Music in the Mountains 2024 Festival Program

CLASSICAL MUSIC FESTIVAL

July 11 –August 4, 2024

SOUTHWEST COLORADO

Guillermo Figueroa, Artistic Director & Conductor

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CLASSICAL MUSIC

FESTIVAL 2024 – 38th S ea s on

Guillermo Figueroa, Artistic Director & Conductor

BOARD OF DIRECTORS

Sheryl Kaufman, President

Liz Hogan, President Elect, Governance Chair

Richard Jalkut, Past President

Paul Cahill, Treasurer

Danica Frost, Secretary

Beth Porter, Nomination Committee Chair

Marilyn Swanson, Education Committee Chair

Elizabeth Crandall

Tiffany Griffith

Brenda Hight

Robert Oppenheimer

Ellynn Ragone

Paul Singer

Will Spears

Tracie Trotter

Angie Beach, Ex-Officio

Guillermo Figueroa, Ex-Officio

FESTIVAL ADMINISTRATION

Angie Beach, Executive Director

Jennifer O’Donohue, Operations Manager

Kristi Peltz, Festival Assistant

Lucia Thompson, Festival Assistant

Laurie Keck, Accounting Manager

Cindy Miller Atchison, Graphic Designer

Beth Stewart, Digital & Social Marketing

Melanie Palmer, Program Consultant

Sheryl Hadeka, Librarian & Orchestra Manager

Ryder Shelley, Technical Director

Gail Johnston, Volunteer Coordinator

Jane Doty, Volunteer Coordinator

Beverly Lawrence, Office Volunteer

Libby Culver, Office Volunteer

Ellie Mayer, Pops Designer

EMERITUS

Terry Bacon

Diane Becket

Leonard Davies

James H. Foster

Thomas Jones

Florence (Foxie) Mason, Founding Member

Steve Phillips

Jack Silton

Jenny St. John

Gordon Thomas

2024 COVER ARTIST

Summertime Sonata, by Patrice DeLorenzo

“The way classical music makes me feel is otherworldly. It changes how my body feels, it changes how I see things, and it feels like home and hope. While conceiving and creating the painting Summertime Sonata for the 38th season of Music in the Mountains, I envisioned the process of creation as analogous to planting a seed, from which ideas and visions bloom in diverse and unexpected ways. This growth unfolds layer by layer, much like the delicate petals of a flower, reaching and expanding like a fountain toward the sky. The culmination is a crescendo of beauty, where the harmonious interplay of elements reaches its crowning point, evoking a profound sense of awe, wonder, and a symphony of emotions.” www.patricedelorenzo.com

PROGRAM DESIGN

Cindy Miller Atchison Design | Art

Jazz and Classical Music have reached new heights! SAN JUAN COLLEGE

KSJE is now on the air in Durango! 103.3 FM

Music in the Mountains

MAKING A DIFFERENCE YEAR-ROUND IN OUR SCHOOLS.

The education programs of Music in the Mountains Goes to School follow students through their musical development from elementary through high school.

Our programs reach hundreds of students in Durango and the surrounding areas. We take special interest in helping students to learn to play an instrument and participate in musical ensembles. Not only does this help to train the next generation of musicians, it helps build musical understanding and skill with the people who will form our classical music audiences in the future.

Sponsored by:

Education Programs

DISCOVERING MUSICAL STARS OF TOMORROW!

We take a special interest in getting students involved. Students who study music are more successful in school, society, and life. Numerous studies have shown that students who participate in music education:

• Perform better in math, English, and biology than students who do not study music

• Score higher on verbal and math portions of the SAT and have better grades and more academic honors

• Have significant increases in self-esteem, self-discipline, cultural identity, and critical thinking skills

• Are less likely to be disruptive in school, have fewer disciplinary problems, and are less likely to drop out

• Have the lowest reported lifetime use of substances like drugs and alcohol

• Have the strengthened ability to persevere and continue towards a goal despite obstacles

Music in the Mountains Goes to School programs include:

Youth Ambassador Scholarships – providing up to 16 fully paid private music lessons for each scholarship recipient.

Scholarships to attend Juilliard High School Online for Music Theory and/or Ear Training –offering full tuition for a semester-long class to each scholarship recipient.

Annual Family Concert – a family friendly concert featuring the full Festival Orchestra in a concert designed for children and their families.  For only $5 we provide a hot dog, chips, root beer float, and spectacular performance inside the Community Concert Hall.

Free Student Tickets – a program offering up to two free student tickets for students ages 7 – 18, with the purchase of one adult ticket to select Music in the Mountains concerts.

Take a Bow – a free community concert event showcasing local music students.

Durango High School and Middle School Recruitment Concerts – Provides transportation for all Durango elementary and middle school students to attend the annual recruitment concerts in hopes of inspiring the next generation of music students to join their respective school bands and orchestras.

Music in the Mountains

BID HIGH, BID OFTEN...

Bid to support the Goes to School programs in the local community!

BIDDING IS OPEN JULY 11 - JULY 28!

Music in the Mountains’ Online Auction funds our Goes to School music education programs throughout the year. The auction goes live on July 11, and bidding closes at 9:00pm on July 28. Here is an opportunity for you to both support music education AND get a great deal on experiences, services, and items from businesses you likely already know and love!

8-DAY VIKING EUROPEAN RIVER CRUISE FOR TWO PEOPLE:

Select your destination and immerse yourself in the Old World as you sail Europe’s most iconic rivers. Discover Danube gems like Vienna and Budapest. See storied Rhine castles. Trace French history along the Seine. From the Main to the Moselle, the Douro to the Dordogne, Viking River Cruises are unsurpassed. Every detail on board a Viking ship is designed to enrich and enhance your travel experience with award-winning service, luxurious accommodation, bountiful culinary offerings, and thoughtfully designed education and entertainment experiences. Meals, shore excursions, and tours included. Airfare not included.

7 NIGHTS IN A GLACIER WILDERNESS RESORT CABIN IN MONTANA FOR LABOR DAY 2024

Nestled in the heart of Montana’s beautiful wilderness, just 10 miles from Glacier National Park, Glacier Wilderness Resort is a haven for nature lovers and those seeking a peaceful retreat from the hustle and bustle of everyday life. Your home for the week is a one-bedroom cabin that can accommodate up to four people, with a fireplace, full kitchen, washer/dryer, and a private hot tub, access to an indoor heated pool, and nearby hiking or fishing.

SUMMERTIME SONATA, ORIGINAL PAINTING BY PATRICE DELORENZO

Patrice is a celebrated member of our vibrant local artist community, treasured as a prolific painter and devoted teacher. In her words, this commissioned piece for the 2024 Music in the Mountains festival evokes “the profound impact of classical music on our emotions and the creative spirit within us all.”

...IT’S FOR THE KIDS! Education Fundraiser

COLORADO ADVENTURES:

Here in Colorado, we don’t have to travel far for thrilling adventure! Take in the sprawling beauty of the San Juans from a hot air balloon at the Animas Valley Balloon Rally or high above Pagosa Springs with Rocky Mountain Balloon Adventures. Spend a day at Lake Nighthorse with a Day Pass and a pair of Kayak or SUP rentals from 4CRS. Ride in style on the Durango & Silverton Narrow Gauge Railroad with First-Class Round-Trip tickets to Silverton with an overnight layover stay at the Grand Imperial Hotel!

FESTIVALS, CONCERTS, THEATER:

Whatever your taste in music may be, explore the tickets and passes on offer from our fellow arts organizations. Luxuriate in Dress Circle Box Tickets for the Dallas Symphony Orchestra, paired with a night’s stay at the luxurious JW Marriot Dallas Arts District. See the latest on the film circuit with a series of tickets for the Durango Independent Film Festival. Spend an evening steeped in the nostalgic allure of a Bar D Chuckwagon supper show. Catch a lively performance at the celebrated Creede Repertory Theater. Quench your thirst for strings with passes for the Durango Bluegrass Meltdown or celebrate the end of another spectacular Southwest Colorado summer with a pair of coveted 3-Day Patron VIP passes to the renowned Labor Day weekend Four Corners Folk Festival.

SELF CARE & WELLNESS:

Durango does not want for a wide array of teachers, salons, and treatments to help us look and feel our best selves! Treat yourself to yoga and Pilates classes with local favorites including K-Lea Gifford, Pilates Durango, Kaiut Yoga, and Pause Yoga & Pilates. Soak in the healing waters at Durango Hot Springs or reset your mind and body in the salinated waters of Salt 360 Float Studio. Pamper your skin with products from Durango Dermatology, Pamela Hatten Med Spa, and Pour Moi or refresh your look with a visit to the Oak Brush Salon, Euphoria Salon, and Highland Nails!

Together We

Cultivate

a Vibrant Community 2023 Seeds of Growth

$5.7 Million infused into SWCO nonprofits

499 Grants making a difference

109 Nonprofit Leaders educated at regional workshops

78 Funds providing impact in SWCO

Learn more about how we help the nonprofit sector bloom:

We partner with local families to maximize the full potential of our region’s nonprofits. Join us as we leave a lasting legacy together!

Barker Family Fund Barney Family Fund Bartig-Small Family Fund

Boone Fund Bradley Family Fund Brandsma Family Fund Cathy Crum Fund

Cochennet Fund Dear Family Fund Even Keel Fund Fred & Ruth Jacques Family Fund

French Family Fund Glick Family Fund Gwendolyn & Joan Fund Harris Family Fund

Hoops Designated Fund Janice C. Sheftel Fund

Katz Family Fund LeMaire Family Fund Loftis Family Fund Martin Family Fund

McWilliams Family Fund Melissa Glick's Philanthrofund

Milligan & Meiering Fund Open Hand Fund Salomon Family Fund

Sandal Cross Memorial Fund Stilwell Family Fund Wayne Settle Memorial Fund

BIG ANNOUNCEMENT! Spaghe i Lunch Fundrais

September 8, 2024 at 12:30 PM

Tickets – $50

Includes salad, pasta buffet, bread, iced tea Cash bar available

Primi Piatti

Insalata di Cesare

Hearts of romaine lettuce with traditional Caesar dressing, croutons and shaved Parmigiano cheese

Buffet

Penne Marinara

Penne pasta smothered in Perbacco’s classic marinara sauce

Rigatoni Bolognese

Rigatoni pasta tossed in a classic Four-Meat Bolognese style ragu

Farfalle Alfredo

Farfalle pasta tossed with Perbacco’s creamy homemade Alfredo sauce

Reserve Your Seat

FROM THE BOARD OF DIRECTORS’ PRESIDENT Letter

Dear Patrons,

The 38th Annual Music in the Mountains summer festival promises to be an exciting and special celebratory season!

Music in the Mountains proudly dedicates the 2024 season to Artistic Director & Conductor Guillermo Figueroa and congratulates him on his many accomplishments throughout his time at Music in the Mountains. Guillermo’s last year with Music in the Mountains is the end of an incredible chapter in our story.

For eighteen years, Maestro Figueroa has delighted Music in the Mountains’ audiences and musicians alike with his talent and passion for classical music in all its diversity.

We have been honored by his artistic leadership and look forward to watching his illustrious career continue to grow to new heights.

As a forty-year retired educator and educational administrator, I have always admired and taken a personal interest in the myriad of year-round educational opportunities Music in the Mountains offers to area students and their families.

Music in the Mountains is passionate about inspiring, engaging, and educating youth. Our programs include the ever-popular Family Concert, Free Student Ticket program, scholarship programs such as the Youth Ambassador Scholarships, which offer free private music lessons for a full semester, and Juilliard High School Online Extension Scholarships for free tuition, as well as masterclasses, the free Take a Bow community recital, and more.

Looking to the future, the dedicated board of directors and staff of Music in the Mountains have been working tirelessly on succession planning and the highly anticipated next chapter in our story.

Music in the Mountains will be taking our summer festival to new heights with the expansion of our high caliber of musicians and music, and a continued expansion of our quality music education opportunities for area students and families.

Music in the Mountains will be making an exciting announcement regarding our transitional new chapter in the Fall of 2024! Please help us celebrate by joining us as a donor, volunteer, advertiser, sponsor, and/ or housing donor, and thank you for being a part of the 38th season of Music in the Mountains, a thrilling crescendo to Guillermo Figueroa’s legacy!

Sincerely,

Sheryl Kaufman, President

Letter FROM THE EXECUTIVE DIRECTOR

Dear Friends,

It is my pleasure to welcome you to the 38th Anniversary Season of Music in the Mountains here in beautiful Southwest Colorado.

We are proud to bring the highest caliber musicians once again from across the country to our rural corner of the world. I hope you will enjoy this season’s lineup of concert events. These programs are intentionally designed to appeal to a wide audience. There truly is something for everyone! This is an especially momentous season in our history as we say farewell to our esteemed Maestro, Guillermo Figueroa. I know his final season as our Artistic Director & Conductor will not disappoint!

Please think about sharing this magical musical experience with those around you. Invite your friends and neighbors, colleagues, and new acquaintances to join in the fun. Art and culture are all about making connections. I think you’ll agree, we need meaningful connection now more than ever before.

Thanks to the dedication and commitment of so many people – our board members, musicians, staff, volunteers, patrons, and of course our many sponsors and donors – we continue to produce this treasured music festival and our year-round music education programs. We are proud of the impact we make on the culture, economy, and quality of life in our community. The impact that Music in the Mountains has on our local economy is truly astounding. Did you know that every dollar donated to Music in the Mountains is leveraged into $5.32 in total economic output? This translates into millions of dollars pumped into our local economy each year.

Please take a moment to note our many generous contributors. We encourage our patrons to thank our corporate sponsors for their support of the Festival when they are doing business with them. Make no mistake, this festival would not have been possible without their generous continued financial and in-kind support.

Thank you for supporting Music in the Mountains and for cherishing this special organization. May these concerts and events renew your spirit and bring joy to your life today and hope for tomorrow.

Guillermo, Muchas gracias y te deseo todo lo mejor en tus futuros esfuerzos!

Happy Festivaling!

Angie Beach, Executive Director

FROM THE ARTISTIC DIRECTOR & CONDUCTOR Letter

Dear Friends,

All good things must come to an end. And 18 years of enjoying the privilege of making music in this beautiful place was certainly a ‘good thing’. During my time at MITM I experienced some of the greatest performances of my career, while being surrounded by extraordinarily talented musicians and colleagues. I am forever grateful for the support and encouragement from our devoted patrons, Board, and staff, which made all this possible.

In particular, and from my early days in Durango, I must mention the friendship, excellent management, and caring shown by Susan Lander, the Executive Director, when I started. She greatly helped make my initial steps a success. And of course, my ‘partner in crime’, mentor and friend, Greg Hustis. Greg took me under his wing and allowed me to develop a vision for the festival, in a unique and constructive relationship that rarely happens in a musical organization. Susan and Greg, I thank you from the bottom of my heart.

I am also greatly indebted to Foxie Mason, who chaired the committee that chose me as the Music Director, taking a chance with me. Foxie, I hope I have repaid your trust during these years. Jim Foster was an invaluable sounding board, with his great musical knowledge and sage advice. And that amazing couple, Michelle and Robert Oppenheimer, who were like aunt and uncle to me and beloved by all the musicians. I will forever cherish your friendship and encouragement.

And of course, my immense gratitude to the indispensable Angie Beach, who guides the organization so brilliantly, and who has been the perfect partner, supporting when needed, but also tempering my vision with her fabulously practical and clear mind. A million thanks, Angie.

Finally, the heart and soul of our Festival, the amazing musicians, who grace us with passionate performances, inspiring musicianship, and devoted commitment. To stand in front of you as conductor has been one of the greatest privileges of my life. You will be in my heart forever.

But not all is goodbye. This summer we have a splendid banquet of music and performers. Three of the most sought-after and brilliant soloists of today will grace our stage. Olga Kern, Gold Medalist of the Van Cliburn Competition with the virtuoso 2nd concerto of Rachmaninoff; Paul Watkins, the magnificent cellist of the renowned Emerson String Quartet; and Hina Khuong-Huu, fabulous violinist and winner of the Elmar Oliveira International Competition. Signature symphonies by Brahms, Beethoven, and Mendelssohn; Baroque music by candlelight; thrilling Pop performances by TAKE3, Richard Kaufmann (with John Williams music) and Byron Stripling, plus lots more.

I look forward to seeing you this summer and would love to thank you all personally, so please do come and say hello (and goodbye!) if you get the chance.

Great memories, great music, great friends; thank you, Durango, and Music in the Mountains!

CELEBRATING 18 YEARS OF MUSICAL MASTERY

Bravo, Guillermo!

For nearly two decades, Guillermo Figueroa has been the heart and soul of Music in the Mountains, guiding this cherished festival to new heights of artistic excellence. As we gather to celebrate his remarkable 18-year tenure, we reflect on a journey marked by passion, dedication, and an unwavering commitment to the transformative power of music.

Guillermo’s tenure as Artistic Director & Conductor has been nothing short of extraordinary. His visionary leadership and unparalleled musicianship have left an indelible mark on the festival, elevating it to a premier event renowned for its artistic brilliance and innovative programming. Under his baton, audiences have been treated to performances that transcend the ordinary, blending classical masterpieces with contemporary compositions in ways that both honor tradition and embrace the new.

Guillermo with wife,

Valerie Turner, at Boot Jack Ranch in Pagosa Springs (2009)

AT MUSIC IN THE MOUNTAINS!

A maestro of exceptional talent, Guillermo’s artistry extends beyond the podium. His skill as a violinist and violist has graced many of our stages, offering audiences the unique privilege of witnessing his dual gifts of conducting and performing. His interpretations are infused with a deep understanding of the music’s emotional and technical nuances, captivating audiences and musicians alike.

His 18 years with Music in the Mountains have been a testament to the power of leadership rooted in passion and purpose. We are profoundly grateful for his contributions, which have enriched our lives and our community in immeasurable ways.

Guillermo conducting at the Festival Tent at Purgatory (2011)

Guillermo with Festival Office Staff: (left to right) Angie Beach, Susan Lander, Guillermo Figueroa, Annie Simonson, Julie Brown (2016)

Guillermo talking with the audience (2017)

Guillermo after conducting Verdi Requiem (2008).

