. He made his themes reverse, turn upside down, twist, and layer themselves all following strict compositional rules. His mathematical juggernaut feats, while stunning to the theorist, are also gratifying to more casual listeners, for whom the sheer beauty of these masterworks is thrilling and impressive.
Contrapunctus No. 1, a straight-forward fugue, is based on a single musical subject, a phrase of melody that at first seems to have no particular distinction, but soon proves to lend itself to the most inventive, ingenious kind of manipulation that the incomparably great musical mind of Bach can devise. Almost all of the fugues in the Art of the Fugue appear in the publication in what musicians call “open score,” which is to say that there is a separate line for each “voice” that “speaks” (or better, sings), in simultaneous musical discourse.
Contrapuntctus No. IV is the most elaborate piece in the first group of fugues. It is a simple inversion fugue with a countersubject; the theme’s inversion gives it an upwardly striving motion. Two subsidiary motives are included: one, a descending two-note motive, while the other is a twisting chromatic line. Both Contrapunctus XIIIa and XIIIb are mirror fugues. Here, the voices are separated by the interval of a twelfth (an octave and a fifth), which almost sounds like counterpoint at the interval of a fifth. The treble voice in Contrapunctus XIIIa is later heard upside-down and in the bass in Contrapunctus XIIIb.
Contrapunctus IX is a double fugue in four voices that uses double counterpoint. It is very dynamic, bold, and rhythmic. It begins with what seems like a new motive, but later in the fugue Bach illustrates to us that this new motive really exists as a counterpoint to the original subject. Here the subject no longer has the importance that it had in earlier fugues, and Bach refers to it sporadically, allowing it to function more as a reference. He uses offshoots of the original subject, and creates new themes with very diverse character.
English Suite No. 1 in A Major BWV 806 J.S. Bach (1685-1750) Bach probably composed the six English Suites between 1710 and 1720, before he wrote the French Suites and the Partitas. The title English Suite is not Bach’s, but it appears to have been appended to the collection at an early date and used by family and friends in Bach’s circle. On an early manuscript, Bach’s youngest son, Johann Christian, who lived in London, wrote “Fait pour les Anglois,” (created for the English). Forkel, J.S. Bach’s first biographer, wrote that these are known as English Suites because Bach dedicated them to an English aristocrat, but Forkel did not mention the aristocrat’s name. Another theory is that all six suites may have been inspired by Bach’s study of the six harpsichord suites by Charles Dieupart, a French composer (1670-1740) whose career was entirely in London. It is known that Bach copied out the six suites sometime between 1709 and 1714 and used a Dieupart gigue as the model for the Prelude of English Suite No. 1. Bach probably composed his suites in Weimar or Leipzig around 1715, and perhaps added additional material later when he was in Cöthen. The English Suites are highly stylized, often chromatically and polyphonically involved, with the accented dance steps underlying the meter and rhythmic organization, but there are no particular English elements included in this suite. Like Bach’s other surviving keyboard suites, the English Suites generally involve a synthesis of German, Italian, and French style elements.
Suite No. 1 begins with quasi-improvised flourish that opens an extensive prelude, following the example of French lute suites. It has a feeling of lightness. Bach is known to have used Dieupart’s Gigue in A Major as the foundation for his prelude in this suite. Bach’s prelude less contrapuntally busy than those in his other English suites. The core movements of a Baroque dance suite are the allemande, courante, sarabande, and gigue, almost always in harmonically rounded binary form, A-B, with both halves repeated. Bach sometimes used actual dance music in his
suites. He also included “galanteries” (following the French model). “Galanteries” were popular dances or dance-like movements. Bach inserts a matched pair between the sarabande and gigue in each of the English Suites: he used the bourrée in this suite. This allemande “German (dance)” has many arpeggiated chords in precise rhythms and is a Renaissance and baroque dance, and one of the most popular instrumental dance styles in baroque music. The courante is a triple-time dance. The First Suite is unusual in that it has two courantes; the second one is followed by a couple of “doubles,” which are variations. Both are French style courantes; they are flowing and have a wandering melodic line that shifts from one voice to another. The courante is a triple meter dance form. The first dance is repeated after the second, a standard practice that led to the “minuet and trio” form of the Classical era. The sarabande, which is introduced with majestic chords, is a noble one-themed piece; in its center is an improvisatory-like development. The first of the pair of bourrées (dances with a French origin) is in a major tonality with a supple line that is elaborated with imitation, while the second one is in a minor key and is the only section of the whole suite that Bach wrote in a minor tonality. The second bourrée is more severe and has contrary motion in two voices. The final movement, a gigue, is a spirited dance, which originated in the British jig. It was probably never a court dance, but the nobility danced gigues on social occasions, and several court composers wrote gigues. This lively and joyful gigue is completely made up of two voices in imitation.