The Road Sh

DENVER BRASS QUINTET

Mancos: Boyle Park: 11:00 am

Durango: Claire Viles Park: 2:00 pm

Durango: Buckley Park: 6:30 pm

KAIA STRING QUARTET

Bayfield: Eagle Park: 11:00 am

Ignacio: Shoshone Park: 2:00 pm

Durango: Buckley Park: 6:30 pm

KNOW BEFORE YOU GO:

• Shows run approximately 45 minutes.

• In case of bad weather, concerts will be canceled.

• There are no restrooms or concessions.

• You may bring your own chairs, food and (non-alcoholic) beverages.

• No reservations are necessary. Just show up!

• Visit MusicintheMountains.com or scan QR code for details:

GLACIER CLUB PRESENTS

Special Donor Event

Glacier Club

Summer Soirée

The Moanin’ Frogs Saxophone Sextet

Edward Goodman, Gabriel Piqué, Jeff Siegfried, Jonathan Hulting-Cohen, Jeffrey Leung, Lucas Hopkins

JACQUES PRESS

SCOTT JOPLIN

WILLIAM BOLCOM

Wedding Dance from Hasseneh

Maple Leaf Rag

Graceful Ghost Rag

JOSEPH GARLAND In the Mood

MARTY BLOOM

LORENZO BARCELATA

CHUCK BERRY

JOHANN SEBASTIAN BACH

TRADITIONAL

GIOACHINO ROSSINI

WOLFGANG AMADEUS MOZART

FREDDIE MERCURY

JAMES HORNER

Melancholy Blues

El Cascabel

Johnny B. Goode

Orchestral Suite No. 2 in B minor

Danny Boy

Largo al factotum from The Barber of Seville

Queen of the Night from The Magic Flute

Bohemian Rhapsody

My Heart Will Go On from Titanic

Community Concert Hall, FLC

BALLANTINE COMMUNICATIONS AND GABLE HOUSE PRESENT

Candlelight Concert

Guillermo Figueroa, Emmanuelle Boisvert, Hannah Ji, violin; Rachel Halvorson, viola; Christopher French, cello; Aaro Paavo Heinonen, bass; Leslie Fagan, Sarah Frisof, flute; JJ Koh, clarinet; Katherine Ventura, harp; Luke Gullickson, harpsichord

GEORG PHILIPP TELEMANN

Viola Concerto in G, TWV 51:G9 (1681 – 1767) Largo / Allegro /Andante / Presto

GEORGE FRIDERIC HANDEL

Harp Concerto in B-flat, HWV 294 (1685 – 1759) Andante allegro / Larghetto / Allegro moderato

JOHANN SEBASTIAN BACH

Brandenburg Concerto No. 4 in G, BMV 1049 (1685 – 1750) Allegro / Andante / Presto

e INTERMISSION f

GIUSEPPE TARTINI

Violin Sonata in G minor, GT 2.g05, “Devil’s Trill” (1692 – 1770) Larghetto affetuoso / Allegro energico / Andante-allegro assai arr. Fritz Kreisler

MAURICE RAVEL

Introduction and Allegro for (1875 – 1937) Harp, Flute, Clarinet, and String Quartet Friday, July 19 • 7:00 pm

The Dear Family

Pops Orchestra Concert

Community Concert Hall, FLC

THE DEAR FAMILY – IN MEMORY OF WALT DEAR, PRESENTS

Satchmo Scattin’ & Swingin’

Byron Stripling, conductor, trumpet, vocal

GEORGE GERSHWIN

TRADITIONAL

BUDDY DeSYLVA

SPENCER WILLIAMS

TRADITIONAL

Sometimes I Feel Like a Motherless Child

Birth of the Blues

Basin Street Blues

Down by the Riverside

JEFF TYZIK Swing, Swing, Swing

GEORGE GERSHWIN

BYRON STRIPLING

RAY HENDERSON

AMERICAN FOLK SONG

PRESTON “RED” FOSTER

BOB THIELE

GEORGE DAVID WEISS

JEFF TYZIK

HUGHIE CANNON

Lady Be Good

e INTERMISSION f

Satchmo Scattin’ & Swingin’

Bye Bye Blackbird

St. James Infirmary

I Got My MoJo Workin’

What a Wonderful World

You Gotta Give Me That Rhythm

(Won’t You Come Home) Bill Bailey

20 • 7:00 pm

Orchestra Concert

Community Concert Hall, FLC

COMMUNITY FOUNDATION SERVING SW CO & GENERAL PALMER HOTEL PRESENT

Kinetic Brilliance

Guillermo Figueroa

Hina Khuong-Huu

GALA FLAGELLO

Vitality, for orchestra (1994 – )

ÉDOUARD LALO

Symphonie espagnole in D minor, Op. 21 (1823 – 1892)

Allegro non troppo

Scherzando: Allegro molto

Intermezzo: Allegretto non troppo

Andante

Rondo: Allegro

Hina Khuong-Huu, violin

e INTERMISSION f

July 21 •

JOHANNES BRAHMS

Symphony No. 2 in D, Op. 73 (1833 – 1897)

Allegro non troppo

Adagio non troppo

Allegretto grazioso (quasi andantino)

Allegro con spirito

STAR LIQUORS PRESENTS

Benefit Dinner and Concert

Kennebec Café, Hesperus, CO

Perfectly Paired

Boyd Meets Girl

Rupert Boyd, guitar; Laura Metcalf, cello

JAIME ZENAMON

Reflexões No. 6 (1953 – ) Vivissimo

HEITOR VILLA-LOBOS

Bachianas Brasilieras No. 5 (1887 – 1959)

CHRISTIAN DOZZA

Beetle’s Dance (1983 – )

JOHN LENNON/PAUL McCARTNEY

Blackbird (1940 – 1980) / (1942 – )

CLAUDE DEBUSSY

Eleanor Rigby

Arabesque No. 1 (1862 – 1918)

JOHANN SEBASTIAN BACH

Two-Part Inventions (1685 – 1750)

No. 8 in F, BWV 779

No. 10 in G, BWV 781

No. 6 in E, BWV 777

No. 13 in A minor, BWV 784

pm

CAROLINE SHAW

Shenandoah (1940 – 1980)

MARIÁN BUDOŠ

A New York Minute (1968 – )

Community Concert Hall, FLC

Dinner & Family Concert

Hot Dogs: 5:30 pm, Concert: 6:30 pm

Guillermo Figueroa, conductor

Drea Pressley, mezzo soprano; Paul Singer, narrator

GIOACHINO ROSSINI Overture to William Tell (1792 – 1868)

ROBERT KAPILOW Dr. Seuss’s Green Eggs and Ham* (1952 – )

* Dr. Seuss’s Green Eggs and Ham by Robert Kapilow presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners.

TM and ©1960

Dr. Seuss Enterprises, L.P.

July 24 • 5:30 pm

Community Concert Hall, FLC

BALLANTINE FAMILY FUND – IN MEMORY OF MARY JANE CLARK, PRESENTS

Bravissima!

Guillermo Figueroa, conductor; Olga Kern, piano

FELIX MENDELSSOHN

Symphony No. 3 in A minor, Op. 56, Scottish (1809 – 1847)

Andante con moto – Allegro un poco agitato

Vivace non troppo

Adagio cantabile

Allegro vivacissimo – Allegro maestoso assai

e INTERMISSION f

26 •

SERGEI RACHMANINOFF

Piano Concerto No. 2 in C minor, Op. 18 (1873 – 1943)

Moderato

Adagio sostenuto

Allegro scherzando

Olga Kern, piano

Music in the Mountains is grateful for the generous gift from the Ballantine Family Fund in memory of their long-time family friend, Mary Jane Clark. Mary Jane passed away last year just two months short of her 98th birthday. She was a true pioneer spirit and incredibly important to the Festival’s growth and success. She hosted fundraising events, worked with Purgatory to secure their support as our first mainstage venue, and led as the second Board President of Music in the Mountains. She loved classical music, and she loved this community.

Mary Jane was born in the small crossroads town of Blanco, New Mexico where her parents ran the Blanco Mercantile, a small trading post. She graduated from boarding school in Albuquerque with top honors in music and academics, was the valedictorian of her class at 16 and attended Saint Mary’s College in Omaha for a year before attending nursing school in Denver. She completed her Registered Nurse Training at Mercy Hospital in Durango and worked as a nurse for 30 years. She married Jackson Clark and had two children, Antonia and Jackson. The family opened the Toh-Atin Gallery in Durango in 1981 and Mary Jane was active with the business for 42 years.

Mary Jane Clark will be remembered for her can-do attitude - some would say she could move mountains if properly motivatedand her positive outlook on life. Please enjoy this performance in her memory!

Program Notes can be found on page 95.

Community Concert Hall, FLC

TAKE3

Guillermo Figueroa, conductor

With a flair for the wild and unexpected, this genre-defying trio brings the refinement of a rigorous classical music background and infuses it with rockstar charisma. Trained at the world’s top conservatories, TAKE3 has expanded their repertoire from Bach and Beethoven to Bieber and The Beach Boys. Known for their infectious on-stage personalities, this threesome captivates with arrangements of top pop hits, Americana, and their signature classical mashups. TAKE3 was created by lead violinist and vocalist Lindsay Deutsch.

Popular numbers performed with the orchestra include America, Hallelujah, Carmen, Beethoven’s Greatest Hits, Game of Thrones, Bach/Amazing Grace, Pirates of the Caribbean, West Side Story, Sweet Home Alabama, and Misirlou, among others.

July 27 • 7:00 pm

PERBACCO CUCINA ITALIANA PRESENTS

Bouquet of Sound

Maurice Cohn, guest conductor

Emmanuelle Boisvert

James Button, oboe;

MISSY MAZZOLI

Community Concert Hall, FLC Orchestra Concert

These Worlds in Us (1980 – )

FRANZ JOSEPH HAYDN

Sinfonia Concertante in B-flat, Hob. 1:105 (1732 – 1809)

Allegro

Andante

Finale: Allegro con spirito

Emmanuelle Boisvert, violin; Christopher French, cello; James Button, oboe; Laura Leisring, bassoon

e INTERMISSION f

•

AARON COPLAND

Appalachian Spring (1900 – 1990)

2016 edition/restoration by David Newman

MANUEL de FALLA

Three-Cornered Hat, Suite No. 2 (1876 – 1946)

Los vecinos (Seguidilla)

Danza del molinero (Farruca)

Danza final (Jota)

CREAM BEAN BERRY PRESENTS

Chamber Concert

River Bend Ranch, Durango, CO

Sundaes on Tuesday with Music for Dessert

Emmanuelle Boisvert, violin; Rachel Halvorson, viola; Christopher French, cello; Aaro Paavo Heinonen, bass; JJ Koh, clarinet; Laura Leisring, bassoon; Nikolette LaBonte, horn

LUDWIG van BEETHOVEN

Septet in E-flat, Op. 20 (1770 – 1827)

Adagio – Allegro con brio

Adagio cantabile

Tempo di minuetto

Tema con variazioni: Andante

Scherzo: Allegro molto e vivace

Andante con moto alla marcia – Presto

Tuesday, July 30 • 7:00 pm

LePlatt’s Pond, Bayfield, CO

KSUT PUBLIC RADIO AND LEPLATT’S POND PRESENT

The Jacob Jolliff Band

Jacob Jolliff, mandolin; Stach Wyslouch, guitar; John Mailander, fiddle; Myles Sloniker, bass

Jolliff was born into a musical family in Newberg, OR. His dad started him on the mandolin at age seven and required him to practice ten minutes a day. But after six months of practicing this minimal amount, something clicked, and almost overnight he started putting in several hours of intense practice daily. And this hasn’t really changed in the last 20 years. The Jacob Jolliff Band is a group of virtuosic pickers that plays Jacob’s original instrumentals, as well as showcases his singing. They tour nationally in the US and have also traveled to Scotland and Australia to perform. The group has released two albums, Instrumentals Vol. 1 in 2018 and The Jacob Jolliff Band in 2022.

In 2022, Jacob was called on by world famous banjo player, Béla Fleck, to tour as part of My Bluegrass Heart. He performed around the country alongside Béla and some of the very best musicians in the genre: Bryan Sutton, Cody Kilby, Justin Moses, Mark Schatz, Michael Cleveland, Stuart Duncan and Billy Contreras.

Artist for Music in the Mountains 2024 Season

May your engagement with art enrich your life with beauty and inspiration.

SERVICES OFFERED:

• Acrylic Paintings

• Custom Paintings from small to large

• Private Painting Lessons –In-person & Online

• Painting Workshops

• Giclee’ Prints –Open & Limited Editions

• Fine Art Note Cards

• Puzzles

• Art Consulting & Supportive Critiquing

Patrice DeLorenzo, BFA, MFA

Painting and Teaching Studio (by appointment)

1911 Main Ave #246, Durango, CO

CONTACT INFORMATION:

Mailing Address: 10 Town Plaza #323 Durango, CO 81301

(970) 799-8838

patricefineart@gmail.com patricedelorenzo.com

Classical Hit Parade

Guillermo Figueroa

WOLFGANG AMADEUS MOZART

The Marriage of Figaro, K. 492 (1756 – 1791)

PYOTR ILYICH TCHAIKOVSKY

Polonaise from Eugene Onegin, Op. 24 (1840 – 1893)

GIOACHINO ROSSINI

Overture to The Barber of Seville (1792 – 1868)

GERÓNIMO GIMÉNEZ

Intermezzo from La Boda de Luís Alonso (1854 – 1923)

JACQUES OFFENBACH

Overture to Orpheus in the Underworld (1819 – 1880)

e INTERMISSION f

FRANZ von SUPPÉ

Light Cavalry Overture (1819 – 1895)

CHRISTOPH WILLIBALD GLUCK

Dance of the Blessed Spirits from Orfeo ed Euridice (1714 – 1787)

JOHANN STRAUSS II

Thunder and Lightning Polka, Op. 324 (1825 – 1899)

PYOTR ILYICH TCHAIKOVSKY

Capriccio Italien, Op. 45 (1840 – 1893)

August 2 •

Sky Ute Event Center, Ignacio Benefit Event

Pops Night: Star Wars vs Star Trek

Richard Kaufman, conductor

JERRY GOLDSMITH

Star Trek: The Motion Picture (1929 – 2004)

MICHAEL GIACCHINO

• The New Enterprise

Star Trek Beyond (1967 – )

• Night on the Yorktown

• End Credits

ALEXANDER COURAGE

Star Trek: Television Theme (1919 – 2008)

JERRY GOLDSMITH

Star Trek 5: The Final Frontier 1929 – 2004)

• End Credits

JOHN WILLIAMS

Star Wars: The Phantom Menace (1932 – )

• Flag Parade

Star Wars: The Empire Strikes Back

• Han Solo and the Princess

Star Wars: Return of the Jedi

• Forest Battle

Star Wars: The Rise of Skywalker

Star Wars: A New Hope

• Main Title

Star Trek V: The Final Frontier - End Credits by Jerry Goldsmith and Alexander Courage, Star Trek - The Motion Picture: The New Enterprise by Jerry Goldsmith and John Mauceri, and Star Trek: Theme (original television series) by Alexander Courage all presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners.

KENNEBEC WEALTH MANAGEMENT AND HUTTON BROADCASTING PRESENT

Pinnacle Performance

Guillermo Figueroa

Paul Watkins, cello

MIKHAIL GLINKA

Overture to Ruslan and Ludmilla (1804 – 1857)

DMITRY SHOSTAKOVICH

Cello Concerto No. 1 in E-flat, Op. 107 (1906 – 1975)

Allegretto

Moderato

Cadenza (attaca)

Allegro con moto

Paul Watkins, cello

e INTERMISSION f

LUDWIG van BEETHOVEN

Symphony No. 7 in A, Op. 92 (1770 – 1827)

Poco sostenuto – Vivace

Allegretto

Presto

Allegro con brio

Concerto No. 1 for Violincello and Orchestra by Dmitri

presented under license from G.

Program

and Associated Music Publishers, copyright owners.

Shostakovich

Schirmer Inc.

FZA’s Management Team: Sidny Zink, CPA; Charles Fredrick, CPA, CGMA; Michelle Sainio, CPA, CGMA; and John Lopez, CPA, CGMA.

State Licensed Available 5-Days A Week

Audiology

799 East Third Street, Suite 1 , Durango• 1280 North Mildred Road, Suite 1 Cortez

Animas Valley

Chandace Jeep, Au.D.

Beth Connors, Au.D. Doctors of Audiology

SUMMER/FALL EDITION

• Online, in homes & lodging establishments

• Mailed to home and business owners

• Stunning , Local Photography

• Engaging and informative articles

• Have fun and enjoy the music!

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COLORADO TITLE & CLOSING SERVICES LLC Next to Maria’s Bookshop

ENSURE THAT MUSIC IN THE MOUNTAINS

We make it easy to give.

...and your support matters!

Enhance your Festival experience with benefits and privileges when you make a donation. Your contribution also guarantees the future of Music in the Mountains and helps fund local music education programming.

Your generous support makes a difference. For over 35 years, Music in the Mountains has been presenting artistically innovative concerts and events featuring world-renowned musicians in the enchanted setting of the San Juan Mountains. Your contributions help sustain the unique experience and programming that is the hallmark of Music in the Mountains.

Join the Music in the Mountains family now!

Donor Benefits

HOUSING MUSICIANS

Open your guest home, guest bedroom, or condominium to the Music in the Mountains musicians and help us continue to offer our exceptional classical music festival to our region! Donated housing for musicians is a key element in the production of Music in the Mountains. As one of the Festival’s largest costs, we rely on the generosity of area property owners to offset our housing expenses. Ticket sales only cover about 20 percent of the production costs for our Festival. The value of your donation will be recognized in the Festival program and counts toward your individual donor benefits, including complimentary concert tickets. No need to worry… Music in the Mountains handles the professional cleaning of housing units after musicians depart.

VOLUNTEER OPPORTUNITIES

Music in the Mountains is dependent on a large team of dedicated volunteers. We encourage you to lend your time and talents and be a part of this unique and wonderful experience. Volunteer opportunities include ushering, office administration, joining the Music in the Mountains Education Committee, and working on special events.

CORPORATE SPONSORSHIPS

Join an elite group of sponsoring businesses in helping to present this world-renowned Festival. Sponsors of Music in the Mountains reach an affluent, influential, and sophisticated audience. In addition, through our prominent recognition opportunities, sponsors are able to further develop their image of good corporate citizenship and arts patronage. A sponsorship package can be tailored to meet the unique needs of your organization. Music in the Mountains is a nonprofit 501(c)(3) organization. All contributions are tax-deductible to the fullest extent of the law.

Festival Artistic Director

PASSION AND EXCELLENCE

Guillermo Figueroa

Festival Artistic Director & Conductor, violin, viola

Since 2007, Figueroa has delighted audiences as Festival Music Director and Conductor. He is the Music Director of the Santa Fe Symphony Orchestra. He is also the Music Director of the Lynn Philharmonic at the prestigious Lynn Conservatory in Florida. Previously, he served as Music Director and Conductor of the New Mexico Symphony Orchestra for ten seasons, and is also the former Music Director of the Puerto Rico Symphony. He has appeared as guest conductor with the symphony orchestras of Detroit, New Jersey, Memphis, Phoenix, Iceland, and Mexico, working with artists such as Itzhak Perlman, Yo Yo Ma, Placido Domingo, and Pepe Romero. Figueroa is a renowned violinist and violist. He was a founding member of the world-renowned Orpheus Chamber Orchestra, and for ten years was the concertmaster of the New York City Ballet. Figueroa has given the world premieres of four violin concertos written for him. His recording of Ernesto Cordero’s violin concertos received a Latin Grammy nomination in 2012. Hailing from Puerto Rico’s most distinguished musical family, he studied at the Conservatory of Music in San Juan and at The Juilliard School.

2024 Festival Musicians

Guillermo Figueroa

Festival Artistic

Director and Conductor

The Conductor’s Chair is supported, in part, by the Frederick C. and Margaret E. Henn Conductor’s Fund

Orchestra

Violin I

Emmanuelle Boisvert, Concertmaster

The Concertmaster chair is supported by the Tiffany Haugen Memorial Endowment: a gift of Bob Haugen in memory of Tiffany Haugen

Hannah Ji

Jimin Lim

Leslie Shank, Concertmaster Emeritus

William Hunt

Carlos Elias

Petros Karapetyan

Mariana Cottier-Bucco

Carla Kountoupes (Aug. 4 only)

Violin II

Oleg Sulyga, Principal

Jacqueline Audas

Valory Hight

Valerie Turner

Richard Silvers

Luke Santonastaso

Viola

Rachel Halvorson, Principal

Dmitry Kustanovich

Philip Kramp

Colin Garner

Rachel Daniels

Rebecca Barnes

Cello

Christopher French, Principal

The Cello Principal’s Chair is supported by the Mary L. Whitson Fund

Jan Simiz

Sarah Lewis

Maria Simiz

Keira Fullerton

Annamarie Reader

Double Bass

Aaro Paavo Heinonen, Principal

William Clay

Boris Astafiev

Flute

Leslie Fagan, Principal

Sarah Frisof

Ebonee Thomas (weeks 1 & 2)

Rochelle Mann (Aug. 3 only)

Piccolo

Ebonee Thomas

Rochelle Mann (Aug. 3 only)

Oboe

James Button, Principal

Andrew Parker

Tim Daniels

English Horn

Andrew Parker

Clarinet

JJ Koh, Principal

Helen Goode-Castro

Eric Anderson (week 1)

Nicholas Davies (Aug. 3 only)

Bass Clarinet

Helen Goode-Castro

Nicholas Davies

Bassoon

Laura Leisring, Principal

Stephanie Magnus (week 3)

Marissa Olegario (weeks 1 & 3)

Elizabeth VanArsdel (week 2)

Contrabassoon

Elizabeth VanArsdel (week 2)

Stephanie Magnus (week 3)

Horn

Nikolette LaBonte, Principal

Sheryl Hadeka

Matthew Wilson

Joel Ockerman

Reese Farnell

Michael Yopp

Trumpet

John Parker, Principal

Betsy Bright

Rebecca Ortiz

Trombone

Sasha Romero, Principal

Sebastian Vera

Bass Trombone

Jennifer Hinkle

Tuba

Dave Morgan

Timpani

John Pennington

Percussion

Kevin Ritenauer, Principal

Nicholas Sakakeeny

Joseph Desotelle (weeks 2 & 3)

Derek Sawyer

Alexis Corbin (Aug. 3 only)

Harp

Katherine Ventura

Keyboard/Harpsichord

Luke Gullickson

Linda Mack Berven

Librarian

Sheryl Hadeka

Orchestra Manager

Sheryl Hadeka

Personnel Manager

Joel Ockerman

Technical Director

Ryder Shelley

Guest Conductors

Maurice Cohn

Richard Kaufman

Byron Stripling

Guest Artists

Boyd Meets Girl

Denver Brass Quintet

Jacob Jolliff Band

Kaia String Quartet

Olga Kern

Hina Khuong-Huu

Moanin’ Frogs

Drea Pressley

TAKE3

Paul Watkins

Wildwood Reed Trio

Chamber Music

Emmanuelle Boisvert

Leslie Fagan

Guillermo Figueroa

Christopher French

Sarah Frisof

Luke Gullickson

Rachel Halvorson

Aaro Paavo Heinonen

Hannah Ji

JJ Koh

Nikolette LaBonte

Laura Leisring

Katherine Ventura

2024 Festival Guest Artists & Soloists

BOYD MEETS GIRL

Boyd Meets Girl pairs Australian classical guitarist Rupert Boyd with American cellist Laura Metcalf.  The duo has toured the world sharing their eclectic mix of music from Debussy to Bach to Radiohead and Beyoncé.  Both are acclaimed soloists in their own right.  They have toured throughout the USA, India, Nepal, New Zealand, and Australia.  Their music is broadcast on radio stations around the world including New York’s WQXR and SiriusXM. The duo arranges much of their repertoire themselves, drawing inspiration from artists across all genres. They often speak from the stage about the works to create an engaging, conversational concert experience.  They are the artistic directors of the acclaimed Sunday morning concert series GatherNYC.  Boyd studied at the Australian National University, the Manhattan School of Music, and Yale University. Metcalf received her Master of Music from the Mannes School of Music.

MAURICE COHN, Guest Conductor

A two-time recipient of the Solti Foundation U.S. Career Assistance Award, Cohn currently serves as Assistant Conductor for the Dallas Symphony Orchestra and was recently named as the 11th Music Director of the West Virginia Symphony Orchestra. Recent engagements include the Cincinnati Symphony, Utah Symphony, Amarillo Symphony, Colorado Music Festival, and Symphoria New York. He was Assistant Conductor of the Aspen Music Festival in 2022 and 2023. With the DSO, Cohn’s performance highlights include the world premiere of Mason Bates’s Philharmonia Fantastique, the second ever performance of Gabriela Ortiz’s Yanga, and a concert performance of selections from Terence Blanchard’s Fire Shut Up in My Bones. Recent seasons have also seen frequent appearances with the Chicago-based contemporary ensemble Zafa Collective and the Aspen Contemporary Ensemble. He spent two summers as a conducting fellow at the Aspen Music Festival, where he received the Robert J. Harth Conducting Prize and the Aspen Conducting Prize. He holds a Bachelor of Music in Cello Performance from Oberlin Conservatory and a Bachelor of Arts from Oberlin College, where he studied history and mathematics. He received a Master of Music in Conducting from the Eastman School of Music.

DENVER BRASS QUINTET

The Denver Brass was founded in 1981, as an all-new, one-of-a-kind brass chamber ensemble which would be in the forefront of performance, entertainment, commissions and education.  Today, The Denver Brass is an elite ensemble recognized throughout the U.S. and the world as one of the premier ensembles of its kind –setting itself apart through its sound, original repertoire, recordings and concert productions.  They perform their own original compositions and arrangements, and their trademark sound features a dazzling array of more than 13 distinct brass instruments plus percussion, to produce a rainbow of sound phenomena. Performances are carefully designed to enhance the listening experience through strong concert themes and story lines. Originally a classically oriented ensemble, today they feature a musical palate as diverse as the culture of the western US and they present a sound experience that makes an impression long past the final chord of the concert.

THE JACOB JOLLIFF BAND

Jolliff was born into a musical family in Newberg, OR. His dad started him on the mandolin at age seven and required him to practice ten minutes a day. But after six months of practicing this minimal amount, something clicked, and almost overnight he started putting in several hours of intense practice daily. And this hasn’t really changed in the last 20 years. The Jacob Jolliff Band is a group of virtuosic pickers that plays Jacob’s original instrumentals, as well as showcases his singing. They tour nationally in the US and have also travelled to Scotland and Australia to perform. The group has released two albums, Instrumentals Vol. 1 in 2018 and The Jacob Jolliff Band in 2022. In 2022, Jacob was called on by world famous banjo player, Béla Fleck, to tour as part of My Bluegrass Heart. He performed around the country alongside Béla and some of the very best musicians in the genre: Bryan Sutton, Cody Kilby, Justin Moses, Mark Schatz, Michael Cleveland, Stuart Duncan and Billy Contreras.

2024 Festival Guest Artists & Soloists

RICHARD KAUFMAN, Guest Conductor

Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as conducting film and classical music in concert and on recordings. Kaufman is in his nineteenth season with the Chicago Symphony Orchestra film series, CSO at the Movies, holds the permanent title of Pops Conductor Laureate with the Dallas Symphony, and was recently given the permanent title of Principal Pops Conductor Laureate with Pacific Symphony. Kaufman regularly appears as a guest conductor with orchestras throughout the world. The 2023-24 concert season includes return engagements with The Edmonton Symphony, the National Symphony Orchestra in Dublin, The Royal Liverpool Philharmonic, and the Royal Scottish National Orchestra, among others. Kaufman received the 1993 Grammy Award in the Best Pop Instrumental Performance category. He has conducted for a who’s-who of performers including John Denver, Andy Williams, Nanette Fabray, the Beach Boys, and Amy Grant. He joined the music department of Metro-Goldwyn-Mayer Studios, and for almost two decades, supervised music for all of MGM’s television and animation projects, receiving two Emmy nominations. He has also coached various actors in musical roles, including Jack Nicholson, Dudley Moore, and Tom Hanks.

With a vivid onstage presence and dazzling technique, Kern is widely recognized as one of the great artists of her generation. She was born into a family of musicians and began studying piano at the age of five. At seventeen, she was awarded first prize at the Rachmaninoff International Piano Competition, and in 2001, she launched her U.S. career, winning a historic Gold Medal at the Van Cliburn International Piano Competition—the only woman in the last 50 years to do so. She has appeared in three documentaries about the competition. She is a laureate of several other international competitions and started her own competition, the Olga Kern International Piano Competition, held every three years in Albuquerque. Kern has performed with many prominent orchestras in the US and around the world and is a renowned recitalist and festival performer. In the 2023–2024 season, she will perform all four of Rachmaninoff’s piano concertos. In 2012, Kern established the Kern Foundation “Aspiration,” which supports talented musicians around the world. She has an extensive discography including a Grammy-nominated disc of Rachmaninoff’s Corelli Variations and other transcriptions. Ms. Kern completed postgraduate studies at the Moscow Conservatory.

HINA KHUONG-HUU, violin

First-prize winner of the 2023 Elmar Oliveira International Violin Competition, Khuong-Huu has performed around the globe appearing as soloist and collaborator with many of today’s leading ensembles and musicians. One of the centerpieces of her 23/24 season is her Kennedy Center debut performing Anna Clyne’s The Prince alongside Grammy Award winner Jennifer Koh. Also in 23/24, she is a featured soloist with The Symphonia in Boca Raton, FL for Tchaikovsky’s Souvenir , and will perform Ravel’s Tzigane with the Northbrook Symphony under the leadership of Mina Zikri and Vadim Gluzman.  Named a “VC Artist” by the Violin Channel, she has appeared as a soloist with the Oxford Philharmonic Orchestra, Chamber Orchestra of Geneva, and the Flanders Symphony Orchestra, among others. She has shared the stage with Maxim Vengerov at Carnegie Hall and Buckingham Palace. She has performed on NPR’s From the Top and was a recipient of the Salon De Virtuosi Career Grant. As a chamber music advocate, she regularly plays with the Jupiter Symphony Chamber Players in New York and has studied with renowned faculty of the Perlman Music Program. Her mentors include Shlomo Mintz, Vadim Gluzman, and Menahem Pressler. She studies with Itzhak Perlman at The Juilliard School and Columbia University through their double degree program.

2024 Festival Guest Artists & Soloists

KAIA STRING QUARTET

From the tango of the Rio de la Plata to the string quartets of Silvestre Revueltas, the KAIA String Quartet is an ensemble devoted to promoting the rich and colorful music of Latin America. They are active performers in both the US and abroad and their music has been described as beautifully blurring the lines between jazz, classical, Latin and world music. In 2017, KAIA was the first ensemble in residence at Chicago’s classical radio station, WFMT. They play an active role in Chicago’s music scene and have performed at the Chicago Latino Music Festival, the Ear Taxi Festival, and Chamber Music on the Fox. KAIA is deeply devoted to music education. They are teaching artists for Ravinia’s Reach*Teach*Play program and for Classical Music Chicago’s Young Peoples’ Concerts program. Since 2018, KAIA has been the ensemble-in-residence for the Elgin Youth Symphony Orchestra’s Summer Chamber Music Camp. Their most recent tour in Uruguay and Argentina included a performance at Teatro Colón in Buenos Aires.

MOANIN’ FROGS, saxophone sextet

Bending genres and uplifting spirits, The Moanin’ Frogs offer an electrifying approach to chamber music. Comprised of Edward Goodman, Gabriel Piqué, Jeff Siegfried, Jonathan Hulting-Cohen, Jeffrey Leung and Lucas Hopkins, these musicians are conservatory trained and entertainment minded. Their dynamic and technically precise performances of classical, ragtime, jazz, and pop delight fans across the world. Comfortable in a wide array of venues, The Moanin’ Frogs deliver artist-level performances to small towns and major performance halls alike, performing for concert series as concerto soloists and for educational programs throughout the US and abroad. Featuring six saxophones from soprano to bass, The Moanin’ Frogs are unique in today’s chamber music landscape. First prize winners of the 2018 M-Prize Chamber Arts Competition, their passion, quality, variety, instrumentation, and focus on the audience experience set them apart. The Moanin’ Frogs have appeared in many venues including The Kennedy Center and The Conn-Selmer Institute. The Moanin’ Frogs inspire future generations through popular music videos and interactive clinics and masterclasses for students and educators.

DREA PRESSLEY, mezzo soprano

Pressley performs with the Los Angeles Master Chorale, Los Angeles Philharmonic, and has performed with New Orleans Opera Association, and Operafestival di Roma. As a member of Los Angeles Master Chorale, she toured Europe with the Los Angeles Philharmonic, premiering John Adam’s new work, The Gospel According to the Other Mary. She has performed with Santa Fe Opera, Santa Fe New Music, Santa Fe Desert Chorale, the New Mexico Symphony Orchestra, Canticum Novum, and Sangre de Cristo Chorale. Her operatic roles include Cherubino (Le nozze di Figaro), L’enfant (L’enfant et les Sortileges), Berta (The Barber of Seville), and Prince Orlofsky (Die Fledermaus). She has extensive oratorio experience as well. She sings as a studio musician in Hollywood, and she can be heard on movie soundtracks including Avatar, Cowboys and Aliens, X-Men Origins: Wolverine and several others.   She is also an Edward Jones Financial Advisor.

2024 Festival Guest Artists & Soloists

BYRON STRIPLING, Conductor, trumpet, vocal

Since his Carnegie Hall debut with Skitch Henderson and the New York Pops, Stripling has become a pops orchestra favorite, soloing with Boston Pops, National Symphony, Pittsburgh Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Dallas Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony, and Dallas Symphony, to name a few. He has been a featured soloist at the Hollywood Bowl and on the PBS television special, Evening at Pops, with conductors John Williams and Keith Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed Columbus Jazz Orchestra. Stripling earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck and Lionel Hampton, The Lincoln Center Jazz Orchestra and The Carnegie Hall Jazz Band.

TAKE3

With a flair for the wild and unexpected, this genre-defying trio brings the refinement of a rigorous classical music background and infuses it with rock-star charisma. Trained at the world’s top conservatories, including Oberlin Conservatory and The Juilliard School, TAKE3 has expanded their repertoire from Bach and Beethoven to Bieber and The Beach Boys. Known for their infectious on-stage personalities, this threesome captivates with arrangements of top pop hits, Americana, and their signature classical mashups. Highlights from recent performances include appearances with the North Charleston Pops, Cape Symphony, Boulder Chamber Orchestra, and the Victoria, Midland, and Springfield Symphonies. Take 3 was created by violinist/vocalist Lindsay Deutsch, Yanni’s featured soloist. She began her career as a classical soloist, performing with symphony orchestras around the country. Her performance of Astor Piazzola’s “Four Seasons of Buenos Aires” with the Los Angeles Chamber Orchestra was selected for NPR’s Symphony Cast Program.

PAUL WATKINS, cello

Acclaimed for his inspirational performances, Watkins enjoys a distinguished career as a concerto soloist, chamber musician, and conductor. Appointed Principal Cellist of the BBC Symphony Orchestra at age 20, he performs regularly as a concerto soloist with major orchestras throughout the world, including eight concerto appearances at the BBC Proms. As a chamber musician, Watkins was a member of the Nash Ensemble from 1997 to 2013 and joined the Emerson String Quartet in May 2013. He is a regular guest artist of the Chamber Music Society of Lincoln Center. In 2014, he was appointed Artistic Director of the Great Lakes Chamber Music Festival in Detroit. Watkins also maintains a career as a conductor and, since winning the 2002 Leeds Conducting Competition, has conducted all the major British orchestras and many others in the USA, Europe, Australia, and Japan. Watkins has made over 70 recordings, including two Grammy-nominated recordings. At the Yale School of Music, Watkins teaches a studio of graduate-level cellists, coaches chamber ensembles, and codirects the Yale Cellos. He plays on an instrument made by Domenico Montagnana and Matteo Goffriller in Venice, circa 1730.