Kreisleriana, Eight Fantasies for Piano, Op. 16 Robert Schumann Born June 8, 1810, in Zwickau; died July 29, 1856, in Endenich The fabulist E.T.A. Hoffman (1776-1822) was a lawyer, judge, conductor, composer, music critic, and writer of fiction. Now he is most remembered for his fiction, as his works were the source for such musical works as Tchaikovsky’s Nutcracker, Delibes’ Coppelia, and Offenbach’s Tales of Hoffman. In 1812 and 1813, Hoffmann wrote two critical essays that helped to establish Beethoven’s music and Mozart’s Don Giovanni in the musical repertory. Beethoven, to show his pleasure, composed a punning canon on Hoffmann’s name. Hoffman invented Johannes Kreisler, a fictional conductor and composer. Hoffmann even went so far as to sign some of his essays with the name Johannes Kreisler, as the Kreisler of his fiction became his own alter ego, who he pictured as a musician in emotional turmoil with an artistic soul preventing him from making peace with the Philistine society that he had to serve. As a boy, Brahms, who sometimes referred to himself as “Kreisler Junior,” copied his favorite Kreisler stories into notebooks he called Kreisler’s Thesaurus. Some years earlier, Schumann, who became Brahms’s mentor and idol, had titled a set of eight short piano pieces Kreisleriana. After making appearances in two early volumes of Hoffmann’s tales, Kreisler’s “life” came to a literary climax in the unfinished novel Kater Murr (“Murr, the Tomcat, His Views on Life — Together
with Fragments of the Biography of Johannes Kreisler, the Conductor — From Loose and Dirty Scraps of Paper”). In this fantastic, schizophrenic text, Murr appears, contented and robust, after writing his bourgeois philosophy of life on paper torn from Kappellmeister Kreisler’s biography. The printer, who prepares the manuscript for publication, sets both texts in type as a book-within-a-book, or two concurrent books, so that Murr’s worldly wisdom becomes interwoven with the story of Kreisler’s struggles to live and work as an artist. Some musicians find reflections of specific incidents from the Murr-Kreisler stories in Schumann’s Kreisleriana. In 1838, when Schumann composed Kreisleriana, he was deeply in love with his piano teacher’s daughter, Clara, who was then only nineteen, two years shy of the date when her father’s objections could no longer prevent her from marrying him; he was 28. Robert wrote to her, “There is so much music in me now, and such beautiful melody! I have written a whole sheaf of new things, and I shall call them Kreisleriana. You and the thought of you play the principal role in them, and I shall dedicate them to you — yes to you and to no one else. You will smile so sweetly when you discover yourself in them.” A year later, Schumann wrote to a Belgian admirer that he liked Kreisleriana best of his recent compositions, but in explaining Kreisler’s identity, he added, “The titles of all my works never come to me until after I have finished writing them.” These statements make Kreisleriana seem less a series of pictures of Hoffman characters than a collection of imaginative romantic images conceived in the struggling, romantic artist’s spirit. For reasons lost to history, when he published the music, Schumann dedicated it not to Clara but to Chopin, who, in return, in 1840, dedicated his F Major Ballade to Schumann. Schumann was known to have judged this work his best creation for the keyboard. Kreisler, who was a mad musical genius plagued by neurotic vulnerability, was very close in conception to the composer’s budding Florestan/Eusebius split personality. The Florestan/Eusebius characteristic of duality here is given musical life in Kreisleriana [as almost all of the movements are characterized by sudden changes from the hauntingly lyrical to the jaggedly dramatic. The beauty of the musical statements in Kreisleriana outshines their presumed literary source. The eight fantasies of Kreisleriana contain a sequence of lovely romantic effusions that change quickly in character as they alternate between fast and slow, and are, by turns, passionate, contemplative, agitated, introspective, elfin (or perhaps feline), retrospective, and valedictory in their bringing Romantic turmoil to life.
Partita for Piano Stephen Hough Born November 22, 1961 on the Wirral Peninsula, England Named by The Economist as one of 20 Living Polymaths, British pianist Stephen Hough is a Renaissance Man, one of the most distinctive artists of his generation, who is able to combine a distinguished career as a pianist with those of composer, writer, and painter. He has won international acclaim for his outstanding interpretations of the piano repertoire.
As a recitalist, Hough has appeared on the major stages of the world including Carnegie Hall, Chicago’s Symphony Hall, London’s Royal Festival Hall, and the Concertgebouw in Amsterdam. He has also appeared at festivals worldwide including Verbier, Salzburg, Edinburgh, Aldeburgh, Tanglewood, and Aspen. Hough has recorded more than 60 CDs. Many of his albums have won international prizes, including several Grammy nominations and eight Gramophone Magazine Awards including Record of the Year in 1996 and 2003. Hough was the first classical performer to be awarded a MacArthur Fellowship (2001) and was made a Commander of the Order of the British Empire (CBE) in the New Year’s Honors 2014. He was awarded Northwestern University’s 2008 Jean Gimbel Lane Prize in Piano, won the Royal Philharmonic Society Instrumentalist Award in 2010, and in 2016 was made an Honorary Member of RPS. Hough has composed works for orchestra, choir, chamber ensemble, and solo piano. His Mass of Innocence and Experience and Missa Mirabilis were commissioned by and performed at London’s Westminster Abbey and Westminster Cathedral. In 2012, the Indianapolis Symphony commissioned and performed Hough’s orchestration of Missa Mirabilis, which was subsequently performed by the BBC Symphony as part of Hough’s residency with the orchestra. Hough has also been commissioned by musicians of the Berlin Philharmonic, the Gilmore Foundation, The Genesis Foundation, the Walter W. Naumburg Foundation, London’s National Gallery, Wigmore Hall, Le Musée de Louvre, and Musica Viva Australia, among others. Hough is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School. Hough composed the Partita after he learned that Albert Cano Smit had won the Naumburg (Gold in 2017). Knowing that Smit was Catalan, Hough wrote the piece allowing himself to be influenced, he said, by the Catalan composer Frederico Mompou. Hough noted: “Having composed four sonatas for piano of a serious intense nature, I wanted to write something different for my Naumburg Foundation commission — something brighter, something more celebratory, more nostalgic.” Smit has said: Hough is “a phenomenal character. He is, just as Gibbons was, a British pianist, but he is also a composer, a painter, and a writer of novels who had his own blog in the Telegraph newspaper in London. He wrote this Partita as a commission for the Naumburg for me. . . I had the huge honor to premiere this work.” The very technically demanding Partita, loosely following the form of a suite of dances, has five movements. Hough has written: “Written in 2019, it is in five movements. The outer, more substantial bookends have an ‘English’ flavor and suggest the world of a grand cathedral organ. The first of these alternates between ceremonial pomp and sentimental circumstance, whereas the final movement, taking thematic material from the first, is a virtuosic toccata — a sortie out of the gothic gloom into brilliant Sunday sunshine. At the center of the work are three shorter movements, each utilizing the interval of a
fifth: a restless, jagged Capriccio of constantly shifting time signatures, and two Cançion y Danzas, inspired by the Catalan composer Federico Mompou.” Hough also shared that Béla Bartók inspired the Capriccio, and he added, “Albert (Cano Smit) is from Barcelona and Mompou is Barcelona’s great musical son, so I thought it would be a nice little tribute. I thought he’d get a kick out of having pieces that were so directly linked to his own culture.” — Program notes © Susan Halpern, 2022