WILDWOOD REED TRIO

Tucson based Wildwood Reed Trio brings together Max Adler, principal oboe of Tucson Symphony, Jackie Glazier, Associate Professor of clarinet at the University of Arizona, and Marissa Olegario, principal bassoon of Tucson Symphony and Assistant Professor of bassoon at the University of Arizona. Each member is in demand nationally and internationally for performance and teaching, with appearances in North America, South America, Europe and Asia, and an ever-growing list of accolades. Together, the dynamic trio has delighted audiences across Arizona and the Southwest, engaging audiences with unique programs that span the repertoire from Baroque to newly commission works.

2024 Festival Musicians

ERIC ANDERSON, clarinet

Anderson enjoys a multifaceted career as a solo, chamber music, and orchestral musician. He has held positions with the Sarasota Opera Orchestra, Richmond (VA) and Omaha Symphonies and performed as a guest musician with the Chicago Symphony Orchestra, Baltimore Symphony Orchestra, Florida Orchestra, Naples Philharmonic, and Jacksonville Symphony Orchestra. During the summers, Eric has performed at the Aspen, Britten-Pears, Colorado, Grant Park, Kent Blossom, Round Top, Spoleto USA, and Tanglewood music festivals. An avid chamber musician, he has appeared at Carnegie Hall, Symphony Space, the Chicago Cultural Center, Ravinia’s Bennet Gordon Hall, and live on New York City’s WQXR. A dedicated teacher, he has served as an instructor at the State College of Florida, Oberlin College, and Yale University. Eric received bachelor’s degrees in music and English literature from Oberlin College and Conservatory and a Master of Music from the Yale School of Music.

BORIS ASTAFIEV, bass

Astafiev is currently Adjunct Professor of Bass at Xavier University in Cincinnati. He joined the Cincinnati Symphony Orchestra in 1998. Prior to that, he was a member of the Columbus Symphony, the Buffalo Philharmonic, and the Moscow Philharmonic, which he joined at age 19. He also enjoys performing chamber music. He is a graduate of the Moscow Conservatory and The Juilliard School.

JACQUELINE AUDAS, violin

Audas will join the Seattle Symphony at the start of its 2024 season. She has performed as a soloist, chamber, and orchestral musician across the United States and internationally. Audas was awarded first prize in the 2017 North International Violin Competition and was a quarter finalist in both the 2019 Michael Hill International Violin Competition and the 2020 Elmar Oliveira International Violin Competition. Her recent engagements include performances with the Jupiter Symphony Chamber Players, the Baltimore Symphony, the North Shore Chamber Music Festival, and the Aspen Music Festival. She is the founder and artistic director of the non-profit Classical C.A.R.M.A. (Concerts Aiming to Raise Money and Awareness), which organizes benefit concerts to fundraise for other non-profit organizations. She holds a Graduate Performance Diploma from the Peabody Institute at Johns Hopkins University, where she studied with Vadim Gluzman. Previously, she studied at Rice University’s Shepherd School of Music where she earned both a bachelor’s degree, summa cum laude, and a master’s degree in violin performance. Prior to university she studied with the late Arkady Fomin.

REBECCA BARNES, viola

Barnes joined the Cincinnati Symphony Orchestra in 2016. Prior to that she held a temporary appointment with the CSO since 2012. She was an Adjunct Instructor of Viola at the University of Cincinnati-College Conservatory of Music from 2011-2016. Prior to joining the CSO, she was a violist with the Louisville Orchestra. She received her Bachelor of Music degree and completed graduate studies at the CCM and was a fellowship recipient at the Aspen Music Festival.

2024 Festival Musicians

LINDA MACK BERVEN, keyboards, pre-concert lecturer

Mack Berven was a long-time Professor of Music at Fort Lewis College. She currently serves as Artistic Director and Conductor of the Durango Choral Society, which has twice been awarded the Chorus America Alice Parker/ ASCAP Award for Adventurous Programming of Contemporary Music. Mack Berven also conducts the Durango Women’s Choir. Her appearances as a conductor, pianist, and harpsichordist have included the San Juan Symphony, Fort Lewis College faculty recitals, Third Avenue Arts Recital Series, Showcase Concert Series, and the Durango Bach Festival. Mack Berven has conducted choirs and orchestras at Carnegie Hall in 2010 and 2018, as well as in several European cities. She has prepared numerous choral works for the Music in the Mountains Festival through the years and has served as pre-concert lecturer and keyboard performer since 2012. She earned her doctoral degree from the University of Illinois.

EMMANUELLE BOISVERT, violin, concertmaster

Following her tenure as a member of the Cleveland Orchestra, Boisvert was welcomed in 1988 as the first and youngest woman ever to be named concertmaster of a major orchestra, serving 23 years as the Detroit Symphony Concertmaster. She is currently Associate Concertmaster of the Dallas Symphony, while performing as a soloist in diverse concerto repertoire. As a founding member of the St. Clair Trio, Boisvert’s artistry as a chamber musician places her in demand as artist-teacher in residence at such venues a Seattle String Project, Great Lakes Chamber Music Festival, Interlochen Center for the Arts, Wayne State University, Center for Creative Studies, National Repertory Orchestra, National Orchestral Institute in Maryland, and the Emmy award-winning All-Star Orchestra on PBS. Other guest concertmaster appearances have included Seattle Symphony, Pittsburgh Symphony, and the Grand Tetons Music Festival. She is an alumna of the Marlboro Music Festival. She holds degrees from the Quebec Conservatoire and The Curtis Institute of Philadelphia.

BETSY BRIGHT, trumpet

Bright is currently second trumpet in the Tucson Symphony Orchestra and has been a member of the TSO since 2003.  She is also a member of Monsoon Brass, True Concord Voices & Orchestra, and the Tucson Symphony Brass Quintet.  She has performed as a substitute/extra trumpet with orchestras across the United States including the Pittsburgh Symphony, San Diego Symphony Orchestra, and Saint Louis Symphony Orchestra, among others. As a composer, her compositions and arrangements have been performed by the Tucson Symphony Orchestra, Monsoon Brass, the Tucson Pops Orchestra.  She is the resident arranger/composer with Tucson Brass Workshop and is a composition instructor with the TSO’s Young Composer Project.  She is the founder and director of Tucson Brass Workshop, a non-profit chamber workshop for all ages.  She earned a Bachelor of Music in Trumpet Performance from Shenandoah Conservatory, where she minored in composition. She is married to TSO Principal Tuba, David Morgan.

JAMES BUTTON, oboe

Button was appointed Associate Principal Oboe of the San Francisco Symphony in September 2017. A native of Australia, he made his solo debut with the Melbourne Symphony at the age 17. He was previously a member of the Nashville Symphony, Santa Fe Opera Orchestra, and New World Symphony. He has appeared as Guest Principal of the Chicago Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and the Melbourne Symphony. He has performed at the Verbier, Edinburgh, and Tanglewood Festivals as well as Italy’s Spoleto Festival dei Due Mondi and the Santa Fe Chamber Music Festival. His live recording of the Higdon Oboe Concerto with the Nashville Symphony won a Grammy in 2018. Button attended Temple University and The Julliard School.

2024 Festival Musicians

WILLIAM CLAY, bass

Originally from Colorado, Clay has held the position of principal double bass of the Fort Worth Symphony Orchestra since 1995. Before arriving in north Texas, he was principal bass of la Orquesta Sinfonica de Castilla y Leon (Spain) and was a charter member of the New World Symphony. As a soloist he has performed with the Fort Worth, New World, Colorado, and Metropolitan State University Symphonies. An active chamber musician, he is a member of the Board of Spectrum Chamber Music Society and has performed with a variety of ensembles including Mount Vernon Music, Chamber Music Society of Fort Worth, and Chamber Music International. He has performed as guest with the Oregon, Houston, San Antonio, and Dallas Symphonies. He has also performed at other music festivals including the Crested Butte Music Festival and the Colorado Music Festival. He holds a Bachelor of Arts from Metropolitan State University and a Master of Music from Indiana University.

ALEXIS CORBIN, percussion

Corbin performs with diverse ensembles throughout the Southwest, including Santa Fe Symphony, Opera Southwest, New Mexico Philharmonic, Links! Percussion Ensemble, Vespus Marimba Band, and steel pan ensemble Sol Calypso. Past performances include engagements with the New York Gilbert and Sullivan Players, Bill Evans Dance Company, and KawambeOmowale African Drum and Dance Theater. An advocate for childhood music education, Corbin was the founding Program Director of the only El Sistema USA program in New Mexico, the Young Musician Initiative. She is a former member of the Santa Fe Opera Youth Programming Advisory board, and the Governing Council of the Public Academy for Performing Arts. She is currently the Executive Director of 95.5 KHFM, Classical Public Radio.

MARIANA COTTIER-BUCCO, violin

Cottier-Bucco is a member of the Dallas Symphony Orchestra. Originally from Venezuela, she came to the United States at age six and she started to the play the violin under the instruction of Irina Schuck. At age 13 she attended the Settlement Music School in Philadelphia, where she was accepted into their Advanced Studies program and participated in master classes with various instructors. CottierBucco was a semi-finalist in the 2010 Sphinx Competition Junior Division and a semi-finalist in the 2011 Sphinx Competition Senior Division. Through the scholarship provided by the Sphinx organization, she attended the Aspen Summer Music Festival in 2010, 2011, and 2013. Cottier-Bucco has a Bachelor of Music from Indiana University Jacobs School of Music.

RACHEL DANIELS, viola

Daniels is a member of the Sarasota, Wichita Falls, and East Texas Symphony Orchestras. She previously held positions in the Madison and Tulsa Symphony Orchestras. Additionally, she has performed with several other groups, including the Fort Worth Symphony Orchestra, Dallas Chamber Symphony, Kansas City Symphony, Arctic Philharmonic, and New World Symphony. In 2018, Rachel was a member of the resident piano quintet aboard the Holland America cruise line. Passionate about the music of today, Rachel is excited to be returning to the Lucerne Festival later this summer. As a trained Suzuki teacher, Rachel balances her busy performing career with an active private studio. She holds a Bachelor of Music from the Oberlin Conservatory and a Master of Music from the Rice University Shepherd School of Music.

TIM DANIELS, oboe

Daniels has held the English horn and section oboe chair with the Fort Worth Symphony Orchestra since the fall of 2021. Prior to that, he held the same position with the Kansas City Symphony, with which he was a featured soloist on Aaron Copland’s Quiet City. He has been a guest performer with numerous orchestras including the San Francisco, New World, and Memphis Symphonies as well as the Metropolitan Opera and IRIS Orchestra. He has held fellowships at the Aspen Music Festival, National Orchestral Institute, National Repertory Orchestra, Pacific Music Festival of Japan, and Spoleto Festival USA. Daniels holds degrees from the Oberlin Conservatory of Music, The Juilliard School, and the San Francisco Conservatory of Music. Daniels is also a proud graduate of the Interlochen Arts Academy.

2024 Festival Musicians

NICK DAVIES, bass clarinet

Davies is the bass/utility clarinet of the Colorado Symphony Orchestra and was formerly the principal clarinet of the Great Falls Symphony and the Chinook Winds. Additionally, he has performed as a substitute with the Los Angeles Philharmonic, Indianapolis Symphony Orchestra, Louisville Orchestra, Des Moines Metro Opera, Sarasota Opera Orchestra, among others. As a soloist, he recently performed Frank Ticheli’s Clarinet Concerto alongside the composer and has performed as a soloist with ensembles such as the Boston Symphony Orchestra, the Pro Arte Chamber Orchestra, and the USC Wind Ensemble. As a composer, his commissions include those from the Houston Grand Opera, Midic Winds, Webster Trio, and the Chicago Harp Quartet. He is the artistic director and founder of the Rossini Club, a chamber music organization based in Nantucket, Massachusetts. He holds degrees from Rice University and the University of Southern California.

JOE DESOTELLE, percussion

Desotelle is a third-year Percussion Fellow at the New World Symphony. With a focus on orchestral playing from an early age, his drive for excellence in this discipline has led him to some of the most storied stages including David Geffen and Carnegie Hall. He has played in concert with the London Symphony, Houston Symphony, and Kansas City Symphony. He received fellowships to Spoleto Festival, Tanglewood Music Center and was a Keston MAX fellow at the Music Academy of the West. As an educator, Desotelle spent three years as a counselor and chamber music coach at The Juilliard Summer Percussion Seminar. He also maintained a studio of private students and began teaching virtual seminars for high school percussionists during the COVID -19 pandemic. Joe holds an undergraduate degree from The Juilliard School and a master’s degree from Rice University.

CARLOS ELIAS, violin

Elias is currently Professor of Music and Conductor of the Symphony Orchestra at Cedarville University in Ohio. He has performed in solo recitals and in orchestras in the United States, El Salvador, Argentina, Bulgaria, Japan, and Korea, and has represented El Salvador at the World Philharmonic Orchestra under the baton of Lorin Maazel. Before joining Cedarville in 2013, he was the Director of Strings and Orchestra at Colorado Mesa University. In addition, he was Concertmaster of the Grand Junction Symphony Orchestra and Artistic Director and Conductor of the Symphony in the Valley in Glenwood Springs.  He and his wife, pianist Andrea Arese-Elias, gave their New York debut at Weill Hall in Carnegie Hall in 2002. He holds degrees from Biola University, the University of Cincinnati’s College-Conservatory of Music, and Duquesne University.

LESLIE FAGAN, flute

Fagan is currently Assistant Principal Flute of the Nashville Symphony. Before moving to Nashville, she was Assistant Principal Flute with the Omaha Symphony from 200716. For many years prior, she was an active freelancer and teacher in the Chicago area and was a regular substitute for the Chicago Symphony Orchestra, participating in their 2009 Asia Tour. While in Chicago, she was also a substitute/extra player for the Lyric Opera of Chicago. Formerly a member of the Civic Orchestra of Chicago, she performed with that organization at Carnegie Hall under the direction of Daniel Barenboim. She has been an interim studio instructor for flute majors at Roosevelt University in Chicago and is currently Acting Associate Professor of Flute at the Blair School of Music at Vanderbilt University. She holds a Doctor of Music in Flute Performance from Northwestern University.

REESE FARNELL, horn

Farnell is a free-lance horn artist and instructor in the Dallas/Ft. Worth area. In 2017 he was Principal Horn at the Sichuan Symphony. In 2013 and 2014 he was Second Horn with the Round Rock Symphony. He received his Bachelor of Music from the University of Texas, Austin, and a Master of Musical Arts in Horn Performance from Yale University.

2024 Festival Musicians

CHRISTOPHER FRENCH, cello

The seventh in a “full octave of musical siblings,” French is the associate principal cello of the Houston Symphony. Before joining the orchestra in 1986, he held titled positions in both the Shreveport and Honolulu Symphonies. He has appeared in concerto performances with the Houston Symphony and in the Chamber Players series, Da Camera of Houston, Greenbriar Consortium, and the Mainly Mozart Festival in San Diego. He teaches orchestral repertoire at Rice University’s Shepherd School of Music and teaches cello to younger students, including coaching the Youth Orchestra of the Americas as they prepare for their international tours.

SARAH FRISOF, flute

Currently the Associate Professor of Flute at the University of Maryland, Frisof serves as principal flute with the Dallas Wind Symphony. Frisof has attended the Verbier, Tanglewood, Pacific, and Aspen Music Festivals, and she has substituted with the Chicago Symphony, Dallas Symphony, New York Philharmonic, Detroit, Boston, Kansas City, and Fort Worth Symphonies. She was a semi-finalist in the 2009 Kobe International Flute Competition and the 2nd prizewinner of the National Flute Association’s Young Artist Competition and the Heida Hermanns International Woodwind Competition. She has maintained a private studio for over 20 years, and her interests in humanitarian outreach and education have taken her to Zimbabwe and Brazil. She completed her doctoral work at the University of Michigan, and she also received degrees from The Juilliard School and the Eastman School of Music.

KEIRA FULLERTON, cello

Fullerton has been assistant principal cello of the Fort Worth Symphony Orchestra since 2008 and was an adjunct professor of cello at the University of Texas at Arlington from 2015-2020. In the spring of 2023, she served as visiting cello professor for six weeks at Baylor University. Before joining the FWSO, she held the position of assistant principal with the Winnipeg Symphony Orchestra in Winnipeg, Manitoba for three seasons. She has also performed as an extra musician with the Houston, Pittsburgh, and Seattle Symphonies. She spent three summers as a participant in the Crested Butte Music Festival and has also performed with the Colorado Music Festival during the 2017-2019 summer seasons. A native of Ohio, Fullerton moved to Toronto, Ontario at age eleven, where she studied at the Royal Conservatory of Music. She then earned her Bachelor of Music at Rice University and received her Master of Music from the Cleveland Institute of Music.

COLIN GARNER, viola

A native of Littleton, CO, Garner has been a member of the Dallas Opera Orchestra viola section since 2008. He is also a regular extra violist with the Fort Worth Symphony. Previous positions include associate principal viola of the Colorado Springs Philharmonic, and principal of the West Texas Symphony and Abilene Philharmonic. While playing with the West Texas Symphony, he was also the violist in the Permian Basin String Quartet. Additionally, Garner participated in the Crested Butte Music Festival during the summers of 2015-16. He received undergraduate degrees in viola performance and music education from the University of Colorado at Boulder, and a Master of Music from the University of Southern California.

2024 Festival Musicians

HELEN GOODE-CASTRO, clarinet, bass clarinet

Goode-Castro graduated from the Royal Northern College of Music, England with an Honors Degree and a Professional Performers Diploma in Clarinet. She furthered her studies at the Royal College of Music where she received the Artist Diploma. While in London, she performed with several European orchestras including the BBC Philharmonic, Manchester Camerata, and Söd-Bayerische Philharmonie, Germany. She moved to Los Angeles to study at UCLA where she obtained an MFA in Clarinet Performance. She was a finalist in the Boosey and Hawkes Clarinet Competition. Since moving to LA, Goode-Castro freelances with the Los Angeles Philharmonic, Los Angeles Chamber Orchestra, Los Angeles Master Chorale, Mozart Camerata, and Santa Barbara Symphony, among others. Ms. Goode-Castro is currently on the faculty at California State University, Long Beach and California State University, Los Angeles. She also teaches at the Los Angeles County High School for the Arts.