Albert Cano Smit, piano
Mr. Cano Smit won First Prize at the 2019 Young Concert Artists International Auditions. He also won First Prize at the 2017 Walter W. Naumburg Piano Competition, which presented him in recital at Carnegie’s Weill Recital Hall. Most recently, Mr. Cano Smit was awarded the 2020 Arthur Rubinstein Piano Prize from The Juilliard School. This past season, Mr. Cano Smit made his New York debut at Merkin Concert Hall, presented by Young Concert Artists. This season, he will perform recitals at the Kravis Center, Alys Stephens Performing Arts Center, University of Florida Performing Arts, Artist Series Concerts of Sarasota, Bach Festival Montréal, and will also appear with the Jupiter Chamber Players in New York City. He has also performed at the Herbst Theatre in San Francisco, and for the Steinway Society — The Bay Area in San Jose, New York’s Salon de Virtuosi, and Bravo! Vail, and has been in residency at the Tippet Rise Art Center. He has given recitals abroad in Xiamen, China, in France at the Wissembourg Festival and Fondation Louis Vuitton in Paris, at Germany’s Rheingau Music Festival, and throughout Spain. Mr. Cano Smit is also a sought-after collaborative pianist, and has toured with violinist William Hagen in venues throughout the U.S. and in Germany, and with flutist Anthony Trionfo; he has performed across the United States.
Photo © Chris Lee
Pianist Albert Cano Smit is already becoming an audience favorite for his performances as soloist with orchestra and in recital. He recently performed the Brahms Concerto No. 2 with the Las Vegas Philharmonic conducted by Donato Cabrera, and he has also appeared with the San Diego Symphony, Montreal Symphony, Orquesta Filarmónica de Boca del Río, Barcelona Symphony and Catalonia National Orchestra, Manchester Camerata, Nottingham Youth Orchestra, and American Youth Symphony.
Mr. Cano Smit is currently pursuing his Artist Diploma with Robert McDonald at The Juilliard School. Previous teachers include YCA alumnus Ory Shihor, Graham Caskie, and Marta Karbownicka. He has benefited from extensive artistic advice by YCA alumni Richard Goode and Jean-Yves Thibaudet, the latter with whom he gave four-hand performances at Zipper Hall in Los Angeles and Wallis Annenberg Center Hall in Beverly Hills. Mr. Cano Smit is an alumnus of both the Colburn School and the Verbier Festival Academy.
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S.L. Hanson John and Sharon Hiemenz Stephen and Sarah Holland Katherine and Thomas Huber Kami Landy Joe and Lucille Little David and Thelma Noble Will and Leigh Ann Olinger Stephen Pearton and Cammy Abernathy Bob and Lorie Primosch Cindy Prins Elizabeth Sanders, DO Sarit and Aner Sela
Christoph and Charlotte Seubert Jane L. Shaw Dr. and Mrs. Halbert and Ruth Smith Rita and Stan Smith Nancy Sorkin John B. Swanson Pat and Rick Tarrant George and Lucy Teel Deborah and Timothy Vincent Carol Willis and Ralph Bowden Beth Wolinsky Harvey and Missy Ziegler
2021|2022 SEASON PERFORMANCE SPONSORS Audacy Blue Water Bay Dharma Endowment Foundation Drummond Community Bank EAD Corporation Friends and Family of Bob Singer Guide to Greater Gainesville Harrison Estate Law Linda and Clayton Kallman Keith Watson Events
KET Enterprises Limerock Road Neighborhood Grill Chris and Donna Maxfield Oak Hammock at the University of Florida Russell and Brenda Robinson SFI Swamp Head Brewery The Independent Florida Alligator UF Health Warren Family Foundation
Thank You to
University of Florida Student Government for its commitment to providing discounted tickets to UF students for UFPA-presented events.
...Not just an experience, an escape! Whether you’re looking for something different for a date night, or want to enjoy a fun and relaxing event, you’re invited to experience world-class musicians, artists, and entertainers UpStage. Information and tickets are available at performingarts.ufl.edu or 352.392.2787.