LUKE GULLICKSON, keyboards

Pianist/composer Gullickson is an expansive interpreter of music new and old, a collaborator bridging disciplines, and an explorer of the space between styles and genres. He is Company Manager and a core performer with New Mexico’s Chatter ensemble, which presents 120+ concerts annually. As a member of the Grant Wallace Band, he has worked with Houston Grand Opera, Ensemble Dal Niente, and Chicago Composers Orchestra, and performed in art spaces, jazz clubs, and barns across the country. He is a frequent performer with the New Mexico Philharmonic, Opera Southwest, and the Santa Fe Symphony. He has been awarded artist residencies at the Banff Centre, PLAYA, High Concept Labs, Brush Creek Arts, the Ucross Foundation, Virginia Center for the Creative Arts, and Joshua Tree National Park. He has recorded extensively as a singer-songwriter and bandleader. Gullickson holds degrees in composition from the University of Texas-Austin and in piano from the University of New Mexico.

SHERYL HADEKA, horn, librarian, orchestra manager Hadeka began her role as the assistant librarian of the Pittsburgh Symphony Orchestra in the fall of 2022. Hadeka has formerly held library roles at the Buffalo Philharmonic Orchestra, Louisiana Philharmonic Orchestra, the Santa Fe Opera, and the Eastman School of Music. As a horn player, Hadeka is 2nd horn in the Pittsburgh Opera and also performs with the Music in the Mountains Festival. She has formerly held playing positions in the Buffalo Philharmonic Orchestra, Omaha Symphony, New Mexico Philharmonic, Tucson Symphony Orchestra, Santa Fe Symphony, and Louisiana Philharmonic. She grew up in Vermont and received a bachelor’s degree at the Eastman School of Music and a Master of Music in Horn Performance and Music Theory at Southern Methodist University.

RACHEL HALVORSON, viola

Halvorson is currently an acting section violist of the San Diego Symphony. She previously played four seasons as principal viola with the Sarasota Orchestra as well as the Sarasota String Quartet. During the summer season, Halvorson is principal viola at Music in the Mountains Festival Durango, Colorado. She has performed with the Cincinnati, Houston, San Antonio and Jacksonville orchestras and the Boston Symphony. She has participated in many festivals including Tanglewood, Spoleto, National Repertory Orchestra, and Credo Festival on summer fellowships. In 2018 she took first prize at the American Viola Society’s Excerpt Competition and Collegiate Solo Competitions. As a chamber musician, Halvorson has coached with the Juilliard, Ebene, Dover, Cavani, Calder and Jupiter Quartets. Halvorson holds her Bachelor of Music from Oberlin Conservatory of Music and her Master of Music from Rice University. While at Rice she also coached chamber music for the Preparatory Program.

2024 Festival Musicians

AARO PAAVO HEINONEN, bass

Heinonen, currently the principal bassist with the Santa Fe Pro Musica Chamber Orchestra and Baroque Orchestra, played principal bass with the Indianapolis Symphony Orchestra for 22 years, where he was also presented as a soloist, recitalist, and conductor. He also played principal bass and performed as featured soloist with the Kansas City Symphony. He recently performed his own adaptation of Sarasate’s Carmen Fantasy with orchestra. He has had a long association with the Aspen Music Festival, where he was presented as soloist and played principal bass. Heinonen has performed in the Grand Tetons Festival and Colorado Music Festival, as principal. He has been asked to play, record or tour with the Dallas, Baltimore, Fort Worth, Honolulu, and National Symphonies, Saint Paul Chamber Orchestra, and the Santa Fe Chamber Music Festival. In addition to his two fine old Italian basses, he plays on a fivestring bass that he commissioned.

VALORY HIGHT,

violin

Virginia native Hight, although classically trained, has collaborated with artists of many different genres including the Dallas String Quartet, Grammy-winning gospel artist Kirk Franklin, and contemporary Christian singer Lauren Daigle. She has performed at Carnegie Hall and David Geffen Hall in New York, the Kennedy Center, the Grand Ole Opry and the Country Music Hall of Fame in Nashville, and Rudolfinum in Prague. She has performed with prominent musicians including Paul Neubauer, Peter Wiley, Peter Serkin, Dawn Upshaw, and the Escher Quartet, among others. She currently tours with pianist and composer Eric Genuis, whose non-profit, “Concerts for Hope”, performs in prisons, schools, nursing homes, and homeless shelters across the country. She received her bachelor’s degree from Bard College and Conservatory and completed her master’s degree at Southern Methodist University. Currently, she is in the Performer’s Diploma program as a recipient of the Meadow’s Artistic Scholarship at SMU.

JENNIFER HINKLE, bass trombone Hinkle’s adaptability to different musical styles has led to a performing career with a myriad of ensembles, from Broadway shows including Wicked, Aladdin, and Beautiful, to the Afro-Bop Alliance Big Band, and to the Oregon, Seattle, Spokane, and New Haven Symphonies. She has also performed with drummer/composer Dan Pugach’s Grammy-nominated ensemble Nonet. She has given solo recitals and led clinics and studio classes at colleges, elementary and high schools, and industry symposia across the country. Her work spans not only musical genres but other artistic media (art, literature, public speaking, etc.). As a founding member of Calliope Brass, she has had a hand in its administrative operations and performances, but it’s her original storylines, artwork, and collaboration with puppet-makers from Sesame Street that have been integral to the development and production of Calliope’s soughtafter educational programs.

WILLIAM HUNT, violin

Hunt performed in the first violin section of the Rochester Philharmonic Orchestra for 43 years. Currently, he serves as concertmaster of the Penfield Symphony Orchestra, a position held since 1988. Previous posts include the Filarmonica de las Americas, Canary Islands Opera Festival Orchestra, Lake Placid Sinfonietta, Fredonia Chamber Players, Dayton Philharmonic Orchestra, and concertmaster of the Ann Arbor Symphony Orchestra. In addition to several appearances as soloist with the Penfield Symphony Orchestra, Hunt has also appeared as guest artist with the Cincinnati Community Orchestra, Fredonia Bach and Beyond Festival, Society for Chamber Music (Rochester), and Madrigalia. He holds music degrees from the University of Cincinnati, the University of Michigan, and an MBA from the University of Rochester’s William E. Simon School of Business Administration.

2024 Festival Musicians

HANNAH JI, violin

Ji joined the first violin section of the St. Louis Symphony Orchestra in 2020 and is assistant concertmaster for the 2023/24 season. She began her musical studies at the age of seven in South Korea. As a soloist, Ji’s performances have been publicized on NPR, PBS, and other radio stations. She has performed at The Kennedy Center, The Metropolitan Museum of Art, David Geffen Hall, Carnegie Hall, Steinway Hall, Walt Disney Concert Hall and A. Mickiewicz University Hall in Poland. As a chamber musician, Ji has collaborated with renowned groups and artists and has been an active participant in The Juilliard School’s ChamberFest and Focus! Festival, which features U.S. and world premieres. She was a contemporary ensemble artist at the Atlantic Music Festival. She has served as Concertmaster and Principal Second at The Spoleto Festival USA, YMF Debut Orchestra, The Colburn School, The Juilliard School Orchestra and Curtis Symphony Orchestra. Additionally, Ji has held several Artist Faculty positions at numerous conservatories and institutes. She holds a Bachelor of Music from The Curtis Institute of Music, a Master of Music from The Juilliard School, and an Artist Diploma from The Colburn School.

PETROS KARAPETYAN, violin

Originally from Yerevan, Armenia, Karapetyan joined the Rochester Philharmonic Orchestra in 2019. He is a former member of the Aguascalientes Symphony Orchestra, and has also played with the Houston Symphony, the IRIS Orchestra, Orquesta Sinfónica de Sinaloa de las Artes, and Symphoria in Syracuse, NY. Petros has had fellowships at Tanglewood Music Center, Pacific Music Festival, Lake George Music Festival, and Colorado College Summer Music Festival. As an educator, he teaches at the Chamber Music Institute for Young Musicians in Stamford, CT and has previously given master classes at the Universidad Autónoma de Aguascalientes and the Orquesta Sinfónica Esperanza Azteca in Mexico. He holds a Bachelor of Music with Performance Certificate from the Eastman School of Music, a Bachelor of Arts in Business from the University of Rochester, and a Master of Music from Rice University.

JJ KOH, clarinet

Koh joined the Madison Symphony Orchestra as Principal Clarinet in 2016 and holds a position with the Wisconsin Chamber Orchestra. Koh has been a member of the Civic Orchestra of Chicago and has performed with the Toronto Symphony, Pittsburgh Symphony, St. Paul Chamber, Lyric Opera, Louisiana Philharmonic, and Richmond Symphony Orchestras, ProMusica Chamber Orchestra, New World Symphony, and more. As a founding member of the Arundo Donax Reed Quintet, winners of the Fischoff National Chamber Music Competition, Koh has commissioned and recorded multiple works, taught master classes, and performed in various concert settings across the country. Additionally, he has premiered works by many notable composers. Summer festival appearances have included the National Repertory Orchestra, Lake George Music Festival, Lakes Area Music Festival, Midsummer’s Music, Washington Island Music Festival, Apollo Music Festival, Chautauqua Symphony Orchestra, and Aspen Music Festival where he held a Fellowship for five summers. Koh completed his Master of Music and Bachelor of Music degrees at Indiana University Jacobs School of Music.

PHILIP KRAMP, viola

Based in Washington, DC, Kramp is currently on the faculty at the University of Maryland, and plays regularly with the National Symphony, Philadelphia Orchestra, Baltimore Symphony, and the Chiarina Chamber players.  He has performed on tours worldwide with many orchestras and can be heard on recordings with the Philadelphia Orchestra, New York Philharmonic, Kansas City Symphony, Metropolis Ensemble, and The Roots. He can also be heard on many motion picture soundtracks and television shows. Before moving to DC, Kramp performed with the Kansas City Symphony and was on faculty at the University of Kansas.  He has also enjoyed collaborating with the Mark Morris Dance Group and has performed alongside many of the world’s greatest artists. He has won prizes in the Irving Klein String Competition, Chicago Viola Society Competition, and NEC Concerto Competition, and has participated in the Stulberg Competition and the HAMS Viola Competition. Phil received his formal training at the Curtis Institute and the New England Conservatory.

2024 Festival Musicians

DMITRY KUSTANOVICH, viola

Hailing from Worcester, MA, Kustanovich joined the viola section of the Fort Worth Symphony in 2005. He has also performed with the Atlanta, Boston, Dallas, Detroit, Pittsburgh, and Seattle Symphonies, touring much of the US and Europe. He graduated from the Curtis Institute of Music as a violist. He also received a bachelor’s degree from the Manhattan School of Music as a violinist.

NIKOLETTE LABONTE, horn

LaBonte is the Associate/Assistant/ Utility Horn of the Rochester Philharmonic Orchestra. She previously held a position with the Hawaii Symphony Orchestra and served as Acting Principal Horn of the Fort Worth Symphony from 20192021. She also currently serves as the Instructor of Natural Horn at Eastman School of Music and is the Assistant Artistic Director of the Kendall Betts Horn Camp. She has been a guest lecturer at institutions including Baylor University and the University of Texas at Austin and is an avid chamber musician. She has performed with orchestras across the country including the New York Philharmonic, Buffalo Philharmonic, and others. She is an award-winning soloist and was a participant in the prestigious ARD International Competition in 2021, the only American horn player invited. She has presented performances and lectures as a member of the International Horn Society. LaBonte received her Bachelor of Music and Master of Music degrees from the Eastman School of Music and is currently pursuing her doctoral studies.

LAURA LEISRING, bassoon

Leisring is principal bassoon of the Virginia Symphony Orchestra. Previously, she served for 14 seasons as principal bassoon in the Tenerife Symphony Orchestra in Spain, where she performed the European Premiere of Ellen Taaffe-Zwillich’s Concerto for Bassoon. She has also performed with the Milwaukee and Barcelona Symphonies. She studied at The Juilliard School, Mannes College of Music, and the University of North Texas.

SARAH LEWIS, cello

Lewis is in her 26th season with the Saint Paul Chamber Orchestra. She gave the U.S. premiere of Malcolm Forsyth’s Eclectic Suite, for cello and piano. Prior to joining the SPCO, she was a member of the Milwaukee Symphony, and performed as a substitute musician with the Minnesota Orchestra, New York Philharmonic, Detroit Symphony, and the Los Angeles Philharmonic. She has performed solo and chamber recitals in New York, Los Angeles, San Francisco, and the Twin Cities. She holds degrees from Southern Methodist University and The Juilliard School.

STEPHANIE MAGNUS, bassoon contrabassoon

Magnus has been an active bassoonist and contrabassoonist in the North Florida region since relocating to Jacksonville in 2016. In addition to regular chamber concerts, she frequently performs with the Jacksonville Symphony, Naples Philharmonic, The Florida Orchestra, and the Coastal Symphony of Georgia. When she is not performing or teaching at Jacksonville University or University of North Florida, she can be found fixing up her historic Springfield home, training for a marathon, or camping with her husband. In addition to a bachelor’s degree from the Chicago College of Performing Arts and a master’s degree from Southern Methodist University, she earned a Master of Music in Musicology and Literature, also from SMU.

ROCHELLE MANN, flute, piccolo

Rochelle Mann is a former Featured Scholar at Fort Lewis College, where she served as Music Department Chair as well as Acting Dean of Arts, Humanities, and Social Sciences.  She is currently Professor Emerita at FLC, maintaining an active schedule as a flutist, author, and educator. Mann has served as Principal Flute of the San Juan Symphony since 1983, and has also performed with the Santa Fe Symphony, Arkansas Symphony, Texarkana Symphony, and Music in the Mountains Festival Orchestra.  Her recent solo and chamber concerts have included the Third Avenue Arts Recital Series, Durango Chamber Music and Bach Festivals, as well as the New Deal Salon series (AR) and Musica Viva (CA).  She is a graduate of Indiana and Arizona State Universities.

2024 Festival Musicians

DAVE MORGAN, tuba

Morgan has been Principal Tuba of the Tucson Symphony Orchestra since 2010. Additionally, he is a member of the TSO Brass Quintet, Tucson Pops Orchestra, True Concord Voices & Orchestra, and Monsoon Brass.  He has performed as guest principal tuba with the San Diego Symphony, The Phoenix Symphony, and the Britt Festival Orchestra, and he has participated in the Aspen, Hot Springs, and Bay View Music Festivals. He has been featured as a Guest Soloist with the Tucson Symphony Orchestra, Tucson Pops Orchestra, Sierra Vista Symphony, and Arizona Symphonic Winds.  Morgan hails from Vienna, Virginia, a suburb of Washington, DC. He studied tuba with Michael Bunn (Kennedy Center Opera House Orchestra) at the Shenandoah Conservatory; he earned a Bachelor of Music in Tuba Performance in 2003 and minored in bass trombone. He later began graduate work at Carnegie Mellon University.

JOEL OCKERMAN, horn

Ockerman is an active freelance horn player and teacher in Austin. He recently served as acting principal horn of the Lubbock Symphony Orchestra and has also frequently performed with numerous ensembles throughout the state of Texas, including the Austin Symphony, Round Rock Symphony, and the United States Air Force Band of the West. Additionally, he has frequently collaborated with the Austin-based New Music ensemble Destiny512 and has performed on natural horn with the Austin Baroque Orchestra. He received his bachelor’s and doctorate from the Butler School of Music at the University of Texas, Austin.

MARISSA OLEGARIO, bassoon Olegario actively performs in the US and abroad and is Assistant Professor of Bassoon at the University of Arizona Fred Fox School of Music. As a soloist and chamber musician, she has worked with artists from the Orpheus Chamber Orchestra, New York Philharmonic, Berlin Philharmoniker, and Breaking Winds Bassoon Quartet. She has presented recitals at the International Double Reed Society Conference and other symposia. She was a semi-finalist for the 2016 Matthew Ruggiero International Woodwind Competition and a recipient of the Yale School of Music Alumni Prize. Committed to engaging with her community, she has collaborated in performance with Dance for Parkinson’s, the Community Food Bank of Southern Arizona, and Beyond Foundation’s Meet Me at Maynards community events in Tucson. She has commissioned and premiered works by living composers of diverse backgrounds and enjoys performing in unconventional spaces to reach broader audiences. She holds degrees from Northwestern University, the Yale School of Music, and Stony Brook University.

REBECCA ORTIZ, trumpet

Ortiz has been an avid chamber musician, freelance artist, and private studio teacher over the last 8 years. She frequently plays with many local churches and ensembles to maintain her diversity in freelance performance. She has substituted with the Dallas Symphony Orchestra and performed the opening concert for the Women In Classical Music Symposium at the Meyerson Symphony Center in Dallas. She has been actively involved in many national and international competitions. She was the first-place winner in the 2022 National Trumpet Competition Small Ensemble Division, and the 2021 Music Teachers National Association Young Artist Brass Solo Division Colorado, among others, and was semi-finalist for the 2022 Roger Voisin Memorial International Trumpet Competition and the National Trumpet Competition graduate solo-division. She received her Bachelor of Music from The University of Texas at Austin and her Master of Music from Southern Methodist University. She is currently pursuing her doctorate in Trumpet Performance and Pedagogy at the University of Colorado.

2024 Festival Musicians

ANDREW PARKER,

oboe, English horn

Parker is currently Assistant Professor of Oboe at the Butler School of Music and was previously Assistant Professor of Oboe at the University of Iowa.  He has provided master classes throughout the country at such institutions as the University of Michigan, Temple University, Rice University, the University of Florida, the University of Wisconsin-Milwaukee, Luther College, Mannes Preparatory Division, and the University of Virginia to name a few. Parker maintains a rich career as an orchestral musician, soloist, and chamber player and addition to his experience as a teacher. Parker is currently the principal oboe of the Quad City Symphony Orchestra. In addition to his collegiate teaching and performing experience, Andrew has also taught and coached chamber music at various international music festivals, including the Round Top Music Festival, Oboe Fest in San Juan, FEMUSC Festival in Brazil, the Hartwick Festival in New York, and the Kinhaven Music School in Vermont.

JOHN PARKER, trumpet Parker, a native of High Point, North Carolina, joined the Houston Symphony Orchestra in May of 2016 as Associate Principal Trumpet. Previously, he was Principal Trumpet with the Charlotte Symphony Orchestra. He attended the Aspen Music Festival and School on a full fellowship in both 2012 and 2013 and has also performed twice as a soloist at the National Trumpet Competition. In addition to his positions in Charlotte and Houston, John has performed as guest Principal Trumpet with the Philadelphia Orchestra, St. Louis Symphony, Detroit Symphony, San Diego Symphony, Jacksonville Symphony, Houston Grand Opera, Charleston Symphony, Roanoke Symphony, and Greensboro Symphony. He has also performed as Assistant Principal Trumpet at the Cabrillo Festival of Contemporary Music. An active educator, he has given masterclasses and recitals at various universities throughout the country.

JOHN PENNINGTON, timpani

Pennington is an educator, composer, performer, author, producer, and conductor. He is Emeritus Professor of Music at Augustana University. Pennington has held recent posts as Principal Percussionist and Associate Principal timpani with the South Dakota Symphony. Pennington has been a Cultural Envoy for the State Department in the Middle East (most recently Lebanon). With performances on four continents and over twenty-five states he has performed on A Prairie Home Companion and been a featured performer at six Percussive Arts Society International Conventions. Extensive studies in world music have included experience in African, Middle Eastern, Indonesian, Cuban and the South Indian Karnatak tradition. In 2019, Pennington presented his Carnegie Hall debut with music for the vibraphone and marimba including original compositions and arrangements. He holds degrees from the University of Michigan, University of Arizona, and a Doctor of Music Arts from Arizona State University.

ANNAMARIE READER, cello Reader grew up in Wichita, Kansas. She has performed with small and large ensembles including the River Oaks Chamber Orchestra, Mercury Baroque Orchestra, and the Houston Symphony while maintaining a private cello studio of her own in Houston. In recent summers she has enjoyed playing in the Bellingham Music Festival in Washington State and also participating in chamber music festivals in Texas, Colorado, and Utah. She completed her studies at the Cleveland Institute of Music and Rice University Shepherd School of Music, where her primary teachers were Melissa Kraut and Desmond Hoebig.

2024 Festival Musicians

KEVIN RITENAUER, percussion

Ritenauer joined the St. Louis Symphony as Associate Principal Timpanist/Section Percussionist in the Fall of 2022. He has enjoyed a multi-faceted musical career. Prior to joining the SLSO, Ritenauer spent four seasons in Miami Beach as a Percussion Fellow at the New World Symphony. He has performed orchestrally around the country with groups such as The Cleveland Orchestra, the National Symphony Orchestra, the Baltimore Symphony Orchestra, the Kansas City Symphony, the Atlanta Symphony Orchestra and the San Francisco Symphony respectively. Aside from orchestral playing, he also enjoys chamber music. He has spent summers as a fellow at the Tanglewood Music Center, Music Academy of the West and the Roundtop Festival Institute. In 2022 he appeared as Principal Timpanist with the Artosphere Festival Orchestra in Fayetteville, Arkansas. He received his bachelor’s from the Manhattan School of Music and his Master of Music from the Cleveland Institute of Music.

SASHA ROMERO, trombone

Romero is the principal trombone of the Metropolitan Opera Orchestra and an internationally renowned soloist and teacher. Her sound has been simply described as “big, like three trombones in one.” She hopes to shatter the idea that the trombone cannot be just as effective a musical conduit as other popular instruments with every performance she has the opportunity to play in. She is a passionate educator, and currently serves on the trombone faculties at the Manhattan School of Music, Rutgers University, Mannes School of Music, and Bard College Conservatory of Music. A highly sought-after teacher, soloist, and clinician, she has presented solo recitals and master classes at numerous colleges, universities, music conservatories, and industry conventions across the United States and abroad. Romero is an S.E. Shires Performing Artist, and she has a signature mouthpiece line with Long Island Brass Co.

NICK SAKAKEENY, percussion

Sakakeeny joined the Fort Worth Symphony Orchestra in 2018 as Assistant Principal Timpanist and Percussionist. He enjoys performing in a variety of settings and has worked with ensembles including the International Contemporary Ensemble, Mark Morris Dance Group, and Opus Nova. He has also been featured in the Chicago Symphony Orchestra MusicNOW series. Orchestras he performs with include the Dallas and Atlanta Symphonies, the Cleveland Orchestra, and the New York Philharmonic. He teaches privately and is a guest clinician at Texas Christian University. Born in Oberlin, OH, Nick attended the Manhattan School of Music for his undergraduate studies and Northwestern University for his master’s degree.

LUKE SANTONASTASO, violin

Originally from Los Angeles, Santonastaso works as a musician, educator, and mentor throughout the United States. He currently performs as a section member of the Santa Cruz Symphony, Sarasota Opera Orchestra, and the chamber orchestra One Found Sound. He has performed with the New West Symphony, San Francisco Chamber Orchestra, Reno Philharmonic, Symphony Silicon Valley, and the Fresno Philharmonic, among others. As part of numerous chamber music and masterclass events, Luke has performed alongside world class artists. He has received fellowships with the National Repertory Orchestra, National Orchestral Institute, and Incontri in Terra di Siena music festivals. Luke has a private studio and has worked with the Palo Alto Chamber Orchestra and the Santa Monica Youth Orchestra as a coach and private instructor. He holds degrees from the Herb Alpert School of Music at UCLA.

DEREK SAWYER, percussion

Sawyer has been the principal timpanist with the Cheyenne Symphony Orchestra in Cheyenne, Wyoming for the past 10 years.  In addition to this, he has performed with the Colorado Symphony Orchestra, National Repertory Orchestra, Music in the Mountains, Colorado College Summer Music Festival Orchestra, Fort Collins Symphony Orchestra, Pro Musica Colorado, and several other orchestras on the Colorado Front Range.  In 2013, He won the Undergraduate Concerto Competition at the CU school of music performing the Creston Concertino for Marimba and Orchestra.

2024 Festival Musicians

LESLIE SHANK, violin, concertmaster emerita

Shank was a member of The Saint Paul Chamber Orchestra for 30 years, 24 years as assistant concertmaster, and is a founding member of the Minneapolis-based chamber music group, The Isles Ensemble. Shank gave her New York recital debut at Carnegie Hall as a winner of the Artists International Competition and was twice reengaged to perform on its Special Presentation Series. Shank served as concertmaster of the Music in the Mountains Festival in Colorado for 11 years and has performed at numerous other festivals including the Aspen, Grand Teton, Mainly Mozart, Marlboro, and the Britt Festival, where she served as concertmaster of the festival orchestra. As a member of the prestigious Musicians from Marlboro, she toured the East Coast. In addition to her musical activities on violin, she frequently plays viola in chamber music and is an avid photographer.

RICHARD SILVERS, violin

Silvers currently serves on the faculty at Fort Lewis College as a Visiting Instructor of Music Theory and Upper Strings. As an undergraduate at UCLA, he was the concertmaster for the UCLA Philharmonia. He earned his Bachelor of Music in Violin Performance from the Herb Alpert School of Music. He has performed with many university and regional orchestras during the course of graduate studies at the University of Indiana and the University of Wisconsin. He was the winner of the 2018-2019 UW Madison Concerto Competition and a finalist in the Montgomery Symphony Concertmaster Competition. Silvers has served as concertmaster at summer music festivals, including the Chautauqua Institution in New York and is a regular performer in masterclasses around the country. He earned his Master of Music from the University of Indiana and his Doctor of Musical Arts from the University of Wisconsin-Madison

JAN SIMIZ, cello

Simiz is assistant principal cello of the Phoenix Symphony and principal cello of the Phoenix Symphony Sinfonietta. A native of Romania, he studied at Ciprian Porumbescu Conservatory in Bucharest and received a master’s degree from the University of Southern California. Simiz is a faculty member at Arizona State University.

MARIA SIMIZ, cello

Simiz is currently the principal cellist with Musica Nova Orchestra. She is an active freelance cellist, and a section cellist at Music in the Mountains Festival. She has also performed with the Phoenix Symphony, the Arizona Opera, the Amabile String Quartet, and with her husband, Phoenix Symphony associate principal cellist, Jan Simiz. Simiz founded the Strings Department at Arizona School for the Arts when it opened in 1995. She studied chamber music at the St. Lawrence String Quartet Chamber Music Seminar at Stanford University. She received her Bachelor of Music in Cello Performance from the University of Southern California and her Master of Music in Cello Performance from California State University at Long Beach.

OLEG SULYGA, violin

Sulyga is a violinist with the Houston Grand Opera Orchestra, Houston Ballet Orchestra, Mercury Chamber Ensemble, and other music organizations in Houston, Texas. He has performed with the renown ensemble Virtuosi of Moscow. He has performed as a chamber musician with the principals of the Wiener Philharmoniker and as a member of the Kopelman Quartet. As an orchestral musician, he has performed with the Chicago Symphony, the National Symphony, and the Houston Symphony. He began his studies in his native Moscow and has studied in several countries. He holds a Bachelor of Music in Violin Performance from the Meadows School of the Arts, Southern Methodist University in Dallas, and a Master of Music in Violin Performance from the Moors School of Music, University of Houston.

EBONEE THOMAS, flute

Thomas is currently the second flute and piccolo of The Dallas Opera. She has previously served as principal flute of the Knoxville Symphony and the Florida Grand Opera. In addition, she has performed as guest principal with the Santa Fe Opera, and the Seattle, San Antonio, and Fort Worth Symphonies. She performed the North American premiere at Carnegie Hall of Christian Lindig’s flute concerto, The World of Montuagretta, under Michael Tilson-Thomas. She is also an avid chamber musician, performing regularly with the Austin Chamber Music Society and Voices of Change, a new music ensemble in Dallas. As a pedagogue, Thomas is the Assistant Professor of Flute at the University of Missouri Kansas City Conservatory and a Board member of the Greater Dallas Youth Orchestra. Thomas received her Bachelor of Music in Flute Performance from SMU and a Master of Music from the New England Conservatory of Music.

2024 Festival Musicians

VALERIE TURNER, violin

Turner is a native New Yorker who has appeared with orchestras and chamber ensembles throughout the United States. She has performed with New Mexico Symphony Orchestra, Santa Fe Symphony, and Albuquerque Chamber Soloists. She is co-founder (with husband, Guillermo Figueroa) and Artistic Director of Festival de Musica Rondeña in Albuquerque, New Mexico.

ELIZABETH VANARSDEL, bassoon, contra bassoon

VanArsdel plays bassoon and contra bassoon with various orchestras and opera companies around Northern New Mexico and Colorado. She has played with New Mexico Philharmonic, Santa Fe Symphony, Santa Fe Opera, Santa Fe Pro Musica, Opera West, Opera Southwest, New Mexico Symphonic Chorus, Quintessence/ Music at St John’s, Festival Ballet of Albuquerque, and others. She received a Bachelor of Music and a Performance Certificate from the University of Texas and a Master of Music in Performance from the Manhattan School of Music in New York City.

KATHERINE VENTURA, harp

Ventura is currently Acting Principal Harp of the Kansas City Symphony. She has also performed as guest principal harp with the Chicago, Pittsburgh, Houston, St. Louis, National, and Baltimore Symphony Orchestras, Rochester Philharmonic, the Philharmonia Orchestra (London, UK), and the United States Air Force Band. Festival appearances include Principal Harp of the Britt Festival Orchestra 2022 (Oregon), Principal Harp of the Verbier Festival and Verbier Chamber Orchestras (Switzerland), the Spoleto Music Festival, Pacific Music Festival (Japan), Aspen Music Festival, National Repertory Orchestra in Breckenridge, and with the Sun Valley Music Festival in Idaho. Ventura is pursuing a Doctorate in Musical Arts at Temple University and holds degrees from the Chicago College of Performing Arts and Carnegie Mellon University.

MATTHEW WILSON, horn

Wilson joined the Saint Paul Chamber Orchestra as a member starting in the 2017-18 season, after playing as a guest musician for many years. He was principal horn of the Minnesota Opera Orchestra from 2012–2017 and was acting associate principal horn with the Minnesota Orchestra for the 2021-22 season and on their 2016 European tour. He has also been guest principal or associate principal horn with the Cincinnati Symphony Orchestra, Florida Orchestra, and the South Dakota Symphony and has had engagements with the Colorado Symphony and The Phantom of the Opera Broadway touring company. He has been Principal Horn of the Crested Butte Musical Festival for several years and will be performing at the Music in the Mountains Festival this summer. Wilson received his undergraduate degree from the University of Northwestern in Saint Paul and his Master of Music from University of Minnesota.

MICHAEL YOPP, horn

Yopp currently holds the positions of principal horn in the Boulder Philharmonic Orchestra and third/ associate principal horn in the Colorado Springs Philharmonic Orchestra. Born and raised in Crystal Lake, Illinois, he went on to study at Northwestern University. Following these studies, he took up the position of third horn with the Colorado Springs Symphony Orchestra in 1997. Yopp has performed extensively in the Pikes Peak region including engagements with ensembles such as the Opera Theater of the Rockies, the Colorado Symphony Orchestra, Denver Brass, Pro Musica Colorado, and Central City Opera. As a soloist, he has performed with the Chamber Orchestra of the Springs, First United Methodist Church’s Sacred Concert Series, and Grace Episcopal Church’s Taylor Memorial Concert series. Yopp regularly performs in several summer series and festivals including the Lake City Arts Festival, the Crested Butte Music Festival, and the Sunriver Music Festival.

WITH OUR DEEPEST APPRECIATION

The Board of Directors and Staff of Music in the Mountains would like to thank the Festival Musicians for their time, talent, and dedication.

Program Notes by Susan Halpern

Program Notes - July 19, Candlelight Concert

Viola Concerto in G, TWV 51: G9

Georg Philipp Telemann (1681-1767)

Telemann, one of the most prolific composers ever, was more famous in the early 18th century than Bach. His output was astonishing: 80 operas and passions, 170 concertos, hundreds of cantatas, and thousands of instrumental works. His Viola Concerto, the only Baroque concerto for viola, has four movements in slow-fast-slow-fast sequence. Little is known about its genesis: it was composed around 1715 in Frankfurt for the Frauenstein Association, which sponsored weekly concerts.

The 1st movement is slow and stately with a beautiful expansive viola line to which soloists frequently add ornamentation. The joyful 2nd movement has an elegant, syncopated melody. The arpeggiated theme passes back and forth between soloist and orchestra. In the slow, melancholy minor key 3rd movement the soloist begins by answering the orchestra, but it responds with different thematic material. The strings energetically initiate the finale, Presto, with contrapuntal cross-rhythms; the soloist joins, leading the string-body to a vigorous conclusion.

Harp Concerto in B-Flat, HWV 294

George Frideric Handel (1685 – 1759)

Handel’s concerto is probably the first harp concerto ever written. Although initially published as an organ concerto, Handel composed this work in 1735 for a Welsh harpist named Powell, who premiered it in 1736. One indication of Handel’s intention is that he wrote lighter orchestral parts than he would have for an organ concerto.

The delights of this three-movement concerto are all too brief. The harp soloist is entirely dominant in the first movement, which combines vigorous rhythms and charming wit; the orchestra participates only at the movement’s beginning and end and at two brief but necessary points in the center. The second movement, Larghetto, contains not only a lovely lyrical theme, but also gives the harp the opportunity to display improvisatory-sounding lines. The movement leads into an engaging, dance-like, tightly knit finale, largely constructed in symmetrical question and answer phrases. In the accompanying orchestra, the violins are muted and the bass parts pizzicato.

Brandenburg Concerto No. 4 in G, BWV 1049

Johann Sebastian Bach (1685-1750)

Composed for the Margrave of Brandenburg, a devoted amateur musician who literally collected concertos, Bach’s six Brandenburg Concertos were probably never performed then; their manuscript parts show no signs of use. When the Margrave died, his library was divided in two, the second part consisting of 77 lesser concertos, including Bach’s masterpieces, each valued at four groschen, the equivalent of a few cents. Eventually, Bach’s pupil, Kirnberger, acquired them and bequeathed them to Frederick the Great’s sister. They were first published in 1850, a century after Bach’s death.

No. 4 is the only Brandenburg Concerto in which all the instruments perform all three movements.  In the first movement, the solo group, a violin and two recorders or flutes, is in the forefront. The opening phrase, which later recurs between passages of contrasting material, is almost the only one in which the violin does not lead. Throughout, the violin part is frequently more difficult than that of any of Bach’s violin concertos. The buoyant movement has a broad dance-like feel. In the central movement, Bach writes contrasting echo effects for two bodies of instruments, using an opposition of groups usual for concerto grossi. Although traditionally final movements of Baroque concertos were light in texture and material, this exuberant Presto

is a fugue of dazzling virtuosity, interrupted just before its end by smashing chords derived from the fugue subject.

Violin Sonata in G minor GT2.g05, “The Devil’s Trill” Giuseppe Tartini (1692–1770), arr. Fritz Kreisler Tartini was one of the great early masters of the violin, a composer of distinction, and an important musical theorist. He enriched the violin repertoire with around 100 sonatas and 150 concerti, created substantial advances in violin-playing technique, and made important improvements in the violin bow. His “The Devil’s Trill” Sonata, composed in 1713, was published posthumously in 1798.

The sonata movements follow the alternating slowfastslow-fast sequence of many Baroque sonatas. The 1st, a moving Larghetto affettuoso in the rhythm of a siciliano, precedes the witty Allegro energico 2nd movement, full of decorative trills. The 3rd and 4th movements are linked as The Author’s Dream and approximate the music Tartini heard in a vivid dream during which the devil appeared. Tartini described the experience: “At last I thought I would offer my violin to the devil, in order to discover what kind of musician he was, when to my great astonishment I heard him play a solo so singularly beautiful and with such superior taste and precision that it surpassed all the music I had ever heard or conceived in the whole course of my life . . .. The work which this dream suggested, and which I wrote at that time, is doubtless the best of my compositions. I call it the Devil’s Trill Sonata.”

Tartini attempted to transcribe the Devil’s music of unending trills of unprecedented difficulty faithfully, but confessed he felt minimally successful. A short Grave leads into the finale, Allegro assai, where the trilling creates a diabolical difficulty for the violinist. Here, the Devil’s Trill requires the soloist to use two fingers to trill while two other fingers play a countermelody. Tartini uses the trill for decoration, melodic material, and as a tensionbuilding device. Before the slow coda at the work’s end, Tartini leaves room for a cadenza.

Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet, Maurice Ravel (1875 – 1937)

Ravel’s Introduction and Allegro is one of the 20th century’s most important works to incorporate the harp. Ravel’s superb shading, balance, and perspective give this work special delicacy and élan, one distinctively French in its coloration. The piece has crystalline texture and simplicity of form.

In the late years of the 19th century, the Parisian Pleyel piano firm developed a kind of “chromatic” harp, which Pleyel hoped would replace the standard “double-action” harp whose pedals make it possible to add two notes to the one that is ordinarily produced by each string. In 1904, Debussy wrote Two Dances for Chromatic Harp and Strings on commission from Pleyel, but the instrument was unsuccessful. Although simplifying some aspects of harp-playing, it complicated others and was unable to produce the most typical of traditional harp effects, the swirling arpeggio.

Before the new development was abandoned, Pleyel’s competitor, Erard, which had originally patented its double-action harp in 1810, entered the “war” of the harps and offered Ravel a commission that resulted in this work. Micheline Kahn debuted it in Paris in 1907. The two composers never admitted to any rivalry about the works, which are now often played on the same program on a pedal harp.

The music of the slow Introduction begins with a flute/clarinet duet, whose subtle melody is varied and extended until its elements are converted into the two principal themes that a trio of strings introduces. Ravel explores different colorations with the possibilities this interesting instrumentation provides him.

Program Notes - July 21, Kinetic Brilliance

Vitality, for orchestra

Gala Flagello (1994- )

Gala Flagello’s music is inspired by her passion for lyricism, rhythmic vitality, and fostering meaningful collaboration. She is Festival Director and co-founder of the contemporary music Connecticut Summerfest and has been a Composition Fellow at Tanglewood Music Center and the Aspen Music Festival.

Flagello composed Vitality (2022) for the Aspen Conducting Academy. A Martha Graham statement inspired it: “There is a vitality, a life force, a quickening, that is translated through you into action and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost.”

Flagello has written, “Graham begins in celebration of discovery and hope (the what), then reflects upon the process (the how), and closes with a warning (the why). The piece loosely follows this structure, musically exploring the prickly and potent glimmers of one’s life force alongside the uncertainty of self-expression and vulnerability.”

Composed in memory of Flagello’s friend and fellow horn player Marina Krol Hodge (1994–2022) and her father-in-law Steve Williams (1958–2022), she says, “Their bright spirits are present in the horn soli that appear throughout the work.”

Symphonie espagnole in D minor, Op. 21. . . Édouard Lalo (1823-1892)

“Do you know the Symphonie espagnole by the French composer Lalo?” Tchaikovsky asked his supporter, Nadezhda von Meck, in a March 1878 letter. “It was introduced recently by the violinist Sarasate and is based on Spanish musical idioms. It has given me great pleasure, for it is so fresh and light, its rhythms piquant and its melodies beautifully harmonized. Lalo scrupulously avoids the commonplace, seeks new forms without attempting great profundity, and is more concerned with musical beauty than with old traditions.” Tchaikovsky had been quicker to recognize Lalo’s talent than were many French musicians. Lalo struggled for years to become an established composer; he grew so discouraged that for ten years he gave up composition completely.

Lalo dedicated the Symphonie espagnole to Sarasate, who played its premiere on February 7, 1875, in Paris; soon, it became one of the most popular works in Sarasate’s repertoire. As Lalo felt a strong bond with the music of his ancestral homeland, Spain, its rhythms, colors, and turns of phrase are the essence of this work. It is hardly a symphony but rather a brilliant violin concerto in five movements. It has immediate and direct listener appeal, but formidable difficulty for the soloist, the orchestra, and the conductor.

In the 1st movement, the habanera rhythm is dominant; in sonata-allegro form, it is the most developed movement. With virtuosity, the solo violin makes many journeys from its highest range to its lowest. The 2nd lively movement, a scherzando serenade, is based on the seguidilla rhythm, distinctly present in the opening pizzicato section, echoing the seguidilla’s “traditional castanet refrain.” The 3rd

movement revisits the rhythms of the Spanish-Moorish dance. Its dark-toned lyricism reflects Spanish folk style. The work concludes with a scintillating Rondo with several episodes, among which is a malagueña, anticipated in the introduction to the 1st movement.

Symphony No. 2 in D, Op. 73

Johannes Brahms (1833 - 1897)

After working 14 years on Symphony No 1, Brahms completed his 2nd symphony in a year. It is idyllic and represents Brahms at peace, yet it has a dark undercurrent; Brahms described it to Clara Schumann (Robert’s wife) as “elegiac in character.”

Brahms sent an oversimplified description to Elisabet von Herzogenberg, a skilled amateur musician with a good sense of humor. He told her: “You just sit down at the piano, put your little feet on the two pedals in turn, and strike the chord of F minor [which Brahms thought very gloomy] several times in succession, first in the treble, then in the bass, fortissimo and pianissimo, and you will gradually gain a vivid impression of my ‘latest’!” Brahms joked about his new symphony, writing, “The orchestra here plays my Symphony with mourning bands on their sleeves because of its dirgelike effect. It is to be printed with a black border, too.” In fact, however, the symphony sometimes seems one of Brahms’ most cheerful works. His longest symphony, it includes bright, sunny themes. The first two movements “with their grand tone” blend what musicologist Reinhold Brinkmann calls “idyll and elegy.” The expansive 1st movement’s opening subject, set for wind instruments and horn, is melodious while the second subject is wistful, nostalgic, and graceful; the development becomes passionate, interrupting the idyllic character with stormy passages with strong brass sound. In the coda, the horn creates a fascinating effect followed by a quaint pizzicato string accompaniment.

The 2nd is the gravest movement, yet romantic as well as elegiac. The longest slow movement in Brahms’ symphonies, it is an expressive cantilena opening with a passionate cello theme with a melancholy bassoon counterpoint. Ambiguously, the movement feels neither completely major nor minor.

The light, short 3rd movement is serene and cheerful with, as Brinkmann says, “a sequence of contrasting Bohemian dances.” Only hinting at a minuet, it takes the form of a charming intermezzo with a Haydn-like spirit, beginning with an exquisite pastoral melody for the woodwinds with pizzicato arpeggios in the cellos and the character of a ländler (dance), constructed on an inversion of the three-note motive with which the symphony begins. The movement has meditative moments and two faster trios, each a variation on the principal theme.

The finale overflows with thematic ideas, some derived directly from the 1st movement. Brahms quickly changes tone color as the gay movement proceeds with increasing vigor. It is the most athletic, joyful, exuberant movement Brahms ever included in a symphony. In a celebration of orchestral power, the trombones conclude the symphony in an ode of joy.

Program Notes - July 26, Bravissima!

Symphony No. 3, in A minor, Op. 56 “Scottish)

Felix Mendelssohn (1809-1847)

The Scottish Symphony owes its existence to Mendelssohn’s 1829 trip to Britain, where he made a highly successful concert debut in London before traveling to Scotland. In Edinburgh, he attended the annual competition of Highland pipers and visited Holyrood Palace where Mary, Queen of Scots, had lived. In a letter to his sister Fanny, Mendelssohn gave his reaction to the chapel of the palace: “Grass and ivy thrive there and at the broken altar, Mary was crowned Queen of Scotland. Everything is ruined, decayed, and the clear heavens pour in. I think I have found there the beginning of my ‘Scottish’ Symphony.” He sketched out 16 measures of music in his letter, explaining they would form the 1st movement’s introduction.

Mendelssohn worked on the Scottish Symphony in Italy in 1830-31, but only finished it 13 years later and conducted the premiere in Leipzig on March 3, 1842. After its first performance in England, Queen Victoria granted him permission to dedicate it to her.

Scholars have long debated whether Mendelssohn intended to capture the “solemn, pathetic, gay, and warlike” features of Scottish national music. This work most probably reflects Mendelssohn’s memories of Scottish sights and sounds even though the themes are not directly derived from what he heard; rather, the spirit of Scottish folk tunes and his visual impressions of the Scottish countryside infuse it. Mendelssohn first called it Scottish Symphony but was generally wary of descriptive titles; when preparing it for publication, he removed its name.

Symphony No. 3 begins with a slow, melancholy introduction, suggesting the lilting movement’s main section’s principal theme. The second movement, a scherzo, is lightfooted and has a marked Scottish flavor. A lyrical slow movement follows, with a persistent dotted-note rhythm that helps create the aura of a majestic procession. The symphony concludes with another decidedly Scottish movement beginning with a march-like Allegro vivacissimo and becoming slower and more majestic before a drone, sometimes compared to bagpipes, appears near the end.

Concerto for Piano and Orchestra No. 2 in C minor, Op. 18

Sergei Rachmaninoff (1873 – 1943)

(Born April 1, 1873, in Oneg, Russia; died March 28, 1943, in Beverly Hills, California)

Sergei Rachmaninoff, a great representative of Russian romanticism, was versatile: a supreme pianist, an admired composer, and a well-respected conductor. He made a conscious decision to devote his time to piano and to composition, resisting tempting offers from the Boston and Cincinnati Symphony Orchestras to become their Music Director.

When his Symphony No. 1 was poorly received in 1897, 24-year-old Rachmaninoff succumbed to severe depression, and consequently, almost cut short his musical career. Four years later, Piano Concerto No. 1 premiered, with the composer as soloist with the Moscow Philharmonic. When, three years after its premiere, it won the prestigious Glinka Prize, Rachmaninoff’s career had turned a corner. His confidence restored, he was buoyed by this concerto’s

positive reception; it later went on to be performed more frequently than any other 20th century piano concerto.

He then resumed a productive and busy life as a touring performer yet made time to write much music: four piano concertos, three symphonies, three operas, and many other works, but increasing civil unrest caused Rachmaninoff to establish residence in both Switzerland and the United States. In 1931, he published a letter in the New York Times protesting against the Soviet government. After that, the Soviets banned both performance and study of his works. This action caused Rachmaninoff to make a complete break with his homeland and to reside permanently in the United States.

Piano Concerto No. 2 exemplifies the sumptuous harmonies and lyricism that are the hallmarks of Rachmaninoff’s music. The soloist opens the 1st movement with a short series of deep, solemn chords, which gradually grow in power as the music travels to the movement’s home key. Rachmaninoff introduces the strings in the passionate and distinctively Russian first theme. For the second theme, the orchestra is silent while the piano soloist spins out the lyrical melody, which has become one of Rachmaninoff’s best-known themes. In this sonata form movement, the development mainly focuses on the first theme, which appears in fragments in the body of the orchestra.  The recapitulation contains some variation of the original themes.

In the slow 2nd movement, the music begins with introductory chords in a foreign key, just as in the 1st movement. Similarly, these chords advance the journey to the basic tonality, as the music continues in its quiet and peaceful nature. The movement, a wistful nocturne of great beauty, initially features the flute introducing the theme, which passes to the clarinet. Soon the soloist dominates, taking up the theme the woodwinds introduced; the orchestra gently accompanies the piano line with a triplet figure, echoing one the piano articulated. The orchestra plays a resounding chord before the soloist’s cadenza. The movement ends with a short coda.

In the final movement, the piano introduces the first theme with a cadenza, relaxing only for the memorable second theme, which the violas and oboe initiate. In the development, new material is interjected before both themes return for further development. The pianist plays a brief cadenza before the 2nd theme returns, before the final coda.

A well-known Russian musicologist, who was close to Rachmaninoff, claimed the composer did not create the 2nd theme but received it as a gift from another musician, Nikita Morozov, who sometimes helped Rachmaninoff solve problems of musical architecture. A biographer relates Rachmaninoff’s reaction to first hearing this theme. He said, “Oh, that is a melody that I should have composed”; the admiring Morozov replied, “Well, why don’t you just use it?”

Program Notes - July 28, Bouquet of Sound

These Worlds in Us

Missy Mazzoli (1980-)

Missy Mazzoli has been called “one of the more consistently inventive, surprising composers now working in New York” (The New York Times) and “Brooklyn’s post-millennial Mozart” (Time Out New York). In a typical piece she often embraces contrasts, simultaneously including: calm and edginess, slowness and hyper-energy, solemnity and intensity, or the hypnotic and the wild.

In 2007, Mazzoli won the ASCAP Young Composers Award and the Woods Chandler Prize for best orchestral composition for These Worlds in Us. The title comes from James Tate’s poem The Lost Pilot, a meditation on his father’s death in World War II.

Mazzoli has written: “This piece is dedicated to my father, who was a soldier during the Vietnam War. In talking to him it occurred to me that, as we grow older, we accumulate worlds of intense memory within us, and that grief is often not far from joy. I like the idea that music can reflect painful and blissful sentiments in a single note or gesture, and sought to create a sound palette that I hope is at once completely new and strangely familiar to the listener.

“The theme of this work, a mournful line first played by the violins, collapses into glissandos almost immediately after it appears, giving the impression that the piece has been submerged under water or played on a turntable that is grinding to a halt. The melodicas (mouth organs) played by the percussionists in the opening and final gestures mimic the wheeze of a broken accordion, lending a particular vulnerability to the bookends of the work. The rhythmic structures and cyclical nature of the piece are inspired by the unique tension and logic of Balinese music, and the march-like figures in the percussion bring to mind the militaristic inspiration for the work as well as the relentless energy of electronica drum beats.”

Sinfonia Concertante in B-flat, Op. 84, H. I:105

Joseph Haydn (1732-1809)

Haydn composed Sinfonia Concertante during his first London visit. It was written in the two weeks preceding its highly successful premiere. He indicated the solo part for “principal violin.” The other parts were “obbligato,” which meant prominent and independent, but not necessarily virtuosic and soloistic.

The lively Allegro is thoroughly developed and has an interesting ensemble cadenza. In the central Andante, the solo group plays as a lightly accompanied chamber ensemble rather than as individual soloists. An operatic recitative for the violin recurs throughout the finale.

Appalachian Spring

Aaron Copland (1900 – 1990) 2016 edition/restoration by David

Newman

The fame of Copland’s iconic Appalachian Spring probably can be attributed to its intertwined history with the work of the 20th century modern dancer, Martha Graham. When the Elizabeth Sprague Coolidge Foundation at the Library of Congress commissioned a dance work from Graham, she turned to Copland. In 1944, he delivered a score to her entitled Ballet for Martha, which subsequently became its subtitle. Graham suggested Appalachian Spring, inspired by Hart Crane’s poem, The Bridge. “Appalachian Spring would never have existed without her special personality,” Aaron Copland said. “The music was created for her, and it reflects the unique quality of a human being.”

Graham liked the title’s sound, but the ballet has no connection to the Appalachians; spring refers to a water source rather than the season. The ballet story was originally summarized: “A pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmerhusband enact the emotions, joyful and apprehensive, their new domestic partnership invites.” In 1975, Graham added, “It is essentially the coming of a new life. It has to do with growing things. Spring is the loveliest and saddest time of year.”

“Appalachian Spring is generally thought to be folk-inspired,” Copland said, “but the Shaker tune ‘Tis the Gift to be Simple’ is the only folk material quoted… It took me about a year to finish and I remember thinking how crazy it was to spend all that time because I knew how shortlived most ballet scores are, but [it] took on a life of its own.”

The opening ascending clarinet notes conjure an awakening, the beginning of a new day and a new life on the frontier. The slow music is serious and spare; a sudden, bright string passage alters the mood. Mood changes continue as the music charts happenings in the newlyweds’ life: revivalists celebrating with a square dance and the bride expressing joy and apprehension at approaching motherhood. The opening music intermittently recurs and reassures. The melody “Simple Gifts” grows with variations expressing joy and humble gratitude. Copland imbues the pioneer spirit with dignity and the nobility of the everyday. At the end, the clarinet plays the opening phrase.

The Three-Cornered Hat (El sombrero de tres picos), Suite No. 2

Manuel de Falla (1876-1946)

Manuel de Falla composed in the Romantic nationalist tradition, basing his musical style on music of his native Spain. He studied with Felipe Pedrell, a renowned Spanish musicologist, composer, and teacher of the traditions of Spanish popular music.

When the impresario Sergei Diaghilev came to Spain,Falla played parts of a score he was working on for him. Diaghilev liked Falla’s music, based on a racy short novel by the 19th century Spanish author de Alarcon, and he convinced Falla to rearrange it for dance so that he could produce a ballet based on it.

Searching for local color for the ballet, Falla, Diaghilev, and choreographer, Massine traveled through Andalusia. They met a blind man chanting a melody to the accompaniment of his broken guitar. Falla added this song and another based on an Andalusian melody, enlarging the scoring. The Diaghilev troupe debuted the ballet El sombrero de tres picos (“The ThreeCornered Hat”) in London on July 22, 1919.

The story tells of a pretty, flirtatious miller’s wife and an amorous old corregidor (the hat-wearing village magistrate) who makes advances while her husband is away. Pretending to respond, the mischievous wife leads him on a merry chase; at the conclusion, he is thoroughly humiliated, while the miller and his faithful spouse gloat over their victory.

Falla’s enchanting score is rich in allusion to Spanish folk music of several regions. Many authentic national dances and many melodies are from popular songs familiar to almost every Spaniard. Falla created two concert suites from it, each containing three dances. The Second Suite is made up of The Neighbors (Seguidilla), The Miller’s Dance (Farruca), and Final Dance (Jota).

Program Notes - July 30, Sundaes on Tuesday...

Septet for Clarinet, Bassoon, Horn, Violin, Viola, Cello and Bass in E-Flat, Op. 20 Ludwig van Beethoven (1770-1827)

Beethoven denounced his own Septet, a greatly popular early work, for lacking adequate seriousness when he compared it to his later compositions, saying, “That damn work; I wish it could be burned!” Yet both the public and critics asked repeatedly why he did not write more music that gave such easy satisfaction and was so readily comprehensible. Angered, he reputedly told an enthusiastic admirer that Mozart had actually written the work.

Scholars are not sure whether the unusual combination of instruments for this cheerful, optimistic, and elegant work (1799) was Beethoven’s choice or that of the unknown person who commissioned it. Beethoven’s only chamber work to include the double bass, written in Mozartian and Haydn-like light style, it recalls divertimento form with six short movements alternating slow and fast tempi throughout. Barry Cooper, a Beethoven biographer, comments, “The six movements seem disparate and selfcontained, as in a divertimento, yet they are all (except

perhaps the Scherzo) related by themes that outline or decorate a falling and rising semitone, resulting in greater coherence than might be expected.”

The septet begins with a slow, stately introduction in the style of a serenade leading to a cheerful 1st movement with a four-note subject. The 2nd movement is a graceful, rather profound Adagio cantabile. The popular 3rd movement, in minuet tempo, has a theme Beethoven used in slightly different forms in his Clarinet Trio, Op. 11, his Piano Sonata, Op. 49, No. 2, and his Piano Trio, Op. 38. The 4th movement has a simple, charming theme with five variations. Some critics contend that the theme originated in a folksong from Germany’s lower Rhine Valley. The 5th movement, a rapid Scherzo, is very lyrical. A sudden change of mood follows in the Andante con moto alla marcia, which serves as a transition to the 6th movement, a spirited Rondo.

Program Notes - August 2, Classical Hit Parade

Overture

to The Marriage of Figaro, K. 492

Wolfgang Amadeus Mozart (1756 – 1791)

When Mozart’s The Marriage of Figaro was first performed, it created a sensation. For it, Mozart used a Lorenzo da Ponte libretto derived from Beaumarchais’s comedy of manners Le Mariage de Figaro, ou la Folle journée (The Marriage of Figaro or the Follies of a Day), a play that had excited the French aristocracy and generated sensational acclaim.

The effervescent overture instantly sets the emotional tone for the opera’s whirlwind humor. Although the overture begins quietly, the slight initial motif grows into a full-blown theme complemented by the brilliance of trumpets and drums. After the climax is reached, the brilliant, bubbling, opening theme is reprised. Significantly, the overture’s themes do not appear in the opera.

Polonaise from Eugene Onegin, Op. 24

Pyotr Ilyich Tchaikovsky (1840 – 1893)

The plot of Tchaikovsky’s opera Eugene Onegin is derived from a Russian literary masterpiece, Pushkin’s narrative poem of the same name. It is the tale of a cynical, disillusioned young dandy, Onegin, who is tired of his carefree life and retires to a country estate, where he and a young romantic poet, Vladimir Lensky, become fast friends.

The polonaise, originally a stately court dance or a royal ceremonial march, was characterized in the 18th century by triple meter, moderate tempo, an absence of upbeats, and a repetition of rhythmic figures. In the 19th century, the polonaise became a musical symbol of the Poles’ struggle for independence from foreign rule. In Act III, Scene 1, the Polonaise is danced at a party in St. Petersburg

Overture The Barber of Seville

Gioacchino Rossini (1792–1868)

Rossini wrote 36 operas between 1810 and 1829, after which he renounced the theater. His greatest opera is his comic masterpiece The Barber of Seville. For it, he composed an overture in Spanish style, but it was lost after an early performance and replaced with this one, which had actually been written earlier. Rossini had already used this overture for two serious operas about royalty, Aureliano in Palmyra (1813) and Elizabeth, Queen of England (1815). Although it seems that Figaro, the witty, democratic barber, never had an overture of his own, he gave this brilliant piece immortality.

Intermezzo from La boda de Luis Alonso

Gerónimo Giménez (1854 – 1923)

Giménez began conducting opera and zarzuela performances as a youth and won a scholarship to the Paris Conservatoire. He also spent time in Italy where he won the Prix de Rome; then he returned to Spain to conduct and compose. Giménez’s work was not well received, perhaps because the libretti he used were not up to the quality of his music but, unwilling to accept an academic position at the Madrid Conservatory until very late in life, he died in near poverty and obscurity.

La boda de Luis Alonso, one of his early works, belongs to the category of sainete, a kind of one-act musical farce.

Overture to Orpheus in the Underworld

Jacques Offenbach (1819 – 1880)

Offenbach’s Orpheus in the Underworld is a comic satire on an ancient Greek legend that many other composers have treated very seriously. Its “underworld” is Hades, where, the ancients believed, the souls of the dead were sent. In the original story, Orpheus, a poet and musician, played the lute so beautifully he could charm even stones and trees. When his beloved wife died, he followed her spirit into the underworld, where his music persuaded the gods to let her return to earth.

In the comic opera, things are somewhat reversed. Orpheus’s wife cannot stand his violin playing and deserts him to runs off with Pluto, the god of the underworld. She prefers to stay there with him, not to return to earth with Orpheus. This humorous version of what was originally a serious story is acted out to very funny music. Another musician assembled this jolly overture for Orpheus’s premiere in Vienna, including all the opera’s best melodies.

Light Cavalry Overture

Franz von Suppé (1819-1895)

Suppé, a pioneer of Viennese operetta, composed over 200 stage works. The energetic, lively Light Cavalry Overture was created in 1866 for the operetta whose plot focuses on cavalrymen who try to unite a young couple. Suppé’s music includes heroic fanfares and Hungarian melodies. Hungary fascinated the Viennese, inspiring composers to include Hungarian melodies and characters in their operas.

Heralding a grand adventure, a brilliant brass fanfare resounds as a military reveille. The violins’ theme evokes the sound of soldiers stealthily approaching; cavalry gallops to battle to a brilliant brass theme. A solemn Hungarian melody is heard as the country mourns its lost soldiers. When the cavalry prepares another charge, the tempo increases; when the enemy is defeated, the overture closes triumphantly.

Dance of the Blessed Spirits from Orfeo ed Euridice

Christoph Willibald von Gluck (1714-1787)

The legend of Orpheus, whose music was reputed to tame wild beasts and move stones to tears, comes from Greek mythology. When Orpheus’ wife Eurydice dies, he convinces the gods to allow him to descend into Hades to rescue her; when he returns with her, he disobeys the gods’ command that he not look back before he reaches the upper world. Because he did not listen to the gods, she dies in his embrace.

Orpheus encounters the Blessed Spirits in the Elysian Fields, the Paradise of classical antiquity in this dance.

Thunder and Lightning Polka, Op. 324 (Unter Donnen und Blitzen)

Johann Strauss, Jr. (1825-1899)

Johann Strauss Jr., who composed a waltz when he was six, wrote around 500 pieces of dance music, not only waltzes, but also polkas, polka mazurkas, marches, and the “gallop.” Die Fledermaus is his famous operetta.

The polka originated in Poland, then made its way to Austria; by his time, it was danced in Vienna in several versions, including polkamazurka, polka-quadrille, French polka, and fast polka. Many, like this one, are orchestrated with clever and novel effects that are reflected in their titles.

Capriccio Italien, Op. 45

Peter Ilyich Tchaikovsky (1840-1893)

Capriccio Italien has been described as a “bundle of Italian folk tunes,” but its coloration is very Russian. Tchaikovsky drew his material from published collections of Italian folk songs and from music he heard in Italy. He wrote his benefactress, Nadezhda von Meck, from Rome, “I have already completed the sketches for an Italian fantasia on folk tunes. . .. It will be effective, thanks to the delightful tunes which I have succeeded in assembling partly from anthologies, partly from my own ears in the streets.”

The work’s principal aim, according to David Brown, his biographer, was “the projection of bright, warm, contrasting colors.” Of the several themes in the Capriccio, only two have been definitively identified. Tchaikovsky explained the genesis of one, mentioning that his hotel room overlooked cavalry barracks; a bugle call he heard every evening so caught his imagination he included the fanfarelike passage in the piece’s beginning. Other contrasting Italian folk melodies follow. Tchaikovsky remarked that the Roman Carnival inspired the tarantella (known in Italy as cicuzza) on which the piece brilliantly ends.

Program Notes - August 4, Pinnacle Performance

Overture to Ruslan and Ludmilla

Mikhail Ivanovich Glinka (1804-1857)

In Glinka’s youth, Western music dominated Russian concert halls and opera theaters; almost no truly Russian music existed except that of the church and the peasants. As a young man, Glinka studied the work of the European composers that he could hear in St. Petersburg and then traveled to Italy and Germany to study composition.

Pushkin’s satirical Russian fairy tale is the source of Ruslan and Ludmilla, Glinka’s 2nd opera’s plot. Its overture was composed last, in 1842, when the opera was already in rehearsal. The music is highly unusual: using a simple folk melody, repeated many times with no variation in the melody itself, Glinka created what is called his “changing background technique,” where shifts in the orchestral accompaniment substitute for thematic alteration.

The opera’s plot revolves around a knight, Ruslan, who gallantly rescues a nobleman’s daughter, Ludmilla, who had been captured by an evil dwarf, Chernomor. The overture is based principally on the closing scene’s wedding music for the title characters. Chernomor is represented in the opera by the leitmotif of a whole-tone scale, the only leitmotif in the opera. Trombones and other low instruments sound his theme at the overture’s end. Glinka’s application of the whole tone scale is, historians think, its first use by any composer.

The opera’s 1842 premiere was not successful. The audience booed and hissed, but today Ruslan and Ludmilla, recognized as Glinka’s masterpiece, is a cornerstone of Russia’s musical art. In this pioneering work, Glinka forged the style of Russian musical nationalism with his complex and detailed use of folk melodies. Composers who followed him, like Borodin, Mussorgsky, and Rimsky-Korsakov were indebted to Glinka for his novel harmonies, rhythms, form, instrumentation, and style.

Concerto for Cello and Orchestra, No. 1, in EFlat,

Op. 107

Dmitri Shostakovich (1906-1975)

Shostakovich’s family, originally Polish, settled in Russia after his grandfather’s return from exile in Siberia. As a boy, he studied piano with his mother and, at 13, entered the Petrograd Conservatory. In 1925, at 19, he completed his 1st symphony as a Conservatory graduation piece.

Shostakovich was young when the Soviet Union decided that its new society should support new kinds of art, but soon thereafter, ideas changed. Communist aesthetic theoreticians attacked Shostakovich’s symphonies and his two operas of the late 1920’s and 1930’s for “bourgeois decadence” and ideological “formalism.” They were withdrawn from circulation. With Symphony No. 5, which Shostakovich humbly described as “a composer’s reply to just criticism,” he reentered the mainstream of Russian musical life.

Shostakovich composed Cello Concerto No. 1, a most lyrical and beautiful work, in 1959, and dedicated it to his friend Mstislav Rostropovich, who performed its premiere with the Leningrad Philharmonic. The following description is adapted from a lengthy analysis in the published score:

The fourmovement concerto is divided into two large parts: the opening movement and then the three following movements are performed without pause. Together, they form an integral whole with unified musical themes and images.

The 1st movement’s principal theme begins with a motif that lends itself to dynamic development; it reappears repeatedly. The secondary theme is a rich musical image of Russian character, full of stoic grief and strength of will.

The 2nd movement begins with a restrained introduction after which the cello sings a songlike theme against a viola background. A melodious 2nd theme is highly expressive, and the climax is dramatic.

The 3rd movement is a monologue, actually called Cadenza, for the cello. It refers back to the 1st movement motif and the 2nd movement themes, while preparing for the finale. This movement has an independent role in the artistic whole.

The finale, in rondo form, sums up the whole work. A coda brings back the 1st movement’s principal subject in a new guise.

In order to keep the solo cello in bold relief throughout, the scoring for orchestra is kept light.

Symphony No. 7 in A, Op. 92

Ludwig van Beethoven (1770 – 1827)

In the four years between the 6th and the 7th Symphonies, Beethoven consolidated new styles and techniques and enlarged his harmonic scope. In early 1813, Symphony No. 7 was performed privately at the residence of Beethoven’s pupil, Archduke Rudolph; on December 8th, Beethoven conducted the symphony’s premiere, a benefit concert for soldiers wounded in the battle that had failed to stop Napoleon at Hanau.

Symphony No. 7’s musical intensity has been described as transcendent, astonishing, and universal. Critics and composers have tried to describe the movements programmatically, teetering on the edge of absurdity with their analyses. What binds their comments together is the understanding that many parts of this symphony embody dance and march rhythms, and that rhythm is the work’s driving force. Each movement grows from a rhythmic figure that characterizes the whole movement in much the same way that Beethoven’s Fifth Symphony is dominated by its wellknown opening, rhythmic fournote motto. By emphasizing the rhythmic aspects, Beethoven limited the use of melody.

After a long, slow introduction, Poco sostenuto, the 1st movement’s charming melody, with its mounting rhythmic tension, evolves into the dancing Vivace that led Wagner to call this symphony the apotheosis of dance. The second movement, Allegretto, mostly in minor, is a lovely, varied processional, both peaceful and solemn. During the 19th century, it was very popular and played frequently on occasions of mourning. It can be divided into five sections, with the first, third, and fifth encompassing one set of themes and the other sections presenting another theme. The second section relieves the tension of the first. The third movement, in which the winds have a prominent place, is an expanded scherzo, Presto, with the contrasting, slower trio section repeated. The French composer d’Indy, perhaps correctly, traced its thematic origins to an Austrian pilgrims’ hymn. The finale, Allegro con brio, heavily and often irregularly accented, is a movement of enormous vigor and energy, which critics have often labeled bacchanalian because of its wild, surging rhythmic motion. The coda grows out of two repeated bass notes, rhythmically defined.

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FESTIVAL PROMOTION

Community Concert Hall, Fort Lewis College Colorado.com

Durango.com

Durango Business Improvement District (BID)

Durango Chamber of Commerce

Durango Herald

Durango Magazine

Durango Telegraph

Durango Welcome Center

Four Corners Broadcasting

Hutton Broadcasting

KSJE

KSUT

KDUR

KWUF

Pagosa Springs Chamber of Commerce

Rocky Mountain PBS

WhatsHappening Durango.com

Visit Durango

PHOTOGRAPHY

Angie Beach

Paul Boyer

Julie Brown

Kara Cavalca

Cole Davis

Paige DeNier

Dwight Frankfather

Ri Ganey

Scott Griggs

Jonas Grushkin

Nick Manning

Christopher Marona

Branson Reynolds

Scott Smith

Beth Stewart

Pete Varney

MUSIC PUBLISHERS

Bärenreiter Ausgabe

Boosey and Hawkes

Breitkopf and Härtel

Broude Brothers

B. Schott’s Söhne

Carl Fischer

Editions Peters

Edwin A. Fleisher

Collection

Edwin F. Kalmus

G. Henle Verlag

G. Schirmer, Inc

Hal Leonard Corporation

Just A Theory Press

Luck’s Music Library

My Little Jacket

Schott Music

Thank you to the following for music

borrowing help:

Buffalo Philharmonic Orchestra

Erie Philharmonic

Pittsburgh Symphony Orchestra

Santa Fe Symphony

Richard Kaufman

Byron Stripling

TAKE3

CONCERT VENUES

Boyle Park, Mancos

Buckley Park, Durango

Claire Viles Park, Durango

Community Concert Hall

Eagle Park, Bayfield

Fort Lewis College

LePlatt’s Pond

Cottonwood Park, Durango

Glacier Club

River Bend Ranch

Shoshone Park, Ignacio

Sky Ute Casino Events Center, Ignacio

Three Springs

Town Park, Pagosa Springs

ONLINE AUCTION

Thank you to the artists and businesses that support Music in the Mountains with their generous gifts.

{re}Love, Consign & Design

2nd Ave Sports

4Corners RiverSports

Allen Theaters

Allison Ragsdale

Photography

Artesanos Design Collection

Bank of Colorado

Bar D Chuckwagon

Beaver Creek Resort

Carver Brewing Co.

City of Durango Parks & Recreation

Colorado Highland Helicopter

Columbine Landscapes

Creede Repertory Theater

Dallas Symphony Orchestra

Dalton Ranch & Golf Club

Danni Leigh Photography

Kathy Deaderick

Dietz Market

Durango & Silverton

Narrow Gauge

Railroad

Durango Bluegrass Meltdown

Durango Choral Society

Durango Dermatology

Durango Hot Springs

Durango Independent Film Festival

Durango Playfest

Durango Treasures

Elevated Golf Academy

EnVision Durango

Euphoria Salon/ Kerri Willis

Eye. D. Fine Eyewear

Flying Fish Co II

Four Leaves Winery

Fox Fire Farms

Gardenswartz Outdoors

Emily Gillette

Peter Giuliani

Grassburger

Suzie Grimm

High Country Optical

Highland Nails

Liz Hogan & Keith Lucas

Homeslice Pizza

Horsefly History

Il Vicino

Jackalope Acres

James Ranch

JW Marriott

Dallas Arts District

Kaiut Yoga

KDUR

K-Lea Yoga

KSUT Public Radio

Doug Lenberg

Mill Street Bistro

Oak Brush Salon

Pam Hatten RN Med Spa

Pause Yoga & Pilates

Pilates Durango

Pour Moi Skin Care

Prospector at Glacier Club

Rainbow Springs

Flower Farm

Rocky Mountain

Balloon Adventures

Salt 360 Float

San Juan Symphony

Sky Ute Casino Resort

Carol Salomon

Southwest Appliance

Stem Mayhem Floral

The Glacier Club

The Oxford

The Santa Fe Symphony

The Strater Hotel

Toh-Atin Gallery

Urban Market

Vallecito Marina

Viking River Cruises

Chris Warren

Yunomi Pottery Studio

If we have omitted your name or listed your name incorrectly, please accept our sincere apologies and contact the Festival Office at 970.385.6820 so we can update our records.

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